WIG Embouchure

[trumpet57]

Where can I find information on the WIG embouchure?

[LeeC]

It's a good question. Probably little has been written and nothing published about the wig set up. From what I've heard it is mostly bits and pieces of information passed word of mouth.

One of the probable practitioners is Steve Reid of youtube clips. So do a search of him. I don't know that he talks of it publicly but at least a demonstration of extremely high range is there.

Here's what I know and what I've done:

Formation:

A major roll out of lower lip until the mouthpiece rests upon the inner gum membrane.

Level horn angle or maybe a bit above the perpendicular.

Wet lips.

Integration/Beginning:

A Divide register into three "locations". Above High C, third space C to high C and anything below third space C.

1. Start by locating extremely high range scratchy squeeks. Soft to loud whatever works. Practice five to ten minutes of this per day until you can predictably locate a series of slurred tones. Maybe try some slurred diatonic scales after locating them. Slur up to these tones or get then whcihever way comes easiest to you.

2. Rest between the scratchy high note seesion and then play some rolled out lower tones. Like down to low F # etc.

3. In the days following some success at finding both these lower and upper tones work the lower tones UP and the high tones DOWN. After about six months you should be able to integrate a well connected half decent three octave arpeggio or scale series.

Integration: I found that mute work in big band was a good way to practice in a live setting. That and maybe playing loud/high outchoruses on it. Saves the chops a bundle. Better than breaking teeth or ruining an otherwise fine embouchure.

Lastly:

Remember: By rolling the lower lip out THAT far you have effectively disabled the lower lip for easy lower register work.

This isn't an easy way but has proven easier than anything else I've tried so far. Could take you a lot of work and experimentation. Took me about three years before i felt comfortable enough at playing solid outchoruses and stuff. I still don't use it much below the staff as it would take a lot of work to pull the roof that far down. That and because my middle and lower registers are well grounded and unstressed by such play. No need to develop.

This is an alternative embouchure which has some crossover muscle use with regular play.

But it plays some of the loudest, well articulated high notes around.

[tonguepushups]

I am not a master of this by any means but I have had some discussion with Steve about his WIG setup. In addition to what LeeC mentions above, Steve also plants his tongue behind his bottom teeth and uses his top front teeth to create compression. To quote him, "It's like a turbocharger for the trumpet."

Good luck.

[JakeUND]

Really interesting stuff
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Lawler C7R
Leblanc T357
Monette B4S/B4L S1

[LeeC]

I don't relate all that much to the tongue pressure on lips. It is likely that what I'm doing is a variation of Reids chop set up.

Am told that some players who fiddle with the "wig" don't get much below a High C on it. Some can't even play below the High F. My variation will produce a decent third space C and connect, at least on a practice level to the bottom register though i wouldn't feel comfortable playing much below the C. Matter of fact i rarely use it for lines below a G top of staff.

But then whatever variation I'm doing doesn't exactly produce huge DHC's and above. At least not automatically and as needed. It's more or less just a handy trick to pop F's G's and A's at good volume without busting teeth or finishing chops for the evening. Maybe in time it will excel above the DHC.

It's all very interesting but my guess is that most players won't have the patience for it.

[spitvalve]

Nevahoiduvit.

What does WIG stand for?
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Bryan Fields
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1991 Bach LR180 ML 37S
1999 Getzen Eterna 700S
1979 Getzen Eterna 895S Flugelhorn
1969 Getzen Capri cornet
Eastlake Benge 4PSP piccolo trumpet
Warburton and Stomvi Flex mouthpieces

[soulfire]

Alright, some of my trumpet friends and I were fiddling with this thing tonight...(a bunch of trumpet players who also happen to be in a fraternity trying it after a party). I'm doing basically what everyone is saying and I can get loud and controlled G's and A's. But, when I really push the air I can get incredibly loud G's ABOVE double C. It was amazing really, but I don't think I'll ever use this to play, as it is almost the exact opposite of what I regularly do (playing on the red of top lip).


Here is something I've found-
http://www.youtube.com/watch?v=v-2Anqj-OkI
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Chris