Getting a feel for "using faster air" to ascend

[trumpetrange]

Hi guys,

This is something I've been thinking about lately. I originally posted this up at trumpetrange.com but wanted to share it here also in case it might be of help to anyone.

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Phrases we hear a lot in the trumpet world are “use the air”, “use more air” or “use FASTER air” to ascend.

As discussed previously, this is an example of vague often confusing language that trumpeters tend to use. There’s also some debate as to whether using ‘faster’ air is indeed what's physiologically happening.

Be that as it may, for me, as a young frustrated player, whenever I heard my teacher use these words, I simply blew harder which had the effect of producing a louder note but not a higher one. Also, I’d press harder and my aperture would spread and … well, you know the rest.

I’m going to keep this short and sweet. Heres something I have found which helps make sense of this concept for me:

PUSH THE NOTE SHARP

Play a C in the stave. Now, without pinching the lips or manipulating your set up, push it sharp with the air. You should feel yourself moving “faster” air through the mouthpiece. Keep pushing and you might even get the next partial (E) and the next one (G) and the next one (Bb) and so on.

Does that help? 🙂

Obviously, there’s more to the upper register than simply this, but I hope this helps unlock the feeling of "using faster air" for you.
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TrumpetRange.com - high range development, lead, big band and commercial playing

[Andy Del]

If I am taking the bait, so be it... in a word:

NO

Sharp is pitch. Air speed is is not pitch as such. Mixing nomenclature is just asking for even more confusion. I wager teaching such a concept will see many kids move on to a teacher who just says this is not so and corrects them.

cheers

Andy
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so many horns, so few good notes...

[1jazzyalex]

Herbert L. Clarke in his "Elementary Studies" simply says to think "hee" on the higher notes. Easy and simple.

https://www.scribd.com/doc/138245100/H-L-Clarke-Elementary-Studies
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Yamaha 8335LA with Blessing 3C, 5C, Schilke 11A4A

[MrOlds]

Ideas like "more air" and "faster air" are not helpful for me. It's more about balance than strength and mental imagery that helps some people might not help you. Gotta find your own imagery.

High notes may require more air than you're giving them but in general, low notes require more air (you run out faster) than high notes.

For some players "more air" gets translated into "blow harder." That can result in the aperture being blown apart. Then you clamp down to keep that from happening. Then the sound becomes constricted so someone tells you to use "more air." Repeat for years.

If this sounds like something that's happening to you, try thinking about the feeling of air "flowing" past the lips rather than "blowing." Think about releasing the air rather than blowing. Or releasing the notes rather than compression or aperture control.

These are just images. How it really works is hard to consciously control, so mental images coupled with close attention to sound prompts the body to find the balance.

[Derek Reaban]

More Air.......
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[GeorgeB]

[pepperdean]

When I first read the initial post, I didn't go to a test between faster air or more air because I view efficient playing as the proper balance between air and tension, regardless of how we describe it. With Pops help, I'm in the midst of reclaiming my chops after some nerve damage several years ago. Trying to come back too fast drastically threw off this balance for me, leading to much too much tension. The OP's post made me reflect on what is working for me right now.

Years (decades ) ago, Carmine spoke of balancing ('timing') the moving parts (air pressure, mouthpiece pressure, muscle tensions). The lips respond with 'appropriate' tension to the demand the air makes on them. When I took lessons from Roy Stevens, he pretty much did the same thing. However, at the time, trying to play statics glisses with the horn balanced on my palm didn't do much for me.

Now, however, I just use a mouthpiece rim (minimal pressure) and increase the air pressure through a combination tongue arch and increased blowing, beginning on a note in the staff, and produce glisses that ascend into the double highs. For me, this has progressed into arpeggios, scales in thirds, and songs in the very high register. I don't manipulate the chops, they do it themselves in response to the air. This eliminates unwanted tension, allowing efficient playing, translating back to playing on the trumpet.

This strikes me as a little bit of what the OP was getting at. Take away the mouthpiece pressure concentrate on air, and let the lips learn how little they need to work.

We're all in different places with our playing and we have different needs and images of what's going on at any given time. Tongue arch, diaphragm support, muscle tension, mouthpiece pressure all go together to produce notes but emphasis on any one of these has to be applied at the right time in our development to be meaningful. If it works go with it; if it doesn't......

Trying to be helpful. Hope that didn't sound argumentative or preachy.

Alan