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IIIB Questions

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Joined: 01 Mar 2018
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PostPosted: Sat Jan 12, 2019 8:28 pm    Post subject: IIIB Questions Reply with quote

I have a few questions regarding how IIIB players play high and efficient.

1. How do low(as in angle) playing IIIB players deal with the unequal pressure between the top lip and bottom lip when the bottom lip tucks under the top when going high?

2. I play around the middle of the mouthpiece 50/50 and I have read that IIIB players usually should use 2/3 top and 1/3 bottom. Sometimes I place the mouthpiece directly between the red fleshy part and the bare skin. Would 2/3 top be more efficient?

3. I play a gr 66MS and at times I feel as though I put a lot of lip into the mouthpiece (mainly just top lip). Would using a slightly smaller inner diameter mouthpiece train me to get rid of that or is that something that is solely embouchure based?

4. When setting the mouthpiece I already have the embouchure ready instead of setting the mouthpiece and then moving my lips. Is this ok for IIIB players or is it based more so on the player?

5. My friend is a slight IIIB player (I think) and I realize he plays with a ton of air and has a ton of air power. He plays with an open aperture along with a .600" diameter mouthpiece and can play Double A's as much as he wants and wont get tired. Its as if he compresses inward from his corners a slight bit so that the amount of air he uses doesn't escape. He says he is not necessarily using more air but faster air? Would you guys say air is major factor in playing high?

6. Should a IIIB player bring down their corners to make sure they don't do a smile embouchure.

My range tops out at a high Eb above High C and I have mediocre endurance. Also I know some of these things vary player to player based on their anatomy but it seems low playing IIIB players tend to have the same problems and usually the hardest times. I have gotten somewhat far in trumpet playing for being not naturally gifted at all lol.

Thanks, Michael
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Joined: 06 Oct 2016
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Location: New Hampshire

PostPosted: Fri Jan 18, 2019 2:39 pm    Post subject: Reply with quote

Hey Michael -- Disclaimer: I studied with Doc and Dave Sheetz, and am a IIIB, but in no way claim to have expertise, only my own experience. I have found that whenever I have playing problems, they almost always result from letting my mouthpiece placement get too high, not too low. I think that Rich Willey had the same experience (yes, Rich?). In terms of mouthpiece, I play mostly big band lead and use a Stomvi S14a. I feel that I do best when I, so to speak, stay out of the mouthpiece. That is, when I try to manipulate my placement or get too much flesh into the mouthpiece, things go badly. I try to remember Doc's advice about the letter M and to place, inhale, play. In terms of air, I think that air is 90% of the battle, high or low register. Once the chops are set correctly, air is really what it's all about. Firm, forward mouth corners are, I believe, a must, regardless of what type you are. My two cents, and I welcome corrections, additions, etc. I hope you continue to progress and play well.
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PostPosted: Tue Jul 06, 2021 6:03 am    Post subject: Reply with quote

How about mouthpiece sizeq ?
Is ti dependant of the type ?
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Joined: 24 Dec 2018
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PostPosted: Tue Jul 06, 2021 8:38 am    Post subject: Reply with quote

jicetp wrote:
How about mouthpiece sizeq ?
Is ti dependant of the type ?

Perhaps the 'Reinhardt type' is dependent (follows from) the embouchure setting (teeth, lips, jaw, mouthpiece size and position) that the player finds to give good results. And Reinhardt's teaching is about how a player can get the best results from their type.
going back to French horn!
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The 'next note' is the most important one.
Don't take a '20 minute mouthpiece' to a 1 hour session.
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