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Shaft
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Joined: 19 Sep 2006
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 Posted: Fri Sep 03, 2021 12:24 pm Post subject: |
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Trumpet players and teachers have dealt with
ability of all levels from beginner to virtuoso.
The ones having difficulty with certain aspects of trumpet playing
are typically considered to be undeveloped or not as seasoned.
Not having a robust embouchure… etc.
(Insert any typical adjective used to descibe quality of ones embouchure)
Unlocked sounds a bit like our modern age
For example… I unlocked level 8 in (any game)
Unlocked the secret etc.
Its one way we can look at things.
An intriguing term and good for debate perhaps.
Of course if people are using any term
it is good to break down what is meant. |
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Lionel
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| Posted: Fri Sep 03, 2021 5:40 pm Post subject: |
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| Shaft wrote: | Trumpet players and teachers have dealt with
ability of all levels from beginner to virtuoso.
The ones having difficulty with certain aspects of trumpet playing
are typically considered to be undeveloped or not as seasoned.
Not having a robust embouchure… etc.
(Insert any typical adjective used to descibe quality of ones embouchure)
Unlocked sounds a bit like our modern age
For example… I unlocked level 8 in (any game)
Unlocked the secret etc.
Its one way we can look at things.
An intriguing term and good for debate perhaps.
Of course if people are using any term
it is good to break down what is meant. |
Another characteristic of a ''locked'' embouchure would/could be the inability to play those high notes that he does have at a soft volume. Perhaps this is why a number of those high note methods emphasize soft playing in the upper register. Maggio encouraged soft playing up high. Reinhardt called them ''high note squeakers''. He also referred to a certain group of dry lip playing trumpets as ''squeak artists''.
When I was playing receded jaw my chops were much more locked than they are now. There were simply better developed because I've changed to a radically different embouchure about a year and a half ago now. However I practiced very hard and for many years on my former embouchure. As such, it kind of adopted some characteristics of the ''UN-locked'' chop setting. Such as after a couple of decades after playing lead I finally developed the ability to execute respectable squeaky high notes. In particular, I finally started becoming able to play a concert pitch G. Or our ''A above High C''. Prior to that? I either got them loud or I didn't. A source of some humor from time to time.
Ultimately though I never was able to sound convincing on my A/High C. on my former embouchure setting. Yet today this tone is becoming almost just another note. Progressing anyway.
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Carl Spackler (aka Bill Murray, 1980). |
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Rod Haney
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| Posted: Fri Sep 03, 2021 6:59 pm Post subject: |
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Lionel you are still not describing locked or unlocked you are just ascribing attributes to one or the other. What you talk about are ability’s or lack of. Is it a general freedom, the ability to change settings inside the mouthpiece? What does a locked emb. mean to you in physical terms, unlocked? Not in attributes. It’s like describing an apple and an orange by saying one tastes bad and the other is good??? Even if others don’t care I’d like to know?
Rod |
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Shaft
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| Posted: Sat Sep 04, 2021 4:03 am Post subject: |
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That’s cool. Congratulations on your development.
So you have unlocked your high register.
If I’m using it the right way.
It seems like you’re intending a bigger use other than that though.
Just reading the other posts about the Costello Stevens method and then the other attributes that seem to be associated with an unlocked embouchure that you had mentioned.
Does an unlocked embouchure just mean a developed embouchure that is capable of actually playing the instrument and being able to execute everything involved?
In that case it just seems like attributing another term to make a one-word description of what Costello/ Stevens was saying followed the physical laws involved to manufacture a functioning embouchure that is free of flaws.
Either way this reminds me of other instances where a term
is put into conversation that may or may not catch on.
This term might catch on. 🤷♂️ |
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JayKosta
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| Posted: Sat Sep 04, 2021 5:12 am Post subject: |
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Seems to me that Lionel is using the term 'locked' to mean an embouchure method that somehow inhibits or prevents some aspects of 'good playing'.
And 'unlocked' to mean an embouchure method that does not impose avoidable limitations.
In my view of embouchure basics, the primary concerns are -
1) Lips have to be capable of vibrating at the desired pitch (i.e. no 'locking' occurring that makes the vibrations impossible or overly difficult).
2) Player must be able to produce the air pressure and air flow that is needed to make the lips vibrate.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Wilktone
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| Posted: Sat Sep 04, 2021 6:25 am Post subject: |
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| Lionel wrote: | Dave,
Examples of technical matters Locked vs Unlocked: |
Thanks for taking the time to clarify, Lionel.
What you listed for "Locked" look like symptoms, rather than a description of embouchure function. Out of those symptoms, there are a number of different physical techniques that could be causing those symptoms, some of which might not be directly related to embouchure. What you list for "Unlocked" are are much more subjective descriptions and could probably be summarized simply as a "good player."
From a pedagogical standpoint, one could use those terms differently. "Locked," for example, could be used to describe a consistent mouthpiece placement that doesn't change regardless of the register or dynamic. In other words, the mouthpiece placement is "locked in place."
At any rate, my preference would be to address the symptom and look for the cause without applying a broad term that relies on subjective details. For example, with a student who has difficulty connecting registers there might be an issue with the level of tongue arch not being in the right place. Or there might be a lack of air support for the higher tones. Maybe the mouthpiece is allowed to move to a different placement in the low register and it's impossible to slur up to the higher tones with that setting. Maybe there's a reversal or otherwise inefficient manner of pushing/pulling the mouthpiece and lips along the teeth (Reinhardt's term for this was "pivot," but I prefer to use the term "embouchure motion"). The student could be collapsing the embouchure formation to descend inhibiting the ability to slur back up without resetting the mouthpiece. Or any number of other technique issues.
So I see putting all of the above and more under the label of "Locked" not too useful for my purposes. But there's nothing wrong with using analogy to teach and describe brass playing, so long as it is understood to be analogy and not taken too literally. If anyone resonates with those terms and it's helpful, that's good.
Thanks for sharing.
Dave
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Lionel
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| Posted: Sat Sep 04, 2021 3:47 pm Post subject: |
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Well thought out post Dave.
Exactly. A locked embouchure is really a collection of symptoms. As a boy many years ago, I vividly recall hearing recordings of Satchmo and various players playing very cool-sounding ''Glisses''. I said to myself,
''WOW! How the heck does he do that''?
Because I was a beginner back then of course and had little command over my chops. Gradually over the years however I gained considerable control. Became the first and only brass player in my high school to slide a gliss from the tuning note up to a useable G/High C. And yet even in this improved state I wasn't happy with my playing.
I'm glad that Dave is sharing here and the Reinhardt system is one that I too have studied for many years. As I explained to Dave privately, back in the late 90's I tore some cartilage in my larynx while blowing some loud high notes. This was when I turned to pages 69 & 70 of Doc's ''Encyclopedia Of The Pivot System''. The advice and exercises shown on those pages allowed me to rebuild the muscles in my throat and prevent it from expanding whilst playing high notes. And there have been other times when I've turned to my old Reinhardt book.
But it was the Stevens-Costello system that intrigued me the most. Esp those cats who found themselves to be ''ready-made customers'' Or in other words, ''Those who fit the system so well that they practically became stars overnight''. Some cats can do that too. And apparently, we have one who posted about this happening to him recently. RIght on this topic somewhere above. I love those situations.
And yet at the same time, I realize that range and chops do not come so easily for a number of people. I include myself in that category. AFter all, in my prime I was only a good High G player. And it used to really take a lot out of me to play a whole lot of lead. Today I'm ''reorganizing'' my chops on the correct plain. This takes time however and I was certainly not a ''ready-made customer''. I think that this last condition is why Reinhardt disapproved of the Stevens-Costello System. And there certainly is some validity to that line of thinking. However what I prefer to believe is that Stevens truly was a genius. And yet he, like many chop gurus, was stuck in a methodology that excluded new ideas coming in to it. It was these new ideas, things I figured out for myself that I've been able to apply to Stevens system and have finally put me on the right track.
And in what I hope is a blessing in disguise? I hope continue improving. Polishing up my sound etc. And then use my experiences to help others. If my extreme upper register continues to improve AND coordinates well with both the lower and middle register? Then at that point I oughta make some impressive videos. A task I'm absolutely dying to do.
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Carl Spackler (aka Bill Murray, 1980). |
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Rod Haney
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| Posted: Sun Sep 05, 2021 3:34 pm Post subject: |
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So, from what I gotten from your posts here is that unlocked is simply freedom to play thru all ranges with great flexibility🥸 I don’t practice or play enough to do that so I was hoping for suggestions to improve where I’m at now.
Rod |
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so what
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| Posted: Sun Sep 05, 2021 7:17 pm Post subject: |
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I recall, decades ago, when i went to a high school band competition of some kind, there was a guy who got his trumpet out of the case and the first thing he did was blow a glissando from low C to high C or above. I thought two things. First, Show off. Then, how the hell does he do that.
As I said in a prior post, I've always been a receded jaw player, putting all the mouthpiece weight on my upper lip. I could get good tone and play well until the lip got swollen or tired out. And I never had a good high register.
After reading Lionel's posts and then reading the Stevens Costello book, I tried moving my lower jaw just a bit in front of the upper teeth. Wow ! All of a sudden, I could glissando up to above double C, even to triple. Right away!
So, as far as the term "locked" goes, it seems to me the I had the upper lip locked and by getting the pressure off it, it became unlocked. I notice that high notes are no longer hard, and they do not tire me out. I have no idea if that is what Lionel thinks, but that is my story and I'm sticking with it. |
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Lionel
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| Posted: Mon Sep 06, 2021 12:38 pm Post subject: |
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| Rod Haney wrote: | So, from what I gotten from your posts here is that unlocked is simply freedom to play thru all ranges with great flexibility🥸 I don’t practice or play enough to do that so I was hoping for suggestions to improve where I’m at now.
Rod |
That sounds like a pretty good summary Rod.
| so what wrote: | I recall, decades ago, when i went to a high school band competition of some kind, there was a guy who got his trumpet out of the case and the first thing he did was blow a glissando from low C to high C or above. I thought two things. First, Show off. Then, how the hell does he do that.
As I said in a prior post, I've always been a receded jaw player, putting all the mouthpiece weight on my upper lip. I could get good tone and play well until the lip got swollen or tired out. And I never had a good high register.
After reading Lionel's posts and then reading the Stevens Costello book, I tried moving my lower jaw just a bit in front of the upper teeth. Wow ! All of a sudden, I could glissando up to above double C, even to triple. Right away!
So, as far as the term "locked" goes, it seems to me the I had the upper lip locked and by getting the pressure off it, it became unlocked. I notice that high notes are no longer hard, and they do not tire me out. I have no idea if that is what Lionel thinks, but that is my story and I'm sticking with it. |
How sweet it is, huh?
But take care! Just because the Stevens-Costello system comes easily for you, does not mean that it works easily for everyone. It is however the approach with the highest success ratio of all high note systems around. Just as a reference take note of this?
By merely describing the principles associated with the Stevens Embouchure we have seen two near-instantaneous successes with JUST IN THE RESPONSES IN THIS TOPIC ALONE!!!!!!
This cant be emphasized enough. The Stevens-Costello System works for many people who would otherwise have had mediocre careers. Just like most of the rest of us.
What I have spent virtually my whole life working on is trying to understand WHY Stevens-Costello had at least some failures. And I think that this relates to the inherent elasticity found in any given trumpet player's upper lip. I have evidence to back this up but more importantly?
I have a solution. It requires work and I'm not completely through fixing my own chops yet, but am getting pretty doggone close. In time I certainly hope (and predict) that my ideas will make open the complete range of the trumpet for nearly all who choose to both play and work hard at it. Even those who previously found the Stevens System difficult or impossible.
Those Stevens systems failures seem to result from these characteristics.
Puny sound in the upper register. Or all registers.
Difficulty in playing lower tones
Articulation issues.
Some students couldn't play the high note statics necessary just to get started.
But then some cats like Roy Roman excelled near immediately on the system. In some ways this was bad. because we all started thinking that it would be easy for everyone. This created much disappointment when it didn't work for a certain student.
What I tried to ask was the ''WHY''. As in, ''WHY do some players succeed and yet some fail when trying out the Stevens-Costello system''?
My answer to this is that despite his genius Roy Stevens actually missed a couple of angles. Not much mind you, but some. As he himself was a self-taught trumpet player. Only introduced to the system after William Costello sold it to him. Or perhaps shortly before that. What this means is that Roy Stevens played the Stevens-Costello embouchure naturally. He was a '''ready-made customer''.
This particular topic is one that I will hang as evidence of the value of both the Stevens-Costello approach and that of using physical law to produce maximum results on the trumpet. And of course, the evidence is hearsay. It is possible (although unlikely) that our friends posting here could be lying to us. Or exaggerating. You don't really know me either. However, I have seen similar examples before. You can literally walk into a room of say a dozen ordinary range-challenged trumpet players and immediately convert perhaps half of them into high note scream players. Some will have volume issues, and some will actually sound pretty impressive. And of course some won't get it at all.
But regardless! This indicates powerful evidence that simply MUST get studied and researched. That and implemented on a wide scale. Too many trumpet careers have floundered due to it not being more widely accepted.
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Carl Spackler (aka Bill Murray, 1980). |
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Rod Haney
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| Posted: Tue Sep 07, 2021 11:10 am Post subject: |
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Any ideas on establishing the ‘grip’ in the initial setup. I am pretty vague as to what we are trying to establish here. Is a feeling of filling the mp with the lip and teeth centered. As this is a ‘requirement’ what exactly is it - a feeling or a positioning thing??
Rod |
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JayKosta
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| Posted: Tue Sep 07, 2021 11:41 am Post subject: |
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Since there now seems to be several members who are strong proponents of the Stevens - Costello (S-C) Method, I'd like to get your views and opinions about:
1) What parts of (if any) S-C do you feel are mainline 'good basic embouchure technique'? What parts of S-C are beneficial to a player who is NOT interested in developing a usable range much above high-C?
and
2) What S-C techniques or methods are 'new ground' compared to traditional embouchure technique.
Does the 'new ground' correct a deficiency (or errors) with traditional embouchure technique?
Or perhaps the 'new ground' of S-C is a logical extension of traditional technique that is explained better by S-C.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Rod Haney
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| Posted: Tue Sep 07, 2021 1:28 pm Post subject: |
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Jay many will know better than me but to me the massive takeaway on the system is to put the air where it belongs with the two aperture system - both teeth and lips aligned to get maximum flow to the vibrating surfaces. I’m sure like me many were simply handed a trumpet and if lucky someone who could play showed you a rough placement and told to buzz your lips. No one ever looked at my apertures after that. I made 1st chair within three years in a good band and made 1st chair all state as a freshman. I could play almost anything I heard, then I got asked to play in a regional dance band and saw some charts that my hi f range couldn’t get to. I knew a past player in the band who was currently lead for Stan Kenton and got to see his book and Jesus I saw entire charts that never went below e on the staff and all expected to be loud. I had scholarships in music as an 11th grader but unless I could play lead I didn’t want to play. I was lucky enough I also had track and bb scholarships so I quit playing for 47 years. Within 1 month of trying the 2aperture system I was playing in a range that was enough to cut those charts. I worked 6 years when I started back and had gotten hi e back. Within months I had a stronger hi f than ever before and was hitting dbl c and beyond. Also this will give you stronger more dense tone and reduce effort. I’m sure many methods stress alignment but few emphasize it as SC. Can be used by down and upstream players as an improvement in tone and ease. It will make any notes you have hit come out stronger. There is no crow side to this, it put me in as an upstream player as I should have always been. I was playing about 6 hours a day in hi school and now at most 2 and now have more range and easier range. It was one of the important things in my life I left unfinished, I’m feeling much better about it now.
Rod |
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JayKosta
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Location: Endwell NY USA
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| Posted: Wed Sep 08, 2021 5:33 am Post subject: |
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| Rod Haney wrote: | | ... but to me the massive takeaway on the system is to put the air where it belongs with the two aperture system - both teeth and lips aligned to get maximum flow to the vibrating surfaces. I’m sure like me many were simply handed a trumpet and if lucky someone who could play showed you a rough placement and told to buzz your lips. No one ever looked at my apertures after that. ... |
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Rod, thanks for your comments.
I wonder if players with 'good working embouchures' who don't endorse S-C disagree with the mechanics of the S-C 'two aperture' system.
I mean the physical mechanics of manipulating the lip and teeth opening, not the 'words' or 'style' that are used in the S-C books. And not the 'teaching style' that is used to train and develop the player's mechanics.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Rod Haney
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| Posted: Wed Sep 08, 2021 11:21 am Post subject: |
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| JayKosta wrote: | | Rod Haney wrote: | | ... but to me the massive takeaway on the system is to put the air where it belongs with the two aperture system - both teeth and lips aligned to get maximum flow to the vibrating surfaces. I’m sure like me many were simply handed a trumpet and if lucky someone who could play showed you a rough placement and told to buzz your lips. No one ever looked at my apertures after that. ... |
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Rod, thanks for your comments.
I wonder if players with 'good working embouchures' who don't endorse S-C disagree with the mechanics of the S-C 'two aperture' system.
I mean the physical mechanics of manipulating the lip and teeth opening, not the 'words' or 'style' that are used in the S-C books. And not the 'teaching style' that is used to train and develop the player's mechanics. |
I don’t really understand your question.
Rod |
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Lionel
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| Posted: Wed Sep 08, 2021 12:50 pm Post subject: |
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| Rod Haney wrote: | Any ideas on establishing the ‘grip’ in the initial setup. I am pretty vague as to what we are trying to establish here. Is a feeling of filling the mp with the lip and teeth centered. As this is a ‘requirement’ what exactly is it - a feeling or a positioning thing??
Rod |
I've recently recommended that trumpet players blow a few ''Air Pocket Squeaks'' before setting the mouthpiece on their chops. This is similar to Smiley's ''Lip Clamp Squeak'' exercises found in his ''Balance Embouchure'' book. Smiley uses them as a practice routine. I actually set my chops with them. While this trick is not found in the Stevens-Costello System? It certainly has been a great way for me to initially access the extreme upper register with ease. Stevens just directed his students to utilize plenty of ''Roll'' in their chops prior to setting the piece. However nothing so much as puts ''roll'' into an embouchure better than to blow some squeaks on puffed-out upper cheeks! Even a beginner can squeak a high F or so and WITHOUT EVEN A MOUTHPIECE! Just on a free-buzz alone!!
Personal to Rod:
Other than the rules related to the basic physical laws associated with the correct embouchure usage, I can't determine the specifics of the ''grip'' as it relates to you Rod. However I strongly suggest that you reference that portion in the Stevens-Costello Triple C Embouchure Technique'' that discusses the extremely important,
''Two Aperture Theory''. This is the correct alignment of both the teeth and the lips ESPECIALLY the upper lip which is the more crucial one. Everyone wants to discuss things like,
''How much lip do I put in the mouthpiece' etc.
A natural question of course. However what they fail to understand is that the teeth are closely associated with the use of the mouthpiece. Think of them as being similar to bookends. Only instead of having a book or two? You've got the upper lip. This lip is sandwiched slightly between the mouthpiece on the outside and the upper teeth ON THE INSIDE!!! It is the positioning of the upper lip relative to the teeth that is most responsible for KILLING range production. Take note because this is important. The improper alignment of the upper teeth relative to the upper lip is the single greatest foe of good range! It is my theory that this improper practice is the main reason why the great majority of trumpet players can not play above a concert pitch High C.
But I decided to post my ''Air Pocket Squeak'' ''trick'' above just to see if it would help you (Rod). I have found this technique invaluable. Later per your request, I will post more specifics on this technique. That and a video. I'm just kinda waiting until I play my own high notes a little more securely. Remember, I am on a very new embouchure and one that is a radical departure from my former receded jaw chop setting.
Also, I need a decent video camera. That and some monetary concerns that will be improved shortly.
Also, the less arm pressure used does tend to help unlock the chops. And this was why Roy Stevens was so insistent upon his students setting the horn on their palm while they practiced the high note squeaks. But make no mistake, I can certainly play some dandy high notes.
In my thinking, the access to the extreme register is a little bit like lock picking. A locksmith once advised me on how to pick a lock. He showed me the tools and his technique. He was quite good at it. Once after locking myself out he helped me get into my truck. After I pressed him further on the matter he stated,
''The first time that you open a lock while picking it you'll have no bloody idea what the heck you did to make it work''
And after putting together two radically different embouchures in my life. Each capable of hitting high notes, I've started to see a corollary to the lock picking trick. With a slight qualification. If I may?
''The first time that you really start to catch on to high note playing you'll feel confused. And may even think that you're doing something wrong in order to play so high''.
In my recent endeavors with the Stevens Embouchure, I have REALLY started to get the hang of it. As an example, A's and Double C's without much effort. However, when these first started emanating from my trumpet I felt mystified.
Some days I could hit them, but for a brief period only. My lips would tire or swell and my range soon dropped like a rock. Other days I could not play them at all. But gradually as I practiced carefully and AVOIDED overtraining my chops? These high notes are getting more consistent and louder. That and easier to control.
Conclusion: For some to many of us, high tones represent an ''out of the box'' set of thoughts. Remember: Any poor fool can blow low tones on the trumpet. The upper register essentially represents a much different instrument than the one that your range-challenged peers are playing.
Also, Range is a fundamental skill. Part of the reason why I posted this embouchure discussion on the ''Fundamentals'' column. And this is one of the most important concepts that came out of the Stevens System. That and why he insisted that ALL of his students start in the upper register. Not the lower and middle registers. As is typically insisted in those promoting the ''Evolutionary System''.
Granted there is and ought to remain a separate column for range discussion. As It is only natural. However, the mere thought that beginners should learn as Roy Stevens taught them is a radical departure from conventional thinking. As the Conventional approach, Aka ''Evolutionary Method'' has usually failed trumpet players. And this is due in large part to the approach not starting the students out in the upper register and not insisting that the student's embouchure be set perfectly and according to physical law.
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Carl Spackler (aka Bill Murray, 1980). |
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Wilktone
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| Posted: Thu Sep 09, 2021 5:08 am Post subject: |
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It's been over 10 years since I read "Embouchure Trouble and Self Analysis," so my recollections of the book are hazy. Correct me if I'm wrong, but doesn't the text state that in order to get the air stream to go upstream the player should put the horn angle up? I think there's also some text indicating that the lower jaw should just forward to. Is there anything in there that suggests placing more lower lip inside the mouthpiece to play upstream?
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Rod Haney
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| Posted: Thu Sep 09, 2021 11:14 am Post subject: |
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Looked like the original text recommended 2/3 lower and 1/3 upper but was revised in later explanations. Not clear when that happened but sometime after original text. I was taught exact opposite and struggled mightily to get to hi f when I played 5-6 hrs a day. Huge layoff and a month after getting two aperture and moving lip the 2/3 lower the f was strong. I am not as deeply into further aspects of the program, but you can imagine the surprise I got when I found the way I should have been playing all along. It takes some blind faith and if i was playing as well as I did 51 years ago I would probably not have tried it, but since I have no dependence on $ made playing it was no biggie. Some small percentage may find the setup they’ve been on is dead wrong for them
Rod |
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JayKosta
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| Posted: Thu Sep 09, 2021 1:05 pm Post subject: |
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| Rod Haney wrote: | ... I don’t really understand your question.
Rod |
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My goal is to determine if there are parts (and which ones) of the S-C method that should be considered part of 'basic embouchure concepts'.
For example, I think the general idea of 'two apertures' is somewhat 'basic' because it addresses the importance of teeth positioning and alignment along with lip positioning. The precise S-C 'details' about two apertures might be specific to S-C, but I feel the concept of controlling BOTH lips and teeth is basic to embouchure technique.
I have touched on some of this in my document about basic embouchure concepts, and I'm trying to determine whether specific info about S-C would be appropriate.
http://users.hancock.net/jkosta/Embouchure_Basic_Concepts.htm
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Shaft
Heavyweight Member
Joined: 19 Sep 2006
Posts: 985
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| Posted: Thu Sep 09, 2021 4:33 pm Post subject: |
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I think there are still a PDF files of the Costello/ Stevens embouchure around.
The best way to see a comparative analysis would have it opened up for analysis page by page, IMO
For that matter it would be good to have the Maggio system, maybe Farkas, superchops, Etc.
Clint Mclaughlin did a lot of this work and used to have a few pages on his Bbtrumpet.com webpage that outlined the characteristics of each of those approaches. That material was available back in the nineties.
Having the CS manual in front of you will give you way more than just a few tidbits from us here and there.
You may have a few a-ha moments of your own that we don’t come up with.
The images of the facial muscles and discussion about masseter and the obicularis oris resonated with me during the time in which I was studying through the method. Not sure if it would be subjective opinion or not for each individual but I feel like certain systems employ the muscles a little bit differently; so the Farkas player may do some thing that a CS player would not do and vice versa.
Perhaps this is where the discussions go very deep but I feel as though this discussion has been ongoing for over half a century. There are similarities to be found and plenty of information to find on your search.
Happy hunting |
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