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And I don't really mean I'm trying to fit "all" of the fleshy part. I'm just referring to fitting the extreme top and bottom of the fleshy part inside the inner rim of the MP.

I've now tried the other method mentioned in the video, the one the horn player taught his wife, and that worked better for me. As someone who's played trumpet for over 50 years, but who has had an uncontrollable wobble become a part of my sound in recent years (very much like a lip/chin vibrato, but very unmusical), I'm looking to find ways to make my embouchure more efficient and to get rid of the wobble. This may help. Sorta like relearning how to play.

A great embouchure will be a balance of those pucker muscles and the corners (which will help make your lips less “long” from top to bottom). If you watch closely when I form the embouchure after puffing, there’s a little bit of a flattening on my lips (some might say rolling in but I avoid thinking that way because of my history) so that the mouthpiece has a flat plane on which to rest. That’s the engagement and balance I need from all the embouchure muscles to get the sound I want in a healthy way. Both exercises are options for people and different ones work better for different people. If the second one works better, go with that! A lot of times that wobble is just muscles working in a way they are not used to working. Keep focusing on forming your embouchure around air and that eventually will help you stabilize the tone. If you don’t have a constant flow, you end up over squeezing the muscles and that can also cause some shakiness and a really pinched sound. Experiment with all of these until you find the sound you want!

@@mattvangjel3254 Thanks, Matt! I've replied via email.

To reach out to Matt, send him a message. He shared his contact info at the end of the episode. For me, you can send me a message through my website!

I think Matt mentioned the inner rim being above the red line, on the muscle part of the lip

Yes, above the fleshy part of the lip. You want to rest that on the muscle. It’s a weird sensation, at first, but combine that with less mouthpiece pressure and your lips will swell a lot less too.

“I was tired in the right way.” I think I know what you mean, but a bit more description would be great.

I was 10, I’m sorry!

@@thatsnotspit It's OK. I was 23 thinking I could play but found out otherwise that day.

I agree with you that it’s ok to project as long as the character projected. Tony agrees with that too, as he said on an excerpt like Schumann 2, there is an acceptable range to play. I think the meaning of our conversation was playing in the dynamic extremes is probably not the best strategy in auditions, something I have done many times. So, for me, it was a helpful topic to explore.

I don’t think an unbiased third party is the solution, but I do think auditions that don’t auto advance anyone and are blind to the end would help the problem you are describing. I agree, audition procedures are often problematic.

@@thatsnotspit How would auditions that are blind to the end help when at least one member on the audition committee could easily identify the person that they want to hire simply by the whole sonic package that the player presents? It's a fool's game and I feel sorry for all the people who lost money traveling to auditions when they never had a chance. I am not saying that it's "binary" (that auditions are either rigged or not rigged), but there are sure many shades of gray. They might start as un-rigged as possible but then end up rigged as they go on. I actually would prefer the old system where conductors simply listened to a player. This is because conductors are interested in having the very best players in their orchestra while players are more concerned with getting their friends into the orchestra. You hear that, brass bros? Who's got the keg?

@@yishihara55527 If the audition committee is able to pick a person based only on the sonic package the player presents how is that unfair? Unless you are saying that someone has an inferior sound that makes them stand out, but the committee picks them because they know that person sounds like that. Honestly, that seems highly unlikely. Conductors can be just as biased if not more than a committee. Blind auditions are the best way to ensure that sound is the only factor and the statistics on women in orchestras after the move to blind auditions bears that out.

@@maxsteel32 "If the audition committee is able to pick a person based only on the sonic package the player presents how is that unfair?" Because there are times when they are simply identifying their friend or whoever by their "sonic fingerprint" and ignoring superior players. If things were so straight, then we wouldn't need a blind in the first place. There are so many ways for the orchestra to get the player that they decided on in advance. They are basically at war with the union and will do anything to have their way. Also, what makes you think that a small camera can't be hidden somewhere? But honestly the "sonic fingerprint" is enough. It's the equivalent of seeing someone's face. There could be 500 violinists auditioning, but I'll know when Pinchaus Zukerman plays each and every time.

@@maxsteel32 I had to laugh once when I got to the finals for a principal position of an orchestra. Hundreds of candidates came and I was in a hotel for a week. Among the final five was a rich donor's daughter who had a very cheap Yamaha [instrument] and was nowhere near the level of the others auditioning. She didn't get the job, but I think they needed to ensure that she got to the finals in order to keep that donor's money coming in. That audition was behind a screen with a union rep standing by our side during each round. Please tell me how a screen was effective during that audition.

I reached out to Wiff, he said the book is “The 5 Elements Of Effective Thinking” by Michael Starbird. The idea in the book is Simple Things Understood Deeply

I'm so glad this episode happened. I learned a ton. You're right, the low register discussion was incredible.

I'm so glad I reached out to him. I've been testing it out with students, it works really well so far.

@@thatsnotspit I’m fairly sure I taught one of those 😂

I appreciate the feedback! I'll if I can get this info from him.

He played 2014-2016

@@aidanvasquez5817 2013-2016

@@Miyamotospoop13 ^

Thanks so much, I’m glad you enjoyed it!

Absolutely, thanks for watching!

Tone bath

Very much agreed. Some of the best sight readers I know have read countless big band charts!