[IGNORE THE MYTHS] Day 6 - How To Increase Your Range By, Greg Spence
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- čas přidán 25. 07. 2019
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This is day 6 of the FREE WindWorks Largo Status Stage Course. It calls out the myths surrounding upper register development on the trumpet and all brass instruments. Get started now for FREE. mysterytomastery.com/windwork...
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Now with that in mind go back and do "The Singing C" lesson again. It gets real complex by the time we get to the end of the course.
Now again, I'm just going to keep saying it and saying it. I don't care if you disagree with me.
I don't care. It doesn't matter. Eventually if you are having issues, you're going to have to rethink and you'll go "Oh yeah right. Yeah. Mmmm"
I recognize all of that nonsense that's back in the system. And when we leave the ego at the door I go "I'll just try that"
All of a sudden you might think about it in a different way. This controls the air coming from the body and activating the air in the pipe.
One air column oscillating. The lips freely on top of that until you get up higher above the stave, High C, High D.
It's all at the course and there's another video on the channel here that discusses that. So work on... Walk around...
And your brain might be going it but how on earth is that improving my range?
Well.. relax body. PASSIVE movement of air... Aperture Corners engaging. Loose lips.
That's what you need to do when you're playing in the upper register.
And if all of a sudden at any stage when you start developing your range you notice that,
"Body's Concert Hall" turns into that which is the big thing. Push, pinch, so you you feel the backup.
You'll feel the tightness. If you shut your eyes, take an nice breath, relax...
Mmmmmmm. You can play like that. You don't have to believe me.
Because I want to sit here and spend all this time doing all these videos because it's nonsense. No! No! No! Try it. Okay?
If you really want to make changes to your playing and you want to develop a range that you've never had.
You want to get over the barriers that you've got. Break through the ceilings. Get rid of frustration. Play easily.
There are people around that do it and I've developed it so I'm a bit of an example.
Yep, I was playing professionally but I was killing myself. I remember being on TV gig's,
sitting in theatre pits and doing big Latin gigs or whatever going "I'm killing myself and I hate it"
Now, I play way easier than I've ever played. Right? And I'm gigging less. I've moved up here to spend time on the course.
I'm not interested in the gigs that I've done. I'm not interested in going out and proving what I can play like
or what I can't play like there's always better players out there. There's amazing players.
That's not what I was put on this earth to do. I can help you save a lot of years and
enjoy your playing a bit more and break through a barrier. And it's up to you whether you are ready for that yet.
You'll be ready one day. And this is my big thing, again back to the irony of people
sort of learning the bad way and then learning the right way twenty years later.
And I'm doing a video very shortly on the school band marching bands, especially in the States, it kills me, it kills them.
We're not really looking after the best interests of our students.
Is the fact that the people that are engaging in this is generally 35+ semi pro to pro.
Weve got to get the beginners doing it. If you've got friends share this with them. Young kids.
Dudes that are smashing themselves in marching band and the school band system
where they're just being forced to play stuff that they're not ready for. Share this with them.
Get them to do the FREE thing. I'll set them up for life for the free Largo Status Stage, right!?
Because there's enough in this week. If you haven't got the concepts of it, go back and do it again.
All of the problems, up there, that people eventually have, to varying degrees, stem from what's going wrong back in the first five days there.
It's all there if you're smart enough to look deeply into it. You will find answers.
I know there are people sitting here watching this that are like "You are full of it" I don't care. I don't.
You'll never try what I'm saying and you'll completely disagree and that's okay. You don't have to.
And especially if you're playing great and happy with your playing. You're lucky, you're one of the lucky ones but not everyone's as lucky as you.
But if you're a teacher, I would implore you to learn this stuff so when the old lip buzz, mouthpiece buzz, trumpet,
doesn't work for a student, you see them having all kinds of trouble. Puffing cheeks. Closing the throat. Sounding like beginner.
Don't let them sound like a beginner. Encourage them to sound professional.
Kids can make amazing sounds if they know what they're doing but the psychology, and innately, is blow faster.
It's hard work. We've got to stop it. We've got to stop it. And so now's the time. - Hudba
Good talk!
The subtle movement of Embouchure required to establish optimum apeture performance is more obvious in the Largo level lower register harmonic slurs. The harmonics being further apart.
I have found it difficult to determine whether or not I am on track regards the maximum efficient apeture control promoted by MTM ( Wind Works ) .
For me a simple exercise that I find helpful to clarify the difference is to
do the Low C to G harmonic slur at slow speed alternating each slur changing pitch by clamping vertically with the corners locked with changing pitch with the corners engaging inward without clamping vertically . It seems to me that one one with out the other ( vertical and lateral engagement ) isn't as efficient as both engaged , mobile , balanced and working together holding optimal apeture shape but the tendency and pitfall is to lock the corners and clamp. At least that was my approach before encountering Gregg's campaighn promoting the importance of flexibility of the apeture corners.
Easier said than done perhaps but well worth the effort in my estimation.
Hello Greg, been watching your videos for a while now. If someone was to ask me which of your videos to watch first, I would tell them to watch the one that you talk about mouth compression (don' remember if that's exactly what you called it). You had a glass of water to show what you where doing. For some reason, I practiced this for a while and got positive results, all your other videos made more sense after this. I was wondering if you were going to do another video on this and dig a bit more into it, and how this ties into the maaaoooo!!!
thank you!!
Here it is :-) czcams.com/video/pSx769PanaQ/video.html Okay, I’ll do a “revisited” version. I hope you have joined the FREE WindWorks Largo Status, it’s really cool! Cheers, Greg
I don’t know how easy it is for trumpet, but how do you feel about mouthpiece whistling
Nicholas Roth, You are the second person to ask me this today :-) I have no problem with the whistle (a Helmholtz Resonator) as long as the PROCESS is correct. Cheers, Greg
Marching bands in the US KILL chops. The “warm ups” are insane!!!
The warmups are really more of a showoff performance kind of thing than a warmup. I’d recommend warming up beforehand so you don’t need to use that as the warm up. It also helps to not always play super loud, even though that’s often what the director wants. A solid FF is enough.
@@ColinMroczko well, it’s been 20 years since I’ve had to do one. Lol I’ve had students in that situation and told them basically the same thing. Even fake it if they had to.
@@trumpetman yeah, you need to pace yourself and you’ll be fine.
@@ColinMroczko ok, your reading comprehension may not be that good. I don’t have the problem. My students do.
@@trumpetman I understand that lol. I was saying “you” generally. Not specifically about you.
Hi Greg, intrigued about your method. What do you say about focusing on the ‘wedge breath’ for upper register playing? Lots of great players (Bobby Shew, Roger Ingram, Maynard, Wayne Bergeron) all say compression is created in the abdominal muscles thus moving the air faster for upper register playing. Not necessarily MORE air but faster air. Did you say not faster air? I’m a bit confused here?? Thanks
David Boa Hey, now I have to be very concise as to not be misconstrued. I am actually going to do a video based on my vast experience with the Wedge.
Firstly, all of the guys you mentioned are heroes of mine and I know Wayne, Bobby and Roger personally and respect the hell out of them.
My issue with the “Wedge”, if not administered correctly, “can” create immense negative tension. That of course is not the “intention” (see what I did there???) haha but the psychology that it can set can be troublesome when not completely understood and implemented correctly.
The “compression” factor in the body does not impact the range. The face, what I call “SHAPE” (jaw, tongue, lips, facial muscles) sets the pitch and the body (below the head) supports the volume and length of notes.
If the SHAPE is incorrect, no amount of air pressure, support, compression etc. etc. will achieve the desired result.
I have heard the opinion from very high profile players that you blow faster and the lips accomodate by tightening as you ascend. This, to a degree, might be an acceptable explanation if the notes are getting LOUDER as you ascend but definitely not if you are getting “softer”.
All that aside, the blow faster psychology is crippling people... of all standards and I am seeing on a daily basis giving lessons to high level pros. I fought my instrument for years having this same understanding.
The body is too strong and can easily corrupt an efficient playing system.
I’ll finish now by saying that the psychology “compression will help you play higher” is scientifically flawed and “can” create massive, unnecessary negative tension.
Cheers, Greg
mysterytomastery1 hi Greg, thanks for your reply. Appreciate the response. Yeah I see what you’re saying. I look forward to a video about the wedge breath. Cheers Dave