I stopped playing horn 50 years ago. I was always frustrated with a lack of endurance so I dropped it and took up guitar and piano. Now at age 72 I’m taking another shot. This time however, I’m getting the info I never had as a kid. Thank you so much.. I can’t wait to start blowing the right way.
I’m 76 yo. I played the violin and the trumpet when in high school, but after that I was to busy with university, profession as an engineer, family etc, so I didn’t touch an instrument for almost 50 years. But after retiring at 65 I bought a decent violin an got some lessons again, and I’m now playing in an amateur string orchestra. I now also would like to relearn to play the “trumpet” again, so I just bought (not a trumpet ) a cornet . I had it for 2 weeks. It is difficult to get a clean sound, so this kinds of videos are helpful. Range : E in the stack, hopefully A above the stack in a few weeks. I will try to find a teacher in September.
Thank you Scott, it took me 40 years to work out exactly what you put so well in 19 minutes. I went through music college and eventually gave up the trumpet because the daily routine of, “start again” but never know what to expect was so upsetting. Now at age 68 I am playing better than ever. CZcams is so good for bring people like you to the attention of us all. Thank you so much.
1:27 problematic beginnings 3:09 'crushed' tone 8:38 pinched tone playing in the red 10:00 'em' vs 'pew' 10:57 foundations 12:08 sweet spot response 12:45 air at the start of note 13:20 vibration, no articulation 15:12 mouthpiece rim position 16:00 horn angle 17:08 benefits of upstream
Mike Ewald was the trumpet teacher at Baylor University when I was there. Loved the guy. A great teacher! When I graduated and I was a high school band director I would have him clinic my high jazz band. He also directed the jazz band at Baylor. Hearing of his passing was a very sad time for me. I learned so much from him. He was not only a good teacher; he was a good person.
I cannot say how much you just helped me. Been playing for almost 2 years now with dayly practice but had problems to get over g above the staff. I tried your embouchure setup just 10 minutes ago and instantly reached up to an octave higher an can play with ease now! you deserve a teachers medal! Thank you so so so so much! This is the best advice ever!
For years I struggled with endurance problems that now seem to have disappeared. Finally I can play a Charlier etude from start to finish. Thanks for the great tips. This is what I needed!
Dear Mr Emery, thank you for posting this videos! Yesterday we recorded a mini concert for Swedish television with young students, 8-9 years, and eight Americans of Swedish decent. There of them choose trumpet a in an brief hour we learned three notes and a couple of easy tunes and, inspired by your thoughts we also added dynamics and both guests and kids played great as a section and in the orchestra - a great experience and memory for all participants 🙂 Yours sincerely, Michael Lundbohm, trumpet/Brass teacher, Hultsfred, Sweden.
Scott, that’s great, thank you. I just get the feeling your videos are going to be of great help to me. I can really relate to them. Please keep up the good work. Peter
This is such incredible help! I love this video and all the talking points. This has drastically improved my playing in just a few practice sessions. Thank you!
Interesting what you say about the horn angle and how you keep it up to stop your upper lip migrating into the mouthpiece. I’m going to try that. I have bought (and read) virtually every trumpet book out there on embouchure and watched a lot of CZcams videos with each players opinion on the matter. Like every trumpet player I want to improve my range and endurance but struggle with anything much over high c despite quite a lot of practicing over the years. Of all the books only one might actually explain why my range is limited. This is The Balanced Embouchure by Jeff Smiley. My top lip dips in the middle (a visualiser enables me to see this when I set my chops) and this prevents me achieving tension across the top lip. Jeff basically says, probably addressing the teachers of young kids starting out with an instrument, if this is you don’t choose to play the trumpet. I have had lessons from half a dozen teachers over the years but no one apart from Jeff Smiley has raised this to my knowledge. I’m well into my 60’s and don’t intend to stop playing but I have pretty much accepted that super c is a lost cause. I look at all the famous players and all of them look to have a straight top lip. A bit lengthy I know but I thought it was worth mentioning.
Wow! So I have just started after 30yr break, and been playing for a month. Struggling with middle C, then while watching your vid placed horn and blew a top c for a second. This was mythical for me..... Thanks so much. Still lots to do it only lasted for a second but wrapt
Retired band director. I believe that this info. has me thinking that I have hit a brick wall for years. my embouchure set up is incorrect. I will definitely try to take in your advice. Thank you for sharing this. You made it soo easy to understand. Hope to stay connected. Dan T
This video is a game changer. I've been struggling. I watched this, picked up my trumpet and tested the old embouchure... sure enough its the floppy lip bit, tried yours - suddenly i have immediate response, range and intonation. Needs work of course, but this is going to change my brass playing immensely. Thank you so much
Scott Thank you for posting on this topic- I agree that many of us/ not all/ were unfortunately introduced to initiating tones on the trumpet in the way you described. I know I was. I like how you used Ghitalla’s example of successfully using the “m” to refocus the setup. On the way to playing more efficiently this technique can be a real game changer. Nice lesson - thank you! Paul in Boston
I have been away from the horn for a couple of decades now. Struggling with the sound and tone up high for sure. I could get to the G above the staff before thinning out. Watched a Charlie Porter video on embouchure then found this excellent video too. I went from the G to the high C instantly with good tonal quality. Never seen 2 videos compliment each other so well. Bravo and Thanks.
I came to say that I tried it and immediately went an octave higher! Playing the lower notes becomes a bit more challenging/different but nowhere near as was hitting the upper register. I played my exams' piece with increased comfort and ease. Thank you, that was a great boost of confidence!
Wow, Edward and I are are the same path. I picked my horn back up during Covid after 30+ years. Loving it more than ever. Can now hit the E above high C and working toward Double High C. Any technique tips would be much appreciated. Of course…keep practicing, I just don’t want to practice bad techniques that I’ll have to unlearn in order to move forward.
Found a similar video by Charlie Porter explaining the same thing with embouchure setup-I also HIGHLY recommend that video-has helped me immensely in terms of range, endurance, and DEFINITELY quality of sound. After undergoing many minor embouchure changes throughout college due to just small tweaks here and there, I just became inconsistent from day to day. Now, I find that I am actually improving progressively and am happy with my sound and to work hard to be even better. Great video!
I just started playing trumpet and this is the absolute best explanation I have found for how to form an embouchure that makes it easy to play both high and low. Before I watched this video I was play some low notes but had trouble transitioning from G, the highest note I could play, to any of the lower notes. After watching this I can easily transition between notes and was able to play a high c for the first time. I'm so excited, thank you so much for this video!
Scott ~I really have to agree with many your findings & observations here, ESPECIALLY the horn angle and alignment of the teeth [Upstream/Downstream ~Bobby Shew] and not "playing in the red" . It seems to me it's not widely addressed enough and i've noticed the same phenomena or "set up" for strong upper register players myself. As a Downstream player myself and getting older, i've noticed the shift in my lower teeth set and alignment has shifted or the years. Coupled with playing slightly in the red over the years, finding that adjusting the angle of the horn downward slightly and setting up with the MP slightly higher , I'm avoiding more of the "pinching" or " high spot" that can cut off vibration of the top lip. In addition, it's not widely discussed that the top lip is predominant vibration wise in the upper register and opposite in the lower register. Tom Harrelson [Harrelson Trumpets ] & Charlie Porter address these concerns quite eloquently. As a teacher and performer , i look to investigate many approaches to the topics your addressing. Your observations definitely strike a chord with me and similar approaches i've applied for myself and my students. We all know there's no "one size fits all" but lots of exceptions to the rules, but the exceptions don't make rules in most cases .Thanks for sharing your experience my friend, it only helps whether people agree or not ! Cheers🖖🏾
Interesting! I’ve recently made a similar change after decades of struggle (on and off) to establish a successful embouchure. I’m now using D above the staff on trombone as my ‘home’ note (equivalent to trumpet E) and it’s opened up the sound in my upper register. As you say, you build the foundation from the top down.
From the middle - higher and lower? Maybe? Get the horn out. Cold. Play a really high note. Get the horn out. Cold. Play a really low note. " " " ". ". Play the middle note. Waz hapeneeeeeeen?
I played trumpet for years as you explained and never was consistent. Could not play high notes and gave up. I recently decided to start over again and work on my embouchure. I know the notes, the feeling the songs, etc... Once I have it working well, I'll be a great trumpet player. I'm 55 years old.
Excellent points! The genesis of most extreme downstream embouchures begins in elementary school. Trumpet players tend to angle their horns down like clarinets to (1) see the music and (2) reduce pressure on the top lip. Many trumpet players unknowingly grow up using a Farkas French horn embouchure. Most band directors are not trumpet players so young trumpet students are usually off to a bad start. The best advice I ever had was to learn to play upstream even if it felt uncomfortable at first.
Thank you for this! I’m picking up the trumpet again after 30 years. Definitely coming from those wrong foundation teachings. This is really the best example of defining your embouchure I’ve seen. Cheers!
Please read: I had quite the same problems! Despite my bad embouchre but nice tone and good tongue technique I managed to start studying in the class one of the best orchestra trumpet players of all time (K.G.). He never had embouchre problems so didnt see my struggle to get real higher than C3 and better endourance. After 2 semester I thought of quiting as I couldnt manage to play a Bruckner or Beethoven 5 on principal or even on 2nd or lots of the solo parts like Hindemith or even Arutunian without lots of effort and pressure. I read a lot in forums and looked what US guys do. I found the book "The Balanced Embouchure" of Jeff Smiley. Thank god for this - really! I semester break I looked up for 3 month doing nothing than this (rolling lip, air tonguing, holding tones, easy natural scales etc. I don't even know how to describe it exactly, but despite the fact that I could only play G1-G2 at first, even my professor was immediately enthusiastic and supported me to go through with the change although I had to be "planned out" from universitiy concerts and he even gave me an extra semester just to do this - because my sound was immediately much freer, looser and more orchestral ("world class") and I could also convey direct tonal/musical ideas, which was all very flat/straightforward before. Admittedly, I had to completely relearn the tongue thrust, as curling my lips messed up a lot here. I think what's always important to know - the body doesn't change directly when you introduce a blatant change, but with better technique, the brain will gradually remember the best of both worlds better itself and apply it more deeply. I already knew this insight from Malte Burba and I can absolutely confirm it. Especially in the interaction of changing lip technique, breathing, tongue, posture, etc., small motor improvements will gradually occur. This takes time. With me it took about 1.5 years, but then I was able and had the luck to play Beethoven 7 + framework program on orchestra tours on 20 days 18 times convincingly. Here an example of me on the first trp - even if the rest incl. the mistake of the 2.trumpet should be ignored ;D czcams.com/video/I8U2fxu1qFI/video.html&pp=ygUcImJlcmxpbmVyIHN5bXBob25pa2VyIiB2ZXJkaQ%3D%3D
Thank you for your great and helpful instruction here, Scott. Playing trumpet was my passion from a young age, all through high school, and then as a freshman in college as a music major (Bradley U.), but I always struggled with range and endurance. My tone and control were excellent, but again, range and endurance (high C at best but not sustainable) pretty terrible. I very much had the puckering embouchure you describe, where my lips gripped and protruded, which I believe attributed to that full, round tone and excellent control in middle to low range, but ultimately I became so discouraged (about range and endurance) that I gave the trumpet up for about 30 years. Five or so years ago I picked it up again and began experimenting with an entirely new embouchure and discovered exactly what you describe-that with a flatter, lighter embouchure, I was using much, much less pressure and was suddenly able to hit notes I'd never dreamed of before (double-high C). The sacrifice, it seemed, was control and intonation, and even more troubling, I developed an incorrigible double buzz, which I'd never experienced before, in the middle register, right around the middle of the staff, especially when dropping from a higher range. And again, after about three months, I gave it up. Perhaps the issue this time around was I didn't stick with it long enough to give my lips a sufficient chance to strengthen or adjust to the radically new embouchure. I started up again just a week ago and have made great headway (with the same new flatter, lighter embouchure), though haven't yet worked up to the range I had last time, but am once again running into trouble with the double buzz when dropping into the middle register. I'd be very interested to hear your thoughts (and others' thoughts) on why this double buzz is happening with the type of embouchure and placement you describe. Thanks so much! Brian
Thanks for your comments, Brian. The reasons for a double buzz are difficult to diagnose, but in my experience, it most often happens when the lips are pursed or puckered, causing one to play above the instrument's natural resonant center. The standing wave going back and forth through the instrument is at odds with the frequency at which the lips are vibrating, causing a split tone. To be clear, this is my very unscientific theory based upon observation and experience. Check out my video titled "The sweet spot and immediacy of response," and see if that has any info that could be helpful. Your saying that you had problems with intonation leads me to believe that you are playing higher (sharper) than the instrument wants to resonate. Good luck!!
Strangely enough, striving to just produce an acceptable sound on the baroque cornetto I had to do EXACTLY what you describe: to produce the sound with the skin (and not lip) close to the upper and lower lips edges. Doing anything else caused my lips swelling only after 15 min of “practicing” (I’m not a professional player). Now suddenly I can reach virtually ALL the high notes professionals reach. However my challenge is to be able to start a phrase with the lowest three notes (A, B and C), my lips feel a little too “sticky” to provide the looseness needed for this low vibration. On the other hand I can reach them easier if coming down from higher notes, not initiating a phrase with them. Maybe because (you talking about causing this resonance just ring it’s sweet spot frequency) these notes are not too resonant on the cornetto and are always very silent, even with professional players. In any case I feel your advises are priceless for those who strive by other means, they help one play without the need to press the edge of the mouthpiece to the lips as well! Cheers PS Pictures from exhibition you played sounds fantastic!
After being told from many private teachers I will never be a good lead player, I tried your ‘M’ theory and my air for G on top of the staff nailed the E above it. I knew I wasn’t efficient, but had not clue in how to fix it.
Scott - you should check out Doc Reinhardt. Lots of stuff you are talking about here is analyzed and made clear by him, years ago. Certainly horn angle is not a reliable indicator of upstream or downstream, as those terms are referring to the DIRECTION OF AIR AS IT LEAVES THE EMBOUCHURE (all caps only meant for emphasis - not to shout :). Interesting video!
"poooh"... Sounds like a great concept for playing low notes on French horn. Me? Former French hornist in the Houston Symphony Orchestra. These days? TRUMPET. Yes! I love it. Every day of the week, I have a clear and frequently repeatable high E above 2nd leger line C. I'm working on it, because I have the desire. Carmines (taught by Julie Landsman when she was Co-Principal of HSO - talking SERIOUS Carmines!) I am SO ENJOYING playing trumpet (I only have a Bb - B&S Challeger II, silver-plated, with a Schilke M1* Symphony Series mouthpiece.) Keep the faith!!!
Holy shit, glad I found this video, is went the the MSO concert today, and you are incredible!! You sound like an entire trumpet section and it’s just you! I have always struggled with my embouchure, hopefully this will help!! Any tips for people who can’t free buzz such as myself? I’m making a big change to my embouchure as my bottom lip has sticked out for a 2 years😬. If you offer lesson let me know!
Nickolas, "You sound like an entire trumpet section and it's just you!" is going straight into my bio! Many thanks. I don't really do any free buzzing, so I have no advice in that area. I don't teach on a regular basis, but I do one-offs and coachings. Contact me at memphistrumpet@gmail.com
I took lessons from Jerome Callett back in 76. And he did say use m too. But wanted the tongue forward touching the bottom lip. Face relaxed when playing. And he said much more. But I wish I had you as a trumpet teacher back then. I don't think it work for me. The m part did work. I gave the trumpet up. I found it too frustrating. My grandfather was Bunny Berigan so I thought it would not be hard lol. But I still love to listen to trumpet players. Good video !
If you'd taken a lesson from me in 1976, I'd have been a clueless 14-year old, lol. And wow, your grandfather certainly had a solid embouchure and setup!! I don't guess you knew him, since he died so young?
@@ScottMooreMSO I never knew him personally. But my Mom told me a lot of him. She at times went with the band on the road when she was a kid. One thing she said he practice a lot. You have a nice sound on your horn.
I learning Yamaha b4 mouthpiece. I studying Arban's book .And I have a problem were the best way to put the tang' and good puzz.. Thanks for the information
excellent information, Scott. Keep the videos coming. I'm experimenting with different setups now and I'll try your split grip as well. Can't seem to get above a high D - which comes out nice and clean. But a half step higher? No go. It's frustrating.
😊Scott, I’d like to have a look at your other CZcams videos. Can you list them please and maybe indicate how we can navigate to them. Thanks very much. Peter, England UK
Below this video, where you see my name, that's a link to my channel. Select that, then click on "videos" among the options at the top. Thanks for watching, and I appreciate your interest!
This is very interesting. I gave it a shot and, wow, it really helped me get a solid sound at the top of the staff, which is something I struggle with. But then, after playing that way for a half-hour or so, I could no longer do it. I suppose it's a matter of getting used to it, making adjustments, etc. I wondered, if you adopt this type of embouchure, should you change mouthpieces to compensate? What I mean is, if you start playing with your lips "pursed" as you describe, does that make the mouthpiece effectively smaller? or larger? Thanks again, I really appreciate your insights.
I suppose mouthpiece selection depends upon what type of playing you do. Even though keeping the lips from protruding into the mouthpiece effectively makes the cup bigger, for ME PERSONALLY, I found that I could more easily go to bigger mouthpieces, because I wasn't relying on the resistance from the mouthpiece to play high/loud/etc. I'm glad you see a difference. I would be surprised if it didn't take a time period to adjust to the new setup, because you have years of ingrained muscle memory. As Arnold Jacobs used to say, "You can't get rid of old habits, but you can add some new ones." Thanks for watching, and good luck!
I appreciate the thin top lip. I’ve always had a thin top lip. I’m a comeback player who studied trumpet up until and in University but life took a different turn. I haven’t played for about 30 years and decided it was time to get back to playing. Of course, it’s been a fascinating return…about a month in right now. I have probably put much more concentration into the mechanics than I ever have before. I had gone through an embouchure change just before university and don’t think it ever truly settled in. This time around, I decided to find the best embouchure for me. Not an easy journey on your own. I’ve tried a few different things including my old one and the approach of saying “m” and then “tu”…placing the mouthpiece on the lips at that point. Some degree of success but it hasn’t felt like a long-term solution for me. It seems like too much red of the lip in the mouthpiece. It has worked but, again, only to a point so far. Your comments on the thin lip, horn angle, and change of grip intrigued me. So, I tried it all together…and….well, I was able to get out a “C” above the staff when I felt like all I could get so far was a fairly solid “G” and sometimes and little “A”. I appreciate your video and superb wisdom. Any other wisdom for those of us with a thin upper lip would be very much appreciated. A rolled in embouchure has never worked for me because, well, you need to have upper lip to roll in. Now, I just gotta keep up my exercises to regain my embouchure strength, playing endurance, and, well, everything else. A month in and hopefully years to come.
Hi. Nice tone an really good ways that yuo explain things. I had a good embouchure for a few weekend when I used BE. It crashed 😢 Sine I have been searching for a good way for me. Do you have a take on how to tonque better...causeri I cannot do that...I close my jaw. The m-position...that one I can figure out! Take care Erik Denmark
I teach all my middle school kids the “M” technique. Seen too many over the years struggling to play anything because they have the entire mouthpiece in the red
I can only power out the highest range. I'm working on a more natural approach with my teeth more flat (I use to jam with a pronounced over bite). Better tone and range overall but anything above E is a challenge. I would be thrilled with a consistent G
Hi Scott, very interesting, and I can immediately see the higher register coming more easily with the Mmm shape, but a question: I have been trained in the Stamp / Maggio approach of using the lower register as a foundation, do you discourage this approach? I find it very good for sound, but slow to build upwards as you say. 🙏
I had a similar experience going into my masters degree, took a lot of time off due to wisdom teeth removal and spent time relearning how to play, and eventually found that upstream works best for me. Being surrounded by downstream-type players has led to insecurity that I don’t look like everyone else when I play so I must be doing something wrong. Thank you for making this video, it is a good reminder that my embouchure doesn’t have to look a certain way as long as it works and sounds good. Do you have a video where you’ve gone into more detail on how you expanded and refined your lower register? Also, have you ever experienced any kind of difficulty with clarity of articulation due to the more upstream angle?
I have a good solid rich sound but struggle with anything above the stave. I keep my corners tight and the centre free to vibrate but I end up with too much lip engagement and have difficulty articulating and have to reset to drop back below the stave. I think your advice is sound. I’m going to try to moving the vibration more to the front of the lips by setting the embouchure with an M. My only concern is setting the M will tighten the centre of the lips which will reduce the quality my sound. Nothing ventured….
Scott, I’m still going through this video “Efficient embouchure and setup for trumpet”. I thought I’d ask you now if there is any quick way to find out if you’re holding the horn at the optimum angle? Is the answer somewhere in that video? Thanks, Peter
Scott, I don’t suppose there is a recording available of you and the Memphis Symphony Orchestra playing Sibelius Symphony No. 1? Sib sure knew how to use the brass section didn’t he? Peter
I know this is an older video but I’m struggling because I see other videos with guys like Adam rapa that say your lips should be pushing out away from your face and I’ve heard the same thing from others. Been playing for 23 years and have always struggled with range and endurance and just trying to understand the most efficient way to play and am struggling a bit.
I am 74 and still play my trumpet. I have been trying to build my endurance but it seems i can only play like 5 minutes and I can't get a sound out. I used to be able to play a long time. I'm wondering ifit is my age and I can't build my lip muscle up anymore.
Been practicing for about 2 years now, recently I notice my lower lips curls around my bottom teeth and I get bruised inside my lip. I am trying this out but my lower lip still curls in, any advice on how to correct myself?
Work on low notes down to the pedal range. You need lips forward to do it properly. Watch Bobby Shew Wedge Breath videos for breath control. Understanding how breath control helps low notes can help the middle register. Then the higher register takes small adjustments to speak not drastic tension. Charlie Porter also has a long, detailed video discussing embochure setup. If the notes speak easily from the horn, you're doing things properly.
Thanks for posting, Scott. This is great insight. I took the opportunity during Covid (with no gigs) to re-learn my embouchure and horn angle...and it turns out, it is precisely what you are saying. I'm almost there, meaning almost have the warm and free tone in the mid/low register I had before (when I played down and on the 'red' of my lips) but with much better range and endurance. QQ: what recording equipment do you use (when you switch over to play something)? Also, what trumpet and mouthpiece do you use for (a) orchestral playing (b) lead playing?
Thanks for watching. Re recording equipment, voice mic is a Shure SM48, trumpet mic is Cascade Fathead. Run through the Focusrite Scarlett 2i2 interface, using Reaper as my DAW on a PC.
My main trumpet is a Blackburn C, MD19A24S bell with a 20R leadpipe, serial #33. For legit playing, I usually use some version of a Monette C1-1. For lead playing, I have a variety: a custom Reeves I had made in 1981, a Lasky lead mouthpiece with an 84 rim, and a Monette BL.
Hey Scott, I love your sound! Could you tell me what setup you have regarding mics? You have one you use for voice and then click something when you play. It sounds completely different. What are you using?
Thanks for watching/listening. I use a Shure SM48 for voice (with an on/off switch, hence the clicking), and a Cascade Fat Head ribbon mic for trumpet. Focusrite Scarlett 2i2 interface, PC with Reaper as DAW. I sweeten the trumpet track very slightly with the Valhalla Room plug-in, since my practice room has a seven-foot ceiling and is very dead. Now you know all my secrets. 😁
@@ScottMooreMSO Thanks man! I teach a lot of online trumpet lessons and record a bunch for my students. Now I can sound just like Scott Moore!! Lol I really liked what you said in this video and the "sweet spot" video as well. Shared them with a bunch of my students. I'll let you know when I become a huge teaching success. lol
Too cool, great explanation!! Confirms where my embouchure is...10 months into learning...I can hit B above the staff, but high is not my goal...I know B and C will become easier with time playing above the staff...
I don't know anything about Maggio, and I never signed up for any teams!! 😂 It's not a contest; everyone needs to find a way to play efficiently that works for them.
Great talk. Question: I'm starting the trumpet after years away, now I'm getting what feels like a relief valve opening in my sinuses after practicing awhile, will this go away and what is this?
I'm not sure I have any info or experience with that particular issue. Sorry! Are there any professionals, or good teachers, near where you live who could help diagnose? I wish I could be of help. Good luck!!
Horn mouth pieces were invented for European people with thin lips. Your lips are perfect for the mouth piece. People with thick lips especially with the center upper lip hanging down (beak) like Louis Armstrong, only used the half (his right side) of lips. Please check the photographs and moving images of Louis Armstrong and confirm.
Al Hirt had a thin top lip. It worked good for him. He also had great endurance. I always thought if I had a thin top lip I could play like Al. Lol. I learned later in life that I just wasn't Al Hirt. Then t
I stopped playing horn 50 years ago. I was always frustrated with a lack of endurance so I dropped it and took up guitar and piano. Now at age 72 I’m taking another shot. This time however, I’m getting the info I never had as a kid. Thank you so much.. I can’t wait to start blowing the right way.
I have just started im 68 !
I’m 76 yo. I played the violin and the trumpet when in high school, but after that I was to busy with university, profession as an engineer, family etc, so I didn’t touch an instrument for almost 50 years. But after retiring at 65 I bought a decent violin an got some lessons again, and I’m now playing in an amateur string orchestra. I now also would like to relearn to play the “trumpet” again, so I just bought (not a trumpet ) a cornet . I had it for 2 weeks. It is difficult to get a clean sound, so this kinds of videos are helpful. Range : E in the stack, hopefully A above the stack in a few weeks. I will try to find a teacher in September.
Thank you Scott, it took me 40 years to work out exactly what you put so well in 19 minutes. I went through music college and eventually gave up the trumpet because the daily routine of, “start again” but never know what to expect was so upsetting. Now at age 68 I am playing better than ever. CZcams is so good for bring people like you to the attention of us all. Thank you so much.
1:27 problematic beginnings
3:09 'crushed' tone
8:38 pinched tone playing in the red
10:00 'em' vs 'pew'
10:57 foundations
12:08 sweet spot response
12:45 air at the start of note
13:20 vibration, no articulation
15:12 mouthpiece rim position
16:00 horn angle
17:08 benefits of upstream
Mike Ewald was the trumpet teacher at Baylor University when I was there. Loved the guy. A great teacher! When I graduated and I was a high school band director I would have him clinic my high jazz band. He also directed the jazz band at Baylor. Hearing of his passing was a very sad time for me. I learned so much from him. He was not only a good teacher; he was a good person.
I cannot say how much you just helped me. Been playing for almost 2 years now with dayly practice but had problems to get over g above the staff. I tried your embouchure setup just 10 minutes ago and instantly reached up to an octave higher an can play with ease now! you deserve a teachers medal! Thank you so so so so much! This is the best advice ever!
For years I struggled with endurance problems that now seem to have disappeared. Finally I can play a Charlier etude from start to finish. Thanks for the great tips. This is what I needed!
Dear Mr Emery, thank you for posting this videos!
Yesterday we recorded a mini concert for Swedish television with young students, 8-9 years, and eight Americans of Swedish decent. There of them choose trumpet a in an brief hour we learned three notes and a couple of easy tunes and, inspired by your thoughts we also added dynamics and both guests and kids played great as a section and in the orchestra - a great experience and memory for all participants 🙂
Yours sincerely,
Michael Lundbohm, trumpet/Brass teacher, Hultsfred, Sweden.
This guy doesn’t suck. He plays a mean trumpet, has some cool Elvis shit on his wall and cooks a smokin’ southern breakfast. He’s the real deal…
This is GREAT. Thank you for posting this!
A sincere and helpful tutorial, thanks Scott
This video has actually actively taught me how to lip buzz. Great video.
Thank you very much Mr. Scott for sharing it!!
Great Video and Insight! Thank you! Such a clear way of describing the need for efficient setup to begin with
Very good and helpful commentary. You have a great sound.
Thank you Scott for being so open with the knowledge. Much appreciated. This one is making a radical difference to my playing for the better.
split grip - such a treasure told in the last few seconds. Thanks a lot this is great. Never thought of that!
Scott, that’s great, thank you.
I just get the feeling your videos are going to be of great help to me.
I can really relate to them.
Please keep up the good work. Peter
super useful, thanks very much for posting this!
This is such incredible help! I love this video and all the talking points. This has drastically improved my playing in just a few practice sessions. Thank you!
Thank you so much!!! This is very helpful advice.👍👍👍
thks Scott , I loved your explanation . I was suppose to hear this because it confirmed my thoughts about my embouchure. thks again and God
Bless you
Great video and helped a lot of problems I am having as I start to play in a semi-classical concert band for the first time in over 30 years. Thanks!
Thank you for sharing!
This really helped as a beginner!!! Thank you!
Interesting what you say about the horn angle and how you keep it up to stop your upper lip migrating into the mouthpiece. I’m going to try that. I have bought (and read) virtually every trumpet book out there on embouchure and watched a lot of CZcams videos with each players opinion on the matter. Like every trumpet player I want to improve my range and endurance but struggle with anything much over high c despite quite a lot of practicing over the years. Of all the books only one might actually explain why my range is limited. This is The Balanced Embouchure by Jeff Smiley. My top lip dips in the middle (a visualiser enables me to see this when I set my chops) and this prevents me achieving tension across the top lip. Jeff basically says, probably addressing the teachers of young kids starting out with an instrument, if this is you don’t choose to play the trumpet. I have had lessons from half a dozen teachers over the years but no one apart from Jeff Smiley has raised this to my knowledge. I’m well into my 60’s and don’t intend to stop playing but I have pretty much accepted that super c is a lost cause. I look at all the famous players and all of them look to have a straight top lip. A bit lengthy I know but I thought it was worth mentioning.
I just played that Fanfare for the Common Man excerpt (along with a bunch of major recordings) two days ago. FUN!!! Beautiful.
Wow! So I have just started after 30yr break, and been playing for a month. Struggling with middle C, then while watching your vid placed horn and blew a top c for a second. This was mythical for me..... Thanks so much. Still lots to do it only lasted for a second but wrapt
Retired band director. I believe that this info. has me thinking that I have hit a brick wall for years. my embouchure set up is incorrect. I will definitely try to take in your advice. Thank you for sharing this. You made it soo easy to understand. Hope to stay connected. Dan T
This video is a game changer. I've been struggling. I watched this, picked up my trumpet and tested the old embouchure... sure enough its the floppy lip bit, tried yours - suddenly i have immediate response, range and intonation. Needs work of course, but this is going to change my brass playing immensely. Thank you so much
Thank you. I’m starting back after many moons and realized I forgot my proper ambusher. Thank you
Scott
Thank you for posting on this topic- I agree that many of us/ not all/ were unfortunately introduced to initiating tones on the trumpet in the way you described. I know I was. I like how you used Ghitalla’s example of successfully using the “m” to refocus the setup. On the
way to playing more efficiently this technique can be a real game
changer.
Nice lesson - thank you!
Paul in Boston
I have been away from the horn for a couple of decades now. Struggling with the sound and tone up high for sure. I could get to the G above the staff before thinning out. Watched a Charlie Porter video on embouchure then found this excellent video too. I went from the G to the high C instantly with good tonal quality. Never seen 2 videos compliment each other so well. Bravo and Thanks.
Thank you for sharing
I came to say that I tried it and immediately went an octave higher!
Playing the lower notes becomes a bit more challenging/different but nowhere near as was hitting the upper register.
I played my exams' piece with increased comfort and ease.
Thank you, that was a great boost of confidence!
Thank you for your helpfull informations.
Wow, Edward and I are are the same path. I picked my horn back up during Covid after 30+ years. Loving it more than ever. Can now hit the E above high C and working toward Double High C. Any technique tips would be much appreciated. Of course…keep practicing, I just don’t want to practice bad techniques that I’ll have to unlearn in order to move forward.
Great stuff here Scott. Lots of use for us trombone players, too.
Found a similar video by Charlie Porter explaining the same thing with embouchure setup-I also HIGHLY recommend that video-has helped me immensely in terms of range, endurance, and DEFINITELY quality of sound. After undergoing many minor embouchure changes throughout college due to just small tweaks here and there, I just became inconsistent from day to day. Now, I find that I am actually improving progressively and am happy with my sound and to work hard to be even better. Great video!
Porter describes a more puckered embouchure in moving the lips off the teeth...I like it in the lower register...but get harder...the higher you go
I just started playing trumpet and this is the absolute best explanation I have found for how to form an embouchure that makes it easy to play both high and low. Before I watched this video I was play some low notes but had trouble transitioning from G, the highest note I could play, to any of the lower notes. After watching this I can easily transition between notes and was able to play a high c for the first time. I'm so excited, thank you so much for this video!
That's great to hear, Amy! How you get started is the most important thing. Good luck, and happy trumpeting!! 🎺
Scott ~I really have to agree with many your findings & observations here, ESPECIALLY the horn angle and alignment of the teeth [Upstream/Downstream ~Bobby Shew] and not "playing in the red" . It seems to me it's not widely addressed enough and i've noticed the same phenomena or "set up" for strong upper register players myself. As a Downstream player myself and getting older, i've noticed the shift in my lower teeth set and alignment has shifted or the years. Coupled with playing slightly in the red over the years, finding that adjusting the angle of the horn downward slightly and setting up with the MP slightly higher , I'm avoiding more of the "pinching" or " high spot" that can cut off vibration of the top lip. In addition, it's not widely discussed that the top lip is predominant vibration wise in the upper register and opposite in the lower register. Tom Harrelson [Harrelson Trumpets ] & Charlie Porter address these concerns quite eloquently. As a teacher and performer , i look to investigate many approaches to the topics your addressing. Your observations definitely strike a chord with me and similar approaches i've applied for myself and my students. We all know there's no "one size fits all" but lots of exceptions to the rules, but the exceptions don't make rules in most cases .Thanks for sharing your experience my friend, it only helps whether people agree or not ! Cheers🖖🏾
I like this guy. John.
Fantastic thank you so much.
Makes a lot of sense
Can’t wait to think about this during my next practice session
64 and always trying to improve 🎺🎺
That’s just me 👍🎺🎶🎺
Hi just seen this and will give it a trial as I have some of the issues that you have described
Cheers
Den
Interesting! I’ve recently made a similar change after decades of struggle (on and off) to establish a successful embouchure. I’m now using D above the staff on trombone as my ‘home’ note (equivalent to trumpet E) and it’s opened up the sound in my upper register. As you say, you build the foundation from the top down.
From the middle - higher and lower? Maybe?
Get the horn out. Cold. Play a really high note.
Get the horn out. Cold. Play a really low note.
" " " ". ". Play the middle note.
Waz hapeneeeeeeen?
I played trumpet for years as you explained and never was consistent. Could not play high notes and gave up.
I recently decided to start over again and work on my embouchure. I know the notes, the feeling the songs, etc... Once I have it working well, I'll be a great trumpet player. I'm 55 years old.
Very helpful!
I think you have the idea of how to create your attack and make the instrument sound immediately, thank for your videos 👍
Excellent points!
The genesis of most extreme downstream embouchures begins in elementary school. Trumpet players tend to angle their horns down like clarinets to (1) see the music and (2) reduce pressure on the top lip. Many trumpet players unknowingly grow up using a Farkas French horn embouchure.
Most band directors are not trumpet players so young trumpet students are usually off to a bad start.
The best advice I ever had was to learn to play upstream even if it felt uncomfortable at first.
You said it. It all starts in beginning band.
Thank you for this! I’m picking up the trumpet again after 30 years. Definitely coming from those wrong foundation teachings. This is really the best example of defining your embouchure I’ve seen. Cheers!
Many thanks, and best of luck to you!
Me too
Please read: I had quite the same problems! Despite my bad embouchre but nice tone and good tongue technique I managed to start studying in the class one of the best orchestra trumpet players of all time (K.G.). He never had embouchre problems so didnt see my struggle to get real higher than C3 and better endourance. After 2 semester I thought of quiting as I couldnt manage to play a Bruckner or Beethoven 5 on principal or even on 2nd or lots of the solo parts like Hindemith or even Arutunian without lots of effort and pressure.
I read a lot in forums and looked what US guys do. I found the book "The Balanced Embouchure" of Jeff Smiley. Thank god for this - really! I semester break I looked up for 3 month doing nothing than this (rolling lip, air tonguing, holding tones, easy natural scales etc.
I don't even know how to describe it exactly, but despite the fact that I could only play G1-G2 at first, even my professor was immediately enthusiastic and supported me to go through with the change although I had to be "planned out" from universitiy concerts and he even gave me an extra semester just to do this - because my sound was immediately much freer, looser and more orchestral ("world class") and I could also convey direct tonal/musical ideas, which was all very flat/straightforward before. Admittedly, I had to completely relearn the tongue thrust, as curling my lips messed up a lot here. I think what's always important to know - the body doesn't change directly when you introduce a blatant change, but with better technique, the brain will gradually remember the best of both worlds better itself and apply it more deeply. I already knew this insight from Malte Burba and I can absolutely confirm it. Especially in the interaction of changing lip technique, breathing, tongue, posture, etc., small motor improvements will gradually occur. This takes time. With me it took about 1.5 years, but then I was able and had the luck to play Beethoven 7 + framework program on orchestra tours on 20 days 18 times convincingly. Here an example of me on the first trp - even if the rest incl. the mistake of the 2.trumpet should be ignored ;D
czcams.com/video/I8U2fxu1qFI/video.html&pp=ygUcImJlcmxpbmVyIHN5bXBob25pa2VyIiB2ZXJkaQ%3D%3D
Thank you for your great and helpful instruction here, Scott. Playing trumpet was my passion from a young age, all through high school, and then as a freshman in college as a music major (Bradley U.), but I always struggled with range and endurance. My tone and control were excellent, but again, range and endurance (high C at best but not sustainable) pretty terrible. I very much had the puckering embouchure you describe, where my lips gripped and protruded, which I believe attributed to that full, round tone and excellent control in middle to low range, but ultimately I became so discouraged (about range and endurance) that I gave the trumpet up for about 30 years. Five or so years ago I picked it up again and began experimenting with an entirely new embouchure and discovered exactly what you describe-that with a flatter, lighter embouchure, I was using much, much less pressure and was suddenly able to hit notes I'd never dreamed of before (double-high C). The sacrifice, it seemed, was control and intonation, and even more troubling, I developed an incorrigible double buzz, which I'd never experienced before, in the middle register, right around the middle of the staff, especially when dropping from a higher range. And again, after about three months, I gave it up. Perhaps the issue this time around was I didn't stick with it long enough to give my lips a sufficient chance to strengthen or adjust to the radically new embouchure. I started up again just a week ago and have made great headway (with the same new flatter, lighter embouchure), though haven't yet worked up to the range I had last time, but am once again running into trouble with the double buzz when dropping into the middle register. I'd be very interested to hear your thoughts (and others' thoughts) on why this double buzz is happening with the type of embouchure and placement you describe. Thanks so much! Brian
Thanks for your comments, Brian. The reasons for a double buzz are difficult to diagnose, but in my experience, it most often happens when the lips are pursed or puckered, causing one to play above the instrument's natural resonant center. The standing wave going back and forth through the instrument is at odds with the frequency at which the lips are vibrating, causing a split tone. To be clear, this is my very unscientific theory based upon observation and experience. Check out my video titled "The sweet spot and immediacy of response," and see if that has any info that could be helpful. Your saying that you had problems with intonation leads me to believe that you are playing higher (sharper) than the instrument wants to resonate. Good luck!!
@@ScottMooreMSO I'll definitely check out your other video, and thank you for your quick reply and perspective!
Strangely enough, striving to just produce an acceptable sound on the baroque cornetto I had to do EXACTLY what you describe: to produce the sound with the skin (and not lip) close to the upper and lower lips edges. Doing anything else caused my lips swelling only after 15 min of “practicing” (I’m not a professional player). Now suddenly I can reach virtually ALL the high notes professionals reach. However my challenge is to be able to start a phrase with the lowest three notes (A, B and C), my lips feel a little too “sticky” to provide the looseness needed for this low vibration. On the other hand I can reach them easier if coming down from higher notes, not initiating a phrase with them. Maybe because (you talking about causing this resonance just ring it’s sweet spot frequency) these notes are not too resonant on the cornetto and are always very silent, even with professional players.
In any case I feel your advises are priceless for those who strive by other means, they help one play without the need to press the edge of the mouthpiece to the lips as well!
Cheers
PS Pictures from exhibition you played sounds fantastic!
Thumbs up for the Marco Rubio!! Also, for the subject matter!
After being told from many private teachers I will never be a good lead player, I tried your ‘M’ theory and my air for G on top of the staff nailed the E above it. I knew I wasn’t efficient, but had not clue in how to fix it.
Wow, that's great!! Glad I could help!
🙏🏼Thank you sir💐🏅
Very good 👏🏻👏🏻👏🏻🎺
Thanks for this. It works! BTW, Herbert Clarke’s method book says the upper 1/3 of the mouthpiece should be on the upper lip, if I remember correctly.
I love to "play" trumpet, play like a kid with all those sounds that comes out of it. With your advice I may learn to play trumpet.
Awesome! thanks
Scott - you should check out Doc Reinhardt. Lots of stuff you are talking about here is analyzed and made clear by him, years ago. Certainly horn angle is not a reliable indicator of upstream or downstream, as those terms are referring to the DIRECTION OF AIR AS IT LEAVES THE EMBOUCHURE (all caps only meant for emphasis - not to shout :). Interesting video!
Excelente!!😉
Ver usefull thanks a lot
I’m starting back up at 69. I bought a Monette B4002. It’s like a Mt Vernon 3C.
"poooh"...
Sounds like a great concept for playing low notes on French horn.
Me? Former French hornist in the Houston Symphony Orchestra.
These days? TRUMPET. Yes! I love it.
Every day of the week, I have a clear and frequently repeatable high E above 2nd leger line C.
I'm working on it, because I have the desire. Carmines (taught by Julie Landsman when she was Co-Principal of HSO - talking SERIOUS Carmines!)
I am SO ENJOYING playing trumpet (I only have a Bb - B&S Challeger II, silver-plated, with a Schilke M1* Symphony Series mouthpiece.)
Keep the faith!!!
Holy shit, glad I found this video, is went the the MSO concert today, and you are incredible!! You sound like an entire trumpet section and it’s just you! I have always struggled with my embouchure, hopefully this will help!! Any tips for people who can’t free buzz such as myself? I’m making a big change to my embouchure as my bottom lip has sticked out for a 2 years😬. If you offer lesson let me know!
Nickolas, "You sound like an entire trumpet section and it's just you!" is going straight into my bio! Many thanks.
I don't really do any free buzzing, so I have no advice in that area. I don't teach on a regular basis, but I do one-offs and coachings. Contact me at memphistrumpet@gmail.com
Scott, nice video! For the record, you are actually a downstream player, as is Wayne Bergeron. You are likely a IIIA in Reinhardt parlance.
immediate improvement, thank you
That's great!
I took lessons from Jerome Callett back in 76. And he did say use m too. But wanted the tongue forward touching the bottom lip. Face relaxed when playing. And he said much more. But I wish I had you as a trumpet teacher back then. I don't think it work for me. The m part did work. I gave the trumpet up. I found it too frustrating. My grandfather was Bunny Berigan so I thought it would not be hard lol. But I still love to listen to trumpet players. Good video !
If you'd taken a lesson from me in 1976, I'd have been a clueless 14-year old, lol. And wow, your grandfather certainly had a solid embouchure and setup!! I don't guess you knew him, since he died so young?
@@ScottMooreMSO I never knew him personally. But my Mom told me a lot of him. She at times went with the band on the road when she was a kid. One thing she said he practice a lot. You have a nice sound on your horn.
I learning Yamaha b4 mouthpiece. I studying Arban's book .And I have a problem were the best way to put the tang' and good puzz.. Thanks for the information
excellent information, Scott. Keep the videos coming. I'm experimenting with different setups now and I'll try your split grip as well. Can't seem to get above a high D - which comes out nice and clean. But a half step higher? No go. It's frustrating.
Try pushing your jaw forward
@@valerymedvedev8034 OK, I'll try that. thanks.
😊Scott, I’d like to have a look at your other CZcams videos. Can you list them please and maybe indicate how we can navigate to them. Thanks very much. Peter, England UK
Below this video, where you see my name, that's a link to my channel. Select that, then click on "videos" among the options at the top. Thanks for watching, and I appreciate your interest!
I too am picking up the trumpet again after many years. Do you have any recommendations for conditioning the embouchure?
This is very interesting. I gave it a shot and, wow, it really helped me get a solid sound at the top of the staff, which is something I struggle with. But then, after playing that way for a half-hour or so, I could no longer do it. I suppose it's a matter of getting used to it, making adjustments, etc.
I wondered, if you adopt this type of embouchure, should you change mouthpieces to compensate? What I mean is, if you start playing with your lips "pursed" as you describe, does that make the mouthpiece effectively smaller? or larger?
Thanks again, I really appreciate your insights.
I suppose mouthpiece selection depends upon what type of playing you do. Even though keeping the lips from protruding into the mouthpiece effectively makes the cup bigger, for ME PERSONALLY, I found that I could more easily go to bigger mouthpieces, because I wasn't relying on the resistance from the mouthpiece to play high/loud/etc. I'm glad you see a difference. I would be surprised if it didn't take a time period to adjust to the new setup, because you have years of ingrained muscle memory. As Arnold Jacobs used to say, "You can't get rid of old habits, but you can add some new ones." Thanks for watching, and good luck!
I appreciate the thin top lip. I’ve always had a thin top lip. I’m a comeback player who studied trumpet up until and in University but life took a different turn. I haven’t played for about 30 years and decided it was time to get back to playing. Of course, it’s been a fascinating return…about a month in right now. I have probably put much more concentration into the mechanics than I ever have before. I had gone through an embouchure change just before university and don’t think it ever truly settled in. This time around, I decided to find the best embouchure for me. Not an easy journey on your own. I’ve tried a few different things including my old one and the approach of saying “m” and then “tu”…placing the mouthpiece on the lips at that point. Some degree of success but it hasn’t felt like a long-term solution for me. It seems like too much red of the lip in the mouthpiece. It has worked but, again, only to a point so far.
Your comments on the thin lip, horn angle, and change of grip intrigued me. So, I tried it all together…and….well, I was able to get out a “C” above the staff when I felt like all I could get so far was a fairly solid “G” and sometimes and little “A”.
I appreciate your video and superb wisdom. Any other wisdom for those of us with a thin upper lip would be very much appreciated. A rolled in embouchure has never worked for me because, well, you need to have upper lip to roll in. Now, I just gotta keep up my exercises to regain my embouchure strength, playing endurance, and, well, everything else. A month in and hopefully years to come.
Hi. Nice tone an really good ways that yuo explain things.
I had a good embouchure for a few weekend when I used BE. It crashed 😢
Sine I have been searching for a good way for me.
Do you have a take on how to tonque better...causeri I cannot do that...I close my jaw.
The m-position...that one I can figure out!
Take care
Erik
Denmark
I teach all my middle school kids the “M” technique. Seen too many over the years struggling to play anything because they have the entire mouthpiece in the red
I can only power out the highest range. I'm working on a more natural approach with my teeth more flat (I use to jam with a pronounced over bite). Better tone and range overall but anything above E is a challenge. I would be thrilled with a consistent G
Hi Scott, very interesting, and I can immediately see the higher register coming more easily with the Mmm shape, but a question: I have been trained in the Stamp / Maggio approach of using the lower register as a foundation, do you discourage this approach? I find it very good for sound, but slow to build upwards as you say. 🙏
I had a similar experience going into my masters degree, took a lot of time off due to wisdom teeth removal and spent time relearning how to play, and eventually found that upstream works best for me. Being surrounded by downstream-type players has led to insecurity that I don’t look like everyone else when I play so I must be doing something wrong. Thank you for making this video, it is a good reminder that my embouchure doesn’t have to look a certain way as long as it works and sounds good. Do you have a video where you’ve gone into more detail on how you expanded and refined your lower register? Also, have you ever experienced any kind of difficulty with clarity of articulation due to the more upstream angle?
I have a good solid rich sound but struggle with anything above the stave. I keep my corners tight and the centre free to vibrate but I end up with too much lip engagement and have difficulty articulating and have to reset to drop back below the stave. I think your advice is sound. I’m going to try to moving the vibration more to the front of the lips by setting the embouchure with an M. My only concern is setting the M will tighten the centre of the lips which will reduce the quality my sound. Nothing ventured….
Scott, I’m still going through this video “Efficient embouchure and setup for trumpet”. I thought I’d ask you now if there is any quick way to find out if you’re holding the horn at the optimum angle? Is the answer somewhere in that video? Thanks, Peter
Scott, I don’t suppose there is a recording available of you and the Memphis Symphony Orchestra playing Sibelius Symphony No. 1?
Sib sure knew how to use the brass section didn’t he? Peter
I know this is an older video but I’m struggling because I see other videos with guys like Adam rapa that say your lips should be pushing out away from your face and I’ve heard the same thing from others. Been playing for 23 years and have always struggled with range and endurance and just trying to understand the most efficient way to play and am struggling a bit.
I do want to try straight stream playing but I just hope my sound and overall playing does not suffer while I adjust 😢
I am 74 and still play my trumpet. I have been trying to build my endurance but it seems i can only play like 5 minutes and I can't get a sound out. I used to be able to play a long time. I'm wondering ifit is my age and I can't build my lip muscle up anymore.
Been practicing for about 2 years now, recently I notice my lower lips curls around my bottom teeth and I get bruised inside my lip. I am trying this out but my lower lip still curls in, any advice on how to correct myself?
Work on low notes down to the pedal range. You need lips forward to do it properly. Watch Bobby Shew Wedge Breath videos for breath control. Understanding how breath control helps low notes can help the middle register. Then the higher register takes small adjustments to speak not drastic tension. Charlie Porter also has a long, detailed video discussing embochure setup. If the notes speak easily from the horn, you're doing things properly.
Thanks for posting, Scott. This is great insight. I took the opportunity during Covid (with no gigs) to re-learn my embouchure and horn angle...and it turns out, it is precisely what you are saying. I'm almost there, meaning almost have the warm and free tone in the mid/low register I had before (when I played down and on the 'red' of my lips) but with much better range and endurance.
QQ: what recording equipment do you use (when you switch over to play something)? Also, what trumpet and mouthpiece do you use for (a) orchestral playing (b) lead playing?
Thanks for watching. Re recording equipment, voice mic is a Shure SM48, trumpet mic is Cascade Fathead. Run through the Focusrite Scarlett 2i2 interface, using Reaper as my DAW on a PC.
My main trumpet is a Blackburn C, MD19A24S bell with a 20R leadpipe, serial #33. For legit playing, I usually use some version of a Monette C1-1. For lead playing, I have a variety: a custom Reeves I had made in 1981, a Lasky lead mouthpiece with an 84 rim, and a Monette BL.
Hey Scott, I love your sound! Could you tell me what setup you have regarding mics? You have one you use for voice and then click something when you play. It sounds completely different. What are you using?
Thanks for watching/listening. I use a Shure SM48 for voice (with an on/off switch, hence the clicking), and a Cascade Fat Head ribbon mic for trumpet. Focusrite Scarlett 2i2 interface, PC with Reaper as DAW. I sweeten the trumpet track very slightly with the Valhalla Room plug-in, since my practice room has a seven-foot ceiling and is very dead.
Now you know all my secrets. 😁
@@ScottMooreMSO Thanks man! I teach a lot of online trumpet lessons and record a bunch for my students. Now I can sound just like Scott Moore!! Lol
I really liked what you said in this video and the "sweet spot" video as well. Shared them with a bunch of my students. I'll let you know when I become a huge teaching success. lol
Too cool, great explanation!! Confirms where my embouchure is...10 months into learning...I can hit B above the staff, but high is not my goal...I know B and C will become easier with time playing above the staff...
There are many wars in the trumpet's world. One of my best is "Maggio's team" VS "Ghitalla's team"
I don't know anything about Maggio, and I never signed up for any teams!! 😂 It's not a contest; everyone needs to find a way to play efficiently that works for them.
Great talk.
Question: I'm starting the trumpet after years away, now I'm getting what feels like a relief valve opening in my sinuses after practicing awhile, will this go away and what is this?
That's a new one...you mean like you're getting almost a snoring type of sound/feeling, like air is leaking through your nostrils?
@@ScottMooreMSO yes exactly and i lose compression, I'm so affraid i won't be able to play again
@@ScottMooreMSO not the front nostril but inside of the nasal passage
I'm not sure I have any info or experience with that particular issue. Sorry! Are there any professionals, or good teachers, near where you live who could help diagnose? I wish I could be of help. Good luck!!
@@ScottMooreMSO yes and thank you sir greatly appreciated.
Horn mouth pieces were invented for European people with thin lips. Your lips are perfect for the mouth piece. People with thick lips especially with the center upper lip hanging down (beak) like Louis Armstrong, only used the half (his right side) of lips. Please check the photographs and moving images of Louis Armstrong and confirm.
was that Mr. Marselis I saw
Don't you find low range difficult like that ? Or do you just adjust
take a shot every time he says “yknow”
which mouthpiece is that?!
which mouthpiece is that??
This is a Monette Prana resonance C1-1.
Al Hirt had a thin top lip. It worked good for him. He also had great endurance. I always thought if I had a thin top lip I could play like Al. Lol. I learned later in life that I just wasn't Al Hirt. Then t
Ment to add, then there's Sergei Nakariakov. His horn angle is crazy downward. That guys from another musical planet
Good stuff, just stop saying "YOU KNOW"!
It drives me crazy to hear myself saying it, too. I had no idea I did it until I did a couple of these.
Your chops look like Kisors