1 - Shakes and ''Lip'' Trills with Peter Bond

Lessons from the New Jersey Bunker of Peter Bond
Peter Bond has been a member of the Metropolitan Opera Orchestra since 1992. Prior to his appointment to the Met, he was Principal Trumpet of the New Mexico Symphony Orchestra (1987-92).
Mr. Bond has an unusual background for an orchestral musician in that his formative years were spent in drum and bugle corps, big bands, and even the circus. He began serious study of orchestral playing while doing graduate work at Georgia State University in Atlanta with John Head, Principal Trumpet of the Atlanta Symphony. From 1980-87 he enjoyed a busy freelance career in the Atlanta area, and continued to study on an “outpatient “ basis with Chicago Symphony legends Vincent Cichowicz, Arnold Jacobs, and Adolf Herseth. In spite of his connection with the “Chicago” approach, Mr. Bond has developed his own unique pedagogy based on using speech and song as literal models for brass performance.
He is in demand both as a teacher and a soloist on cornet and trumpet.

[@shanespence7461]

Great video , I learnt how to lip trill by accident …always thought it was lips , and not your tongue .
Thanks for setting the record straight…

[@da11king]

Excellent ! Trumpet hang brought me here

[@michaelfoxbrass]

Excellent lesson on these effects/skills, Mr. Bond!

[@juliobevacqua8698]

Your explanation is excellent. Thank you very much

[@The80sBoy]

What an interesting and informative video. Thank you 🎺

[@Gmuns1]

I'm gonna try to see if this translates at all to trombone. No one ever explained to me that you actually use your tongue to do a "lip" trill. Thank you for this video!

[@bishopdansby4287]

The obstacle for me seems to be a limitation in how fast I can make the lip trill. There is a physical limit on how fas I can make the trill.

[@trumpetbrain7302]

Thanks for the videos!
(Unless my ears have gone haywire) when you do the demonstration of the trill at 2:34 you are using open valves and yet manage to produce a perfect tone trill G-A (Concert F-G) in apparent defiance of the instruments' harmonic series. I'm not sure I've ever seen anyone do that before!! Is that a quirk of your instrument or what is happening there? Later on you use 1-3 for that same trill as one might naturally expect (or 1-2, or 3).
What perplexes me is how you were able to get the speed and fluidity on that trill despite somehow bending the upper partial down by a semi-tone and getting that clean G-A trill rather than, as physics and experience would suggest; a G-Bb trill with open valves.
Would love to hear how you did that as, despite the myriad incredible feats I have heard on the trumpet over the years; I can't say I've ever seen someone produce a smooth fast lip trill that contradicts the harmonic series??
Thanks

[@johnnylow3295]

wow Peter I can't thank you enough, I went from only being able to lip trill G-A above the stave to D-E, do you have any pointers on the wider lip trills?

[@THall-vi8cp]

I'm not Mr. Bond but I'll chime in. Start slow and use a little extra air to blow across the wider interval. There some great exercises that can be used to practice this in the book _Exploring The Trumpet's Upper Register_ by Jay Zorn. (Note: Zorn talks about arching the back of the tongue. Don't do that. Arch as Mr. Bond showed in his diagram in this video.)
Start slow and get it coordinated, then work it up to faster tempi. It will probably sound like a gliss for a while. Don't be discouraged.

[@johnwilder8517]

Great player. Not as well known as he should be. jw

[@MrStarbor]

Amazing!!!