[Best Lesson] Trumpet Chat 4 - Dismissive Teachers and Playing in the Red

FREE WindWorks Sign-Up mysterytomastery.com/windwork... If a dismissive teacher dismisses solutions to problems, are they really educating or merely regurgitating?
There are simple tricks to help players overcome playing problems and resorting to the traditional idea of mouthpiece buzzing and blowing more air just doesn't cut it.
Sign up to the FREE WindWorks Largo Status Stage to learn more.
FREE WindWorks Sign-Up mysterytomastery.com/windwork...
====
Here's a mouthpiece go and buzz your mouthpiece. He's your instrument. Go and play it. Okay. And that's fine. It works for some.
I will just keep saying it over and over and over. That's fine. It works for some but my experience and I'm very fortunate to be teaching people of a very very very high class that have run into issues now. Yes they've made it as players. They're touring the world they've got professional gigs.
In London and in New York. And why do they ask me questions. Why did they come to me because they've got to a point where they're not satisfied. They're fighting their instrument. They're frustrated. Just like I am at the moment. Okay. So please don't tell me I do this. And this is what my teacher told me. And he's a great player. So therefore it works. Now again this is harking back to the last video I did on on mouthpiece buzzing. And yes if your student is getting the results that they want to need then you're doing the right thing. But you've got to be able to look forward and see if it's causing any problems. And again my point is the psychological impact that it has on the student now this ties into what I'm going to talk about today. I've been thinking about doing a video on this and then lo and behold by last two students both professionals in London are full time playing professionals okay.
They've got it. They're playing gigs. They're doing well. They're not happy but that's good. All right. So the psychology needs to change here.
Bought up the whole thing about playing in the red and then I've been thinking about doing video and they've brought it up so I'm going to do it. And then a couple of people on the forum have boarded up as well. Okay. So playing in the red ties into the mouthpiece buzzing thing now I need to play.
If you're watching this video it means you're looking for some new ideas just please sign up for the works free part of the course. It'll all make sense what I'm talking about here. I do an exercise.
And it's doing a lot of things. It's figuring out how much a is flowing when we use the voice.
Look at Rafael Mendez. Don't force the air more than you were in conversation right. So how much air is being used here and of course if I take a good breath.
But it's loud right. So we can make a lot of energy from taking a nice breath and relaxing the body then we're also.
Now this ties into a setting a traditional setting of going say bringing their lips together. Now if it's light and they're just touching that's fine because they're going to open up but I would like to.
Prefer it with the Moo Moo and that puts us in the same position. Moo it draws attention to the aperture corners the aperture corners the aperture is where the air comes out.
Corners are the corners of the aperture. The word corners never made any sense to me. I can feel these working. I could feel that working down here I can feel all that working. But it's in response to the actual ambush for an aperture corners here. So getting people to tighten their corners. Puts way too much work in the face. Why would we do that. We just going to have to undo it because we don't have to play like that. Yes we need to have enough work going on in the face.
To create a seal at the corners of the aperture. So our flight a flight.
Getting body residents getting the mouth open. Teeth open.
And if you can see teeth between.
We've got a problem we can fix that with the. I'm going to talk about it in a minute pool cue KMT into. I'll. Come to that in a minute okay. So we've got airflow we've got the jaw down. Important as people's jaws come up. I used to clench my jaw. Why am I doing all this because I used to have problems. I practice tapes I read all the methods practice all the methods kept hitting ceilings to break through those ceilings I had to think differently and to think differently was to explore different things and I'm sharing with you the things that I think is flawed to open up the next level of my playing. So.
All corners. And this is where the question of playing in the red comes in. So I've said it a thousand times in the course and I'm going to keep saying. What we're developing here. Is a sense of. Freedom. A sense of freedom of airflow a sense of ease of playing. Now if you go and then of course disengage the voice we don't want the voice operating when my playing. Greg Spence Trumpet

[@trevorpope1913]

Hi Greg, I have just found your channel which brilliant; great advice and so true. It has taken me 50 years of changing everything to get to what you are saying. I recommend your channel to anyone who wants to save years of trying to get better but using the old teaching that does not work. Thanks and look forward to more of your stuff.

[@trumpetmusic5672]

Hi Greg, I have been watching your videos for a while now and they have helped me a lot.
Greg is not alone in this mouthpiece buzzing thing. Luis Aquino, one of the most recorded trumpeters of latin music has a video that is titled (translated into English) "why buzzing is not the most efficient way to play"
Allen Vizzutti, has a masterclass on youtube where he literally says " I am anti-buzz"
Arturo Sandoval has recently posted hours and hours of himself playing and talking about how to practice. How much time did he spend buzzing or even talking about buzzing? None!
Give this approach a chance if you want to turn around your playing just like Greg has said!

[@johnpiettro4644]

Greg - I'm your fan! I've been watching your videos for 5 years! - I'm perhaps the worst trumpet player in the World - I can't play above the staff (high C doesn't exist for me), whatever I do - nothing work for me. :-) So my example must be a relief for anyone struggling with Double high C ;-) Nevertheless I often return to your videos and watch them with pleasure - you are such a great inspiration even for such loosers like myself!

[@TheLazyClips]

You deserve like a million subscribers

[@rodolfceklijaj7213]

After your advices im plaing trumpet for mutch pleasure you ar great person and trumpet ayer thnx for every thing
Sory for my english i am from Albania

[@mor2bz]

interesting stuff for sure. it is exciting to correlate, compare, and consider all of the teacher's different approaches to
basically, ultimately, the same problems. thanks for your contributions. Q's: I have a lot of spit to drain from the horn. Problem
seems worse with one horn than another. 2) what about mustaches? Many players have them. I would think that any hair
on the lip would impede transmisson of vibration to the mouthpiece. And would make sealing harder. thank you

[@jarrodsplace]

Great video Greg... love the concepts you talk about. Haven’t signed up for the course just yet as I want to be sure I have at least a week free of any other playing to try and break habits. I’m mostly a cornet player, have you done much of this on a deep V wick mouthpiece?

[@wonialageorgetrumpet971]

thank you for teaching but me I have a problem I think with breathing a lot of vaibreting in my notes

[@glsantini]

I can make C and low register notes. But I'm struggling whit high range. Is mouth muscles important? I'm a beginner (6 m. pratice) and my muscles are new to this kind of exercises.

[@nicholasroth2804]

Hey Greg, I was wondering if using practicing a raised tongue with the relaxed air flow was a good idea. To stimulate this I’ve been making a hissing noise using the back of the tongue in combination of a firm but not stressed diaphragm. Any thoughts, as always thanks from a random euphonium player!

[@mysterytomastery1]

Hey Nicholas, are you talking for playing higher? The tongue is definitely part of it BUT the Aperture Corners are what select the pitch or the overtone NOT the tongue position. That being said, experimenting with tongue position is very desirable.
I will do a trumpet chat about this but it is explained very clearly in the Ultimate Level of the course.
To put it very simply, the lips control the pitch, the tongue makes it sound good. Cheers

[@johnwilder8517]

Seems like a pleasant fellow. jw

[@patrickcolwell4202]

I don't know it's kind of weird