Bergeron talks about keeping the aperture open, Nicholson talks about buzzing across the entire diameter of the mouthpiece. Whew has the wedge breath. I’d say you’re in good company!
For me aperture size is - at least mentally - just a result of what is happening behind the aperture itself. Consequently, the tongue and how the air is compressed will determine aperture size for me. I see it as a passive oscillation only. This helps me to not adjust with the embochure too much and to decrease what Pops calls predetermined tension. So, aperture size isn’t something I consciously think about. Works well for me. Lip bends for me has everything to do with what the tongue does. Yours does obviously work just fine. Keep it up! Cheers from Germany!✌🏻🔥🎺
Air pressure controls dynamics. One does not have to do any "opening" action to control dynamics. That just causes a drop of pitch and takes more effort. It is not the "size" that controls dynamics. It's the air power and efficiency of embouchure tone production. The "average" opening might be relatively larger for louder tones but it requires no concious effort or action. The air opens the aperture but only to a point.
@@trumpetthoughts when playing a tone the dominant resistance is the instrument. If it isn't then one is playing inefficiently .Secondary resistance is the airway including the lip aperture , oral path, throat, glottis . Additional resistance in any of these contributes to inefficiency.
@@trumpetthoughts you mean like promote inefficient actions such as controlling dynamics with the aperture? If one is playing efficiently for all dynamics then all that is required is to vary the air pressure.
Lots of interesting thoughts here, thanks! When you talk about pitch bending while not lowering the jaw, what do you think as you try to lower the pitch in order to keep the jaw in place?
Bergeron talks about keeping the aperture open, Nicholson talks about buzzing across the entire diameter of the mouthpiece. Whew has the wedge breath. I’d say you’re in good company!
Yes, this is along the same lines, exactly.
I struggled with Jerome Callet's super chops for years and your videos helps a lot.
Glad to hear it!
For me aperture size is - at least mentally - just a result of what is happening behind the aperture itself. Consequently, the tongue and how the air is compressed will determine aperture size for me. I see it as a passive oscillation only. This helps me to not adjust with the embochure too much and to decrease what Pops calls predetermined tension. So, aperture size isn’t something I consciously think about. Works well for me.
Lip bends for me has everything to do with what the tongue does. Yours does obviously work just fine.
Keep it up! Cheers from Germany!✌🏻🔥🎺
Obviously the least amount of mental effort the better, but I think this helps for those of us that things aren't working "naturally".
@@trumpetthoughts absolutely! As it does help me too! I’m definitely not one of the natural players. Keep it up!
Thank you for sharing
You're welcome!
Very helpful thanks!
You're welcome!
Air pressure controls dynamics. One does not have to do any "opening" action to control dynamics. That just causes a drop of pitch and takes more effort. It is not the "size" that controls dynamics. It's the air power and efficiency of embouchure tone production.
The "average" opening might be relatively larger for louder tones but it requires no concious effort or action.
The air opens the aperture but only to a point.
I believe you are nearly right, but think about this - what controls resistance?
@@trumpetthoughts when playing a tone the dominant resistance is the instrument. If it isn't then one is playing inefficiently .Secondary resistance is the airway including the lip aperture , oral path, throat, glottis . Additional resistance in any of these contributes to inefficiency.
@@BrassBro-Science-ys7sg I would agree with this. The whole point of this channel is trying to remove these inefficiencies.
@@trumpetthoughts you mean like promote inefficient actions such as controlling dynamics with the aperture? If one is playing efficiently for all dynamics then all that is required is to vary the air pressure.
Have you tried Tom Hootens embosure aperture setter? I love it, absolute gold!
I have not.
Lots of interesting thoughts here, thanks! When you talk about pitch bending while not lowering the jaw, what do you think as you try to lower the pitch in order to keep the jaw in place?
Yes, keep the jaw in place and just open the lip aperture.
Всё это трудно контролировать во время работы. Трудно переделать то, что сформировалось за годы практики.
Очень верно. Я рекомендую сосредоточиться на этом только в том случае, если обычная практика не решает проблему.