You describe these great players as getting it pretty much "right" the first time they ever played. From there they took the ball and ran with it. Makes complete sense. But that makes the point that they are indeed "natural players". I think most average players experience "getting it right" from time to time. When they do (me included) EVERYTHING is easier - fingering, slurs, range, musicality. When we get it wrong, the opposite results happen. For the truly excellent players, during their developmental years, they can't help but play ALL the time. They don't "practice" so much as "obtain" all that goes into being a virtuoso through this obsession. They can do no other. We lesser mortals appreciate you (and others) attempting to help us in our struggles by describing your own - we can relate! We can only be awed by the greats.
Yeah, I think what I was trying to say was that their initial approach happened to be optimum, just out of statistical luck. Not necessarily superior genetics, or what have you.
I agree with almost every word of this. Many great players definitely don't know how they do it - especially when it comes to embouchure (and that's 75% of the technical side of trumpet in my view). That wouldn't be so bad if many didn't also teach (and charge 2x or 3x the rate of 'ordinary teachers'). Because they don't know how they do it they fall back on the standard textbook explanations i.e. 'more air' 'fast air' lip slurs, 'tighten the abdominals etc'. Most of these things won't work (at least beyond a certain limited point). Cheaper to buy standard textbooks than pay Mr Trumpet Wizard A or B $100 or more per hour to tell you this stock info. Of course if you're seeking musical training for exams or auditions these teachers may be useful on the repertoire side of the equations. I don't actually think that lip slurs are useless per se. They can assist lip strength and the ability to move around on the horn. They're not much good for range development because it's a classic chicken and egg situation. If you can't hit the higher tones you'll just get stuck stuck stuck at a certain exercise and not be able to complete the higher exercises designed to help you hit the higher notes (and if you can hit the higher notes in the range building exercises why do you need the exercises in the first place?). I know that people will say you're supposed to extend day by day etc. so you go to a certain point and next day or week a bit higher but my experience is that once you get to a limit you don't suddenly wake up next day or next week and be able to go up another tone or even semitone. There is a physical reason you're stuck and that exercise is not addressing the cause, merely the symptom. If your embouchure is not functioning optimally you'll stay stuck, no matter how often you try to go onto the next exercise.
That all sounds about right to me. I played for years without cracking the upper register but when I got the Flexus book and started working on it diligently with a teacher my effective range increased from G or A above the staff to high C /D in a few weeks. Now I'm playing big band charts with high Cs and Ds and getting through them but endurance is still a challenge and I can't really imagine pushing any higher then that. Still - I never thought I'd be playing up to high C consistently so at least that's progress.
Yes!! There is such a thing because I'm such a person. I didn't realize it for years until I tried a trumpet. Now it's my instrument, after torturing myself with the guitar for years! But I also feel anyone can play, you just need the right teacher that k own how to make adjustments to your playing style, ie. Essentially the formation of the embouche and jaw and lip positioning.
Thanks for another fine video Donovan. I agree with a lot of what you said. Embouchure is a very individual thing. Most of the teachers I’ve had won’t even address it and all want me to use more air (even though I can’t wait to finish a piece so I can get rid of all the excess air). I’ve been playing with TCE for about 6 months now to varying degrees. It has brought me to the same conclusion …..it all happens best when I focus on what is occurring closest to the mouthpiece. There is a sweet spot for all of us that makes it happen. For me my sweet spot is off center (left to right) and works well for everything but notes below the staff. I just have to keep searching for that spot that allows me to move over a bigger range efficiently.
I think for anyone who is struggling to make the improvements they are looking for, the embouchure is the key. But it's highly individualized and very few people understand what is going on with it...
Great video. What you say makes a lot of sense to me. The comment about teeth angle and gap makes me wonder about Wedge mouthpieces. Do you have any thoughts on that?
You describe these great players as getting it pretty much "right" the first time they ever played. From there they took the ball and ran with it. Makes complete sense. But that makes the point that they are indeed "natural players". I think most average players experience "getting it right" from time to time. When they do (me included) EVERYTHING is easier - fingering, slurs, range, musicality. When we get it wrong, the opposite results happen. For the truly excellent players, during their developmental years, they can't help but play ALL the time. They don't "practice" so much as "obtain" all that goes into being a virtuoso through this obsession. They can do no other. We lesser mortals appreciate you (and others) attempting to help us in our struggles by describing your own - we can relate! We can only be awed by the greats.
Yeah, I think what I was trying to say was that their initial approach happened to be optimum, just out of statistical luck. Not necessarily superior genetics, or what have you.
I agree with almost every word of this. Many great players definitely don't know how they do it - especially when it comes to embouchure (and that's 75% of the technical side of trumpet in my view). That wouldn't be so bad if many didn't also teach (and charge 2x or 3x the rate of 'ordinary teachers'). Because they don't know how they do it they fall back on the standard textbook explanations i.e. 'more air' 'fast air' lip slurs, 'tighten the abdominals etc'. Most of these things won't work (at least beyond a certain limited point). Cheaper to buy standard textbooks than pay Mr Trumpet Wizard A or B $100 or more per hour to tell you this stock info. Of course if you're seeking musical training for exams or auditions these teachers may be useful on the repertoire side of the equations. I don't actually think that lip slurs are useless per se. They can assist lip strength and the ability to move around on the horn. They're not much good for range development because it's a classic chicken and egg situation. If you can't hit the higher tones you'll just get stuck stuck stuck at a certain exercise and not be able to complete the higher exercises designed to help you hit the higher notes (and if you can hit the higher notes in the range building exercises why do you need the exercises in the first place?). I know that people will say you're supposed to extend day by day etc. so you go to a certain point and next day or week a bit higher but my experience is that once you get to a limit you don't suddenly wake up next day or next week and be able to go up another tone or even semitone. There is a physical reason you're stuck and that exercise is not addressing the cause, merely the symptom. If your embouchure is not functioning optimally you'll stay stuck, no matter how often you try to go onto the next exercise.
My experience is similar to yours. It's a frustrating journey, to be sure.
That all sounds about right to me. I played for years without cracking the upper register but when I got the Flexus book and started working on it diligently with a teacher my effective range increased from G or A above the staff to high C /D in a few weeks. Now I'm playing big band charts with high Cs and Ds and getting through them but endurance is still a challenge and I can't really imagine pushing any higher then that. Still - I never thought I'd be playing up to high C consistently so at least that's progress.
Glad to hear you are having success!
Yes!! There is such a thing because I'm such a person. I didn't realize it for years until I tried a trumpet. Now it's my instrument, after torturing myself with the guitar for years! But I also feel anyone can play, you just need the right teacher that k own how to make adjustments to your playing style, ie. Essentially the formation of the embouche and jaw and lip positioning.
Happy to hear you found your instrument! Welcome!
Thanks for another fine video Donovan. I agree with a lot of what you said. Embouchure is a very individual thing. Most of the teachers I’ve had won’t even address it and all want me to use more air (even though I can’t wait to finish a piece so I can get rid of all the excess air). I’ve been playing with TCE for about 6 months now to varying degrees. It has brought me to the same conclusion …..it all happens best when I focus on what is occurring closest to the mouthpiece. There is a sweet spot for all of us that makes it happen. For me my sweet spot is off center (left to right) and works well for everything but notes below the staff. I just have to keep searching for that spot that allows me to move over a bigger range efficiently.
I think for anyone who is struggling to make the improvements they are looking for, the embouchure is the key. But it's highly individualized and very few people understand what is going on with it...
Great video. What you say makes a lot of sense to me. The comment about teeth angle and gap makes me wonder about Wedge mouthpieces. Do you have any thoughts on that?
I've tried them in the best and didn't notice any benefit...