Unfurling the lips to get a larger sound makes total sense. I wish I had this advice 40 years ago playing in highschool and college. After committing five years of my life with countless hours of practicing and strengthening my face muscles, attempting to play in the upper register, I laid down the trumpet and walked away. Thanks for sharing.
Larry, it was another one of your videos that was instrumental in helping me solve my lower jaw alignment problem. Since then, my range and endurance greatly increased. Thankyou.
On the topic of adjustments,pivots, and jaw movement, It sometimes depends on how many teeth that I have! But seriously its about building enough strength that you can use the direction of air in any way that you choose .
I enjoy your Jonathan Winters impression at around 3:42 Thank you for the excellent explanation and ACTUAL demonstration of the embouchure techniques Larry!
Thanks for this video, your commentary on the unfurling of the lips with the demonstration has really helped me. I also enjoyed your book. Thanks for taking the time to share!
An older video, with some good info... for those of us who have looked into circular breathing, upper range, Cat's mispublished method and others. EVERYTHING you've said I've looked at over the years, and you're the first person to put it all together in one place. Claude Gordon holds a special place for me as I never got into his method when he was alive, but found he and I share a unique background. Thanks, Larry!
I'm fairly certain that Maynard had a different embouchure set up than Cat had. Cat had a higher horn angle. According to my sources he had good volume but less resonance than Maynard. Ive noticed this myself from listening to recordings of both men. That snd from correspondence from those who worked with both men. Maynard's tone was more full. A fatter sound. He held his horn at a lower angle and utilized more upper lip. So I don't see the similarity on each man's embouchure. Different mechanics and different results.
Larry, I've recently made what I believe is a significant discovery that explains (among other things) "Why Stevens-Costello didn't work for a considerable portion of those who tried it". Seriously buddy! Allow me an explanation. First, all of the "Two Aperture Theory" part is right on! Absolutely ALWAYS correct. I've used the 2 aperture concept to fix a number of trumpet players. Even receded jaw cats too. This concept ought to he taught to every beginning trumpet in the world.. Next? The reason Stevens-Costello failed so many trumpets is because the elasticity of a trumpet player's embouchure VARIES from one cat to the next. I've only recently discovered how to CONSISTENTLY put together a viable umlimited range chop setting that should work for most and maybe all. Regardless of lip texture variances. Here's the deal, The upper lip requires a most supple, elastic texture in order to access the double C area notes. Equally important however is that the lower lip MUST also share a very elastic area. And that these two very supple areas of flesh need to engage in exactly the same area inside the mouthpiece. A "perfect interface" is what I call it... All while using the "Two Aperture concept". I haven't developed a name for the described condition of supple/elastic lip flesh (both upper and lower!) It does however increase the lateral distance the airstream passes between the two lips. Sometimes I call this the "Aperture Tunnel". However this too is in need of additional explanation above and beyond what I can write here today. Also? Knowledge helps as does guidance from cats like the late Roy and people like Larry and even me. However? A lot of this shit ya juat gotta learn on your own. The problem for most trumpet players is, A. They violate the "Two Aperture Theory". Do that? And you simply won't have high notes kids!!! Period!!! Roy Stevens was dead on accurate here my friends... And, B. Usually the trumpet player only maintains a supple and elastic quality on one lip. This always being the upper lip. To develop unlimited range however the lower lip MUST also remain very supple. Like the inside of the inner gum flesh. Typically the upper lip is most supple on the INSIDE of the lip. In turn this very elastic flesh is ususlly allowed to vibrate due to the RECEDED JAW SETTING which Roy Stevens and Eilliam Costello both warned us about. However I have found a way to access the elastic portion of the inside of the upper lip WITHOUT BLOWING in a RECEDED JAW SETTING. The result has been unlimited range. Caution: switching embouchures is not for sissies. And it is likely or at least possible that your own chop setting will not respond with unliited range just by practicing Stevens-Costello System. Regardless? It takes a real.man to freakin chsnge chop settings. Im not joking fellas. I. myself am ten months into.the thing and it finally shows that Im really "Getting It". That said? Many of you won't have the resolve necessary to pulll it off. For you? You might be better off looking into some really powerful lead trumpet mouthpieces. Work into a shallow piece but open the throat back-bore up Like Maynard did. If you can't make or refuse to make the change? You may at least develop a solid upper register good to high F and G only. Please believe me friends! This stuff works!! Larry? If you have time? Please write at, Djivass@gmail.com. Gracias all.
Oh common Jazz Cat give me a break. I'm not a professional voice over guy. I'm just a guy passing on free info. Obviously I meant the tuning slide. BTW I rarely drink so I dont understand you reference to Dean Martin
I saw trombone shorty doing that nonstop airflow on youtube I don't know if it's really imperative to know how to play continuously without stopping is it? I can't do it haha I breath through my nose or sides of my lip I always thought it was incorrect to puff you cheeks like Dizzy but I can see how you could have more air conservation backing you up. Hope it was during the day when you screeched them high notes haha woke everyone up on the boat!! I like your posts thank you!
Thank-you immensely for these videos. With the lips unfurling forwards, I can't get a clean buzz (sounds raspy) and lose the middle register. It makes nice clear high static (although not very loud). Any advice?
I appreciate a lot when I see someone like Larry trying to help. I don't know if he has made it yet , but he might have also a video about air stream's exercises. as we know well ( upper register players ) it's not just about embouchure strength. We also have to apply a good air pressure. So, It's not one magic thing. It's a complement and synchronization of more than one aspect. let's say, you will need to synchronize air support, tongue position and embouchure strength. Otherwise my friend your results will be temporary like most. Hope it helps. Best.
I’m having trouble forming this embouchure because I have rather big lips so my lips aren’t perking up the right way. I can’t get the right unfurling and it ends up being with mouthpiece is completely on the red of my lips. Any tips?
The reason Cat Anderson closed his teeth (Faddis does too) is because he had a MASSIVE gap in his teeth, which meant the air could keep going through even with closed teeth. Unless you have a gap, this probably won’t work for you. It might, but I can’t play like that at all.
Hi Larry, I have noticed that when you play the 2nd G above the staff, and higher, it seems that you lower jaw pushes out making your trumpet angle very straight out. Is this your set up to play only those notes? I believe I've seen you play from low G to the 2nd G above the staff without taking the mouthpiece off, but I was wondering if you're working with two different set ups. Thanks.
Larry, I understand that you're an advocate of Stevens-Costello huh? Glad someone is out there bringing some of these facts to light. By the way, are you a dry lip player, or wet? On other subjects, I tend to find that the real naturals rarely admit that they're naturally predisposed to better high notes than the rest of us. This isn't to put them down or discredit them as any way you look at it ALL of them were motivated, hard workers. That said the great majority of the "natural" cats tend to advocate breathing and not much else. And granted better air support will almost always help anyone. yet there usually is more to it than that. Indeed if Larry is a forward jaw player (or close to even teeth) it certainly is an advantage. My natural setting is a much receded lower jaw. Because I can not play any other way. And yet through practice and experimentation I "busted through the High G ceiling". Previously most truly receded jaw trumpet players capped out at G. Today I've got a fine working A above High C and an occasional DHC without really killing myself. That said? Those "ready made customers" who perfectly fit Stevens-Costello (or Reinhardt's Type IV) truly do have an easy time and nearly unlimited upper register. Like triple C and whatnot.
It's not the plane but the pilot. .. Arturo Sandoval has played all his life with Bach Mt V 3C. bigger/deeper than standards ones. And currently with a Bach Mt V. 1.1/4 C even bigger and look at what he still does. He will be soon 70 years old and can play a whole scale form the bottom up to triple C5 above double C4. Just bringing an example to say that Bach Mps are not the problem. Best
While playing from the oral cavity, to sustain the tone during the "inhale" of playing while circular breathing, the oral space does create air pressure. When playing from the lungs, as in normal playing, the oral space does not increase the air pressure above what the lungs provide. There is no further "compression" as you call it, of the air above the lung air pressure.The aperture and instrument are the RESISTANCE we encounter. But air pressure and resistance are not the same thing.Interesting about the unfurling, Ill give it a try.
Unfurling the lips to get a larger sound makes total sense. I wish I had this advice 40 years ago playing in highschool and college. After committing five years of my life with countless hours of practicing and strengthening my face muscles, attempting to play in the upper register, I laid down the trumpet and walked away. Thanks for sharing.
The greatest genuinely try to help others. This guy is so cool!
Larry, it was another one of your videos that was instrumental in helping me solve my lower jaw alignment problem. Since then, my range and endurance greatly increased. Thankyou.
boxmaker20 Thats what makes me smile!!
On the topic of adjustments,pivots, and jaw movement, It sometimes depends on how many teeth that I have! But seriously its about building enough strength that you can use the direction of air in any way that you choose .
I enjoy your Jonathan Winters impression at around 3:42
Thank you for the excellent explanation and ACTUAL demonstration of the embouchure techniques Larry!
Thanks for this video, your commentary on the unfurling of the lips with the demonstration has really helped me. I also enjoyed your book. Thanks for taking the time to share!
An older video, with some good info... for those of us who have looked into circular breathing, upper range, Cat's mispublished method and others. EVERYTHING you've said I've looked at over the years, and you're the first person to put it all together in one place. Claude Gordon holds a special place for me as I never got into his method when he was alive, but found he and I share a unique background. Thanks, Larry!
I'm fairly certain that Maynard had a different embouchure set up than Cat had. Cat had a higher horn angle. According to my sources he had good volume but less resonance than Maynard. Ive noticed this myself from listening to recordings of both men. That snd from correspondence from those who worked with both men.
Maynard's tone was more full. A fatter sound. He held his horn at a lower angle and utilized more upper lip. So I don't see the similarity on each man's embouchure. Different mechanics and different results.
thank you
Larry,
I've recently made what I believe is a significant discovery that explains (among other things) "Why Stevens-Costello didn't work for a considerable portion of those who tried it".
Seriously buddy! Allow me an explanation. First, all of the "Two Aperture Theory" part is right on! Absolutely ALWAYS correct. I've used the 2 aperture concept to fix a number of trumpet players. Even receded jaw cats too. This concept ought to he taught to every beginning trumpet in the world..
Next? The reason Stevens-Costello failed so many trumpets is because the elasticity of a trumpet player's embouchure VARIES from one cat to the next. I've only recently discovered how to CONSISTENTLY put together a viable umlimited range chop setting that should work for most and maybe all. Regardless of lip texture variances. Here's the deal,
The upper lip requires a most supple, elastic texture in order to access the double C area notes. Equally important however is that the lower lip MUST also share a very elastic area. And that these two very supple areas of flesh need to engage in exactly the same area inside the mouthpiece. A "perfect interface" is what I call it... All while using the "Two Aperture concept".
I haven't developed a name for the described condition of supple/elastic lip flesh (both upper and lower!) It does however increase the lateral distance the airstream passes between the two lips. Sometimes I call this the "Aperture Tunnel". However this too is in need of additional explanation above and beyond what I can write here today. Also? Knowledge helps as does guidance from cats like the late Roy and people like Larry and even me. However?
A lot of this shit ya juat gotta learn on your own.
The problem for most trumpet players is,
A. They violate the "Two Aperture Theory". Do that? And you simply won't have high notes kids!!! Period!!! Roy Stevens was dead on accurate here my friends... And,
B. Usually the trumpet player only maintains a supple and elastic quality on one lip. This always being the upper lip. To develop unlimited range however the lower lip MUST also remain very supple. Like the inside of the inner gum flesh.
Typically the upper lip is most supple on the INSIDE of the lip. In turn this very elastic flesh is ususlly allowed to vibrate due to the RECEDED JAW SETTING which Roy Stevens and Eilliam Costello both warned us about.
However I have found a way to access the elastic portion of the inside of the upper lip WITHOUT BLOWING in a RECEDED JAW SETTING.
The result has been unlimited range.
Caution: switching embouchures is not for sissies. And it is likely or at least possible that your own chop setting will not respond with unliited range just by practicing Stevens-Costello System. Regardless? It takes a real.man to freakin chsnge chop settings. Im not joking fellas. I. myself am ten months into.the thing and it finally shows that Im really "Getting It". That said?
Many of you won't have the resolve necessary to pulll it off. For you? You might be better off looking into some really powerful lead trumpet mouthpieces. Work into a shallow piece but open the throat back-bore up
Like Maynard did. If you can't make or refuse to make the change? You may at least develop a solid upper register good to high F and G only.
Please believe me friends! This stuff works!! Larry? If you have time? Please write at,
Djivass@gmail.com.
Gracias all.
This is great information.Thank you,Mr.Meregillano.
Thanks Larry, love your videos..
Larry, thank you for this video. Very helpful.
Thanks Manny!!
hey Larry. good to hear you again
Oh common Jazz Cat give me a break. I'm not a professional voice over guy. I'm just a guy passing on free info. Obviously I meant the tuning slide. BTW I rarely drink so I dont understand you reference to Dean Martin
I saw trombone shorty doing that nonstop airflow on youtube I don't know if it's really imperative to know how to play continuously without stopping is it? I can't do it haha I breath through my nose or sides of my lip I always thought it was incorrect to puff you cheeks like Dizzy but I can see how you could have more air conservation backing you up. Hope it was during the day when you screeched them high notes haha woke everyone up on the boat!! I like your posts thank you!
Fred .. Thank You!
You make the world a better Place ❤️✅
Thank-you immensely for these videos.
With the lips unfurling forwards, I can't get a clean buzz (sounds raspy) and lose the middle register. It makes nice clear high static (although not very loud). Any advice?
I appreciate a lot when I see someone like Larry trying to help. I don't know if he has made it yet , but he might have also a video about air stream's exercises. as we know well ( upper register players ) it's not just about embouchure strength. We also have to apply a good air pressure. So, It's not one magic thing. It's a complement and synchronization of more than one aspect. let's say, you will need to synchronize air support, tongue position and embouchure strength. Otherwise my friend your results will be temporary like most. Hope it helps. Best.
The whole time I was thinking it looks like hes in a ship cabin. perfect spot for 4am upper reg playing
lol.. it was
I’m having trouble forming this embouchure because I have rather big lips so my lips aren’t perking up the right way. I can’t get the right unfurling and it ends up being with mouthpiece is completely on the red of my lips. Any tips?
How did Harry James do ?
Larry I think my brain came out my eyes... Luv Ya... JIM....
Wow !! Your range is insane !!
When you put your lips forward how do you continue you keeping them loose, and how on earth do you get air through closed teeth?
Officially Lost always relaxed
The reason Cat Anderson closed his teeth (Faddis does too) is because he had a MASSIVE gap in his teeth, which meant the air could keep going through even with closed teeth. Unless you have a gap, this probably won’t work for you. It might, but I can’t play like that at all.
Hi Larry,
I have noticed that when you play the 2nd G above the staff, and higher, it seems that you lower jaw pushes out making your trumpet angle very straight out. Is this your set up to play only those notes? I believe I've seen you play from low G to the 2nd G above the staff without taking the mouthpiece off, but I was wondering if you're working with two different set ups.
Thanks.
I do shift but it is seemless with no breaks
is the curry sleeve any good
Larry, I understand that you're an advocate of Stevens-Costello huh? Glad someone is out there bringing some of these facts to light. By the way, are you a dry lip player, or wet?
On other subjects, I tend to find that the real naturals rarely admit that they're naturally predisposed to better high notes than the rest of us. This isn't to put them down or discredit them as any way you look at it ALL of them were motivated, hard workers. That said the great majority of the "natural" cats tend to advocate breathing and not much else. And granted better air support will almost always help anyone. yet there usually is more to it than that.
Indeed if Larry is a forward jaw player (or close to even teeth) it certainly is an advantage. My natural setting is a much receded lower jaw. Because I can not play any other way. And yet through practice and experimentation I "busted through the High G ceiling". Previously most truly receded jaw trumpet players capped out at G.
Today I've got a fine working A above High C and an occasional DHC without really killing myself. That said? Those "ready made customers" who perfectly fit Stevens-Costello (or Reinhardt's Type IV) truly do have an easy time and nearly unlimited upper register. Like triple C and whatnot.
Hi do you have an email I can reach you by? I have a few questions.
Jackie Vernon... “I think I hurt myself!”
didnt know a bach played high that good what mp you using
It's not the plane but the pilot. .. Arturo Sandoval has played all his life with Bach Mt V 3C. bigger/deeper than standards ones. And currently with a Bach Mt V. 1.1/4 C even bigger and look at what he still does. He will be soon 70 years old and can play a whole scale form the bottom up to triple C5 above double C4. Just bringing an example to say that Bach Mps are not the problem. Best
While playing from the oral cavity, to sustain the tone during the "inhale" of playing while circular breathing, the oral space does create air pressure. When playing from the lungs, as in normal playing, the oral space does not increase the air pressure above what the lungs provide. There is no further "compression" as you call it, of the air above the lung air pressure.The aperture and instrument are the RESISTANCE we encounter. But air pressure and resistance are not the same thing.Interesting about the unfurling, Ill give it a try.
Is played with closed teeth? Thank yoy
You must be some heck of a kisser. Lol
I'm having a lot of trouble... Where can I find someone to one on one teach me this concept?
I am here on facebook messenger. I charge whatever you can afford for a personal lesson
I give online lessons
Larry is explaining it like it's a walk in the 🏞️ 😲
merci pour la vidéo très instructif j ai appris e 5mn qu en un mois avec mon prof!!!
+olivier oliver Cette video n'est pas en francais... tu y es arrive(e) comment???
+The Tiny Gamer une copine americaine et j ai telecharge la methode de cat gratos sur la toile!!
He just likes to say " Oral Cavity"
Not my sound...but the range....stunning ! 👍
Hola,me gustaría tomar clases,pero no tengo dinero por a hora.
Bach 7c with a Curry sleeve
The MF Horn is a better horn.
What is a Curry sleeve? Do you recommend a 7c over a 3c?
That ending Haha
Your finger aren't placed incorrectly on the valves?
No, you can practice your theory all day long, but you either have it and you do, or you don't !!!!! Sorry, but I just need to be honest.
there needs to be a progression from beginner to advanced. you have started at advanced. this is not available. please try harder
Larry Meregillano
I do what I do..