Sorry for the super late upload - I've been out sick for much of the week. Apologies for the background noise on this one - I had such little voice that there was no getting away from boosting everything. I'll do better next time! All feedback welcome, but house rules apply - please be polite.
Your videos are great. I have been trying to be my own trumpet teacher (however aided greatly by the internet gurus like you). I do have trumpet experience, such as playing from 6th to 12th grade. Growing up I did not know I should have played lip slurs. Besides band music, I learned the major scales and chromatic. Currently, I play about like I did in high school, but I want to play better. Can you suggest a comprehensive practice program? There are a plethora of exercise books and so-called method books such as Arban and Saint-Jacome's. I have both of these and the first two of Allen Vizzutti's books and Clarke's Technical Studies. I have thought about your purchasing your books, but I don't want another book with lots of stuff to play but little instruction on how to put into daily/weekly practice sessions that result in progressive year's worth of study. Do you have any advice? I am a retired high school science teacher and do not want to spend money on a private teacher at $60 - $100 dollars a lesson (my wife would kill me).
Thanks for watching. I’m glad you’ve found the videos helpful. While I’d be delighted for you to check out my books, they won’t provide a structured routine of the sort you’re seeking. If taking lessons is outside of your budget, then you’d be better off with something like Claude Gordon’s “Systematic Approach to Daily Practice” - it’s a course of lessons which includes some exercises and also suggests what to practice from some of the other books you mentioned. Alternatively, I believe Eric Bolvin, an excellent Bay Area trumpet player and teacher, offers an Arban study guide.
Thanks, I'll try those. Would you be willing to take a look at what I'm doing embouchure-wise for one online lesson or should I take at least two? (Just do not tell my wife!)
I'm happy to consult with fellow trumpeters as little, or as much, as you like. With an hour, we can check on where you're up to, embouchure-wise or however you choose, and I can provide some structure for what you need to practice. I'm very discreet! ;-)
Such a pleasure listening to you! Impressive how you can do all that you can and mostly rely on core compression...just great! - I see all the shorts you make! Thank you for sharing!
Bryan thank for taking the timeout even when your not feeling well to help us with with trumpet advice .I mean embouchure and aperture help is needed and greatly appreciated. I look forward to your videos every Friday and Monday can't thank you enough .Anthony
Bryan, hope you are feeling better today. YOUR VIDEO WAS PHENOMENAL! You answered EVERY single one of my primary questions during the course of the video, and even an ancillary question regarding the aperture tunnel that came to mind as you were speaking. I look forward to replaying it over time to glean as much as possible from your insights. THANK YOU for your graciousness in addressing my request so quickly & thoroughly. I am indebted to you!
Hello Bryan, Your videos are really great, I watch them every week and follow your advice: go practice ! The embouchure is where I struggle the most. I've been playing for for than 20 years with a smile embouchure and I have really big issues with endurance and high register. Since a few weeks I've been improving both, but with a smile embouchure, I really can't find how to play with a pucker embouchure (I am hardly able to play a low C with a lot of noise in the sound). What do you think: should I focus on improving with a smile embouchure or should I try to find how to play with a pucker embouchure ? (high register is really something I want to develop since I play in big bands and am regularly playing the lead PS : "Embouchure" in french is (among other definitions) what you call "mouthpiece" in english. Interestingly, the english "embouchure" we call it "masque" ("mask" in english).
I'd like to see a video about recovering from focal dystonia or similar. Literally overnight I went from playing effortlessly to not being able to get a note out. That was 5 years ago. I've kept at it and am able to play a bit now, but it is always a chore and never feels right. In fact, it feels different each time I play. A sort of lip confusion I guess. You said you had experienced something like this. I'd love to know what you did to recover. I used to play professionally and was considered very good. Now I can hardly hold a note for 15 seconds before losing it.
Hi Brian, thanks for the great videos. With the pucker embouchure is it possible to vibrate too far back in the lip on the softer skin that problems can begin to develop? I’ve watched your videos on lip buzzing and I can’t seem to descend in pitch without wanting to unfurl my lips to get a decent sound. Also when I get above the staff I tend to angle my trumpet down to expose more of the fleshy inner lip skin and get more of an angle that I can apply pressure to with a good cushion of support. I’m trying to figure out if this is a habit that will harm my growth so if it is I can fix it as soon as possible. Thanks
I would say that aiming to apply additional mouthpiece pressure is probably not the way to go about things. It may happen, but it’s not the method in itself. How are you using your air to move above the staff? Or any other register, for that matter? The embouchure moves and adapts depending on the air you give it. The more efficient you are with the air, the less you tend to move in the embouchure, as a general rule.
I have enjoyed your videos for a while now and have implemented some of what you have said into my practice and it is showing positive results! Thank you! I have a question/comment on point #3 though. My teacher has told me that the angle in which you place your mouthpiece and where you "center" it is where your air-stream natural goes so that it has an easier flow into the center of the mouthpiece allow for an easier blow. What are your thoughts on this?
Thanks for watching. I’m glad you’ve found the videos helpful! Your teacher and I are saying the same thing in a different way. The direction of your airstream depends on the physical characteristics of your face; overall face shape, teeth, level of overbite/underbite etc. If you place the mouthpiece on your lips so it follows the natural angles of your face then the airstream should be aimed more or less at the mouthpiece throat. Less obstruction = easier blow.
@@AirflowMusicNYC I know this comment is a year late, my apologies! (Busy practicing) Thank you for the response! It helped me understand what my teacher and you were saying back in that time. Hope you are doing well!
Bryan, you said the smile embouchure is synonymous with 'rolling in' (something to be avoided), and, later on, that players should anchor the mouthpiece outside the red. What happens when a player has thick lips and it's not possible for him/her to anchor the rim outside the red without rolling in? Is this player an exception to either rule?
There are pros and cons to both embouchure types and, while one type might make certain things more difficult or others easier, neither rules anything out.
Hello Bryan. No one can play the trumpet with the trombone embouchure! Your lips must guarantee to vibrate in a proper register to that of the trumpet. I didn't know, and I tried to play the trumpet with an ineffective embouchure for almost 15 years. I had to make a lot of changes, including de-stressing by blowing, because when my lips weren't working well, my teachers would tell me "push harder !!" ... so, that made everything worse.
I think that probably is too much for a catch all video, as there are a lot of variables, but I do have experience working through focal dystonia with people. Please contact me through the website if you’d like to discuss it further.
When I first started playing trumpet, I used to think that pressuring My lips against the trumpet, and blowing very hard was gonna produce the triple c note, Which it is not true.
The mouthpiece in the Thumbnail image which accompanies this video is my Karl Hammond Design Custom, converted to a Schagerl Apredato. You would need to order the same piece from Karl, then send it to Schagerl for conversion. It would be an expensive business, if both companies are even able to help you.
@@user-hr5uj1wq5q- I have a set of mouthpieces I use on a regular basis. I use different ones for different musical purposes. The one you see most often is a custom piece by Karl Hammond Design, converted to a Schagerl Apredato.
I can only speak to the experience of working with some of my more senior students. It seems that it takes longer to warm up, and endurance requires a little more maintenance, as we age. It’s certainly possible to rebuild. One of my most regular students is 80 years old and is re-expanding his range weekly.
Sorry for the super late upload - I've been out sick for much of the week. Apologies for the background noise on this one - I had such little voice that there was no getting away from boosting everything. I'll do better next time!
All feedback welcome, but house rules apply - please be polite.
Your videos are great. I have been trying to be my own trumpet teacher (however aided greatly by the internet gurus like you). I do have trumpet experience, such as playing from 6th to 12th grade. Growing up I did not know I should have played lip slurs. Besides band music, I learned the major scales and chromatic. Currently, I play about like I did in high school, but I want to play better. Can you suggest a comprehensive practice program? There are a plethora of exercise books and so-called method books such as Arban and Saint-Jacome's. I have both of these and the first two of Allen Vizzutti's books and Clarke's Technical Studies. I have thought about your purchasing your books, but I don't want another book with lots of stuff to play but little instruction on how to put into daily/weekly practice sessions that result in progressive year's worth of study. Do you have any advice? I am a retired high school science teacher and do not want to spend money on a private teacher at $60 - $100 dollars a lesson (my wife would kill me).
Thanks for watching. I’m glad you’ve found the videos helpful.
While I’d be delighted for you to check out my books, they won’t provide a structured routine of the sort you’re seeking. If taking lessons is outside of your budget, then you’d be better off with something like Claude Gordon’s “Systematic Approach to Daily Practice” - it’s a course of lessons which includes some exercises and also suggests what to practice from some of the other books you mentioned.
Alternatively, I believe Eric Bolvin, an excellent Bay Area trumpet player and teacher, offers an Arban study guide.
Thanks, I'll try those. Would you be willing to take a look at what I'm doing embouchure-wise for one online lesson or should I take at least two? (Just do not tell my wife!)
I'm happy to consult with fellow trumpeters as little, or as much, as you like. With an hour, we can check on where you're up to, embouchure-wise or however you choose, and I can provide some structure for what you need to practice. I'm very discreet! ;-)
Such a pleasure listening to you!
Impressive how you can do all that you can and mostly rely on core compression...just great! - I see all the shorts you make!
Thank you for sharing!
Bryan thank for taking the timeout even when your not feeling well to help us with with trumpet advice .I mean embouchure and aperture help is needed and greatly appreciated. I look forward to your videos every Friday and Monday can't thank you enough .Anthony
I’m aiming to keep a regular schedule for you guys, whether I’m sick or busy or whatever. Thanks for taking time to write me - I do appreciate it!
Bryan, hope you are feeling better today. YOUR VIDEO WAS PHENOMENAL! You answered EVERY single one of my primary questions during the course of the video, and even an ancillary question regarding the aperture tunnel that came to mind as you were speaking. I look forward to replaying it over time to glean as much as possible from your insights. THANK YOU for your graciousness in addressing my request so quickly & thoroughly. I am indebted to you!
Tyr, I’m glad to have been of service. I’m so pleased I was able to answer your questions.
precise explanation!! Very helpful and useful!! Thank you Bryan!!
Glad it was helpful!
Fantastic, thank you Sir
You’re welcome. Thanks for checking it out.
Hello Bryan,
Your videos are really great, I watch them every week and follow your advice: go practice !
The embouchure is where I struggle the most. I've been playing for for than 20 years with a smile embouchure and I have really big issues with endurance and high register. Since a few weeks I've been improving both, but with a smile embouchure, I really can't find how to play with a pucker embouchure (I am hardly able to play a low C with a lot of noise in the sound).
What do you think: should I focus on improving with a smile embouchure or should I try to find how to play with a pucker embouchure ? (high register is really something I want to develop since I play in big bands and am regularly playing the lead
PS : "Embouchure" in french is (among other definitions) what you call "mouthpiece" in english. Interestingly, the english "embouchure" we call it "masque" ("mask" in english).
I'd like to see a video about recovering from focal dystonia or similar. Literally overnight I went from playing effortlessly to not being able to get a note out. That was 5 years ago. I've kept at it and am able to play a bit now, but it is always a chore and never feels right. In fact, it feels different each time I play. A sort of lip confusion I guess. You said you had experienced something like this. I'd love to know what you did to recover. I used to play professionally and was considered very good. Now I can hardly hold a note for 15 seconds before losing it.
Hi Brian, thanks for the great videos. With the pucker embouchure is it possible to vibrate too far back in the lip on the softer skin that problems can begin to develop? I’ve watched your videos on lip buzzing and I can’t seem to descend in pitch without wanting to unfurl my lips to get a decent sound. Also when I get above the staff I tend to angle my trumpet down to expose more of the fleshy inner lip skin and get more of an angle that I can apply pressure to with a good cushion of support. I’m trying to figure out if this is a habit that will harm my growth so if it is I can fix it as soon as possible. Thanks
I would say that aiming to apply additional mouthpiece pressure is probably not the way to go about things. It may happen, but it’s not the method in itself. How are you using your air to move above the staff? Or any other register, for that matter? The embouchure moves and adapts depending on the air you give it. The more efficient you are with the air, the less you tend to move in the embouchure, as a general rule.
I have enjoyed your videos for a while now and have implemented some of what you have said into my practice and it is showing positive results! Thank you!
I have a question/comment on point #3 though. My teacher has told me that the angle in which you place your mouthpiece and where you "center" it is where your air-stream natural goes so that it has an easier flow into the center of the mouthpiece allow for an easier blow. What are your thoughts on this?
Thanks for watching. I’m glad you’ve found the videos helpful!
Your teacher and I are saying the same thing in a different way. The direction of your airstream depends on the physical characteristics of your face; overall face shape, teeth, level of overbite/underbite etc. If you place the mouthpiece on your lips so it follows the natural angles of your face then the airstream should be aimed more or less at the mouthpiece throat. Less obstruction = easier blow.
@@AirflowMusicNYC I know this comment is a year late, my apologies! (Busy practicing) Thank you for the response! It helped me understand what my teacher and you were saying back in that time. Hope you are doing well!
Bryan, you said the smile embouchure is synonymous with 'rolling in' (something to be avoided), and, later on, that players should anchor the mouthpiece outside the red. What happens when a player has thick lips and it's not possible for him/her to anchor the rim outside the red without rolling in? Is this player an exception to either rule?
There are pros and cons to both embouchure types and, while one type might make certain things more difficult or others easier, neither rules anything out.
looked like you were holding a sax on the cover of this video for a second ;-)
Hello Bryan. No one can play the trumpet with the trombone embouchure! Your lips must guarantee to vibrate in a proper register to that of the trumpet. I didn't know, and I tried to play the trumpet with an ineffective embouchure for almost 15 years. I had to make a lot of changes, including de-stressing by blowing, because when my lips weren't working well, my teachers would tell me "push harder !!" ... so, that made everything worse.
Hey Bryan- not sure if the topic would be too deep for an episode, but any thoughts about dealing with Embouchure Dystonia?
I think that probably is too much for a catch all video, as there are a lot of variables, but I do have experience working through focal dystonia with people. Please contact me through the website if you’d like to discuss it further.
When I first started playing trumpet, I used to think that pressuring My lips against the trumpet, and blowing very hard was gonna produce the triple c note, Which it is not true.
That’s one way to play. It’s not the easy way, though.
Hi .. what is the mouthpiece you are using.. where can I get the same . Please help me.
The mouthpiece in the Thumbnail image which accompanies this video is my Karl Hammond Design Custom, converted to a Schagerl Apredato. You would need to order the same piece from Karl, then send it to Schagerl for conversion. It would be an expensive business, if both companies are even able to help you.
Thanks for watching. Sorry I can't be more helpful.
My mouthpiece position is to the side not in the middle I have tried to move to the center my teeth position.I have been an advanced player
The individual ideal placement depends on how your face is constructed. Everybody's physicality is slightly different. If it works then it's fine.
한글자막
You know Denis wick american classic 3 C??
Not specifically. If it’s a similar size to a Bach 3C then it’s too big for me.
@@AirflowMusicNYC What mouthpiece do you use?
@@user-hr5uj1wq5q- I have a set of mouthpieces I use on a regular basis. I use different ones for different musical purposes. The one you see most often is a custom piece by Karl Hammond Design, converted to a Schagerl Apredato.
I also wear a US Size 10.5 shoe. That information is just as useful as what mouthpiece I play.
What about old guy chops..I have a great sound and flexible but the upper range and endurance is gone..I'm75...HEE HEE
I can only speak to the experience of working with some of my more senior students. It seems that it takes longer to warm up, and endurance requires a little more maintenance, as we age. It’s certainly possible to rebuild. One of my most regular students is 80 years old and is re-expanding his range weekly.
embouchure is French but it means "the mouth of a river"
Interesting. When I looked it up that wasn’t one of the definitions I found.