I know several very accomplished professional tuba players that switch airstream in a way similar to this (of course much more controlled and smooth), so this does not necessarily has to be a problem but also key of sounding really great in all registers.
A couple of thoughts, Eric. First, what you (or those accomplished players you mention) *think* is happening may not be what is actually going on. Have you used a transparent mouthpiece to observe their lips inside the mouthpiece? Secondly, there are indeed some fine tubists who change the air stream direction like this. As a rule, however, this isn't typical. There are almost always problems that accompany this sort of type switching, if not immediately, it usually eventually catches up to the player. Thanks for watching. Dave
The best video about embouchure on the internet. Very good! All brass players and teachers should watch , learn and remember this things ! Thank you for the wonderful work !
this upcoming marching season, i am playing sousa. i had about a week or two off and on to teach myself how to play.. after watching this i realized that my embouchure was fine. so yay
Not necessarily. It's hard to tell, but the length of the upper lip to the upper teeth and gums seems to have a lot to do with which embouchure will work best for a particular player. Other factors seem related too.
Just to be clear, the switching isn't a good thing that you want to encourage, it's something to correct when it happens. As far as a specific note where this can happen, it depends on the player. For this tubist it happens around his middle C. Some players do it in the extreme ranges. Most don't do it at all, which works better.
I'm struggling at the minute, because that split attack can happen to me anywhere in my mid range, especially when my lip is tired. So stocatto notes are a problem because I often can't hit the note cleanly. I can feel the difference swapping between higher and lower placement and therefore the predominant lip when I'm practicing. But in group playing I find it difficult to understand what is happening, only that I feel upper and lower lip fighting for dominance.
@svenlarsson Hey, Svenne! At the time I took this footage he was reluctant to change. A couple of months later he decided to try to make the switch to upstream and I got the chance to take some more video as I gave him some suggestions. Unfortunately I haven't seen him since shortly after that and I don't know what he ultimately decided. His main instrument is actually piano, not tuba.
The "gap" is usually called the embouchure "aperture." Because of the speed of the video you can't see that lips are opening and closing very fast and isn't a gap, per se. Look at the video I've posted called "Comparison of Buzzing with Playing" to see what this looks like in slow motion.
@Tyler5h03m4k3r don't worry about his unless you flip from upstream to downstream or vice versa. It's normal for a downstream player to blow more downstream while ascending. Upstream players blow more upstream as they ascend. Both will blow closer towards into the mouthpiece shank the lower they go.
I tried that whole switcheroo thing with my combo of French Horn and 6 1/2 AL and concluded that upstream pedal tones are really hard and bass F is a miserable key.
Lewis is correct for the majority of brass players, but for some the opposite is true. This issue is based on each individual player's unique anatomy. Please watch other videos I've posted here to learn more.
I have never played tuba before, but was doing some research on learning. This video was actually the first one that was useful. If anyone has any tips or anything for playing tuba and sousaphone, please let me know. Thanks.
Interesting work. Having watched this now that I have seen this with a transparent mouthpiece, I think I might do some stream switching as I get into the upper register as well, something I'll look out for moving forward. Thanks for sharing!
I've search this kind of studies. well it is absolutely good!! little help. i am trumpet player, i comfortably use to practice and play the instrument with the wrong placement of the mouthpiece which is in the side of my lips and because of that i can't reach highnotes :( now it is hard for me to place it correctly and play highnotes and it really frustrates my part :( is there any guide or tips you can teach??
@windinhishairJ3 You might try looking at some of my other videos for examples of what you're looking for. In order to understand embouchure form and function you should learn both how embouchures function when working well, and what characteristics accompany problems.
i think im more of the switching between both im not sure. when i want to play a high pitch i put more bottom lip in at move my mouth to the top pf the mouthpeice, and vice versa. what kind of lip position would u call that?
ya well im also a tubist and i play mostly with a upstream embouchure because my lower lip is bigger than my higher lip and sorry typo i meant above the staff if that makes any sense
wow thanks this will help me a lot :D i actually tried this and this actually is true. do you have a site where you can show how the embochure is suppose to be placed when playing longtones at piano? like for me its like so hard and i start getting the bubbly fuzzy sound and i tried to come in at some times but it does the bubbly sound. I mean i can totally play soft in the high range easily but low range like F# for this one concert piece the tubas have to play soft and i 50% of the time bubble
It would be better to study the embouchures of great players rather than lesser players. Lots of combinations don't work, I'd like to know the things that do.
i would have liked to see him try to play higher on the staff like Bb about the staff or double Bb and i couldnt notice did he ever get up to a F in the staff
Moving the mouthpiece lower only works if it's correct for the individual's unique anatomy. What this tubist needs to do will be different for everyone else, since everyone has a different face.
I couldn't stop laughing when the dude was playing the lower range at around 6:30. Looked like he was doing a raspberry.
He is. All brass players are. All the time.
I know several very accomplished professional tuba players that switch airstream in a way similar to this (of course much more controlled and smooth), so this does not necessarily has to be a problem but also key of sounding really great in all registers.
A couple of thoughts, Eric. First, what you (or those accomplished players you mention) *think* is happening may not be what is actually going on. Have you used a transparent mouthpiece to observe their lips inside the mouthpiece? Secondly, there are indeed some fine tubists who change the air stream direction like this. As a rule, however, this isn't typical. There are almost always problems that accompany this sort of type switching, if not immediately, it usually eventually catches up to the player.
Thanks for watching.
Dave
Finally thank you I needed this it was such a struggle for me to do it
The best video about embouchure on the internet. Very good! All brass players and teachers should watch , learn and remember this things ! Thank you for the wonderful work !
this upcoming marching season, i am playing sousa. i had about a week or two off and on to teach myself how to play.. after watching this i realized that my embouchure was fine. so yay
Not necessarily. It's hard to tell, but the length of the upper lip to the upper teeth and gums seems to have a lot to do with which embouchure will work best for a particular player. Other factors seem related too.
Yes it clearly shows a gap between the lips to let the Aistream flow freely,results in a clean sound
Watch again. His downstream embouchure range caps around D above Bb on top of the staff. His upstream embouchure allows him to play higher.
Just to be clear, the switching isn't a good thing that you want to encourage, it's something to correct when it happens. As far as a specific note where this can happen, it depends on the player. For this tubist it happens around his middle C. Some players do it in the extreme ranges. Most don't do it at all, which works better.
I'm struggling at the minute, because that split attack can happen to me anywhere in my mid range, especially when my lip is tired. So stocatto notes are a problem because I often can't hit the note cleanly. I can feel the difference swapping between higher and lower placement and therefore the predominant lip when I'm practicing. But in group playing I find it difficult to understand what is happening, only that I feel upper and lower lip fighting for dominance.
@svenlarsson Hey, Svenne!
At the time I took this footage he was reluctant to change. A couple of months later he decided to try to make the switch to upstream and I got the chance to take some more video as I gave him some suggestions. Unfortunately I haven't seen him since shortly after that and I don't know what he ultimately decided. His main instrument is actually piano, not tuba.
The "gap" is usually called the embouchure "aperture." Because of the speed of the video you can't see that lips are opening and closing very fast and isn't a gap, per se. Look at the video I've posted called "Comparison of Buzzing with Playing" to see what this looks like in slow motion.
@Tyler5h03m4k3r don't worry about his unless you flip from upstream to downstream or vice versa. It's normal for a downstream player to blow more downstream while ascending. Upstream players blow more upstream as they ascend. Both will blow closer towards into the mouthpiece shank the lower they go.
I tried that whole switcheroo thing with my combo of French Horn and 6 1/2 AL and concluded that upstream pedal tones are really hard and bass F is a miserable key.
Lewis is correct for the majority of brass players, but for some the opposite is true. This issue is based on each individual player's unique anatomy. Please watch other videos I've posted here to learn more.
@Bamchucknorris It's etude #6 from the 40 Advanced Studies fro Bb Bass by H.W. Tyrell.
I have never played tuba before, but was doing some research on learning. This video was actually the first one that was useful. If anyone has any tips or anything for playing tuba and sousaphone, please let me know. Thanks.
thanks for your video! now i know more about playing at different registers. But is there any specific note where the switching takes place?
I have this exact same problem, thank you very much!
What is the name of the piece he is playing at beginning, I'd like to learn it
Interesting work. Having watched this now that I have seen this with a transparent mouthpiece, I think I might do some stream switching as I get into the upper register as well, something I'll look out for moving forward. Thanks for sharing!
I just realized I do stream switching when I play higher notes. I have a more downward stream when I play high Bb - Db off the staff.
Thanks a lot ...this video is incredible thanks for post it....
I've search this kind of studies. well it is absolutely good!! little help. i am trumpet player, i comfortably use to practice and play the instrument with the wrong placement of the mouthpiece which is in the side of my lips and because of that i can't reach highnotes :( now it is hard for me to place it correctly and play highnotes and it really frustrates my part :(
is there any guide or tips you can teach??
@windinhishairJ3 You might try looking at some of my other videos for examples of what you're looking for. In order to understand embouchure form and function you should learn both how embouchures function when working well, and what characteristics accompany problems.
i think im more of the switching between both im not sure. when i want to play a high pitch i put more bottom lip in at move my mouth to the top pf the mouthpeice, and vice versa. what kind of lip position would u call that?
ya well im also a tubist and i play mostly with a upstream embouchure because my lower lip is bigger than my higher lip and sorry typo i meant above the staff if that makes any sense
wow thanks this will help me a lot :D i actually tried this and this actually is true. do you have a site where you can show how the embochure is suppose to be placed when playing longtones at piano? like for me its like so hard and i start getting the bubbly fuzzy sound and i tried to come in at some times but it does the bubbly sound. I mean i can totally play soft in the high range easily but low range like F# for this one concert piece the tubas have to play soft and i 50% of the time bubble
It would be better to study the embouchures of great players rather than lesser players. Lots of combinations don't work, I'd like to know the things that do.
i would have liked to see him try to play higher on the staff like Bb about the staff or double Bb and i couldnt notice did he ever get up to a F in the staff
Is he playing a CC tuba?
I try it out but seems doesn't work to me( place the mouthpiece lower) .. it has less projection..
heydo u guys kow where i could get a transparent mouth piece and how much it costs
Moving the mouthpiece lower only works if it's correct for the individual's unique anatomy. What this tubist needs to do will be different for everyone else, since everyone has a different face.
Interesting video even for didjeridoo players.
interesting, nice video
interesting. I like it.
sorry not a site i mean, another youtube video?
im sorry but this is putting me to sleep. probably my fault. but good facts, very educational. im forwarding this to my friend who plays
Ok so it's not just me that shifts my embouchure
Horse lips = good tone 😂
what is he playing
He is mostly playing Etude #6 from 40 Advanced Studies by Tyrrell. Sorry, I know the question's a year old. *shrug*
I came her from jacks films Thumbs up if you did aswell!!
i love the splits ;)
bloody C tuba's ;)