Every video focus of your embachure. Was obstructed by your finger on the horn and a straight on shot….. Try making the video from an angle so the camera can focus in more. Then as well…..you could show the shift or pivot where your lower jaw opens and drops to get the lowest notes. Then I would appreciate you playing some scales Downward and upwards showing consistency of pitch and quality of notes. It would make the video more interesting.
You’re actually making a big assumption here that he moves his jaw in the way you suggested while descending. In fact, I propose that he suggests keeping the jaw and embouchure corners steady while descending, while allowing for the mouthpiece to slide downward (loosely toward the chin) as much as is necessary to maintain the centered sound obtained in the middle register. More than 50% of low brass players actually have embouchures that should function best in this way (IIIA, VHP embouchure type). Most of the remaining players will notice more of a jaw movement & angle change while descending (often described as aiming the airstream straight out, rather than down), while potentially making a small adjustment of the mouthpiece sliding upward (IIIB, MHP embouchure type). And a minority of low brass players (upstreamers, who place the mouthpiece with ~10-40% upper lip and ~90-60% lower lip) have the exact opposite motion as Christopher, moving the mouthpiece upward toward the nose to descend, with varying amounts of jaw movements, based on the player (IV, low placement embouchure type). Those are the 3 general embouchure archetypes exhibited by successful players, but there are as many unique variations of these as there are players! For more info, those interested can check out my doctoral dissertations on this topic, linked below. It also explores/suggests which trombone pedagogical texts are best suited for players of each of these basic “embouchure types.” scholar.colorado.edu/concern/graduate_thesis_or_dissertations/0k225b98z
Nice, thanks for this.
is it normal that after doing pedal notes I get really dizzy?
Maybe
It's normal because you may not be used to the air needed to make those low notes. Recommending stretching before a practice session💪
i mean i'm not surprised, your using lots of air, but still probably something you want to avoid.
Oh yes. I've recently played a piece were there was 4 bars of pedal Ab (on tenor trombone). I nearly passed out
I can’t even get to a low F 😭😭
Real
What kind of mouthpiece do you use??
Chris uses the Greigo GP mouthpiece series for all of his playing
Every video focus of your embachure. Was obstructed by your finger on the horn and a straight on shot…..
Try making the video from an angle so the camera can focus in more.
Then as well…..you could show the shift or pivot where your lower jaw opens and drops to get the lowest notes.
Then I would appreciate you playing some scales Downward and upwards showing consistency of pitch and quality of notes.
It would make the video more interesting.
You’re actually making a big assumption here that he moves his jaw in the way you suggested while descending. In fact, I propose that he suggests keeping the jaw and embouchure corners steady while descending, while allowing for the mouthpiece to slide downward (loosely toward the chin) as much as is necessary to maintain the centered sound obtained in the middle register.
More than 50% of low brass players actually have embouchures that should function best in this way (IIIA, VHP embouchure type).
Most of the remaining players will notice more of a jaw movement & angle change while descending (often described as aiming the airstream straight out, rather than down), while potentially making a small adjustment of the mouthpiece sliding upward (IIIB, MHP embouchure type).
And a minority of low brass players (upstreamers, who place the mouthpiece with ~10-40% upper lip and ~90-60% lower lip) have the exact opposite motion as Christopher, moving the mouthpiece upward toward the nose to descend, with varying amounts of jaw movements, based on the player (IV, low placement embouchure type).
Those are the 3 general embouchure archetypes exhibited by successful players, but there are as many unique variations of these as there are players! For more info, those interested can check out my doctoral dissertations on this topic, linked below. It also explores/suggests which trombone pedagogical texts are best suited for players of each of these basic “embouchure types.”
scholar.colorado.edu/concern/graduate_thesis_or_dissertations/0k225b98z