This is exactly the explanation I could have used in high school and college. I found this answer about 12 years ago while searching for it on TH-cam. Changing my embouchure, taking time off to reset my muscle memory, coming back to the horn with a mirror and hours of long tones and scales, making sure my corners and chin stayed firm. I could barely get to a D in the staff before my chin would cave, pushing up. Working on strengthening them has done wonders, and I'm still moving forward, killing old habits. Loving the way I'm improving each day I touch the horn. It's amazing.
Well this is gold, I just found this today ! Tito was my teacher in Chicago, for a brief time. I can say he was the best teacher. My biggest impediment was over blowing. Man, free lessons! !
Tito, I am 77 years old and have just started to learn how to play the trumpet. My grandson started band this past year and chose the trumpet. I began playing so that he and I could play together. I am taking lessons, and am having fun. However, when I work on pieces that have notes starting with C and above, I look like I am trying to force myself to hit them, you can see the pressure in my veins when I try these. Thank you. Reg Adamski
Hi Reg! Thanks for your comment. Please check out my video Upper Register Breakthrough for help with reaching those higher notes, and thanks for watching my videos!
Three FFF's - I have been using this for the past 32 years of my teaching. It makes sense to me and many of my students. In fact, this can also be used for most wind playing instruments. Students need to understand that you must first start with a firm foundation and make it one that can be strong. Once the foundation is set, it can be built upon, by adding the stories, floors or levels. Whatever the terminology you are comfortable teaching. I earned my MEd from VanderCook College of Music, Chicago, of course. So, it is very possible I heard this being reinforced, by many band directors. Love your TH-cam channel. You do a great job breaking down the concepts you are teaching. Thanks for your inspiration, education and encouraging words. Keep up the Great Work.
Hey Tito. I’m really enjoying your videos! I’m a 60 year old retired band director looking to recapture some of what has been lost over the years from playing so many instruments daily in my classroom. I never heard of the term, “mouth environment “ for changing registers with tongue placement. Thanks for the inspiration as I try to get back in the game. Thanks!
Expert knowledge is one thing, but the ability to engage listeners is quite another. Tito obviously has the first. But he has both in equal measure. I could listen to him for hours, whatever the subject.
In turning 76, last blew my horn in 9th grade, 1961. I have to start over. Lol. Watching youtubes to learn about proper embouchure before I try to play again. I don't recall our junior hs orchestra teacher explaining all this technique
Thank you for posting this video. One Hallmark of a great teacher is to not only to possess valuable knowledge but to communicate to students in a way that they can incorporate your knowledge and benefit from your past experience. You demonstrate this beautifully. I relax my embouchure too much in the lower register and have difficulty ascending back into the middle and upper registers without resetting. Watching you describe your approach and then showing us your set-up by free buzzing has given me an example to visualize as I continue to work. I'm incorporating your concepts of maintaining a high setting and beginning scales and exercises in the mid-upper register then descending. Man, that's so brilliant! Sometimes the best concept is a simple concept; as trumpet players we already spend hours on exercises. I'm always happy for chances to engage my mind while playing, to do double-duty and really make the exercise work for me. Again, thanks so much for posting, I hope your channel continues to grow!
Good morning Tito. Thank you for posting this video indicating the embouchure and a very nice refresher on how to keep the corners tight the airflow good and the entire group of the three F’s. In addition, it’s great that you gave Carmine Caruso some credit for this. Keep the great videos and the excellent concise, clear, teaching coming.
no habia entendido la embocadura hasta que vi este viedo y hoy ya pude tocar mis primeras notas de manera adecuada, sin hacer esfuerzos para sacar aire.
Yeah I added in lip buzzing, mouthpiece buzzing, and leadpipe buzzing many years ago. I think it's really beneficial, but I have no illusion that it resembles real playing. And all of those combined is less than 5 minutes a day. I think it's just a good embouchure builder. It helps make tone production easier when you add the horn. Some people try to go psycho with it and spend like 30 minutes doing all that.
Tito_At age 72 and away from my horn for 18 years I just pulled it out of the closet and am looking your way for guidance to make music again. Thanks for the 3 F's. I look to build up slowly with faithful persistence.
Fantastic video Tito! Really helpful info! Especially when you explain that the lips are to actually come toward the teeth and not pucker out into the mouthpiece. I still battle that "pucker" syndrome and I firmly believe it was that "monkey" picture so many of us grew up, thinking that that is how you want your embouchure to be! I look forward to your future videos! Thanks again!
@@jazzmindwithtitocarrillo605 HA! Well maybe we can find some time to casually share ideas and learn from each other during the year. I really hope that can happen and I can't wait to do this. We would love to have you and Sara and kids over for dinner sometime too🙂
Nice, first time I came across you. I’m 83 years old. I studied with Carmine and John Costello when I was 18 and I never became a high note player, always the jazz player. Also Art Farmer helped me out. I loved his playing. At 83 I’m still at, with long time dentures. Sometimes me sound just cuts off, I don’t think I use much pressure? Any suggestions. Thanks for the good information.
Hi Stephen, wow, you’ve studied with legends! Art Farmer is one of my biggest trumpet influences. Without seeing you play, it’s kind of hard to diagnose. One thing I will say is if the sound is cuts off, that sounds like a lip vibration issue. Try buzzing on the mouthpiece from a middle G and bending down to a low C without a break in the sound. Then bend up from G to C. Expand as low and as high as you can go making sure there are no breaks in the buzz. This will help you to maintain the vibration throughout. Hope this helps, thanks for watching! 🙏🏽
@@jazzmindwithtitocarrillo605 That's great! You're an excellent communicator Tito. I'll be watching all your past and future videos. Amateur senior (retired) comeback player, with limited range and lifespan at this point, but I play in a New Horizon community band ans want to play well as a section player.
Thanks for a great video. One question... Can someone explain what is meant by "flat chin?" I guess that it must be obvious, but I just am not sure what it means. Thanks!
@@tomhellmuth8156 It simply means creating a flat surface using the facial muscles surrounding the chin area. This prevents a pocket of air being produced in the chin area when playing, and increases stability in the embouchure.
I've been playing for many years, and have really started looking at lip formation. Personally, the very center of my upper lip sort of protrudes downward. I call it my lip tit. I have oven wondered if that extra amount of "meat' inside the mouthpiece is what has hampered me from attaining a solid upper register.. above High C. Eric Miyashiro appears to me to have a similar lip structure, but it doesn't hamper his range. Thanks for your post.
Tito, thank you so much for your help. This video already has me on a great track, but can you help me better understand the “flat chin” part of this? I’m not exactly sure how to interpret it… Thank you again! You’re a gift to the trumpet world!!
Thank you for watching Jacob! 🙏🏽. By flat chin I mean that you should be creating a flat surface with your chin, which will take some flexing of those muscles. We don’t necessarily want like a puffy chin with lots of air pockets, for example. There are different opinions out there about this, but in my experience, this has been helpful in stabilizing my embouchure and allowing my lips to vibrate freely.
@@jazzmindwithtitocarrillo605 Thank you so much, Tito 🙏 I’ve been practicing this and it’s already helping me You’re the man!! PS - Just downloaded Urbanessence, and I’ll be turning my friends onto it
Hi Tito. Thanks for the lesson . It appears that you play slightly off centre? I've recently tried doing this which initially had some surprisingly good results. If I'm correct about where your mouthpiece sits, was it always like this or did you intentionally make that change? Many thanks Nick
My setup is pretty natural, it just feels comfortable to me based on my underlying teeth structure. You can experiment, but I would say use the setup that allows you to play with a clear, pure sound in all registers, and it shouldn't matter if it looks like mine or anybody else's. Terell Stafford plays very off center, and he is one of the greatest in the world.
I’ve never had a trumpet lesson but I bought a trumpet. I sound horrible when I blow into the trumpet. It sounds like a balloon that’s deflating. What are the very first steps I need to know in order to make a clean sound of a note. Also how do I know what notes I’m playing because I’m not hearing notes just a terrible sound.
@@annalehman763 It sounds like you’re blowing too forcefully. It shouldn’t feel like you’re blowing out candles on your birthday cake, but instead, imagine having one candle a foot away from your mouth and you’re trying to make it flicker WITHOUT blowing it out. Then try buzzing a note on your mouthpiece, Use te 3 F’s so the buzzing part of the lips are relaxed not tense. Once you can get a nice even buzz on the mouthpiece, then add the trumpet. The other thing is you must hear the note you want to play. The first two notes trumpet players learn are low C and middle G, both open fingerings. Try singing the notes before you play them. Hope this helps.
Hi Tito I am 75 years of age and took up the trumpet 18 months ago. I am struggling with endurance especially at upper f and g on the staff. I have worked hard at strengthening my chops practicing for an hour a day, using lip buzzing, Arban, long notes as well as a pressure gauge attached to a mouthpiece. My teacher suggests that I am trying to go to fast and I am already past where I should be after 18 months. Do you have any advice for an old man who is determined to play well before he pops the planet.
Please watch my video called Upper Register Breakthrough where I talk about expanding range. Are you practicing softly with good lower body breath support? That was key for me to teach my body to access high notes in a more relaxed manner. Get the notes first, volume second.
I'm in my freshman year of high school, so I've only been playing for around 3 and a half years. I noticed in the video you said that the only time you should change embouchure is when you don't have enough top lip, but it seems that I am having the complete opposite problem. As I start to get higher, my bottom lip rolls in, so I can only get to about a G on top of the staff. When I take the mouthpiece off, I notice that I have around 75% top lip and 25% bottom, which I know is a really big problem. I've been trying some things out, like the charlie porter method, but the same issue keeps occurring. I was wondering if you had any tips for ways to fix this?
There are many terrific players that are top lip dominant. Chris Botti comes to mind. Some of my tips may not work for you, but that doesn’t mean you necessarily need to change your embouchure. If I were you I would observe players like Chris Botti, especially watching them as they change registers. There is a person who studied brass embouchures and even categorized them into 4 general groups, Dr. Donald Reinhardt. His stuff gets pretty technical, but you might find some help there for your embouchure type. I have a former student who is top lip dominant, and she can play higher than me! So it’s more than possible to grow as a trumpet player being top lip dominant.
Hi Stephen, thanks for your message! Unfortunately, I am not able to take on more students at the moment. Let me know if you have a topic suggestion for an upcoming video, and I’ll do my best to include it in an upcoming video.
Yes you can try that. Remember that this technique is a workout for the corners and chin, which is why you don’t want to overdo lip buzzing. Try placing your thumb and fingers on your corners while lip buzzing, and make sure the lips are coming in towards the teeth. See if you can get any note above low C to come out, even if it’s a D or E. Then work from there. Hope this helps
I'm surprised you haven't found more students needing both minor and major ebouchure changes. It's possible to play pretty well at a high school level with all manor of screwed up embouchures, using muscles in complete opposition to the "3 Fs" you describe. I certainly did! Changing to the flat chin, engaging the corners firmly but without pinching them in, and engaging the "sneer" muscles to raise the cheeks and emphasize the cheek folds in order to enable the lips to be thinned out and move in/back to the teeth is not a very natural intuitive thing for most humans. It was a very drastic and most difficult change for me. Am I really that rare?
Those are undoubtedly a lot of adjustments in themselves, but I was referring to having to make a major embouchure change where you need to bring more top or bottom lip into the mouthpiece and literally buzz in a different manner than before. Most students I encounter don’t need to go that far.
Ah I see. I've moved the mouthpiece a bit more towards center, and I found that change to be minor. Trivial compared to the 3-4 months of not having a clue how to make a sound when I had to reverse all the muscle effort. I went from pushing and squeezing everything into the mouthpiece to the 3Fs. Not much of a visible change, just more pink showing towards the corners as I unpinched everything. But I'd call it a massive enbouchure change that has taken years to dial in (with fantastic results). I gotta believe many students suffer from that malady, despite the mouthpiece being in the right place.
I just discovered this video on TH-cam, been playing since 2020. I practice almost everyday but I don't like my sound. Sounds flat and the embouchure is not balanced from low cloudy low register notes to high sharper notes(high D, high D#, E) I guess my aperture is not precise. When I buzz a G, I get air coming out of many places. Thanks for the video looking forward to more
Thanks da11king! What kind of sound are you going for? Is there someone that comes close to what you want to sound like? Remember that your sound starts with your own vivid imagination about what you want to sound like. I tell my students to always have two guiding principles: you want it to sound great and feel easy. That’s what I’m always searching for, and I need both elements, one is not enough. As for buzzing the G, I think the lips-mouthpiece-horn exercise will work well for you if you do it everyday. One of the purposes of the 3 F’s is to create a seal so that air doesn’t escape out of the sides. Imagine yourself blowing gently through a tiny straw. Try buzzing that way.
I like 3Fs and I'd add 4s F...Fu#k lip bussing...I think lip bussing is a good only for worm up...If you can whistle from low to hi sound using lip muscles using right Embouchure, right mouthpiece, strong air breathing into mouthpiece hole like playing flute and brain you can play the trumpet...Make sure do not use too much pressure on your lips...use muscles and air pressure...If your lips turns blue you are in big trouble...you are stopping the blood supply to your lips...stop to play immediately...Good luck!!!
Thanks for the tips! I recently changed my embrochure. I was playing of-centre to the right. I'm now more centre to get a better seal of the aperture and I getting a little challenge when I descend to the lower register but I'm back to to top of my range and fairly çomfortable at C, two spaces above the stave.myembrochure
Rebuilding my embouchure at 51. Tone has improved, my range is a slower rebuild process for sure. Much appreciated. 👍
This is exactly the explanation I could have used in high school and college. I found this answer about 12 years ago while searching for it on TH-cam. Changing my embouchure, taking time off to reset my muscle memory, coming back to the horn with a mirror and hours of long tones and scales, making sure my corners and chin stayed firm. I could barely get to a D in the staff before my chin would cave, pushing up. Working on strengthening them has done wonders, and I'm still moving forward, killing old habits. Loving the way I'm improving each day I touch the horn. It's amazing.
Well this is gold, I just found this today ! Tito was my teacher in Chicago, for a brief time. I can say he was the best teacher.
My biggest impediment was over blowing. Man, free lessons! !
Tito, I am 77 years old and have just started to learn how to play the trumpet. My grandson started band this past year and chose the trumpet. I began playing so that he and I could play together. I am taking lessons, and am having fun. However, when I work on pieces that have notes starting with C and above, I look like I am trying to force myself to hit them, you can see the pressure in my veins when I try these. Thank you. Reg Adamski
Hi Reg! Thanks for your comment. Please check out my video Upper Register Breakthrough for help with reaching those higher notes, and thanks for watching my videos!
Reg, I LOVE the fact that you are taking up a new instrument so that you and your grandson can play together. You sir, are a wonderful grandfather! ❤
Three FFF's - I have been using this for the past 32 years of my teaching. It makes sense to me and many of my students. In fact, this can also be used for most wind playing instruments. Students need to understand that you must first start with a firm foundation and make it one that can be strong. Once the foundation is set, it can be built upon, by adding the stories, floors or levels. Whatever the terminology you are comfortable teaching. I earned my MEd from VanderCook College of Music, Chicago, of course. So, it is very possible I heard this being reinforced, by many band directors. Love your TH-cam channel. You do a great job breaking down the concepts you are teaching. Thanks for your inspiration, education and encouraging words. Keep up the Great Work.
Hi Tito. As a trumpet player for68 years-forty of them as a 'pro' it was like a great refresher course watching your video. Thanks-Ian
Hey Tito. I’m really enjoying your videos! I’m a 60 year old retired band director looking to recapture some of what has been lost over the years from playing so many instruments daily in my classroom. I never heard of the term, “mouth environment “ for changing registers with tongue placement. Thanks for the inspiration as I try to get back in the game.
Thanks!
Expert knowledge is one thing, but the ability to engage listeners is quite another. Tito obviously has the first. But he has both in equal measure. I could listen to him for hours, whatever the subject.
Thanks for your kind words 🙏🏽
In turning 76, last blew my horn in 9th grade, 1961. I have to start over. Lol. Watching youtubes to learn about proper embouchure before I try to play again. I don't recall our junior hs orchestra teacher explaining all this technique
Thank you for posting this video. One Hallmark of a great teacher is to not only to possess valuable knowledge but to communicate to students in a way that they can incorporate your knowledge and benefit from your past experience. You demonstrate this beautifully.
I relax my embouchure too much in the lower register and have difficulty ascending back into the middle and upper registers without resetting. Watching you describe your approach and then showing us your set-up by free buzzing has given me an example to visualize as I continue to work.
I'm incorporating your concepts of maintaining a high setting and beginning scales and exercises in the mid-upper register then descending. Man, that's so brilliant! Sometimes the best concept is a simple concept; as trumpet players we already spend hours on exercises. I'm always happy for chances to engage my mind while playing, to do double-duty and really make the exercise work for me.
Again, thanks so much for posting, I hope your channel continues to grow!
Thanks for these kind words Tony, and I’m so glad that my videos are helping you in some way! 🙏🏽
That intro to this is crucial !
Great vid my friend!!…exactly everything I talk about with my
Youngbloods!!…even down to the horn angle! Three F’s!! Keep it up!😎🎺🔥
Many thanks for sharing this brilliant and informative presentation. Respect 🎺
Good morning Tito. Thank you for posting this video indicating the embouchure and a very nice refresher on how to keep the corners tight the airflow good and the entire group of the three F’s. In addition, it’s great that you gave Carmine Caruso some credit for this. Keep the great videos and the excellent concise, clear, teaching coming.
Thank you for sharing your knowledge Tito, From Scotland.
Brilliant info...thanks so much 👍
Love the 3 F's!!!
Nice job Tito for this elder comeback. Struggling with the usual range and endurance. Real PITA. Thx for the tips.
Thank you Tito! You Always provide great information!
Tito, all outstanding videos! Simple, straightforward, and easy to understand. I’ll bet you are a terrific professor!!
no habia entendido la embocadura hasta que vi este viedo y hoy ya pude tocar mis primeras notas de manera adecuada, sin hacer esfuerzos para sacar aire.
Me alegra que el video te ayudó! 🙏🏽
Yeah I added in lip buzzing, mouthpiece buzzing, and leadpipe buzzing many years ago. I think it's really beneficial, but I have no illusion that it resembles real playing. And all of those combined is less than 5 minutes a day. I think it's just a good embouchure builder. It helps make tone production easier when you add the horn. Some people try to go psycho with it and spend like 30 minutes doing all that.
tremenda información Tito gracias and I subscribed ...so looking forward for more info 😉
Tito_At age 72 and away from my horn for 18 years I just pulled it out of the closet and am looking your way for guidance to make music again. Thanks for the 3 F's. I look to build up slowly with faithful persistence.
Fantastic video Tito! Really helpful info! Especially when you explain that the lips are to actually come toward the teeth and not pucker out into the mouthpiece. I still battle that "pucker" syndrome and I firmly believe it was that "monkey" picture so many of us grew up, thinking that that is how you want your embouchure to be! I look forward to your future videos! Thanks again!
Thank you Glenn, glad it was helpful!
Thank you for sharing 👍
easy to understand(good teacher)
Amazing video, Tito! I resonate with everything you are saying and want to take a horn lesson with you now!!!
Funny, I was gonna ask you the same thing! 🤣
@@jazzmindwithtitocarrillo605 HA! Well maybe we can find some time to casually share ideas and learn from each other during the year. I really hope that can happen and I can't wait to do this. We would love to have you and Sara and kids over for dinner sometime too🙂
Thank you!!
Thanks Tito for sharing your knowledge ! I'm a beginner trumpet player who fall in love with this instrument and your tips help a lot 🙏.
Thanks interesting info
Great video! Nice to see J Mood among those great album covers.
So funny, I hated the album when I first bought it (on cassette!), and now it's one of my favorite Wynton albums! My ears weren't ready at the time.
@@jazzmindwithtitocarrillo605 Yeah, I liked it when I first heard it, but I'm not going to pretend I *understood* it!
Tito, is that the Adams A4LT? Sounds great brother. Love the content. Subscribed!👍
@@rcbutler5311 Yes it is!
Súper Niceeeee, thanks Máster Tito
Gracias Moises, un abrazo!
Nice, first time I came across you. I’m 83 years old. I studied with Carmine and John Costello when I was 18 and I never became a high note player, always the jazz player. Also Art Farmer helped me out. I loved his playing. At 83 I’m still at, with long time dentures. Sometimes me sound just cuts off, I don’t think I use much pressure? Any suggestions. Thanks for the good information.
Hi Stephen, wow, you’ve studied with legends! Art Farmer is one of my biggest trumpet influences. Without seeing you play, it’s kind of hard to diagnose. One thing I will say is if the sound is cuts off, that sounds like a lip vibration issue. Try buzzing on the mouthpiece from a middle G and bending down to a low C without a break in the sound. Then bend up from G to C. Expand as low and as high as you can go making sure there are no breaks in the buzz. This will help you to maintain the vibration throughout. Hope this helps, thanks for watching! 🙏🏽
Hi ..I am 76 and just started a year ago
Great challenge. Hang in there
Un fuerte abrazo pa' ti Tito! I hope you're teaching in an institution somewhere so you can share this wisdom with many people as you are doing here.
Thanks James! I’ve been a full-time professor of trumpet and jazz studies at the University of Illinois at Urbana-Champaign for 17 years.
@@jazzmindwithtitocarrillo605 That's great! You're an excellent communicator Tito. I'll be watching all your past and future videos. Amateur senior (retired) comeback player, with limited range and lifespan at this point, but I play in a New Horizon community band ans want to play well as a section player.
Thanks for a great video. One question... Can someone explain what is meant by "flat chin?" I guess that it must be obvious, but I just am not sure what it means. Thanks!
@@tomhellmuth8156 It simply means creating a flat surface using the facial muscles surrounding the chin area. This prevents a pocket of air being produced in the chin area when playing, and increases stability in the embouchure.
Thanks! Makes sense. @jazzmindwithtitocarrillo605
What about the right mouthpiece? Is there a better one for the high registers combined with the other techniques youare teaching?
I've been playing for many years, and have really started looking at lip formation. Personally, the very center of my upper lip sort of protrudes downward. I call it my lip tit. I have oven wondered if that extra amount of "meat' inside the mouthpiece is what has hampered me from attaining a solid upper register.. above High C. Eric Miyashiro appears to me to have a similar lip structure, but it doesn't hamper his range. Thanks for your post.
Tito, thank you so much for your help. This video already has me on a great track, but can you help me better understand the “flat chin” part of this? I’m not exactly sure how to interpret it…
Thank you again! You’re a gift to the trumpet world!!
Thank you for watching Jacob! 🙏🏽. By flat chin I mean that you should be creating a flat surface with your chin, which will take some flexing of those muscles. We don’t necessarily want like a puffy chin with lots of air pockets, for example. There are different opinions out there about this, but in my experience, this has been helpful in stabilizing my embouchure and allowing my lips to vibrate freely.
@@jazzmindwithtitocarrillo605
Thank you so much, Tito 🙏
I’ve been practicing this and it’s already helping me
You’re the man!!
PS - Just downloaded Urbanessence, and I’ll be turning my friends onto it
Hi Tito. Thanks for the lesson . It appears that you play slightly off centre? I've recently tried doing this which initially had some surprisingly good results. If I'm correct about where your mouthpiece sits, was it always like this or did you intentionally make that change? Many thanks Nick
My setup is pretty natural, it just feels comfortable to me based on my underlying teeth structure. You can experiment, but I would say use the setup that allows you to play with a clear, pure sound in all registers, and it shouldn't matter if it looks like mine or anybody else's. Terell Stafford plays very off center, and he is one of the greatest in the world.
I’ve never had a trumpet lesson but I bought a trumpet. I sound horrible when I blow into the trumpet. It sounds like a balloon that’s deflating. What are the very first steps I need to know in order to make a clean sound of a note. Also how do I know what notes I’m playing because I’m not hearing notes just a terrible sound.
@@annalehman763 It sounds like you’re blowing too forcefully. It shouldn’t feel like you’re blowing out candles on your birthday cake, but instead, imagine having one candle a foot away from your mouth and you’re trying to make it flicker WITHOUT blowing it out. Then try buzzing a note on your mouthpiece, Use te 3 F’s so the buzzing part of the lips are relaxed not tense. Once you can get a nice even buzz on the mouthpiece, then add the trumpet. The other thing is you must hear the note you want to play. The first two notes trumpet players learn are low C and middle G, both open fingerings. Try singing the notes before you play them. Hope this helps.
😊😊😊😊😊saludos masterr from Peruuu
Saludos Christian! 🙏🏽
Hi Tito I am 75 years of age and took up the trumpet 18 months ago. I am struggling with endurance especially at upper f and g on the staff. I have worked hard at strengthening my chops practicing for an hour a day, using lip buzzing, Arban, long notes as well as a pressure gauge attached to a mouthpiece. My teacher suggests that I am trying to go to fast and I am already past where I should be after 18 months. Do you have any advice for an old man who is determined to play well before he pops the planet.
Please watch my video called Upper Register Breakthrough where I talk about expanding range. Are you practicing softly with good lower body breath support? That was key for me to teach my body to access high notes in a more relaxed manner. Get the notes first, volume second.
I'm in my freshman year of high school, so I've only been playing for around 3 and a half years. I noticed in the video you said that the only time you should change embouchure is when you don't have enough top lip, but it seems that I am having the complete opposite problem. As I start to get higher, my bottom lip rolls in, so I can only get to about a G on top of the staff. When I take the mouthpiece off, I notice that I have around 75% top lip and 25% bottom, which I know is a really big problem. I've been trying some things out, like the charlie porter method, but the same issue keeps occurring. I was wondering if you had any tips for ways to fix this?
There are many terrific players that are top lip dominant. Chris Botti comes to mind. Some of my tips may not work for you, but that doesn’t mean you necessarily need to change your embouchure. If I were you I would observe players like Chris Botti, especially watching them as they change registers. There is a person who studied brass embouchures and even categorized them into 4 general groups, Dr. Donald Reinhardt. His stuff gets pretty technical, but you might find some help there for your embouchure type. I have a former student who is top lip dominant, and she can play higher than me! So it’s more than possible to grow as a trumpet player being top lip dominant.
@@jazzmindwithtitocarrillo605I don't know if this matters at all but my bottom lip is a lot larger than my top lip by about 2.5x.
Hey Tito, wrote to you before, Steve Goldberg. How do I get in touch for a private on line lesson?
Hi Stephen, thanks for your message! Unfortunately, I am not able to take on more students at the moment. Let me know if you have a topic suggestion for an upcoming video, and I’ll do my best to include it in an upcoming video.
I find it hard to start buzzing a G. Is doing a C ok and working up?
Yes you can try that. Remember that this technique is a workout for the corners and chin, which is why you don’t want to overdo lip buzzing. Try placing your thumb and fingers on your corners while lip buzzing, and make sure the lips are coming in towards the teeth. See if you can get any note above low C to come out, even if it’s a D or E. Then work from there. Hope this helps
@@jazzmindwithtitocarrillo605 Thanks buddy. That was fast
I'm surprised you haven't found more students needing both minor and major ebouchure changes. It's possible to play pretty well at a high school level with all manor of screwed up embouchures, using muscles in complete opposition to the "3 Fs" you describe. I certainly did! Changing to the flat chin, engaging the corners firmly but without pinching them in, and engaging the "sneer" muscles to raise the cheeks and emphasize the cheek folds in order to enable the lips to be thinned out and move in/back to the teeth is not a very natural intuitive thing for most humans. It was a very drastic and most difficult change for me. Am I really that rare?
Those are undoubtedly a lot of adjustments in themselves, but I was referring to having to make a major embouchure change where you need to bring more top or bottom lip into the mouthpiece and literally buzz in a different manner than before. Most students I encounter don’t need to go that far.
Ah I see. I've moved the mouthpiece a bit more towards center, and I found that change to be minor. Trivial compared to the 3-4 months of not having a clue how to make a sound when I had to reverse all the muscle effort. I went from pushing and squeezing everything into the mouthpiece to the 3Fs. Not much of a visible change, just more pink showing towards the corners as I unpinched everything. But I'd call it a massive enbouchure change that has taken years to dial in (with fantastic results). I gotta believe many students suffer from that malady, despite the mouthpiece being in the right place.
cool
Aupa Tito! Porque no das clases en castellano
I just discovered this video on TH-cam, been playing since 2020. I practice almost everyday but I don't like my sound. Sounds flat and the embouchure is not balanced from low cloudy low register notes to high sharper notes(high D, high D#, E) I guess my aperture is not precise. When I buzz a G, I get air coming out of many places. Thanks for the video looking forward to more
Thanks da11king! What kind of sound are you going for? Is there someone that comes close to what you want to sound like? Remember that your sound starts with your own vivid imagination about what you want to sound like. I tell my students to always have two guiding principles: you want it to sound great and feel easy. That’s what I’m always searching for, and I need both elements, one is not enough. As for buzzing the G, I think the lips-mouthpiece-horn exercise will work well for you if you do it everyday. One of the purposes of the 3 F’s is to create a seal so that air doesn’t escape out of the sides. Imagine yourself blowing gently through a tiny straw. Try buzzing that way.
Firm corners, flat Chin, fast air...
I like 3Fs and I'd add 4s F...Fu#k lip bussing...I think lip bussing is a good only for worm up...If you can whistle from low to hi sound using lip muscles using right Embouchure, right mouthpiece, strong air breathing into mouthpiece hole like playing flute and brain you can play the trumpet...Make sure do not use too much pressure on your lips...use muscles and air pressure...If your lips turns blue you are in big trouble...you are stopping the blood supply to your lips...stop to play immediately...Good luck!!!
Are you a dizzy gillespie sun? hahaha
Thanks for the tips!
I recently changed my embrochure. I was playing of-centre to the right. I'm now more centre to get a better seal of the aperture and I getting a little challenge when I descend to the lower register but I'm back to to top of my range and fairly çomfortable at C, two spaces above the stave.myembrochure
Two F's are o.k but imO a flat chin isn't a must!
4th F could be foward lips! Goes along with flat chin