Thanking the performer in advance. Both for his good work, presentation AND for indulging me in advance for the lengthy post. Appreciate it! Cat really was a "ready made customer" for Stevens-Costello. The thing is Stevens-Costello with it's forward jaw, lower lip dominant chop placement can NOT be performed by the majority of trumpet players. Watch for those who play with a low horn angle (usually but not always a sign of the receded jaw setting which according to Stevens was anathema to "proper embouchure"). The lower horn angle while still popular with classical players (one notable exception is Rolf Smedvig who blows almost straight out level) is rarely found among good scream players in the jazz/commercial field. That said? There is a way to get our receded jaw trumpet players some pretty good register. I discovered it out of necessity because by nature I MUST play receded jaw. Until a few years ago this pretty much precluded me from blowing above the High G. Then it dawned on me (!) lightbulb going off. The tool a forward jaw player uses to assist high register is the longer length that his upper lip contacts his upper lip. Of course the receded jaw player doesn't have this tool as his lower lip almost always stays closer inside his mouth that the upper. Reducing the length of travel over both lips. What to do? Well since the positive lower lip assistance is not available to the degree that his more forward jaw peer happily uses (and due to this favorable trait he generally HAS NO CLUE WHAT A BEEATCH It IS FOR THE REST OF US to blow high ones...) Then what??? Answer: Take the pencil exercise TO THE EXTREME! This takes patience as the kind of muscle strength to the facial muscles outside the rim of the mouthpiece I'M TALKING ABOUT approaches the "Bionic" level... You won't be able to do this at first. Nor even come close, but through patient training I found that the secret for the NON emdowed trumpet player is to get those facial muscles strong enough for Double C ability: Is to hold TWO PENCILS TAPED END TO END TOGETHER. And hold the pencil that way for three to five minutes. Again,takes patience. Took me about a full year to get to the three minute mark. Also you shouldn't do this exercise more than three times a week. Best to to on days of no rehearsals or gigs. But it works. It really does.
Finally I get it! I've been trying to play a subtone by controlling and reducing the airflow to maintain a super-soft G. Now I see how it is supposed to be done. Thanks Larry!
Sorry I'm using voice recognition technology to post on TH-cam. Kevin Anderson was with my first teachers I met him at the age of 15 years old. I have posted here a video called memories of Jen Anderson that will explain about my first meeting of cat Anderson it's worth watching
Larry is the "real deal" here. All you cats struggling ought to commit to memory his words here. He's the only voice (so far) on youtube I've seen demonstrate that he knows his beans. Much of the other stuff from other sources is vague or misguided. I even learned more respect (from his video) for the "20 Minute G" he so well describes. Yes! It is a very similar connection to the Stevens- Costello statics. Probably a better point of reference to start out rather than the statics. The statics or "cyclonics" as promoted by Costello truth be told can not be played by everyone in the initial phases. I don't know if Larry will agree with me on this idea but do expect that he does. Thus the 20 min G bridges the gap left over from the prior publication/teachings in Stevens-Costello. I have at least one more application I'd like to include with Larry's good advice but will wait on his call.
I am looking forward to knowing who Jorge really is! and. Yes once again our experience is similar my approach is a variation on the true Costello method. I outlined and explained my variation in a letter to George Rawlins recently. How can I send it to you?
I am the infamous former "LeeC" bounced BOTH by Trumpetherald AND Trumpet Master Effectively for telling the truth.., So I choose to believe anyway. Maybe I fool myself lol... Try my alternate e-mail " Talltales9@yahoo.com " I rarely go there so the email server collects dust. I will write you back under my personal email sorry for the trouble Lee
Thanks for your comments. I am in agreement about the downstream player. However a downstream player can use costellos technique . I describe it here www.larrymeregillano.com
Maybe you can send e a link. And thanks for your response. After this post? I will stop "hijacking" your space. I don't run into a lot of players who learned from Roy (such as I did) and it makes for an interesting chat. Much obliged! Granted dropping the positioning of the upper lip BELOW THE TEETH will certainly help a lot of receded jaw players (I personally don't use the terms "upstream or downstream anymore preferring receded vs forward jaw setting). In fact I've "fixed" probably all of the trumpet players who came to me and could not previously play anything above a High D. All just by getting them to adhere to that one Stevens system fundamental. So long as they listen to me they'll soon develop at least a decent High F to G (and getting them to listen is half the battle lol...). Many times they make the adjustment to High G capability in a matter of minutes! Much to their elation (and yet they are almost to a man very stingy with thanking me too I might add..) However the receded jaw setting almost completely lacks the type of lower lip support that the more forward jaw player has. Thus making the initial "statics and cyclonics" associated with the Stevens-Costello probably impossible for them in the initial phases. At the outset? Yes they may develop a set of whispy notes in around around DHC. And with the horn resting only on the palm of the hand. This however will not come on the typically untrained, receded jaw embouchure. Not like the newbie shifting to playing forward jaw is recommended to do. So I've found anyway. It took me several years of patient calisthenics to get my receded jaw setting to blow a B natural above High C on the palm technique and it's still not all that convincing. But unlike a lot of forward jaw chop settings the tone is fuller on the receded jaw setting. I just add a little contact arm pressure above the limitation allowed by the palm and it's as big as a house. I wouldn't trade my tone for say the ability to squeal a Triple C. Like what for? The DHC is plenty high. Hell the High A is plenty if it's a good accurate one. And besides I couldn't blow forward jaw even if I wanted to. My physiology won't permit it. I believe that the receded jaw setting allows a longer sweep of the upper lip in it's cycle to and from inside the mouthpiece. More air can be displaced and more overtones and volume produced. Maynard once said something about "no-pressure" players and it was enlightening. He described it both pro and con. That the negative was that a complete no pressure type "didn't get a sizzle" and as such didn;t declare it useful for jazz lead playing. Yet he was still much impressed by the other things they could do. Which I presume was in the classical realm like Bach's Brandenburg No II. Somewhere on youtube there's this older cat playing the thing as easy as a flute! Just getting a piece of every note and doing it with the greatest of ease. Then again Roy Roman kinda gets a "sizzle" with the palm trick. As do you too Larry. End thread "hijack" and Best Regards!
...if you’re still here, since nobody has answered, I figure you know by now. But it comes with more control over the instrument and figuring out the sweet spots of airstream to harness it.
complimenti, bravo.. io praticanto questi esercizi, le note acute (fischi) li raggiungo ma solo nel momento dopo il riposo, ma non risco a controllarle e arrivarci costantemente mi può dare qualche consiglio grazie
We probably know each other from my real name... I wouldn't want to call myself an "obscure" trumpet player except? Well except that I'm not particularly famous but for in small circles lol. You may have sent me Roy Roman's c/d about ten years ago. It is so refreshing to see you carry Roy's torch and to adapt your own thoughts into the program too. There exists a resistance in the general trumpet study/teaching areas to the Stevens-Costello system. So much so that my words are often resented by the established types. Thus my screen name different. For now that is... With knowledge of Costello? One can literally FIX some trumpet players instantly. This pisses off a lot of teachers lol and they rebel by banning the discussion, deleting posts etc.
Larry.....you may know alot about playing the upper register but very little about recording. Please ad some attenuation on the input of you trumpet mic to keep from over driving into distortion......thanks.
please do a video on correct braething the way Roy taught you, please dispel the myth of the high compression breath Ingram says Maynard says to braethe 5% of the air pot belly style and the rest with the yoga style breath. Much tension is the result, sure way to pop a cerebral artery. Please lay this to rest.
![CAMPปลิ้น | EP.77[1/2] ก็ไม่ได้ชอบเอาชนะ แต่เรื่องอะไรต้องแพ้!!](http://i.ytimg.com/vi/JraaBYOd7I0/mqdefault.jpg)
I was also a student of Cat Anderson's It was one of my mentors and a dear friend.
I forgot to mention the all important fact that the Whisper G is played in the
teeth closed position.
Hi Larry, 5 years later! Just wanted to suggest that you pin this comment to the top. It's very important.
Thanking the performer in advance. Both for his good work, presentation AND for indulging me in advance for the lengthy post. Appreciate it!
Cat really was a "ready made customer" for Stevens-Costello. The thing is Stevens-Costello with it's forward jaw, lower lip dominant chop placement can NOT be performed by the majority of trumpet players. Watch for those who play with a low horn angle (usually but not always a sign of the receded jaw setting which according to Stevens was anathema to "proper embouchure"). The lower horn angle while still popular with classical players (one notable exception is Rolf Smedvig who blows almost straight out level) is rarely found among good scream players in the jazz/commercial field. That said? There is a way to get our receded jaw trumpet players some pretty good register. I discovered it out of necessity because by nature I MUST play receded jaw. Until a few years ago this pretty much precluded me from blowing above the High G. Then it dawned on me (!) lightbulb going off. The tool a forward jaw player uses to assist high register is the longer length that his upper lip contacts his upper lip. Of course the receded jaw player doesn't have this tool as his lower lip almost always stays closer inside his mouth that the upper. Reducing the length of travel over both lips. What to do? Well since the positive lower lip assistance is not available to the degree that his more forward jaw peer happily uses (and due to this favorable trait he generally HAS NO CLUE WHAT A BEEATCH It IS FOR THE REST OF US to blow high ones...) Then what???
Answer: Take the pencil exercise TO THE EXTREME! This takes patience as the kind of muscle strength to the facial muscles outside the rim of the mouthpiece I'M TALKING ABOUT approaches the "Bionic" level... You won't be able to do this at first. Nor even come close, but through patient training I found that the secret for the NON emdowed trumpet player is to get those facial muscles strong enough for Double C ability: Is to hold TWO PENCILS TAPED END TO END TOGETHER. And hold the pencil that way for three to five minutes. Again,takes patience. Took me about a full year to get to the three minute mark. Also you shouldn't do this exercise more than three times a week. Best to to on days of no rehearsals or gigs. But it works. It really does.
Jorge Callico thank you
Finally I get it! I've been trying to play a subtone by controlling and reducing the airflow to maintain a super-soft G. Now I see how it is supposed to be done. Thanks Larry!
Sorry I'm using voice recognition technology to post on TH-cam. Kevin Anderson was with my first teachers I met him at the age of 15 years old. I have posted here a video called memories of Jen Anderson that will explain about my first meeting of cat Anderson it's worth watching
Larry is the "real deal" here. All you cats struggling ought to commit to memory his words here. He's the only voice (so far) on youtube I've seen demonstrate that he knows his beans. Much of the other stuff from other sources is vague or misguided. I even learned more respect (from his video) for the "20 Minute G" he so well describes. Yes! It is a very similar connection to the Stevens- Costello statics. Probably a better point of reference to start out rather than the statics. The statics or "cyclonics" as promoted by Costello truth be told can not be played by everyone in the initial phases. I don't know if Larry will agree with me on this idea but do expect that he does.
Thus the 20 min G bridges the gap left over from the prior publication/teachings in Stevens-Costello. I have at least one more application I'd like to include with Larry's good advice but will wait on his call.
Jesus Christ my speakers.
😂
gracias desde España
Very talented
I am looking forward to knowing who Jorge really is! and. Yes once again our experience is similar my approach is a variation on the true Costello method. I outlined and explained my variation in a letter to George Rawlins recently. How can I send it to you?
I am the infamous former "LeeC" bounced BOTH by Trumpetherald AND Trumpet Master Effectively for telling the truth.., So I choose to believe anyway. Maybe I fool myself lol... Try my alternate e-mail " Talltales9@yahoo.com " I rarely go there so the email server collects dust. I will write you back under my personal email sorry for the trouble Lee
The 3 or 4 videos of Cat Anderson that I have seen, leads me t think he was a beautiful person.
Please put a warning at the beginning of the vid to headphone users you gave me a head ache thank you
I heard very similar explanations from Hugh Ragin and he got it directly from Cat Anderson!
awoye as did i
Thanks for your comments. I am in agreement about the downstream player. However a downstream player can use costellos technique . I describe it here www.larrymeregillano.com
Maybe you can send e a link. And thanks for your response.
After this post? I will stop "hijacking" your space. I don't run into a lot of players who learned from Roy (such as I did) and it makes for an interesting chat. Much obliged!
Granted dropping the positioning of the upper lip BELOW THE TEETH will certainly help a lot of receded jaw players (I personally don't use the terms "upstream or downstream anymore preferring receded vs forward jaw setting). In fact I've "fixed" probably all of the trumpet players who came to me and could not previously play anything above a High D. All just by getting them to adhere to that one Stevens system fundamental. So long as they listen to me they'll soon develop at least a decent High F to G (and getting them to listen is half the battle lol...).
Many times they make the adjustment to High G capability in a matter of minutes! Much to their elation (and yet they are almost to a man very stingy with thanking me too I might add..) However the receded jaw setting almost completely lacks the type of lower lip support that the more forward jaw player has. Thus making the initial "statics and cyclonics" associated with the Stevens-Costello probably impossible for them in the initial phases. At the outset? Yes they may develop a set of whispy notes in around around DHC. And with the horn resting only on the palm of the hand. This however will not come on the typically untrained, receded jaw embouchure. Not like the newbie shifting to playing forward jaw is recommended to do. So I've found anyway.
It took me several years of patient calisthenics to get my receded jaw setting to blow a B natural above High C on the palm technique and it's still not all that convincing. But unlike a lot of forward jaw chop settings the tone is fuller on the receded jaw setting. I just add a little contact arm pressure above the limitation allowed by the palm and it's as big as a house. I wouldn't trade my tone for say the ability to squeal a Triple C. Like what for? The DHC is plenty high. Hell the High A is plenty if it's a good accurate one. And besides I couldn't blow forward jaw even if I wanted to. My physiology won't permit it.
I believe that the receded jaw setting allows a longer sweep of the upper lip in it's cycle to and from inside the mouthpiece. More air can be displaced and more overtones and volume produced.
Maynard once said something about "no-pressure" players and it was enlightening. He described it both pro and con. That the negative was that a complete no pressure type "didn't get a sizzle" and as such didn;t declare it useful for jazz lead playing. Yet he was still much impressed by the other things they could do. Which I presume was in the classical realm like Bach's Brandenburg No II. Somewhere on youtube there's this older cat playing the thing as easy as a flute! Just getting a piece of every note and doing it with the greatest of ease. Then again Roy Roman kinda gets a "sizzle" with the palm trick. As do you too Larry.
End thread "hijack" and Best Regards!
it is good to do that every day?
Alexandet Mendoza I encourage my students to do so
dear larry how do you stop the lips from vibrating to produce a regular g tone,
...if you’re still here, since nobody has answered, I figure you know by now. But it comes with more control over the instrument and figuring out the sweet spots of airstream to harness it.
Cool intro! What size of mouthpiece do you use??
Vincent Vega bach 7c
sure
complimenti, bravo.. io praticanto questi esercizi, le note acute (fischi) li raggiungo ma solo nel momento dopo il riposo, ma non risco a controllarle e arrivarci costantemente mi può dare qualche consiglio grazie
Jorge you have my permission to hijack my page at any time. It is No wonder that you talk sense. You were Roy's student
We probably know each other from my real name... I wouldn't want to call myself an "obscure" trumpet player except? Well except that I'm not particularly famous but for in small circles lol. You may have sent me Roy Roman's c/d about ten years ago.
It is so refreshing to see you carry Roy's torch and to adapt your own thoughts into the program too. There exists a resistance in the general trumpet study/teaching areas to the Stevens-Costello system. So much so that my words are often resented by the established types. Thus my screen name different. For now that is... With knowledge of Costello? One can literally FIX some trumpet players instantly. This pisses off a lot of teachers lol and they rebel by banning the discussion, deleting posts etc.
Larry.....you may know alot about playing the upper register but very little about recording. Please ad some attenuation on the input of you trumpet mic to keep from over driving into distortion......thanks.
Howard Murden I am a trumpet player with a tablet computer. No big production budget here. Just valuable information foe free.
Don’t change a thing, Larry. You are great and a natural gem. Thank you for everything you do.
high dude.
Marc what givees
Hola maestro podrias subir algun video en castellano por favor??
gracias javier de ushuaia argentina!!!
please do a video on correct braething the way Roy taught you, please dispel the myth of the high compression breath Ingram says Maynard says to braethe 5% of the air pot belly style and the rest with the yoga style breath. Much tension is the result, sure way to pop a cerebral artery. Please lay this to rest.
Why do you hide Your mouthpiece ?😂
Versus, not verses.