Ep. 1 Tongue Position: The Secret to High Notes
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- เผยแพร่เมื่อ 30 ก.ย. 2024
- "In this first episode of Ryan's Trumpet, I share an exciting discovery that made the upper register feel so much easier for me.
"Bringing together insights from several of my mentors (David Hickman, Newell Dayley, and a coaching session with Adam Rapa at this year's International Trumpet Guild conference), I demonstrate a concrete practice to help unlock the secrets of tongue position and free up the upper register."
Ryan's Trumpet is a recurring series that shares ideas and practices that have been extremely helpful to Ryan as a trumpeter, musician, composer, improviser, and teacher.
Have some questions about this episode? About the trumpet? Music? Performance? Jazz? Composing? Comment below!
If your question captures Ryan's imagination, you just might get a free lesson and have an episode dedicated to you!
Ryan Nielsen is the trumpeter in the Kobie Watkins Grouptet.Their first album, "Movement," received international acclaim and was selected by Howard Reich (former member, Pulitzer Jury) as one of the 10 best albums of 2018.
Ryan has recorded and performed with Ra Kalam Bob Moses and the Summit Brass. In 2021, he was an adjudicator for the preliminary rounds of the Carmine Caruso Jazz Trumpet Competition, "The world's most prestigious competition for jazz trumpet." He has performed as lead and solo trumpet with Delfeayo Marsalis's Uptown Jazz Orchestra, and received the Doc Severinsen Award for Outstanding Classical and Jazz Trumpet.
Ryan co-authored "The Classroom Guide to Jazz Improvisation" with John McNeil (Trumpet, Hush Point; frmr. trumpet, Horace Silver; Professor Emeritus, New England Conservatory). It is due to be released later this year by Oxford University Press.
He is currently Associate Professor of Trumpet at Utah Valley University.
Visit Ryan online at www.ryanstrumpet.com
This is the most brilliant and needed fix for easier playing that I have heard in the last 40 years of my playing. Thank you!!!
Glad to hear that it's helping your playing! Thanks for the kind note 🙂
Fix ????? Forget it.
That's interesting. I haven't heard it described in quite that way before. I know what I'm doing this afternoon!
It would be easier to follow in peace without than piano doodling in the background, but good advice in video
awesome - been playing professionally for 27 years and this is the best advice I've ever found cheers Ryan
Nice job describing how sounds happen on the trumpet -such a difficult concept for players to understand.
I would like to concentrate on what you are saying, but the background music is very distracting.
Thanks, @nitram419. Yes, definitely learning as I go 🙂 Hopefully later episodes feel a bit better. For me, different headphones and speakers have helped make it easier to hear. All my best! Ryan
The best video by a mile, that explains higher notes. Thanks for sharing!!!
I have been struggling to play high notes for months. This was the best advice I've gotten so far. I'm now able to play The Last Post, a goal I've had since a child! Thank you so much!
So glad it's helping! Thank you, @sarayyoung6834!
I wish I had seen this 49 years ago when I first started playing. This is brilliant. Might be the best video for trumpet playing ever created. Too bad most of us had to discover this the hard way over years of effort. Thanks for sharing.
The only bad thing is that I'm at work with my trumpet in the room and my boss is next door and I'm going to have to wait for him to leave so I can experiment with this concept lol.
@@williamstadelmeyer3563 lol
I have struggled for years to understand tounge position and how if affects range. Tried this today and the concepts finally clicked. Thank you. My range just went up about 3-4 notes.
Well Ryan, I just happened to catch your video before my practise session, and it really unlocked something for me. Obviously I knew about the importance of tongue position but somehow it never translated into my playing. After hearing your explanations and watching you demonstrate, something clicked. Thank you, and I look forward to your next videos.
Also, sorry if I'm spamming a bit (though as far as I'm aware YT's algorithm loves comments right?), I LOVE the concept that lips are not the cause. I'm really liking it as I practice. I try NOT to think about lips when I practice. One thing that has helped me a lot with this, correct me if I'm wrong, was putting one of those clip-tuners (guitar tuners) in the bell when practicing long tones. I don't think about the lips, when my lips start giving up and I start to go flat the tuner tells me, so I don't have to worry about that, and I just strengthen my breath or raise my tongue a little bit.
It really is such an important principle.... So glad it feels helpful!
This should be taught to anyone learning the fundamentals of trumpet! too many bad teachers out there saying the same things, what to do, not how to do, without describing the nuances in the physical form and thought/philosophy of playing.
I'm a month into my self study and so far I've only been able to make higher notes by straining the lips. Your explanation of the focal points helped me for the first time unlock the tongue's involvement. The eeh-aah explanation was not helpful to me.
I think you haven't mentioned the amount of practice you have to do. I am a professional trombone player and you are sort of giving students not all the truths ie practise.
Thanks, Craig.
I hope that's not the case. I hope that a cursory perusal of the content of my channel demonstrates in honest and encouraging ways what goes into becoming a brass artist.
I also found that, in my own development as an artist, it was important -- in certain stages of my development -- not to know how much it was actually going to take.
It's a challenging thing, posting any content online, because each person needs a unique set of tools to help them.
On the psychological side, especially for younger students, I have seen experienced professionals flood the young sprouts of budding talent by trying to "tell them the truth" about how much this takes.
I've made that mistake a few too many times myself. . . .
Aiming the proverbial firehose and turning it on, full power: "It takes thousands of hours . . . "
And then, while the sheer force of that deluge knocked the student over, I almost let myself believe that their overwhelm was evidence that they "didn't have what it takes," (which, of course, meant that I did . . . . )
Thankfully, I had people in my life who called me on my you-know-what.
In any case, I'd invite you to take a look at the follow up episodes. I can say, in all sincerity, that my intention really is to share things that have been helpful to me and/or a majority of my students.
Best wishes to you in your continued success!
This is incredible content. Amazing concept. Thank you so much!
You're welcome, Erik :-) Thank you for hanging out with it --
Hey man, great playing with you on Kobie Watkins' gig. I just upgraded my C trumpet to a Schilke CX-5. I can't wait to try this soon.
Thanks, Sean! Lemme know how it works out!
I can’t quite understand the final syllable at the front of the mouth. Can you give a better explanation of this. By the way the background music in your video, is that piano player Johnny Costa of Pittsburgh PA?
Thanks, B.
Each "focal point" represents the placement of the hiss or half-whistle inside the mouth (i.e. the narrowest passage, created between the top of the tongue and the top of the mouth, through which the air passes).
It can be helpful to think of the 3rd focal point being placed on an imaginary line drawn between the canine teeth. It's VERY far forward in the mouth.
Keep in mind, because so many of us developed an unnecessary habit of blowing harder to go higher (because our tongues were stuck in the first focal point, or "EE" position), it may well feel terrifying to NOT push the air harder as you rely on the focal points to help you ascend.
Best wishes to you in your trumpeting!
Ryan
Although I have heard many people they have benefited tremendously from the video, I cannot seem to grasp the concept fully. What are the half-whistles for? Tongue position? Or just a general sound? To be clear this isn't meant as critique, but as an invitation for others to help me figure out where my thought deviated from what he demonstrating in the video.
Thanks, @riemervdeems5569.
I hope I can help a touch!
The half-whistles seem to serve three distinct purposes for me and the people it works for.
1) Tongue position. The general idea being that, the higher the pitch is, the closer the "focal-point" (the place of highest airstream resistance between the tongue and top of the mouth) is to the teeth.
2) Resonance. This, I think, is the truly unique benefit of this approach. It's based on the understanding that the aperture is a *response* mechanism; an elasticity that *responds to* the interaction of resonance between the oral cavity/head/chest resonance on one hand, and the resonance of the instrument on the other. Setting the tongue in a place for an accurate half-whistle can help fine tune or dial in the resonance of the oral cavity with the frequency we wish to produce, so that the aperture responds more readily and with more ease.
3) Efficiency. With the increase in resonance comes increased efficiency and ease of playing. (In other words, less blowing harder to go higher.)
I hope that helps! All my best!
Ryan
The piano is QUITE disconcerting!! Totally unnecessary
Count yourself among the dozens who have felt similarly! I'm definitely learning as I go 🙂 Hopefully later episodes feel a bit better.
Hey Ryan! This video popped into my recommended feed today, absolutely brilliant! This is exactly what I do, and it was taught by Jay Saunders at UNT. Great job explaining it and making it super clear. I’m definitely going to share this with all of my students. Bravo!
Man, that makes me so happy to hear that, especially coming from you. So great to hang at ITG!!! Teach me more about Jay Saunders' approach to this . . . did he use the pitch of the half-whistles as well? Or focus more on the sensation of the "focal point" between the tongue and the top of the mouth?
It was so fun hanging at ITG!
He would focus on sensation. Everything was about the feeling of it all. A bunch of us would figure out that it felt like a whistle like you describe. He would talk about how our tongues are able to handle tons of micro movements that can be harnessed to make playing in the upper register easier. I remember when it clicked for me, it was incredible. We all would also talk about the balance of air usage and aperture pucker to achieve a “lower” tongue position to gain headroom in range. Hope you are well!
Great video Ryan. I understand the concept , but some how when I try to apply to my trumpet, I get messed up
I've noticed a few common stumbling blocks . . . maybe one of these might help unlock it for you?
The first is that my students tend to place the tongue so high that the air actually gets choked off. We want the "focal point" (the narrowest passage for the air; between the top of the Tongue and the roof of the mouth) to be as open as possible, while still sounding the half-whistle.
The second is that it can take a good bit of practice to resist the urge to blow harder as we ascend. "Always blow the same." (Cichowicz) Along these lines, even the tiniest change in the airstream will negate the efficacy of the Tongue level.
The third is blowing without singing. There's something crucial about clearly audiating or hearing in our imagination *exactly* what pitch we want to play.
The fourth is also always a possibility: if we haven't learned how to really play the center of the horn, the the tongue level won't do much to help. When you find the center, the horn "lights up," and produces more sound than we might be used to hearing, with less effort. Episode 2 goes into this in more detail.
Hope that helps! Best of luck to you on your trumpet journey!
I’ve been a professional for years now playing lead trumpet all the way to tuba. After experiencing a bout of embouchure tension that I just couldn’t shake, this video gave me the single biggest jump in playing efficiency I’ve ever experienced. Thank you so much.
no idea what jou doing
This is possibly the greatest video of all time. I’m not even a trumpet player, I play horn and it works. It just works. I’ve been struggling with range for so long and didn’t realize it was this easy to fix. I can’t believe I just needed to rethink the focal point. You are a godsend
SAME I HOPE IT WORKS!!
Well presented. I will try to think of this next time I play. A lot of what you have is nicely broken down for people when never read the written notes of many famous method books. Sounds like you had access to the right teachers and have what you really need. A desire to excel and the guts to stay locked in the room and then get out and play whenever you can ! Good job .
Thanks a lot ! Very, very useful ! I was loosing my time figuring out the tongue position without success. That and your last video on apperture : a gold mine for my problems with improving range. Thank you
I want to learn this method..Terribly exited🎺🎺🐝🐝🐝How can I learn from you??
Oh my god. I couldn't play well quality high notes before. However, after watching this video, I could play a smooth high C for 12 bars!Wow!Thank you very much!
Day 2 of saying "thank you".
I'd like to write a bit more. I've heard Adam Rapa talk about it of course, but it never "clicked" somewhat. After watching this lesson was like "Yeah I think I get it", but I didn't want to get to excited. Lo and behold, I slurred up to a high C, not "loud" per se, but clear. NOW I practice "notes", not "low notes", not "high notes". Playing high has become just playing.
Of course, the notes are a lot closer, so I have to be a lot more precise with tonguing. Speaking of which, do you have some tips to share about tonguing high notes without risking over/undershooting it?
"Playing high has become just playing." Yes! Love it!
As for the tonguing, I've found the following reminders helpful in my practice and teaching: 1) Remember that the heart of accuracy is accurately imaging (hearing in your mind) the *precise* pitch that you want, imbued with an emotional character. 7/10 times, if I alternate playing and singing (falsetto!) the accuracy challenges will either improve a lot or resolve themselves. 2) Invite/allow the strike of the tongue to be a natural extension of deliberately maintaining the same Vowell-shape or mouth-chamber-shape or tongue-position (whichever of those phrases works best for your mind). In other words, if the tongue is causing problems, it's likely causing them because it is either moving too much (and disturbing the Vowell-shape), or it's striking in a place that is incongruent with the Vowell-shape that's working when you slur to it. Bottom line: 1) hear it. 2) sing with the same Vowell shape.
Hope that helps!
@@ryanstrumpet thanks a lot! I'll keep that in mind 🤗
Hi Ryan, thanks for such a great series. I’m one of the “old timers” and have recently been working on trying to play in a much more relaxed style than I had in the past. My old style was pretty typical, more air, squeeze the lips, lots of air compression, bugling neck, red face etc. Your video really opened up a new way of thinking for me. I find by thinking more about the whistle locations I concentrate more on air flow and tongue position than on the chops which allows some great things to happen (once I get out of my own way). I just wanted to clarify a couple of things that you touched on in a previous comment. Once we reach the maximum tongue position in the molar area and move the focus to the premolars does the tongue still stay “locked in” in the molar area? Also as we move the focus to the front end by the teeth do the molar and premolar tongue positions still stay in their high position? I’m just trying to avoid any new bad habits, I have a lot of them to get rid of as it is😏.
Thanks again for sharing your knowledge, all the best
Kelly.
Thanks, Kelly. The first thing that comes to mind in response to your question is: I love the questions you are asking; keep trusting the questions, and let 2 things be your guide as you experiment: 1) resonance of the sound and 2) ease of approach. If your sound gets more resonant and your approach gets easier, you're almost certainly moving in a healthy direction. I also feel it's important to emphasize that we all have slightly different physiology, so we all basically need to find our own road up the proverbial mountain. That said, practicing the second "focal point" or "half-whistle" away from the horn, the portion of tongue by the premolars is most helpful when the "focal point" (the point between the top of the tongue and the top of the mouth that makes the sound of the air) is as open as possible (highest flow rate without pushing at all), without losing the half-whistle. Meanwhile, the portion of the tongue by the molars will, for many, continue to move freely to create different "pitches" (by which I mean setting up the mouth chamber to resonate within a certain set of overtones/frequencies, which we can test with the half-whistle). These ideas can be helpful in getting you to a place where you discover what works for you; which may well be somewhat different from what works for me! Let the sound and ease be your "trumpet guru." Get creative, curious, and question everything :-) One of the other viewers came up with a BRILLIANT way to say it: the higher we go, the further forward we "place the note" inside our mouth chamber. That's a healthy principle for nearly everyone. Best wishes!
Chef John from Food Wishes theme song, besides.
Well, this is just like whistling isn't it? Try to do an octave doiiiiiit by whistling. Same technique.
Thanks, Jens.
In my experience, most people naturally whistle using only the first "focal point." This is very effective for helping students get to the top of the staff; but not above that.
A few come in whistling at the second focal point.
I've not yet had a student come in whistling by using the third focal point.
Using each of the three focal points as the "anchor" for the whistle is what was so different (and helpful) for me.
Ryan
I am 53 and just started playing the trumpet three months ago. This is the most amazing insight into the instrument that I now love. I’m going to try it out today!
Wel, it whistles but the trumpet is not interested in amplifying it, so only pp playing with a sound like a tea kettle.
Thanks, Ruben.
You may find some success by experimenting with opening the narrowest point between the top of the tongue and the top of the mouth as far as possible, without losing the whistle.
Today's squeaks; tomorrow's notes 🙂
Best of luck!
When you form your lips to produce the above "G"
Just touch
your tongue, very slightly, to your bottom lip, the tip, which throws the
tip of lower lip up towards the tip of upper lip, using
much power. The tone is produced to the inside of upper mouthplece at an angle of 45 degrees, instead of blowing straight Into the
throat of the mouthpiece...
Eso es otra cosa
I love this tutorial mate, I wish I can learn it or understand how u do those shifts I'd be grateful.
great advise.I still have problems with the third focal point. when I say "lisp" with the trumpet on my mouth, the air wont move. should I blow harder?? thanks!
Thanks, Diego 😊
There’s a bit to unpack to answer your question accurately. It’s why I made episodes 2 and 3 this week ... to try and help answer the question, “should I blow harder?”
I love the way Vincent Cichowicz said it: “The basic principle is simple: always blow the same.”
When we are playing in a healthy, sustainable way, we don’t blow harder to go higher. We blow the same (and the character of that airstream, as Sam Pilafian and Pat Sheridan are fond of saying, is “Even, Constant, and at the tip of the lip.”)
Before you try and figure out the third focal point, I’d recommend figuring out how to get the second focal point to work, without blowing harder.
Most of us have had well meaning music teachers tell us, “more air!”
This simply isn’t true on the trumpet.
Relaxed air? Yes. Easy air? Yes. Fluid air? Yes. But more air to go higher? Nope. More air will always - always - Increase the tension in our bodies as we ascend. And, to borrow another Pilafianism, “tension kills tone.”
To the second part of your question (the placement of the third focal point), I have had the most success creating as much space as possible between the top of my tongue and the top of my mouth - while maintaining the mouth-pitch (or half-whistle). So, if that space is too tight, just as you’ve experienced, it gets in the way of a free, uninhibited, sighing exhale.
And we always want a free, uninhibited, letting-go-of-air (rather than “pushing” or “blowing hard”).!
(And, truly, hang out with the principles on episodes 2 and 3 to unlock the usefulness of the focal points .....)
Hope that helps! Best of luck! Keep me posted! 😊
@@ryanstrumpet thanks a lot for this great answer . I´ll keep working on my center and moving the longtones and will pay close attention to the keeping the same air.
thanks for your videos
Have you ever heard of claude gordon? A student of Herbert L Clarke's and author of systematic approach to trumpet playing, claude explains the fundamentals of trumpet playing and they are similar to your explaination. Check em out. My major trumpet professor in college was Richard Hofmann of california state Northridge. He is phenomenal trumpet player and teacher.
This is solid gold. Thanks so much for sharing this!
Thank you for your views.
Now, to a request and tip of my own, to you. Please don't have background music competing with your voice. It is VERRRY distracting..! We want to hear YOU. We can go play music if we want to. We want to learn from you...not having to hear you over background racket. It's good music, don't get me wrong, but it's VERRRY distracting.
THANK YOU AGAIN !!!
Wow It's very interesting, thanks a lot to share this concept. I never heard this before. I'm a comeback player and at this moment I'm in big trouble to get back an acceptable range. I'm very interested in getting more information to work on the 3 focus points. Should it be possible for you to help ? Thx
Hi Eric --
I'm not really in a position to take on more students right now, but maybe check in with me over the summer again!
This is brilliant. I’ve been coming to this conclusion, too, just recently. It’s not the “speed” of the air that tongue arching does at all. That never made sense. It is the size and resonance of the mouth chamber! That’s why some trumpeters have a distinctive sound (think Wayne). Their oral cavities have unique shapes! I look forward to more from you. Thanks!!
I have sort of figured this out myself after seeing those x-rays of that one horn player. It was SUPER useful to hear someone talk clearly about this. Cheers!
TH-cam resources like this has taught me about as much as my teachers did, if not more.
Where can you find these x rays
There are corollaries to singing here that to my knowledge have yet been 'mapped.' I wish singers understood the degree to which the diameter allowed in the vocal tract plays in how the vibrators react.
It also underscores how it is possible that trumpet player's top end can be greatly disrupted when a trumpet player loses weight (the tongue, losing fat, actually changes girth), just as singers often do. The very small change in the air pathway has huge effects.
Very good video. I will play for my singing students. (I used to be a trombonist and often teach with a mouthpiece nearby to give a clear mental picture what the unseen vocal folds are doing)
I liked how you gave a profile and pointed to different areas for attention and focus. Most teachers continue to face my/student view. Now to practice.
I didn't understand this at all
As an accordion player, other instruments fascinate me, especially Brass. I love all the brass family and this guy really knows what he is doing.
Now, that's why I pay the internet. Thank you for posting this great advice!
Very interesting explanation, I will try...so I am an amateur playing French horn for about 50y now, and it is pain... Horn has a conical mouthpiece and there are the most common Eb, F and B horns (i play orchestral double and single B), but the beauty is French horn is not domicile like other horns, one day you are ready for a Carnegie Hall, next day you are trashed to depression. So I find my own way to be consistent: long notes mid range, slurred harmonics- slowly, and when it comes to High, I practice scale to one whole above I need, but newer on account of the tone, the empire that I built every day, (that was Wynton Marsalis explanation on trumpet playing), - keep in mind, you shape an air and air is all you have.
I'm only about half way through the video. Maybe it's because Ive never played trumpet before and my mouthpiece arrived before the rest of my trumpet has, but I don't quite understand how the different focus points work with the mouthpiece. Or how the airflow affects the lips or... I'm not sure what I mean, as I don't have the vocabulary or the expertise.
Do you suggest I not worry about this technique right now since I'm a new player? Or should I think about this more until it clicks? Thanks!
I quit trumpet because I'm breaking my teeth and my lips are being tortured - unable to play high notes. Are you telling me I can hit registers?
That was the missing link, thank you very much. When I returned playing trumpet, I looked around on TH-cam, found many helpful tips, to train my lips etc. I recognized that I learn whistling as a side effect. Me as a singer asked the principle trumpeter of the orchestra if he can whistle: yes he can, he told me that he can whistle every trumpet concert.
So I have a task, bringing my throat in congruence, resonance to the tone pitch.
Thank you so much. Much more range and less effort. This class changed my way of thinking about the high register. Amazing
So is that the same as arching the tongue
The way I was taught "arching the tongue" only accomplishes the "first focal point" or "half-whistle." Arching the tongue works to the top of the staff, but not above that (for me and my students).
The other two "focal points" of the half-whistle, assuming the embouchure is healthy, and the tone resonant, can unlock the range above the top of the staff.
Where's the snow covered mountain
Utah!
What exactly do you shift for the vocal points?
Who is the teacher that taught you this?
No one taught me this particular approach. It's kind of Hickman-meets-Rapa-meets-Dayley-plus-physics . . . . 😂
Hope it feels helpful!
I discovered your channel about a week ago and I'm finding tremendous success with your methods. Thanks a lot for sharing your knowledge. I do have a question (sorry if you've already answered this somewhere): how does the focal point / tongue position relate to articulation, specifically in the upper to extreme register? What kind of exercises would you recommend in order to improve in this area?
Thanks, @wouterensink6210 --
I may do a video on this soon . . .. but in case it takes me some time:
For me, tonguing for the first focal point ("K" whistle) resembles my speech . . . where I naturally speak the consonant "T" or "D."
The second focal point (we might imagine an imaginary line drawn on the hard palette between my left and right premolars), I still tend to tongue where are would naturally speak "T" or "D," with one crucial difference: the sides of my tongue anchor (gently) to the premolars, and create a kind of fulcrum that stays in place while I articulate.
The third focal point (near the incisors) seems to shift; there, my articulation is no longer with the tip of my tongue (as when I speak a "T"), but is an opening and closing of the focal point itself .. . . like I'm saying "tssss" with the same part of the tongue that is creating the point of resistance/focal point/half-whistle.
That third one is almost like an anchor tongue . . . .
Hope that's a bit helpful . . . it get so challenging for me to clearly describe things . . .
Bottom line, experiment! Try different contact points, vowels, shapes, etc. and find what feels easiest for you!
@@ryanstrumpet wow thanks for the fast response Ryan. This does clarify it quite a bit. I guess the difficulty lies mostly in not opening the the cavity too much on the release part of the articulation. Anyways, I'll be looking forward to the video ;)
Great video with really valuable content! Shifting the focal point also means a change in tongue position, doesn't it? The tongue arches to a maximum in the highest notes and lies pretty much flat in the low notes.
The jazz piano music in the background is very distracting.
Thanks for the tips, I recently bought a trumpet and a Cornett and I am trying to learn how to play them by myself. Up to now I sound terrible but luckily I got myself a silent brass system so I am the only one hearing this tortures 😉 maybe (hopefully) I will improve my sound with your tips. 👍
Before viewing this video I could hit a C# if I was lucky. Seconds after viewing the video I hit High E! This is extrememly good advice!
Thanks, Ryan. Will definitely work on this.
I picked up my horn again, about 5 years ago, after 60+ Years. Not doing too badly. I'm starting to increase my practice time and things are sounding a bit better. I've been able to hit high D (with some effort!), and have occasionally hit an Eb and high E. But I don't own them yet. And I'm expending way too much physical energy! Hopefully your method of controlling the airflow in the chamber behind the lips will help.
I’m with you. I’m 67 and picked up my horn a year ago when my son asked me to play for his funeral. Ryan has just proven that my resonance chamber is so non standard that this doesn’t work for me. I expend way too much energy so can only practice for maybe 25 min but can get a solid C D and E.
i'm not sure this is working for me... no matter how i position my tongue or make bigger my mouth, i can't get higher. i'm able to hold a tone while shifting my tongue/whistle point with very little change in tone or pitch... what could i be doing wrong?
Need to explain further what you mean by focus point and the tongue position are you referring to tongue position as what they teach ah eh eeh or is different as from relax tongue for low notes to tongue close to the top lips for the upper please can you explain further thanks for helping us
Thanks, Raul.
When I say focal point, I mean the point on the hard palette (top of the mouth) where the tongue creates the most resistance in the airstream; where it creates a hiss, or a half-whistle.
In my practice, I achieve the focal point through the half-whistle.
Ah, eh, and ee are helpful, but all belong to the first focal point. (Near the place where I say the letter "K"). In my experience, they help me and my students access an F or G on top of the staff.
Most players get stuck at "ee," and then blow harder to go higher. This often leads to headaches, strain, and blackouts.
If I want to play easily above the top of the staff, I need to learn to access the focal points that are further forward in the mouth -- you can think of moving the hiss between your tongue and the top of the mouth forward, gradually towards the teeth, by the arch of the tongue, which moves like a wave.
As one viewer said it, "The higher we go, the further forward we 'place' the note in our mouth." I think that's a helpful way to think of it.
Hope that helps!
Ryan
Hello Ryan, I have tried desperately to use the technique shown in this video but I’ve really been struggling with it. Whenever I focus on whistling the same pitch, the note stays on the same octave, even if I move the focal point forwards. The most I can get it to go up is a fourth before the pitch of the whistle changes. Any notes above high D# feel impossible even when using a “lisp” tongue or I just a get weak squeak that doesn’t slot on any one note and ranges from a double F to a Bb. I would really appreciate the help.
Thanks for this thoughtful exploration of this.
Without hearing you, this likely means that episode 2 will be especially helpful for you; as will the subsequent episodes on embouchure building exercises. I'd start there, and invite you to keep me posted!
As with any aspect of technique, the focal points, by themselves, won't change things. It's just a missing piece for many of us.
As always, let sound guide you in the right direction.
Sorry I can't offer more specific help without hearing you! All my best to you! Keep me posted!
@@ryanstrumpet Thank you Ryan, I have been working “playing the 5” exercises into my practice sessions. I think the biggest road block I’m finding is that I can do the “lisp” tongue air fine with no mouthpiece and I can do it with the mouthpiece but when I try to connect the mouthpiece to the trumpet, no note comes out or there is too much back pressure and it makes my tongue touch my teeth and stop the air. How do you recommend remedying this?
@@mittenschannel5928 For me, I experimented with opening the focal point as far as I could while still maintaining the pitch of the half-whistle.
If you're experiencing back-pressure in the throat, that's a different cause altogether.
It also suggests that there may be a habit of "blowing harder" to go higher . . . . Cichowicz said it best: "The basic principle is simple. Always blow the same."
First and most important is equipement which allows you to scream.
thank you so much ryan. you had helped me a lot. you introduced the idea of "passage" and in a way is pretty similar to what happens to singers (and we can also experiment it) when they go up in the register. there are a couple times where you have to do a small modification to keep going up with fluidity and no tension. well, its reasonable that the same thing happens when playing trumpet. great discovery!!
I believe that I've instinctively been doing that....Now I plan to be more intentional! Thank you
Hi Ryan. Fantastic eye-opener. We think so often of air velocity and volume contributing to air pressure but rarely do with think of the stuff going on "behind-the-lips". This idea of a focal point really interests me!
I see at your lips that they are in a healthy condition, many trumpeter have such crater on their lips, I feel really sorry 😔
How exactly do you move the focal point? Has to do with the tongue level?
I have to admit I found the totally unrelated and unnecessary piano jingling in the background extremely distracting to a point I could barely follow your proceedings.
You should be rather thankful in my opinion.
This kind gentleman is offering priceless information for free .
@@shamslife9182 Just a mild criticism to help to make the videos even better🙂
@@sirprise777 ♥️
Emailed you from mwein01. Thoughts?
I don't understand am I really the only person who just can't grasp what he's trying to do
Thanks, Lucas.
This has been such a help to me, if you can put your finger on the specifics of what's feeling confusing, I'd be happy to try and help clarify!
Of course, as with everything, nothing works for all of us. But it really is a helpful for me.
One of the most confusing aspects of the video (and I"m still developing more effective ways to teach this) is that it's easy to listen to the "hiss" sound, rather than the resonating pitch behind it. If you listen back, focus on trying to hear that the actual pitch in the mouth cavity stays the same for each of the three registers. That was HUGE for me.
Anyways! Happy to help if I can! If a question constellates for you, lemme know ---
Best,
Ryan
@@ryanstrumpet I think the part I'm just struggling to understand is just how you're actually utilizing the focal points. I tried to watch the video while my trumpet was out so I could practice and learn through it all but I kept getting stuck because I just didn't understand how I'm actually supposed to be able to use the concept in general
@@lucasblakeman2990 The basic principle, said another way, is that the higher you go, further forward the "focal point" (i.e. the narrowest passage between the top of your tongue and the top of your mouth) will be.
Mid to low register: imagine drawing a line between the molars, and place the hiss or half-whistle there.
Top of the staff to Bb or C above the staff, imagine drawing a line between your bicuspids, and place the hiss there.
Altissimo: Imagine a line drawn between your canines, and place the hiss there.
As I say in the video, this will only be helpful if you have learned to move around the horn by playing in the center of the pitch . . . if that's not a habit yet, check out episode 2 for some things that have helped me.
Hope that helps!
not many trumpet players' faces don't change the color when they play that high. Will definitely try!
Wow! I'm impressed by your generosity by you sharing this tip with the rest of us. I'm a composer/piano player ex professional trumpet player. I think I can be quite expressive with the trumpet's voice but the range limit can put a brake on my ideas. It worked as soon as I tried it. Thank you.
You save my life bro.
Thks!
Brilliant content!! I can't wait to try and practice this, putting it into practice.
Something I would point, no related to the content itself, but would be cool on the next videos: As you made very well on separating the sections inside the video, you can make that separations and markings on the timestamps in the video, so it turns easier to watch each session and find them to rewatch (what I'll do pretty much now on!!).
Cheers!
This video is awesome! Thanks for the awesome new paradigm of range on the trumpet. Unfortunately watching the video makes me feel like I have cataracts or something....
THANKS! I wish I had known this 65 years ago! Too late to help me now, but that's not your fault. Masterclass stuff.
HI Ryan, what horn is that? Beautiful sound!
It's a LOTUS Silver Flare . . . definitely loving it!
@@ryanstrumpet what about the mouthpiece?
@@tioliak It's the 1XL2 in Nickel. . . . I also like it in Brass.
Wow! Great concepts. My son is a freshman in high school playing trumpet. He’s been playing for 3 plus years. Would your video be something to share with a relatively new student, or would you recommend this video as more for “advanced” players? Thanks for sharing!
So long as he isn't straining or pushing or "blowing harder" to try and move into the upper register, the concepts may well be helpful to him, though it would be rare for a student his age to be accessing the altissimo register (the 3rd focal point) in healthy ways. Patience is the name of the game with upper register development. Let the sound guide him. If it sounds and feels easy, that's the right direction :-)
The content in episodes 2 and 3 really are the foundation for the focal points to work. And, depending on how your son has been taught + the amount of listening he's done to great trumpeters, gaining fluency with "playing the 5" (see ep 2 and 3) takes some consistent cultivating! (It's still what I focus on the most in my practice, and I've been playing for 33 years!)
Episode 4 (forthcoming!) will address the nature of the airstream, and is foundational as well.
That said, I introduced my son to these concepts (he's just starting) . . . but not the third focal point. It just takes time to develop an embouchure that can receive a setup ready to resonate at those higher pitches :-)
All my best to you and your son!
@@ryanstrumpet fantastic. Thank you for your time and for producing this sort of content!
Could someone explain the focal points . From my understanding they’re methods of articulation . The “kick” I’m assuming uses the back of the tongue to attack . The “yeh”
I assuming using the middle of the tongue and the last one using the tip of the tongue . If so , how exactly do you articulate in this manner?
I would love to know so I could adopt this technique being able to improve my upper register
Thanks, NightWind19.
The focal points are not methods of articulation, but are the point of resistance between the top of the tongue and the top of the mouth that "creates" the half-whistle sound. . . . like a pitched hiss . . . .
As I say in the video, you want to open that point of resistance (the half-whistle or pitched-hiss) as far as you can without losing the pitch sounding inside the mouth. (If you listen closely, it's not a full-sounding pitch; but a whisper of one).
I've found it useful to think about Fay Hanson's books, where she talks about articulation in a really important way:
That the back and middle of the tongue stays, essentially, motionless (creating what Arban calls a "hermetic seal" between the tongue and teeth), while only the tip of the tongue moves for the articulation.
Same idea here. The tongue stays in position for the "focal point" to remain the same (i.e gently anchored to the teeth on all sides) while the tip of the tongue articulates.
Hope that helps!
Best wishes to you in your trumpeting!
really good video brother, thanks for sharing
🤣🤣🤣 A lot of BS ! Where are all the lead trumpet players then ??
Thanks for this video! I’m going to try this concept. Is it actually another way of describing tongue placement?
Yes. With an understanding that the placement itself is as much about resonance as it is about airstream.... wish I'd understood it a *long* time ago! :-)
Thanks for the valuable information!!!
Wow, super cool. Been playing amateur for twenty years in various bands. Always consider my comfortable playing register stopped at C above the stave. Gave this a go and pop immediately f# 4 octaves crazy
Love it!!! So glad it feels helpful!
You solved it
If only . . .. 🙂
I'm going to spent lot of time on this video haha
Thanks Ryan for this video. Now that it's been a year since you posted it - are you still feeling that this is the right approach for you and your students? Would you have any adjustments or changes to speak about now? Best of the season!
Thanks, Bryan.
Wow . . . love this question.
This remains helpful to me, yes. When things feel inefficient, some half-whistle practice often brings things right back into alignment for me.
It's been interesting with students . . . if they can recreate the 2nd "focal point" half-whistle, then, yes, it's very helpful. But creating that sound seems a challenge for several.
For those who the 2nd half-whistle feels too unfamiliar to reproduce reliably, I teach them the basic principle of moving the point of resistance inside the mouth towards the teeth to ascend (assuming adequate embouchure development/tone center), and simply have them practice moving a "hiss" forward (without any particular pitch). But if they can get the half-whistles, then, yes, it helps them.
Hope that answers your question (at least in part!).
All my best!
Ryan
I dont really understand the explanation of the focal points when you point to diffrent positions on the side of your face??? Shortening a string for higher pitches makes sense, but if your blowing one steady "air stream", what are you physically changing inside your mouth? Please help, hope I'm making sense
Thanks, @kennextechnical8561
I'm changing the placement of the "half-whistle" in my mouth. (Moving it forward)
Another way to think of it: The "focal point" is the point between the tongue and the top of the mouth that creates a hiss or half-whistle.
The first "focal point" or "half-whistle" happens between the Tongue and top of the mouth approximately where I say the consonant "K."
You might think of it as the mid point of a line drawn, side to side, from your left-top-molar to your right-top-molar.
The second "focal point," you might think of hissing or half-whistling with the top of the tongue at the mid point of a line drawn, side to side, from your left-2nd-bicuspid to your right-2nd-bicuspid.
And the third "focal point," you might think of hissing or half-whistling with the top of the tongue at the mid point of an imaginary line drawn from the left-eye-tooth (canine) to the right eye-tooth (canine).
Hope that helps!
What is changing is the point of "resistance" in the airstream, creating by the narrowest passage between the tongue and the top (or "roof") of the mouth.
The further forward we place that, the more our mouth is ready to resonate at higher frequencies.
If you "half-whistling" feels unfamiliar or just isn't happening, don't sweat it! For many of my students, finding the focal point on the airstream can be just as effective.
Well let's see if it works! About to give this a go!
This only works for my low and mid register. Anything above that doesn't work for me.
What can you tell me about your background as a trumpeter?
It sounds like this concept should work equally well for other brass instruments. I'll have to try it on my trombone.
The vocal points are so essential!
What does he mean by go out into the center, im a little confused?
Thanks, Jesse.
Hopefully episode 2 will help with that question a bit . . . .
As trumpet players, we have a tendency to let the center of the pitch rise (i.e. go sharp) as we ascend, and fall (i.e. go flat) as we descend.
As soon as we leave center, we get ourselves into trouble!
I'm gonna geek out on it a bit with a sci-fi metaphor.
I joke about it being the "wormhole theory of trumpet playing."
Like a wormhole in outer space . . . . It's a point in space-time where two seemingly distant points are actually next door to each other.
That's a great analogy for playing the trumpet.
If you are playing in the "center" of the horn (i.e. the resonance of your body "syncs up" with the resonance of the instrument), then the notes are all next door to each other.
But if we leave center . . . even a little bit . . . we will have to do ALL the work of moving from one octave to the next . . . .
I often invite my students to listen to the playing of Phil Smith, or Tine Ting Helseth to hear what I'm talking about.
Listen for the way that they energize the ends of notes just before a change in register. They create all the energy they need "in the center" of the pitch they are on in order to make the move from one note to the next feel easy.
Hope that helps! Best of luck!
Ryan
@@ryanstrumpet A reply from you means the world! Thank you so much, this just made my jaw drop. Everything makes so much more sense. Im honestly at a loss for words. I pray this information will lead me to be as great of a player as you one day!
@@jessesmithii-dt2hm Glad it felt helpful! Keep me posted!
Hey Ryan, it doesn't matter what brass instrument you play everybody just wants to know how to improve their range with less effort. Have you heard of anybody trying this on the trombone? Obviously the mouthpiece is a different size but surely the overall concept should be the same or is it?
Thanks, Russ
I would imagine it applies equally . . . . and, at the same time, I remain VERY cautious about leaving the realm of my expertise. It certainly wouldn't be harmful to experiment, so long as it didn't negatively impact mouthpiece placement (less of a concern for low brass than high brass).
Keep me posted!
@@ryanstrumpet will do! 😎
Dynamite video! I wish I would have learned this 30 years ago too. Thanks for sharing.
Very nice approach! Sweet sound! ❤