Jerry talked about the benefits of double pedals in all of his books, but in his book "Trumpet Yoga", he probably talked about this the most. He spoke of keeping the lips unfurled and relaxed. The reason he used double pedals and not single pedals were that the double pedal position was the position that promoted the shape and contour of the vibrating surfaces of the chops. When Jerry played double pedals, it was deafening! And then he did the rips up into the middle and upper ranges of the trumpet from the double pedal tones. He once said to me this was the most important exercise in his method. It does help relax the chops, but more importantly it develops the vibrating surfaces. In his Master Superchops video, he also demonstrates lip buzzing in the double register, which achieves the same thing. A resonant and rich buzz with relaxed chops. I think about guys like Mic Gillette and James Morrison and others who could INSTANTLY switch from trombone to trumpet and play notes and phrases with no adjustment. I think of this when doing my low register spit buzzing and playing the double pedals. Great videos by the way, I enjoy this channel!
Einsetzen/Ansetzen Is a great way of learning the dbl pedals to the mid and upper range Mark can you lead me to a video like you explained that Jerry did ?
@@jppirr1031 The first few minutes is Jerry explaining his method at that time. 7:30 he demonstrates low register buzzing. th-cam.com/video/anXDj7f9g0g/w-d-xo.html
Pedal tones can be a controversial topic. Reinhardt was extremely anti-pedal tones; he's theory was that extensive pedal tone use affected tonguing as you lose the "legs' of the inner embouchure by playing pedal tones. Especially for upstream types like a Faddis or Andre Tofanelli. Personally, I've found, if you utilize them reasonably, you should be fine. I never tell ANYBODY to excise them completely, as they do work for some and not for others. Like so many other aspects of trumpet playing.
Just wanted to say this explanation and trying it myself has given me something of an "aha" moment - thanks! I've always had similar issues to what you describe, with my bottom lip wanting to go back and over the teeth. Still early in integrating this, but it's already made some things my college teacher was trying to fix with my bottom lip usage ten years ago finally click - things feel more consistent and supported.
Thanks Donovan! I had been trying to roll the lower lip in when ascending from the dbl. pedal register. Leaving the lower lip more "unfurled" is the ticket... For me. Thanks for the reminder! Good stuff!
Thank you for the videos. I have been investigating TCE for awhile now and am wondering if your tongue is in the same position while playing double pedals as it is when playing the practical range or do you move your tongue as you ascend from double pedals into the practical range? Thank you
It's interesting to note the difference between the regular pedals and double pedals in Donovan's video. I find the double pedals really 'wake up' the top lip, a very different feel. Thanks Donovan for this demonstration. The didgeridoo is fun as well - I have one - but doesn't have the same effect on my top lip. It relaxes both lips, and takes the stiffness out. A great 'cool down' technique.
Double pedals? I assume you are referring to the fundamental resonance. That is the ONLY pedal resonance. Notes below low C and above the fundamental are just bent pitches down from 2nd harmonic tones. They are not pedals.
@@trumpetthoughts trombone players don't. Pedals for most brass instruments are the first harmonic and commonly accepted as such. A 1st valve F below low C on trumpet is just a forced non resonant sound. Or a severely bent-down Bflat.
@@BrassBro-Science-ys7sg You know the channel is called Trumpet Thoughts, right? 🤣 Our terminology for the notes below F# is to call them pedal tones, even though I know that technically it's not correct.
@trumpetthoughts if you examine how maggiore did pedals I was to increase sound quality and allow the embocure to relax. Where does the correct position for the bottom lip come in?
Jerry talked about the benefits of double pedals in all of his books, but in his book "Trumpet Yoga", he probably talked about this the most. He spoke of keeping the lips unfurled and relaxed. The reason he used double pedals and not single pedals were that the double pedal position was the position that promoted the shape and contour of the vibrating surfaces of the chops. When Jerry played double pedals, it was deafening! And then he did the rips up into the middle and upper ranges of the trumpet from the double pedal tones. He once said to me this was the most important exercise in his method. It does help relax the chops, but more importantly it develops the vibrating surfaces. In his Master Superchops video, he also demonstrates lip buzzing in the double register, which achieves the same thing. A resonant and rich buzz with relaxed chops. I think about guys like Mic Gillette and James Morrison and others who could INSTANTLY switch from trombone to trumpet and play notes and phrases with no adjustment. I think of this when doing my low register spit buzzing and playing the double pedals. Great videos by the way, I enjoy this channel!
Einsetzen/Ansetzen
Is a great way of learning the dbl pedals to the mid and upper range
Mark can you lead me to a video like you explained that Jerry did ?
@@jppirr1031 The first few minutes is Jerry explaining his method at that time. 7:30 he demonstrates low register buzzing. th-cam.com/video/anXDj7f9g0g/w-d-xo.html
Pedal tones can be a controversial topic. Reinhardt was extremely anti-pedal tones; he's theory was that extensive pedal tone use affected tonguing as you lose the "legs' of the inner embouchure by playing pedal tones. Especially for upstream types like a Faddis or Andre Tofanelli. Personally, I've found, if you utilize them reasonably, you should be fine. I never tell ANYBODY to excise them completely, as they do work for some and not for others. Like so many other aspects of trumpet playing.
Whoa that’s different. I’ll definitely try it out. Thanks!
Let me know what you think!
Just wanted to say this explanation and trying it myself has given me something of an "aha" moment - thanks! I've always had similar issues to what you describe, with my bottom lip wanting to go back and over the teeth. Still early in integrating this, but it's already made some things my college teacher was trying to fix with my bottom lip usage ten years ago finally click - things feel more consistent and supported.
Glad it helped!
Jeff Smiley talked about these too in Balanced Embouchure
Yup, lots of his stuff came from Jerry Callet's Trumpet Yoga system.
Thanks Donovan! I had been trying to roll the lower lip in when ascending from the dbl. pedal register. Leaving the lower lip more "unfurled" is the ticket...
For me. Thanks for the reminder! Good stuff!
Rock on!
I'm an ex Claude Gordon student, no longer playing. Pedal tones were a major part of what he taught.
Yes, but for me, it was never clear as to why, until lately.
Thank you for the videos. I have been investigating TCE for awhile now and am wondering if your tongue is in the same position while playing double pedals as it is when playing the practical range or do you move your tongue as you ascend from double pedals into the practical range?
Thank you
Both! I can play double pedals with the tongue forward, but my tongue does press further forward against my lips as I ascend.
It's interesting to note the difference between the regular pedals and double pedals in Donovan's video. I find the double pedals really 'wake up' the top lip, a very different feel. Thanks Donovan for this demonstration. The didgeridoo is fun as well - I have one - but doesn't have the same effect on my top lip. It relaxes both lips, and takes the stiffness out. A great 'cool down' technique.
Agreed on all points!
Pedals have an inherent issue in most players they cause issues with articulation. Reinhardt was dead set against them.
If you do them the normal way, yes. But the way I show actually IMPROVES articulation.
What about playing didgeridoo for relaxation?
Love doing that!
Double pedals? I assume you are referring to the fundamental resonance.
That is the ONLY pedal resonance.
Notes below low C and above the fundamental are just bent pitches down from 2nd harmonic tones. They are not pedals.
Yes, you are technically correct. However, it's common to refer to notes below F# as pedal notes, and don't act like you don't already know that. 🤣
@@trumpetthoughts trombone players don't. Pedals for most brass instruments are the first harmonic and commonly accepted as such. A 1st valve F below low C on trumpet is just a forced non resonant sound. Or a severely bent-down Bflat.
@@BrassBro-Science-ys7sg You know the channel is called Trumpet Thoughts, right? 🤣
Our terminology for the notes below F# is to call them pedal tones, even though I know that technically it's not correct.
Trumpet players could buzz on a trombone mouthpiece, stay relaxed and achieve the same affect without compromise.
I don't think so. You can't get the bottom lip in the right position that way.
@trumpetthoughts if you examine how maggiore did pedals I was to increase sound quality and allow the embocure to relax. Where does the correct position for the bottom lip come in?
Maggio