When I was in high school we went to UAB and waited for Allen in his dressing room. There was a poster of him in the room. A trumpet player and I started making jokes about the poster. Allen walks in behind us and starts making fun of himself. Great guy who was nice to two young dumb musicians
Very practical guidance. I saw a video about the impact of how far the mouthpiece fits into the leadpipe - the person recommended trying it in different positions by shimming with some paper etc. - of course they were selling a solution but it seemed legit. Have you experienced this affecting your sound?
I never noticed, before, that Allen Vizzutti's lips are fuller and fleshier (especially the lower lip) than those of most top-tier players. And, when he played rapid slurs in the Hummel excerpt, I noticed an unusual twitch in his lower lip that made me think that he might have his tongue in contact with it. Can he or anyone tell me if Mr Vizzutti incorporates any unusual feature in his setup and embrouchure?
Allen was very technically gifted on the trumpet at a very young age and I’m sure that when he is playing he is not consciously thinking about small changes like that in his embouchure. From his own writing on playing the trumpet he primarily focuses on efficiency of his air stream(steady blow) and trying to produce the best sound he can as he hears it in his mind(aurally) When practicing, wide intervals are something that are learned mostly by feel and by using your ear. This is something that you get better at over time and many practice sessions. For practicing fast slurs you start slow and gradually increase speed over time (metronome helps) until it becomes something that is easy. Hope this helps!
I remember asking him about embouchure at an ITG and he said that he focuses on making everything feel the same. Loud, soft, low, high. At the time, I was very frustrated by that answer. As time has gone by, I think that was pointing towards efficiency and relaxation through sensation practice. Regardless, he’s an incredibly generous teacher and an absolute monster to hear live!
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When I was in high school we went to UAB and waited for Allen in his dressing room. There was a poster of him in the room. A trumpet player and I started making jokes about the poster. Allen walks in behind us and starts making fun of himself. Great guy who was nice to two young dumb musicians
A great demonstration by a great player.
Common sense is often rare, but here is a perfect example of it.
We benefit from his huge experience, talent, humility and focus on musical sound - thank you
I have found the more I practice the better my equipment gets.
Well said!
Very practical guidance. I saw a video about the impact of how far the mouthpiece fits into the leadpipe - the person recommended trying it in different positions by shimming with some paper etc. - of course they were selling a solution but it seemed legit. Have you experienced this affecting your sound?
Thank you!
I never noticed, before, that Allen Vizzutti's lips are fuller and fleshier (especially the lower lip) than those of most top-tier players. And, when he played rapid slurs in the Hummel excerpt, I noticed an unusual twitch in his lower lip that made me think that he might have his tongue in contact with it. Can he or anyone tell me if Mr Vizzutti incorporates any unusual feature in his setup and embrouchure?
Allen was very technically gifted on the trumpet at a very young age and I’m sure that when he is playing he is not consciously thinking about small changes like that in his embouchure.
From his own writing on playing the trumpet he primarily focuses on efficiency of his air stream(steady blow) and trying to produce the best sound he can as he hears it in his mind(aurally)
When practicing, wide intervals are something that are learned mostly by feel and by using your ear. This is something that you get better at over time and many practice sessions. For practicing fast slurs you start slow and gradually increase speed over time (metronome helps) until it becomes something that is easy.
Hope this helps!
I remember asking him about embouchure at an ITG and he said that he focuses on making everything feel the same. Loud, soft, low, high. At the time, I was very frustrated by that answer. As time has gone by, I think that was pointing towards efficiency and relaxation through sensation practice. Regardless, he’s an incredibly generous teacher and an absolute monster to hear live!