[TPIN] trumpet 101??

[Orion Development Corp - D. Arndt]

Mark,

I think it's VERY important to take the paragraph you point out below with a few grains of salt, and factor in a lot of common sense.   There are elements of truth here, but it's very tough to generalize "hard truths" about embouchures. 

Also: Managing an embouchure change depends on a lot of factors (too many to mention here) - but it has to factor in things like the age of the player, and how far advanced they are, the level of aptitude they have for the instrument (i.e., some people can make a sound anywhere on their chops, just because they have a "nack" for it - while others just can't budge from their current setup at all),... add to this all the "classic" physiology type issues., etc., etc., etc.

Speaking from some personal experience, I can say that there does seem to be *some* truth that having the mouthpiece as centered as possible is better than playing too low, or too much off to one side.   But from my experience this helps a kind of "natural endurance" and "comfort" in playing, more than anything else.   (To some degree range, but less so, I think).

Where sound is concerned, I'm a firm believer that this is mostly dependent on what one hears in their head.  In other words: a player will tend to get the sound they visualize - not what is driven by mechanics alone.   Changing ones setup, in order to improve sound, is usually (usually) not the answer.  (Overlooking huge physical problems).

Plus... there have been (and are) many truly great players who violate the classic rules - so this needs to be given consideration.   Voison played way off on one side of his chops, and very downstream - but he was one of the "Deans" of orchestral trumpet - in all of history.   Nick Marchione is an absolutely beautiful lead player - and a real "bull" - amazing endurance, big sound, range - also plays WAY off to the side (effortlessly, it seems).  I've also seen players who played real low - in the red - who got very nice sounds, and managed a solid three octave range with good endurance.

If someone is having problems with sound production, I would be inclined to solve that by listening and careful practice - in order to improve their CONCEPT of sound first - and if necessary use musical pratice and exercises to affect a "natural" shift or change in their setup.

- Dave

On Wed, 6 Aug 2008 09:48:13 -0400, Mark Deaton wrote
> You may already have this, but David Hickman's book, "Trumpet Pedagogy, A Compendium of Modern Teaching Techniques" does a really great job of helping the teacher help his/her student in this regard.  Lots of pictures of different types and styles of embouchures, too.   
> 
> Mark Deaton 
> 
> -----Original Message----- 
> From: tpin-bounces+mdeaton=ix.netcom.com at tpin.okcu.edu [mailto:tpin-bounces+mdeaton=ix.netcom.com at tpin.okcu.edu] On Behalf Of Gordie Hixon 
> Sent: Wednesday, August 06, 2008 4:33 AM 
> To: TPIN at tpin.okcu.edu 
> Subject: [TPIN] trumpet 101?? 
> 
> Hi List - 
> 
> I have a student going through a pretty heavy embouchure change -- 
> any comments on the ideas below? 
> 
> The first topic is embouchure development. Without a well-formed embouchure, good tone just [UTF-8?]doesn�t happen. The mouthpiece must be centered vertically and horizontally, with vertically being the more crucial of the two. The top lip is the one that vibrates, so the rim-edge cannot be in the red or else it would prohibit the necessary vibrations. Jaw alignment is often overlooked: it is necessary to avoid being too severe with either an under or overbite. The mouthpiece should be pressed 60% bottom and 40% top. The lower lip should take the majority of the beating. 
> 
> Following these opening remarks, we get into the four [UTF-8?]�P�s. 
> 
> Pucker [UTF-8?]� utilizing the musculature of the face to form the embouchure. 
> Push [UTF-8?]� having the necessary wind support 
> Pressure [UTF-8?]� the amount of mouthpiece pressure required by the music. 
> Placement [UTF-8?]� positioning the mouthpiece. 
> 
> Thanks -- 
> 
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