Bobby Medina & Paul Baron teach trumpeters their unique strategies to combine mental, physical and experiential nuances of body mechanics to discover how to play with ease and efficiency!
I've known Vince for over 40 years. We met is Saratoga Springs, N. Y. and now he's my neighbor in Florida. He plays in my Lakewood Ranch Wind Ensemble. I just love the guy. I brought him down to our local senior center and we played together in our dixie band. The folks loved him. It's funny, I'll open my front door to check the weather and I hear this great trumpet playing across the pond. His attitude is a great model for me at 82. I consider him one of my teachers along with my dad. Be well! Joe Maciariello Miller.
This interview is amazing!!! I love Rick's playing. One of the BEST commercial trumpet sounds out there all these years!! Love hearing the history and journey for him! Thanks for doing the interview!
Definitely my favorite trumpet player interview I’ve ever watched, and boy have I watched quite a few, his passion for music as well as his kindness is just inspiring, thanks for doing this wonderful interview.
Sometimes in a section where we are all doing a shake, I'll squeeze the valves almost halfway down to have a little more resistance to blow into, to make a quick shake easier. Try it! ;0)
I think Adolfo made a great point when saying that it was quiet different when actually playing in the ensemble. about the nuances that become more apparent when playing and listening back to Board tapes. its a work in progress. And me as a drummer listening to the various ways of how David fine-tuned HIS parts , is astounding and encouraging to never stop listening adjusting and expanding and MAKE IT WORK. what a great Interview, guys!!!!!
Very helpful to hear this discussion and your perspective. Similar to Paul's description, I use buzzing very sparingly. A little focus on lead pipe to find resonant center and then soft low tones (below the staff) seem to help me get things warm, relaxed, and tone clear. I've learned that if my low register and pedal tones don't speak clearly, my high register won't be open and resonant.
Rick Baptist....so many memories. The 8 great years together he told me I could extend my career if I switch from playing "dry" to playing "wet". That night I changed over and never looked back. Love you, Rick!!
Quick question: my way of playing after 2 years kinda changes by itself, the upper lip goes down in the cup and I play more comfortably like that but I can’t go Higher that D .. but with the old way I hold High A. But it’s so hard to do it and only use a little of the upper lip.. half of it stays outside or on the rim.. Is it ok?
Throat stopping for years. Thanks for the lightbulb moment. Watched this about a year ago and have been very consciously using tongue stops and my playing has become much more efficient.
How is the diaphragm not a muscle. Of course it is. Problem is that there is no muscle to push it back up, so you have to first relax this muscle and then push it back up using the abdominal muscles.
This was a great interview, thanks for sharing! Just to follow up on the comments on Lin Biviano as a Type I and being able to move his mouthpiece and still play lead... As amazing as it sounds, Lin got a good laugh when I shared it with him. He’s actually a IIIB and the legend is not true, but cool nonetheless 😅
Vinny is a legendary trumpet player from upstate New York . First time I heard Vinny I was a kid and he was playing with a group called Wilmer Alexander and the dukes .He was young and he was a very powerful player .Although I never met him he was a huge influence in my trumpet journey .I believe his son also plays and teaches at Syracuse University.God bless you all and keep on playing .
Great topic!! I’m a comeback players after not playing for 20+ years.. and I’ve had 3 cancer lips surgeries on my lips.. so I only have about 60-70% feeling on my upper lip.. anyways my whole life of playing I never lip buzzed.. actually I couldn’t for some reason but I did on mouthpiece… I’ve just started lessons with the Jerry Callet protocol with Ralph Salamone… and so far I’m seeing the benefits of it… but like you said if I do too much my chops get stiff.. not vibrating well… … Joe Triscari
That’s the way it is because this is the way the trumpet works.. otherwise you force a vibration to your instrument and you’re not gonna play with your trumpet you play against..
Mike Harriott plays the gen 2! Wut! I took a couple lessons with him but he said I wasn’t practicing enough 😅 i learned so much and I try to remember it. He showed me how to hold the trumpet and how to open my throat (which I still suck at; basically yawn a bit while playing). So cool that you make him mouthpieces!
Mike Bogart plays with his horn way down the entire show. I learned to play with my horn more and more downwards as I play higher notes, especially notes of long duration like in "You Can't Fall Up".
Some player type examples: Type IV (Upstream)--Cat Anderson, Bud Brisbois, Jon Faddis, Larry Meregillano, Wynton Marsalis, Doc Severinsen Type IIIA (Downstream)-Al Porcino, Harry James, Chris Botti, Dave Stahl, Greg Gisbert Type IIIB (Downstream)-Louis Armstrong, Dizzy Gillespie, Maynard Ferguson, Chuck Findley, Bill Chase, Johnny Madrid, Bud Herseth, Clark Terry Type III (Downstream)-Conrad Gozzo, Herb Alpert
Think of the mouthpiece rim as being on a train track. The Reinhardt “pivot” based on your embouchure type really should’ve been called a tracking system. In fact, taken literally, if a IIIA “pivots” up they might interpret that as pivoting the bell up which brings the mouthpiece down which is the opposite direction it should be tracking. Also the track isn’t always straight up or down. Sometimes it could be up and to the right, up to the left for IIIAs and down to the left or right for IIIBs. Everything is subtle tho. We always tend to over do everything so less is more in this case.
Deberían de subtitular al menos en Español para nosotros los latinos, gracias, sería muy bueno que nosotros también aprendamos más de vuestro conocimiento.
I think it depends on how good of shape you're in at 75 and being a lead player...Lynn Nicholson is 71 and can still play higher and louder than anybody, but, Lynn's also in excellent physical shape...I think that's the key...that and also making things more efficient as we get older, work smarter not harder...Bill Chase talked about that also...
Good stuff. Nothing’s worse than the guys who post videos here-some of them super strong players-who say “this is how you do it”. And they don’t agree on anything-of course-because what works for them doesn’t work for everybody, any more than thinking everybody should play the same horn or mouthpiece.
I chatted w/ Dr. Dave about my horns (Adams A4LT and F2 flugel) and the mpc I've been using for the last several years. We decided on the Chuck Findley 66MV. I've been playing on this hybrid 66MV (and the flugel version) for 3 months now. My range has become more solid and ?I have more endurance. I chose the hybrid rim material because I've had experience w/ Delrin and acrylic mpcs...I now prefer Dave's hybrid material over metal, Delfina nd acrylic rims hands down. Try them, Dave has a reasonable return policy. My next purchase is a lead mpc that complements this all around chuck Findley 66MV.
I just saw this and of course ran out and bought the Wick mute and did my usual Spider Web routine with the mute. Then took the mute out and wow! Open, clear, much less effort above the staff and ease of note onset everywhere. I will be incorporating this. (And I don’t work for Wick). Thank you!
Amazing video, my question is how do you know if you should play upstream or downstream. I have been playing upstream for a while now but recently I have been messing with playing downstream (because I am going through a big rut in my playing) and I don't notice a big difference in anything: range, articulation, or endurance. So I wonder if maybe I would be more consistent if I switched to playing downstream or if I should continue playing upstream. I would love to know how you tell what you should be doing
My understanding is that Doc R. didn't like the misconception of the title "pivot system" but lamented that he should have called it tracking system. If you can feel which direction your air stream is directed from low to high range and "track" the air so the vibration stays in the middle of the mouthpiece that will determine which way the bell tilts, up or down. What's enlightening to me is that I track upstream when playing higher, which means (according to Doc) that my lips move up on my teeth as I ascend. My bell tilts a little down but that makes me an upstream player. It's a little counterintuitive, at least till I understood this. Do some 3rd then fifth slurred intervals and see which way your chops want to move against your teeth. Knowing this can really help with the whole tracking concept and keep the pressure even from top to bottom and side-to-side.
I heard Tommy live one time when he played at my high school with his fathers band (Pen Argyl PA.) when he was maybe 17 or 18 years old. I also took lessens from and old trumpet player from New York city that played the shows. I believe Tommy also took lessens from this trumpet teacher. We had a lot in common, I also was in the Navy about the same time he was in. Buddy Rich was the drummer in Harry's band when Tommy played in the band. I was the jazz player in Buddy's band for two years back in the late 60's. I never had a chance to meet him when I played in Vegas with Buddy.
