Excellent info. Most of what is taught about embochures is wrong or impossible. I really appreciate that not only did you explain it correctly and even fix some vocabulary that can cause problems, you also gave exactly the correct kind of exercises to get the feeling of good relaxed high playing and the balance between chops, tongue, and air. You should check out overtone singing. I think it gets at many of the same points and is very easy to teach and learn. A legend and scholar of brass playing, the late great Sam Burtis. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hsXVZTiIH2A.html
No. It's popular erroneously explained air " mechanics." Simply heard and repeated by wind musicians. If the movement of the tongue helps, then do it. Justification by "explanation" of misunderstood air "mechanics" is completely not required.
@aasavickas wrote: "Most of what is taught about [sic.] embochures is wrong or impossible" Yes, including most of what you have provided in your comments here.
I remember learning to whistle like that while getting my left nipple twisted off in middle school. Since then, I've never had a problem with my high rage, or my left nipple.
Hold on. What? How did you measure the air "speed" anywhere.? You are claiming that its less air flow. But for the air to be "faster" for the higher tongue configuration. then the flow would have to be the same . Otherwise less flow through a smaller smaller space would be the same flow velocity for each case. Did you actually measure the air velocity ANYWHERE or actually do any actual detailed study on flow mechanics? Or are you just repeating some stuff you heard? Be honest
I think you are missing the point. His analogy of the water hose is clear and correct. The water is like Air, the lips are like the thumb, and the tongue is like the fine motor skills of the index finger tip. However, for evidence the following are places you can go for evidence of air speed and measurements and whatever you like. As a musician, we almost never have the tools, time, or talent to scientifically verify anything. We trial and error experiment. This guy sounds fantastic in this video. This works for him. Try it out. If it works, great! If not, try something else. Everyone is different and has a different sound concept and teeth, tongue, etc. However, the laws of physics and vibrating strings is consistent. So, on balance, this type of exercise and approach flat out works for most people and addresses the problems and bad habits in their playing. I understand wanting details and more info, but the proof is in the pudding in any art form or performance. IMHO. Just in case you are an engineer - For actual academic and scientific explanations and evidence of what he is talking about, look up Doc Reinhart, Doug Elliot, Wilktone, Maggio, TCE, Tongue arch. There are some really great videos online of clear mouthpieces on multiple instruments as well as fMRI videos of horn players. His analogy of the water hose is clear and correct. Focus on the movement of the Tongue in the mouth relative to the range played. See the way the tongue moves up and forward with specific shapes to compress the air and direct it into the lips. This is what changes pitch when the best players play all of the brass instruments. This is the core of what he is describing. In other words, compression of the steady consistent air flow (He may have misspoke or may misunderstood this specific aspect but every exercise is about consistent air so he probably just misspoke and actually gets it) by the tongue and oral cavity to increase speed/pressure to play high OR decrease speed/pressure to play low. This is textbook fluid dynamics. See the video below for evidence. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MWcOwgWsPHA.html
@aasavickas no, this is NOT "textbook" fluid dynamics. It is false constructs based on hearsay of popular but misunderstood and erroneously derived ideas. And yes. I am an engineer AND brass performer. Wilktone , Elliott, and those others have no actual education or knowledge of actual fluid dynamics and mechanics. The tongue arch does not "compress" the air, nor does the reduced aperture. Manipulation of the lips and tongue IS a useful action for controlling the pitch played. But the cause has nothing to do with the popular imaginary air mechanics such as air "speed" or "compression." Performing successfully is not the evidence or proof of erroneous and misunderstood air mechanics. I will watch the link you provided. I would love to provide commentary on that too. Stay tuned.
@aasavickas you also immediately qualified your explanation as "analogy". Fine, then that is all it is. It needs no proof by you or anyone at that point. Only accurate physics and/or actual measurement would provide litteral proof. Not " he is a great player therefore everything he says is true" BTW, there are poor players who repeat the same myths. Does that immediately disprove the popular " physics "?
No. It's a brief summary of all the popular air mechanics nonsense that brass players hear and repeat. The posture of the lips controls the pitch played. It has literally NOTHING to do with air "speed" anywhere in the system.
Really beautiful stuff- some really gorgeous phrases and soaring lines. So easy to listen to, I felt it drawing me in by drawing me out of myself, rather like looking out into the night sky. Echoes of Ravel, beautiful simple modality... great stuff.
Such a beautiful opening texture and first couple phrases!! The slow movement really engaged me to want to internalize it-- gorgeous melody. Nice execution of the triplet figures-- such a hard thing to get so consistent! Bravo!!!
Thanks buddy! Hope all is well, sorry I couldn't make it to the grist mill last weekend, but we've got to meet up soon- I've got so much new work to show you!
As a beginner trombonist in my middle (or later!) years, who learned the cello at school for 6 years because the trombones had all gone by the time it was my turn to choose an instrument, I'm grateful to have found such thoughtful and aware people who are keen to share freely their expertise and experience. I'm struggling with breathing and breath control and feel that the struggle probably lies more in my head than in my lungs (but then, I am fat and unfit!) so I hope I can take away quite a lot of information by listening to this conversation whenever I feel the need. Thank you both very much.
I try to work on high range about 3 times a week in a dedicated fashion. Usually, that's a 20 minute segment that resembles this pretty closely (although it's always evolving). Each day, I do try and work into the higher range in my warmup, and that usually involves the first exercise from here. Hope that helps!
These exercises have made the high range I already have much better, and has made the range I struggle with a little easier to attain. Update: with these tips and exercises my range is improving still. A double Eb is becoming much more attainable.
Okay, I have a question.... Why do I seem to hear an intermittent low note peeking in (especially noticeable in the first exercise)? Is this a resonating frequency in some of the recording gear or within the environment? Or does it have to do with the instrument?
I've been using the Chuck Colin book for flexible no tongue range building, but what about when we have to use legato tonguing in the higher register? Where does the tip of the tongue go?
For most players, the tip of the tongue moves up into the airstream towards the roof of the mouth. It doesn't have to make contact in order to tongue- at that register, a simple bump in the air stream will give you a clear tongued articulation.
This video just defied all of my beliefs on playing the high register. And made me realize my mistakes. Great video. Might use this to teach a bit to my colleagues in school. Nothing negative intended
