The Trumpet Prof answers your questions about the incredibly popular EASY HIGH NOTES in FIVE MINUTES video and shares more tips about MDAS. Easy Trumpet High Notes in 5 minutes: • EASY TRUMPET HIGH NOTE...
Hi Paul it's now nearly two months since I took an hour and a half consult with you. If you remember I have been playing trumpet since 1996/7 with the last four years laid off. What you taught me to do was no less than what you do on tour videos MDAS-wise. The difference of course is that I have my very own gap in my teeth and you found it mate you really did. The point of this comment is that I never had a solid note above the F# top line of the treble clef. I tried out all the experts on youtube with tongue positioning and buzzing (which i can not and never have been able to do properly) these guys can really play as you all know many of them are top-notch professional trumpet players who get paid in the best orchestras/bands regular and jazz, for playing high - but - none of their advice over 26 years(well 22yrs actually with the recent 4-year break) none of what they offered has been of any use to me. Despite how hard I practised and moved my tongue about and practised and practised. Eventually, after about 10 years I just thought Steve you just don't have what it takes. So just carry on sitting on 3rd cornet forever, that's the best you will ever be just do that to your best ability and be happy. However, at the age of 73, after a four-year break, I had an online consult with you Paul. We did some breath stuff which I found helpful Then I continued to do what you asked me to do with the predetermined resignation that I would fail again. . Then you had a look at my top and bottom teeth and told me exactly where to place my lip under a specific tooth and blow in the same way that I had done two minutes before but without trying to play a note, just blow. On an open embouchure without any real effort out came a D6 and then an F6. I was totally astonished (in the UK we say gobsmacked) because, in less than ten minutes of working with you, I was easily knocking out notes that I had never ever heard myself play, and in a higher register than I though was possible for me EVER!!!!!!! At the end of the consult you advised to do the work and keep practising and experimenting which I have. It is perfect, well no, because I still have to practice trumpet technique and all that articulation stuff. But the basic setup for my trumpet playing is totally different to what it was before and it works every time. I play in a community wind band I am asked - "how long before you came back to band did it take to get my "lip back in" and I just say an hour and a half. Thanks, Paul Steve
Hi Paul ,As a test, I tried "buzzing" (with no mouthpiece) using your method (bottom lip touching top teeth) and then using just both lips together. Your method started my lips to vibrate much faster and more effortlessly . Thanks !
Professor Paul, your [MDAS] study of this teeth/lip/embouchure relationship has, just NOW, revealed to me the answer to the single most puzzling, life-long unanswered question I've ever had about my own trumpet playing. I will leave it there for right now, but to say only that my predictable 'fist fights' going up have always begun near, or at the gauntlet of (concert C top line) F#/G/G# (concert F) G#/A/B♭. Thank you so much for your work! 🎺🎼🎶
Hello Paul. Great video as always. I don't think I ever mentioned after all the years following everything you talk about. I have always been a lip buzzing player since I was taught at 12. Now at 61, I heard you mention lip buzzing. I only had lessons in 6,7 and 8th grade and after that, self taught. I do find myself trying to figure out what I might be doing wrong. The days I played 2-4 hours a day it helped build more strength for upper register and very comfortable to just have high C as my comfort zone. As I continue to go back every day and watch your videos in more depth and try to focus on each segment, I am trying to pay close attention to each detail. I've gone as far as taking old mouthpieces and modifying them, using different ones as I saw in one of your videos years ago and now understanding that I must be missing something. Again, it's hard not to do what we were taught at a young age of rolling your lips in and buzzing, buzzing and more buzzing. The air strength is an area I was never taught. I have watched so many players play with so many different styles and pay close attention to the breathing etc. I feel im missing something and have such an open mind to learn. One hard part of my life is when I had a stroke at 49 with full paralysis of the right side and a year and a half of therapy to learn to walk and many things. Not playing for a year back then was my goal to learn. Well, I think after all the years since, my body went back to what I was taught. I know I shared a video on RU-vid I did of a song after the stroke and was proud of how far I came. Sorry for the long comment, but wanted to know if you have a video about the lip placement or not doing lip buzzing to play. I hope this finds you in good health and I can't thank you enough for everything you do. I have kept every one of your videos since you started and continue to research what you do. You have been the most help to me because of your strong heart to teach things in the manner you do. Wish we were neighbors. Have a wonderful day and many blessings. 🙏🏻🎺
Thank you David for your wonderful and inspiring message. I absolutely love teaching. Understanding the technical side of playing the trumpet has taken me many years and although there is always more to learn, I am confident my approach to "the basics" is securely in place and correct. The hardest thing (and most fascinating) is presenting knowledge in the most simplistic form and reducing as much as possible the chances of misinterpretation. I thought I was pretty good at seeing things through the eyes of my students until I recently took up golf! That has taught me what it's really like to be on the other side of learning a highly technical discipline which has endless approaches and variables. The general comments I receive from my videos tell me what has or hasn't been understood and allows me to learn and improve my communication skills. It also gives me a better idea of the type of content players want and what is important to them and I will cover lip placement and buzzing (good and bad) thanks to your message. Thanks again David. Best wishes to you, Paul.
@@TheTrumpetProf Thank you Paul. I wish I was closer and could stop over and work directly with you. You have inspired me so much in these past years of following you and I do understand that some things work for those who have the ambition to learn (me) even at 61. I'll never stop playing as long as I am able. The passion is to share what I do with my music and photos I put together and want to be able to open my mind and learn what I wasn't taught. Thank you for taking the time to share your last comment. I take it at heart and will save it to have it to read often. Now with lower back issues the last two months and have a real small tumor at the very base of my spine, I have time to do a lot of research with your video and speaking. I'm in great hands with a Dr that is conservative and has a great plan without surgery and 100% it's not any type of cancer. 🙏🏻 Now just to get things under control and as you know and the Drs know, I'm not a quitter. Heck. 15 other types of surgeries in my life and even beating cancer 31 years ago I'm very strong knowing that I can beat anything that comes my way. The Drs say, that is what has they like in patients like me. "A strong attitude and the courage to never quit and focus on the positive things, nothing negative" Take care Sir and thank you again for everything and being you, a great friend. 🎺👍🏻
Dear Prof! so it works like the Jerome Collet spit buzz method, where you use the tongue to support the lower lip, but with this its the top teeth supporting the top half of your lower lip onto the gap of your teeth, creating the faster air frequency. I just got the trumpet out, and yes i do the same thing past top 'c (didn't realize i was, i always say grip the corners more to control the greater air speed, not smiling but gripping down making sure not to close the gap, or you will explode! but I've realized in doing so you form this lip position because your lower lip curls in more towards your top teeth producing this position, and not closing the gap up and this is above top c. And yes its not 2 embrasures) I've got no gap, but the top teeth are supporting the lower lip when the corners grip in more to deal with the greater air speed. Bill played with his tongue vibrating the air, that use to blow my mind, and i guess it was the collet thing, he just did it himself learning in the sally army as a kid! but he hated playing above top c. and by God he is a monster player. really interesting, and there's a you tube clinic with Wayne Bergeron where he moves his chops to this position, but he says its his high note shape! The biggest problem i find with kids is if there squeezing off the gap completely, and the tone gets scratchy, or over trying (the hemorrhoid embrasure!) Thanks for this, really good to think about my own playing, and the processes we all use, that we forget we do. And fricking orthodontist are destroying our profession, which might explain when kids get out of braces there range can be worst than it was.
All we can do is work with what we have. I'm not a fan of the Callet system and don't like the sound it produces. MDAS is different in many ways but what ever the system you should always consider the role of the teeth. Sounds like you do anyway! TP
Hi Paul. As a horn player and brass teacher, I'm really enjoying your videos and learning lots of new things. I know this is an advanced channel, but does the MDAS have any use for the beginner-Grade 1 type student? If not, what would you focus on to help a young player who struggles to play comfortably up to, say, a 3rd space C? I try to focus on cold air/ fast air, then whistling / vowel sounds / tongue position, then aperture size. As a last resort, I tell them to tighten around the lips. But it's often a struggle for the them to play higher whilst staying relaxed. Thanks!
Hi. This started as an advanced channel but I'm not promoting that anymore after so much great feedback from less advanced players. Sounds like you are doing a wonderful job with your students and your approach is a good one. But as you have discovered; the conventional methods just don't deliver high frequency. They help high frequency but not enough to really produce it at the levels trumpet players need for the top lines. MDAS can be used for anyone at any stage. Twenty-five of the students you saw in my first video are all at the same school. They range in ability but all play high easily because they're using an HFA. I'm well aware how difficult it can be to teach younger players how to play high and there is no shame in breaking the rules every now-and-again. Start with the aperture and getting it set as small as possible. Then look at the other components and build around it. I'll do more on this soon. All best, TP.
Love this video. I think it explains what I've been "accidentally" doing for years and could never consciously reproduce. My top teeth have a very slight opening at the bottom and the bottom teeth have a similar opening at the top. I mean, VERY slight but I can make a little whistle with it, so compression is possible. Seems if I keep them from closing down too much I can go almost as high as I want. Control is an issue at the moment but that will come. Lead playing is a lot easier today. Thanks!
Great to hear that. Pass it on to every trumpet player you know. Most have something they can use. I'd love to think that one day (long way off) high notes are not the biggest problem trumpet players have! TP
Hello Prof Paul, after just a few tests, you already provided the explanation for my different (good and bad) experiences on high notes related to denture problems through my life as an amateur trompeter. I will continue testing and may contact you soon for additional advice. I also used to play cornetto, which typically has extremely small mouthpieces. Do you think that the HFA is key for a successful cornetto embouschure?
Thank you for this and previous videos, great stuff! I think my range increased suddenly. But I do not think Maurice Andre had crooked-gaped-angled teeth. Any comments on that?
Hi. Great to hear your range increased. In my opinion any player who plays high effortlessly has an HFA somewhere. I think Maurice Andre was helped by his upper left central incisor but more importantly with the lower left teeth. TP
Quick question, I don’t really have an obvious gap that would work but you said most people have something that could work and they just don’t know it. Could you give some examples of some non-obvious spots you could use MDAS with?
The arch of the roof of the mouth surely varies among people. If the arch is high, that would make it difficult to use the tongue to narrow the channel of air (the Venturi). I wonder if people with low mouth roofs are better able to play high notes.
Personally I don't think it makes much difference. The tongue can narrow the air all it likes but by the time that air reacts with the lip it's changed. TP
Hello thank you for the interesting videos, but i had braces when i was 14 so i don't have any gap between the 4 front teeth at the top and at the bottom, how can i use your technique?
Most players have a channel somewhere. It doesn't have to be between the front teeth; I only used my gap in the video as an example. I haven't met many players who don't have something they can use but you might be one of those players. If that is the case, this particular technique isn't for you but there are other ways to play high! TP
Interesting. After highschool I joined the Marines and they fixed a gap created from a chipped tooth. I played with the gap through school and actually had a high f with not too much difficulty. Not until checking out your video did I start thinking about a gap. Well I don’t have one. Playing with ease to a high E is a challenge. What would you suggest?
Hi. Most players have something they can use. It doesn't have to be a chip or gap between the teeth. You could utilize an overbite or an irregular shaped tooth. I've given close to 200 consultations since this video and haven't found a player who doesn't have something they can use!
Thanks for the comment. I didn't know that but have been informed of it a few times since this video. He must have had an HFA somewhere else to play the way he did. I'll have to find more pictures of him smiling!
Yes that's right. The trumpet is always trying to vibrate your lips for you so let it take control. The trumpet won't stop trying to buzz your lips just because you are, so don't fight it! It's knowing what to control and what not to control which makes us more efficient. TP
Parabéns Prof. Obrigado. Estou recomendando seu canal em meus vídeos e canal.... Muito bom. Congratulations Prof. Thanks. I am recommending your channel on my videos and channel. Very good,
Maestro a la lengua no veo que le de un especial tratamiento. Parece fundamental la lengua en darle alta frecuencia al aire, qué opina por favor?. Muchas gracias.
@Jeraydo I'll be interested to hear how this works out. A few months back I had all my teeth pulled and implants inserted in preparation for "bolt" in teeth arches. I've got dentures for now and they have no gap either. The teeth edges are fairly even as well so only a Very small place for an aperture. Thank you for posting.
Your gap doesn't have to be at the top teeth. I only used that as an example. Look for other channels at your lower teeth or upper/lower at the side. TP
Thanks Prof Mayes!!!!!! My question: May it be possible to have a gap too big to be useful? My upper front teeth have a gap between them 3 or 4 mm wide and I am not succesful in generating high pitched notes in the described way by now.....
Yes you can use it but not the way I described in my video. You need to push your lower lip up and in front of your top teeth. Experiment with that and let me know how you get on. TP
@@TheTrumpetProf I saw your answer yesterday, thank you very much. I'm trying, but so far there's no clear sound, it sounds like some of Tolkien's Nazguls are attacking - very disappointing ;-) I can make a mix of whistling sounds, but my lips don't seem to vibrate distinctly enough to to produce a clear sound, or at most occasionally an unpleasant, hoarse one. Normally it's just my upper lip that moves, now it seems like both of them are doing it. I'll try it for a few more days and then report back.
@@TheTrumpetProf The Nazguls are gone, but things are progressing very slowly. I now manage to produce some clear tones. The effort required for higher tones is hardly greater than that for lower ones. Without a doubt, this is the method by which one can produce high tones without very much effort. I guess I actually have a bit of bad luck with my crooked teeth and start lower down than someone who has reasonably normal teeth. Pulling the lower lip up to the gums of the upper teeth is very unusual, I feel like I'm starting from scratch with the trumpet. So far, I don't even have to think about the clear beginning of the note, the correct start with the tongue, or the precise targeting of the right pitch. But I'm sticking with it.
@@TheTrumpetProf away from the trumpet I can articulate through my gap and it produces a nice steady fast stream but I can’t seem to apply it to the trumpet, feels like my top lip is in the way
Paul your help is exceptional. I have taken lessons in the past but could not do what was asked havant been successful since on my own working on tongue to get a better higher range with good tone like Gorginea its a wonderful world. Thanks very much Paul
@@TheTrumpetProf would love to see that. With examples of various different lips, teeth, and relative positioning of both (e.g. short top lip relative to teeth)
High notes are not "faster" vibrations, they are MORE FREQUENT vibrations. And we ALL tension the lips to play higher, that is what controls the frequency (not the "speed") of the tone.
Great teaching is not about "perfect" vocabulary but EFFECTIVE COMMUNICATION of ideas. And we ALL may tension the lips to play higher but the WAY we do it (avoiding muscular tension) controls efficiency.
@@TheTrumpetProf well one can not avoid the requirement of muscular involvement to play. But reducing effort and increasing results is indeed worthy goal. And precision in use of terms actually increases effective communication. For example: Use of the term air "volume" is quite prevalent in brass parlance when FLOW is the intended meaning. That is imprecise and blurs effective communication.
@@BrassBro-Science-ys7sg Forgive my imprecise use of terms. Please allow me to replace "theories" with "hypothesis". In my experience, the use of metaphors is a more effective form of communication.
Hello, to prove it´s the gap, you should have closed it with something smaller i think. This way you influence too many factors of the system. To be honest, i have serious doubt´s about this teeth - shape thing. I did - some time ago - grind them off (I regret it now), put composite on them and experimented. I was also somehow convinced that a small gap in my theeth where the tongue had created a small air stream when i was playing high would increase my range. however, as soonn as i got used to this new constellation, everything behaved the same as before. It made no noticeable difference. I suggest you to further prove these things. Close the gap with some composite that is not too strong and play the trumpet a couple of months. If you can get your double G as easy after 6 months, well... This seem´s not scientific enough to me sorry. This way it´s only animating people to ruin their teeth
I did a little experimenting, and I put a small piece of aluminum foil over my two front teeth, and I was still able to get out my highest note with a little bit more difficulty.
@@olympicfan2 it's stayed in place relatively well, I don't know about a vertical gap what do you mean by that?, but my teeth are naturally messed up enough to make a wedge shape pointing forward which could make a difference
Thanks for your comment. I've done a lot of experimenting with this over the years including, as you suggest, using something smaller; the results have been the same. It's one thing to have a gap or narrow channel, but without the right guidance and knowledge, making it work for you is another thing. If you analyse my videos you will see that I have presented more reasoning than the experiment from this video. 1. I personally always struggled to play high. I tried all the systems and methods and it wasn't until I unlocked my gap/gaps I found effortless high range 2. My 25 students from the same school playing high easily 3. At 7:56 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xmAmXpLOuRU.html 4. This video at 8:21 5. The great high note players. This video from 3:00 6. My explanation of apertures and how MDAS actually generates frequency of over 1000 Hz I agree it is not the most scientific of evidence but I am not a scientist; just someone with a keen interest in physics. I decided long ago to talk less about science and more about effective practical solutions and the amount of practical evidence here can't be underestimated. The scientists I teach seem to agree. My frustration as a student was always the lack of reason and explanation behind a technique or method. I look at others videos and systems today and my frustration still remains. What I am not doing is animating people to ruin their teeth. What I am doing is encouraging them to use what they have naturally. TP
thanks for your reply. It´s nice to have a discussion about this. I´m not a physicist, but chemist and thus I can call myself a "scientist" lol. Your other video where you talk about air compression makes a lot of sense. You talked about experimentation with your gap. What exactly did you do? Did you try it for long enough? The tongue and embochure - as you know - need to learn certain movements that have to fit the new system, and this usually takes months. From what I can conclude, if you have enough air compression and embochure strength, teeth shape does not matter. But If you want, we can have a more scientific discourse about this. We could have a Video chat oder something and I might do all these experiments, including the removal of my dental composite in the place where the gap is sufficient. I would like to know what exactly you told your colleague to do. Does he also have a "gap"? And also, can you hit the double G anytime in your playing? Now I tried the "FAR" with my lower lip also. I noticed an easyier upper register. But I don´t have any gap in my teeth and the lower lip just presses against the top one. @@TheTrumpetProf
I have talked about the tongue in previous videos but I don't mention the tongue in these videos because they are not about the tongue; only about the aperture. TP
