Great stuff Nick. An important element to mention is volume... the upper register sounds way lauder or 'more present' and it is (to me) impossible to play that high with a low volume. This also depends on the size of the horn and the style, funk or salsa want a shouting bone, other styles not... many arrangers and fellow musicians don't know the specificity of the instrument and are surprised by that.
Actually I think it’s definitely possible! Very very difficult though!!! I definitely agree there!!! 😂. I think playing softly in the upper register is a special skill and beautiful when you can make it happen!
I have found the opposite to be the case. Much easier for me to play higher at a low volume. I'd love to be able to belt out double high Fs a la Frank Rosolino. For me, Rosolino was one of the very best at making the high range sound the same as mid range.
@srconrad right?!? Isn’t it crazy how everyone experiences this differently?? There’s no one right answer… just options to try and find what works for you 😊🙏
Hi im a beginner trombone and ive been practicing lower notes and high notes on a tenor tbone, does having a Fat lips would be difficult to master or to reach high notes? I mean i can play high notes but the problem is my tone is changing like i couldnt make a single whole note in high F
Playing a high F for a whole note is no joke!! Everyone has different anatomy and that means everyone needs to find a way to make things work for them. Keep exploring and you’ll find your way…
I disagree with Darryl above vibration frequency and speed are interchangeable terms, IMO. I think you're on the right track with using your tongue and the shape of your oral cavity to increase air velocity. I rhinknyour explanation is spot on Thanks, Nick!
Thanks for watching and for weighing in! I think it’s most important for everyone to learn a wide variety of different opinions and make an informed choice for themselves 👍
Speed is distance per time. That does NOT inform on frequency. There is no association or relevance of "speed" to frequency. Frequency is cycles per time and does not inform on speed. Frequency of pulsation of the lips are relative to the state of the lips. Loose and relaxed lips play low tones. Relatively Firmer lips play higher tones. EVERY SINGLE PLAYER partakes in that activity to control pitch regardless of consciousness of it. The relative "speed" of air flow, especially somewhere OTHER than through the lip aperture , would have ZERO influence on the frequency of pulsation of the lip aperture. Changing the size of the oral space also has NO positive or increasing effect on the speed of air through the lip aperture. Actually, all things equal a narrowing of the flow path before the lip aperture will reduce the air pressure bearing on the lip aperture and the air velocity through the aperture would be relatively reduced. It is indeed the concurrent fine control of the lips that directly controls the pitch played. Air pressure by variation of exhalation effort then controls the dynamics. The popular air "mechanics" that is standard verbiage of many brass players and teachers is just confused and misunderstood mental constructs. Unfortunately there is insufficient humility or curiosity for any accurate air mechanics concepts to even be considered.
@@BrassBro-Science-ys7sg I think there is sufficient humility to try and understand things that are new; but I've never seen any resource that describes what you're talking about here - where can I learn more?
Other than tongue placement, is there anything else that we can do to increase air speed? Do you tend to play with more or less air in the upper register; that is, louder or softer? I've been told "not to smile" when playing high notes but instead to focus the corners of the lips inward to form a smaller, more "round" aperture. The inventor of Warburton's P.E.T.E. isometric embouchure exerciser told me that he was inspired by a comment from a top lead trumpet player: never let your lips lose contact with your teeth. Thanks for this very useful video.
It's faster, more focused air in the upper register. The higher the note, the faster the vibrations have to be! I'm not a big "focus on your corners" person, but they should remain firm, and not smile, like you mentioned. I really focus on the vowel sounds - Ah to EEE as you ascend!
@dennisfischette4835 tongue placement does NOT increase the air "speed" where the vibrations occur. That is, through the lip aperture. Air speed is of no concern by the brass performer. It's just popular and misunderstood mechanics. But if you must know, there is only ONE way to increase the air flow velocity through the lips. That is to increase the blowing effort. This we do to increase dynamics. The average air speed does vary with dynamics, including the case of a constant pitch. This easily and clearly shows that flow velocity has no correlation to pitch. played .
Higher notes have higher FREQUENCY vibrations. Not FASTER vibrations. It is the state of the lips that control the frequency of tone. Air "speed" has nothing to do with it. And, all things equal, narrowing the oral space CANNOT increase the flow velocity through the lip aperture. The "air-speed" explanation for pitch by brass players is just popular nonsense and confused mechanics.
Hi Darryl thanks for your thoughts here! As I experience it, everything I’ve mentioned is true to my experience and has helped a lot of students. Sorry you don’t agree!
@@NickFinzer sure moving the tongue helps. But you didn't even mention the lips. You also qualified your explanation as THE "science" . It may be your metaphorical mental excercise. But sorry.
@@NickFinzer focus or not. The lip posture controls pitch. Not the "air speed". Indulge in your visual analogies all you like if it helps.. But it's not science.
