Trager Trumpet Talk

TRAGER TRUMPET TALKtm.

Presents

JAW POWER

RIGHT ON!!!

I realize that other pages in this community are filled with references made to the use of the jaw when playing trumpet. Perhaps it is because my personal belief is that not enough time is spent discussing the importance of the jaw. I am not saying that proper use of the air, and proper body posture aren't important, it just seems that there is so much written on the proper use of the air. I will be adding pages discussing proper body posture and air usage at a later time, but I want to focus on the jaw by writing this little critique on its importance.

I will be quoting from Roy Stevens to elaborate on some of my own discoveries involving the jaw, and its role in playing the trumpet. First, we need to clarify a couple of things:

1- I am not advocating that all trumpet players adopt foward jaw positions - that's preposterous.

2- Excessive jaw movement including protruding the jaw , to a point where the bottom lip does not make contact with the top lip will make playing trumpet a nightmare.

I have read that "trumpet" is the most physically demanding instrument, and that "oboe" comes in at a "distant" second place. I have real problems with that statement. I have had numerous problems learning how to play trumpet, and it wasn't because it was too physically demanding for me, but rather because I didn't understand the "concept" of trumpet playing. The art of playing the trumpet; and it is definately an art; is conceptual. This is the reason why it is imperative that a student that is having playing problems find a good teacher, a teacher that understands all the concepts involved in playing this instrument. Just a side note: A good teacher is one that understands and employs a conceptual view of playing, and can determine through observation and questioning if the student understands the concepts being put forth. If the teacher then realizes that the student hasn't grasped the concept, then it is up to the teacher to find another alternative approach until the student grasps the concept at hand. A good teacher can tell in a heartbeat if the student understands what it is the teacher is trying to employ or communicate. Also, a good teacher has alternative means at his/her disposal if the student doesn't grasp the concept the first time around.

The basic concept behind producing sound on the trumpet is quite simple. The lips need to meet evenly in an "M" position. One lip should not overlap the other lip. The lips are rolled slightly over the teeth, they are not free floating.

The Jaw as a Rudder

I believe as Roy Stevens stated, many times, the jaw acts as a rudder, and I quote: " Lower jaw motion, minimum and maximum, in its role as a rudder controlling the lip aperture against a top lip constantly exposed to air, will at the same time control the minimum and maximum length of the vibrations. All dynamic levels in all registers are subject to control by the lower jaw and bottom teeth edges." In other words, the jaw affects dynamic control and range by controlling the lip aperture. When the jaw moves slightly outward, it also moves slightly upward. The jaw follows a natural arc. I believe that when the jaw moves upward (in its natural arc) it pushes the bottom lip up against the top lip, causing two things to occur. 1- " The top lip and bottom contract in the direction of each other(an isometric concept - they go nowhere), affecting the surface tension in the vibrating area of the top lip." - [quote from R.Stevens] 2- The aperture becomes a "fixed aperture".

The Jaw as a Resonator

Roy Stevens wrote about this extensively in his book, "The Stevens-Costello Triple C Embouchure Technique", and after discussing his views on this topic with several dentists, orthodontists, and orthpaedists have come to the conclusion that Roy Stevens is absolutely correct. I will now attempt to explain in my own words what I believe Roy Stevens was conveying in his text. The jaw, due to its makeup, is a conductor of sound. The jaw could be compared to an instrument pick up device. It picks up the vibrations created by the top lip vibrating against the lower lip, and sends them into the mouth and nasal cavities where they are amplified, at the same time that they are amplified by your instrument. The jaw is directly related to the nasal cavity. When the size of the mouth chamber decreases, so does the volume of sound, and in some cases forced out your nose. When your jaw receeds and tongue raises top lip vibrations are now inhibited. Eventually the teeth edges will block the airstream to the lips, and the air stream will back up at the throat. Compression actually decreases with the raised tongue levels. As related by Roy Stevens, the foward jaw has many advantages. I have listed below what I feel are the seven most important advantages from Roy Steven's list of thirteen :

1- The tongue is low in the mouth allowing for a larger chamber for sound resonance.

2- The throat is open at all times.

3- There is a firm platform to receive the mouthpiece.

4- Since the jaw controls dynamics and frequency, air leakage from the nose is eliminated since the "ee" syllable for obtaining high notes is all but eliminated.

5- The total sound of the trumpet is relative across its entire range, with all notes having similar timber and volume.

6- Jaw position and lip curl puts the principles of leverage in the favor of the player, thus increasing range and endurance.

7- Top lip is free to vibrate, and flexibility is therefore greatly improved with the use of the jaw.

I believe that any player can improve their playing dramatically by experimenting with their jaw. Experimenting with the use of the jaw while practicing could prove beneficial to many players. Just remember that the lower lip must be rolled slightly over the lower teeth edges.

1- Try moving the jaw outward while ascending.

2- Try moving the jaw slightly up and down while attempting lip slurs.

3- Listen to the sound of your horn as you move your jaw outward.

I've learned many things about my range, endurance, dynamics, sound, and flexibility through experimental practice. How far can I close my teeth before I lose sound? How far can my jaw receed before I lose my lip facing? How soft can I play aided by the use of my jaw? I learned these things and more through experimental practice.

I hope I touched on some important reasons why you might want to incorporate the use of the jaw in your playing. Whether you play as an upstreamer or downstreamer, the jaw can prove to be a beneficial component in making playing more improved and easier, and after all, isn't that what we all want?

Sincerely,

Wayne