Trager Trumpet Talktm.
presents
PEDAL TONES
A small descriptive about pedal tones, and my feelings about them
Copyrighted 2002 All Rights Reserved
Pedal tones in my opinion is quite a lofty topic for a short descriptive article. There have been hundreds of articles written about pedal tones, and even some prominent methods that have incorporated pedals as part of their approach.
The reasons for the incorporation of pedal tones into one's routine are varied, as well as the "type" of pedal tone you should use. That's right folks, there are several types of pedal tones too.
Let us first discuss the reasons that have been discussed and written about by others. Then I'll describe the types of pedal tones that are utilized, and finally I will express my thoughts on the effectiveness of pedal tones, and the type of pedal tones that I believe to be the most beneficial.
Reasons Discussed By Others
1 - Trains the player to relax and use less tension when ascending into the upper register.
2 - Opens up the player's sound.
3 - Brings about a change in the player's embouchure to a more efficient "closed" embouchure set, by extending range of motion in one direction (rolling out).
3 Types of Pedal Tones
1 - Natural Pedal Tone - The lips start off in a natural "M" position. This type of pedal tone is created by keeping the lips together, and dropping the jaw. A very slight pursing of the lips may be necessary to:
A - focus the pitch of each pedal tone.
B - lip up from the fundamental pedal Bb to a pedal C. This very slight pursing is "the key" to the effectiveness of this particular pedal tone.
This pedal tone is the most popular of the 3 types that I am aware exist. This is the pedal tone that is utilized in the Claude Gordon Approach, The James Stamp Method, as well as many others.
2 - Maggio Pedal Tone - This type of pedal tone is similar to the "Natural Pedal Tone". The lips are pursed outward in an exagerated pucker (similar to a monkey) while descending into the pedal register, and ascending back into the standard register of the trumpet.
3 - The upper lip pedal tones - The type of pedal tones normally produced by this "set" are double pedal tones. These pedal tones are produced by placing the majority of the upper lip into the cup of the mouthpiece, and rolling the lower lip outward against the rim of the mouthpiece. This type of pedal tone is used by several prominent teachers in training the lower lip to push upward from the center into the upper lip. Care must be exercised by the player attempting to utilize this type of pedal tone. Overuse, or playing this type of pedal too forcefully could create lip bruising, loss of sensitivity of the upper lip, and or numbness.
My Thoughts on Pedal Tones
More thoughts on the use of pedal tones will be discussed further in an article that I wrote entitled, "Observations". The type of Pedal Tone that I feel is most beneficial is the "Natural Pedal Tone". The very slight pursing movement that is needed to focus the pitch of each tone trains the aperature to focus. Claude Gordon explains in his "Systematic Approach", that the lips should contract towards the mouthpiece. The problem with giving a student that information, is that they tend to exagerate the movement. The use of "Natural Pedal Tones" give us greater tonal and dynamic control. The slight pursing of the lips towards the mouthpiece aids in the development of a consistent upper range. Playing exercises that extend into the pedal register, and from the pedal register back into the upper register with the goal being to play into and out of the pedal register as cleanly and fluidly as possible, will increase both the flexibility and range of the player. If the player practices "natural pedal tones" in this manner, they will NOT develop multiple embouchures.
If you would like more information about pedal tones, or if you have any questions concerning pedal tones, feel free to e-mail me, or better yet, post a message on our message board.
Sincerely,
Wayne
