Trager Trumpet Talk tm.
presents
SYSTEMS?-- HUH?--- REALLY?
or
The CONFUSION
A guide designed to simplify the mechanics of trumpet playing, and take your focus off your "chops"
PART I (a work in progress)
copyright 2001 all rights reserved
For the past twenty years I have been doing a lot of reading and soul searching. How can I explain the mechanics of playing the trumpet in a way that all players can understand? I have a view of playing that avoids analyzing in detail how to play. I don't believe that it is neccessary, and I do believe that it is detrimental. I don't believe in choosing specific systems, but I do believe in classifications. Unlike Dr. Reinhardt's classifications used in the "Pivot System", these classifications are determined by the application of guidelines/principles. Application of these principles will create changes in each student's playing and place them into one of four categories, which is determined by each player's physical make up.(i.e.- Lip thickness, length of teeth and jaw line, etc.) In a nutshell,
"Application of these principles of trumpet playing mechanics will determine a player's classification based on a player's physical make up."
I realize it's hard to believe, but all a student needs to do is follow six guidelines.
Every player needs to find out what works for them, and knowing in advance what will work for each individual is of utmost importance. In most cases the student can even self evaluate themselves based on the sound which emanates from their own bell. The teacher's role is to guide his/her students; NOT lead them. The fact is that many students of trumpet, (this includes "older beginners", "comeback players", and "college players"); view their playing problems as insurmountable. They search for the magic "system", or the miracle teacher to help them through what they view as an impossible situation. For the record, it should be pointed out that I was once one of those students. I had "extreme" embouchure deficiancies.
I am baffled by trumpet forum participants that describe "systems" of playing; then go as far as to rate each one; and finally recommend their number one system "choice" to all players irregardless of a player's physical limitations with this "system". The student needs to find their own system based on how they play. The whole concept of specific systems for individuals to choose from is flawed by virtue of the definition of the word "system".
Definition of "system" - from Webster's Dictionary
system, n.,series, orderly plan, procedure, method.
If everyone has physical differences how then can it be possible for all of us to adhere to an orderly plan or procedure?
I do not have a problem using the names of "recognized systems". I do have a problem when individuals start to "rate" each of them, and I do have a problem when a teacher advocates a specific system. Why would a teacher advocate a "system" of playing? Most likely for the following reasons:
1- It works for them.
2- The teacher feels, based on their experiences, that this system is "heads up" over all the "other" systems and should be employed by "all" players.
3- The teacher feels that system "A" is good for players who play one music venue, while system "B" is better for players who play another music venue. An example: Johnny wants to be a lead player, so I'll teach this "system".
I remember a student that used to take lessons from my father. One day he stopped into my father's office to tell him that he would no longer be taking lessons from him, but would be taking lessons from another teacher. My father didn't seem to be bothered by this occurence. I asked my father why this didn't bother him. He said, "Well, this student has a slight underbite, and Mr. Smith (name change) is a student of Roy Stevens. I am not as well versed as Mr. Smith is with the Roy Stevens method, but based on this student's physical makeup I believe that he'll do quite well under Mr. Smith's tuteledge." I discovered years later that my father approached this student prior to the student walking into his office, and personally recommended Mr.Smith to this student.
This experience took place in the early seventies when many trumpet players were listening to the sounds of The Kenton Band, The Hermann Band, Maynard Ferguson, and Bill Chase to name a few. Trumpet players wanted to know the "secret" to high note playing. This experience made me realize that it wasn't the system, but the player's physical makeup which prompted my father (who was more concerned with the student's progress than his financial gain) to recommend this student to Mr. Smith.
For many years I've observed hundreds of students and professionals play. I used to sit for hours outside my father's office, and peer through the partially closed door as students took lessons from my father. Listening to each student's individual sound , technique, interpretation and range was quite a fascinating experience. From this experience as well as other experiences that I have had as a teacher; I have devised a simple system of player classification. This system of classifications has proven very successful for all my students as well as my effectiveness as a teacher. The reasons for its success are simple: The student knows that following certain guidelines might bring about changes in their playing. The student will not become paranoid when these changes transpire. The student can now look at the classifications, and realize that this is the way that they need to play. They discover their system
of playing, and for the first time in their years of playing there is a "light at the end of the tunnel"; the HOPE of fulfilling their dream of becoming a successful trumpet player.
WARNING
There is no doubt that what you are about to read will shock many of you. It is my opinion, and it is based on lifelong experiences. You can argue with the following if you feel compelled to, but please keep an open mind and think about the material presented, prior to firing off your artillery.
There are no differences in the playing mechanics of successful trumpet players, despite the fact that they themselves think that they are employing a unique "system"
while playing. In other words, All of those Double C screamers and lead players, and every other successful player out there are all in essence playing the same way. The mechanics of successful playing are the same for everyone.
Trumpet Guidelines/Principles
Listed directly below are the key guidelines or principles that must be followed.
1- Lips must be together and touching in an "M" position.
2- Corners must remain as relaxed as possible.
3- Compression comes from the center of the chops.
4- There can not be any spreading (vertical separation) of the lips, (please read - "How does it Work"), nor can there be any horizontal separation of the lips. (please read - "How does it Work")
5- Pressure must be kept to a bare minimum, and favor the bottom lip.
6- Jaw must remain flexible. i.e.- The ability for the jaw to move up/ down and in/out along its natural arc.
Trumpet Player Classifications
It should be noted that I expect criticism from many trumpet players and teachers that aren't willing to approach my view with an open mind. Below are the four categories of trumpet players. When key priciples involving the mechanics of trumpet playing are followed, each player will fall into one of these categories.
Upstream Players Downstream Players
Group 1 - Bunched Chin Group 3 - Bunched Chin
Group 2 - Flat Chin Group 4 - Flat Chin
It isn't the categories that are the issue! It is following the guidelines that I mentioned which are "key". It doesn't make a difference which category or classification you fall under.
I mention the categories/classifications for one reason, and one reason only. If you are following the guidelines that I mentioned, and your playing begins to change, i.e. - your jaw begins to extend as you ascend into the upper range, and your chin bunches as you ascend, then you are in "Group 1 - Bunched Chin Upstreamer". In other words, don't get paranoid. Accept the fact that this is the proper way for you to be playing, and continue down this road.
The point that I am making is simple!
Just employ the six principles listed and everything else will fall into line. Your body will then make the neccesary physical adjustments to meet the mechanical needs needed to play well.
The six principles listed are the "key" elements to the correct mechanics involved in trumpet playing.
Group1-Upstream Bunched Chin
Group1 - This group of players realize; after adhering to the "six guidelines"; that as they ascend their jaw needs to arc (upward/outward) sharply in order to maintain the "M" position and keep the pressure to a bare minimum. This sharp arc bunches the chin slightly. Care needs to be taken to make sure players in this group don't exagerate the arc to a point where there is a horizontal separation of the lips, and a loss of an adequate lip facing. They tend to have a thick bottom lip which causes the lips to slightly pucker foward as they ascend. Like their Upstream counterparts(group2), they tend to have an "even" bite, or an underbite when their teeth are closed. They also tend to have a long jawline.
Group2-Upstream Flat Chin
Group 2- This group of players realize; after applying the "six guidelines"; that as they ascend they need to arc (upward/outward) in order to minimize pressure, and keep it favored towards the bottom lip. The arc they use is not as extreme as that of group 1, so that their chin remains flat. Players in this group don't extend their jaws out and up to the extreme, therefore horizontal lip separation, and lip facing degradation are usually non-apparent.
Group 3-Downstream Bunched Chin
Group 3- This group; and its counterpart (Group 4); play as downstreamers (please read Up vs.Downstream). The main difference between these two groups is the chin position. With groups 3 and 4 the chin is a more vital component in one very important aspect. If the chin receeds too much then the top lip receives too much pressure. Remember, guideline #5 states that "Pressure must be kept to a bare minimum". Group 3 players realize; after applying the "six guidelines"; that in order to maintain an "M" formation, relaxed corners and lip facing; they need to raise up the chin while ascending. Care should be taken to limit the chin from receeding. If the chin bunch is too extreme the teeth will close. Groups 1 and 3 tend to pucker slightly as the chin bunches, and both these groups need to be cognizant of the "lip facing".
Group4-Downstream Flat Chin
Group4- This group of players realize; after applying the "six guidelines"; that in order to ascend they need to resist the temptation to receed their jaw, and in most cases they actually try to pull their jaw downward as they roll their lips inward toward each other. Remember, compression is created at the center of the lips. This "suspended animation" creates the tension needed for them to play the upper register confidently.
Please remember that the six principles /guidelines come first. Don't worry about the classification descriptions. Remember, everyone is different, and the descriptions were for the most part generalizations. I usually make a copy of the "six guidelines" for my students, and tell them to post them on the stand when they practice.
This is part I of a series I have written. I will be posting part II in the near future. Good luck, and e-mail me with any questions.
Sincerely,
Wayne
