Trager Trumpet Talk

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TRAGER TALKS TRUMPET

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My Thoughts on Playing Trumpet

Do you find it ironic that I posted a picture of myself playing the piano, when the name of the article is, "My Thoughts on Playing Trumpet"? The answer is really quite simple. When I'm playing trumpet all I am basically focusing on is the music; similar to piano; where my focus is the same.

As an instructor of brass; trumpet being my specialty; the most prevelant problem among most fustrated players is an over emphasis on their "chops". This is especially apparent with players that have had embouchure problems in the past, or players that have had orthodontic procedures performed such as braces. Being overtly focused on one's embouchure creates more problems then it solves. First, it creates a lack of confidence in one's abilities to play the instrument. Second, the player usually develops additional embouchure problems such as spread lips, which in turn leads to excessive arm pressure. Excessive arm pressure can lead to bleeding, scarring, and nerve damage. So as you can see, it becomes an unending path with no end in sight. Eventually, the trumpet never finds its way out of the case again.

On the physical side; playing the trumpet is nothing more than muscles responding to certain stresses that are placed on them. We play specific exercises to elicit these responses, and cause the muscles to react in specific ways. This is called "conditioned reflex". There are over two hundred muscles involved in playing the trumpet. Why is it that so many student and professional players feel that they can control elements in their playing that are totally out of their control? The trumpet is the most physically demanding wind instrument, and many believe that in order to be successful it requires "strong arm" tactics.

I recommend that when playing the trumpet, focus should be placed in the following areas:

1- Making sure my lips are in a lightly closed "M" position. I tell my students to say, "MOM". This is the correct starting point for any embouchure. Lip compression is created when the bottom lip presses up against the top lip. Compression is created at the center of the lips, not the corners. The corners will naturally tense up as the compression increases.

2- A relaxed and light left handed grip on the trumpet. (click here)

I hold the trumpet with my fingertips. This accomplishes several things.

A - It takes the focus off of the player's embouchure.

B - It makes the trumpet feel lighter and more balanced.

C - It puts the player in better control of the instrument, and gives the player a psychological advantage.

D - This hold reduces the possibility of a player using excessive arm pressure, and therefore increases the players overall endurance dramatically.

3 - Keeping the corners as relaxed as possible. The reason for this is quite simple.

A - If your corners are tight while playing in the middle register of the horn, you will have nowhere to go as you ascend into the upper register.

B - If you play with tense corners you will tire quickly.

If I asked you to run twenty four laps around a quarter mile track, would you sprint for the first twenty laps? The answer is an obvious, "NO WAY". Why then do I see so many players with tense and tight corners while playing a third space "C"?

4 - Keeping the jaw relaxed, loose, and flexible. The reasons are as follows:

A - It is easier to make changes in intonation with a relaxed jaw.

B - Flexibility is improved with a flexible jaw.

C - The jaw can be used as a rudder (to direct air and support lower lip), and as a resonator (to amplify upper range).

5 - The use of tongue levels. I advocate the use vowel sounds to control the position and level of the tongue. Tongue levels are essential for success on any brass instrument. Tongue levels provide:

A - Increased flexibility - Changing of tongue levels re-directs the airstream, thus making it easier to change intervals. Additionally, tongue levels put the focus on the center of the lips, where it belongs.

B - Timbre control - using the following vowel sounds will enhance and control the timbre of sound. For all notes below "low C", I recommend the vowel sound "AW".

For the range of "low C" to 4th space "E", I recommend the vowel sound "AH". For the range of 5th line "F" and beyond, I recommend the vowel sound "EE". The vowel sounds of "AH" and "AW" are very similar. Both of these vowel sounds lower the position of the tongue. Both of these vowel sounds produce "warm air", which in turn "warms" the sound. The vowel sound "AW" lowers the tongue position as well as the foward portion of the tongue, and the vowel sound "AH" only lowers the overall tongue position. The vowel sound "EE", raises and arches the tongue position. The vowel sound "EE" produces "cool" air, and helps to increase the velocity of the airstream. There are several variations to these tongue levels, but I reccomend that the player start out with these first.

C - Increased range - The use of the vowel sound "EE" definately makes it easier to play in the upper register.

D - Increased sound projection - Variations of the "EE" vowel sound can be used to control the timbre and increase sound projection in the upper range.

E - Psychological advantages - tongue levels take the focus away from the player's embouchure, and places the focus on the center of the lips.

6- The "BLOW". The "BLOW" is what balances the entire embouchure. The "BLOW" is the essence of what trumpet playing is all about. The following is a quote from a former teacher of mine, Carmine Caruso. "The blow is both a muscular and physical function." " The steadier the blow the more compact the motion of the air. The more compact it is, the easier it is for the lips to ride that airstream." "As the airstream ride improves, the music will improve."

"Think of the lips as skis on the water. As long as the boat is going, the skis stay on the water. When the boat slows down the skis dig in. When the boat stops, you fall off."

7 - Accurate Timing serves several purposes.

A - Coordinates and synchronizes the two hundred muscles involved in playing the trumpet.

B - Takes the focus off of the "chops".

At first glance this list looks pretty extensive; but look again; items #2,3, and 4 all deal with staying "relaxed". Item #1 tells the reader to make sure the lips are together. Item #5 deals with the topic of tongue levels, and items #6 and #7 discuss the importance of a steady airstream, and timing. If the list is viewed with an optimistic attitude, it is really only a list of four items.

I plan on adding more thoughts to this page from time to time, so bookmark this page and visit me on a routine basis. Please feel free to e-mail me with any questions that you may have, and join our community. The membership costs nothing, and as a member you have 30 MB worth of server storage space to use however you choose. Post photos, sound files, video files, midi files, text files, links to other sites, your favorite books on trumpet, discussions, messages, or let us know if you will be performing. Participate in our nightly chats, check out our "Upcoming Events", and invite your friends to join. I have been working on this community since June 4, 2001. I have big plans for this site, so be a part of it, I promise that you will not be disappointed.

Thanks,                                 Wayne     |\_____ ---_____
                    Trager     |/      (_ =||||=__)
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wtrager@msn.com     click on me to visit Trager Talks II