Thomas Heberer

Trumpet Mechanics
Playing an instrument is a very personal thing, and it's not my intention to generalize; however, I'm sure we all agree that success is more likely when we work in sync with the natural tendencies of our body and follow these guiding principles: - Always use the least amount of movement to achieve the desired effect. - Make use of the flexion of necessary muscles, but otherwise practice ease and relaxation. This essay deals with those tendencies from my perspective and experience after 30+ years of playing. Note should be made of the fact that I paraphrase and quote directly from a variety of publications. All sources are listed in Section 9: Recommended Reading. If you are interested in discussing in depth, please contact me: [email protected]

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Section 1: Pose - Posture - Left Hand - Right Hand - Arms Section 2: Wind - General Breathing Advice - Breathing In - Breathing Out - Air: Pressure, Quantity, Velocity - Throat Section 3: Tongue - Manipulating the Size of the Oral Cavity - Articulation - Recommended Articulation Syllables - General Tonguing Advice Section 4: Teeth & Jaw Section 5: Lips Section 6: Prescriptions (Don't OD!) - Circular Breathing - Didgeridoo - Double Pedal Tones - Flageolets - Free Buzzing - Lip Bends - Mouthpiece Buzzing - Oral Cavity Tones - Whistling Section 7: The Daily Show - Warm-up, Routine, Practice, Play - Workout Strategies Section 8: Psychology Section 9: Recommended Reading
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Section 1

Pose
Posture - Imagine there is a string pulling you up, straightening your spine and correcting the position of your head to be in alignment with your spine. - Don't slump while playing. Keep the rib cage high at all times. - Relax your shoulders and unlock your knees. Left Hand - An effective holding position balances the trumpet effortlessly in your hand, allowing the instrument to gently move when changing partials/registers, while maintaining free access to throwing the valve slides. Gripping the valve casing firmly has no advantages. Right Hand - The right hand's primary function is to operate the valves. - The three valve fingers should be slightly curved and their tips should be placed on top of the valve buttons. - Move your valve fingers quickly but don't bang your valves. - The ring finger is especially stubborn. It needs extra attention. - Keep the pinky finger on top of the pinky ring, unless you need to free your left hand. - Place the thumb under the lead-pipe between the first and second valve. Arms - The forearms should form a ninety-degree angle to each other. - Elbows must be several inches away from the body so that breathing is not hampered.
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Section 2

Wind
General Breathing Advice - When breathing in, the muscles responsible for breathing out should relax and vice versa. - Breathing in to breathing out (playing) should be one fluid motion. Never hold your breath. - One's vital capacity lowers without the individual realizing it. If you are using limited amounts of air -- say you are used to taking half a breath, the air that you draw from that fuel supply may be adequate to play the instrument at the age of 20, but not at the age of 50. This is a reminder to continuously reconsider your playing system, because something might work today but not tomorrow. - Be aware though that in the brass family the trumpet uses the least amount of air quantity (under the greatest amount of pressure). Breathing In - Breathing in should be done through the mouth corners using an "oh" shaped mouth, unless one does Circular Breathing, a technique incorporating breathing in through the nose. See also: Section 6. - Don't inhale before the mouthpiece has been placed upon the lips. The sequence always is: place-inhale-play. - Most importantly: Always take air in from the bottom of your belly to the top while maintaining relaxed abdominal muscles. - The closer one gets toward empty, the harder it is to get air out of the lungs. See also: Breathing Out, Page 5. This is why I advocate taking in a relaxed full breath (breathing in to approximately 80% of your capacity) all the time while you are in a creative musical situation that requires flexibility. When you play written music, always breathe in significantly more air than needed for the upcoming musical phrase in order to allow the exhalation muscles to stay in their comfort zone as long as possible.

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- Be aware though that overbreathing is a danger, too. Our goal should always be to have a balanced breathing strategy that is highly flexible. Practicing Oral Cavity Tones (see also: Section 6) will give you an idea of how small the amount of air actually is that is needed to produce a particular frequency. Breathing Out - Trumpet playing requires active exhalation in order to deliver a reliable source for sound production (the airstream is our fuel and causes the lips to vibrate) by pressing the abdominal muscles inward and simultaneously pressing the muscles of the ribs/upper-abdominal muscles upward to lift the diaphragm. - Active exhalation is incorporated whenever and whatever we play. The fact that abdominal support is requiring more effort the closer we get toward empty is a result of having less air available in the lungs and has nothing (!) to do with what we play on the instrument. - However, I strongly advocate the image of simply blowing wind through your lips. (Air as pressure uses the same musculature as air as wind. With wind there is always air pressure. With air pressure, there is not always wind. An example for illustration: defecation. A lot of air pressure is used, but no air is moving beyond the larynx because the epiglottis, the throat gatekeeper, closes the glottis to deliver the required downward pressure. The scientific term for the closing of the glottis is Valsalva Maneuver. See also: Throat, Page 6.) - Air can be felt above the larynx, but not below. - There has to be a perfect synchronization between the initial abdominal impulse and the articulation of the initial attack of a musical phrase. See also: Throat, Page 6 and Section 3. - When playing a musical phrase with detached notes using one single breath, don't loosen the abdominal tension in between but keep the tension until the end of the phrase. - If you have remaining air at the end of a musical phrase, release it discreetly (with relaxed abdominal muscles) before rebreathing.

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Air: Pressure, Quantity, Velocity - The term air pressure refers to the amount of blowing resistance that the performer encounters during the playing of the instrument. Low notes need less air pressure than high notes. - The term air quantity denotes the actual amount of air consumed. Low notes need more air quantity than high notes, loud notes more than soft ones. - The term air velocity represents the speed of the air, symbolizing dynamics. Soft notes need less air velocity than loud notes. - A few illustrations: When getting louder on the same note, both air velocity and air quantity increase. When getting softer on the same note, both air velocity and air quantity decrease. When changing registers while maintaining the same volume level -- say you play C2 and then C3, air velocity stays the same on both notes; air quantity requirements are higher on the lower note but air pressure is higher on the higher note. Throat - It is essential to keep the throat open while exhaling. We have to make sure that incorporating the abdominal muscles doesn't activate the epiglottis (Valsalva Maneuver). See also: Breathing Out, Page 5. We have to direct the airstream straight to our lips, otherwise our efforts are wasted. Practice breath attacks regularly and avoid any unwanted grunting noises. - Be aware though that functioning like a valve (dependent on the quantity/velocity of air needed), the throat opening is not static. - Unwanted throat noises might also be triggered by an inefficient tongue position or embouchure setting. See also: Sections 3, 4 and 5.

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Section 3

Tongue
Manipulating the Size of the Oral Cavity - Trumpet players use tongue arch as a wind compressing tool by manipulating the size of the oral cavity in order to produce changes in register. - Two basic concepts co-exist: 1) The "traditional method" tongue arch occurs in the front of the tongue and "up" toward the front teeth. 2) The "whistling method" tongue arch occurs in the back of the tongue while the tongue is pushed forward toward the bottom teeth upon ascension. This way of arching works in conjunction with a more open aperture than the "traditional method," thus allowing the development of a bigger range and a more open sound. Think "Ahhh" instead of "Eeee." See also: Section 5. Articulation - Again, there are two basic concepts: 1) The " tip-tonguing method" advocates articulating with the tongue tip behind the top teeth before moving to the required tongue arch position, while the tongue tip rests behind the bottom teeth. Disadvantage: Range limitations. 2) The "dorsal-tonguing method" combines oral cavity manipulation and articulation into one single movement by using the front back (dorsum) of the tongue for the articulation part. Disadvantage: Not rewarding in the early stages of development. The "dorsal-tonguing method" should be considered a long-term goal, particularly if you want to develop a reliable upper register. You might want to get started by using different articulation strategies in different registers: With the tip of the tongue in the low and middle register and with the front back of the tongue in the upper register.

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Recommended Articulation Syllables - "T" for hard (and fast) notes. - "D" for soft (and slow) notes. - "D" and "G" for multiple tonguing. General Tonguing Advice - Changing the size of the oral cavity requires a lot of strength in the back portion of the tongue. However, it is essential to maintain a relaxed tongue tip/front back at all times to articulate effortlessly.

Section 4

Teeth & Jaw

- Maintaining the seal of the lips, the teeth have to be vertically aligned. If you don't have a perfect dental occlusion (which is very rare), the alignment has to be achieved through the angle of the horn. - An alternative is using a bent mouthpiece, if you -- like most everybody -have an overbite. The bent mouthpiece might also aid unrestricted breathing and help to avoid excessive pressure on the upper lip. - The movements of the tongue have to be independent from the jaw. Exercises away from the instrument, incorporating a mirror, might be valuable. - The jaw should be open at all times. So, keep the molars (back teeth) separated while playing. - I prefer jaw vibrato over hand vibrato.

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Section 5

Lips
- The lips should always be flexible and moist to move freely in the mouthpiece. Learn to roll them in and out, and do isometric exercises for strength. - The entire embouchure setting (lip and facial muscles involved) is drawn toward the center when ascending, activating the Orbicularis Oris, increasing air pressure. This activity, commonly known as "The Pucker Embouchure," is supported by the constantly tightened lip corners. - The aperture is the "air hole" in the center of the embouchure. The aperture is in constant motion depending upon the degree the music being played ascends or descends. - In the low register both lips do vibrate. In the middle register the upper lip vibrates more than the lower lip. In the upper register, it's mostly the upper lip that vibrates. Therefore: Beware of excessive mouthpiece pressure toward the upper lip in the upper register. Mouthpiece pressure should always be minimized to the amount necessary to seal the lips. - In order to reduce the pressure on the upper lip in the upper register experiment with the pivot. A lot of players with an overbite benefit from angling the instrument slightly downwards in the high register. - Mouthpiece placement: You'll want to place the inner rim of the mouthpiece just above the vermilion border, where the red of the upper lip and the skin meet.

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Section 6

Prescriptions (Don't OD!)

Circular Breathing - This technique is not only extremely beneficial as a diagnostic and therapeutical tool but also as an addition to your arsenal of musical possibilities. - Before trying this on the trumpet, do three preparatory exercises: 1. Fill your mouth and cheeks with water and push a stream of water out using your tongue and cheek muscles. 2. Do the same thing while breathing in through your nose. 3. Use air instead of water. - Be aware that playing with puffed cheeks demands increased lip compression. - Always remember to relax your abdominal muscles when taking a breath. - The lips require blood circulation in order to vibrate. If you overdo circular breathing, particularly in the beginning stages, blood circulation might be hampered. Didgeridoo - The didgeridoo is the predecessor of the modern trumpet, discovered a couple of thousand years ago. - Using very slow lip vibrations (compared to the modern trumpet), playing the didgeridoo is great for embouchure relaxation after a tiresome workout. - In order to make it work, the tongue has to be very forward in the mouth. - Circular breathing on the didgeridoo requires way more air quantity than on the modern trumpet. - Don't OD, otherwise you might have trouble going back to the faster modern trumpet lip vibrations.

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Double Pedal Tones - Practicing double pedal tones is helpful in many ways: softening the center, increasing the ability to vibrate, improving the ability to seal the lips, preparing to incorporate a more rolled-out lower lip in the chops setting, learning to be flexible with the lower jaw opening, etc. Do them moderately (approximately 5 minutes per day). Flageolets - The siblings of the pedal tones and the oral cavity tones, flageolets help fine tune the upper lip for very high frequency production. - They are produced without support from the abdominal muscles. - Flageolets are generated by switching to an embouchure setting that incorporates only the upper lip in the mouthpiece. Don't do more than approximately 1-2 minutes per day. Free Buzzing - Free buzzing without the mouthpiece requires the lips to be considerably closer together to create the vibration than when playing the instrument. Some authors suggest, that -- contrary to popular belief -- the vibrating surfaces of the lips do not touch while playing the trumpet. The surfaces vibrate concurrently but separately. Bottom line: The buzz is beneficial in the warm-up procedure and as a tool for building and preserving strength in one's embouchure corners, but should not be mistaken as similar to the vibrations needed when playing the trumpet. Use wisely. See also: Mouthpiece Buzzing, Page 12. Lip Bends - Lip bends are done by holding a note, lipping down to the note half a step lower (or more) without changing fingerings, then returning to the original pitch. You can also lip up, which is even more demanding. - Be aware though that it is mainly the tongue that does the work here. - This method, used by trumpet players during the baroque period to play melodies on their valveless instruments, forces you to overcome the
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physics of the overtone series. You not only gain more tongue strength doing this, but will develop a clear sense of what it means to force the tongue to move forward in the mouth. Good for the high register. Beware: Pretty tiresome; don't OD! Mouthpiece Buzzing - Mouthpiece buzzing benefits from being done with "The Berp" attached to your instrument in order to maintain the natural angle that you use when playing. - Do slow glissandos up and down, and make sure to produce continuous, smooth tongue movements. - Using breath attacks instead of tongue attacks helps develop lip responsiveness. - Lip vibration is supported by the feedback of the instrument while playing. This means that mouthpiece buzzing is more demanding than regular playing and might make the lips stiff when overdone. Oral Cavity Tones - Practicing oral cavity tones is beneficial for circular breathing and increases not only the general effectiveness of your embouchure but also your air supply sensibilities. - They are produced without support from the abdominal muscles. - Oral cavity tones are generated by pressing air out of the oral cavity with the tongue. Don't do more than approximately 2-3 minutes per day. Whistling - Whistling is great for improving independence of tongue movements, and it's a good diagnostic tool when having problems with the throat opening. See also: Sections 2 and 3. - Practice slow glissandos and tongue trills. This is tiresome; use wisely.

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Section 7

The Daily Show

Warm-up, Routine, Practice, Play - We are looking at four very different scenarios here that should not get mixed up with one another. Ideally your daily trumpet workout should deal with all these components. 1) Warm up: Preparing the body for playing. (E.g.: Focusing your attention on the breathing apparatus; increasing blood flow in the embouchure area [fluttering, free buzzing]; get the trumpet to body temperature...) 2) Routine: A set of exercises for maintenance purposes. 3) Practice: Exercises that deal with problem areas to work on (as opposed to areas that you are good at). 4) Play: Literally what the terms suggests. (E.g.: Improvising over changes or improvising freely; looking into some extended techniques; playing through something just for the fun of it...) Workout Strategies - If you want to systematically improve your range, endurance and technique over a period of time, it is not only important to practice regularly but it's also important how you practice. - Trumpet playing relies on unconscious muscle memory. The way you build this is by lots of repetition. But it is essential that your form be right, so that the repetition is setting good and efficient habits. - Most method books move way too fast into the upper register and most tudes address 10 technical problems in 4 bars. Don't waste time with this stuff. - Start creating your own exercises as soon as possible. Try to isolate a technical issue and come up with a short exercise that can be repeated many times without totally tiring you out.

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- 90 percent of your practicing should be done in a range that is comfortable. Trying to hit high notes over and over is not helpful. The high range needs a lot of time (years!) to develop. You develop by building a solid foundation in the low and middle range. - Practice tons of breath attacks, "G"-tongue attacks and "real" fluttertonguing (as opposed to "growling"). If you can't do these articulations cleanly, you don't yet play efficiently. - Practice different dynamics. Also working on crescendos and decrescendos is helpful. - Practice long notes in the low and middle range. - The metronome is your best friend. - When your embouchure is tired, rest! - Ice cubes held against the inside of the upper lip help reduce swelling when you have overdone it. - Make sure to stay hydrated at all times and be reasonable with spicy food and salt, particularly before a performance. - Do mild forms of exercise like jogging or bicycle riding regularly. I also recommend tai chi and yoga to make sure that you stay flexible. - The Alexander technique is beneficial for good posture. See also: Section 1.

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Section 8

Psychology
- Although this essay looks at trumpet mechanics from an analytical angle, you should bear in mind that over-analyzing can cause problems. Paralysis by analysis. Don't get obsessed with the methodology but envision the product: The most beautiful sound imaginable. You play two trumpets, one in your hand and one in your mind. - Develop a very precise idea of how you want to sound. Then, instinctively, you'll modify your lip, tongue and breathing to obtain that sound. If the mind directs, the body will follow. - The worst thing you can do in a performance situation is to analyze yourself and your playing. In that case, you are asking questions rather than issuing statements to the audience. - When you practice, this is the time to put on the practicing hat: You condition reflexes through repetition to form good playing habits. When you perform in public you have to put on the performance hat: Focus entirely on being a storyteller of sound.

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Section 9

Recommended Reading
- Malte Burba: Brass Master Class - Frank Gabriel Campos: Trumpet Technique - Herbert L. Clarke: Clarke Studies - John Haynie: Inside John Haynie's Studio - David R. Hickman: Trumpet Pedagogy - Roger Ingram: Clinical Notes on Trumpet Playing - Arnold Jacobs: Song and Wind - Sam Pilafian and Patrick Sheridan: The Breathing Gym - Jeanne G. Pocius: Trumpeting by Nature - Donald Reinhardt: Encyclopedia of the Pivot System - Jeff Smiley: The Balanced Embouchure - James Thompson: The Buzzing Book

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