Concerning the Diaphragm & Lungs:
Two respiratory muscular systems within the thoracic cavity are responsible for the inflation and deflation of the lungs.
The lungs do not breath, the diaphragm does. The lungs have elasticity but do not contain musculature. The diaphragm is the contracting muscle of inhalation. “Supporting” with the diaphragm while exhaling or “blowing” is anatomically impossible. The function of the diaphragm is to relax on the exhalation. Contracting intercostal muscles engage during the exhale, supporting in the expulsion of air while the diaphragm relaxes upward toward the lungs. The intercostal muscles relax during the inhalation, allowing for full expansion, elasticity, and flexibility of the thoracic cavity.
The notion that the body should exhibit no tension while breathing is a misinterpretation of fundamental physiology. The mere act of inhaling, by its very nature, creates high pressure inside the body by way of the contracting diaphragm and expanding lungs. This collection of energy is required in order to release air into the horn with free momentum and efficient velocity.
Concerning the Lips
There are two flexibilities of the aperture; they are frequency and amplitude.
Whistling coordinates the postures of the tongue with the posture of a “forward-ready” aperture, by which the air is delivered at the tip of the lip.
The singing ear compels this coordination.
Concerning the Attack
The “attack” occurs the instant the lips begin to vibrate. The tongue does not begin the tone. It is with the addition of the tongue that the tone is characterized. This is known as articulation. Articulation defines the language and dialect of personal expression.
To ensure a pure articulation, apply mouthpiece pressure to the lips at the instant the breath is released. Practice the precision and timing of articulation through the simultaneous coordination of the following three movements: 1. The release of the air at the outer tip of the lip, with 2. The placement pressure of the mouthpiece on the gently engaged aperture, at 3. The rapid subtle attack of the floating tongue (dú’ or ‘tú).
This fundamental timing defines the ease and quality of a player’s ability to develop all other technical skills and to perform with consistent accuracy and freedom of expression.
Concerning Mouthpiece Playing
Mouthpiece playing coordinates the feeling of the vibration of the lips with the mind’s ear. It conditions the engaged aperture to be congruently responsive with the oscillating air pressure of the standing wave created within the horn.
The mouthpiece is engineered to:
- Facilitate comfort and support of the lips and teeth; as well as to seal the aperture by way of the design of the mouthpiece. ie. size, shape, contour of the rim, and bite etc.
- Receive and further compress the turbulence of the air delivered by the aperture in the form of velocity. The designs of the cup shape, throat size, and back-bore taper, all together contribute to this further compression of the flow, thus energizing the air as it enters the trumpet lead pipe for further acoustical organization. (standing wave)
The mouthpiece provides very little physical resistance compared to that of the trumpet. It is for this reason, detailed attention must be given to clarify the proper way to play the mouthpiece in order to establish and experience the benefits of this practice consistently.
Learning to play the mouthpiece with the subtle resistance it provides will teach the player a refinement of aperture technique as it is further coordinated with the performer’s singing ear. This efficiency is acquired through developing the essential relationships of:
- Timing the lip’s contact, as well as proper mouthpiece placement and pressure in coordination with the release of the aperture vibration and embouchure engagement.
- Training the vibration of the aperture to respond to the singing ear in conjunction with the subtle physical and acoustical support the mouthpiece provides.
Many students needlessly suffer from playing the mouthpiece. They play the mouthpiece inaccurately because of poor instruction they may have received, as well as having been fitted improperly. This may result in lip discomfort, loss of aperture control and flexibility, and in extreme cases, undetected bruising and perpetual injury.
The main reasons for these detriments are over blowing and “over buzzing” the resistance of the mouthpiece in order to recreate a “big resonant trumpet sound” on the mouthpiece. This inevitably stifles consistent healthy aperture development, thus negatively affecting all other techniques of playing the trumpet. It is for this reason that I consider mouthpiece playing to be an essential, but advanced refining technique to be applied with great care, attention to detail, and patience.
Concerning the Lip-Tone
In performing the lip-tone, the required posture for the embouchure (outside) and oral cavity (inside) of the mouth is established. Once coordinated, these two postures support the engaged aperture, facilitating a balanced and efficient freedom of vibration, tone, and flexibility.
The execution of the lip-tone may be a challenge, as all acoustic energy in the form of resistance must be created by the player. It is for this reason the tessitura of the lip-tone is limited and varied, contingent upon the unique physical attributes of each individual player.
The buccinators and the orbicularis oris (embouchure) will acquire and develop the engagement needed to support a flexible and responsive aperture through conditioning countless, brief repetitions of lip-tones. In this way the embouchure is conditioned to be ready for the application of the mouthpiece, while the aperture is trained to produce a balanced and supported vibration, all the while deepening coordination with the commands of the singing ear.
The lip-tone is a very small gesture exclusively for the tip of the lip. Pitch movement develops over time. Be sure to wet the aperture with saliva.
A Brief Overview
1. Ear
The song must exist in your mind’s ear before you play. The ear incites, evokes, and summons the coordination of the entire physical body.
2. Air
The air should enter and exit the body naturally and smoothly with the goal of creating flow velocity. The optimum inhale and exhale contain no hesitation. The breath should not be held. Air capacity must serve a comfortable feeling in the body so as to facilitate the release of natural air flow momentum at the tip of the lip, within the timing of performance.
3. Horn
The aerodynamic properties of both the mouthpiece and the trumpet as one unit are acoustically designed to stabilize air flow velocity, thus creating a standing wave of equilibrium within the horn. This standing wave oscillates at frequency and initiates the aperture into sympathetic vibration.
4. Lips
The aperture is formed by the air flow just as the sail on a boat becomes taut when wind passes by. The engaged aperture slightly compresses the release of the breath thereby accelerating the air flow. The engaged aperture also vibrates sympathetically with the standing wave inside of the horn.
5. Tongue
The tongue subtly affects the velocity of the air flow. It works congruently with the aperture to facilitate a simple and efficient change of pitch. The tongue is responsible for articulation, defining rhythm as well.
6. Fingers
The fingers must move the valves firmly with impeccable precision and timing. The coordination of the fingers with the articulating tongue and changing pitches must be a response to the commands of the mind’s ear. It is extremely important to develop the independent coordination of the fingers. Never lift the fingers above the valves; keep them resting in a neutral readiness on top of the valve button.