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 move air, 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. These 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.
Concerning the Attack and Articulation
The “attack” occurs the instant the lips begin to vibrate; the source of tone. 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.
Concerning Mouthpiece Playing
Mouthpiece playing coordinates the feeling of the vibration of the lips with the ear. It conditions the engaged aperture to be melodic.
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)
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.