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; frequency and amplitude.
The coordination of the postures in both the aperture and the oral cavity determine pitch and volume.
The aperture is supported by both the engagement of the musculature that makes up the entire embouchure (the buccinators and the orbicularis oris) as well as the rim of the mouthpiece. As the embouchure is conditioned to receive the application of the mouthpiece; so the aperture is trained to be supple, balanced, supported, and flexible.
The processes of all practices and technical development related to tone production and movement across the trumpet refine these two flexibilities of the aperture; 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)
Not everyone benefits from playing the mouthpiece. Some players need to make it a fundamental daily practice, while others will utilize mouthpiece playing sparsely. There are also players who do not benefit from mouthpiece playing at all, as their playing suffers from its effects.
Many students needlessly suffer from playing the mouthpiece inaccurately because of poor instruction they have received as well as having been fitted poorly. 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 and 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 advanced refining technique to be applied with deliberate intentionality.
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 for the tip of the lip. It need not be performed for long durations in a single practice session. Once a day, in the middle to lower register, for a small amount of time, early on provides the best results. Pitch movement may develop over time. Be sure to wet the aperture with saliva.
Ten Lessons
Lesson 1
The trumpet is a wind instrument, not a lip instrument. You do not lip the trumpet, you blow the trumpet. It does not take a lot of air to play the trumpet.
Lesson 2
Your lungs are spongy organs located behind your ribcage. Your lungs are not in your stomach or by your naval. They are organs that fill with and empty gasses initiated by your diaphragm and intercostal muscles located in your functioning thoracic cavity. Your lungs are not muscles. Therefore, it is anatomically impossible to “control” the lungs in “placing” the air low, middle, or high. They fill uniformly expanding automatically; as you are inhaling a gas. The lungs cannot be filled one at a time.
Lesson 3
Efficient posture is an innate coordination of the skeletal frame and musculature systems. Physically, the inhale is initiated by the diaphragm as the skeletal structure and musculature physiologies respond to the expanding lungs. In this way, we inflate to an efficient posture for playing the instrument. We do not prepare a stance for optimum expansion before taking a breath. We allow this innate expansion to literally move us to the natural posture.
Lesson 4
There are two Fulcrum Points: one at the diaphragm and one at the tip of the aperture just outside of the mouth. Being aware of these Fulcrum Points can help coordinate a natural transfer of focused energy from the inhale at the diaphragm to the exhale at the tip of the aperture.
Lesson 5
The aperture responds to the ear, is formed by the air, directs the air, vibrates sympathetically with the instrument, and intuitively changes shape, constantly responding to the command of the singing brain. Apply the mouthpiece with all of the pressure required at the precise moment the aperture is formed in the release of the tone.
Lesson 6
The term “throat” refers to the pharynx. You cannot contract open your pharynx as you would your hand. You cannot “open your throat”. It is designed for constriction through the engagement of three sphincter muscles. The sensation of cool air on the pharynx during the inhale indicates that it is in fact relaxed without tension. This relaxation is required for a smooth unconstricted cycle of the breath.
Lesson 7
The diaphragm contracts, flattening on the inhale and rises, relaxing on the exhale. It is a thin muscle that cross-sections the torso, affixed at both the base of the sternum and the lumbar vertebrae of the spine. It is the muscle of inspiration.
Lesson 8
Muscle operations are binary. Muscles are either contracted or they are relaxed. They function by way of the nervous system originating from stimuli sourced in the mind. These stimuli are both conscious and sub-conscious. Muscle systems are coordinated most effectively by the command of the mind through its ability to compose desired objectives in vivid sensory imagery. Muscles respond to the mind. The musician’s muscles respond to the mind’s ear.
Lesson 9
There is only one type of education; self education. We learn through observation and repetition. Memorization is internalization. Coming to an understanding is always innovative.
Lesson 10
For the performer, perfection does not exist.
Practice is coordinating specific physical movements through observation and repetition in order to enhance the ease and accuracy of mechanical precision.
Practice is applying deliberate attention to study with absolute specificity.
Practice is not making music. You cannot practice making music. Any time you play music, you are performing music. With committed repetition and clear guidance in practice, performance should improve.
Do not practice in order to avoid mistakes. In doing this, you will make anxiety a performance habit, your weariness will always be arrested by hypotheticals and “someday” will never come.
Mistakes are unique. They should cajole intrigue, incite inquisitiveness, and help direct you to your own solutions.
Errors in performance reflect errors in hearing, inaccurate focus, and mis-coordination. You will always perform exactly what you hear; either vivid accuracy in the moment or confused ambiguity.
Perform clearly and play with precise abandon, that which you absolutely hear.