Wonderful teacher. Bravo!!

You mentioned the Sara Wills observation. Was the air speed measured ANYWHERE as part of that "experiment "? Also. At 4:31 , it is not less QUANTITY of air but less FLOW of air that you are attempting to describe. You understand the difference, right?

Message received Wayne. It's not letting me reply to your response.

Thank you, Wayne. Would you be able to make a video of that maintenance tongueing speed exercise? Also what do you think about the concept of air tongueing the sylobol as Tee Kee without the horn for practice?

R U B A T O... meaning that we're playing MUSIC. So, it requires interpretation and phrasing.

I'm a section leader and I have students with this issue and I just didn't know how to fix it, you explained perfectly what was wrong though. Thank you

I have only seen this closed-throat issue twice as a teacher; both times with high-functioning autistic boys. Both showed way too much tension in their entire bodies when playing trumpet, including two fingers often doubling up to clench down on one valve! Currently I'm having some success having this guy start warmups with a practice-mute; the extra back pressure seems to help correct their terrible tight sound somewhat when the mute comes out. Any suggestions or experience with students "on the spectrum" sir?

Wonderful and valuable advice. Thsnk you.👍

I should have commented sooner. It has been TRANSFORMATIONAL. After 3 years of working with other teachers after an embouchure change, I watched this video two months or so ago and immediately increased my range and endurance. I went from iffy F & G atop the staff to being able to hit C, D,E and even F. Those top notes aren't solid yet but with this method and Wayne's range building regimen, I now have hope and belief that they will be. I'm fortunate to live in Baltimore where I can take in person meetings with Wayne.

There's no trumpet mouthpiece which is 6,3 mm inner diameter. In general the trumpet mouthpieces goes from 15 to 18 mm and that's ruffly. Probably you were referring to Bach mouthpieces. In their charts it's shown that 3C is 16.3 mm. The problem is that they're comparing as an equivalent of Schilke 13C4 which is shown respectfully in their own chart as 16.89 mm inner diameter. In reality the 3C is slightly bigger than that. The different manufacturers measure the inner diameter at different depth. And there is another thing that we must take as an account. The different rim shape and inner edge give us totally different all round feedback about the size of the mouthpiece. With that instrument in your hand you'll never measure a mouthpiece precisely. Greetings from Bulgaria!

Thanks! Nice calm explaination.

I’m not able to tongue at all 😢

The tongue movement is related to the change of lip aperture firmness. Tongue movement alone obviously will not cause the note to change unless the lips change in tandem. Air support does NOT necessarily have to increase to ascend. It depends on dynamics.

Claude Gordon

I watch all your lesson videos. Thanks for sharing your expertise. Do you offer a link for zoom meetings? Best wishes, Matt

Wow… Wayne this is a game changer. Thank you for explaining what happens in detail. I’m going to remember this when I play…you got my Sub. 👍🏻

Great advice ! I suffer from perfectionist too. I am working on it

Thank you!

EXCELLENT advice!

Very good video, thank you 🥇

This is great life advice for any artist. I do voice over and these lessons apply to me as well. It's almost a law of achievement. There's no other way around it. The key word is "gradually". Today everyone wants to achieve greatness fast! Thanks for sharing your experience. Looking forward to more. Avi.

Thank you. That was a great introduction! I am a tenor Sax player that is delving into trumpet. Quite the learning curve on embouchure to hit the base notes!

Brilliant Wayne!!!!

Is the range/scale exercise strictly a diagnostic tool, or do you use it as a range study also?

Pure wisdom!

Mr Cameron, Please reach out

Excellent, I use a similar technic, which has gotten me to a high D. I am gaining a full note every 6-8 weeks, hope by end of year to be at a double high A. With good playability through an octave above the staff. I am a new player only 18 months into learning from nothing....at 61

Dear Sir, I can’t emphasise what a profound effect your explanation of the V manoeuvre has had on my bass trombone playing. For 20 years I have been plagued with a mystery “curse” that has periodically halted my professional playing career, closing my throat seemingly at its own will with disastrous and depressing effects. In that time I have examined every possible facet of playing technique and psychology to try and overcome the closed throat issue, to no avail . Within 15 mins of practice I have been able to identify the valsalva manoeuvre in action and critical where to “aim” my support to shut it off. I have then been able to go on to enjoy the most successful and liberating week of playing in over a decade. Eternal thanks for putting me back in the driving seat. 🙏🏼✨

Is this why my voice gets hoarse after practicing or playing?

Awesome video, thank you.

Thanks much for your insight. I am not a fan of free buzzing or mouthpiece buzzing but using it to test the firmness of corners is genius and truly immediately. I’m chasing a solid double g. It’s been elusive but I think this is going to help!

Wondering about what syllables would be then used for legato tonging ..

This is amazing content. I have been struggling with my throat closing upon returning to singing, particularly when I'm trying to sight read, and therefore feeling stressed. I think your advice is going to help alot! Thank you.

The higher you go the faster you blow.....

My God, I have struggles with this for over 10 years and this is the first time I've found anyone who even knew what I was talking about. If this works, you've got a friend and follower for life Wayne.

Thank you!

Great job 👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽

Thank you Master 🙏❤

Thanks for this

You just explained "efficiency" in a way I've never heard before. I've only figured this out after many years of having to make my living playing in function bands after a "classical training". Thanks for explaining in such an elegantly simple way. And thanks for the reminder!!! My next gig is sure to be a little easier if I can remember!

I find all your videos very valuable Wayne. Thank you very much for making them. Looking forward to our next lesson too! :)

I'm astonished that these videos have so few views. This advice really needs to get out there. I hear many tips here that I have never heard before, which really inspires me to give this technique another go. I think the emphasis on the third syllable used as a pick up to the fourth is pure gold. Thanks Wayne; I will be working my way through your video series.

What a great and well said explanation!

Having difficulty with the tongue arch.. any advice?

Tenselet hind

Thanks!

I ilike your appraoch very much, but do not understand, what you mean with keeping the support low in order to avoid throat tension. Can you please explain?

Thank you for this great piece of advice, gonna be applying all these tips and will be back with a nice comment, I've been struggling with tense throat for a long time, plus the irregular production of good sound upstairs

Wearing dark top prevents me from seeing your demonstrations.

Sorry Wayne. Your air mechanics are erroneous. Your claiming that the arch increases the air speed while also claiming that higher tones have less flow. For the air to be faster for a higher tongue, the flow would need to be the same in every case. Don't you see the discrepancy? You are just repeating a popular myth based on poorly understood air mechanics. The arch generally does NOT control the air speed through the lip aperture anyway. The flow also varies with dynamics. There is no particular air speed or flow for a particular pitch. Both can easily be shown to vary with dynamics on a constant pitch. Narrowing the path also does not make the air more "powerful" as you claim. Power is flow x pressure, and neither is increased by arching the tongue. As a matter of fact, extreme narrowing will significantly reduce air power available to the playing aperture. That is ONE of the reasons that higher tones require more exhalation effort ( what you call "support"), that is, more air pressure.