It’s definitely a component, but I’m thinking about my breath support first. With that in place, I don’t need to blow as hard, which tempers how much I need to do with tongue level/facial compression etc.

@ thank you so much for taking the time ! does this relate to your AtoZ video about falsetto?

If there’s a legend concerning me, somebody really has too much time on their hands…

@AirflowMusicNYC haha, I play sax and that is very true

Playing “Death Becomes Her” today.

Yessir!

Happy Thanksgiving - I'm thankful for you, and everybody else who looks in on my little corner of the internet.

Glad I could encourage you. Let’s get after it!

This is a custom mouthpiece converted to a Schagerl Apredato. It’s one of a kind, as far as I’m aware.

@AirflowMusicNYC 😍🛐

A “du” tongue rather than a “tu”. Still the front of the tongue, but a little softer sounding.

@AirflowMusicNYC I have a question. when I try and trouble tongue my lips get so tired after so little, how can I fix this?

I going to assume you mean when you’re double tonguing. Is that correct? I’d start out by practicing your “ku” tongue in isolation - using it in place of your regular single tongue. It’ll be good practice for it, and may show you what you’re doing differently that’s working your lips harder.

Never too late. Get after it!

Yes

@@AirflowMusicNYC Impressive! Happy practicing!

You too!

I haven’t found them, but it should be easy enough to do. Other scale types might be interesting too - I bet the wholetone Clarke #3 would be a hoot and a holler!

26 note series, 30 seconds each.

Search #30DaysOfLongTones

This routine will be in Prof Lynch’s upcoming book. I’ll be sure to post when it’s available.

Thanks. I play in Philly occasionally. Although not confirmed yet, I expect to be there in February. There’s a schedule page on my website, but it’s probably not updated. I’ll fix that this afternoon. bryandav.is/

⁠@@AirflowMusicNYC Brian I looked at your schedule and saw you are playing with BS&T. In the early 70’s I was a close friend of Lew Soloff we both studied with Roy Stevens. We both were amazed how Roy could explain what was happening inside the mouth. Lew just needed a couple of lessons to get more top notes easier. It look me around 6 months to correct things. After that I had all the top notes I needed. I played that way for 50 years. I knew how to fix any problem I had. Now I am retired from playing due to dental issues The trumpet I play now was picked out for me by Lew at Giardinelli’s. It is a Bach 37 gold plated with a tunable bell. One bell is lightweight and the other is a regular weight. The tunable bell conversion was done by a guy at Bach by a guy Lew knew Mr Fillio. The hold plating was done buy Anderson During those years I saw many BS&T gigs that Lew played. When he played in Philly he stayed at our friend Pete’s home. Pete was the conductor of the reserve army band Lew played. Through Lew I met so many monster trumpet players Alan Rubin, Jon Faddis. Faddis asked Roy if he could get his top teeth fixed. Roy was against it because he had natural opening that always got air to his chops. Lew treated me to dinner many times. I went to to his townhouse and saw a window sill with over 100 mouthpieces that he said he played. He also had a room that had padded red snake skin walls. He got me to sit in with Thad Jones at the Village Vangard one Monday night when he played. Sorry for the long text. I love your video’s. I'll check your site for a gig near Philly or just let me know All my best John