Developing a Rich Sound

[@RyanReskyTrumpeter]

This is perfect and an inspiration to go practice the most beautiful sound I can make on the trumpet. Thanks David!

[@revocolor]

Thank you for sharing! 👍💯

[@1stCornetSolo]

Hi, I believe that I have a nice tone on the trumpet, but I really struggle with endurance. I do flow studies, a few Getchell, scales and lip slurs to warm up, but I always find myself phasing out 9 or 10 measures into a difficult piece. I don’t run into this problem in my high school band because the music gives you plenty of brakes but I know college level is much harder. I think this endurance issue is the reason I didn’t make all state. My etude had no times for a good breath or a face break, and I did poorly at the performance. I’ve been playing for 5 years now and thought my endurance should be built, especially because other players my age hit way higher notes and consistently. Do you have any advice?

[@Hammondbrass]

Be prepared for a lot of unsolicited advice on here 😄 I don’t have all the answers and, believe it or not, we all struggle with this at some level and something we all think about. A couple things helped me: I want a feeling of balance where I feel like the air is doing a lot of the heavy lifting. The embouchure is firm but I’m not trying to muscle every note. The aperture (opening of the lips) is helping channel the air and point it through the horn. Controlling how opened or closed it is can make a difference. I feel like a good portion of lip slurs in my practice routine help. They help me connect air, tongue level, aperture. When I find the balance they feel effortless and I chase that feeling. I’ve heard a lot of pros will only practice in short, 15 minute increments with a short break. Never going passed the point of no return. A lot of bad habits reside past that point. A teacher of mine once said, “good practice is like brushing your teeth. It’s better to do it a couple times a day for a shorter period than once a week for 6 hours.” A 15 minute timer in the practice room is a good start. Like David says in the video, a lot of his younger students come in and blast long tones. I’ve noticed in books like the Clarke Technical Studies most of his exercises are piano or pianissimo. I’ve learned that he really hated to play long tones and he thought of those exercises like a moving long tone. He mentioned they were marked as piano to help endurance. I think it’s also an excellent way to figure out your air stream. It’s a smaller volume of air but it has to be very focused and strong. Especially at fast tempos and in the upper register.

[@baromriter]

I'm not David Krauss, but I think he would agree with most of this: If you’ve ever worked out regularly, you've noticed that over time, you can start to fit in more push-ups, pull-ups, benches, curls, etc. into a set before the point of failure, and fit more sets into a session. So over time, you track your weights, reps, sets, turn up the intensity, keep going, and get better at doing those exercises. This trend can apply to your playing, too. Your 9/10 measures today will become 11, 12, 15, 20 if you keep pushing the limit. Keep trying to go further and keep track of how far you make it each day (and how much you played beforehand). While you're at it, why not take note of how loudly you’re doing it, if you’re letting yourself restart mid-exercise, if you feel like crap while you're playing/why that might be? Anything and everything that you think might be pertinent is worth tracking. Within a week of keeping an eye on those limitations, you'll notice that you've pushed them all a bit further from where they started. Final thought, endurance is just as much about how much fuel you have to burn as it is about your fuel efficiency. Practice cleverly and intensely, and you'll discover whatever you’re looking for.

[@gregeberhardt4229]

I can remember where I read it, but go with flexibility, Clarke stated endurance comes from flexibility, not long tones I warm up to maximize every moment, nothing is done as a stand alone, love a combination of flexibility. and long tones, long tones of whole notes

[@gregeberhardt4229]

​@@Hammondbrasshelpful you essentially described 90% of the teachings in KZbin.. Bring something to the table a solution maybe

[@Hammondbrass]

@@gregeberhardt4229 and where do you think they got it from?

[@jaegertiger384]

What about SCHLOSSBERG ???? The concept is CONTINUITY of sound... so there is an even flow. Disagree about the issue of breath... as i think Estaban Batallon does. The breath comes from the stomach/diaphragm. Good demonstration of the legato passage.

[@paulmullins4676]

Kind of a nebulous discussion. We all want a great sound but what would you have us practice to get there?

[@AndrewMarks-jv6ti]

Spot on!!!! The yogurt and granola school of vagary.

[@doitallman]

The trumpet. Start with flow studies.

[@gregeberhardt4229]

What we all practice is exactly the same from me to vizzutti. From scales, to flexibility to long tones,and various combinations of all of these. From Arban to Clarke. It's not what it's how, each note must be learned to create a rich resonant sound. Utilize your tumer and find that sound. For low notes bending down from the partial above is great to find that spot. It's not easy, valves slides needed. And forget high notes, let them develop on their own, too friggin much time is wasted in search of a double C, the same goes for speed, it's one note at a time played perfectly, not possible but that's the goal and played the same way, each time

[@da11king]

Nothing happens when I move the tongue 😢

[@MartinSloan-y5u]

Try this. Play C below the staff, while trying to hold the C arch your tongue up. Keep arching your tongue until eventually the note will pop up to a G in the middle of the staff. Now, it will sound terrible but it will give a feel for how the tongue position affects the note.

[@GhostRyder2008]

Can you whistle? Playing the trumpet is a lot like whistling. The small aperture doesn't change a lot, the corners of you lips are pulled toward the center, and your tongue does most of the work. Notice the difference in what your tongue is doing between a very low pitch whistle and your highest pitch whistle

[@da11king]

@hostRyder2008 In my observation and experience, the fine-tuning of aperture and air compression changes the pitch. My question is how high does your tongue have inside your mouth to be to keep playing higher and higher 🤔

[@GhostRyder2008]

@@da11king Yeah I'd say it's the tongue, like whistling, that is doing that air compression. Changing aperture should change volume, as well as timbre. However, I'm no expert in trumpet pedagogy. When I play a high note, first arch my tongue into more of the shape necessary to say an English "eeee" sound. Then to play higher, I bring the tongue more forward towards my teeth keeping a similar shape. I also will anchor the tip of my tongue to my bottom teeth so that articulation is no longer done with the tip of the tongue, but a bit further back. I think that's about the best I could explain it lol

[@GhostRyder2008]

@@da11king kzbin.info/www/bejne/ZqqWc4prhc2YqJIsi=yjGOmynv9F5ZsUCz

[@patrickcolwell4202]

Berelent sounds like a muffled ferench horn berthing though the noise is for Caruso

[@TBSol86]

This is a phenomenal video with an incredible player and teacher, but I have to admit it’s pretty off-putting as a band director to hear world class players use “band room” as an implied pejorative.

[@johnwilder8517]

Interesting. jw

[@annaaron3510]

All the KZbin trumpet tutorials are exceptional players. Specifics technique for us comeback or "in the staff" payers are left out. They all all show their range and talent WITHOUT the specifics that can be used by us. How about you dropping 'down' to showing us HOW to do what you find do easy ? Give us some tools and techniques that we can DO ? We do not need to hear how you reach a double high C. C'mon. This ain't Zen.

[@barackdrinksWD40]

I don't think you watched the video bud

[@FunnyGA1ex]

Awww little Bill Gates junior. Gonna cry?

[@magohipnosis]

the fuck dude?