Ep. 1 Tongue Position: The Secret to High Notes

[@KramRuuk]

I am 59 years old, I just picked up my horn after not practicing for over 23 years. Using your ideas I could hit high C effortlessly. Why isn't this common knowledge. I so appreciate your video. With the new horizons that have been open, I can't to play again! Thank you much! I immediately shared this video with my brother. We played together for many years. I hope it inspires him too.

[@ryanstrumpet]

I love this! Thank you so much for sharing this experience with me. Here's to keeping the joy alive!

[@SpudClips]

I’ve been a professional for years now playing lead trumpet all the way to tuba. After experiencing a bout of embouchure tension that I just couldn’t shake, this video gave me the single biggest jump in playing efficiency I’ve ever experienced. Thank you so much.

[@chuckbeers2540]

This is the most brilliant and needed fix for easier playing that I have heard in the last 40 years of my playing. Thank you!!!

[@ryanstrumpet]

Glad to hear that it's helping your playing! Thanks for the kind note 🙂

[@espr7564]

Fix ????? Forget it.

[@Clunie999]

I have struggled for years to understand tounge position and how if affects range. Tried this today and the concepts finally clicked. Thank you. My range just went up about 3-4 notes.

[@sarayoung6834]

I have been struggling to play high notes for months. This was the best advice I've gotten so far. I'm now able to play The Last Post, a goal I've had since a child! Thank you so much!

[@ryanstrumpet]

So glad it's helping! Thank you, @sarayyoung6834!

[@RedPillAwake]

I am 53 and just started playing the trumpet three months ago. This is the most amazing insight into the instrument that I now love. I’m going to try it out today!

[@AirflowMusicNYC]

That's interesting. I haven't heard it described in quite that way before. I know what I'm doing this afternoon!

[@blakecabral2661]

This is possibly the greatest video of all time. I’m not even a trumpet player, I play horn and it works. It just works. I’ve been struggling with range for so long and didn’t realize it was this easy to fix. I can’t believe I just needed to rethink the focal point. You are a godsend

[@astronomy_rattled]

SAME I HOPE IT WORKS!!

[@gabedimartino]

This is great! I’m always looking for new ways to teach tongue position to my students, and I think this will really help them understand the concept quickly! Thanks!!

[@williamstadelmeyer3563]

I wish I had seen this 49 years ago when I first started playing. This is brilliant. Might be the best video for trumpet playing ever created. Too bad most of us had to discover this the hard way over years of effort. Thanks for sharing.

[@williamstadelmeyer3563]

The only bad thing is that I'm at work with my trumpet in the room and my boss is next door and I'm going to have to wait for him to leave so I can experiment with this concept lol.

[@rohanwallis1659]

@@williamstadelmeyer3563 lol

[@Mel-mm4ux]

The best video by a mile, that explains higher notes. Thanks for sharing!!!

[@frankwcrespo]

Nice job describing how sounds happen on the trumpet -such a difficult concept for players to understand.

[@n0tale438]

I have sort of figured this out myself after seeing those x-rays of that one horn player. It was SUPER useful to hear someone talk clearly about this. Cheers! KZbin resources like this has taught me about as much as my teachers did, if not more.

[@anonymousyoutubeuser7013]

Where can you find these x rays

[@123pandayt4]

Oh my god. I couldn't play well quality high notes before. However, after watching this video, I could play a smooth high C for 12 bars!Wow!Thank you very much!

[@davidharrison3074]

Hello Ryan, I have been playing since I was 12 and now 62. I have heard so much about this in the last 5 years or so how important the tongue placement is like whistling and the higher the whistle, focus on where the tongue is. Ive never had personal training except in school and learned to play more by ear then read music. My point is that I still struggle with this concept for some reason and like you said okd habits are hard to let go. The high C is very comfortable and only if i could nail this concept i know it would help so much. I will not stop trying and focus on everything. I just recently had major back surgery so I'm not allowed playing my horn or even my military bugle for taps services. So I also figured this would be a good time to learn and focus on this type of exercise and the placement of the tongue and even use a mouthpiece to just listen to the air of a lower note to the higher note which that I understand. Thank you again Sir for taking the time and I look forward to following your site to listen to your playing. I love watching the videos with the lotus trumpets and Adam Rapa as well. Thank you again for everything. 👍🏻🎺

[@yvelinemontiglio6184]

Thanks a lot ! Very, very useful ! I was loosing my time figuring out the tongue position without success. That and your last video on apperture : a gold mine for my problems with improving range. Thank you

[@sebthi7890]

That was the missing link, thank you very much. When I returned playing trumpet, I looked around on KZbin, found many helpful tips, to train my lips etc. I recognized that I learn whistling as a side effect. Me as a singer asked the principle trumpeter of the orchestra if he can whistle: yes he can, he told me that he can whistle every trumpet concert. So I have a task, bringing my throat in congruence, resonance to the tone pitch.

[@jeancote1498]

Well Ryan, I just happened to catch your video before my practise session, and it really unlocked something for me. Obviously I knew about the importance of tongue position but somehow it never translated into my playing. After hearing your explanations and watching you demonstrate, something clicked. Thank you, and I look forward to your next videos.

[@georgeevans8947]

I believe that I've instinctively been doing that....Now I plan to be more intentional! Thank you

[@gustavomoretto6449]

Wow! I'm impressed by your generosity by you sharing this tip with the rest of us. I'm a composer/piano player ex professional trumpet player. I think I can be quite expressive with the trumpet's voice but the range limit can put a brake on my ideas. It worked as soon as I tried it. Thank you.

[@lwendt1]

What is so nice is that you maintain a beautiful open tone as you reach higher.

[@russelltrujillo2772]

I liked how you gave a profile and pointed to different areas for attention and focus. Most teachers continue to face my/student view. Now to practice.

[@theimp5901]

Well presented. I will try to think of this next time I play. A lot of what you have is nicely broken down for people when never read the written notes of many famous method books. Sounds like you had access to the right teachers and have what you really need. A desire to excel and the guts to stay locked in the room and then get out and play whenever you can ! Good job .

[@MissouriFertility]

This is brilliant. I’ve been coming to this conclusion, too, just recently. It’s not the “speed” of the air that tongue arching does at all. That never made sense. It is the size and resonance of the mouth chamber! That’s why some trumpeters have a distinctive sound (think Wayne). Their oral cavities have unique shapes! I look forward to more from you. Thanks!!

[@matmoraes]

Thank you so much. Much more range and less effort. This class changed my way of thinking about the high register. Amazing

[@shiggins9]

Hey man, great playing with you on Kobie Watkins' gig. I just upgraded my C trumpet to a Schilke CX-5. I can't wait to try this soon.

[@ryanstrumpet]

Thanks, Sean! Lemme know how it works out!

[@scottvoyles]

This is solid gold. Thanks so much for sharing this!

[@Belfreyite]

As an accordion player, other instruments fascinate me, especially Brass. I love all the brass family and this guy really knows what he is doing.

[@brothercuber3288]

Before viewing this video I could hit a C# if I was lucky. Seconds after viewing the video I hit High E! This is extrememly good advice!

[@LA-cy1zj]

wow, need to sit with this for a bit but already I think you may have changed my whole game! thank you for making the time to create this video and share this insight

[@lawrencebrown1133]

Thanks for the valuable information!!!

[@drdlalbrecht]

Hey Ryan! This video popped into my recommended feed today, absolutely brilliant! This is exactly what I do, and it was taught by Jay Saunders at UNT. Great job explaining it and making it super clear. I’m definitely going to share this with all of my students. Bravo!

[@ryanstrumpet]

Man, that makes me so happy to hear that, especially coming from you. So great to hang at ITG!!! Teach me more about Jay Saunders' approach to this . . . did he use the pitch of the half-whistles as well? Or focus more on the sensation of the "focal point" between the tongue and the top of the mouth?

[@drdlalbrecht]

It was so fun hanging at ITG! He would focus on sensation. Everything was about the feeling of it all. A bunch of us would figure out that it felt like a whistle like you describe. He would talk about how our tongues are able to handle tons of micro movements that can be harnessed to make playing in the upper register easier. I remember when it clicked for me, it was incredible. We all would also talk about the balance of air usage and aperture pucker to achieve a “lower” tongue position to gain headroom in range. Hope you are well!

[@camiloochoa1239]

really good video brother, thanks for sharing

[@DaveMel-p9i]

Ryan!!! I went to ASU with you! Hope you remember me. I had to learn trombone a few years ago to pay the bills and I’m now getting back into trumpet. Been struggling with high notes while relearning trumpet. Just hit a double G within 30 min of watching this video!!!

[@DaveMel-p9i]

This is David Melancon btw

[@ryanstrumpet]

Man, of course I remember you! I was always so inspired by your piccolo playing and the ease of your approach to the horn. Honestly, I still tell my students about you from time to time. I'm sooooo glad this felt helpful you in some way. Our community of trumpeters is definitely the better for having you back in it!!! Thanks so much for taking the time to write this . . . :-) @@DaveMel-p9i

[@roberthuffman-lc3zv]

it was really fun working with you -robby

[@bruno5457]

You save my life bro. Thks!

[@MrCrescendo]

This is incredible content. Amazing concept. Thank you so much!

[@ryanstrumpet]

You're welcome, Erik :-) Thank you for hanging out with it --

[@operarocks]

There are corollaries to singing here that to my knowledge have yet been 'mapped.' I wish singers understood the degree to which the diameter allowed in the vocal tract plays in how the vibrators react. It also underscores how it is possible that trumpet player's top end can be greatly disrupted when a trumpet player loses weight (the tongue, losing fat, actually changes girth), just as singers often do. The very small change in the air pathway has huge effects. Very good video. I will play for my singing students. (I used to be a trombonist and often teach with a mouthpiece nearby to give a clear mental picture what the unseen vocal folds are doing)

[@vardito10]

Well let's see if it works! About to give this a go!

[@KleberebelK18]

Now, that's why I pay the internet. Thank you for posting this great advice!

[@ivokoo]

thank you so much ryan. you had helped me a lot. you introduced the idea of "passage" and in a way is pretty similar to what happens to singers (and we can also experiment it) when they go up in the register. there are a couple times where you have to do a small modification to keep going up with fluidity and no tension. well, its reasonable that the same thing happens when playing trumpet. great discovery!!

[@123pandayt4]

The vocal points are so essential!

[@maxenielsen]

Really interesting! With a clarinet or sax, you can position your tongue in such a way that the resonance in your mouth fully overcomes the instrument’s resonance. By this means you can do a glissando.

[@bassboneful]

Very nice approach! Sweet sound! ❤

[@C.Scholl]

Thanks for the tips, I recently bought a trumpet and a Cornett and I am trying to learn how to play them by myself. Up to now I sound terrible but luckily I got myself a silent brass system so I am the only one hearing this tortures 😉 maybe (hopefully) I will improve my sound with your tips. 👍

[@usr45129]

Also, sorry if I'm spamming a bit (though as far as I'm aware YT's algorithm loves comments right?), I LOVE the concept that lips are not the cause. I'm really liking it as I practice. I try NOT to think about lips when I practice. One thing that has helped me a lot with this, correct me if I'm wrong, was putting one of those clip-tuners (guitar tuners) in the bell when practicing long tones. I don't think about the lips, when my lips start giving up and I start to go flat the tuner tells me, so I don't have to worry about that, and I just strengthen my breath or raise my tongue a little bit.

[@ryanstrumpet]

It really is such an important principle.... So glad it feels helpful!

[@innocentnwaigwe5916]

I love this tutorial mate, I wish I can learn it or understand how u do those shifts I'd be grateful.

[@moetrumpet]

I echo all the good comments - amazing! Mind blowing! It works. Unlocks the puzzle. I love the half whistle. Thank you so much!

[@ryanstrumpet]

So glad it feels helpful! Best of luck to you in your trumpet adventures!

[@flightmansam]

Hi Ryan. Fantastic eye-opener. We think so often of air velocity and volume contributing to air pressure but rarely do with think of the stuff going on "behind-the-lips". This idea of a focal point really interests me!

[@sohlusch-ko6uv]

Great lesson. Very useful 👍

[@musicmarco81]

Wow thank you so much for that info !!! 😊

[@makingmusicfun]

Dynamite video! I wish I would have learned this 30 years ago too. Thanks for sharing.

[@jamesburnett7085]

THANKS! I wish I had known this 65 years ago! Too late to help me now, but that's not your fault. Masterclass stuff.

[@MaynardFreek]

I've been playing the trumpet since I was 7 years old. I've spent a lot of time trying to figure out how everything works. Sound is created by air being pushed from the lounges by the muscles squeezing around them and then forced through the lips and then the upper lip vibrates against the lower lip. More air (pressure) equals more volume except when ascending. The higher we play the more air pressure we need to exert to overcome the resistance created by the muscle contractions of the embouchure and the added mouthpiece pressure needed to create a seal around our embouchure. All of this is explain in Mr. Holifield's Practical Approach series of books for the Trumpet Player

[@ryanstrumpet]

Sounds like you've found what works for you. Wonderful!

[@RobertSaxy]

That was a great concept greatly explained, gonna give this a try

[@giancarlocampanelli2463]

You’ve changed (in better) my sound! thanks!

[@ryanstrumpet]

So glad it felt helpful!

[@guidoemanuel7595]

Excelente enseñanza maestro!!! Muchas gracias saludos desde Argentina ❤

[@magiclover9346]

Wow, super cool. Been playing amateur for twenty years in various bands. Always consider my comfortable playing register stopped at C above the stave. Gave this a go and pop immediately f# 4 octaves crazy

[@ryanstrumpet]

Love it!!! So glad it feels helpful!

[@RinnahChikosiOfficial]

Wow this is so Helpful

[@benjamindavis4130]

Very good video 👍🏼

[@mikeraleigh4928]

Great video, Ryan! That's very new information for me, too. I can't wait to try it out. Your new Lotus sounds really good 🙂

[@ryanstrumpet]

I'm loving it :-)

[@kirsteneconomy6400]

that isn't a suped-up Olds studio?? huh@@ryanstrumpet

[@richard.lucasfm]

Brilliant content!! I can't wait to try and practice this, putting it into practice. Something I would point, no related to the content itself, but would be cool on the next videos: As you made very well on separating the sections inside the video, you can make that separations and markings on the timestamps in the video, so it turns easier to watch each session and find them to rewatch (what I'll do pretty much now on!!). Cheers!

[@oldbrassman2157]

Thanks, Ryan. Will definitely work on this. I picked up my horn again, about 5 years ago, after 60+ Years. Not doing too badly. I'm starting to increase my practice time and things are sounding a bit better. I've been able to hit high D (with some effort!), and have occasionally hit an Eb and high E. But I don't own them yet. And I'm expending way too much physical energy! Hopefully your method of controlling the airflow in the chamber behind the lips will help.

[@rnordquest]

I’m with you. I’m 67 and picked up my horn a year ago when my son asked me to play for his funeral. Ryan has just proven that my resonance chamber is so non standard that this doesn’t work for me. I expend way too much energy so can only practice for maybe 25 min but can get a solid C D and E.

[@BgmAaaaaaa]

I want to learn this method..Terribly exited🎺🎺🐝🐝🐝How can I learn from you??

[@davidbuckley4904]

Thanks Ryan! I'll share this with my kids at Merit. Glad you popped up on my feed :)

[@ryanstrumpet]

Hey David! Thanks for that! Episodes 2 and 3 may be the biggest help to them. Got to find center before range. So good to hear from you!

[@NEEDSHES]

Thank you so much Sensay 🙏🙏🙏

[@toomanypockets7316]

i love it. So insightful and helpful!! thank you ryan.

[@twistedtrails8128]

When you form your lips to produce the above "G" Just touch your tongue, very slightly, to your bottom lip, the tip, which throws the tip of lower lip up towards the tip of upper lip, using much power. The tone is produced to the inside of upper mouthplece at an angle of 45 degrees, instead of blowing straight Into the throat of the mouthpiece...

[@puesvayatela]

Eso es otra cosa

[@tommcclurg7698]

Very Helpful!

[@50percent_cool]

Just trying to improve my high notes specifically increased my range by 4 whole steps in 2 months and I’ll take it

[@kjriess]

This video is awesome! Thanks for the awesome new paradigm of range on the trumpet. Unfortunately watching the video makes me feel like I have cataracts or something....

[@bryantaylor2946]

Thanks Ryan for this video. Now that it's been a year since you posted it - are you still feeling that this is the right approach for you and your students? Would you have any adjustments or changes to speak about now? Best of the season!

[@ryanstrumpet]

Thanks, Bryan. Wow . . . love this question. This remains helpful to me, yes. When things feel inefficient, some half-whistle practice often brings things right back into alignment for me. It's been interesting with students . . . if they can recreate the 2nd "focal point" half-whistle, then, yes, it's very helpful. But creating that sound seems a challenge for several. For those who the 2nd half-whistle feels too unfamiliar to reproduce reliably, I teach them the basic principle of moving the point of resistance inside the mouth towards the teeth to ascend (assuming adequate embouchure development/tone center), and simply have them practice moving a "hiss" forward (without any particular pitch). But if they can get the half-whistles, then, yes, it helps them. Hope that answers your question (at least in part!). All my best! Ryan

[@GwenMcGill]

OMG - thank you so much 🎺🇬🇧

[@thisusedtobemyname7579]

Hey Ryan, really interesting video!! I saw Adams tipps on range, the focal points make a lot of sense to me. I noticed that i use them exactly that way when i whistle, with a distinct register break when switching the focal point. I never could emulate that feeling on the trumpet though, seeing you do it just that way motivates me to try it again. Maybe i was blowing too much air, thinking i need to make the lips vibrate using breath support. Thanks a lot!

[@ryanstrumpet]

My favorite description of air is something I heard Joe Allessi say . . . . that he thought about the airstream as being "conversational." I think that's it. . . . for reals. . . . that's all we need. If it's enough air to make the vocal folds vibrate in speech, it's enough for the lips to vibrate in trumpet-song 🙂

[@spartacusjonesmusic]

Cool. Good stuff. Thanks!

[@trombonetimmy1064]

I remember last year I struggled to consistently hit anything above an F, and then a masterclass person said to think about changing the shape of your mouth when going higher, and it literally doubled my upper range, and I can regularly play super F now. This also happened around the same time as I started expanding my lower range to the F 2 octaves below concert F.

[@sylvaincalmels1284]

Thanks a lot, since I discovered this technique, I know understand how these professional trumpet player that I heard managed to catch sometimes these super high notes without any difficulty clearly and moreover playing piano, I didn't get how this was possible to make that and make it look so easy. Now I get it ! 1 question though, do you think that even with this technique, it requires a certain level of let's say "muscle" in the lips in order to make so high or is it really 90% made by the tongue position in the mouth ?

[@ilecier]

Great video with really valuable content! Shifting the focal point also means a change in tongue position, doesn't it? The tongue arches to a maximum in the highest notes and lies pretty much flat in the low notes.

[@ericherve5210]

Wow It's very interesting, thanks a lot to share this concept. I never heard this before. I'm a comeback player and at this moment I'm in big trouble to get back an acceptable range. I'm very interested in getting more information to work on the 3 focus points. Should it be possible for you to help ? Thx

[@ryanstrumpet]

Hi Eric -- I'm not really in a position to take on more students right now, but maybe check in with me over the summer again!

[@swoodc]

This was great wow

[@wouterensink6210]

I discovered your channel about a week ago and I'm finding tremendous success with your methods. Thanks a lot for sharing your knowledge. I do have a question (sorry if you've already answered this somewhere): how does the focal point / tongue position relate to articulation, specifically in the upper to extreme register? What kind of exercises would you recommend in order to improve in this area?

[@ryanstrumpet]

Thanks, @wouterensink6210 -- I may do a video on this soon . . .. but in case it takes me some time: For me, tonguing for the first focal point ("K" whistle) resembles my speech . . . where I naturally speak the consonant "T" or "D." The second focal point (we might imagine an imaginary line drawn on the hard palette between my left and right premolars), I still tend to tongue where are would naturally speak "T" or "D," with one crucial difference: the sides of my tongue anchor (gently) to the premolars, and create a kind of fulcrum that stays in place while I articulate. The third focal point (near the incisors) seems to shift; there, my articulation is no longer with the tip of my tongue (as when I speak a "T"), but is an opening and closing of the focal point itself .. . . like I'm saying "tssss" with the same part of the tongue that is creating the point of resistance/focal point/half-whistle. That third one is almost like an anchor tongue . . . . Hope that's a bit helpful . . . it get so challenging for me to clearly describe things . . . Bottom line, experiment! Try different contact points, vowels, shapes, etc. and find what feels easiest for you!

[@wouterensink6210]

@@ryanstrumpet wow thanks for the fast response Ryan. This does clarify it quite a bit. I guess the difficulty lies mostly in not opening the the cavity too much on the release part of the articulation. Anyways, I'll be looking forward to the video ;)

[@QalinaCom]

not many trumpet players' faces don't change the color when they play that high. Will definitely try!

[@drkellymccoy2020]

Hi Ryan, thanks for such a great series. I’m one of the “old timers” and have recently been working on trying to play in a much more relaxed style than I had in the past. My old style was pretty typical, more air, squeeze the lips, lots of air compression, bugling neck, red face etc. Your video really opened up a new way of thinking for me. I find by thinking more about the whistle locations I concentrate more on air flow and tongue position than on the chops which allows some great things to happen (once I get out of my own way). I just wanted to clarify a couple of things that you touched on in a previous comment. Once we reach the maximum tongue position in the molar area and move the focus to the premolars does the tongue still stay “locked in” in the molar area? Also as we move the focus to the front end by the teeth do the molar and premolar tongue positions still stay in their high position? I’m just trying to avoid any new bad habits, I have a lot of them to get rid of as it is😏. Thanks again for sharing your knowledge, all the best Kelly.

[@ryanstrumpet]

Thanks, Kelly. The first thing that comes to mind in response to your question is: I love the questions you are asking; keep trusting the questions, and let 2 things be your guide as you experiment: 1) resonance of the sound and 2) ease of approach. If your sound gets more resonant and your approach gets easier, you're almost certainly moving in a healthy direction. I also feel it's important to emphasize that we all have slightly different physiology, so we all basically need to find our own road up the proverbial mountain. That said, practicing the second "focal point" or "half-whistle" away from the horn, the portion of tongue by the premolars is most helpful when the "focal point" (the point between the top of the tongue and the top of the mouth that makes the sound of the air) is as open as possible (highest flow rate without pushing at all), without losing the half-whistle. Meanwhile, the portion of the tongue by the molars will, for many, continue to move freely to create different "pitches" (by which I mean setting up the mouth chamber to resonate within a certain set of overtones/frequencies, which we can test with the half-whistle). These ideas can be helpful in getting you to a place where you discover what works for you; which may well be somewhat different from what works for me! Let the sound and ease be your "trumpet guru." Get creative, curious, and question everything :-) One of the other viewers came up with a BRILLIANT way to say it: the higher we go, the further forward we "place the note" inside our mouth chamber. That's a healthy principle for nearly everyone. Best wishes!

[@andyschannelforucdavis1305]

Chef John from Food Wishes theme song, besides.

[@jppirr1031]

Just found your channel very interesting thanks 🎺

[@miroslavkostic2533]

Very interesting explanation, I will try...so I am an amateur playing French horn for about 50y now, and it is pain... Horn has a conical mouthpiece and there are the most common Eb, F and B horns (i play orchestral double and single B), but the beauty is French horn is not domicile like other horns, one day you are ready for a Carnegie Hall, next day you are trashed to depression. So I find my own way to be consistent: long notes mid range, slurred harmonics- slowly, and when it comes to High, I practice scale to one whole above I need, but newer on account of the tone, the empire that I built every day, (that was Wynton Marsalis explanation on trumpet playing), - keep in mind, you shape an air and air is all you have.

[@jag1099]

Wow! Great concepts. My son is a freshman in high school playing trumpet. He’s been playing for 3 plus years. Would your video be something to share with a relatively new student, or would you recommend this video as more for “advanced” players? Thanks for sharing!

[@ryanstrumpet]

So long as he isn't straining or pushing or "blowing harder" to try and move into the upper register, the concepts may well be helpful to him, though it would be rare for a student his age to be accessing the altissimo register (the 3rd focal point) in healthy ways. Patience is the name of the game with upper register development. Let the sound guide him. If it sounds and feels easy, that's the right direction :-) The content in episodes 2 and 3 really are the foundation for the focal points to work. And, depending on how your son has been taught + the amount of listening he's done to great trumpeters, gaining fluency with "playing the 5" (see ep 2 and 3) takes some consistent cultivating! (It's still what I focus on the most in my practice, and I've been playing for 33 years!) Episode 4 (forthcoming!) will address the nature of the airstream, and is foundational as well. That said, I introduced my son to these concepts (he's just starting) . . . but not the third focal point. It just takes time to develop an embouchure that can receive a setup ready to resonate at those higher pitches :-) All my best to you and your son!

[@jag1099]

@@ryanstrumpet fantastic. Thank you for your time and for producing this sort of content!

[@usr45129]

Day 2 of saying "thank you". I'd like to write a bit more. I've heard Adam Rapa talk about it of course, but it never "clicked" somewhat. After watching this lesson was like "Yeah I think I get it", but I didn't want to get to excited. Lo and behold, I slurred up to a high C, not "loud" per se, but clear. NOW I practice "notes", not "low notes", not "high notes". Playing high has become just playing. Of course, the notes are a lot closer, so I have to be a lot more precise with tonguing. Speaking of which, do you have some tips to share about tonguing high notes without risking over/undershooting it?

[@ryanstrumpet]

"Playing high has become just playing." Yes! Love it! As for the tonguing, I've found the following reminders helpful in my practice and teaching: 1) Remember that the heart of accuracy is accurately imaging (hearing in your mind) the *precise* pitch that you want, imbued with an emotional character. 7/10 times, if I alternate playing and singing (falsetto!) the accuracy challenges will either improve a lot or resolve themselves. 2) Invite/allow the strike of the tongue to be a natural extension of deliberately maintaining the same Vowell-shape or mouth-chamber-shape or tongue-position (whichever of those phrases works best for your mind). In other words, if the tongue is causing problems, it's likely causing them because it is either moving too much (and disturbing the Vowell-shape), or it's striking in a place that is incongruent with the Vowell-shape that's working when you slur to it. Bottom line: 1) hear it. 2) sing with the same Vowell shape. Hope that helps!

[@usr45129]

@@ryanstrumpet thanks a lot! I'll keep that in mind 🤗

[@Since1970Canucks]

Great video Ryan. I understand the concept , but some how when I try to apply to my trumpet, I get messed up

[@ryanstrumpet]

I've noticed a few common stumbling blocks . . . maybe one of these might help unlock it for you? The first is that my students tend to place the tongue so high that the air actually gets choked off. We want the "focal point" (the narrowest passage for the air; between the top of the Tongue and the roof of the mouth) to be as open as possible, while still sounding the half-whistle. The second is that it can take a good bit of practice to resist the urge to blow harder as we ascend. "Always blow the same." (Cichowicz) Along these lines, even the tiniest change in the airstream will negate the efficacy of the Tongue level. The third is blowing without singing. There's something crucial about clearly audiating or hearing in our imagination *exactly* what pitch we want to play. The fourth is also always a possibility: if we haven't learned how to really play the center of the horn, the the tongue level won't do much to help. When you find the center, the horn "lights up," and produces more sound than we might be used to hearing, with less effort. Episode 2 goes into this in more detail. Hope that helps! Best of luck to you on your trumpet journey!

[@Newbie158]

??any chance you could post the "Helpful Exercises". Love your explenations.

[@ryanstrumpet]

I'm working on creating a resource for that . . . . but it's a ways away (got some other projects in the frontrunner right now . . .. )

[@Newbie158]

Thank you for your speedy reply. We love how you explain your concepts!

[@Tube-bank]

Ryan, very helpful. Could you just expand a bit more please on what you mean by “as we go out to the centre of the instrument”, Basic Principle #1. Thanks, Peter

[@kevin_soda]

Fascinating.

[@NEEDSHES]

God this is so brilliant

[@diegomedina2359]

great advise.I still have problems with the third focal point. when I say "lisp" with the trumpet on my mouth, the air wont move. should I blow harder?? thanks!

[@ryanstrumpet]

Thanks, Diego 😊 There’s a bit to unpack to answer your question accurately. It’s why I made episodes 2 and 3 this week ... to try and help answer the question, “should I blow harder?” I love the way Vincent Cichowicz said it: “The basic principle is simple: always blow the same.” When we are playing in a healthy, sustainable way, we don’t blow harder to go higher. We blow the same (and the character of that airstream, as Sam Pilafian and Pat Sheridan are fond of saying, is “Even, Constant, and at the tip of the lip.”) Before you try and figure out the third focal point, I’d recommend figuring out how to get the second focal point to work, without blowing harder. Most of us have had well meaning music teachers tell us, “more air!” This simply isn’t true on the trumpet. Relaxed air? Yes. Easy air? Yes. Fluid air? Yes. But more air to go higher? Nope. More air will always - always - Increase the tension in our bodies as we ascend. And, to borrow another Pilafianism, “tension kills tone.” To the second part of your question (the placement of the third focal point), I have had the most success creating as much space as possible between the top of my tongue and the top of my mouth - while maintaining the mouth-pitch (or half-whistle). So, if that space is too tight, just as you’ve experienced, it gets in the way of a free, uninhibited, sighing exhale. And we always want a free, uninhibited, letting-go-of-air (rather than “pushing” or “blowing hard”).! (And, truly, hang out with the principles on episodes 2 and 3 to unlock the usefulness of the focal points .....) Hope that helps! Best of luck! Keep me posted! 😊

[@diegomedina2359]

@@ryanstrumpet thanks a lot for this great answer . I´ll keep working on my center and moving the longtones and will pay close attention to the keeping the same air. thanks for your videos

[@solodro]

Wow! Your explanation helps me a lot... I am looking for the easier way to play trumpet and only thinking about the air in the three different places in my mouth help me a lot. Easier to go high with less air and a sound really open. TY so much to share your knowledge.

[@ryanstrumpet]

Thanks, @solodro! So glad it feels helpful to you!

[@mf6045]

Awesome!

[@egtsman]

Thanks for this video! I’m going to try this concept. Is it actually another way of describing tongue placement?

[@ryanstrumpet]

Yes. With an understanding that the placement itself is as much about resonance as it is about airstream.... wish I'd understood it a *long* time ago! :-)

[@ericanderson2369]

Have you ever heard of claude gordon? A student of Herbert L Clarke's and author of systematic approach to trumpet playing, claude explains the fundamentals of trumpet playing and they are similar to your explaination. Check em out. My major trumpet professor in college was Richard Hofmann of california state Northridge. He is phenomenal trumpet player and teacher.

[@riemervdeems5569]

Although I have heard many people they have benefited tremendously from the video, I cannot seem to grasp the concept fully. What are the half-whistles for? Tongue position? Or just a general sound? To be clear this isn't meant as critique, but as an invitation for others to help me figure out where my thought deviated from what he demonstrating in the video.

[@ryanstrumpet]

Thanks, @riemervdeems5569. I hope I can help a touch! The half-whistles seem to serve three distinct purposes for me and the people it works for. 1) Tongue position. The general idea being that, the higher the pitch is, the closer the "focal-point" (the place of highest airstream resistance between the tongue and top of the mouth) is to the teeth. 2) Resonance. This, I think, is the truly unique benefit of this approach. It's based on the understanding that the aperture is a *response* mechanism; an elasticity that *responds to* the interaction of resonance between the oral cavity/head/chest resonance on one hand, and the resonance of the instrument on the other. Setting the tongue in a place for an accurate half-whistle can help fine tune or dial in the resonance of the oral cavity with the frequency we wish to produce, so that the aperture responds more readily and with more ease. 3) Efficiency. With the increase in resonance comes increased efficiency and ease of playing. (In other words, less blowing harder to go higher.) I hope that helps! All my best! Ryan

[@hernanroses]

Gracias!!!

[@borisdavidov5]

I'm very surprised that for many its a new concept...there was a great study was made by Claude Gordon explaining that our lips are just a vibration medium and the tongue controls the velocity of the air coming out of the mouth. “The air does the work, the tongue channels the pitch”...

[@ryanstrumpet]

Which Claude Gordon book is that from, Boris? Thank you for this!

[@borisdavidov5]

@@ryanstrumpet keep in mind this is just as an explanation on basic 7 elements. Because of CG I was able to play and couldn't even able to play when was a pro. I personally don't care about range anymore. I'm classical musician and now I'm enjoying the playing. Enjoy !