TCE Talks Episode 18 - Reading Up On Trumpets

[@freeLM90]

8:18 "move more air" is the concept that moved my embouchure to the "overblow mode". The high C (not double high C) was harder than go running in the park for a hour. I think people go to master classes and they misuderstand most of the contents. Anyway most of the great players are very bad teachers... It's 2023 and people still thinks that efficiency means "more air" instead thinking about "how to make the trumpet sound easier"

[@peteestabrook346]

Thanks for continuing to assert your critical thinking skills even in the face of criticism (past or potentially present). I am looking forward to your next post. Thanks for the reminder that good efficient playing us the bottom line, whatever name it bears. Here is a prime example of the opposite: my student signs up for the Brass ensemble at the local university. He is asked by email what mouthpiece he plays. When he answers, he is told that it won't blend. This is without hearing the student, mind you. How does someone who isn't willing to use his ears able get a job like that?

[@GordonHudson]

I hear the "more air" thing all the time from brass band conductors. The poor kids in the back row get landed with this. Its dispiriting at times.

[@clemensmuller4794]

Hey man, I've got a question. Why is the orbicularis oris activated by pushing the chin upwards? If the aim is control of the muscle, we just can't mush it together. Since it is attached to the bone via the corners and the tip of the chin, shouldn't we get more activation out of it by making sure it stays in place by activating the chin? Also, brass players who can play with endurance or high or loud (with a few exceptions who might look a little different, or get away with inefficiencies) have a flat chin. It's been criticized by Jeff Smiley as well, but he seems to not know about modern ways of teaching it to people. Just because you cannot teach people a flat chin, does not mean it has no benefits under the right circumstances.

[@BrassPractice]

Thanks for the question - it's an interesting one and could warrant making a video so that you can visually see my explanation. The argument that I commonly say is that people are taught to play with tight corners and flat chins in order to create structural integrity of the embouchure, specifically preventing unwanted movement of the bottom lip. With the TCE this is not necessary as the bottom lip is held in place by the tongue. If you keep you lips sealed and push the tip of the tongue into the bottom lip then you'll notice the obicularis oris muscle flexing. If you do this and try to flatten the chin at the same time then you end up trying to push and pull things in opposing directions at the same time.

[@BrassPractice]

In response to a couple other things you've said: "brass players who can play with endurance or high or loud have a flat chin" - I disagree and there is plenty of photographic and video evidence of great players using and not using a flat chin. It's also important to recognise the difference between a chin that looks flat when it is relaxed and one that is tight and pulled downwards intentionally. And "Just because you cannot teach people a flat chin, does not mean it has no benefits under the right circumstances." - This is bordering on rude and disrespectful. I choose not to teach people to play with a flat chin because I fundamentally disagree with the idea in my understanding and lived experience of embouchure development. I'm happy to agree that many people have made this a successful part of their pedagogy but it's not a part of mine. Thanks again for taking the time to comment.

[@dadatrapa9548]

Hi! What a great video! Could you give me any contact information of yourself so I could discuss something with you?

[@BrassPractice]

Hi there, I won’t put my email address here but if you pop along to neotericbrass.com and use the contact form then that’ll work. I look forward to hearing from you. 🎺