Trumpet tip, Jaw Position and The Upper Register

[@irawong]

Thank you for all of these videos you left us, Jon. I use these in my teaching and often include a funny story about you from the old days. RIP, man - you are missed.

[@JazzR31]

This gent passed away?

[@Trolleyatthestation]

​@@JazzR31yeah a couple years ago in a motorcycle accident :(

[@whitetrumpetofficial463]

So sad. I’m rewatching his videos once in a while. So much good information explained in a gentle and clear manner. Rest in peace 🙏😢

[@pippoMASO]

Honestly this is the best video on trumpet hight range. The reason is that you explain it in a objective way, paying attention to the physics. Thanks a lot for posting this pure gold!

[@Rufftips]

pippoMASO very welcome

[@SteveKnowsTrumpet-ue6eg]

This is the clearest explanation and demonstation of these concepts that I've ever come across. Thanx. John!!

[@marvincampbell3005]

wow! I have listened to others talk about going high, but your demo and discussion suddenly made it easy for me to understand. Also, I am 76 and haven't played my trumpet since the late 60's. I was a good player then but never learned what you covered in 15 minutes. As an engineer, I suddenly realized what you are doing is creating a variable sized resonant cavity behind your teeth with your tongue and jaw. When the sound can resonate In the proper sized cavity, then it takes much less energy than if you were to brute force out the high note. Voila! Now I can do even a mouse squeak without much strain! Thanks.

[@Rufftips]

Marvin Campbell So glad some of my ramblings helped.

[@chrishamilton4999]

crazy good teacher ... no limits! Many thanks from Australia.

[@Music-li7xh]

This is a terrific explanation of trumpet mechanics. Best I have ever seen or read about, and I have seen and read a lot on the topic.

[@Rufftips]

Music66 That is very kind of you to say. Just some observations that I had. Trumpet playing is a quest for everyone. I always hope that some of my explanations and ramblings unlock the door for someone. Best, Jon

[@ruariwilson9696]

Thank you, John. My lockdown project is to increase my range and your demonstration and explanations are so clear and logical. Thank you.

[@trumpetplanet]

Yes! The tongue, lips and teeth all meet. The way he describes the bottom lip, chin and tongue is more similar to Superchops (Tongue Controlled Embouchure) than any Reinhardt or Stevens as mentioned by other commenters. Many people play that way without realising it, but when you clearly show how and why it works it's good for everyone. Thanks for sharing.

[@leeadams5544]

Absolutely this is incredibly similar to what is shown in the 1987 Jerome Callet Super Chops book with emphasis on the chin bunching upwards. Except Jon explains the total mechanics package in a way that is easier to understand.

[@Ustebegen]

only video i’ve seen so far that relates jaw positioning to octave. thank you!!

[@duwomaiishgabrielle9498]

What a great overall understanding of how one brings it all together! I find that working on doing relaxed 3 octave scales up and down using good articulation helps set the mouth, and then as you say the jaw position for each note becomes obvious! Then widening the intervals! I discovered that there is an embouchure that develops in conjunction with application of this skill into a kind of whistle shaped embouchure, that makes slotting the notes very easy!

[@pauldance7387]

You’re the best on KZbin for this kind of content, PLEASE don’t stop we need you ...lol 👍🎼🎺

[@bobpai2006]

John, thanks again for a great video. Full of good insights and really showing the mechanics of your face and air and how they work together.

[@carlwilson4375]

Now I can feel the muscles in my chin working. Wow! This is great.

[@td1138]

Awesome. Sure wish I’d had this information back when I was struggling to figure out how to play the trumpet. Thanks for some really good info!

[@anthonycarbonaro7890]

John.. very excellent presentation. Very helpful. Thanks 🙏

[@lucienmontminy1037]

Thank-you for this one John.

[@edo_strength]

Just came across this video again… miss chatting with you SO much my friend… hope you’re making them laugh in Heaven and play your socks off with Maynard and Bill… Rest In Peace buddy… hope to see you up there when it’s my time 🙏🕯

[@XanderGlaze]

you’re a very good speaker! i enjoy listening to what you have to say

[@robertoduran8866]

This guy explained it so well, he should be a band teacher or conducter

[@Rufftips]

Roberto Duran I have done those jobs briefly among other things including working on a houseboat dock. Both my parents were teachers. I couldn’t help but learn from them as that’s what they did their entire life is teach. Thanks for the kind words I do appreciate that.

[@SpritualTechniques]

Thanks for your tips. I’m in the process of resetting my embouchure.

[@carlylavine1602]

10:19 when someone calls you cute

[@eddievelez4723]

Carly Lavine couldn’t be me😭

[@bfenwick87]

Awesome video! Included herein is some very helpful and well demonstrated method.

[@carlwilson4375]

I started to learn “Fly Me To The Moon” on my trumpet last week. I was not able to play the last part in the higher register. High D and, high E. When I got to that part of the tune I had to go to D, and E below middle C. Now I can play the last part of the tune as it is written, playing high D, and E. Thank you.

[@Rufftips]

Carl Wilson Wow that’s very cool discovery is always fun

[@artisfine]

@@Rufftips 👍

[@ALAN134100]

This is just what a need. Thank you so much

[@1mickyfinn]

Spot on. Great video!

[@Kennygrooms]

What a great teacher!

[@cherylprzytula5670]

Hey Jon! Great video. Thank you!

[@wayneworthy2672]

Thanks John. That was very well explained. You are good musician and an excellent teacher. Your video helped me a lot. Thanks for sharing.

[@Rufftips]

wayne worthy Well I certainly am glad that you were able to gain something from my insanity. Thank you so much for the kind words. Best, Jon

[@gatebarnadotno]

Thank you for in interesting video. Can you demonstrate how you produce stacato in the upper register ?

[@Trolleyatthestation]

Sorry but unfortunately he passed away :(

[@carlwilson4375]

I’ve been playing for two months. After watching your videos I can now play D on fourth line and E on forth space. I started by playing middle C to high C and then workin up a half step until i could hit D and E. I can really feel the muscles around my mouth starting to get stronger. I needed to stop playing for a while because my lower lip started to get sore and I lost the ability to play any note. By the end of the week I should own high D and E. Thank you.

[@artisfine]

Eye opener ! Fantastic ! Thanks 👍👍👍

[@phyzition]

Always had issues with higher register. It makes me put more pressure from the mouthpiece on my lips. Going to try this in Band Practice tonight.Thank you

[@zadvitskyguitarpedalsandam4466]

Oh, I like this face showing high register(10:24))))))) Great!

[@charlyvidal722]

Wow!! Great video!! Thanks you!!

[@ismiregalichkochdasjetztso3232]

Very, very helpful tips!

[@fays1971]

I guess you described it very well thank you

[@peterwisdom798]

Good morning to you sir

[@jeancote1498]

Very helpful, as always!

[@MilesSpearman]

This video was great. Can you explain how you would practice building aperture strength and air capacity to be able to get the high range consistent?

[@Rufftips]

Miles Spearman I would check out this particular video playlist. kzbin.info/aero/PLjtQbOLXI0BB_2bn5GjxlWCYsEM8DDVTH I would work out of the Earl D Irons book carefully following the instructions he offers. qpress.ca/product/27-groups-exercises-earl-irons-pdf/ This video also has some good information about how to approach things. kzbin.info/www/bejne/Z2TaqoiOj89kjpo

[@jrfsailing07]

Fantastic Info!! Thanks John

[@samfletcher6425]

Thank You Best Professional Easy to Get Awsom I've been looking for Months

[@gezbit]

Hey thank you so much! This has helped a lot

[@georgemay8170]

Thank you. You know the physics and it makes sense.

[@JeffLewisTrumpet]

Tongue+teeth+lips=“the perfect storm”!

[@robpatterson2441]

That was absolutely perfect! Thanks!

[@skrame01]

Thanks, appreciate the honesty.

[@auralegacy7386]

This really helps a lot, thank you.

[@Rufftips]

Glad tohear that Best, Jon

[@nrcg2317]

Aww man, I did not know he passed away. What a legacy!!!

[@dianatakyiwaahasante-tuoh866]

I need you in my life right now😭😭😭😭

[@teddygaming5130]

thanks so much! cant' wait to try it myself.

[@carlwilson4375]

The more I watch this video the more I learn. I own the high “E” now. I can also play high Eb, high G, and F#. I started playing “Rise” today that has the Eb, and F in the sheet music. After playing “Rise” for a while with high F, I pushed it up a half step and I can now get the F#.

[@Rufftips]

Carl Wilson That is fantastic be sure not to overdo things this is new territory take your time getting used to it Best Jon

[@Chris-ou6of]

I was wondering about this topic glad I clicked on your video.There is a lot of conflicting info on this.

[@Rufftips]

Chris I think the most important part of jaw position is the vertical alignment of the bottom and top teeth. This can determine our success in the upper register. If a person has a rather large overbite there may be some physical challenges to playing in the upper register. Some experimentation with both vertical alignment and how open or how closed our teeth are may produce some interesting results.

[@jaebar51]

excellent, thanks

[@amelialeach9507]

Thaaaank yoooou, super helpful mate

[@abrogard142]

Jesus this guy's good. 1:56 he plays just like me...

[@snrnsjd]

Hi . French horn player here. Thanks for the advices. Really helpful! But can you make a video about horn position? My jaw is forward so I press more on the upper lip and I hold the instrument up. Not down. But the problem is that as I'm not in the upper register I'm pressing even harder on the upper lip, and it's very very tiring. Can you give an advice?

[@Alperunal80]

9.34 is so funny :) Great info btw thanx..

[@Rufftips]

Alper Unal hope some of my madness helps

[@carlwilson4375]

Now I should stop playing for today. I can hit high E but I keep losing it. I can feel the muscles needed to play high E in my chin, around my mouth, and my cheeks. I have played high D and E to the point were I cannot play high E anymore. High D is now mine, I own it. Once the muscles needed for high E are strong I will own E too.

[@RomanS-777]

СПАСИБО !!!!😁👍👍👍👍👍

[@Omygoodnessg]

Thanks pops!!

[@jppirr1031]

great explanation !! i was the guy who asked about vibrato.I used to use my hand and im trying to get away from that explanation of how tongue meets bottom teeth and lips im doing pretty much what your doing but i feel my tongue on bottom lip mostly ,how important is it to feel bottom teeth in conjunction with bottom lip ? thanks

[@Rufftips]

Jp Pirr I told you I was gonna do a video about this. I don’t think about what I’m doing it just happens. So in order to explain what I’m doing I have to over analyze and then break it down into simple broad steps or actions. So tongue, jaw and lip all find their place according to the notes I’m attempting to play. So obviously where all of these things are is important for success. Any attempt on my part to tell you exactly where this position is, is futile. You will have to figure this out. When you get it right you will hear the difference and discover the movement or feeling. Just like if I say clench your fist you understand what I’m saying in the general sense. I cannot explain to you exactly where to place your fingers into your palm. All I can do is tell you place the tips of your fingers into the palm of your hand and fold your thumb across your curled fingers and squeeze. It is impossible for me to describe the exact spot on your palm each finger will lie. It is also difficult for me to explain how much pressure to put when you squeeze to achieve an optimal clench. These things you will discover for yourself over time and you will not think about finger placement on your palm you will simply enact a motion that is clenching your fist. So you will have to discover how important position is and where that position is and you will not be thinking exact placement you’ll be thinking feeling and it will be confirmed by your success. Best, Jon

[@jppirr1031]

Thanks Jon for your videos i enjoy them and will learn from them i appreciate your responses !!

[@c.sasinnasasi4156]

Super sir,,,

[@gilbertosandino8324]

A High - carat Master Class.

[@sylvainlajoie5650]

Merci pour tes conseils. RIP mon ami.

[@FnkBssGroov63]

Nice!!! thanks for the lessons . say, what axe you got there ? I thought maybe a Getzen from the water keys

[@Rufftips]

FnkBssGroov63 Stomvi VRII

[@bradstewart7007]

Back in the 80s everybody was putting Getzen water keys on Bachs.

[@JeffLewisTrumpet]

For more great stuff on the role of the lower jaw check out the book “Embouchure Self-Analysis The Stevens-Costello Embouchure Technique”. It goes way deep! There is also a video series on the book by one of Stevens’ students Roy Roman that is excellent. www.roystevens.org/?page_id=12

[@Rufftips]

Killer info Jeff

[@johnpiettro4644]

Jon - pushing your tongue forward at the top edge of bottom teeth is fine for overtone series. However - what happens when you articulate those high register notes? You would have to retract your tongue... well - unless you permanently play with the anchor tonguing which is what all good trumpeters do anyway according to Claude Gordon.

[@Rufftips]

John Piettro the purpose of the video is to promote some thought about where your tongue might be and what might help get into the upper register. A secondary way to think about how we articulate is as if you’re spitting. The tongue, when in the position you described can easily reach up and block the airflow by sealing the space between the bottom lip and the upper teeth.. It is the release of air that is actually making the attack so all we have to do is stop the air for a moment and release it. When the tongue is in a forward position it is quite simple to activate tonguing or articulation. This is why I suggest using the syllables They and Gay while multiple tonguing. Ta and ka are articulated much higher in the mouth. For many players that have a tongue forward approach the traditional way of multiple tonguing is extremely difficult and does not necessarily work.

[@Rufftips]

John Piettro If you reference this video I’m playing the lead part and there is plenty of articulation happening in the upper register in this tune. I use a very tongue forward position and I tongue by sealing the space between the bottom lip in the top teeth. kzbin.info/www/bejne/o4WnfZimqNhjo7M

[@charlyvidal722]

Great my friend !! Very true. ,!

[@Aleksey-Chukanov]

Sir, you are great! Thank you! )))

[@Rufftips]

Night Skylord well thank you very much for the kind words

[@ukachuksgoddey5581]

helpful, thanks!

[@cookiesncream25]

Oh man, thanks. You're funny too.

[@andrewalsobrook6729]

hi john

[@GeroLubovnik]

Do you consider your technique to be tongue controlled embouchure?

[@Rufftips]

GeroLubovnik I think it’s fair to say that what I’m doing is probably very close to a tongue controlled embouchure. I have not studied the tongue controlled embouchure material so I do not know if it is parallel or the same. I do know that the position of my tongue and how I use my tongue are very important in what I’m doing. I would not want to discount what is happening with the jaw position and the important role it plays.

[@giancarlocampanelli2463]

Thanks :)

[@jackearnhart5660]

Hi John! When you curl the lower lip over the teeth, is it somewhat loose for the lower register and gets tighter as you ascend, or does it maintain the same tension? Also, how would you keep the lower lip from thinning out over the top teeth as you ascend? I have long upper teeth and a shorter top lip, which is why I ask the latter of the two questions. Thank you.

[@Rufftips]

This is very difficult to describe the action and the feeling. To keep my lips flexible and supple I do not pull corners back it think about pushing forward as I ascend. As you try things you will discover something that works for you. Always remember sound is the key. A good full sound is the goal. If you achieve this goal chances are you are doing things correctly. Best, Jon

[@jackearnhart5660]

Great, thank you sir!

[@glenntaikon6775]

Wow.

[@carlwilson4375]

I'm a beginner. I've been playing trumpet for two months. When should I start developing this tech?

[@Rufftips]

This is relatively advanced conceptual mechanics. I think you have a long way to go before you start worrying about these type of mechanics and what you’re doing. I would concentrate on learning how to play music and let the mechanics develop through that process. It is when we as players run into a block in our progress that we need to address mechanics. Best, Jon

[@carlwilson4375]

Rufftips Thank you.

[@fadymaher6206]

Hi, I know the difference, where is the best and where is the best bach stradivarius 37 vs yamaha xeno 8550

[@Rufftips]

Fady Maher I would look into the Bach 19OS 37 www.conn-selmer.com/en-us/instruments/band-instruments/trumpets/190s37

[@fadymaher6206]

@@Rufftips Bach 190S 37 is better than Yamaha Xeno 8550

[@Rufftips]

Fady Maher This is an individual choice I would compare them either trumpet is a good instrument. Best, Jon

[@adammajor1133]

What trumpet do you use?

[@Rufftips]

Adam Major Stomvi VRII

[@gregoryoleynik3698]

Your corners are also moving in toward the center. This allows for more meat between the teeth and mouthpiece.

[@Rufftips]

Gregory Oleynik This is quite correct I do talk about this in a couple other videos

[@warningchimes24]

So If instead of Bb I get a B note when I play open that means I have to lower my tongue? (It's a Bb trumpet)

[@Rufftips]

you shook me There are a couple things that have to be defined here to appropriately answer this question. First you’re playing a B-flat trumpet open fingering if you’re playing the correct pitch in the staff you are playing a written third space C. This note is a concert B-flat. If for some reason you are playing this note a half step higher It would be a written C-sharp or concert B. So if For some reason you are playing this note a half step high the first thing I would look at is if you have your tuning slide pulled out. In an Internet conversation it is almost impossible to diagnose what is happening in this situation

[@warningchimes24]

@@Rufftips When I play with open fingering I get somewhere between concert C and Concert C sharp, I was thinking It's an embouchure problem, but when I try to lower the pitch with my mouth It just sounds terrible. Also the tuning slide is fully closed, If I open it a little bit I can get a proper Bb? or I have to correct my embouchure? Thanks for your answer!

[@Rufftips]

you shook me Using a tuner or matching pitch to a piano you should be able to match the concert B-flat by playing open C on your trumpet by pulling the tuning slide out until the pitch is correct. When the tuning slide is all the way in we play Sharp

[@warningchimes24]

@@Rufftips I was wrong then because I though I needed to get a perfect Bb with the tuning slide all the way in, I thank you very much for answering! I'll sub

[@brassplyer]

Watching x-ray film of trumpet players I don't see that the teeth close as they go higher. When you play louder at a given pitch your teeth will open slightly.

[@Rufftips]

Brassplyer ok

[@SpringySpring04]

How in the...

[@DrSmallberries]

4:04 - 4:10. My fav part. ;)

[@Rufftips]

AManCalled Da-da ha

[@darryljones9208]

You are changing the aperture posture. The tongue movement is related to the aperture muscular effort. The oral space is not what cause the pitch. The aperture does. Smaller, firmer aperture = higher frequency.

[@Rufftips]

Darryl Jones Without the totality of all the motions working together I doubt the aperture would change because you cannot change your aperture without changing other structures in your body therefore the entire system must work together. Best, Jon

[@darryljones9208]

Rufftips I basically agree. But ultimately the embouchure gets the causation credit. Tongue and jaw are ancillary actions I don't think the tongue literally "does something to the air" to make the pitch change. The tongue does not and can not compress the air as is often claimed. Nor does the size of the oral space directly influence pitch. Oral resonance matching is another popular myth.

[@Rufftips]

Darryl Jones It is like saying the hands control the bar as you do a bench press. It is the functionality of the complete system that allows you to control the bar as you lift it off your chest to an extended position. “I don’t think” I would rather not get into some kind of online disagreement about what we think. I offer concepts that hopefully provoke thought. It is incredibly difficult or nearly impossible to describe how to change your embouchure without changing other things in your face. Because of this fact I find it much simpler to describe things that, to some degree we can feel. In this way the viewer might have an opportunity to gain a concept of motion or change in a larger action that has a resulting effect on the outcome. For me, for me I cannot make a change in pitch without a motion of my mouth. This includes the jaw and tongue as they are connected. I will say this once again. For me I cannot make a change in pitch without some motion that is happening to my mouth. This includes the tongue and jaw. This has an effect on pitch for me. If you can change pitch with no motion that’s fantastic and I implore you to put that on the Internet somewhere so others can understand how you change pitch. In this way those that do not find help in what I have to offer just might find it in what you have to offer. Best, Jon

[@darryljones9208]

I am not exactly disagreeing with you. And I think you are on to something that is very important. That is, explaining things in terms of actions that are evident without resorting to some pseudo scientific explanation regarding air speed or air compression Etc.. There are reasons that the tongue moves in conjunction with the lips that I cannot get into now but congratulations for recognizing that coordinated movement and using it as a teaching point. There seem to be many who think that the tongue movement alone will cause some change when it is easy to demonstrate that it does not. If one is reasonably observant they can recognize that the lips are changing in conjunction with the tongue movement. And it is not at all due to some change in air quality, or the lips "reacting" to some imagined air quality.

[@justinliu6068]

5:55 playing off centre

[@TheBURTTO]

Every player comes to their instrument with their own unique set of lips, teeth and jaw! One size does not fit all!!

[@carlwilson4375]

Oh, and one more thing. Playing the scales to get to the next highest note is not the only benefit. I can now play everything else a lot stronger and with little effort. My playing is much better.

[@TresMamboMusicSchool]

No no and no. The pitch of a note is governed by the onset air pressure. That is the first order effect. The small effects of of your tongue, jaws, lips pivot etc are not primary causes at all. They may affect the onset air pressure in some small ways but they are not primary.They vary tremendously from one player to another. If you want to play without tongue, or pivot or compression you certainly can. So I take offense to you stating that this is the "success in the upper register" is due to tongue and jaw. The only thing you really need is air PRESSURE but this is not what you did at the beginning of this video. You just increased the volume of air which makes the same note louder. PRESSURE is force per unit area. You can play a high C super soft and beautiful if you can whip up 160mgHG if you have 200 at your disposal (about twice your normal blood pressure) you can peal the paint of the wall with that note. The onset pressure determines the pitch the excess pressure determines the volume. The physics is clear and you can check out the sources for yourselves. newt.phys.unsw.edu.au/jw/brassacoustics.html kzbin.info/www/bejne/e4iph6KVbcxjhZY

[@EnglishTMTB]

As intuitive as the conceptualisation of "pivot" is in this video... it's not what's meant by "pivot" in teh specific sense of trumpet pedagogy - no serious teacher teachers their students to pivot different angles alone, but a very serious school of thought indeed originated with Dr D.S. Reinhardt which references "pivot", only they don't mean pivot in terms of horn angle, it's more about a sliding motion of the mouthpiece & embouchure up and down the teeth. Whether we agree with that school of thought or not, it's only fair to try and avoid misrepresenting it - the "pivot system" isn't about an angular pivot, so let's be careful not to perpetuate the myth that it does.

[@Rufftips]

I am forever sorry I misrepresented this hollowed ground. I am not claiming to teach this or any other pedagogical dogma. The result of pivoting, a “sliding motion of the mouthpiece & embouchure up and down the teeth” creates a change in horn angle. I suppose I reverse engineered that meaning. Please feel free to provide a link so the curious can discover the true, “pivot system”.

[@dondahlberg2103]

Hey Jon, I respect your playing and your expertise on a lot of things, but your interpretation of Doc Reinhardt's definition of a pivot is wrong. A player's pivot in Reinhardt's "Pivot System" doesn't refer solely to the changing angle of the horn, changing direction of the airstream, changing of the tongue arch, or changing position of the jaw. It encompasses all of those things plus more factors that relate to the individual physical characteristics and mannerisms of each individual player, such as what side gets more weight (pressure), i.e, left side vs. right side, the longitudinal position of the mp on the lips, and more. I cringe every time I hear people who don't understand this using the word "pivot." There are some players who even studied with Reinhardt (not for very long) that still don't understand what a "pivot" is. I encourage you to read Reinhardt's Encyclopedia of the Pivot System and even get a hold of a set of customized notes (actual text) that Reinhardt prepared for each student to really understand more about his teaching. Otherwise, it would be more appropriate to cease and desist from using the word pivot, just refer to horn angle as horn angle, and call it a day.

[@Rufftips]

Don Dahlberg I believe in the video I say some might call it a, or the pivot system. I personally am not describing this as the pivot system. This is the only time I have ever mentioned the pivot system in passing in any video. Those that have studied the pivot system will quickly recognize that this is not what I am doing or suggesting. Those that have never studied this might just be compelled to search it out. As you see in the video it is mentioned very briefly and in passing. This is simply to acknowledge that some might make this statement. You’re not the first person to address this statement. Having such detailed comments in the comment section provides excellent information for those that are interested in learning more about the pivot system. The overwhelming majority of the feedback I have received about this video is exactly the type of feedback I was hoping to get. This came from players that did not understand the implications and benefit of jaw position and jaw movement. I literally had a gentleman speak with me several days ago about this very video. He said it helped him regain his register back to double C. It was the missing link for him. That my friend is the purpose of this particular video. It has only been Reinhardt disciples that have come to Defend the teachings of this great man and call out the fact that this is not the pivot system. Once again please listen closely as to what I’m saying. I’m not saying it is a pivot system. I am simply stating that some may say this. I do not mention Reinhardt anywhere in the video. I personally did not describe what is happening as the pivot system. As with any of my videos I try to keep it general as much as possible. I do my best to avoid subscribing to a particular school or Dogma. My videos are simply information to those that may not have access to teachers. I apologize if you found it offensive that I got anywhere close to misrepresenting Dr. Reinhardt‘s teachings. Thank you for setting the record straight. Best, Jon

[@dondahlberg2103]

@@Rufftips nah, no apology necessary. I'm not offended and I actually think it's funny how some Reinhardt disciples are hypersensitive when non-Doc-students start throwing around terminology that Doc used. I'm a Reinhardt discipline, but not a "Doc-Zilla." That "cease and desist" phrase was said tongue-in-cheek. All in good fun. Rock on, good videos.

[@wilktone]

@@dondahlberg2103, this is why students of Reinhardt's should abandon the term "pivot" altogether. The greater field of brass musicians defines that term as tilting the horn up and down. @Rufftips trumpet stuff, That said, I would agree that if you use the term "Pivot System," which is specific to Donald Reinhardt's books/teaching, it's good to be accurate in how you describe things. Everyone "pivots," it's not something you need to be taught to do. But it is something that is good to be aware of and learn about. It can help individual players fine tune their pivot and also help teachers diagnose and correct embouchure issues in their students. Thanks for the video!

[@ratatatat7173]

What a great teacher!