WHISPER TONES WORK WONDERS (Carry a big stick.)

Whisper tones exist on the cusp of a note. They improve response, articulation, accuracy, dynamics and tone quality, and contribute to an overall sense of relaxation as you coax (not force) your lips into vibration. Your chops will thank you, as well as those within earshot.
THE BRASS TACTICS 6/60 ROUTINE
This is the tenth in an ongoing series in which I discuss and demonstrate the exercises that comprise the Brass Tactics 6/60 Routine, in the process covering many of the fundamental aspects of sound production on a brass instrument.
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[@chasesanborn]

This video is part of a series relating to the Brass Tactics 6/60 Routine, although this specific exercise has been added since the book was published. Please leave a LIKE and a comment so KZbin (and I) know you're watching. Here's the Brass Tactics playlist: kzbin.info/aero/PLdkYbUyqvkhRs4crE9XhPkLxxosoZgC_c

[@cameronmilligan]

These videos are great! Thanks for putting this series together, Chase!

[@chasesanborn]

Thanks for watching, and for saying so!

[@LarryHarris-fb7nn]

Is the benefit of whisper tones that, taking the air power out of the equation, the pitch is created by all the other elements (I think of it as "shape")? Then when air is reintroduced, the sound is more focused because you have learned the correct "shape" for each note?

[@chasesanborn]

Air is still part of the equation--we hear it before we hear the tone--but we are searching for the most responsive embouchure setting.

[@ronrobbins2737]

Very interesting sir ! as someone who plays trumpet & Saxophone, I recognize the similarity in what you teach to the so-called sub-tone in the sax world. Learning to play low Notes on the SAX, starting with only air and slowly bringing in the sound is a great emboucher training technique.

[@chasesanborn]

It makes sense on any instrument to focus on where and when the sound begins.

[@brentsterner2073]

Just started to look at this. Interesting. For me, the effect in different ranges varies. For example G (staff) "works" for me but below the staff goes flat... low G is almost an F. (I have been doing pedal tones too.) If I support the "F" the whisper vanishes and a G (pretty in tune) replaces it... Is there anything that can be read into this? Thank you. PS I'm slowly increasing the pitch for now. PPS Trumpets I know have not heard of this. But a flautist does. Do other horns do whisper tones too?

[@chasesanborn]

Whisper tones are certainly harder in the perimeter ranges. I strive for the feeling at the lips to be as close as possible to the feeling when the note starts to sound. That's a function of slowly increasing embouchure compression on a steady flow of air, although I'be been debated on that in the comments. I suppose saxophone sub tones could be considered comparable--increasing the ratio of air to note.

[@RebeccaHennessy]

This is great Chase! Thanks for this awesome video!

[@chasesanborn]

Thanks for saying so, Rebecca!

[@jcschwarb]

Great advice. Thanks Chase!

[@chasesanborn]

You're welcome, and thanks for the comment!

[@gregeberhardt4229]

Thank you, believe this will help

[@chasesanborn]

I believe so as well.

[@petewilliams4965]

Good stuff - thanks Chase!

[@chasesanborn]

You're welcome!

[@anthonymiller3392]

Very timely! I was just about to search for some information on whisper tones and their usefulness when your video appeared. It is excellent and gave me exactly what I was searching for. I’ll add them to my routine tomorrow! Thanks!

[@chasesanborn]

Timing is everything!

[@trumpetbrain7302]

Great video! Super presentation and editing as always and really impressive demonstrations near the end. Personally, I'm not sure I agree with your description of your approach (around 1:15) '...by setting your embouchure in position, just slightly too relaxed to vibrate. As the air passes through the lips, you slowly start to compress them on the airstream. Now that is when you might start to hear the whisper tone...' Is that correct? How does one 'compress' the lips? For me personally, I'd say that these exercises are designed to keep the lips as relaxed as possible, not encourage greater tension, especially since quiet playing requires the lips to be pliable and relaxed- tension will obstruct good production. It is far more about controlling and understanding the relationship between the speed of air and the lips (air speed alone controls volume, not pitch) and how the overall setting of our system provides adequate resistance to generate air pressure difference (to control pitch). Absolutely no disrespect intended, as I said; its a great video and some wicked demonstrations, but this seems to be one of those 'reverse-explanation' situations and, in my personal opinion, is probably not a truly accurate description of how you are producing these whisper tones. If you go away and try it; I would place good money that there is absolutely no way you can play those exercises without changing the speed of the air. If that is the case (which I am confident it will be) then you cannot discount that variable within the equation, and therefore cannot prove that the (so-called) 'compression' of the lips is what creates these whisper tones. Thanks for your time

[@chasesanborn]

Perhaps I am misunderstood or am misunderstanding your comment. The point of this exercise is not to encourage greater lip tension, but quite the opposite, to establish the minimum amount of lip compression needed to produce the note. (By lip compression, I mean lip against lip, as when we form an embouchure.) Clearly the air has at least an equal role in producing vibration. The mic level is set high specifically so that you can hear the air flowing in advance of the whisper tone and ultimately the note. Without the combination of air compression and lip compression there is no lip vibration. Finding the ideal balance is the key to relaxed playing.

[@trumpetbrain7302]

@@chasesanborn Thanks for the thoughtful reply! We are certainly in agreement in seeking balance, and aiming to play with the lip in as relaxed a state as possible (although, having watched 3 times, I am not sure that message came across in your video). The term 'lip compression' is a bit tricky; ultimately, pitch is defined by the air pressure difference between the oral cavity and atmospheric pressure, which causes the rapid open/shut oscillation of the lip aperture. The amount that one pushes or, as you would say, 'compresses' the lips together does not directly control nor define that air-pressure different, so the suggestion that we 'compress the lips on the airstream' until we find a vibration is not, I don't believe, scientifically accurate. For your consideration; an inexperienced player is capable of creating a mid-register note with their lips absolutely mashed together, whilst an experienced player is capable of playing the same pitch with a far more relaxed lip. I think we're in agreement on that fact, but in which case it is not the relaxation into compression of the lips causing the vibration to start. As I said before; its a great video with some lovely demonstrations, but I think your explanation and instruction are not, on a scientific level, correct and are based more on your perception of the sensation rather than the actual process occurring. Nevertheless, still big respect for your videos and playing!

[@chasesanborn]

I would never claim that my perceptions are scientific proof of anything. :) I guess that's why we call it an art. In the end, it's what comes out the end of the bell that matters and there are some wonderful sounds coming out of yours, so kudos and thanks for sharing your thoughts.

[@trumpetbrain7302]

@@chasesanborn Thanks again for the kind and thoughtful reply! Look forward to your next video! Cheers :)

[@michaelfoxbrass]

New horn?

[@chasesanborn]

Well, it's a new year. You are the first to pick up on that. I'm hoping to do a comparison video.