Tone Production, Embouchure Formation Questions

Q: My son is just shy of 16 and in the 10th grade. He’s played trumpet since 6th grade and was first chair in high school in 9th grade. Recently he performed with a local university wind ensemble and the All State band. Trumpet is his life.

About 8 weeks ago, we began to correct several problems with his front teeth. After discussion with the orthodontist, we chose to use invisible aligners, rather than wire brackets, especially to minimize impact on trumpet playing (I had metal brackets as a young trumpet player and they were awful then). In just 4 weeks, he’s gone from playing great to now; he can no longer can play a note above A in the middle of the staff. When he tries to play B, out comes F#. His trumpet teacher has him playing low note etudes and other studies for now.

We assume that over time, the teeth will be brought closer to alignment and his playing ability should return. Obviously, he is devastated; in a matter of weeks, he’s gone from being a top player to sounding like a beginner. Do you know of others who have experienced this type of loss of playing ability – and does it come back?

A: It is not uncommon (and usually anticipated) that a trumpet player’s embouchure and sounds goes through an "adjustment" when getting braces. This is the “price one pays” for correcting these problems.

Over time, your son will adjust to the braces. He may also have to "re-adjust" when they come off. Nevertheless, this too shall pass. His teacher has been through this before and can help minimize your son’s anguish.

I too, went through braces with my trumpet-playing son. His playing “tanked” as well, but he is now a performance major in a highly regarded graduate program and doing very well. I think that sometimes it was harder on me, as I was not being able to “fix my son’s problem.” The hardest thing I had to do was to “stay out of the way.” It is best just to give your son (and his teacher) lots of support.

Dr. Douglas Wilson

Q: Hi, I'm an 18-year-old player, senior in high school. I have a question about embouchure and being a professional trumpet in general. I used to play out of the side of my mouth, like really out the side. I decided my embouchure was really restricting me and three months ago, I switched to playing in the middle. At first, I could barely play a D in the staff. But after three months, I can get out F's and an occasional G. I try to do 20 minutes of long tones everyday with a bunch of technical stuff tacked on for a total of about 40 minutes a day. Because I love playing so much, I am really considering becoming a professional. Is it possible for me to become successful? In addition, how competitive is the trumpet profession really? I've read things that pretty much say if you're not amazing, and lucky, then you won’t make much money at all. Thank you for your time.

A: The trumpet world is very competitive, but there is always room for a quality player. Your future is not limited by anything physical. It is possible for you to become successful.

I believe this:
You need a good teacher.

You need to work hard and remember that it takes time to learn to play the trumpet and make music.

Your mental attitude is more important than the above!

The music business and the world are going through a great change. Traditional ways of making a career in music are giving way to new and exciting career choices in music. Don’t listen to the naysayer’s and don’t believe everything you read!!!!

Dr. Douglas Wilson

Q: Hello. I am having a problem with having a ring on my mouth after I am done playing. This ring is from the mouthpiece and I get it even after about 5 minutes. I consider myself an above average player, and I am going to be a freshman next year. I was thinking it was a breathing problem. I have tried to work on that but old habits always come back. Am I pushing to hard? I use a pistol grip on my horn to reduce pressure. Also, I have a ckb 3c mouthpiece. I have noticed my standard 7c puts a bit less ring on my mouth. Thank you for your time, and I hope to hear back from you.

A: Your grip is not a problem and I do not think it is a breathing problem. Many players use that grip and play very well. However, you do not mention what your private teacher has said to you. If you do not have a private teacher, that is more of a concern to me than the ring on your lips. I highly suggest you get one.

Many trumpet players have this ring on their lips. I believe it comes from using too much pressure to play, which we are all guilty of from time to time. I would not worry about too much. To fix it though, you need the help of an experienced teacher / player. They will probably have you learn how to play with less pressure and more freedom and efficiency, which is a goal for which we all strive.

Dr. Douglas Wilson

Q: I've been playing trumpet for about 4 and a half years and I've always considered myself a good player. I participate in solo festival twice every year. I got a 100 on my first solo and the lowest score I've ever received is a 95 out of 100 on a level 5 out of 6. That was soon after I got braces. Recently, I received a 99 on a level 6 and was first chair in 8th grade in the 7th and 8th grade band. However, I am entering high school soon, and am concerned about my range. When I was playing my best, (around solo festival) I could easily play and hold a high c - with less consistency the d above that. Now reaching the d is very hard even though I practice 2-3 times every day for at least a total of two hours every day. I am very competitive and would like to remain first chair in high school, but I know the music is going to get a lot higher and I'm going to have more experienced competition. I know there is much more to trumpet playing than range, and I have a very good tone and am fine with multiple tonguing, ornaments, counting, etc. Also, I'm getting my braces off only a few weeks before band starts. Will I have my range and tone back before than? I have studied with private teachers my entire playing career, but I seem to have reached a plateau. Do I simply need to work harder?


A: Great question!

You describe a "situation" that confronts most trumpet players -Range. Your situation is compounded "slightly" by braces.

Braces-- There is really no way to tell how you react when they come off. It is very dangerous as a teacher to say what will happen, because we really don't know AND we don't want you to have problems where none actually exists. You might have no problems when they come off. We just have to wait and see/hear. Be patient. You will experience a period of "readjustment" which may last a few weeks ( month (s) ?) You are taking private lessons and this is GOOD.

Range - I really don't believe we have "range problems" The situation, IMO, is that we need to learn how to free-up our playing. In other words we all play with a degree of tension. Eliminating this tension is MY MAJOR GOAL for ALL my students who are at your level. This does take a teacher who can spot problems and hear things we do not yet recognize or understand how to fix.

My RX: You start in the middle of your range where you exhibit lots of "freedom in your sound and expand outwards (both up and down), with a goal of NO CHANGE in sound quality. The tone must sound free and loose in all registers. This can be attained with a teacher, but can be helped along if the student ALWAYS listens to his/her sound. The sound is the end goal - not something we physically do. Listen for the sound and play to that standard. This will take the help of an experienced teacher.

Listen to lots of great trumpet playing. Ask your teacher who. Listen continually and copy that sound when you practice. You might even take a risk and copy that sound when you perform. I think you will like the results.

Go to this webpage and read what Bob Boca says about Tone.

Dr. Douglas Wilson

Q: Hi, my name's Ben, and I am a freshman in high school. I consider myself an above average player. My one question is about my embouchure. My consistency isn't great. Only about 4/7 days of the week, is my range up and has a good tone. I have an overbite, and a fairly large upper lip. When I play, the rim of my mouthpiece is in the "red" of my top lip, and I bring my top teeth even further out. With my embouchure, the rim is on the red, and then the back of my lip is directly on my teeth, sort of like "giving pressure" without giving pressure. My horn angle is always far up, and it hard for me to play with my horn angle down during concert season. Is it my embouchure that causes me to be inconsistent?

Thanks, Ben

A:

Dear Ben,

Giving advice about one's embouchure over the internet is "risky" at best. You obviously have concerns about your playing and I do not want to minimize your concern. However, the absolute best advice I can give you is to ask these questions to your trumpet teacher. You know, the one who you take regular lessons with! :)

Many young musicians think that if they are just in band or orchestra, that it is enough and that they can fix anything that comes up on their own playing. However, if we are sick, we go to a doctor and have an expert (one with lots of experience) tell us what we need to do.

That same holds true with music.

Answer: Get a teacher, listen to him/her and do what they say.

If you dont like the answer they give you, seek a second opinion (another teacher)

DW

Question:

Hi, i am in grade 8 and started playing the trumpet in grade 6 and then dropped it half way through grade 7 and then picked it up again about 3months ago and i havent made much progress at all and my teacher told me i sounded airy and my pitch was off but i got my pitch on but im still like 30% airy and i've tired everything to get it un-airy. Can you reccomend any excersizes or anything i can do to get rid of the airy sound??? Also when i play should my mouthpiece and lips be moist or just one or neither or is it what the person perfers?? thanx for your help

Michael

Answer:

Michael,

This is very difficult to do over the internet, especially when I cannot hear you play.

First, I would suggest getting a private teacher and taking weekly lessons, 30 minutes probably.

Second, I suggest you buzz the mpc for a minute or two (with rests) , GENTLY........., before you start to play each day.

Third, the lips need to be in the proper position BEFORE you make any sound. The lips should be in a "M" or "P" position. Form the letter M gently. You will notice the lips touch in the middle. Blow thru "touching lips" when you play. The air will open them up to the right position. A teacher is the best person to help you make this adjustment. I have never found a student at your experience level who could do it on their own.

DW

Q: Hi,

I am a 10th grade student. I recently decided to play euphonium in band at school. Will that ever take away anything from my trumpet playing abilities? I was also wondering if a 2B mouthpiece is uncommon and if it is harder to play high notes.

Thanks,
Zeek

A:Dear Zeek

Playing another brass instrument will not hurt your trumpet playing, IMO. However, you will have to learn how to allow time to get back into the trumpet from the other instrument. A BACH (style) 2B mpc is a large mpc for a HS student (anyone!), I think. I usually go with a 3C or 5C . If you like the 2 rim, maybe you should look at a 2C size. Check with your private teacher or BD.

DW

Q: I just recently noticed that I have a habit of curling in my bottom lip when I play. It has gotten so bad, that by the time a reach a B Flat above the staff, my bottom lip is completely under my top lip. I'm in 10th grade now, and my range remains at a B Flat (it has been since 8th grade). I knew this couldn't possibly be right so I asked my band directors about it. They both had different answers, but neither of them recommended braces(I thought my overbite might cause my top lip to be out further than my bottom). I was wondering if, in the long run, braces would help fix this embouchure problem or if I should just try to push out my bottom lip gradually to correct it. I appreciate you taking the time to read this, and your help is GREATLY appreciated.

Chris

A: Chris,

I agree with your teachers. This situation is NOT caused by any dental conditions. Braces are needed if your orthodontist determines it to be so! Most trumpeters I know have overbites. I have an overbite, and it does not effect my playing.

The answer to your curling lip and limited range issues are for you to take weekly lessons with a good trumpet teacher. Ask your directors who they recommend. Ask the local music store.

Your overbite is NOT part of the problem in limiting your range and development. I have dealt with this problem before with several students and it will NOT get any better on its own. It is too complicated to give an answer over the internet. It would be like a surgeon telling the patient how to do the operation over the phone. (You have seen that commercial, right?)

The only way you are going to get better is to take lessons. This situation started the first year you began playing the trumpet. It will take some time but you CAN make the necessary adjustments.

If you are happy where you are as a player and musician, then you do not need lessons.

If you are NOT happy where you are as a player and musician, then you DO need lessons. It really is that simple.

Good luck.

DW

Q: Dr. Wilson, I am a high school trumpet player and my problem is that i become very tense when playing in the upper register (G on the staff, to High C). i do not use pressure on my face, but i cannot take as deep a breath and play with a dark tone. after a while, i cannot play high notes at all. what exercises can i do to consciously decrease my tension and play more freely? what can i do to remind myself to take in deep breaths and play darkly? thank you very much for the help.

Sincerely,
Sarvesh

A: Dear Sarvesh,

EVERY trumpet player confronts this problem. You are not alone AND the problem can be fixed over time.

1. Work with your private teacher on this problem. (You DO have a private teacher, DON' T YOU?)

2. I believe we need to take a full, expansive, but relaxed breath. This is almost impossible to "teach" over the internet, so you need to ask your teacher how.

3. I do NOT like to hear any sound when we take a breath. Just open your mouth and take a breath to all four corners of your body( front back and both sides)

It has been my experience that most young players take a deep breath when they think loud, but take a small and insufficient breath for every thing else. Baloney, Take a big breath ALL the time for loud or soft playing, regardless of how long the phrase is. Read that one several times!!! Go ahead read it again!

You can help learn how this sounds and feels if you breathe thru a toilet paper or paper towel roll. It really opens the airway. The best exercise I can recommend is to take the leadpipe out of your horn and blow it about 12 times. Get the sound as FAR FORWARD as you can, VERY OUT FRONT. Then put it back in and listen to the sound. "How do I do that?" you ask. Just think forward and let the sound go there. Trust me it works!

Practice your regular music and studies with this new approach and IT WILL creep into your playing over time. This will allow you to relax more and expand your range with less effort.

All the best

DW

Q: When I listen to some of the great trumpet players some use vibrato, some don't. Harry James, the 40s bandleader and trumpet player has a pronounced vibrato and a very mellow tone. As a 17 year old working on improving tonal qualities, where does a bit of vibrato fit in, and how do you best perform it technically? When is it appropriate? I have also listened carefully to Wynton Marsalis, Doc Severinsen, Louis Armstrong, Phillip Smith, Maynard Ferguson and Rafael Mendez. It seems a bit of a personal choice.

A: Thanks for the question. I was thinking of this myself, recently. One of my teachers, David Hickman, wrote a few books entitled “Trumpet Lessons With David Hickman” that are published by Tromba Publications (Denver, CO). Since its nice to get a variety of opinions, here is what Hickman says about vibrato. I agree with it 100%. I hope this answers your questions.

An important aspect of tone production is the color produced by an appropriate vibrato. Vibrato, the fast and subtle varience in pitch within a given tone, can enhance musicianship a great deal. The total absence of vibrato can make a tone sound mechanical and “dead”. Seldom is it musically appropriate to eliminate all vibrato, except in certain contemporary settings, usually electronic or jazz.

It is generally agreed that the modern orchestral concept of trumpets tone uses very little vibrato except for solo passages where well suited. Certainly, organ-like effects produced by the brass section do sound best with no noticeable vibrato. In this case, a player using a noticeable vibrato would clearly stick out from the section, thus destroying the desired blend. However, a vibrato can help a player to project a solo passage without having to increase volume.

Generally, some vibrato should always be present in a good trumpet sound, although it may be so subtle that it is unnoticed. A tone truly void of vibrato will sound bland and cold and should only be used as a special effect.

The greatest difficulty in teaching vibrato is that it is a constant variable and there are an infinite number of types required. Obviously, a slow ballad would require a slow and perhaps wider vibrato than would an exciting Spanish fanfare.

There are several ways to produce a vibrato on the trumpet. Common methods include lip vibrato, the slight pulsating of the lips; tongue vibrato, a slight up and down quivering of the middle of the tongue; jaw vibrato, the almost imperceptible chewing motion of the lower jaw; diaphragm vibrato, the quick “tremolo” of the air column in a subtle oscillating effect; head vibrato, the slight vertical shaking of the head; and hand vibrato, the rocking of the right hand in a slight horizontal fashion. Of these types, lip vibrato and hand vibrato are perhaps the most common.

The best way to learn to use vibrato is by listening to good trumpet players playing, both live and on recordings. By keenly perceiving the color of sound and then reproducing that sound by trial and error, vibrato will be naturally produced. Chances are you will sing your favorite song with vibrato even though you have not been taught to do so. A musically talented person will usually begin using vibrato automatically after a few years of playing. Certainly, a teacher can introduce it at an early age, but development must come from careful listening to musical performance.

Q: My name is David Holland. I am seventeen and I play trumpet and sing at Winter Park High School in Florida. I have been studying under John Almieda for over four years. I want to continue music in college. I have had problems with my mouth and I've had braces four times, so I'm kind of up and down with my trumpet playing. Now my orthodontist, my family and I have been considering jaw surgery, because my lower jaw juts out and is crooked. It's a huge problem. During the surgery, the nerve chord in my jaw will be cut. This leads to prolonged numbness in the mouth and the lips. Do you know of any trumpeters who have had this surgery and there outcome? I appreciate, very much, your help.

A: Dear David,

Thank you very much for your letter. At this stage in your career, I believe you should follow the advice of your doctor and parents, if they believe the procedure is in your best interests. I have met trumpet players who have had nerves cut in procedures, and it does take time to recover, for the nerves to form new pathways, etc. It might be a good idea to consider taking a year off before going to college, to allow you to recover from the procedure. Follow the advice of your teacher as well. Above all David, make sure you realize that you are young, and have plenty of time to play trumpet. Your health always comes first!
Keep me posted!

Q: Dear Prof.Joseph Bowman,

I'm 12 years old. Now I live in the Academtown not far from biggest Siberian city -Novosibirsk where I was born. I love this place. But when I was 8, I started to study trumpet playing at Magnitogorsk - "metallurgic heart" of our country, with one of the best trumpet teacher of Russia -Vasily I. Melchaev. It's a reason why I was proud of my progress especially after fantastic event at 2000 when President of ITG at those time had arranged the sending me very good trumpet - "King". I had been prized of the second prize at Allrussian wind young players competition, play few times as soloist with orchestras.

I've got a question about my embouchure. I don't know why (maybe because I'm not strong enough and my trumpet is too heavy for me) I had formed habit to hold trumpet too low and my upper lip is obviously in tension and may be my upper teeth had a tension too. (My mum scare me for this my habit!) Any case long time(5 years) my third left upper tooth was not changed for new one. Now it is rising but not in correct way.

Our dentist said that I have not play trumpet more and she is going to improve my tooth with the help of special equipment "brackets". I don't tell about price - 30000 rubles! It's impossible for us with mum... May be you know what to do now. Do you have any advice on my problem. I would be thankful if you would send me some type of exercises for me to practice and correct my embouchure position problem.

Thank you for you time
Vanya Bazanov - Russia

A: Dear Vanya,

First off, let me compliment you on your English skill! Also, I am very pleased that you were able to
get a new trumpet with the help of ITG. It sounds from your letter that you are experiencing dental problems from too much mouthpiece pressure on the upper lip. You're dentist is quite right to say that braces will be a help.

I would encourage you to follow the suggestions of your doctors, but also try out some of the embouchure development exercises I am sending you (i.e. lip bends and pedal tones).  They might be able to effect an embouchure adjustment that will help aliviate the problem.

Best wishes to you!

Q: I’m a sophomore in high school. Most of the time, when I’m playing my trumpet, almost half the sound is air. I’ve been trying different things with my embouchure, and I’ve talked to my teacher about it, but I just can’t seem to get rid of the air. It’s not there only when I’m playing really loud. I’ve always been told to use a lot of air, but it is possible I’m using too much?

-Josh Goben

A: The problem has nothing to do with your air, Josh. Using lots of hot air in a relaxed easy blow is the key to good trumpet playing. While its again difficult to identify specific problems without personal contact, I would say that your lower lip, whose job is to focus the tone, is not puckered as much as it should be. I would suggest starting a regiment of pedal tones and lip bends (see previous questions for details on these) to strengthen those muscles in your lower lip. A good pucker focuses the aperture of the embouchure, eliminating the airy sound you have described. Good Luck Josh!

Q: Hi, I'm a junior in high school and I've been playing the trumpet for about 6 years now. My playing is really coming along and I'm proud of my progress. However, I was recently sick and missed a day of practicing. The next day I felt better so I picked up the horn and started my warm-up. Something just felt different; it almost felt like I had the mouthpiece in a different place than usual. I kept playing but finally had to stop because I noticed that my upper range notes were kind of thin and weak and I was getting frustrated. Could myself missing one day of practice really mess me up that bad? What can I do to get things back the way they were?

A: All trumpeters face the problem of having “good” days and “bad” days. (See

the recent question concerning this that addresses the graduated warm up) Missing one day of practice is not the likely culprit. It is more likely that you were having an unresponsive lip day, which combined with your recent illness, made for a bad practice session.

Taking days off is ok! If fact, for your age, its probably a very good idea to take one day off a week. This gives your lips a chance to recover. Playing the trumpet and building embouchure muscles are similar to weight lifting. By playing, you are creating tiny tears in the muscle fibers, which then heal and produce more muscle. Just as it isn’t a good idea to lift weights everyday, its not a good idea to play the trumpet every single day for extended periods of time. Give yourself a day off to recover. I take one day off during the week, usually on the weekend (the day depends on whether or not I have a church service to play at). Experiment with it and let me know how it goes!

Q: Hi! I’m a trumpet student from Spain with an embouchure problem. When I play, my upper lip goes over my bottom lip. It is like I’m blowing downward. My teacher says that the lip that is supposed to vibrate freely is the upper lip and in my case, when I use the mouthpiece, it tends to rest on my upper lip. Furthermore, my lips are larger, and 2/3 of the mouthpiece is on the upper lip. I would like to know which lip position is best so they vibrate correctly, and I would appreciate if you would send me some type of exercises for me to practice and correct my embouchure position problem.

Pascal Garro
Spain

A. Your teacher is absolutely correct, Pascal. The upper lip does produce

most of the vibrations. As a rule, it would be almost impossible for me to make suggestions without seeing the problem for myself. You have already made the first step, of studying with a private teacher, who is in a better position to help you.

Donald Reinhardt, the famous brass pedagogue, suggests in his book Pivot System for Brass that most embouchures are governed by the underlying dental structure, and there is very little that can be done in the way of an embouchure adjustment to change things (without dental correction). The lip bends and pedal tones I referred to in previous answers are the exercises I use to effect minor changes in the embouchure. To be played correctly, the student makes minor adjustments that usually prove beneficial. There is no perfect embouchure, Pascal. Looking at Phil Farkas’s text, The Art of Brass Playing, it can be seen that every person’s embouchure is unique. There are some common characteristics of a well-formed embouchure that are generally agreed upon.

1) The mouthpiece rim will be in the white area of both lips.

2) Both lips should be vertically even. (For you Pascal, you might want to try moving the jaw slightly forward to align the lips)

3) Chin muscles should be flat and firm.

4) Lip corners should be firm (not pinched) in normal position.

Good luck to you. Embouchure adjustments require patience, dedication, and a good sense of humor at times. Keep working and let me know how you progress!

Q: I am a college student who is studying trumpet, and I find that some days the lips just don’t vibrate the way they should. Is it normal and what is a good solution for alleviating this problem?

A. I think there isn’t a trumpet player alive today who hasn’t felt the same

way at one time or another. Some days our chops feel wonderful, and some days we feel like giving up and finding another profession. I believe that solution lies in the daily warm up. The goal of a daily warm up should be to carefully loosen the muscles of the embouchure, so they respond the same each and every day.

While there is no clear cut warm up that is subscribed to by all players, most professionals believe in a gradual exercise plan with various stages, that allow the player to monitor the feeling of the embouchure. This will allow for adjustments in duration from day to day. A general warm up I have found to be quite successful is in David Hickman’s book, Trumpet Lessons With David Hickman, Volume II: Embouchure Formation and Warming Up (Denver: Tromba Publications). In the book, Hickman details the following graduated warm up.

1. Gradually limber up the embouchure muscles with very soft, low tones buzzed on the mouthpiece. Frequent rest periods are essential in this initial session. Hickman suggests buzzing for a few seconds, and resting for two to three times as long. This loosening up session ensures that the embouchure muscles are relaxed and sensitive. The actual length of the session will depend on how stiff the muscles feel. Common sense should dictate the time needed.

2. Soft, low scales and arpeggio studies gradually expanding range; Rest frequently

3. Soft lip slurs with gradually expanding range, dynamics and flexibility; Rest frequently

4. Soft articulation studies with increasing range, dynamics and speed; Rest frequently

5. Exercises building to volume, range, technique, and breath control needed for music to be performed; rest frequently

The graduated warm up allows a player to adjust the length of time spent, until the desired embouchure feeling is arrived at. This way, you can achieve the same responsiveness each and every day, though some days it will take longer to arrive at then others. Hope this helps. Good luck!

Q: As a student, and hopefully a developing player, I like to listen to recordings and go to live solo performances of as many “well known” trumpet players as possible. I’ve noticed something that ever trumpet player that I’ve seen/heard has in common; they all seem to have the same sound quality. I’m not talking about their technical ability; I’m referring to their sound in general. Is there a point that the sound of the trumpet can’t get any better? All professional players that I’ve seen seem to have a similar sound.

A. What a great question! It is one that has been asked by trumpet players for years. To produce a great sound on the trumpet you really need three things. First, an efficient embouchure that balances lip tension and air compression and uses an appropriate amount of lower lip “pucker” to focus the sound. Second, you need to have a working knowledge of the fundamentals of breathing; how to take a good breath and operate the breathing mechanisms in a relaxed manner. And finally, you need to have a great pair of ears, because listening to others helps you form your own mental concept of a trumpet sound.

When you say that all professional players seem to have a similar sound, I imagine you are referring to the resonance a player produces when they are playing most efficiently. To say that all great players sound similar is subjective. I hear many different sound qualities in Phil Smith’s tone than in Jon Faddis’ sound, yet both are undoubtedly great players. You are on the right track to improving your sound production by listening to great players. I believe you can always learn something from anyone you hear play. Be a critical listener and start identifying characteristics in player’s sounds that appeal to you, and other characteristics that you might not like as well. This will help you refine you own concept of your ideal sound.

Finally, in response to your question about there being a point at which the sound can’t get any better. I suppose we will all have perfect sounds when we reach that big treble clef in the sky, but until then, we can continually analyze and refine our tone. It is a lifelong process.

Q. I have been taking lessons and have made a lot of progress over the past year. From low c (middle c) down to f sharp is no problem. Third space c to high c is fine also. I am however, experiencing a problem between middle c and third space c. Going up chromatically I’m getting a fuzzy sound as if the top lip is not turning like it should. It’s only happening between middle c and third space c. Also, is it normal for your lips to tingle after a practice session? I read somewhere that this is bad. My lips tingle after a session.

A In answer to the question of lip tingle, what you are feeling is the blood circulation returning to the lips. This is a good thing! It is also completely normal and natural. If your lips feel sore after practicing, then I would begin to look at your specific practice habits, but tingling is the natural feeling of blood circulation.

With regard to the fuzzy tone, it is hard to be exact without hearing you firsthand. I would continue to work with your private teacher, who is in a better position to address the issue. One suggestion I can offer is so incorporate breath attacks into your practice regiment. Breath attacks are where you start the tone without aid of the tongue. These attacks ensure that the embouchure and throat are not constricted. Make sure the attacks are not too explosive (as this can cause excessive tension in the larynx). The goal should be to produce soft and effortless attacks.

Q: I'm a sophomore in high school and this is my 7th year playing the trumpet. In 8th grade, a solo fest adjudicator noticed that my embouchure is based mainly on my top lip and I roll my bottom lip under. A professional told me earlier this year that it helps to roll the bottom lip some when playing notes in the upper register. I do it all the time! Is there any way that I can adjust my embouchure without ruining all I've learned? Should I wait until summer when I don't have a band every day?

A: Your embouchure problem is the opposite of an earlier one presented to this column. Much of the information, though, is the same. [Check out the question from the 12th grader who developed a low mouthpiece set from wearing braces.] It is important to remember that while it is easy for a casual observer (ie. a judge) to notice your high mouthpiece placement, it is best to take the advice of a qualified trumpet instructor who knows your playing and works with you on a regular basis.

In deciding whether or not to alter the placement of the mouthpiece, the player should think in terms of the quality of sound that he/she is trying to achieve. Generally, a high mouthpiece placement indicates a stuffy, un-centered sound that lacks resonance. If an adjustment is desired, it should be made in small increments through MUSICAL means. Mouthpiece buzzing, easy slurs, pedal tones, or other effective studies can be useful if they are approached with a healthy air stream and in a musical manner.

A suggestion to roll the bottom lip a bit can be helpful for range considerations as long as it isn’t overdone. Too much, though, can exacerbate problems. As with all changes, it should be undertaken with the help of your regular trumpet teacher. As noted above, these kinds of adjustments should have a pre-determined purpose. If everything is working great, the sound is wonderful, and the range is good, then a change is unwarranted. Just remember that if an adjustment is going to be attempted, it will take time to affect the change. Be patient!

There isn’t a great time to make embouchure corrections. They can initially be detrimental to the sound, range, flexibility, and mental well being, so band directors are not usually in favor of changes during the school year. Thus, summer is often a better time. However, continue to consult that trumpet instructor as to how and when would be best!

Q: I am a sophomore in high school and recently auditioned for an orchestra. I made the alternate list. While attending one of their recent concerts, I noticed some high range playing during Shostakovich's Festive Overture and was wondering what I can do to get a comfortable high C (c’”). I feel that I am talented but just can't seem to get the upper range.

A: Assuming that your middle register skills are solid, then you need to develop a logical and systematic plan that advances gradually and maintains a high level of artistry. This plan should utilize all of the good skills that are in place already and expand them to a tessitura that is slightly higher. If you are really into orchestral playing, for instance, practice the standard excerpts. This may mean that you have to practice some of them in a lower key in order to execute them properly. Write them out or transpose them into a key that works for you. Once they are easy in that key, play them in a slightly higher key. Keep going in this manner until you are playing them EASILY in the original key. This process can be used with any familiar exercise or tune.

Scales, arpeggios, mouthpiece buzzing, ascending lip slurs, and flexibility studies can all be helpful. There are probably as many exercises as there are trumpeters! Remember, though, that while many of these exercises can be helpful, you will gain the most benefits from practicing them correctly. Always utilize a filling breath, play musically, and strive for the best possible sound.

It would be best to locate a qualified trumpet teacher in your area to help with the planning and implementation. Also, check out some of the other responses archived in this column. Above all, be patient!

Q: I have played trumpet for about six years now and still have an annoying and embarrassing problem. Ever since I started playing solos in high school, my friends used to tease me (and still do) about my expansive neck span while playing ANYTHING! The look of it doesn't bother me, but sometimes when I play I get a choking sensation. Sometimes the air just seems to completely cut off. I've done just about everything to change it; from deep breathing to less lip pressure. Some teachers at band camps told me to feel a sensation of opening the throat. Yes, that may make my throat more comfortable and wider, but it has no effect on my overall playing. It almost feels like back pressure on my throat. I want to blame it on my mouthpiece, but I know that’s not the problem. Any help will be GREATLY appreciated!

A: As with many of the problems presented to this column, a question such as this deserves the response from a knowledgeable trumpet instructor who can view your situation in person. In lieu of that, there are a few things for you to consider. First, is there tension in the process? It can be mental or physical. Young players often operate under the belief (mistakenly so) that one needs prodigious amounts of exertion to play the trumpet. This often leads to sympathetic muscle groups reacting and tightening. Usually, we find an enormous amount of tension in the abdominal region that causes the embouchure and/or throat to tighten.

Second, is there sufficient air to support your sound? An inadequate breath leads to many playing problems, one of which is a tight feeling in the throat. Whether it is caused by physical tightness, laziness, or stress, the lack of proper airflow will cause undue amounts of strain.

Third, could posture be the problem? Poor posture has a restraining effect on systems of your body that are involved in tone production, particularly the respiratory system. None of this system should be rigid; rather, it should be allowed to move freely during inhalation and exhalation. The lungs, being a part of this system, operate like bellows with the air being freely drawn in and blown out. Also, check out the position of your head. It can have a negative effect on the passage of air through the throat if it is angled too much upward or downward. Use your speaking voice to test this out. Begin speaking with the head in a normal position and allow it to gradually settle down to your chest. Now raise the head slowly until it is higher than normal - speaking the entire time. The position that allows your voice to resonate the most is best! Try playing the trumpet in this position; does it feel normal? It’s worth a try for you to look at this as a potential problem.

Additionally, be certain to use open, relaxed vowel sounds: OH for inhalation and HO for exhalation. The SOUND of the breath should remain full, and NOT have any “hiss” to it. This can also be practiced with the help of a small breathing tube such as

Q: I recently received a pimple on my lip just where the mouthpiece touches. My lip was swollen and hurt so much that I couldn't practice for about three days. When I woke up today it still hurt and there was a little bump, but I started playing anyway. I noticed that my sound was real thin and out of tune, and I couldn't hit above an E in the staff (e”). Is the thin sound and weak range a result of the bump that causes the mouthpiece to be in an awkward position, or have I lost my chops in only three days? Regardless, I have to start playing again. What are some exercises that I can do to get both my sound and range back?

A: This is an annoying problem that many trumpeters experience at one time or another. It is especially irritating when the blemish sits directly in line with the mouthpiece. If the mouthpiece hits on top of a sore or cut, it is natural to involuntarily slide the mouthpiece slightly in order to avoid the pain. When this happens, the aperture might become somewhat distorted resulting in a thinner, unfocused sound. The professional musician rarely has the luxury of taking time off, and usually endures the pain and discomfort. Students, luckily, can often allow things to heal before playing again.

When beginning to practice after an episode of this nature, it is best to start out slowly. Do NOT attempt to pick right up where you left off! The delicate facial muscles need some time to get back in shape. Play low and mid-range exercises for the lip to become adjusted to playing again. Long tones, mouthpiece buzzing, and easy lip slurs are helpful. Lyrical studies and simple etudes can also be beneficial. As with all facets of playing, take a complete breath and play artistically.

If a bump remains on your lip for a few days, some additional time away from playing might be needed in order for it to heal completely. If it still doesn’t appear to be interested in leaving, it may require the attention of a physician. This professional person might also suggest a change in your diet or offer other recommendations if the blemish is reoccurring. The same rules as already mentioned apply for when you begin to play again. Don’t be overly concerned about upper register playing; the high range will return if it was originally present!

This might also be a good spot to mention that it is paramount that you keep your equipment clean and sanitary. Besides regularly cleaning the trumpet and mouthpiece, it would be helpful to sanitize the mouthpiece regularly with rubbing alcohol or a similar astringent. In addition, keep your hands away from your face (avoid touching the lips!) and be diligent about personal hygiene. If you DO get a blemish that affects your playing, don’t panic! Do some MENTAL practicing; learn fingerings and sing the intervals (with proper rhythm). Just because you have to take a few days off from physically practicing doesn’t mean you can’t still be productive!

Q: I've finished 12th grade and am what you might call an indecisive musician. I started on trumpet, but I've played on both woodwind and brass instruments throughout my school years. The trumpet was my main instrument until this last year. In 12th grade, after playing the mellophone for marching season, I played the (French) horn exclusively. Then I didn't play for 4 months. I've pulled out my trumpet, and found that I can still play c'". I was wondering if you had any tips on how to bring me back into practicing again without hurting myself. I used to play about 15 minutes before tiring, but I had an embouchure problem. I was taking lessons, but there's no one good around where I live. The band instructor is a bassoonist. Thanks!

A: It might be best if you started by practicing several times a day for short periods of time. Gradually, as you get accustomed to playing again and your endurance improves, you can increase the time of each practice session and reduce the number of sessions. Some longer tones and slow-moving melodies in the mid and low registers would be very helpful, and get you on your way to being able to play more interesting and challenging music. Avoid the upper register until you feel secure in the low and mid tessituras. Increase the length of your practice sessions and upper register playing when the sound and embouchure are free of unwanted tension. Good luck!

Q: I am in the ninth grade and have been playing the trumpet for four years. While I am a fairly good player, my sound is very airy. I have been trying to correct it, but nothing seems to help. What can I do to get a better sound that is not airy?

A: While it would be possible to address this problem from a physical standpoint, it might be more prudent to consider other ways to achieve good results. A lot of progress can be made towards a better sound by buzzing your mouthpiece. Hold it with your thumb and first finger towards the cup, like one might hold a delicate teacup. Buzz easy melodies, lip slurs, and scales. If you are able to cultivate a buzz that is less airy, the sound will drastically improve. It is essential to strive for more "core" to the buzz with less "airy junk" on the fringe. Of course, it is critical that you have an ample air supply that is not being forced through your aperture.

It is also very important that you develop an excellent idea of a good trumpet sound. This sound must be envisioned before you play, and you should acquire the ability to judge whether or not you have attained it. By constantly improving your concept of a good sound, you will refine the buzz and your sound will get consistently better.

Q: I have played the trumpet for six years and am now in the 12th grade. During the beginning two years I wore braces and didn't have a private instructor, and then realized towards the end of 9th grade that I had developed a poor embouchure. The problem was that I placed the mouthpiece too far down on my lips: it didn't touch any of the white part of the top lip, and sat on only a small portion of the red. I could play very high, jump great distances between notes, and arpeggiate well, but my tone was pinched and not very good. Since then I have had numerous private instructors, but my progress has been minimal. It seems that when the top of the mouthpiece touches just a little of the white part of my upper lip, I can't play higher than a tuning C. Even if I blow really hard and try to make the hole in my lips smaller, I only get a squeaky, windy sound. This whole process has become rather infuriating as I have the technical skills to play rather difficult pieces, but my chops can't accomplish the task. They tire easily and are not very precise. Is this problem curable? If so, how can I go about it?

A: Embouchure concerns can be very annoying and cause considerable anxiety to the player. While it is possible to find nearly any fashion of embouchure among even the best professionals, most would recommend that the mouthpiece be centered both horizontally and vertically on the lips. This would be an IDEAL setting with everything being perfect, but in reality, most trumpeters use less upper lip than bottom. When the placement is excessively low (or high!), though, the lips will not vibrate satisfactorily due to a lack of resonating tissue inside the mouthpiece. In all cases, the placement of the mouthpiece is adjusted naturally depending on the quality of the sound the player is trying to achieve.

This problem is curable, but should be handled with careful consideration into the type of sound being sought. Assuming the player wants to continue past high school, the normal advice would be to make small, slow adjustments that will cause the least amount of anxiety. This can (and SHOULD) be handled through MUSICAL means rather than by numerous verbal instructions. Sitting for hours in front of a mirror and focusing on physical aspects, for example, is usually less effective than playing musical examples exercises, easy slurs, pedal tones, or other effective studies. Utilizing artistic means to affect physical responses is much more dependable than trying to directly control minute motor functions.

Mouthpiece practice (buzzing!) can also be an effective way to help solve this problem. By beginning with an easily produced mid-range note, adding scale steps in both directions, and gradually adapting simple melodies, the player will be more acutely aware of important deficiencies. Excessive range and tension should be avoided, and the emphasis should be on an ample, healthy air stream that is directed across reposed, responsive lips.

Every student is different, so it is impossible to provide an accurate analysis without actually seeing the player. One can only make general observations based upon what we know as the norm. After several years of muscle stimuli being accustomed to a certain set of directions, it will take time to affect the desired change. If a change is going to be made, though, it will have to be done slowly. The player will need a great deal of patience along with a good, informed teacher.

Q: I was wondering what type of sound is desired for playing in a brass quintet. I play in a brass quintet at my high school and I wasn't sure whether a bright or dark sound sounds better with brass quintet.

A: If you listen to the active professional brass quintets, it's fairly obvious that there isn't a consistent sound concept from group to group. While the quality of sound from the trumpeters is as unique as the performers, it is always a good sound. And, while one could describe the sound as "dark" or "bright," it might be more useful to use descriptive words such as "warm," "resonant," and "brilliant" (the list is endless!). Generically speaking, it might be best to strive for a sound that blends well with the other players in the ensemble. If there are a lot of overtones present in the sound, it will have more life and allow for more precise group intonation. If it is rather dull, the player will have to work harder to project and maintain control. Listen to recordings of the great professional quintets, form a solid sound ideal in your head, and strive to put that sound through the trumpet!

: I have been playing trumpet for a couple of years now and have a problem. Sometimes, especially after playing for a while, I get a "vibration type noise". I don't know how to explain it. It is not a clear sound, and it happens in high and low notes. My teacher has not been able to lead me in the right direction, although we have tried several things. Do you have any suggestions?

A: While it's difficult to ascertain exactly what type of noise you are talking about without hearing you play, it sounds like you might have a double buzz. Assuming that you have a pretty good embouchure, it could be that your aperture is not formed quite right, causing two or more parts of your vibrating lip to meet and produce multiple vibrations. This is often caused by too much tension in the lips. You can easily correct this condition by buzzing simple melodies on the mouthpiece, striving for a pure buzz with a clear core. In addition, the lips should be in a state of repose (relaxed!) and free to allow the air to comfortably pass over them. You should also investigate whether or not you are truly taking a filling breath. Assuming that the mouthpiece buzzing works satisfactorily, move to the trumpet and play some slow moving notes (or melodies) in a comfortable range. Slowly increase the range in both directions. If the double buzz returns, move back to the mouthpiece and go through the procedure once more. It shouldn't be long before you are free of that irritating noise and your sound is clear and beautiful!

Q: My upper lip is not naturally flat ÷ it has a half moon in the middle. To compensate, I think I have moved the mouthpiece up to where I am using more top lip than bottom. My range is good (to d"'), but I feel like I have to fight playing on the inside of my lips (soft tissue). What can I or should I do?

A: Conventional Wisdom says that it is best to evenly distribute the mouthpiece between the top and bottom lips as well as from side to side. Given that we are all different, it is often not practical or possible to center the mouthpiece exactly. Generally speaking, it's not usually good to play too low (on the red tissue) because the buzz will be inhibited and cause problems with flexibility, range, and endurance. However, if the mouthpiece sits too high the sound can be very stuffy and un-centered. If your sound quality and range are good, it might be best not to change things.

If you think you play with your mouthpiece set too high but still get onto too much of the red part of your lip that is a different problem. Some people might recommend that you roll your lips in a bit...say "MMMM" and put them together, put the mouthpiece up, and play. This could cause you a lot of problems and be very frustrating, because it wouldn't be easy to get a good sound right away and range would be limited. Many instructors judge a lot by the sound quality. If you get a good sound and have a decent range then it's probably best not to do anything too drastic. Poor endurance and a "sometimes stuffy" sound could be a result of too much pressure and insufficient airflow. So, always be certain you are taking a filling breath and avoiding too much pressure.

Some students feel that their embouchure moves a lot when they descend into the low register. While most trumpeters will notice the most movement in this range, it's not good if your mouthpiece set moves a lot as you get below the staff and you feel that you have to re-set to ascend again. You WILL be able to limit that movement with practice! Try playing some scales and/or arpeggios that begin low and end high. Hold the top note and strive for a clear, singing tone. Also try some scales, arpeggios, or simple melodies that begin in the middle register, descend below the staff, and work their way back up. Try to keep the same embouchure. Lastly, you might want to look at the "Warm-Ups + Studies" of James Stamp. There are many helpful exercises that move through pedal tones and back to a normal playing range.

If you are still worried about playing on the red part of your lip, it might be best to consult the advice of a good trumpet teacher in your area who can watch and listen to you play. This person could give you an adequate analysis and help you through a change if it is warranted. Stay with it and try not to get too frustrated ÷ the end result is worth it!