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Trumpet Sound Production

Trumpet Sound Production. Eric Swisher. Why is Sound Production Important?. The inability to produce a pleasing sound is the complaint most often leveled at student trumpeters. A poor tone quality not only offends the listener, but it also signals production problems.

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Trumpet Sound Production

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  1. Trumpet Sound Production Eric Swisher

  2. Why is Sound Production Important? The inability to produce a pleasing sound is the complaint most often leveled at student trumpeters. A poor tone quality not only offends the listener, but it also signals production problems.

  3. Step One: Critical Listening

  4. Critical Listening Student must possess a detailed aural image of a good trumpet sound before they can be expected to produce one. Listening is the only means by which this image can be acquired. Critical listening should occur frequently in formal and informal settings. Use recordings and live performances.

  5. Critical Listening My parents are amateur musicians I was surrounded by music from an early age • Symphony Concerts (Chicago, National SO) • Operas (Mexico City, Santa Fe, Tulsa, Dallas) • Major soloists (violinists, trumpeters, vocalists, pianists, cellists) • Jazz Concerts (combos and bands) • Concert Bands (Raw Sewage Non-Marching Polka Band) • Recordings playing in our house all the time Expose them to EVERYTHING you never know what will stick with them!

  6. Critical Listening Record your trumpets often and ask them to describe in detail what they hear (attack, overtones, volume, color, pitch, release). This specificity will assist the students in completing an aural image.

  7. Critical Listening Expose your trumpeters to many different types of sounds; there is no single correct tonal concept. Thomas Stevens, Hindemith Sonata I Maynard Ferguson, “Fireshaker” Maurice Andre, Telemann Concerto in D I Clifford Brown/Max Roach, “Sandu” After much listening and comparing, students will develop their own sound concepts and with your direction, learn to apply them appropriately.

  8. “What is fundamental is to have a good example of the sound and then try to copy it as faithfully as possible.” -Adolph Herseth

  9. “Conceive what you want to sound like. What you actually sound like is not nearly as important as what you want to sound like.” -Arnold Jacobs

  10. Critical ListeningTo perform well one must keep the mind focused on the musical product (sounds) and allow the body to produce the desired result.This musical product can only be learned through critical listening.

  11. Step Two: Correct Use of the Breath

  12. Correct Use of the Breath A good breath has two qualities: 1. It moves large quantities of air 2. Does so without restriction. The soft “oh” is a simple device your students can utilize to correct their breathing quickly and effectively. Use the word: “Flow” when speaking to trumpeters Avoid using: “Tight,” “Force,” and “Push” Listen for Hiss, Hitch, and Vader breaths

  13. Correct Use of the Breath Breath Builder Encourages motion of air Encourages the soft “oh” sound. Breathing Tube PVC pipe or flexible tubing No larger then the student’s thumb Pinwheel Encourages motion but not the soft “oh” Good visual cue for tense students.

  14. Correct Use of the Breath There are six places where air can become blocked. 1.Abdomen Over tightening the abdominal muscles will stop air from moving. Will trigger the Vaslava Maneuver.

  15. Correct Use of the Breath 2. Chest Can occur when the player is encouraged to stand motionless. A natural breath will expand the chest, allow it to happen.

  16. Correct Use of the Breath 3. Throat While the throat can be tightened independent of the abdominal muscles; this rarely occurs in trumpet playing. As stated above, the abdominal muscles and the throat work in conjunction.

  17. Correct Use of the Breath 4. Tongue This is usually an easy problem to identify; the sound is harsh and explosive. Encourage this student to use a more open vowel sound (toh or tah) to lower the tongue’s position in the mouth allowing the air to flow freely.

  18. Correct Use of the Breath 5. Embouchure Young trumpeters often have difficulty balancing embouchure tension and air flow, most err on the side of excessive embouchure tension. Use “moose calls” to redirect the student

  19. Correct Use of the Breath 6. Trumpets and Mouthpieces Any grime in the mouthpiece or trumpet will restrict air flow. A monthly cleaning will do wonders for a student’s sound and control. In extreme cases dents or excess solder inside the instrument will inhibit air flow.

  20. Step Three:Correct Posture

  21. Correct Posture Posture and body tension are inseparable. A student with poor posture will carry too much tension in his body. A student with good posture will carry significantly less tension in his body. The goal of good posture is to use the skeleton for support, not the muscles.

  22. Correct Posture When Seated Sit far forward and keep back from touching the chair. • Keeps spines straight. • Shoulders back. • Feet on the floor. • Opens chest for a good breath. Use chairs which encourage good posture.

  23. Correct Posture When Standing Keep ears, shoulders, hips and arches in alignment and his chest in an open position. This posture will ensure the skeleton is keeping the body upright. Will allow air to move in an out of the body freely.

  24. Step Four: Good Intonation

  25. Good Intonation Good intonation relies on well-trained ears. Each note on the trumpet has a sweet spot, a place where the tone is vibrant and alive with overtones. The ear must lead the embouchure to this sweet spot. Sharp of this sweet spot the tone becomes shrill and thin. Flat of the sweet spot the tone becomes dull and lifeless.

  26. Good Intonation Sing “If you can’t sing it, you can’t play it” Mr. Herseth’s studies with Mr. Mager. Play with reliable accompaniments Pitch Generators “Smart Music” Intonation CD Systems

  27. Step Five:A Reliable Embouchure

  28. A Reliable Embouchure Changing an embouchure can be difficult and frustrating. It must be undertaken with caution. If you do not feel qualified to alter an embouchure, then seek assistance. Proceed with an embouchure change only after you have eliminated all the elements listed above. No harm will be done by spending a bit of extra time on listening, breathing, posture and intonation.

  29. A Reliable Embouchure Before proceeding with an embouchure change ask yourself: • Has the student been exposed to and internalized good trumpet sounds? • Is he moving large quantities of air freely? • Is his posture correct? • Is his body free of extraneous tension? • Can he sing passages in tune? • Is he using appropriate equipment? • Does he practice regularly and intelligently?

  30. A Reliable Embouchure An affirmative answer to all of these questions will rule out non-embouchure issues first, which are generally easier to fix and are less invasive. You are then ready to move on to the second set of questions.

  31. A Reliable Embouchure • Does the student possess necessary endurance? • Does the student have the ability to move throughout the instrument (flexibility)? • Does the student possess range (upper and lower) appropriate for his age and ability? • Does the embouchure look functional and typical? If you answered “no” to one or more of these questions, then the embouchure may be to blame.

  32. A Reliable Embouchure Each student’s embouchure will be slightly different. This is due to variations in tooth, lip and jaw structure. Remember: A good embouchure is one which WORKS! Use your ears as well as your eyes when judging an embouchure. It should allow the student a reasonable amount of flexibility, range and an acceptable tone quality.

  33. A Reliable Embouchure Consult The Art of Brass Playing by Philip Farkas for good information. Characteristics found in almost all functional embouchures. • Firm corners. • A flat chin. • A mouthpiece which is horizontally and vertically centered on the lips.

  34. A Reliable Embouchure Vincent Chichowicz (Chicago Symphony, Northwestern) Common Elements Firm Corners Flat Chin Mouthpiece Centered Deviations None

  35. A Reliable Embouchure Adolph “Bud” Herseth (Chicago Symphony) Common Elements Firm Corners Flat Chin Centered Mouthpiece Deviations Scar on his lips from a car accident!

  36. A Reliable Embouchure Maurice Andre (Soloist) Common Elements Flat Chin Firm Corners Deviations “Smiling” Mouthpiece a bit higher then normal-“French School”

  37. A Reliable Embouchure Phil Smith (NY Philharmonic) Common Elements Firm Corners Flat Chin Centered Mouthpiece Deviations Slight Downward Angle Trumpet Held at Angle

  38. Conclusion While the process of improving your trumpets’ tone qualities may be time consuming, for the patient director and student, it will be worthwhile. You will find your trumpet section will have better command of the instrument and will be able to better communicate their musical ideas. http://www.murraystate.edu/chfa/music/swisher.htm

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