Developing Aperture Corners, Articulation and Trumpet Range

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[Music] hi and welcome you’re watching a windworks subscriber update video by mystery toy.com and the title of today’s video is learn how to develop your aperture Corners articulation and rain check this out many people struggle today to improve on the trumpet and this is because they misunderstand how the instrument works and don’t know what or how to practice effectively most methods just offer more and more exercises and this is where they fall short they fail to uncover the real problems luckily there’s a way to get

far better results and it’s much faster than I actually ever thought possible the amazing windworks course helped me to improve much faster than other methods by revealing the flaws in my belief systems and my approach to Brass playing with just a few drills and exercises a day I felt my mind and body changed like never before and my playing was fer and easier than I could ever imagine it works by eliminating inefficient playing habits and providing a structured and achievable program suitable for players of all

standard simply go to mystery toy.com that’s mystery toy.com and sign up for the windworks course now it takes less than a minute it’s free to sign up now and it’ll change your life forever click the link in the description below to get started we got 10 minutes the spit rice actually I wasn’t seeing the tongue get involved and it’s actually on the tip of the tongue was what he was after um who else said s um uh spit rice and someone else I can’t remember wasn’t

miles said it as well but somebody else said imagine you got a hair stuck on the tip of your tongue so if you look at the video P lip C kmt and two right poo which is along the lines of what you’re doing yeah lip K modified yeah yeah or c k modified tip of the tongue behind the lower teeth and regular articulation five articulations okay so I’d get you to consider the lip attack now uh there are people that articulate like that a lot I

don’t encourage it but I don’t stop it if it works right I give I think it gives a FY kind of articulation at times that being said A friend of mine who was uh on trial for the London Symphony principal Court trumpet of London Symphony he asked his teacher years ago how do you articulate how do your tongue and he goes how do you stop wine from coming out of a wine bottle you put a cork in it right it doesn’t tongue like it all the

time but the start of every phrase he does it why it gets the teeth apart I would look at you with the teeth and get you to do the milk spout with your finger between your teeth to start and recognize the sensation of the gap between your teeth I think the Jaws coming up a little bit too High possibly keeping the teeth apart aperture Corners in forward there you’ll feel your aperture corners or some people don’t get it and go moo as you said the only

thing that matters is where we end up at the end we we find the shape and we get there uh interestingly Bo this trumpet PL was talking about uh he does it more on Piccolo playing I tend to through the lips a lot more on Piccolo than what I do on but he still does it at the start of a phrase to set the to get the teeth apart to set the aperture up then so everyone’s sensation of this is different now I need to reinforce

the fact that is it a horizontal movement inwards maybe I’m not in there I can’t tell but there is more activation on that rim and as you you said Greg we don’t want drawring that way we want we don’t want the stretch outwards I want now if you watch closely when I engage inwards towards my finger watch this bit that’s that’s the push and pull of the of the musculature that’s how it sort of operates but the grip is going inwards even though you see this

activating outwards there’s the draw effect there so all I’m saying is the activation there that’s the contact point with the instrument those aperture Corners oh where’s my sheet of paper uh no here we are so it’s that that’s the point and it’s the aperture Corners that determine the velocity through the aperture boli principle the aperture is what determines the velocity through the aperture itself right so if we’re just focused on body engagement pushing of the air with disregard for what’s happening in the face or we’re

just focusing on tongue position with disregard of what’s happening in the face you’re going to run into problems if I get my my lead pipe here if I have no idea about mouth and go I’m just going to blow faster to go so notice in this range because of the extra work from the body the pitch is changing because it’s putting the lips under more and more [Music] pressure it doesn’t matter how hard I blow I cannot break that harmonic blow harder to play higher I

can’t play any higher all right let’s do it passively and not blow higher at all that’s a lot easier I’m changing pitch quite dramatically and there’s no body engagement what psychology is better what what’s the Avenue that I want people going down so I’m talking about the activation even on the itg presentation I put that it’s not necessarily an inward movement but it’s the sense of an inward movement because it’s an engagement right there on the rim with cuz of course what don’t we want is

what you were talking about we don’t want to pinch the lips we don’t want to clamp the lips down because that’s where an efficiency comes from the the tighter this is Bobby Sho the in the lips are hindrance to the air flow right we’re converting energy to sound and the lips like a bit of seaweed out in the beach wave comes in wave goes out wave comes in wave goes out seaweeds doing that there’s your top lip nice and loose milk spout low note high note

psychology activation here we don’t want the bottom lip to roll over I used to play like for years I’m not going down that path inwards lips and tongue position I use the very simple analogy the lips choose the overtone the pitch the frequency tongue makes it sound nice nice little idea aperture Corners tongue position so there’s a lot of mechanics involved do we need to know about them all yes if there’s a problem if we don’t know we can’t get the result that we want okay

so I in but what I love Green is that you’ve gone [Laughter] off it’s helping you to discover something that you couldn’t otherwise discover I can only teach what I know and always like as I said last night I keep trying picture V for victory milk spout moo all trying to get but what are we looking at in doing that ah bod’s Concert Hall I’ve got a an idea I’m getting a logo made up for the singing Sea series what on Earth no instrument ah I

want oh there’s no instrument ah so then volume let’s say I going to go shortly unfortunately two minutes low C soft low C loud middle C soft Middle Sea loud High sea soft high C loud Double C soft double C loud is that the width of the aperture I don’t know I’m not in there is it a degree of activation yes is the tongue important the tongue position definitely so it’s a combination of aperture Corners Arch tongue a bod’s concert hall milk spout not letting that

we want that lip forward the lip going forward and up towards that top lip the oscillator but not touching whether it touches or not it’s the sensation of not touching I I got in touch with a guy named uh Joe wolf he’s the Acoustics professor at the University of New South Wales I said do the lips have to touch when they’re playing cuz if I’m going to say I don’t they don’t touch I want to know that it’s fact if they don’t oh I don’t know

I can’t say it for a fact but I want the feeling like they don’t touch he goes we set up a mechanical model of digo and trombone and they got oscillation on a fake aperture with no closure oh got awesome it’s nice to know that there are studies done based on things that you’re kind of hypothesizing I said have you got any um sort of footage of it oh no no we didn’t Film It Anyway doesn’t matter it’s the sensation of does it matter if the

vocal cords close or not no it does if you talk like this there’s a problem cuz if you talk like I had a guy turn up to my doorstep in wood in Melbourne his wife had bought him 10 lessons for Christmas and he turns up goes get my name’s Ken how are you I’m a plumber what do you reckon I worked on for the first 3 months his concept of sound creation everything’s this right the singer who was on the west end for 25 years everything’s

active and big singer fantastic don’t do that on the trumpet so when I put my hand on his hand on my abdominal wall and went ah and it’s passive that’s not possible the psychology is wrong that’s what I’m working on let’s just break down some real fundamental uh things that are attainable for everyone it feels different that can’t work read the books do the research then the brain goes well this must work I understand how the system works I know the result that I want I

know that I’ve got the body to be able to do that play no notes high notes low notes and no notes Ken you love this Ken and I go back a long time Ken is instrumental Ken is instrumental in the development of the singing C Series I’ll just say that instrumental we had a lot of fun putting that together over many years indeed no notes pure process I challenge you to sit there and practice like that for an hour put the horn on don’t change concert

hle body’s concert hle breath relax drop release the bow let go of the [Applause] balloon Michael those teeth have to come down that Chin’s got to get down buddy it’s got to come down there dudes I I kind of like the fact leaving it in an hour we can continue it on in our support groups I don’t want to overwhelm I don’t want to get people get bored and I don’t want videos going for 3 hours uh sorry to cut your short a little bit there

Greg uh but I just had to move on to to to just um highlight to you a couple of things that I was saying that I would i’ very much like to address when I you know hopefully this forum will be set up today stand by if you haven’t signed up in 3 days you’re going to get the red flag and the finger point and the charity link one of three or four donate and show everyone we’re all accountable we’re all going to improve we’re all

going to practice we’re all going to be dedicated we’re all going to support each other have a really healthy fun trumpet playing environment uh love it thank you all for coming we’ll be on the same time next week I look forward to seeing you all then please another one will be every member of the course has to on the main Forum the win Works Forum in the month have to put at least one topic you got to put a topic there or guess what here comes

the red flag right I’m deadly serious if it means losing subscribers I’m not going to I’m not going to put a thing on the on the on the Forum okay don’t what’s the Mastery of learning input reflection integration sharing goodbye thanks Greg love you guys thanks Greg e [Music] [Applause] [Music] ah