Watched a bit of Part 2. I recognize the Paul Mayes thing you’re doing, but I don’t think that’s what you need to be doing. That, coincidentally, did help me a lot this weekend rebound from a funk I was in and re-focus myself on the WindWorks fundamentals (i.e. engaging aperture corners, relaxing, etc.).

But it seems like you’re not at that point yet. It hasn’t clicked yet for you what the Oooohhhhh is about and how engaging those/tightening them changes pitch and the ease of ascending that follows, etc.

I got myself into a funk where I began clamping down the middle of my lips a bit and started going backwards. Playing the pedal and relaxing, then engaging the corners and tightening in a relaxed way was very helpful for me.

But I think you should avoid playing pedals or buzzing, except perhaps a little bit on the leadpipe as demonstrated in Largo.

You might want to check your air as well, be sure you’re not engaging the air and you’re being consistent. By focusing on WindWorks, you’ll focus your efforts more narrowly and will be more likely to benefit from all the time you’re putting in, etc.

When you do the MmmmmWwwwwahhhhhhhhOooooohhhhhh thing, you’re away from the mouthpiece but the whole point of it is to get you ready to set your chops on the mouthpiece–you want to still be feeling the “Oooooohhhhhhhhhhhhh” as you put the mouthpiece on your face, feel those muscles engaged and tighten/engage them and release them, back and forth and see what that does to the sound/pitch, etc. That is the whole point.

It’s not just a relaxation thing–the MmmmmmWwwwwwAAaaaaaaaaahhhhhhhhhhhh is a bit, but the Ooooooooooooohhhhhhhhhhhhhh is really about the aperture corners and preparing to produce a tone, etc.

Remember, this isn’t about going through the motions; that’s not going to get you anywhere different than you already are. You must understand the point of what it is you’re doing and why, grasp it and make it your own. I know you know that, but it’s important to focus in on that–keep exploring and fleshing out the beginning before you move on and pile on more / different exercises, etc.

One thing that helped me was watching Greg or other great players play octaves; they barely move, just a slight tightening of the aperture. I gave that a shot and tried playing octaves (i.e. G on the staff, G above or A and A) and was able to do it even though I honestly didn’t think it would work. But I surrendered to trying it with no pre-conceived notion of what was going to happen. That opened my eyes a bit into how much easier playing is than what I thought, etc. I am still on this journey and battle myself to move to the next level, but I still ama amazed at some of the sensations of ease with certain notes I’m hitting now, etc.