SvV,

Thanks for sharing your thoughts. I’ve heard a bit about Pops. Some have said some of his concepts are similar to Greg’s. There are probably a lot of different ways there.

IT probably depends on the person, how long or quick it takes. For me personally, it was kind of sudden after watching some YouTube videos I started experimenting trying to play above the staff with little to no movement playing softly and the notes spoke, despite my assuming they would not.

I didn’t know what I had done and had difficulty replicating it consistently. WindWorks has helped me more than other resources keep my bearings, but we have to experiment and own our own way of playing and reach for the ideal of efficient, resonant playing / sound.

I’ve never played a didgeridoo, but I suspect it involves having to keep the lips / face loose and having the only engagement surrounding the lip tissue. When I was young in school playing everyday, taking lessons, I thought I had to form a particular, firm shape with my lips and use a lot of air, but that makes no sense. I like the analogy of the drum head or double reed (i.e. oboe), where the tension is around the vibrating surface, not in it. Like our vocal chords, we don’t tense those to sing higher–that’s opposite of what we should do.