WindWorks Trumpet Academy Forums WindWorks Jaw position and moving aperture corners inwards Reply To: Jaw position and moving aperture corners inwards


Hi Tom
Interesting that you have revisited the Charlie Porter embouchure. I went through the same exercise earlier this year having bought his booklet about 2 years ago and watched the video several times. I also tried the ‘closed’ aperture approach discussed frequently by Pops McLaughlin. Both seemed to make some sense although I struggled with the concept of a ‘closed’ opening. The closed aperture made a big difference for about a week but then it all off and I felt like I was fighting the trumpet. I found Charlie Porter’s embouchure setup approach a little too convoluted and now I have settled down to Greg’s simple but very effective method – I realise that it is the one for me.

I found your comment about UPward movement of the upper lip very interesting. I remember a video in which James Morrison mentioned that he used the up and down direction for volume control – something Greg has also mentioned. I had an experiment with the upward movement today and I can see what you mean – I will keep trying. Instead of that, I have been making sure that my jaw does not come up as I ascend. This has been working for me. The ‘Ahh…’ bit of the preparation does make the jaw lower but I noticed that I started to raise it quite quickly when ascending.

On the volume control aspect, I have been fascinated how much this has helped. I mentioned to my trumpet tutor last year that my bottom F# was at a fixed volume. He told me not to worry about it and it would come. I started to open the aperture up and down as per James Morrison and all of a sudden I have a very variable volume control. When messing around I have my tuner in front of me to make sure that I do not change pitch. It has really opened out my sound without distortion. Every day I go chromatically from bottom F# to G above the stave just flexing the up/down lip action for volume control. I can now see why many beginners books start off with long tones and volume control. I am now back to the beginning of the Arban – yet again!

It is all great fun. Fortunately, the ups are more than the downs at the moment. I put better consistency down to the in/out pitch control. In the last few days, I have found that I can start off my practice by playing a few Cs above the stave. Probably not a good way to start my warm-up but as it is now effortless it does not seem to be causing any problems. (I quickly change to my low and pedal notes for the true beginning to my warm-up.)


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