THE ART OF BEING DIFFERENT

A FRESH PERSPECTIVE ON BRASS PLAYING TECHNIQUES

BACKED BY PHYSICS

THE PHYSICS OF TRUMPET PLAYING

In life we develop and grow through new understandings from our own experience and the experience of others. Physics can sometimes help us to discover, through experimentation, new ways of perceiving things.

With the understanding of the:

The Bernoulli Principle 

Simply put, when a trumpet player blows air through the mouthpiece and into the instrument, the air passes through a small opening called the aperture. As the air passes through this aperture, it speeds up and creates a region of lower air pressure just beyond the mouthpiece. This lower pressure area then causes the lips of the player, which are positioned at the end of the trumpet’s mouthpiece, to vibrate and produce sound, (Sympathetic Oscillation).

The frequency of the sound produced is determined by the rate at which the lips vibrate, which in turn is controlled by the player’s embouchure (the way they shape their lips and position them on the mouthpiece) and the amount of air they blow into the instrument. By adjusting these factors, the player can produce different notes and control the pitch and dynamics of their playing.

Loose lips responding to variations in air pressure work more efficiently than tight lips creating a buzz.

Velocity 

According to Arthur H Bernard (physicist), The velocity through an aperture is determined by the aperture itself. In trumpet playing the aperture is the opening between the lips. Changing the aperture size changes the velocity of air, changing the pitch produced.

Increased flow of air through from the body to change pitch is a flawed idea when understanding this science correctly.

N.S.W. University Acoustics Department Experiment

When Joe Wolfe was asked – “Do lips have to close every oscillation?” He and the University Acoustics Department set up a test where a mechanical system with fake lips for a Trombone mouthpiece and a Didgeridoo was created. The conclusion was oscillation happened without closing the lips. This lead to the understanding of not closing the lips, NO BUZZ was needed.

Or in the famous words of brass mouthpiece maker Bob Reeves when asked, “do lips have to touch?” his answer was ” No man they just ride the wave.”

Conclusion of Scientific Principles

The Bernoulli principle plays a major role in controlling the pitch of the notes played on the trumpet. By adjusting the tension at the corners of the aperture of your lips, you can change the speed of the air passing through the aperture, and hence the pressure differential that causes the lips to vibrate. This allows you to play different notes and create different musical pitches. Our misunderstanding of the role of the lips and tongue has lead us to an over exertion of the breathing system (overblowing). There is no need for the lips to completely close to vibrate (no buzz needed).  

THE SCIENCE OF EFFICIENCY

3 MAJOR OBSTACLES WE CAN CHANGE

1. Not understanding how the system works.

2. Pinching the lips.

3. Overblowing.

THE SCIENCE OF HOW THE SYSTEM WORKS

THE SYSTEM PART 1. THE BODY SYSTEM

Understanding how the body system works is of monumental importance to your playing. Why? Because this skill is vital for identifying biases, detecting fallacies, and distinguishing between fact and opinion. 

In simplistic terms, brass playing requires airflow from the lungs through the lips into the mouthpiece cup through the instrument and out through the bell to produce sound.

The diagram is a basic illustration of the whole system.

The creation of sound through this system is produced from the flow of air from the lungs then through the lips (soft top lip), which oscillates sympathetically from the variation of the air pressure from the lungs and the air pressure reflecting back from the bell of the instrument, (the Bernoulli principle). 

The body system is the energy source which is created by the expansion and reduction of the breathing system, (as the body reduces, energy is created by the compression of air molecules in the lungs which is higher than atmospheric pressure).

THE ROLE OF THE LIPS

THE CONDUIT

The lips are where the instrument and the body meet. Due to the 

THE MISUNDERSTANDING OF THE LIPS ROLE IN BRASS PLAYING

The misunderstanding of the role of the lips and tongue leads to an overexertion of the breathing system. THE LIPS DON’T NEED TO BUZZ.

THE SCIENCE

Haynes Muller
Haynes Muller
July 17, 2022.
Apart from his world class credentials as a player, Greg Spence offers a brilliantly organised interactive teaching platform, primarily for trumpet players. It gives a forensically detailed method on how to achieve your goals with some perspective on how it can fit in with your regular life. Greg himself is unconventional, witty and has a boundless enthusiasm, which is catching. Many students regard what he offers as life changing. I'm one of them. All the best, Steve Miller.
Paul Kelly
Paul Kelly
July 17, 2022.
I have been working on Mystery to Mastery for three to four years. It started with the online videos which just made sense of the issues I was having. When Windworks came out I raced through the levels and was having some good days at Emerald. I knew things were not right and went back to Largo. I kept going back to largo. Last year I had some sessions with Greg and now it all seems to fall into place. At the age of 75 this method is vital if I am to continue enjoying playing and it works. Thanks Greg.
Tom Ryan
Tom Ryan
July 16, 2022.
The least worse of all that Ive seen!!
Peter MultiTrum
Peter MultiTrum
July 15, 2022.
Contacting Greg (almost a decade ago now) and getting him to help me at the age of 50+ with his Mystery to Mastery concepts really helped me to improve my approach to the horn. I have really enjoyed following the growth of the concepts. Prior to Covid I had the Double C under my belt, and great endurance. Time to re-connect, and get myself back on board. 100% supportive.
Marko Jenic
Marko Jenic
July 15, 2022.
I am practicing the Mysterytomastery method for ober eight years now. One year before my masters degree I coldnt play any more, it was a total collapse, because of my wrong, stiff, tense setting from a beginning of my trumpet playing (because of buzzing), and like many trumpet players-overblowing. My teacher once said to me that I shold look at Greg’s videos on youtube, and I did. Of course I was pretty dubious over that method at start. Then I bought both books and started to work and watched every video several times, so I slowly got a point of Greg’s Idea. I must sat, that Mysterytomastery is the only method that worked and still is working for me, and becouse of that method I finally after 20 years of playing trumpet enjoy playing it and I feel comfortable and relaxed (not scared and insecure like before). And I must say now I am a teacher and I teach that way, and must say that a healthy and resonant sound is possible already the first year the student start’s to learn. That is why I recommend this method for everyone. Buy it study it, stick to it and believe every word the Greg says. It saved my musical life. Marko
Nigel Huckstep
Nigel Huckstep
July 14, 2022.
Basing a music course on scientific method and research rather than “this is the way we have done it since the 1800s”, what sort of trickery is this?!? The 19th and the 20th century all dabbled around the edges of science, but scientific focus was mainly around improving the equipment rather than how we use it. Roll in WindWorks and Greg Spence who not only recognised that playing brass is actually a scientific process but has managed to develop a program integrating a range of fields of science that have previously been neglected. While most musicians will acknowledge the role of physics, few actually think about physiology and even fewer think about psychology or neuroscience as critical factors of playing. It doesn’t matterIf you play well or badly, physics still happens, sound waves will still be generated by oscillation through an aperture into the resonating body of the instrument. This course takes that basic premise but adds a different slant to human physiology to improve efficiency of playing. Some of the most ground breaking elements include introducing psychology and the way we approach the instrument and neuroscience to change unhelpful neural pathways and create new useful neural pathways, so the efficient and effective methods encouraged by Greg become the new normal. I wish I had started this way 40 years ago, who knows what path my life have taken.
Chris Lawell
Chris Lawell
July 14, 2022.
I signed up for Greg Spences course after a 25 year lay off from trumpet. I was what was know of as a “comeback player”. His course was KEY to getting back my chops and even improving my abilities to better than I played as a music major decades before. He traveled to the US and did a clinic for the brass players at my sons High School and did a fantastic job as well. He is one of the rare ones who can be an incredible performer but also be able to very clearly explain HOW everything works through demonstrations and activities to get the best results. I consider him a friend and great mentor. His courses are top notch and his masterclasses and clinic are worth every dime. I couldn’t recommend him any higher.
Jutta C
Jutta C
July 14, 2022.
I wish I had known about WindWorks when I started. It could have saved me several years of brass misery. Most brass teachers can demonstrate what the instrument should sound like, but the playing must have come to them through some kind of magic, because they obviously never had to think about how they play and, therefore, cannot explain it. Greg Spence has analysed the playing of brass instruments to the point of obsession, and he passes his knowledge on with great enthusiasm and generosity through WindWorks. If you want to play the trumpet, or indeed any brass instrument (or, dare I say it, even the alphorn), do yourself a favour and listen!
.

WHAT I DISCOVERED CAN NOW BE YOURS

The Trumpet Breakthrough That’s Changing Everything

Discovering what needlessly occurs OUTSIDE THE RIM and what to do INSIDE THE RIM changed my trumpet playing forever. This discovery opened up a way more efficient way to play. The breakthrough also translated across to all other brass instruments. I’m more than excited to share with you and help you start playing with more efficiency, reach your playing goals and have the playing freedom, I and many others at Windworks have found.

 PLAY WITH WAY MORE EFFIENCY

LESS ENERGY FOR MORE...

FLEXIBILITY

FORMIDABLE FLEXIBILITY

Playing between registers can be tough at the best of times, but playing with limited flexibility can be really challenging, and even worse, it affects your endurance. 

ENDURANCE

ENDLESS ENDURANCE

Contrary to popular opinion, endurance has nothing to do with strength, but rather an inefficient technique that is driven by incorrect playing psychology. 

ARTICULATION 

ACCURATE ARTICULATION

Even if you have great flexibility and endurance, people fail auditions and lose work because of inconsistent and sloppy articulation. 

RANGE

RIDICULOUS RANGE

Range is the number one concern of most trumpet players and the answer to developing range is the opposite of what you think it is. 

SOUND

SENSATIONAL SOUND

All of the above issues contribute to crippling your ability to create sound efficiently. 

Windworks Trumpet Academy is your key to unlocking the virtuoso within. Our effective approach is guaranteed to help you break through limitations and overcome playing plateaus.

BEFORE YOU GO ANY FURTHER

I AM OFFERING YOU 50% OFF ALL SUBSCRIPTIONS

TAKE ADVANTAGE OF THIS OFFER 

AND WATCH YOUR TRUMPET PLAYING SKILLS SOAR

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“Your success and happiness is our priority!” Greg Spence

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