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.
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).
1. Not understanding how the system works.
2. Pinching the lips.
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 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 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
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.
Contrary to popular opinion, endurance has nothing to do with strength, but rather an inefficient technique that is driven by incorrect playing psychology.
Even if you have great flexibility and endurance, people fail auditions and lose work because of inconsistent and sloppy articulation.
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.
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.
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