OK. So I get it that the aperture corners can come in without the jaw closing or the middle of the lips pinching. I can do it with the visualizer in a mirror. I can do it with my bent finger in my mouth. I am also trying to push out the lower lip a bit when doing this. Again, with visualizer. What I have noticed is that above about an A in the staff, While Playing the Trumpet, the lips pinch and the lower lip rolls in. Doing Clark #1 is a great way to see this. (That’s the one that goes chromatically up and down, six notes in each direction). It’s do-able below the G in the staff because I don’t feel like I Need to change the aperture much on those lower notes. Then, as I ascend, old habits take over. I assume I should spend more time on the visualizer, setting the new muscle memory/neural pathways to teach myself to bring the aperture corners in and push the lower lip out. I guess I am frustrated because everything isn’t coming easy yet and someone in my head thinks it should. (eye roll). Comments? Thanks. Chris.
I totally relate, Chris! Congrats on Your Awareness of what you are doing…that is the most important part of playing.
I had to avoid Clarke 1 for many months due to years of bad habits that I felt impossible or unlikely to overcome.
What helped me is doing octaves with breath attack and passively released air, observing the incremental effort involved (I.e. not much low G to G on the staff) and trying to do as little as possible necessary to change pitch, kind of trying to miss by not doing enough.
That’s important, you have to surrender expectations and become an objective Observer when experimenting, like a scientist does–scientists avoid forming a conclusion beforehand, they have to be open to any outcome.
Otherwise, you’ll just manipulate something (tighten your throat, kick the air) and won’t learn what made you successfully or unsuccessfully achieve the pitch.
I was doing the octave thing today and posted details in the other thread a little while ago today.
And of course Greg’s course is great, going up the harmonic series with different articulation and passive and active air, etc.
My $.02, FWIW. Good luck! Let us know how it goes.
Wr have to be willing to fail when trying new methods, otherwise we wont ever learn–we learn from failure.
Also–the key I think is Believing the Truth, that you Don’t have to tighten your throat or clamp /engage your lips to ascend; in fact, that makes it harder.
Lead with the air, not by over blowing but just startimg with the air and engaging the corners (not the lips in the Mouthpiece, whic need to be relaxed so they can vibrate freely (faster, higher, more resonant). We don’t tighten our vocal chords to sing higher, that would hurt and sound bad…).
Use the Corners and air as your support and visualise releasing the air column through the center of the mouthpiece through the leadpipe…think of ascending as the notes being farther forward, not higher or harder..
Less air is required the higher we ascend and the notes are closer together the higher we ascend.