WindWorks Trumpet Academy Forums WindWorks Humming/singing/playing question

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    • #95555

      Hi. I’m new to the WindWorks and my first question is: After taking a nice relaxed backswing breath, would I (eventually) be able to sustain a note on my instrument as long, and easily, as I can hum a note, say that low C? I’ll admit I’m looking for that kind of ease and effortlessness. Thanks.

    • #95559
      Greg Spence

      Hey there Rob, I’ll have to go and test that 🙂 I suggest if you are playing a soft Low C, it stands to reason you could. I’m excited to test this. The duration, of course, isn’t the ultimate aim of the exercise, rather the sensation of freedom. Stand By…

      • #95595

        Hey, Greg, thanks for the response–and the important reminder that the goal is a feeling of freedom (and I would add ‘ease’). I’ll keep my eye on that goal. Thanks, again.

    • #95560


      Interesting question, it will be interesting to see the responses.

      For me, I think it’s actually easier to play a low C for longer / less effort than humming a low C.

      I may not be a very good hummer…I don’t typically sing and haven’t been doing the “MmmmWwwaaaOooohh” thing for a while now as I just feel like I “get it” now and can find the right setting in other ways now.

      I just did a little experiment, and I only lasted about 20 seconds humming a low C but lasted about 50 seconds releasing the air into the trumpet.

      My $.02 FWIW.

    • #95561
      Greg WindWorks

      Hey John, thanks for that. I too could hum about 20 seconds. The thing is, a PASSIVE hum is louder where we can control the aperture a whole lot more when playing therefore we can play softer which of course is longer duration.

      Great fun!!!

      • #95565

        I tried matching the dynamic as opposed to releasing the air fully/passively, etc. My hum didn’t feel as openly passive where I just released the air out. I think I focused more on trying to match the dynamic volume than letting the air exhale fully passive/naturally.

        Regarding my post above, I suppose that experiment would be more linear if one released the air fully/passively as opposed to holding the same dynamic at different pitches.

        I know if the air is constant, then the lower pitches would be louder than the higher pitches without active air support, etc.

        But I wonder if there’s something to the ease of holding out a note at different pitches at the same dynamic–if it’s easier to maintain a G on the staff or middle C than a Low C or other notes below the staff.

        At times, when things are going right (which, lately they have…), it really does feel like I’m letting the sound happen and not actively producing it…like I’m releasing energy into the instrument, not pushing it out through the instrument and there’s a cooperation happening.

    • #95562

      I wonder if it would be easier to actually hold a note higher than a Low C for longer than one could hold a Low C for.

      Less air travels through the instrument the higher we play. I’m not suggesting one could hold a Double C for longer than a Low C, but I wonder what the easiest note may be.

      I doubt it’s low F# (123)–I suspect that note would be harder to hold for as long as a Low C.

      But I wonder if G on the staff might be easier to hold than even a Low C.

      Might be a very interesting experiment…

    • #95569
      Greg Spence

      Yep, the higher the note, the less air used.

      I really feel the value here is remaining PASSIVE. I think an E would be the best note. Any higher can encourage unnecessary, negative tension.

      My big issue with the Whisper G Cat Anderson method, whilst it has plenty of merit, it encourages activity that people don’t recognise. When done on a low C, you are less likely to engage involuntary or unnecessary muscles.

      Interesting topic!!!


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