Ther is also a conundrum between; the free-flowing exercises at the start where we let the instrument set the detail of the pitch and we move the shape to go note to note
and the control of the pitch to enable note bends.
Any comments and advice would be much appreciated.
Playing on the leadpipe I get an indeterminate pitch as it doesn’t slot.
Have heard Greg playing good high notes on the leadpipe but they are presumably coming from a lip buzz that it setting the actual pitch, rather than responding to the pipe or trumpet.
If your good G on the leadpipe is not at the same frequency as the resonance of the instrument it could well be less easy to play. there is more tubing and more bends on the instrument so its not as free-flowing as the lead pipe. but most of the resistance is in the throat of the trumpet (about 1/8″ dia ) and of course in the small aperture between our lips which we try to keep open and un pinched.
If you are beginner then you may not have developed the lip corner strength for a G yet. Start with C and feel free flowing straight airstream with resonance. Then try Hum,Sing,Play leadpipe first then get the same feeling on a low Eb. G will come. If you are still struggling, a good teacher or someone who can assess you via video may help you get over this hurdle. Good Luck!
I have found that getting the C, third space, is harder than the G. I jump (pop) straight from F to G top line and find it difficult to get notes in between. About 6 months ago it was hit and miss getting that G but now it is consistent since using shape rather than air pressure. I spend at least 30 minutes a day for 3 weeks trying to get second space A.
Have a look at following video from about 3:16 for a leadpipe treat.
There are 2 videos in Bill Bing’s talks featuring Javier Gonzales that are well worth watching – another very relaxed virtuoso.
Thanks so much for posting this Colin, it has really helped me. Intellectually I understand Greg’s concept of the Body’s concert hall and I’ve always tried to do some lead pipe playing but something about watching Javier‘s video has really started to unlock things for me. It’s like for some reason I just lacked the physical intelligence to know what my tongue should be doing to create the correct shape. His approach that playing the low arpeggios on the lead pipe is not possible without the tongue arch learning where it needs to be just seem to do it for me. It’s not some thing I think you can control consciously; playing the lower Arpeggios now seems to teach my tongue where it should be. Everything feels so much more open now. It’s weird because Greg certainly teaches the same thing in his lead pipe lesson but I couldn’t even play the low notes on the lead pipe before. Some thing about watching Javier do it just worked for me; maybe it’s just because I’ve been trying to do this for months and it finally has sunk in. I’ve spent so much time thinking about aperture corners but none of it was working too well because I think my tongue arch was just set to high most of the time. Don’t know if any of this makes sense, but again thank you!