Trumpet Stevens Method No Pressure

YOU CAN HAVE GOOD BREATH CONTROL AND EMBOUCHURE They are the Two Phases of Brass Playing Which Cause the Most Trouble and Strange as it Seems, are Easiest to Remedy By WILLIAM N. COSTELLO The human body functions at its best when each separate part is in good condition and working at 100 per cent efficiency. Similarly, a machine, simple or complicated, functions at its best when every nut, bolt, screw and gear is in good condition and doing its duty. Both the human body and the machine will function if one, two, three and sometimes several minor parts are working badly, but there is always a dead-line. What happens when this line is crossed? The machine or body is completely broken down and out of working order. How does this comparison affect the trumpet or brass player? It is easily explained. The human body is the machine behind the instrument. Even since the beginning of time this machine has been the same for everybody and all humans have been gifted with lips, breath, teeth, muscles, brains, etc., to do with as they please. The difficulty, however, that seems to have crossed the path of the trumpet player is that one, two, three, or all of these parts fail to function at as near 100 per cent as is possible. In my future articles, I shall endeavor to explain the function of each part individually. For the present let me dwell slightly upon the two most troublesome parts about which I shall elaborate thoroughly at a later date. There are two parts of the machine which have caused altogether too much disturbance, and strange as it may seem, they are the easiest to remedy; embouchure and breath control. Many a fine musician has been forced into the background simply because he lacked the knowledge of how to blow the wind properly across correctly shaped lips and into his instrument. It is so simple, yet so important, it is almost ridiculous that such a stone wall should block the path of any brass player. It certainly doesn't require unusual intelligence to use the breath properly and anybody should be able to hold his lips in correct playing formation providing, of course, he knows what this correct breath control and lip formation is. If the player has talent and brain power sufficient for fine musicianship, he should certainly have common sense enough to find out and overcome the physical aspects which concern the best lip formation and the proper breath control. All brass players should be instructed at the outset in the proper functions of these two parts and once and for all eliminate all possible future obstacles from this course. Proper instruction from the beginning will permit the student to concentrate his efforts principally to the development of finer musicianship and eliminate, in many cases, a life long tragedy of bad lips and poor breath control. It requires brains, talent, and good judgment for fine musicianship, but a good embouchure and breath control can be had by anybody at the cost of an ounce of common sense and a penny-weight of efforts. Here's how.

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Proper Lip Formation In order to create the proper lip contraction or grip necessary to play, particularly in the upper register, lay your instrument upon the palm of your left hand with the fingers ex tended in such a way that any excessive pressure will slide it off. Then, (1) close your lips tightly, (2) keep them parallel, not allowing one to overlap the other, (3) half smile and roll the red flesh "in" over the teeth. The tendency may be to pull the flesh back too much, as this lip formation can easily be overdone. The result in this case would be just as bad as if it were not formed enough. Experimentation alone will teach the one, and only, lip formation for the upper notes. When this lip formation is made, place the mouthpiece onethird on the upper and two-thirds on the lower lip, and you are ready for the breath. Direct the breath toward the upper part of your mouthpiece, that is "blow up." If you naturally blow down it will be necessary to protrude the jaw, thus changing the air passage upward. The notes produced statics, vibrations, cyclonics will at first sound more or less like wind whistling through a small crack or hole. They should be extremely high, often reaching C above high C. Do not be discouraged if they refuse to respond immediately. In fact, the more experimenting you do, the greater lip knowledge will be acquired. You may say there is no immediate necessity for producing such high notes. The musician who has G above high C at his command has good reserve for meeting the none too easy requirements of present day playing. In short, if a man can lift 200 pounds, he certainly should have no trouble in lifting 150 pounds. Common sense should tell the student or professional that his embouchure can be formed for either a' high register or a low register. If he starts with flabby loose lips, concentrating for months or years upon low tones, he sooner or later discovers that there is such a thing as an upper register and, in the majority of cases he hasn't developed it. If, alternatively, he starts with the proper lip formation for the upper register, he quickly learns to relax for the low tones and, in a short time, he has the entire instrumental key-board at his command. It is easier to relax and play low tones on a high note embouchure, than to force and struggle with high tones on a low note embouchure. The best results can be obtained only by conscientious daily practice of proper exercises.

Lack of Proper Support Years of teaching has convinced me that numerous cases of bad tone, lack of power, inability to sustain tones evenly, are caused because the breath does not give the lip the proper support. Many faults may be blamed directly to improper breathing and blowing. Breathing for a brass player is a conscious act. Musical requirements make necessary a quick inhalation, with exhalation a steady stream under pressure and control, especially in the upper register. In playing, one must first fill the lower portion of the lungs by relaxing the abdominal muscles. The incoming air will naturally expand the abdomen and by contracting these muscles, at will, the required pressure for playing is given to the air. Common fault is to raise the shoulders while taking a breath. This action has quite the opposite effect to that which is desired. Raising the shoulders will contract certain parts of the lungs, thereby reducing their capacity. It also has a tendency to block the throat. Air is inhaled with the throat open and it must be exhaled similarly. The abdominal 2

muscles only should be contracted for the proper emission of air. The issue of air from the lungs into the instrument must be even, continuous and free. Failure to follow these suggestions will result only in poor and broken tones; noise but not music. Seventy-five per cent of the effort involved falls on the student and twenty-five per cent on the teacher. I gladly offer you my assistance but have you the power to digest the knowledge and apply it to your individual case? That is your part. Don't be an enemy to yourself. If the other fellow can do it, so can you. The only one vitally interested in your personal musical activities is yourself and sooner or later you will learn that there is no room for the lazy, effortless, or disinterested player. Find out your troubles and get after them. There is a treasure within your grasp. Look for it!

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ONLY ONE CORRECT WAY TO PLAY ANY BRASS INSTRUMENT If You Know the Laws of Brass Instrument Playing and How to Apply Them, There is Nothing to Stop. You From Reaching the Top By WILLIAM N. COSTELLO To prove the above title requires minute explanation. I do not mean to be a braggart. I am sincere and will merely try as best I can to give you the knowledge I have gained through perseverance, teaching and practical experience. Take it or leave it. I hope it will help you. It has provided the foundation for many of the foremost players and has been of untold value to many others. Anything is easy if you know what to do and why you do it. The more you know and learn the easier your work becomes. The result is that in a surprisingly short time you reach the top. When you do not know what to do or why, you find yourself floundering about getting nowhere. Your mind is confused, you become timid, uncertain, you change instruments, mouthpieces, teachers and your work is hard and uninteresting. Under such conditions you either stand still or go backwards. At the age of eighteen, I studied with a teacher who was credited with 50 years experience. After spending five years with this man I discovered the only theory his teachings were based upon was the altogether too common one of "I play the horn this way and so should you." This finally awakened me and caused me to desert the old school "straight and narrow" and I turned to the right. This road led me right into swollen lips, cracked notes, poor intonation, useless mouthpieces, hours of meaningless practice,' tired lips and if I struggled real hard perhaps I could squeeze out an F or G below high C. I tried system after system, teacher after-teacher and finding so many abuses as well as abusers, I decided to turn to the left and make a thorough study in the hopes that some day I could openly challenge and refute the unscrupulous commercial teachers and systemizers and give to their victims a sound proved method – one which would apply to any brass man and not one which would have to be changed and altered to fit different individuals.

Most Important Factors The two most important factors are, of course, breathing and embouchure. I must deal with the embouchure first. Last month I told you to lay your instrument flat in such a way that any excessive lip pressure would move the instrument when you approached it to play. Again I remind you in case you wish to experiment after you finish reading this article. Remember, to (1) close your lips tightly, (2) keep your lips parallel, not allowing one to overlap the other, (3) half smile and roll the red flesh in. To hide the red part of your lip completely you must roll both lips in toward the inside of your mouth over the top of your teeth. Don't overdo it, just hide the red. The reason for hiding this red is that it is too soft and flabby to have any resistance. The lips must be closed and parallel at all times and you must feel a definite grip between both lips before attempting to play. Never pull muscles at the side of the mouth back as in "Tu-ee", this is wrong and upsets the natural function of any embouchure. Avoid letting any part of your lips protrude into the 4

mouthpiece. Naturally, when you blow, the lip will have the tendency to do this as the wind shoots up against it, but you must train it to do as your mind will. If you are fortunate enough to be one of those who plays one-third on the upper lip and two-thirds on the lower lip you have an easy road to travel. If not, don't change the position of your mouthpiece, just work a little harder and you'll get the same results. The main objective of the mouthpiece placement is to get as near as possible to the upper inside edge of your mouthpiece at which you direct the air. It is my contention that you must blow up. It is true that one man's jaw or teeth formation differs from another but when playing this difference must be overcome. Blowing up does this very thing. It brings your lower jaw out parallel with the upper jaw giving you an even, solid foundation to rest your mouthpiece on. If you have been accustomed to playing down it will take added effort on your part to blow up. Can you tell me why you should punish yourself by blowing in any other direction which is bound to give you a longer line from the lip to the mouthpiece? Avoid playing with a flat chin and avoid any other fault which will cause your lips to open. When your lips open, you unconsciously apply arm pressure and this is decidedly wrong.

High Register First Unlike many teachers I require the pupil to produce the high register first. Yes, even in the case of beginners. The smaller the space air passes through, the higher the tone. Common sense should tell the student or professional that his embouchure can be formed either for a high register or a low register. If he starts with flabby, loose lips, concentrating for months or years upon low tones, he sooner or later discovers that there is such a thing as an upper register, and, in the majority of cases, he hasn't developed it. Practicing low notes will never bring the high ones. If, alternatively, be starts with the correct lip formation for the upper register, he quickly learns to relax for the low tones and, in a short time, he has the entire instrumental key-board at his command. If you can lift 200 pounds surely you can lift 100 pounds, but the reverse of this is not true. Don't under any circumstances use pressure on the lips. That's the surest road to eventual ruin. No, I am not advocating any so-called non-pressure system, there is no such thing. On the contrary I advocate pressure and plenty of it, but I require that pressure be used where it belongs under the heading of abdominal breathing and breath control. As previously stated, numerous faulty habits are formed because the breath does not give the lip proper support. Obviously one without the other is of no use. Both must be formed together.

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CORRECT BREATH CONTROL for the BRASS PLAYER It’s a Funny Thing But Nine Out of Ten Musicians Forget to Breathe Naturally When Playing a Horn and Then Their Troubles Begin By WILLIAM N. COSTELLO Knowledge of breathing and breath control is of vital importance to any man who plays a wind instrument. You may not realize it (few men do), but faulty breathing is the direct cause of a large percentage of all trouble such as paralyzed lips, poor intonation, bad tones, lack of confidence and lack of endurance. The majority of brass men are plagued with one or more of these hazards to success. One out of ten performers breathe correctly. The other nine men struggle along blaming everything from their instrument to their mouthpiece for their predicament, never thinking, or not knowing, that a simple thing like breathing could be the main cause of most of their trouble. Before I go further let me state briefly the connection between the breath and the embouchure. The lips must vibrate to produce the tone and to cause the lips to vibrate, air must necessarily be blown through the lips into the instrument. This issue of air must be even, continuous, and free, in order to produce the same quality of tone to every note. The only function of the lips is to maintain a grip between themselves which will produce either a high tone or a low one as and when desired. Tighten the grip between the lips for a high tone and relax the grip for the low tones. It is the duty of the breath to support the lip formation at all times and provide the degree of power necessary for every note. Send the air into your instrument fast for forte, and slowly for piano effects. The lip must remain flexible in order to respond to the breath and as soon as you use excessive lip pressure you not only interfere seriously with the flexibility of the lips but you prevent the air from going into your instrument as it should, thereby impairing your breathing as well. This is the beginning of improper breathing. Now let me explain what is meant by faulty breathing and in what way it causes so much trouble. The most serious offender against all laws of nature, and the worst form of breathing, is the man who fills his chest with air. When you are about to carry on a conversation, surely you don't concentrate before you speak on where you are going to take your breath. You certainly don't fill your chest, because if you did and then tried to speak you would be forced to grunt your words out in a strained voice. Try it and see for yourself. If you insist on breathing this way prior to playing then you can only expect out of the instrument what you put in; distorted, uneven tone. Now the trouble really starts. You breathe wrong and instead of analyzing what causes this distorted tone and correcting your breathing you take the hardest way out and try to produce a tone out of this incorrect breath. In order to do this it becomes necessary to press the mouthpiece against the lips for control and then you invent some secret way all your own of producing a tone which will prove pleasant to the ear. For a certain length of time you get results, but the day always comes when you pay dearly for the mistake of breathing in the chest. This habit contracts the lungs, reduces their capacity and congests your air-passage so that it becomes impossible to provide your lips with the even continuous flow of air that is so necessary to keep them vibrating. 6

From this point 'on, anything you do just takes you from bad to worse. Hours of practice simply builds wrong muscles which some day, sooner or later, you will have to break down and build over. If you are at present having trouble in getting ahead then check up on your breathing. You have nothing to lose and everything to gain by taking a change and making it immediately. Correct your breathing and you will have eliminated part of your difficulties.

Breathe Abdominally Natural breathing consists of an automatic regular inhalation and exhalation into and from the lungs for the purpose of oxygenizing the system. This act is performed, unconsciously by everybody. However, breathing for the brass player is different. It is a conscious act. Musical requirements make necessary a quick inhalation, with exhalation a steady stream under pressure and control, especially in the upper register. In playing, one must first fill the lower portion of the lungs by-relaxing the abdominal muscles. The incoming air will naturally expand the abdomen and by contracting these muscles, will the required pressure for playing is given to the air, To breathe correctly you must breathe abdominally and control it from that point. Nothing requires more air or breath than strenuous exercises, for example, take any flight of stairs and run up and down until you are winded and without concentration notice how you are breathing. I say without concentration because the mind over matter is very powerful and often times dictates the opposite to that which is desired. Just before you fall asleep at night, completely relaxed, notice how you are breathing abdominally without effort. If you tried to breathe in your chest prior to falling asleep you would find extreme difficulty in getting to sleep until you again started to breathe as you should naturally and abdominally. There is no excuse for breathing any differently, just because you play a wind instrument, If you are desirous of reaching the top or mastering your instrument, your first and major requisite is to learn how to breathe abdominally. There is no substitute and you dare not compromise. Musical requirements demand a quick inhalation, with exhalation a steady stream under pressure and control. To accomplish this you must fill the lower portion of the lungs by relaxing the abdominal muscles and take in as much air as the lower diaphragm will comfortably hold, breathe low, the lower the better. The incoming air should inflate the abdomen in an outward direction. It is not necessary to raise your shoulders or take air into the chest. Just fill the lower diaphragm and for the sake of practice after you have taken in all the air you can, open your mouth without letting any air escape. Then practice letting a little out at a time and then practice letting it all out in an even continuous flow. As you blow this air out the abdomen should deflate in the direction of the back. Blow all the air out, keep blowing until it hurts. Pain in the abdominal muscles is a sure sign that strength is growing. Muscles can only gain strength by getting tired. Light a candle, practice blowing air at the flame so that the flame will bend away from you without going out. Take a piece of paper, hold it at arm's length a few inches away from the wall and blow at the paper in such a way as to keep the bottom of the paper up against the wall. Lie on the floor outstretched and relaxed hands over head, heels touching the floor at all times, raise up and touch your toes with your finger tips. Do this as many times as you can and as often as you can. This is the best exercise I know of to strengthen the abdominal 7

muscles. Playing any brass instrument is muscular exercise and you must develop these abdominal muscles.

Contraction of Muscles Now take your instrument. Slurring requires a continuous vibration and a constant contraction of the abdominal muscles. By contracting these muscles at will the required pressure for playing is given to the air. Form your lip as suggested in last month's article and breathe as I have asked you to in this article. Blow into your Instrument as I suggested in the last article and start on your high "C" and slur up as high as you can above that. The results you get statics vibrations, cyclonics, will first sound more or less like wind whistling through a small hole or crack. They should be extremely high, often reaching high C above high C. This is not difficult and is required from even the beginner. Just because these statics come out so easy don't become over-confident for now you must learn how to control the tones. To gain control requires constant application of the principles of breathing as outlined herein as well as conscientious practice of the proper exercises. All the exercises in my books were written for the definite purpose of building the embouchure while training the muscles to contract. Anything is easy when you know how and why you do a certain thing, but knowledge will never take the place of practice. The more you practice the stronger the muscles grow. As the muscles strengthen you gain control. To gain endurance you gradually lengthen your exercises. After you have laid your foundation then you can worry about tonguing and technique. Once you have the correct foundation everything else must follow and in a much easier manner than at present if you are breathing incorrectly. Meet your problems face to face, overcome your difficulties by constant application of sound proven facts.

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QUESTIONS CONCERNING BRASSWIND EMBOUCHURE A. Description of Students Working Under Your Tutelage Q1. What level student, beginner through advanced conservatory/college through professional comes to you for study? A. Beginning through professional, mostly professional. Most do not come to learn to play the instrument, mechanically speaking. Ninety-nine per cent come to work solely on embouchure how to apply it to their mechanics. Q2. Are students under your tutelage more interested in "legit" or "popular" performance? A. From both areas. They are already functioning in their chosen area. Q3. What are the ultimate goals of your students, generally? (Teaching in public schools, colleges, professional playing, what type of professional playing?) A. To become a lead player, or better lead player; professional playing. Q4. How long do students normally study under your tutelage? A. An average of three years. If they last the first eight weeks they last for at least three years. Those who have studied longer have established reputations for their embouchures. Q5. When a student has completed study with you, is he more suited to the "legit" or the "popular" field? A. 1. The student has never completed study. Even the most advanced come back for periodic check-ups. 2. The student is suited to either field. 3. Students include a principal player in the Metropolitan Opera Orchestra, and lead players in the popular field

B. Work In the Altissimo Register Q1. Do you stress development of the altissimo register? A. We start with it. Q2. What percentage of your students, approximately, work to develop the altissimo register? A. All 100% 9

Q3. What percentage of your students actually develop a usable altissimo register? A. All have it as a usable upper register. It is relative to the individual player's mechanical development, which is dependent on his insight and ability to coordinate what he knows will play. Q4. In your opinion, is there such a thing as being naturally suite a to play the altissimo register? A. Yes. If the natural formation suits the principles that are involved in physical law, the pupil doesn't necessarily have to know those principles. It would be better if he did know, for he would have more assurance in the sharp-shooting or placement of tones. Q4a. If so, what are physiological characteristics of players so endowed? A. 1. The ability to retain a parallel jaw position to the top teeth edges, establishing a firm background for the bottom lip facing and the top lip reed. 2. A minimum of teeth irregularities. 3. An easy alignment of the lips between the teeth aperture, equally spaced. Q4b. What are psychological characteristics of players naturally suited to playing the altissimo? A. Whatever the psychological barriers are prior to the development of the upper register, they cease to exist after a mental connection, understanding, and sense experience have been established. Q5. Were all your students who successfully developed the altissimo register naturally suited to this register? A. No. Physical deficiencies had to be overcome to conform to the principles. Q6. Do you stress fortissimo playing in the altissimo register? A. Yes. It is part of the physical law. Q7. Do you stress pianissimo playing in the altissimo register?. A. Yes. It is also a part of physical law. Q8. Do you stress control of slurs and articulations through a wide range of dynamics in the altissimo register? A. Yes, very much; almost exclusively for the early stages.

C. Embouchure, 1. Corners of the mouth.

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Qa. What is the action of the corners of the mouth during inhalation? Why? A. Relaxation, separation of lips minus tu-ee (pulling corners back and up). Intake must be silent no sipping. It is this position that permits the player to bring his lips together from the corners to the outer rim of the mouthpiece and establish playing formation with a minimum of tension. The release of air and its force will determine the playing tension. The tension may increase or decrease from the original playing formation based on the intent of the player. It is the fixed corners in their relaxed position that permits the player to correctly align his lips over and over. Qb. What is the placement of the corners of the mouth vertically and horizontally while performing in the various registers low to altissimo? Why? A. It is the same, taking into account the relative change of muscular tensions. The corners in normal resting position with the teeth 1/4th inch apart and aligned vertically (even bite) is the correct position unless there is a deformity. Qc. Should the corners of the mouth hug the teeth? Why? A. Yes, to avoid slack in the lips, top and bottom Qd. Should the corners of the mouth be relaxed or firm? Why? A. Relaxed during inhalation. The tension during playing should reflect the volume and area of range, which are based on the intent of the player. The speed of the air column, amplitude and frequency of the sound vibration, will determine the tension. Qe. Have you any other ideas concerning the corners of the mouth? A. No. 2. Tension of facial muscles. Qa. Should the buccinator (cheek) muscles be firm or relaxed in playing the low register? Middle? High? Altissimo? Why? A. The compression in the mouth chamber will determine the tension. Qb. Should the muscles that elevate the upper lip (not including the corners of the mouth) be tensed or relaxed in the various registers? Why? A. No attempt should be made to use these at all. They should be used to reinforce the original playing formation, and sympathy tension will be introduced when the two lips are exposed and resist the air column, equipping the two lips to resists mouthpiece playing weight (arm pressure). Qc. Should the muscles that depress the lower lip (not including the corners) be tensed or relaxed in performing in the various registers? Why? A. They should not be thinned and weakened. They act as a cushion to receive the mouthpiece weight on the bottom. 11

Qd. Should the mentalis (chin) muscles be relaxed or contracted in playing the various registers? Why? A. Always in a state of contraction, only different degrees, with the degree being dependent on intent and area, exclusive of the concept of playing pedal tones, which require a complete collapse of the outer red. Qe. Should there be a feeling of tension or relaxation in the face generally with reference to the various registers? A. There must be both. Relaxation is a matter of degree from tension. The player must avoid neutralizing or collapsing the playing formation. "Neutral" is the fixed point somewhere between force behind the air and muscular resistance. Qf. Should there be a feeling that the focus of tension is within the lips rather than spread to include muscles outside the lips? A. The starting point is tension below the corners (depressor anguli oris m.). The rest of the embouchure muscles will and should work in sympathy, establishing various tensions if properly exposed to air. The radiating muscles from the corners across the cheeks (buccinator, and risorius including the masseteric and platysma strands) are dependent upon the orbicularis oris (top and bottom) being properly exposed to air between the teeth aperture, permitting the radiating muscles to exercise control over the two lips. 3. Alignment of lip aperture with the opening between the upper and lower teeth. Qa. Is it important that the lip aperture be opposite the opening between the upper and lower teeth? Why? A. From my point of view the law must be a two-aperture concept: teeth and lips. The lip aperture must comprise an equal amount of upper and lower lip between the teeth wherever the mouthpiece placement is made. Example: If one upper tooth is longer than the other receiving the mouthpiece, the longer will be the barometer for lining up the lips equally spaced between the teeth aperture. This necessitates a lowering of the corners so that the lips in their playing formation form a straight line between the two fixed points, corners of lips. Qb. Should the center of the two openings (lip and teeth) be perfectly aligned? Why? A. Yes so that the bottom teeth edges can exercise control over the lip aperture by articulating up and down relative to increasing and decreasing air compression, lengthening and shortening the stroke of vibration. All jaw motion up and down must be relative, based on the starting point of the predetermined jaw position. I do not advocate receding the jaw to its underbite position, contributing to extreme lip separation resulting in excessive mouthpiece weight to overcome lip separation. Qc. If alignment is to be maintained, how is this accomplished? What muscles are important in preserving alignment? A. The fixed corners maintain the alignment. Do not use the upper half of the facial muscles. For example, no sneering, no sipping of air raising the corners, no lip thinning and weakening by pulling the corners back and up. 12

Qd. Is alignment more important in one register than another? Why? A. Important in all registers. The higher you play the more perfect the alignment hits to be since there is less room for error. 4. Alignment of lower teeth with upper teeth vertically. Qa. Assuming a very slight overbite in normal occlusion, should the brass player align the teeth vertically in the various registers? Why? A. Yes, in all registers, so that both lips can receive an equitable distribution of weight of the mouthpiece. Pain due to high spots or other irregularities in teeth formation may be partially overcome by bringing the teeth into vertical alignment. Qb. Have you had a student with severe overbite (1/4th inch approximately) develop good, excellent, or outstanding tone quality? A. I've had students with severe overbite. However, according to my understanding of the physical laws involved, I consider this condition a physical deficiency and a severe handicap. I would not take the trouble to find out if his tone quality could develop to good, excellent, or outstanding since this condition would not produce a relative five octave scale. The first step is to overcome the physical deficiency and find a playable starting point. Qc. Have you had a student with severe overbite develop good high range? Good altissimo, range? Good low range? A. No. He can't continue being my student since I will not tolerate that playing formation. The physical deficiency must be overcome. Qd. Have you had a student with a severe overbite develop power in playing? In what ranges? A. Same as c. Qe. Can you establish a relationship in playing with an overbite as regards one quality, range flexibility, tonguing (single, double, triple?) A. Yes. The tone quality, range, and flexibility will depend on the degree the player recedes from his original starting point. Regarding tonguing under these conditions, the player must, out of necessity, tongue to the top teeth or gum line or possible higher to effectively block the air column. The law is that under any circumstances the player must tongue to the most forward point, in this instance the top of the upper jaw. In double and triple tonguing the striking point of the K attack will adjust itself. The distance between T and K may vary if the jaw motion is extreme. Qf. Consider any of the above as applied to underbite. A. A slight underbite is not a deficiency. I have never seen a person with a severe underbite. A person with a slight underbite is a "ready-made customer". However, the angle of the horn must conform to the jaw position. 13

5. Slant of the upper teeth. Qa. Have you had a student whose upper teeth slant outward? If so, describe any advantages or disadvantages noted. A. There is a disadvantage. To overcome this we introduce the bottom teeth edges to match the most forward point of the top teeth edges if possible. Qb. Have you had a student whose upper teeth slant inward? If so, what advantages or disadvantages do you associate with this condition? A. I still align the teeth edges to a parallel bite. The purpose is to keep the bottom lip facing as close as possible to the top lip reed (vibrating area). Qc. What do you consider to be the ideal formation of the upper teeth as related to playing trumpet A. Teeth that match each other in structure and have no unusual high spots; even in length; vertical. 6. Movement of the jaw vertically and horizontally. Qa. How much opening should there be between the upper and lower teeth for performance on trumpet in the various registers? Why? A. Approximately 1/4th inch for all brass instruments irrespective of the mouthpiece. However, whatever the starting point in teeth aperture, total jaw motion must be limited to half the distance of the original aperture. Example: 1/4th inch aperture, 1/8th inch motion. The law: Jaw motion should not exceed 25% of the original teeth aperture upward Example: 1/4th inch aperture, 1/16th inch up, original starting point, 1/16th inch lowering, total movement 1/8th inch, equivalent to one-half the original teeth aperture. This enables a player to play any pitch at any dynamic level through out a four to five octave range. The combination is increased-decreased air and increased-decrease teeth opening. Qb. What is the horizontal position of the lower jaw in relation to the upper in playing trumpet in the various ranges? A. There is no horizontal motion while playing except for a slight motion that might be necessary in lowering or raising pitch. 7.Movement of the red of the upper lip inward or outward. Qa. Should the red portion of the upper lip be turned outward with the air stream in any register? A. No. Qb. Should the red portion of the upper lip be turned inward toward the air stream in any register?

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A. Yes, for all registers. Sensitivity is achieved by muscularly matching the air column, be it fast or slow.. Qc. If neither of the above applies what should be action of the red of the upper lip?

8. Movement of the red of the lower lip inward or outward. Qa. As a preface to the following, do you agree that the lower lip is not important as vibrator, but rather works to regulate the size of the lip aperture? If not what is the function of the lower lip? A. Yes. Qb. Should the red of the lower lip turn outward in any of the various registers? A. Only relative to the reduction of tension. In any event, the surface of the lower red will be firmer than the upper red. Qc. Should the red of the lower lip turn inward in any of the various registers? A. It can turn inward if playing low softly and if playing high loudly. Because the lip is a circular muscle a player cannot isolate tension in one lip (two independent tensions). If the bottom lip turns inward, the top also will turn inward equally, relative to the effort and the force behind the air column. The lip inversion will be relative to the register and force of the air column necessary to sustain the embouchure musculature. (Remember, an intent has been declared in the mind to resist the air column. Therefore, tension will be governed by the air column and its force.) 9. Amount of lip in the mouthpiece for various registers Qa. Is the amount of lip in the mouthpiece the same, less or more proceeding from the low register upward? Why? A. If we articulate the jaw motion as previously described, the higher one plays the less lip proportionately (two lips) will be exposed to air. The big factor is not how much lip is in the mouthpiece, but rather how much lip is exposed to air relative to the changing tensions and teeth aperture. As far as the outer grip is concerned, the same amount of lip stays in the mouthpiece. Qb. If the amount changes, how is the change accomplished while slurring upward? A. The amount exposed to air proportionately changes as we increase the force of the air column and relatively articulate the jaw upward. At no time in any area does the player permit the bottom teeth edges to be parallel to the bottom lip. To be consistent there is a law of constancy: the bottom lip must at all times overlap the bottom teeth edges relative to the fixed corners (not enough to go into the mouth since both lips occupy equal space between the teeth edges). Qc. Is the amount of lip in the mouthpiece in the pedal register more or less than other registers? 15

A. Pedal tones destroy the actual image of your playing formation. Practicing pedal tones, the player sacrifices his outer grip of the mouthpiece. In the case of larger mouthpieces such as trombone, pedal tones are a requirement of overall playing and therefore permissible. The inner red would be unrolled to introduce the softer mucosa which vibrates wider and slower. 10. What is the importance and relationship of lip surface tension to range and timbre? How is surface tension regulated? A. The lip must vibrate rim to rim. Timbre will be determined by the amount of top lip exposed to air and sealed by bottom lip facing. Varying tensions in the surface area of the top lip will change the timbre if the player increases the arm pressure (mouthpiece pressure) on the top lip as he proportionately reduces the compression in direct ratio to the increase in arm pressure while sustaining any given note or tone. In referring to change of timbre as a result of increased mouthpiece weight on the top lip it has been my experience that the player automatically and subconsciously reduces the compression as the arm pressure increases. The issue specifically relates to the fact that in certain registers the subconscious mind acting as the governing agent for the overall playing, realizes that air displacement will not be possible in a closing lip aperture, since the former compression will not be able to displace itself and will automatically compute and reduce the force in relationship to the resistance or back up of the air column at the lip aperture. To do otherwise would collapse the embouchure musculature since no one is capable of resisting his maximum ability to produce compression of the powerful breathing muscles governed by the contracting rib cage, upper and lower abdominal wall, into a sealed or blocked lip aperture. To properly allow for air displacement at a fixed compression, the playing weight of the mouthpiece should favor the bottom lip by a little more than half of the overall playing weight. This permits the player to have a fixed tension, steady, freeflowing air column, and a matching muscular resistance permitting an equal ratio of air displacement to the vibrations. Surface tension may then be regulated and changed by varying the force of the air column and proportionately varying muscular resistance.

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