{"id":52,"date":"2021-04-09T18:37:27","date_gmt":"2021-04-09T22:37:27","guid":{"rendered":"https:\/\/blogarchive.utc.edu\/erika-schafer\/?page_id=52"},"modified":"2024-12-12T21:43:09","modified_gmt":"2024-12-13T02:43:09","slug":"common-problems-and-solutions-with-developing-trumpeters","status":"publish","type":"page","link":"https:\/\/blogarchive.utc.edu\/erika-schafer\/common-problems-and-solutions-with-developing-trumpeters\/","title":{"rendered":"Common Problems and Solutions with Developing Trumpeters"},"content":{"rendered":"\n

1.  Embouchure<\/p>\n\n\n\n

Embouchure is not something we want to teach.  Every student is different, and their physical make-up influences their embouchure (usually teeth and jaw position).  What is most important is that their air can easily get through the trumpet and they can make a resonant sound.  Air stream should generally be centered on the mouthpiece. Keep striving for that sound and the embouchure will develop naturally. <\/p>\n\n\n\n

2.  Using slides for out-of-tune notes<\/p>\n\n\n\n

The D and C# right below the staff are sharp on the trumpet.  The C# is sharper than the D.  Players need to extend the third valve slide for these notes.  It depends on the trumpet and the player, but typically the slide needs to be extended all the way for the C# and about 3\/4 for the D.  The earlier this becomes a habit, the better.  Make sure this slide is lubricated and very easy to move.  If not, it should be assessed by a repair person. <\/p>\n\n\n\n

For those with small hands, wrap several pipe cleaners around the third valve slide ring at the back to help with its use.  And, using plyers and a cloth to avoid damage, bend the front part of the first valve slide crook closer to the first valve to help with its use (suggestions from Louis Ranger).<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

3.  Warm-up<\/p>\n\n\n\n

A daily warm-up\/maintenance routine is important for growth, ease of playing, fundamentals, and health.  Please see www.utc.edu\/trumpet<\/a> for my warm-up routine. <\/p>\n\n\n\n

4.  Lip slurs<\/p>\n\n\n\n

Use the sound as your guide and seek ease in playing. Sound should be continuous through any slur.\u00a0 Lip slur exercises are important for developing the embouchure.<\/p>\n\n\n\n

5.  Inhale\/exhale<\/p>\n\n\n\n

The body knows how to breathe very well.\u00a0 Trumpeters should inhale and exhale as they normally would without the trumpet, similar to speaking.\u00a0 The difference is the exhale will be more directional.\u00a0 A timed inhale is counterproductive and unhealthy.\u00a0 If you are resting before an entrance, allow the air to come in naturally ahead of time.\u00a0 If you are breathing in the middle of a phrase, relax the gut to let the air come in quickly.\u00a0 Do not \u201ctake a breath\u201d or suck air in.\u00a0 Remember, let the music teach the body how to breathe.\u00a0 When we speak, we do not \u201ctake a breath\u201d.\u00a0 Our body knows how to take in the air it needs to speak in sentences.\u00a0 Same with music.\u00a0 Use the body\u2019s natural breathing expertise.\u00a0\u00a0<\/p>\n\n\n\n

Concept borrowed from MWNA program designed to retrain brass players:  https:\/\/musicianswellness.com\/<\/a>.<\/p>\n\n\n\n

6.  Projection<\/p>\n\n\n\n

The person sitting in the cheapest seat in the concert hall still needs to hear you at pianissimo (concept from Louis Ranger).\u00a0 But this is not about playing louder.\u00a0 This is about projection which comes from resonance in the bell.\u00a0\u00a0\u00a0<\/p>\n\n\n\n

7.  Developing range<\/p>\n\n\n\n

Select music that is within a comfortable range for your trumpeters.\u00a0 Inappropriate music selection and a natural but sometimes unhealthy competitive tendency often makes trumpet players try to expand their upper register too quickly, resulting in strain, a range plateau, and risk of health issues.\u00a0 Create an atmosphere that values a good sound, ease of playing, and musicality over high notes.\u00a0 Those notes are not any more important than others.\u00a0 Let range develop naturally.\u00a0 One exercise to incorporate in the student\u2019s practice routine, when they are ready, involves a sequence of one octave scales.\u00a0 Have the student start with their lowest scale and play it ascending and descending.\u00a0 Rest for as long as it took to play the scale, then play the scale one-half step higher.\u00a0 Continue with this process until the student just begins to strain for the highest note.\u00a0 That is when the student should stop with that exercise for the day.\u00a0 The student should stop at the point of strain each day, which will vary.\u00a0 Eventually, it will become more consistent (exercise from Louis Ranger). Chromatic scales can be used in a similar fashion.<\/p>\n","protected":false},"excerpt":{"rendered":"

1.  Embouchure Embouchure is not something we want to teach.  Every student is different, and their physical make-up influences their embouchure (usually teeth and jaw position).  What is most important is that their air can easily get through the trumpet and they can make a resonant sound.  Air stream should generally be centered on the… <\/p>\n

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