Trumpet Sound ProductionTrumpet Sound Production

Eric SwisherEric Swisher

Why is Sound Production Important?Why is Sound Production Important?

The inability to produce a pleasing sound is the complaint most The inability to produce a pleasing sound is the complaint most often leveled at student trumpeters.often leveled at student trumpeters.

A poor tone quality not only offends the listener, but it also signals A poor tone quality not only offends the listener, but it also signals production problems.production problems.

Step One: Step One: Critical ListeningCritical Listening

Critical ListeningCritical Listening

Student must possess a Student must possess a detaileddetailed aural image of a good trumpet aural image of a good trumpet sound before they can be expected to produce one. Listening sound before they can be expected to produce one. Listening is the only means by which this image can be acquired.is the only means by which this image can be acquired.

Critical listening should occur frequently in formal and informal Critical listening should occur frequently in formal and informal settings. Use recordings and live performancessettings. Use recordings and live performances. .

Critical ListeningCritical ListeningMy parents are amateur musiciansMy parents are amateur musicians

I was surrounded by music from an early ageI was surrounded by music from an early age– Symphony Concerts (Chicago, National SO)Symphony Concerts (Chicago, National SO)– Operas (Mexico City, Santa Fe, Tulsa, Dallas) Operas (Mexico City, Santa Fe, Tulsa, Dallas) – Major soloists (violinists, trumpeters, vocalists, pianists, cellists)Major soloists (violinists, trumpeters, vocalists, pianists, cellists)– Jazz Concerts (combos and bands)Jazz Concerts (combos and bands)– Concert Bands (Concert Bands (Raw Sewage Non-Marching Polka BandRaw Sewage Non-Marching Polka Band))– Recordings playing in our house all the timeRecordings playing in our house all the time

Expose them to EVERYTHING you never know what will stick with Expose them to EVERYTHING you never know what will stick with them!them!

Critical ListeningCritical Listening

Record your trumpets often and ask them to describe in detail what Record your trumpets often and ask them to describe in detail what they hear (attack, overtones, volume, color, pitch, release). they hear (attack, overtones, volume, color, pitch, release).

This specificity will assist the students in completing an aural This specificity will assist the students in completing an aural image. image.

Critical ListeningCritical ListeningExpose your trumpeters to many different types of sounds; there is Expose your trumpeters to many different types of sounds; there is

no single correct tonal concept.no single correct tonal concept.

Thomas Stevens, Hindemith Thomas Stevens, Hindemith SonataSonata I I Maynard Ferguson, “Fireshaker” Maynard Ferguson, “Fireshaker” Maurice Andre, Telemann Maurice Andre, Telemann Concerto in D IConcerto in D I Clifford Brown/Max Roach, “Sandu” Clifford Brown/Max Roach, “Sandu”

After much listening and comparing, students will develop their After much listening and comparing, students will develop their

own sound concepts and with your direction, learn to apply own sound concepts and with your direction, learn to apply them appropriately.them appropriately.

“What is fundamental is to have a good example of the sound and then try to copy it as faithfully as possible.”

-Adolph Herseth

“Conceive what you want to sound like. What you actually sound like is not nearly as important as what you want to sound like.”

-Arnold Jacobs

Critical ListeningCritical Listening

To perform well one must keep the mind focused on To perform well one must keep the mind focused on the musical product (sounds) and allow the body to the musical product (sounds) and allow the body to

produce the desired result.produce the desired result.

This musical product can only be learned through This musical product can only be learned through critical listening.critical listening.

Step Two: Step Two: Correct Use of the BreathCorrect Use of the Breath

Correct Use of the BreathCorrect Use of the BreathA good breath has two qualities: A good breath has two qualities:

1. It moves large quantities of air1. It moves large quantities of air2. Does so without restriction. 2. Does so without restriction.

The soft “oh” is a simple device your students can utilize to correct The soft “oh” is a simple device your students can utilize to correct their breathing quickly and effectively. their breathing quickly and effectively.

Use the word: “Use the word: “Flow” Flow” when speaking to trumpeterswhen speaking to trumpetersAvoid using: “Avoid using: “Tight,”Tight,” “ “ForceForce,” and “,” and “Push”Push”

Listen for Listen for HissHiss, , HitchHitch, and , and VaderVader breaths breaths

Correct Use of the BreathCorrect Use of the Breath

Breath BuilderBreath Builder Encourages motion of air Encourages motion of air Encourages the soft “oh” sound.Encourages the soft “oh” sound.

Breathing TubeBreathing Tube

PVC pipe or flexible tubingPVC pipe or flexible tubingNo larger then the student’s thumbNo larger then the student’s thumb

PinwheelPinwheelEncourages motion Encourages motion but notbut not the soft “oh” the soft “oh”Good visual cue for tense students. Good visual cue for tense students.

Correct Use of the BreathCorrect Use of the Breath

There are six places where air can become blocked. There are six places where air can become blocked.

1.1. AbdomenAbdomen

Over tightening the abdominal muscles will stop air from Over tightening the abdominal muscles will stop air from moving. moving.

Will trigger the Will trigger the Vaslava ManeuverVaslava Maneuver. .

Correct Use of the BreathCorrect Use of the Breath

2. 2. ChestChest

Can occur when the player is encouraged to stand motionless. Can occur when the player is encouraged to stand motionless.

A natural breath will expand the chest, allow it to happen. A natural breath will expand the chest, allow it to happen.

Correct Use of the BreathCorrect Use of the Breath3. 3. ThroatThroat

While the throat can be tightened independent of the While the throat can be tightened independent of the abdominal muscles; this rarely occurs in trumpet playing. abdominal muscles; this rarely occurs in trumpet playing.

As stated above, the abdominal muscles and the throat work in As stated above, the abdominal muscles and the throat work in conjunction. conjunction.

Correct Use of the BreathCorrect Use of the Breath4. 4. TongueTongue

This is usually an easy problem to identify; the sound is harsh This is usually an easy problem to identify; the sound is harsh and explosive. and explosive.

Encourage this student to use a more open vowel sound (toh Encourage this student to use a more open vowel sound (toh or tah) to lower the tongue’s position in the mouth allowing or tah) to lower the tongue’s position in the mouth allowing the air to flow freely. the air to flow freely.

Correct Use of the BreathCorrect Use of the Breath

5. 5. EmbouchureEmbouchure

Young trumpeters often have difficulty balancing embouchure Young trumpeters often have difficulty balancing embouchure tension and air flow, most err on the side of excessive tension and air flow, most err on the side of excessive embouchure tension. embouchure tension.

Use “moose calls” to redirect the student Use “moose calls” to redirect the student

Correct Use of the BreathCorrect Use of the Breath

6. 6. Trumpets and MouthpiecesTrumpets and Mouthpieces

Any grime in the mouthpiece or trumpet will restrict air flow. Any grime in the mouthpiece or trumpet will restrict air flow.

A monthly cleaning will do wonders for a student’s sound and A monthly cleaning will do wonders for a student’s sound and control. control.

In extreme cases dents or excess solder inside the instrument In extreme cases dents or excess solder inside the instrument will inhibit air flow. will inhibit air flow.

Step Three: Step Three: Correct PostureCorrect Posture

Correct PostureCorrect Posture

Posture and body tension are inseparable. Posture and body tension are inseparable. A student with poor posture will carry too much tension in his body. A student with poor posture will carry too much tension in his body.

A student with good posture will carry significantly less tension in A student with good posture will carry significantly less tension in his body. his body.

The goal of good posture is to use the skeleton for support, not the The goal of good posture is to use the skeleton for support, not the muscles. muscles.

Correct PostureCorrect Posture

When SeatedWhen Seated

Sit far forward and keep back from touching the chair. Sit far forward and keep back from touching the chair. 1.1. Keeps spines straight.Keeps spines straight.2.2. Shoulders back.Shoulders back.3.3. Feet on the floor.Feet on the floor.4.4. Opens chest for a good breath. Opens chest for a good breath.

Use chairs which encourage good posture. Use chairs which encourage good posture.

Correct PostureCorrect Posture

When StandingWhen Standing

Keep ears, shoulders, hips and arches in alignment and his chest Keep ears, shoulders, hips and arches in alignment and his chest in an open position. in an open position.

This posture will ensure the skeleton is keeping the body upright. This posture will ensure the skeleton is keeping the body upright. Will allow air to move in an out of the body freely. Will allow air to move in an out of the body freely.

Step Four: Step Four: Good IntonationGood Intonation

Good IntonationGood IntonationGood intonation relies on well-trained ears. Good intonation relies on well-trained ears.

Each note on the trumpet has a sweet spot, a place where the tone Each note on the trumpet has a sweet spot, a place where the tone is vibrant and alive with overtones. The ear must lead the is vibrant and alive with overtones. The ear must lead the embouchure to this sweet spot. embouchure to this sweet spot.

Sharp of this sweet spot the tone becomes shrill and thin. Flat of Sharp of this sweet spot the tone becomes shrill and thin. Flat of the sweet spot the tone becomes dull and lifeless. the sweet spot the tone becomes dull and lifeless.

Good IntonationGood Intonation

SingSing

““If you can’t sing it, you can’t play it”If you can’t sing it, you can’t play it”Mr. Herseth’s studies with Mr. Mager.Mr. Herseth’s studies with Mr. Mager.

Play with reliable accompanimentsPlay with reliable accompaniments

Pitch GeneratorsPitch Generators““Smart Music”Smart Music”Intonation CD SystemsIntonation CD Systems

Step Five: Step Five: A Reliable EmbouchureA Reliable Embouchure

A Reliable EmbouchureA Reliable Embouchure

Changing an embouchure can be difficult and frustrating. It must Changing an embouchure can be difficult and frustrating. It must be undertaken with caution. If you do not feel qualified to alter be undertaken with caution. If you do not feel qualified to alter an embouchure, then seek assistance.an embouchure, then seek assistance.

Proceed with an embouchure change Proceed with an embouchure change only afteronly after you have you have

eliminated all the elements listed above. No harm will be done eliminated all the elements listed above. No harm will be done by spending a bit of extra time on listening, breathing, posture by spending a bit of extra time on listening, breathing, posture and intonation. and intonation.

A Reliable EmbouchureA Reliable EmbouchureBefore proceeding with an embouchure change ask yourself:Before proceeding with an embouchure change ask yourself:

1.1. Has the student been exposed to and internalized good Has the student been exposed to and internalized good trumpet sounds?trumpet sounds?

2.2. Is he moving large quantities of air freely?Is he moving large quantities of air freely?3.3. Is his posture correct?Is his posture correct?4.4. Is his body free of extraneous tension? Is his body free of extraneous tension? 5.5. Can he sing passages in tune?Can he sing passages in tune?6.6. Is he using appropriate equipment? Is he using appropriate equipment? 7.7. Does he practice Does he practice regularlyregularly and and intelligentlyintelligently??

A Reliable EmbouchureA Reliable EmbouchureAn affirmative answer to all of these questions will rule out non-An affirmative answer to all of these questions will rule out non-

embouchure issues first, which are generally easier to fix and embouchure issues first, which are generally easier to fix and are less invasive. are less invasive.

You are then ready to move on to the second set of questions.You are then ready to move on to the second set of questions.

A Reliable EmbouchureA Reliable Embouchure

1.1. Does the student possess necessary endurance? Does the student possess necessary endurance? 2.2. Does the student have the ability to move throughout the Does the student have the ability to move throughout the

instrument (flexibility)?instrument (flexibility)?3.3. Does the student possess range (upper and Does the student possess range (upper and lowerlower) )

appropriate for his age and ability?appropriate for his age and ability?4.4. Does the embouchure look functional and typical? Does the embouchure look functional and typical?

If you answered “no” to one or more of these questions, then the If you answered “no” to one or more of these questions, then the embouchure may be to blame. embouchure may be to blame.

A Reliable EmbouchureA Reliable Embouchure

Each student’s embouchure will be slightly different. This is due to Each student’s embouchure will be slightly different. This is due to variations in tooth, lip and jaw structure.variations in tooth, lip and jaw structure.

Remember: A good embouchure is one which WORKS!Remember: A good embouchure is one which WORKS!

Use your Use your earsears as well as your eyes when judging an embouchure. as well as your eyes when judging an embouchure.

It should allow the student a reasonable amount of flexibility, range It should allow the student a reasonable amount of flexibility, range and an acceptable tone quality.and an acceptable tone quality.

A Reliable EmbouchureA Reliable EmbouchureConsult Consult The Art of Brass Playing The Art of Brass Playing by Philip Farkas for good by Philip Farkas for good

information. information.

Characteristics found in Characteristics found in almostalmost all functional embouchures. all functional embouchures.

1.1. Firm corners.Firm corners.2.2. A flat chin.A flat chin.3.3. A mouthpiece which is horizontally and vertically centered A mouthpiece which is horizontally and vertically centered

on the lips.on the lips.

A Reliable EmbouchureA Reliable Embouchure

Vincent Chichowicz (Chicago Vincent Chichowicz (Chicago Symphony, Northwestern)Symphony, Northwestern)

Common ElementsCommon ElementsFirm CornersFirm CornersFlat ChinFlat ChinMouthpiece CenteredMouthpiece Centered

DeviationsDeviationsNoneNone

A Reliable EmbouchureA Reliable EmbouchureAdolph “Bud” Herseth (Chicago Adolph “Bud” Herseth (Chicago

Symphony)Symphony)

Common ElementsCommon ElementsFirm CornersFirm CornersFlat ChinFlat ChinCentered MouthpieceCentered Mouthpiece

DeviationsDeviationsScar on his lips from a car Scar on his lips from a car

accident!accident!

A Reliable EmbouchureA Reliable EmbouchureMaurice Andre (Soloist)Maurice Andre (Soloist)

Common ElementsCommon ElementsFlat ChinFlat ChinFirm CornersFirm Corners

DeviationsDeviations““Smiling”Smiling”Mouthpiece a bit higher then Mouthpiece a bit higher then

normal-“French School”normal-“French School”

A Reliable EmbouchureA Reliable Embouchure

Phil Smith (NY Philharmonic)Phil Smith (NY Philharmonic)

Common ElementsCommon ElementsFirm CornersFirm CornersFlat ChinFlat ChinCentered MouthpieceCentered Mouthpiece

DeviationsDeviationsSlight Downward AngleSlight Downward AngleTrumpet Held at AngleTrumpet Held at Angle

ConclusionConclusion

While the process of improving your trumpets’ tone While the process of improving your trumpets’ tone qualities may be time consuming, for the patient qualities may be time consuming, for the patient director and student, it will be worthwhile. director and student, it will be worthwhile.

You will find your trumpet section will have better You will find your trumpet section will have better command of the instrument and will be able to better command of the instrument and will be able to better communicate their musical ideas. communicate their musical ideas.

http://www.murraystate.edu/chfa/music/swisher.htmhttp://www.murraystate.edu/chfa/music/swisher.htm