Different kinds of fatigue

[AndrewMeronek]

Had a fun gig today, a typical low-intensity show at a retirement home. On the setlist was that great Patrick Williams arrangement of "All The Way".

Overall, I think I did OK. It's a tune that is tough to play but I can get through it.

Most of the time.

Today, I get to those last 3 notes and the lips simply stopped cooperating. Granted, a D isn't the most stable note on most trombones, but it wasn't just that.

On my way home, that got me thinking. My endurance right now is generally pretty good. I can pound my own face and come back for more pretty well. What did I feel toward the end of the tune? A little bit fatigued, but not really what I might feel in my past where I just didn't have endurance: my facial muscles burning, and/or my lips tingling. Neither of those 2 things were an issue. My chops simply stopped working right. And 10-20 seconds to start the next tune - and BAM, I'm fine.

Muscular fatigue feels pretty much like we expect.

The tingling I think is actually the result of bruising tissue, but also may be related to restriction of blood flow. I'm not sure how that balances out.

Maybe it was blood restriction without extreme muscular fatigue or bruising?

So what other kinds of fatigue can happen, and are there some specific practice approaches that might help? My engineer brain wants answers.

[Doug Elliott]

Happens when you reverse your pivot and resort to pressure. Or you're not supporting the high range with the necessary oral cavity/tongue position, which also causes more mouthpiece pressure. Or you're playing too loud because you're not getting feedback from the room, or the band's too loud.
Or any or all of those combined.

[AndrewMeronek]

Happens when you reverse your pivot and resort to pressure. Or you're not supporting the high range with the necessary oral cavity/tongue position, which also causes more mouthpiece pressure. Or you're playing too loud because you're not getting feedback from the room, or the band's too loud.

At this particular gig, all of the above probably happened.

Oh, don't forget about band intonation issues.

[baileyman]

Not speaking Doug's language i think he's describing my set that works on muscular effort, that poops out pretty quickly, as the effort needed to keep it going increases exponentially. Eventually the requirement exceeds all available strength. And then the set where the more I blow the better it works, and then for some reason, it just wants to take a rest. And fortunately, with a little rest, it revives.

The difference for me is found in mentally setting for F on the piece, blow, curl the upper in until the F pops out, and then it's ready to go.