TromboneChat

The other day I was reading some documents published online and a trombone player said that mouthpiece pressure used should be the same you would feel if you simply turned your hand palm down and put your mouthpiece on the back of your hand (sorry, I do not recall who said it). I took it a step further and just tilted my head way back and balanced the mouthpiece on my lips. I don't know about you, but it was not even enough pressure to make a seal for me. There is no question that I am using too much pressure to get into the high register so I am assiduously working to correct that, but that little pressure doesn't seem to work for me...yet at least

What's your opinion about the pressure being as light as the mouthpiece balanced on your hand (or face)?

Thanks,
Mike

I wouldn't seal either.
Back when I gave in-person lessons... Whenever that was... One thing I would often do was to hold the student's horn while they play, so I could feel how much pressure they use. Then I'd have the student hold my horn while I play.

Guess the result.

That’s a great idea, Doug. Hopefully we’ll all get back to normal, in-person activities again later this year. This year has been a...challenge (not the word I wanted to use).

Doug Elliott wrote: ↑Tue Feb 16, 2021 8:49 pm I wouldn't seal either.
Back when I gave in-person lessons... Whenever that was... One thing I would often do was to hold the student's horn while they play, so I could feel how much pressure they use. Then I'd have the student hold my horn while I play.

Guess the result.

Oh, man, you should try Rene Lamart exercises. These are long tones in time and varying pressure with the time, just like crescendo diminuendo. They feel easy in mid and lower registers where most people can muscularly support their buzz, but it gets interesting somewhere higher. These revealed for me, for instance, that as I got to a certain note the chops were trying to subtly reposition (curl), but my accustomed pressure pinned the chops against the teeth so they were immobile, immobile and fighting to bend the rim of the piece, a losing battle. Ugh, pain. Anyway, Lamart taught me to get familiar with lower pressure, and since then all kinds of interesting things have happened.

The high notes are produced by your buzz. A firm aperture with air pressure behind it blowing air, and then a mouthpiece sealing over it. Instead of the hand trick, tape or cork your mouthpiece shank closed. Then fill your mouthpiece and your mouth with water, and put it up to your lips to see at what level of force it starts leaking water. That helps you feel what the seal needs to be to work. You need to make sure the firmness of the aperture is not linked to the tension in your bicep.

baileyman wrote: ↑Wed Feb 17, 2021 6:04 am Oh, man, you should try Rene Lamart exercises. These are long tones in time and varying pressure with the time, just like crescendo diminuendo. They feel easy in mid and lower registers where most people can muscularly support their buzz, but it gets interesting somewhere higher. These revealed for me, for instance, that as I got to a certain note the chops were trying to subtly reposition (curl), but my accustomed pressure pinned the chops against the teeth so they were immobile, immobile and fighting to bend the rim of the piece, a losing battle. Ugh, pain. Anyway, Lamart taught me to get familiar with lower pressure, and since then all kinds of interesting things have happened.

You just answered your question about "What is embouchure efficiency" from another post. When doing things wrong with your embouchure to make-up for other issues you are being inefficient with your embouchure.

jthomas105 wrote: ↑Wed Feb 17, 2021 10:08 am ...
You just answered your question about "What is embouchure efficiency" from another post. When doing things wrong with your embouchure to make-up for other issues you are being inefficient with your embouchure.

Sorry, don't get it or the connection.