[Trombone-l] Technical Question

[Jeff Albert]

First off, for me, I have never found that thinking in specific terms about
what my lips are doing, has been of any benefit.  I find thinking about air
does me much more good.

But, since we are going to get technical...

There are two factors at work.  Amplitude and frequency.  Frequency
determines pitch and amplitude determines volume.

I don't know that the string analogy is a good way to go.  The tension on a
string is constant as is the thickness.  Frequency is determined solely by
change in length (where we put a finger) and amplitude is determined solely
by how hard the string is stimulated (plucked, bowed, whatever).

In our embouchure systems, the length of the vibrating portion of the lip
changes, as does the tension, as we change registers.  Free buzz, or buzz a
rim in a mirror and watch what happens.  It is a complex system of length,
and tension, but it is all driven by air, and controlled by the resistance
we provide at the chops.  To play high, our chops only need to be strong
enough to hold the buzz together with that amount of air passing through
them at that speed.  The real power of the sound (and high pitches) comes
from the air speed.  The chops only require the strength to keep from
flopping out under the pressure of the air.

So, in our system, frequency and amplitude are determined by the more
complex relationship between amount of air, speed of air, length of
vibrating lip (which changes), and to some extent size or thickness of
vibrating lip (which can also vary as mentioned in an earlier post).

As I often tell my students, we don't necessarily need to think about the
reality of what is happening with our chops.  If we have a thought that gets
the desired result, then it doesn't really matter if that is what is really
happening.

SO...I think of very fast, very focused air as I extend into the upper
extremes of range.  That's all I think of.  I probably do purse slightly,
although I don't like that term.  Come by and play some duets and we can
take a look and see what is really happening, although I'll still just think
of fast focused air, because that thought works for me.

Jeff

On 9/22/06, Samuel Keyser <keyser at mit.edu> wrote:
>
> Dear T-listers,
>
> I have a technical question about playing tenor trombone in the upper
> registers.  I'd be interested in the opinions of the listers.  I have
> heard several of you on CDs and via streaming.  Obviously, you know
> what you are doing.  I'd like to know what you are doing.
>
> In particular, here is my question. If the upper lip is the lip that
> is vibrating (as I recall reading in a recent thread), then it seems
> that the higher one plays, the tighter the upper lip edge should be.
> That, I take it, is the counterpart to moving one's finger down a
> violin string toward the bridge, i.e. shortening the vibrating length.
>
> Assuming the truth of the above, then it ought to be the case that
> the higher one goes, the greater one tries to spread the lips. I take
> it spreading the lips is tantamount to shortening the vibrating
> length of the lip qua string.
>
> However, a professional trumpet player friend of mine tells me that
> he does exactly the opposite; namely purses the lips as one goes up.
> He is a fine player, pure upper register tone and plays up there
> effortlessly.  Whatever he is doing works for him.  And lip pursing
> is part of what he does.
>
> What do you think?
>
> Thanks.
>
> Jay
>
>
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