pippoMASO very welcome

Marvin Campbell So glad some of my ramblings helped.

Music66 That is very kind of you to say. Just some observations that I had. Trumpet playing is a quest for everyone. I always hope that some of my explanations and ramblings unlock the door for someone. Best, Jon

Absolutely this is incredibly similar to what is shown in the 1987 Jerome Callet Super Chops book with emphasis on the chin bunching upwards. Except Jon explains the total mechanics package in a way that is easier to understand.

Roberto Duran I have done those jobs briefly among other things including working on a houseboat dock. Both my parents were teachers. I couldn’t help but learn from them as that’s what they did their entire life is teach. Thanks for the kind words I do appreciate that.

Carly Lavine couldn’t be me😭

Sorry but unfortunately he passed away :(

wayne worthy Well I certainly am glad that you were able to gain something from my insanity. Thank you so much for the kind words. Best, Jon

Carl Wilson Wow that’s very cool discovery is always fun

@@Rufftips 👍

Glad tohear that Best, Jon

Alper Unal hope some of my madness helps

Miles Spearman I would check out this particular video playlist. kzfaq.info/sun/PLjtQbOLXI0BB_2bn5GjxlWCYsEM8DDVTH I would work out of the Earl D Irons book carefully following the instructions he offers. qpress.ca/product/27-groups-exercises-earl-irons-pdf/ This video also has some good information about how to approach things. kzfaq.info/get/bejne/Z5mnrLiJv9CViGw.html

Carl Wilson That is fantastic be sure not to overdo things this is new territory take your time getting used to it Best Jon

Chris I think the most important part of jaw position is the vertical alignment of the bottom and top teeth. This can determine our success in the upper register. If a person has a rather large overbite there may be some physical challenges to playing in the upper register. Some experimentation with both vertical alignment and how open or how closed our teeth are may produce some interesting results.

Night Skylord well thank you very much for the kind words

Jp Pirr I told you I was gonna do a video about this. I don’t think about what I’m doing it just happens. So in order to explain what I’m doing I have to over analyze and then break it down into simple broad steps or actions. So tongue, jaw and lip all find their place according to the notes I’m attempting to play. So obviously where all of these things are is important for success. Any attempt on my part to tell you exactly where this position is, is futile. You will have to figure this out. When you get it right you will hear the difference and discover the movement or feeling. Just like if I say clench your fist you understand what I’m saying in the general sense. I cannot explain to you exactly where to place your fingers into your palm. All I can do is tell you place the tips of your fingers into the palm of your hand and fold your thumb across your curled fingers and squeeze. It is impossible for me to describe the exact spot on your palm each finger will lie. It is also difficult for me to explain how much pressure to put when you squeeze to achieve an optimal clench. These things you will discover for yourself over time and you will not think about finger placement on your palm you will simply enact a motion that is clenching your fist. So you will have to discover how important position is and where that position is and you will not be thinking exact placement you’ll be thinking feeling and it will be confirmed by your success. Best, Jon

Thanks Jon for your videos i enjoy them and will learn from them i appreciate your responses !!

FnkBssGroov63 Stomvi VRII

Back in the 80s everybody was putting Getzen water keys on Bachs.

John Piettro the purpose of the video is to promote some thought about where your tongue might be and what might help get into the upper register. A secondary way to think about how we articulate is as if you’re spitting. The tongue, when in the position you described can easily reach up and block the airflow by sealing the space between the bottom lip and the upper teeth.. It is the release of air that is actually making the attack so all we have to do is stop the air for a moment and release it. When the tongue is in a forward position it is quite simple to activate tonguing or articulation. This is why I suggest using the syllables They and Gay while multiple tonguing. Ta and ka are articulated much higher in the mouth. For many players that have a tongue forward approach the traditional way of multiple tonguing is extremely difficult and does not necessarily work.

John Piettro If you reference this video I’m playing the lead part and there is plenty of articulation happening in the upper register in this tune. I use a very tongue forward position and I tongue by sealing the space between the bottom lip in the top teeth. kzfaq.info/get/bejne/o7p0f8ih2NmUnYU.html

This is very difficult to describe the action and the feeling. To keep my lips flexible and supple I do not pull corners back it think about pushing forward as I ascend. As you try things you will discover something that works for you. Always remember sound is the key. A good full sound is the goal. If you achieve this goal chances are you are doing things correctly. Best, Jon

Great, thank you sir!

Killer info Jeff

GeroLubovnik I think it’s fair to say that what I’m doing is probably very close to a tongue controlled embouchure. I have not studied the tongue controlled embouchure material so I do not know if it is parallel or the same. I do know that the position of my tongue and how I use my tongue are very important in what I’m doing. I would not want to discount what is happening with the jaw position and the important role it plays.

AManCalled Da-da ha

you shook me There are a couple things that have to be defined here to appropriately answer this question. First you’re playing a B-flat trumpet open fingering if you’re playing the correct pitch in the staff you are playing a written third space C. This note is a concert B-flat. If for some reason you are playing this note a half step higher It would be a written C-sharp or concert B. So if For some reason you are playing this note a half step high the first thing I would look at is if you have your tuning slide pulled out. In an Internet conversation it is almost impossible to diagnose what is happening in this situation

@@Rufftips When I play with open fingering I get somewhere between concert C and Concert C sharp, I was thinking It's an embouchure problem, but when I try to lower the pitch with my mouth It just sounds terrible. Also the tuning slide is fully closed, If I open it a little bit I can get a proper Bb? or I have to correct my embouchure? Thanks for your answer!

you shook me Using a tuner or matching pitch to a piano you should be able to match the concert B-flat by playing open C on your trumpet by pulling the tuning slide out until the pitch is correct. When the tuning slide is all the way in we play Sharp

@@Rufftips I was wrong then because I though I needed to get a perfect Bb with the tuning slide all the way in, I thank you very much for answering! I'll sub

This is relatively advanced conceptual mechanics. I think you have a long way to go before you start worrying about these type of mechanics and what you’re doing. I would concentrate on learning how to play music and let the mechanics develop through that process. It is when we as players run into a block in our progress that we need to address mechanics. Best, Jon

Rufftips Thank you.

Fady Maher I would look into the Bach 19OS 37 www.conn-selmer.com/en-us/instruments/band-instruments/trumpets/190s37

@@Rufftips Bach 190S 37 is better than Yamaha Xeno 8550

Fady Maher This is an individual choice I would compare them either trumpet is a good instrument. Best, Jon

Gregory Oleynik This is quite correct I do talk about this in a couple other videos

Adam Major Stomvi VRII

Brassplyer ok

Darryl Jones Without the totality of all the motions working together I doubt the aperture would change because you cannot change your aperture without changing other structures in your body therefore the entire system must work together. Best, Jon

Rufftips I basically agree. But ultimately the embouchure gets the causation credit. Tongue and jaw are ancillary actions I don't think the tongue literally "does something to the air" to make the pitch change. The tongue does not and can not compress the air as is often claimed. Nor does the size of the oral space directly influence pitch. Oral resonance matching is another popular myth.

Darryl Jones It is like saying the hands control the bar as you do a bench press. It is the functionality of the complete system that allows you to control the bar as you lift it off your chest to an extended position. “I don’t think” I would rather not get into some kind of online disagreement about what we think. I offer concepts that hopefully provoke thought. It is incredibly difficult or nearly impossible to describe how to change your embouchure without changing other things in your face. Because of this fact I find it much simpler to describe things that, to some degree we can feel. In this way the viewer might have an opportunity to gain a concept of motion or change in a larger action that has a resulting effect on the outcome. For me, for me I cannot make a change in pitch without a motion of my mouth. This includes the jaw and tongue as they are connected. I will say this once again. For me I cannot make a change in pitch without some motion that is happening to my mouth. This includes the tongue and jaw. This has an effect on pitch for me. If you can change pitch with no motion that’s fantastic and I implore you to put that on the Internet somewhere so others can understand how you change pitch. In this way those that do not find help in what I have to offer just might find it in what you have to offer. Best, Jon

I am not exactly disagreeing with you. And I think you are on to something that is very important. That is, explaining things in terms of actions that are evident without resorting to some pseudo scientific explanation regarding air speed or air compression Etc.. There are reasons that the tongue moves in conjunction with the lips that I cannot get into now but congratulations for recognizing that coordinated movement and using it as a teaching point. There seem to be many who think that the tongue movement alone will cause some change when it is easy to demonstrate that it does not. If one is reasonably observant they can recognize that the lips are changing in conjunction with the tongue movement. And it is not at all due to some change in air quality, or the lips "reacting" to some imagined air quality.

I am forever sorry I misrepresented this hollowed ground. I am not claiming to teach this or any other pedagogical dogma. The result of pivoting, a “sliding motion of the mouthpiece & embouchure up and down the teeth” creates a change in horn angle. I suppose I reverse engineered that meaning. Please feel free to provide a link so the curious can discover the true, “pivot system”.

Don Dahlberg I believe in the video I say some might call it a, or the pivot system. I personally am not describing this as the pivot system. This is the only time I have ever mentioned the pivot system in passing in any video. Those that have studied the pivot system will quickly recognize that this is not what I am doing or suggesting. Those that have never studied this might just be compelled to search it out. As you see in the video it is mentioned very briefly and in passing. This is simply to acknowledge that some might make this statement. You’re not the first person to address this statement. Having such detailed comments in the comment section provides excellent information for those that are interested in learning more about the pivot system. The overwhelming majority of the feedback I have received about this video is exactly the type of feedback I was hoping to get. This came from players that did not understand the implications and benefit of jaw position and jaw movement. I literally had a gentleman speak with me several days ago about this very video. He said it helped him regain his register back to double C. It was the missing link for him. That my friend is the purpose of this particular video. It has only been Reinhardt disciples that have come to Defend the teachings of this great man and call out the fact that this is not the pivot system. Once again please listen closely as to what I’m saying. I’m not saying it is a pivot system. I am simply stating that some may say this. I do not mention Reinhardt anywhere in the video. I personally did not describe what is happening as the pivot system. As with any of my videos I try to keep it general as much as possible. I do my best to avoid subscribing to a particular school or Dogma. My videos are simply information to those that may not have access to teachers. I apologize if you found it offensive that I got anywhere close to misrepresenting Dr. Reinhardt‘s teachings. Thank you for setting the record straight. Best, Jon

@@Rufftips nah, no apology necessary. I'm not offended and I actually think it's funny how some Reinhardt disciples are hypersensitive when non-Doc-students start throwing around terminology that Doc used. I'm a Reinhardt discipline, but not a "Doc-Zilla." That "cease and desist" phrase was said tongue-in-cheek. All in good fun. Rock on, good videos.

@@dondahlberg2103, this is why students of Reinhardt's should abandon the term "pivot" altogether. The greater field of brass musicians defines that term as tilting the horn up and down. @Rufftips trumpet stuff, That said, I would agree that if you use the term "Pivot System," which is specific to Donald Reinhardt's books/teaching, it's good to be accurate in how you describe things. Everyone "pivots," it's not something you need to be taught to do. But it is something that is good to be aware of and learn about. It can help individual players fine tune their pivot and also help teachers diagnose and correct embouchure issues in their students. Thanks for the video!