But for upstream players that usually plays with much more lower lip in the mouthpiece, the lower lip vibrates more. And because the lower lip is potentially stronger, the upper register will be easier accessible.
In the process of moving the jaw more forward, my lower lip started
to vibrate much more after a couple of weeks. (It took some time because
it was a bit stiff caused by the old way of playing.) This gave added sing
to the tone, which became fuller.
When I started moving the jaw forward, other muscle groups are being used more. I really got to know that my muscles in the chin and the corner muscles were very weak.
The shape of the aperture varies with the degree of puckering, smiling and pinching. The most pleasant sound is obtained when the aperture is oval. Smiling and pinching flattens the aperture, while puckering rounds it.
There must be balance in the musculature for the aperture to stay the
same shape over a wide range. Very often, the muscles that controls the
pucker are not well developed.
The more muscle force that is required to play, the flatter the aperture gets. This limits our range, and also has the unpleasent result of a changing tone quality when ascending or descending.
Developing strength in the muscles that pucker (corners) requires special attention. Ordinary playing tend not to strengthen these muscles well. Personally, I find that pedals played for strength and lip buzzing, are the two most effective ways of strengthening this muscle group.
The lips should not be forced together, but held as close as possible
without pinching. To be able to play with this setting, the lips must be
supple. Usually, softening of the lips are required, so a more concentrated
buzz point can be developed. More corner support and a little more pucker
Playing pedal tones with closed lips can be of great help in developing a concentrated buzz point.
Closed lips results in a concentrated and brilliant tone quality, often preferred amongst commercial players. The tone quality might be too bright for players that like a dark sound.
Raphael Mendez talks about loosening the lips in great detail in his book. Jim Manley and Bill Carmichael preaches the importance of playing with closed lips.
A trumpet player with a stiff center will tend to open up the aperture. This is a very inefficient situation that demands use of more strength than necessary, cutting endurance and loss of the top register. Much embouchure motion is required causing loss of flexibility.
The recipe for the problem is lip fluttering and buzzing low and soft notes every time for warming up and warming down.
This condition can be confused with stiff lips, because the end result is the same, a too open aperture.
But in this cause, the open aperture is a result of excess rim friction. The only solution is to forget about it, and play the trumpet until the lips gets back to normal.
For some players with big lips, playing in the red is almost unavoidable.
To solve the problem, lips can be rolled in, so the lips will fit inside
normal rim sizes. Playing with closed lips will also help in getting out
of the red.
If it still is impossible to play with all the red inside the mouthpiece, the important issue is that the rim is securely placed on the ring muscle and not on the muscle less red tissue.
It can be noticed that quite a few big lipped screamers play (or played) in the red.
I think that players with normal and thin lips should not play in the red. Such players have much weaker tissue, which will not withstand the abuse without being damaged.
It seems like equipment feedback closes the aperture regardless of the embouchure that is used. The more the lips are rolled outwards, the more the feedback will close the aperture. Rolling the lips inwards, the feedback will also have an effect, although less in magnitude.
In my big band, we had a screamer that plays the baritone in a wind ensemble twice a week. He didn't have the opportunity to practice the trumpet, but he could still shake the walls with his double C's.
Some other prominent doublers are : Maynard, James Morrison.
If you have the opportunity to hear Morrison, do it. He is great!
More about doubling on Nick Drozdoffs page : Myths
Copyright (c) Rune Aleksandersen 1997 - 2002