WHOA! HALLELUJAH! I am quite ELATED to hear that another person with high register prowess (Louis Dowdeswell) has come to the truthful and correct realization that the importance of AIR is OVERBLOWN (pun is absolutely intended) in the world of trumpet pedagogy. High notes are about lip compression and high frequency vibrations, NOT about air speed. The air speed fallacy has been perpetuated for SO many years and it doesn't help that people with really big names who have a lot of credibility are STILL saying this nonsense. So every time someone who has an awesome high register and has credibility among trumpeters finally sees the light and states the truth, it's a giant step forward for trumpet pedagogy and the trumpet-playing world. So now the list is growing of some big name players who "GET IT" and have it right. Lynn Nicholson says in his "Maynard Ferguson Protocol" videos that faster air is louder, not higher. Jim Manley has said on several videos that it's not about the air, and now we have Louis Dowdeswell coming to that realization as well. This list is finally growing and that's a great thing for trumpet pedagogy. It's got a long way to go before it becomes generally accepted, but make no mistake, it IS the truth! It seemed that Mr. Baron tried to steer things in the direction of asserting that air speed is the key when it comes to high notes instead of air quantity, and I was glad to see Louis clarify that no, it's not about air speed either, it's about lip compression and high frequency lip vibrations. Bravo, Louis, I'm so glad that you have come to that realization. It's very refreshing to see that Louis, as much of a natural talent as he is who was playing higher and stronger at the age of 17 (or younger) than many professionals is still seeking to expand his knowledge and trying to improve. That's a true student of the instrument, dedicated to his craft.

I am constantly amazed at the variety of theories and approaches there are to playing the trumpet. We all have the same goal in mind, but the method of getting to that goal is drastically different from player to player.

Throat stopping for years. Thanks for the lightbulb moment. Watched this about a year ago and have been very consciously using tongue stops and my playing has become much more efficient.

I hope one day most of the trumpet players check out that the trumpet is „NO“ Wind instrument. It is a “compressive”instrument... no matter what GENRE.. thank you guys for sharing...

Absolutely Absolutely great..same happens to me…thanks all of you for sharing your knowledge 🙏😌

I started with The Pivot system about 10 years ago and my playing improved 200%

I played with Louis when he was younger in a big band run by his mum. He was already incredible when he was 15 and yes he had a huge amount of talent but also a huge work ethic to learn how to play in the upper register and was totally focused on this. Not surprised by his success at all - without doubt the best trumpet player I’ve ever played with.

Great session!

Really interesting stuff! Thank you!

WOW!! So cool with so much to think about. When is part 2 coming? Can't wait

You have a great compression approach and the Reinhardt system works as play wonderfully.

Just a quick correction on lip buzzing ("free buzzing") - Reinhardt was not opposed to upstream players lip buzzing. In fact, he thought it was beneficial for all embouchure types to build strength in the corners and firm up the lower lip. He only recommended that up stream players lip buzz as an exercises, and not to play in this manner. Source: page 170 of the Encyclopedia of the Pivot System.

Think of the mouthpiece rim as being on a train track. The Reinhardt “pivot” based on your embouchure type really should’ve been called a tracking system. In fact, taken literally, if a IIIA “pivots” up they might interpret that as pivoting the bell up which brings the mouthpiece down which is the opposite direction it should be tracking. Also the track isn’t always straight up or down. Sometimes it could be up and to the right, up to the left for IIIAs and down to the left or right for IIIBs. Everything is subtle tho. We always tend to over do everything so less is more in this case.

Quick question: my way of playing after 2 years kinda changes by itself, the upper lip goes down in the cup and I play more comfortably like that but I can’t go Higher that D .. but with the old way I hold High A. But it’s so hard to do it and only use a little of the upper lip.. half of it stays outside or on the rim.. Is it ok?

Guilty as charged on practice routine. My biggest problem is consistency.

Mike Bogart plays with his horn way down the entire show. I learned to play with my horn more and more downwards as I play higher notes, especially notes of long duration like in "You Can't Fall Up".

Deberían de subtitular al menos en Español para nosotros los latinos, gracias, sería muy bueno que nosotros también aprendamos más de vuestro conocimiento.

WOWEEEEE!!! I feel as though I had just taken a course in quantum mathematics and now I’m going to start a nuclear physics!!!! I-yiyi!!!

@anthonycarbonaro7890

2 жыл бұрын

😂

Let’s not forget the air thing is emphasized for beginners not professionals. Saying air is overused is like saying gas in a car is overused. It’s crucial and other factors matter too (oil, trans oil, tires, brakes, etc..) As someone who has beginning students, the really don’t use much air!