A trumpet's mouth: how to start without forcing his lips
The sound of the trumpet is born on his lips. Thus, his mouth forms, his buzing trains and his resistance is built without squeezing his nozzle.
The embocture of the trumpet forms with firm curfew, the centre of the lips loosed to vibrate and the nozzle supported with as little pressure as possible, more or less focused. buzingso the first step is to learn how to make them vibrate without a trumpet, then at the nozzle alone and only at that time at the instrument.
The lips are small muscles that get tires.That's why the rule at first is to play little, good and with rest and leave the sharp for as soon as the air and the purple are ready.
To sum up
- The sound comes from the buzzing of his lips and first trains without an instrument and then at his nozzle.
- Founding police stations, centre of loose lips and uninflamed cheeks.
- The nozzle's pressure should be as low as necessary: the sharp ones come from the air and from the mouth, and do not tighten them.
- Rest as much as you play: short sessions with pauses build resistance without hurting their lips.
- With brackics you can play but we have to put down the pressure and talk with your teacher and with your orthodontist.
How the embocture forms, step by step
- Gather your lips as if they say "mmm," without squeezing them or intermittent them between your teeth.
- He claims the curfew, without stretching them to their sides or fringing them forward: they stand still as they are anchored. They hold them up and the centre of their lips remains loose to vibrate.
- Without a nozzle, blow an air jet at the centre till his lips are buzzing. That buzzing's the buzing.
- Put a focused nozzle with a similar ratio on the upper and lower lips, or something more about the upper. The exact ratio depends on your teeth and your lips and your teacher sets them up.
- Support the nozzle with fair pressure so that the air doesn't escape and come back to a buzzer: now the nozzle amplifies the sound.
- Just then put the nozzle into the trumpet and play a comfortable note with no pistons, such as the serious Do of the additional line or the Sun of the second line.
The shape of the teeth, the thickness of the lips and the jaw change the ideal placement and thus copies of a photo from a famous trumpist are no good. What they do share all good embulations: firm cuts, loose centre, uninflamed cheeks and low pressure.
Buzzing: lips, nozzle and trumpet
| Etapa | What are you doing? | What's his use? |
|---|---|---|
| Lone lips | Fingerless jug notes and small sirens | It strengthens his mouth and forces him to use air, and doesn't put pressure on him. |
| Nozzle by itself | Fold long notes, sirens and simple melodies | He trains his ear and a couple vibration at the centre of his lips |
| Trumpet | Play the same notes and melodies on the instrument | Take to the trumpet the buzzer you have built |
- Sirens at the nozzle: He slips his buzzing from serious to acute and back, without cuts. If cut at some point, there's what we have to work.
- Imitate notes: He plays a note at a piano or an application and jug at his nozzle till they match.
- Simple melodies: A child's song or a five-note scale buzzing at his nozzle shows quickly if his ear goes leading his lips.
Two or three minutes of buzzing a day are enough. Moreover, it's no better: buzzer without the resistance of the instrument quickly tires his lips.
Pressure: The most pressurized error
Filling his nozzle against his lips works a few minutes, especially to reach sharp notes, and that's why he's so tiring. The problem with his crushed lips vibrates worse and they get tired a lot earlier: his sound gets thin, his notes stop answering and his mouth remains tiring the following day.
Test of minimum pressure
- Touch a comfortable note and hold it.
- While it's ringing, slow down the nozzle's pressure till the air starts to get out.
- That's your work pressure.
- Hold the trumpet with his left hand, without finding it face.
- Keep the pinique right out of the pipe hook: if you put it in, you'll end up with a trumpet at his lips. That hook's to get through pages or put his face with a hand.
- A light tipple of the nozzle after playing is normal and a profound tipple that lasts a long time is a sign that you are squeezing.
A 10-minute warming
| Minutos | Ejercicio | How to do this |
|---|---|---|
| 1 | Breast | Low and long inhalations with no trumpet |
| 2 | Buzzing | Alone lips and then nozzle: long notes and soft sirens |
| 3 | Long notes | From the second line from the Sun down, with half-lives, soft and without pressure |
| 2 | Flexibility | Switch note without moving pistons with air only |
| 2 | Scale | Do more than an octave, slow and with methonomic |
| Pistones | Notes |
|---|---|
| To the air | Do - Sol - Do |
| 2 | Yes - Fa ∞ - Yes |
| 1 | If - Fa - If - |
| 1 and 2 | La - Mi - La |
| 2 and 3 | The - My - The |
| 1 and 3 | Sun - re - Sun |
| 1, 2 and 3 | Fa-Do-Do-Fa-Do |
At first, make only the first two notes from each row and add the third as it goes out without tightening. They are written notes: the trumpet itself bemol sounds a tone lower, so in a [tuner]](/herramientas/afinador) Your written Do appears as if. And leave the sharp for the end of practice, never for the start.
Resistance: play little, good and with pauses
The endurance is built as that of any small muscle: with regular work and rest. A very repeated rule among metal teachers is to rest as much as you touch: if you play a minute, another one will rest. At first, several short blocks spread out at day give more than a long session.
Signs that it's time to stop:
- The sound gets thin, blown or cut.
- The grades that came out well at first are no longer responding.
- Your lips are swollen or numb.
- You start to tighten the nozzle to make up for it.
At the end, serious and soft notes and a sharp with loose lips, as with a horse, help to relax his mouth. If the following day his lips are too tiring, the previous session was too long or with too much pressure. To work the air independently, look [breathing for wind instruments]](/blog/respiracion-para-instrumentos-de-viento).
Brackics and the case of thrombone
With bracketing you can play a trumpet but the embocatura changes: the lips lean on the metal and at first uncomfortable. Put down the pressure even more, use the protectors or wax that indicates your orthodontist and tell your teacher that you have been treated. When they withdraw the bracketes something similar happens: a few weeks of readjustment come. Any nuisance that doesn't leave, contact your orthodontist.
The same principles are found in the trombone (firm curfew, loose centre, low pressure) but the nozzle is bigger and the more serious and widespread buzzing, so it vibrates a bigger area of the lips. thrombone classes The embocatura is built with the same logic of buzing, long and linked notes.
Common mistakes of an embocture
| Error | What's that about? | Corrigendum |
|---|---|---|
| Input cheeks | Fold and low-monitoring noise | Final police stations and conduct with a mirror |
| Stretch your lips as in a smile | A thin and sharp sound that doesn't come out | Final police, without stretching them to the sides |
| Move the nozzle for each note | Color changes from note to note and lacks stability | A single placement and changes are made by air and lips |
| To start with the sharp | Tired lips within minutes | Warm up at the mean and serious registration |
| Play always strong | Rough sound and low resistance | Long piano and pines |
| Attack with his throat | Notes that start with a bad blow | Begin every note with your tongue, as if you say "your" |
That's how the purple looks and hears better from outside [trumpet classes]](/clases/trompeta) The teacher checks them at every session during the first few months, just as the habits are shaping.
Frequently asked questions
What nozzle do you use to start with the trumpet?
The one that brings a study trumpet, often a 7C or similar, usually works well at first. To trade it with a smaller one to get awnings faster is a common error. We explain this in how to choose your first trumpet.
How long a day should a beginner play?
It depends on age and endurance but at first short sessions are sufficient, spread out at day and with frequent rest. It's better to stop with his lips fresh than to end up with exhaustion. Your teacher will prolong his time.
Why do they have different grades with the same pistons?
Because each combination of pistons gives several notes, and what sounds depends on the air's velocity and the tension of the lips. It's the basis of those linked with flexibility and the reason why the embocture matters so much to the metals.
How do I practice without disturbing the neighbours?
The study satico greatly reduces the volume, and the buzing at the nozzle alone can be heard far less than the trumpet. Use them as a complement: the resistance of an open instrument should also be trained.