Exercise for Focusing Playing Aperture

–

This is part III of a V part series on efficient tone production.  Click here for Part I.

–

Training the Playing Aperture

Now that we’ve outlined how you can use the air more efficiently while playing the trumpet, it’s now time to discuss the next critical element of easy tone production – focusing the playing aperture. 

To do this, we’ll first remind ourselves how the aperture is meant to respond to the air. Then, you’ll learn a tried-and-true exercise for focusing the aperture while allowing an easier, more-controlled response.

–

 Relate the Chops to Singing

Remember that the aperture is the hole between the lips that the air passes through while you play. And each note is created when the aperture resists the air flowing through it with just the right amount of coordination tension.

This crazy high-wire act is what produces the proper frequency of vibration at the lips which then excites the trumpet into wailing out that particular tone.

And if you’re thinking that learning this seems downright impossible – don’t worry. Your brain is already familiar with the basic concept as this is just how the vocal cords work. 

Therefore, coming back to the general feeling of vocalizing is a good way to reinforce that familiar feeling as you practice exercises like the one below. 

–

Mouthpiece Magic

The following exercise has been very helpful to me in training a controlled, compact aperture which easily responds to the passive release of the air. 

It makes use of the mouthpiece, which you may (or may not) find difficult at first. If the mouthpiece does present a challenge, just know that it’s the practice procedure that’s most important – not the way it sounds.

The reason I’ve come to love the mouthpiece is because it develops control of a more compact aperture than is actually required for trumpet playing. And, this little bit of margin seems to help me.

However, it’s just this difference in feeling that leads other players to stay away from the mouthpiece entirely. So, give it a go and see what you think. 

–

Exercise #2

To begin, take a full breath, and feel the body gently expanding. Then, slowly release the air while allowing the shoulders to relax.
 
Imagine that the upper body is resting on a supported ball of air (something like a filled up balloon), as this is the feeling that you’ll aim to achieve while playing the mouthpiece. 

Next, set the mouthpiece to the embouchure, and take the same comfortably full breath. This time, release the air through the mouthpiece while relaxing the shoulders.

Ultimately, your goal is to be able to hold out a soft and steady low C. However, if nothing happens, you get no tone, or you can’t control the pitch – it does not matter.

What does matter is reinforcing the feeling of a steady release of the air through the aperture (and mouthpiece) while the shoulders relax. This sets the parameters for playing and teaches the embouchure to focus the aperture accordingly.

Now, set the mouthpiece down for a moment and check back in with the feeling of slowly releasing the air like we did in the first exercise.

You may also find it helpful to sing the pitch you’re attempting to buzz on the mouthpiece. While singing, take note of the gentle, steady exhalation and easy response in the vocal cords. 

After this playing reminder, come back to the mouthpiece and aim for that same feeling while trying to buzz a soft and steady low C.

Repeat this procedure four or five times, setting the mouthpiece down to check back in with this feelings after each attempt.

–

Remember, 90(ish) Days

In time, the aperture will focus inward and begin responding to the steady release of air. Take note that one we’re employing other playing habits (excess pressure, blowing hard, etc.) we’re basically trying to force this response.

If you are having trouble with the mouthpiece, I’ll share that it took me the prophesied three months to be able to do much at all. And through those first 90-some days, I really sucked at it.

So, be patient, and know that with some gentle exposure you’ll soon be able to hold a soft, steady low C with nothing more than a gentle release of the air.

Once you feel comfortable holding out the low C (with a reasonable degree of steadiness and somewhat softly), go ahead and supplant the previous exercise with this one as your oft-repeated practice ‘reminder.’ 

The idea – as crazy as it may seem – is to tell yourself that ‘all of playing can feel like this one note.’

And guess what?

It really works!

–

Up Next: When to Rest Your Chops

I hope you enjoy these past two exercises and meditate on what they can do for your playing. They have been a godsend for me, and I’m sure you’ll love ’em too.

In the next article, we’ll talk about one of the most confusing topics on trumpet playing there is – embouchure fatigue – and how to know when enough is enough.

Happy trumpeting, and talk to ya soon.

Read the next article –>