Inoltro un'articolo trovato in rete che mi ha incuriosito in merito alla frase:
"Create a suction (like a vacuum cleaner)or negative pressure at the lips."
cioè più o meno...Create un risucchio (come un'aspiraporvere) o una pressione negativa sulle labbra.
ebbene provando nella fase di inspirazione a risucchiare l'aria nella zona delle labbra si ottiene un roll-in naturale che predispone l'impostazione
in modo molto efficiente..provare per credere...
Cosa ne pensate?
Trumpet Performance Master Class
Robert Dorer Minnesota Orchestra REDOREROconicast.net
Imagination To perform well, you first have to have a clear idea of the sound you want to make. Imagination will guide you in all aspects of trumpet playing and teaching.
Your embouchure is guided by your musical thoughts to form the correct shape. Have the trumpet in your hand imitate the trumpet in your head.
Inhalation Bringing air into the body. Stand or sit tall. Create a suction (like a vacuum cleaner)or negative pressure at the lips. Have your tongue low in your mouth to create and big space (like saying Oh). Let the intak of air move the body, not the movement of the body to take in air. Any sound like SSS(tip of the tongue) ICHH(back of the tongue) or HHA(coughing mechanism) in back of the lips is a sign of a restricted airway. Produce a slight suction sound only at the tip of the lips. Like an archer, pull the air in and then release the sound. If the breath stops before the start of the note, pre-pressurization can occur. Pre-pressurization is locking or holding the air like right before you cough.
Release of Sound Use your imagination to create a musical image of the way you want to sound. Let go of direct control over your body and embouchure. Control the sound by having a strong mental image of the sound you want to create. I think of sounding the trumpet, not blowing the trumpet. Sound is created by the vibration of the lips. This does take a free release of wind. The embouchure is formed and developed by the quality of the breath and the musical message. The air blown through a trumpet should be as free as when blowing out a candle. This is not the case with most trumpet players. The cough mechanism engages in varying degrees in everyone who plays the trumpet. This starves the embouchure of energy. We need a thick air stream at the lips to play the trumpet. In the high range the air pressure inside the mouth is quite high. If we have a constricted airway, we have to work way too hard to get the needed air pressure (airflow) to the embouchure. This constriction can be heard but is very difficult to feel. The sound will be tight and choked off to a level equal to the severity of the constriction. We must train our ears to hear the difference in sound when the airway is open or slightly restricted. When the trumpet is sounded with an open airway, it will be free, warm, rich, and easy sounding. When warming up, start the tone without the use of the tongue. When playing higher and higher notes imagine blowing through a smaller and smaller pin hole formed by the lips.
Practicing Bud Herseth would say "never practice, always perform". Practicing is performing a phrase of music over and over to build good strong habits or neurobnical pathways. Make your practice room as intense as a concert hall stage in your imagination. This will desensitize you to high pressure situations. Practice does not make perfect, practice makes permanent. Find the correct way to play in the first place. You can't change habits, but you can make new stronger ones.
There are three steps to practicing.
1. Perform a predetermined length of music (have the attitude of a live performance with an audience, audition panel, or teachers) 2. Ask yourself what you liked about the performance and what you would like to improve. 3.Perform again.
If you make a mistake it is already gone. The trumpet does not have an erasure.
The brain can only concentrate on one thing at a time. Some players try to do step 1 &2 at the same time. You can make a statement or criticize that statement, but you cannot do both at the same time. Play everything perfectly the first time. Do this by finding a way to make it easy. One way is to slow a phrase down. This is boring to me, and I am not learning the skills I need to perform in the correct tempo. With technically difficult passages in music, I like to break the music down into rivo note phrases. I play each two note phrase with a rest/breath in between. These two notes are played in the performance tempo, with the correct articulation, and style. When I feel comfortable with the two note phrases, I add two two note phrases together. Then I combine two of these four note phrases together and so on. It is a way to play technical passages in tempo, in style, perfectly, the first time.
