When preparing to perform a solo or a whole recital, there are a lot of factors that motivate our practice. To have a polished end product we meticulously learn notes, rhythms, and technique, with metronomes, recording devices, and more. And, if you are like me, I practice getting through the complete solo or program to make sure I have enough endurance.
What is the right answer! For me, I always let sound lead. Are you ready for the big HOWEVER?
What beginner mouthpiece sizes did our Denis Wick Buzz commnunity use as young musicians? While there is a lot of variety scattered throughout, standards like the 7C for trumpet and 12C for trombone were the most popular. If you're curious, see the complete list here.
The rim of the mouthpiece has a large effect on comfort. In addition to comfort, the contour of the rim does have effect on your performance flexibility between partials and range. Before we answer this question, let me preface this that all statements about what a mouthpiece will or won't do for you are merely a place to start. If you want support in your range, you might look towards finding a smaller diameter or shallower cup. However, after trying a smaller shallower mouthpiece, you may find that you actually prefer a smaller diameter with a deeper cup, or wider diameter with a shallower cup... or none of the above! Based on the sound you want to create, your facial anatomy, and a host of other variables, you may not fit solidly into a mouthpiece "rule of thumb" but having a place to start your search is key.
When we think about cup depth of a brass instrument mouthpiece, we generally think about how they will affect the sound. Generally, a large cup will provide a dark sound, where a shallow cup will produce a brighter more projecting sound. Is sound the only thing that the cup affects, though? We recently polled our Denis Wick community with this question: Does the cup depth affect articulation? Each player is different, and while we here at Denis Wick have some specific ideas about how the right cup contour can assist your performance, we also realize each player has their own experience with this, and feels support from a mouthpiece in different areas.
This installment of Brass Advantage was written for music teachers faced with the daunting task of choosing students to switch to tuba to facilitate the orchestration of their band as well as tuba players seeking advice and counsel from a professional tuba player to improve their performance qualities.
Is it as simple as find a "high note mouthpiece" or the "endurance" mouthpiece, put it in the instrument and you'll have better range/endurance? How do we prepare to play the "tools" in our mouthpiece bag that are not necessarily home base for us? Denis Wick trumpet artists Josh Rzepka, Preston Bailey, Chris O'Hara, and Arnetta Johnson have some thoughts for you if you're looking for an answer! Here is a clip of our recent webinar "It's got to be the mouthpiece... or does it?".
Playing by ear and working in groups form the foundations of both my teaching and practice. In this article I look to explain why I think it holds so much value and how I think anyone can improve their enjoyment of playing with some time spent playing without music each week, with even more success if you can find others to play with too.
Summer is a great time to look for a new mouthpiece. Adjusting to a new mouthpiece can take a little time, and the summer provides just that. Since a mouthpiece will not teach you to play higher, lower, louder, or softer, the summer is also a great time to hone your skills in these areas. Stay tuned to the Buzz in the upcoming weeks for tips and advice in these areas.
As every teacher knows, a good tone on any brass instrument needs a properly set-up embouchure; these days one may assume that the young player will have a reasonable instrument and a sensible mouthpiece. To this one could add what many teachers would regard as the most important of all – good breath control.
Reflecting on the many discussions I’ve had, I’ve come to realize that there is a moral code to trying
Your mouthpiece is a relationship of measurements, joined together to support you. Understanding the terminology and relationship is key to finding the right mouthpiece.
Mouthpiece trials can be a dangerous sport! While we don’t suggest wearing a helmet, there are some steps you can take that will protect the sensitive area of your lips and muscles from damage. Follow the steps below and you should be able to walk out of your trial session unscathed and hopefully with a new mouthpiece!
Should a trumpet player just use one mouthpiece for everything, or do we need a different mouthpiece for each style of playing? The answer is not a clear cut yes or no. Here are 3 different perspectives on this from 3 of our trumpet artists, Arnetta Johnson, Chris O'Hara, and Preston Bailey. Let us know how you approach this in the comments!
Anything can be achieved on our instrument, so long as we practice incrementally. I’ve always called this style of practice “incremental,” because it describes how we improve our skills by one unit at a time in an organized linear way. And it’s exactly the mindset you should proceed with when trying to play lower.
Need a new way to improve your intonation. Here are some great tips. Practicing with drones is one of the best ways to improve intonation. There are several good resources on the internet for downloading audio files of drones. There are also a number of drone albums available on popular music streaming platforms. Here are a few exercises to play to get the most out of your drone practice:
Are you a musician? Your New Year's resolution might include practice disciplines, range goals, technique goals, career goals, etc. Resolution planning can be tricky; too easy and you feel like you cheated, too lofty and half-way through the year you feel like a failure. If only there was one thing that you could resolve to do that would keep you busy the whole year while improving everything. And there is!
Whenever I give clinics, the usual questions about practicing or instrument/mouthpiece choice inevitably arise. The questions that never get asked are about the other, non-musical things that go into a successful music career – and they are numerous. This is the stuff that doesn’t get talked about much in music classes, and comprises the vast majority of what I do on a daily basis. Recently, while talking to class of collegiate trumpet players, the professor (who is also one of my former teachers and knows me pretty well) asked me to tell the students how many companies I run. Here it goes (and I’ll try to keep it brief):
A great band director is the start to a great music education. However every great band director knows a great private teacher will lead their students to the next level. These private teachers are carefully chosen by band directors because they can mold the future success of each of their students and encourage the growth of their band programs.
In his web series Comedians in Cars Getting Coffee, Jerry Seinfeld says of performing: “I don’t accept the judging of process. It doesn’t matter [how you prepare]. We’re all trying to get to the same island. Whether you, swim, fly, surf, or skydive in, it doesn’t matter. What matters is when the red light comes on.” This is a great attitude to adopt as a musician especially if you are self conscious of how you sound in the practice room. We’ve all been there, sounding our worst while our friends, colleagues, teachers, well-wishers, and personal idols all mill about outside, eagerly pressing their ears to the door in hopes of catching a moment of weakness.
Many talented brass players have problems in high note playing which seem inexplicable. Often there is no obvious reason. These days the general standard of teaching and playing sophistication at a professional level is at an all-time high, but there are, of course, many amateurs who have not had access to the best teaching. These brass players who have no aspirations to earn their living at anything so potentially precarious, but who derive much satisfaction and pleasure from 'taming the tubes' can perhaps benefit from a few words of advice from a teacher who has seen most aspects of playing over many years.
What is winning, and how do I get it? The most appreciated parts of winning tend to be the beginning inspiration and the prize at the end, but what do you call all the stuff that make up the middle? In the end it tends to be all those middle parts which define winning more than the prize. The Denis Wick Artist and Ambassador groups are made up of professional musicians who have all experienced all the glory and humiliation that winning has to offer. Here is some great advice from Aaron Tindall on how to navigate your road to winning.
What is your experience with marching band, how did you get involved, and with which groups do you primarily work?