Mouthpiece practice can seem like a daunting chore to add into a practice routine. It is admittedly more difficult to play the mouthpiece than the trumpet due to its lack of acoustic “rules.” All notes are possible and players have to truly hear what they intend to play in advance. However, it is these lack of rules that make it such a valuable and effective tool. The more players are able to connect with playing the mouthpiece, the more consistent their pitch and intonation will be, as well as marked improvement in overall sound. (Find part 1 of this series – “Why Every Trumpeter Should Practice Their Mouthpiece” HERE.)
The first step in practicing the mouthpiece is how to hold it. The most appropriate way is to hold the end of the shank between the thumb and index finger of the left hand with the remaining fingers loosely curled. The reasons for this are:
- The left hand is the hand that holds the trumpet, so it should remain the “holding” hand.
- By holding the mouthpiece at the end of the shank, there is less of an ability to apply inappropriate pressure on the embouchure.
- Holding the mouthpiece at the point where it enters the trumpet will make it more likely the player will be holding the mouthpiece in their normal playing position.
- The right hand is now free to finger along, reinforcing the connection between the note being played and the valve combination associated with it.
Once good hand position habits are established, the next step is incorporating mouthpiece practice into one’s routine. The first opportunity is in the morning warm-up. The best place is following a few short breathing exercises used to reacquaint the body with the correct amount of air needed to fuel the instrument. These mouthpiece exercises should be long tones, or moving long tones (utilizing the static note principle of a long tone while changing pitches). There are many warm-up methods that can be used, such as Vincent Cichowicz’ Long Tone Studies, or James Stamp’s Warm-Ups and Studies for Trumpet. These exercises typically only consume a few minutes of the warm-up, but serve a great purpose. They are a crucial step in moving from breathing exercises to applying that airflow to the embouchure and mouthpiece. With the mouthpiece offering less resistance than the trumpet, it can be more difficult to produce a quality sound. However, refining the ability to achieve that sound on the mouthpiece will improve the overall trumpet sound.
Another beneficial aid during this time of the warm-up is to use drones. The Cichowicz book now comes with demo tracks to use in a call-and-response style. The drones help to refine the player’s ability to always play in the center of the pitch, improving overall sound as a by-product. They also flow in defined time, another element that improves overall playing. Any exercise similar in style to these can be used in the warm-up and drones can easily be created with a pitch generating tuner or tuner app. It is a good idea to have the drone sound both the do and sol of the key to help the player’s pitch reference.
The next place for utilizing mouthpiece practice is throughout the daily fundamentals. While not the only place, players will find value working on their lip slurs on the mouthpiece. If there is difficulty making a clean slur across the overtone partials of the trumpet, using the mouthpiece to correct it will demonstrate the need to blow through the space between the two notes. A technique for improving the connection is to use a glissando between the notes, something easier to practice on the mouthpiece than the trumpet. Using a glissando helps players play into the center of the notes, promoting the note-to-note connection.
Mouthpiece practice is equally valuable when practicing repertoire and perhaps even easier to implement. When playing a slurred melody, if there is difficulty expressing the musicality desired, get the mouthpiece out and follow the same routine as with lip slurs. Use a glissando through the phrase to connect the notes, taking care to also demonstrate the desired dynamics and phrasing, and using a high enough, continuous air flow rate. When moving back to the trumpet, remember to play the mouthpiece the same way, coordinating the valves of the trumpet with the note changes. If there is an articulated passage and the player’s tonguing sounds inconsistent or otherwise undesirable, play the same passage on the mouthpiece. It will quickly and clearly show what is really being put into the trumpet, which is usually an over-articulated and/or poorly blown line. Once a good sound is being created on the mouthpiece, move back to the trumpet. In both of these cases, spending a few seconds on the mouthpiece will make trumpet practice more efficient and less frustrating.
A final suggestion for mouthpiece practice during repertoire practice is to improve note accuracy. In order to play the correct note on the mouthpiece, the player has to first hear what the correct note is. If there is a line with accuracy problems, use the mouthpiece to refine it and help the ear and embouchure learn where the correct notes are. This helps players work less while playing and create music more naturally with the body rather than fighting with playing the trumpet.
Mouthpiece practice has marked benefits on playing and can be quickly integrated into the normal routine of warming up and practicing. It allows players to hear what is really being played into the trumpet, diagnose any inaccuracies without the frustration of the trumpet, and more quickly implement those changes when moving back onto the trumpet. With regular use, it can improve intonation, endurance, make wide slurs sound effortless, and help players spin a musical line with ease. A few minutes a day can make all the difference.
Find part 1 of this series – “Why Every Trumpeter Should Practice Their Mouthpiece” HERE.
Kyle Millsap is Associate Professor of Trumpet and Jazz and Texas A&M University-Kingsville. He has performed and/or presented clinics at several state, national, and international conferences. He has released an internationally-recognized solo album and published several works for trumpet, including a warm-up method. For more information about Dr. Millsap or the trumpet program at TAMUK, visit millsaptrumpets.com or tamuktrumpets.com.
Related Reading:
Tips for Teaching Embouchure in Beginning Band
Trumpet Technique: Three Common Problems and Suggested Solutions
Do Sweat the Small Stuff: Beginning Brass and Percussion
If you would like to receive our weekly newsletter, sign up here.
Don’t forget to like us on Facebook too!
Learn. Share. Inspire.
BandDirectorsTalkShop.com
Leave a Reply
You must be logged in to post a comment.