In the 1981 comedy classic “Stripes” Bill Murray gives a soliloquy about army leadership. Paraphrasing, Bill Murray says that a leader is like the big toe of the platoon (see the clip here).  I’ll get to what the big toe has to do with todays topic a little later.

Chop Strength

Embouchure strength is an aspect of trumpet playing that gets talked about quite a bit.  There are quite a few ways to strengthen the embouchure.  Lately I have been practicing Clarke studies pp making sure to use steady air and firm corners.  That is helping me with control in the high register.

Many students who are diligent about practicing strength studies seem to have the most difficulties at the top of the staff and above.

This is often due to a misunderstanding of how the air and the lip work together.  Often the chops are too tight.  The student may be blowing hard but the lips don’t want to vibrate.  Too much chop tension and/or mouthpiece pressure can result in a thin sound or a closing off of the aperture (lip opening) altogether.

Use of the Air

We should inhale in a relaxed manner.  When we blow we should keep in mind the idea of “always maintaining a sense of blowing”.  Keep the corners firm but the lip tissue in the center (the aperture) relaxed.  Too much pressure will discourage the lip from vibrating.

During high and loud playing there is quite a bit of energy from the blowing muscles and at the corners of the chops. During soft playing it’s easy to neglect the air.  That’s another reason why soft practice is so important.  Even at super soft levels“always maintain a sense of blowing”.

At low volumes and in the low register only a minimum of chop tension is required; just enough to hold the embouchure in place. I try to relax the chops while “maintaining a sense of blowing”.  Discovering the minimal amount of chop tension in the middle and low register translates to less chop tension in the high register.  That means easier high notes. 

Balance

How do we find the perfect balance between lip tension and air pressure?  To quote a punch line “very carefully”.  For me this is the most important reason to practice.  I use simple exercises at the start of the day to get an easy, relaxed and resonant sound right from the beginning.  The simpler the exercise the easier it is to find balance.  My indicator for success is in the tone quality.  Is the sound its most beautiful and resonant?  Can I maintain that sound at extremes of volume and range?

The Big Toe

Just like SGT Hulka from Stripes, the air/lip balance is our Big Toe.  Everything gets easier when these are in balance; high stuff, low stuff, loud stuff, soft stuff, technical passages, and articulation.  With challenging passages that’s the first thing I address.  Making the air and the lip work together at their best.

See the accompanying video where I demonstrate some exercises for achieving air/lip balance.