Rockin' Range & Resonance

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Hi and welcome to Day 6. That's right. Day 6 already of your Largo Status Stage WindWorks free trial.

Now I have to say that most people will not have made it this far so congratulations for staying on board.

Today our lecture is "Rockin' Range and Resonance" and tomorrow is "Coffee Moments WTF?"

I'm sharing with you how this all came about and why.

And the reason I'm only sort of touching on range today, and I'm not doing too much, because let's face it, I could have written a book, "Eat M&M's To Double High C" or "1,000 Push Ups A Day for Increased Range.

I could come up with any kind of high note spectacular book or, "How to just play high notes easily."

And it would sell really well because people are just looking, let's face it, the elephant in the room, we want to play higher.

How much have I spoken about range in this entire course so far? Not very much.

I am obviously, range is an important part of our playing, as the as the course continues and I get right into the nitty gritty of it.

But there's no point going down that path when we haven't got the fundamentals sorted out.

We haven't laid the foundation for having that range, developing that range efficiently, so it's actually useful.

Now, we've all heard, and if you haven't they're around, people that have come up with ways of playing high notes on the trumpet, but their trumpet playing isn't great.

The fundamental technicals aren't usable often, so these people have high range but don't do gigs because they're not musical or the sound isn't quite right yet. They can squeak out our notes.

Clearly, I'm not remotely interested in that yet high notes are a selling point.

I'm not remotely interested in going down that path.

In fact, when I mention range, I feel like it's a gimmick and you see it everywhere.

You want to know how to play higher and there's all these things out there that will teach you how to play higher, effortlessly or easily.

And look, some of them might work.

We've all got different anatomys and we've all got different minds.

Some things work for some. Some things don't work for the others.

What we can agree on is if we squeeze our lips together, they're way too strong.

So strong they can hold back all of the air; that's one extreme. And of course, "AahOoh."

Greg extreme is to get the lips right out of the way and use the air that we use in talking.

That's just logical. So there's the other extreme.

So from that extreme to that extreme, where does it all go wrong?

I've said it before, "I believe everyone can play whatever they wish on their instrument."

Strangely enough, I haven't mentioned this in the course.

I don't mind when people start their students off going, "Mmmm" saying the M letter M M M M.

But quite often, most of the time, in saying, "M" there's too much of a grip in the lip.

However, what I would like to do is get you to go "Moo Moo."

And if I go "Aahooh Moo."

The "Moo" actually allows you to feel the Aperture Corners a little more.

However, I do the, "Aahooh" of course, because we want that, "Horizontal inward movement of the Aperture Corners."

So that's what the, "Aahooh" is about.

"Moo" still gets the lip out of the way, so it still has the desired result.

And sometimes when I struggle with the students to get them to get the jaw down and corners in; a statement I use a lot, "Jaw down, corners in." Feels ridiculous.

Sometimes when I can't get the opening of the lips, creating the aperture opening, remember aperture means opening.

Then I'll go, "Moo" and get them, and quite often I'll get the opening there.

And as I've discussed in detail, holding that position, getting the visualiser on, all of that stuff, can be really confronting and it feels different and most people run away.

Now across tomorrow in the "Coffee Moment WTF?", there is the Bob Reeves podcast, which I did in 2015, I think.

And it was a year I did a lot of travel and teaching all over the world, basically.

And it explains to you, it's in two parts. One's my career, one's my teaching.

And once you hear Part 2, especially the rationale behind what all this is about, you'll understand why the course is structured the way that it is.

And you cannot expect to have all of everything that needs to be learned all in the Largo Status Stage or in the Foundation Level.

There's too much. We've got to develop our professional playing from the beautiful fundamentals.

And that's what the Foundation Level is about. It's actually like a pyramid effect.

We unlock the negative tension in playing, the manipulation in the playing, and the more we unlock in the lower register, the more the the higher the range of your playing goes.

Видео Rockin' Range & Resonance канала mysterytomastery1