I’ve got a whole bunch of questions from a while ago piling up and I wanted to try to get some of them answered as best as I can. Part of the reason it takes me so long to respond to these is that often times there’s no way I can offer any advice without being able to watch the player in person. That said, I can sometimes make some general suggestions that might be helpful, or at least clear up some confusion. Here is one I got last month.
Hello, I have watch almost every single one of your videos posted on youtube about upstream embouchure as I have one. I have even commented to ask you once but there wasn’t a reply from you so I gave up on asking you but I somehow came to this site still wondering if my embouchure is right and am somehow writing an email to you haha. Anyways, my embouchure is an upstream embouchure as I said before but when I blow the air without a mouthpiece, the air goes downward. I have tried playing with a downstream embouchure but it pretty much doesn’t work for me. So I kept playing with a upstream embouchure but now that I am trying to play high notes on a trumpet like G, A, B, and high C, the sound barely comes out. People say it has to do with practices but I practice A LOT.
First of all, I can’t assume that you’ve got an upstream embouchure without being able to watch you play, so yes, if you can send a video for me to watch that might be helpful. Sometimes folks misunderstand what it means to have an upstream embouchure (“low placement” embouchure type), because there is a very common misconception that playing with an upstream embouchure means playing with a high horn angle. An upstream embouchure is dependent on a mouthpiece placement that has more lower lip inside the mouthpiece, not a high horn angle. Perhaps you do grasp this important point and are playing with an upstream embouchure, but this doesn’t necessarily mean you should be playing this way, or perhaps you are doing something incorrect in your playing that is causing your problems. Without watching you play, it’s hard to say.
Secondly, because an upstream embouchure depends on the mouthpiece placement, there’s really no correlation between how you play (or should be playing) and how you blow or buzz without a mouthpiece. In fact, I recommend that all players, regardless of embouchure type, free buzz with their lips set in a downstream position. This is helpful for strengthening the embouchure muscles in a safe and correct way, while contorting your lips into an upstream free buzz will probably work your embouchure in the wrong way.
There is an exercise that Roy Stevens came up with that you might find helpful, the “air to nose exercise.” This was one of three away-from-the-horn exercises that Stevens covered in his book. In this exercise you roll your lips in to “hug the teeth edges,” then by bringing your jaw forward you blow air so that it strikes the tip of your nose. This approximates what happens inside the mouthpiece for an upstream player, particular those more common “low placement” embouchure type players who play with a protruded jaw position.
As far as your difficulties playing above G go, I would really need to watch you play, preferably in person. There are many things that players can do that hinder their development in the upper register. For example, it’s very common for “low placement” type players to bring their mouth corners back into a smile while ascending, which limits their high range. Or it may be related to how your embouchure motion is working (or not working). It might also be related to something that you’re doing in a completely different register which might not be apparent at first.
Do you have a question that you’d like to see me address here? Please feel free to contact me and ask away. I can’t promise that my response won’t be, “I’d have to see it,” but if I can answer generally I’ll try to give it a try.