PICCOLO TRUMPET by JeanMichel
1) Discovering the instrument.
In the first video lesson you'll discover the main aspects of the piccolo trumpet, which is also named "little trumpet". This video part intend to be a simple introduction to the principal topics of my method, these last are developed more deeply in the following chapters.
Tip for beginners: don't become discouraged by the first notes you're going to play with the horn, try to work even a short time (1/2 hour) but EVERY days, do not hesitate to repeat the difficult passages slowly. The piccolo trumpet is no more a difficult instrument once you've understood the essential principles of his functioning. This step-to-step method will teach you the main basis in order to master the piccolo trumpet. The breathing technique is one of my first preoccupation. I learned from Masters -from Maurice Andre or Guy Touvron to Wynton Marsalis -that the sound has only to be related to an efficient breath control, as good articulation is linked to an efficient tongue. All these topics are developedin my method. I choose a progressive approach which could be resumed in this simple formula : "If basis are not mastered, nothing can be done."
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2) Vibration :
Lips Vibration is perhaps the most important part of the all edifice of trumpet playing. A bad vibration will be fatal in piccolo tpt experience. The high register involved in piccolo repertoire induces a big air pression but this pression can be completely annihilate by another pression : the mouthpiece pression. Thus, there's a balance to find between air pression and mthpce pression. This is the very delicate point : equilibrium between mouth and lungs.
A low air pression
will induce a great mouth pression and vice-versa. To get out of
this dilemna you need to learn how to breath and how to control
the muscles of your mouth. Once again : many trumpet players -not
only in picc's domain ! -play "with the mouth (play
ahead)" ONLY because of bad lips vibration. Yes, vibration
is obvious, but it is precisely in the nature of obviousness not
to be seen....
L'embouchure The old french school - Frankin, Ballay...tec - used to say that mouthpiece has to be well centered, laid on the middle of the lips. This is no absolute rule for playing. Yet, beginners will take a great profit in following this advise, unless a peculiar denture configuration compells the player to adopt a different mouthpce position. Beeing also very attentive to the CORNERS of the mouth is important, and not to stretch on the corners is essential. At this point - as we have temporarily to focus on the mouth - always keep in head that The intra-abdominal pression AND the lips vibration are our two indissociable first principles !
Selmer 465 BLF. Guy Touvron model.
Taking air to play is not as simple as it appears. When you take air You have to open your throat, if it is done correctly a hoarse sound willbe produced. This air won't be stocked elsewhere : all goes UNDER an imaginary line the sternum's line - located under the sternum point. The air is now
- not anatomicaly speaking
obviously - accumulated in the low part of your body : the
abdomen. I show on video some practical exercises to FEEL this
much too theoricaldevelopment. At this moment, air is NOT under
pression. Now to increase the intra-abdominal air pression you
have to use your imagination : imagine that your rib cage is
going gradually lower and lower and that it compresses the air,
creating this intra-abdomnial air pression, i've mentioned above.
ONLY at this moment, when air pression does exist, only now you
can use THIS air.
See the complete CD ROM method
piccolo Stewart Ellis SE-1700-S
Sib Bach prélude TR 710
See the Internet website of my
friend, the famous international french soloist Guy Touvron