DCI messes up embouchre?

[vferrera]

The range and volume demands of drum corps can sometimes lead to poor technique and that can definitely hurt your playing. When you add in marching, it tends to make things worse. But it's different for each player. For some, drum corps will result in steel chops, great endurance and screaming range. For others, it will cause the embouchure to break down and destroy their playing beyond any hope of recovery. You just don't hear about those cases because they tend not to become famous

In my opinion, trumpet players, especially leads, have the greatest challenges just because of the size of the mouthpiece. For example, if you've been working on reducing mouthpiece pressure, you might find marching to be counterproductive because it's harder to keep the mouthpiece in a comfortable position without using a bit more pressure. Most trumpet players have a very small margin of error in mouthpiece position, especially for high register playing. Finding a comfortable position while tearing across a football field at 180 bpm is not easy.

Also, if you've been working on producing a tone in a relaxed and efficient manner, you might also find drum corps to be counterproductive. The testosterone levels of your typical DCI hornline are not conducive to relaxed playing. (Imagine being surrounded by Maynard Ferguson wannabe's. Oh, yeah, I forgot, they don't do that anymore. Right....).

If you are a trumpet player and you're worried about your chops, consider switching to mellophone for corps. I did this for the CAC this past summer and it worked out well. Lead mello parts generally top out around a high C or D, which corresponds to a G or A on the trumpet, pitchwise. I don't know what lead trumpet parts require these days and I suspect it varies greatly from corps to corps, but I'm sure most of the notes are above the staff with plenty of high F's and G's in the mix. The lead mello parts are often an octave below the lead trumpets. The mellophone tends to have much less resistance than a trumpet, which for me makes it much easier to play. Finally, the mello parts tend to be more fun - a lot of moving lines and countermelody. After a summer of mello, it took me about 2 weeks to re-adjust to the trumpet.

As for examples of people who have gone on to successful professional careers, just two comments: 1. the reason you hear about these anecdotal stories is precisely because they are NOT typical. 2. the number of successful pro players is very, very, very small compared to the thousands who have played in drum corps hornlines over the years. So, if you think Chris Martin's one summer of drum corps when he was 15 years old has anything to do with his current success, um, well, you might want to check with him about that.

[Martybucs]

The range and volume demands of drum corps can sometimes lead to poor technique and that can definitely hurt your playing. When you add in marching, it tends to make things worse. But it's different for each player. For some, drum corps will result in steel chops, great endurance and screaming range. For others, it will cause the embouchure to break down and destroy their playing beyond any hope of recovery. You just don't hear about those cases because they tend not to become famous

In my opinion, trumpet players, especially leads, have the greatest challenges just because of the size of the mouthpiece. For example, if you've been working on reducing mouthpiece pressure, you might find marching to be counterproductive because it's harder to keep the mouthpiece in a comfortable position without using a bit more pressure. Most trumpet players have a very small margin of error in mouthpiece position, especially for high register playing. Finding a comfortable position while tearing across a football field at 180 bpm is not easy.

Also, if you've been working on producing a tone in a relaxed and efficient manner, you might also find drum corps to be counterproductive. The testosterone levels of your typical DCI hornline are not conducive to relaxed playing. (Imagine being surrounded by Maynard Ferguson wannabe's. Oh, yeah, I forgot, they don't do that anymore. Right....).

If you are a trumpet player and you're worried about your chops, consider switching to mellophone for corps. I did this for the CAC this past summer and it worked out well. Lead mello parts generally top out around a high C or D, which corresponds to a G or A on the trumpet, pitchwise. I don't know what lead trumpet parts require these days and I suspect it varies greatly from corps to corps, but I'm sure most of the notes are above the staff with plenty of high F's and G's in the mix. The lead mello parts are often an octave below the lead trumpets. The mellophone tends to have much less resistance than a trumpet, which for me makes it much easier to play. Finally, the mello parts tend to be more fun - a lot of moving lines and countermelody. After a summer of mello, it took me about 2 weeks to re-adjust to the trumpet.

As for examples of people who have gone on to successful professional careers, just two comments: 1. the reason you hear about these anecdotal stories is precisely because they are NOT typical. 2. the number of successful pro players is very, very, very small compared to the thousands who have played in drum corps hornlines over the years. So, if you think Chris Martin's one summer of drum corps when he was 15 years old has anything to do with his current success, um, well, you might want to check with him about that.

I have to confess my ignorance of Chris Martin, but I googled and youtubed him. Very nice.

Great sound. Most classical players strive for a dark, thick tone, (almost trombone-like), eschewing the natural tendencies of the instrument. Sounds like Mr. Martin embraces a more clear and bright sound which really brings his playing to life. I better add IMO.

Hope to listen more as spare time permits.

[G-horns]

Maybe I can help you out. I'm a horn player who just finished a summer marching mellophone. My chops are fine, if not a little better. According to my teachers, my pitch accuracy and tuning have improved. I managed to keep my chops in good shape because I brought my horn mouthpiece with me on tour, and would spend a few minutes buzzing on it at least every other day. Because I did that, my transfer back to the horn was, for the most part, fine. The only thing that's causing me lots of trouble right now is that my endurance is basically shot (on horn). I can't play for nearly as long as I was able to before tour (I don't know why, either...can someone help me out on that?). But, that's something that can be fixed with time.

Hope this helps.

Thanks for contributing a first-hand experience.

Though I don't know for sure, I would guess that your endurance on horn is attibutable to the slight difference in embouchure between the mello (mouthpiece straight out) and horn (mouthpiece angled slightly downward). That's why I like the Kanstul G and Bb bell-front frenchies. They both have what I call "the Santa Clara kick" in the leadpipe, which allows hornists to use a more natural embouchure.

[G-horns]

If I were a horn performance major in college, I would honestly not march drum corps. It wouldn't be because I think drum corps isn't a worthwhile activity for people, but I think an entire summer for a performance major can be spent doing other great things like Aspen, Tanglewood, and other notable music festivals. If I'm dead serious about becoming a better horn player, why would I spend my summer playing a different instrument? Perhaps this viewpoint is something I picked up from my horn professor, but I just don't think drum corps as viable for someone committed to making a career out of performing on horn as opposed to someone who wants to be a music educator.

Oh, heck yeah!

[PioneerLeadSop]

When I marched we worked on embouchre placment everyday before we played a note on the horn. I did the same for my kids when I taught. The muscle and endurance you build in drum corps always helped me when I got home. When I would get back to college I felt my tone shined over all.

[nhsalan]

As for examples of people who have gone on to successful professional careers, just two comments: 1. the reason you hear about these anecdotal stories is precisely because they are NOT typical. 2. the number of successful pro players is very, very, very small compared to the thousands who have played in drum corps hornlines over the years. So, if you think Chris Martin's one summer of drum corps when he was 15 years old has anything to do with his current success, um, well, you might want to check with him about that.

First, I would venture to say that the percentage of professional players who came through drum corps is absolutely not any smaller and most likely larger than any other musical ensemble produces. (that's a guess, I have no facts or figures, merely my anecdotal experience) Are they rare, absolutely. MAINLY because in the realm of the number of players that march in drum corps, march in band or go to college and get performance degrees, there are a VERY limited and small number of pro playing gigs for those folks to have.

As for Chris Martin's experience.... I've known Chris since he was a rugrat running around our horn arc pulling the hair on the backs of our legs and running away laughing. I taught Chris the summer you mention as part of the brass staff for Spirit. He was 18, not 15 and it was the summer he was leaving for the Eastman School of Music. If you were to ask him today, he would still tell you that many of the things that he refined that summer about airstream, work ethic and how to produce quality sounds at high volumes were and still are most certainly part of his personality as a performer. And honestly, that was far from the highest quality hornline Spirit ever put out. (no offense guys, but it was most definitely a difficult summer to get strong members) There was an article a year or so ago in the Instrumentalist about Chris that spoke specifically to some of those positive things he had to say about his experience in the activity.

He is an incredible player and a even better person. Drum corps was most certainly only a SMALL part of his success, but he would be one of the first to tell you it was a positive influence on him as a player and performer overall.

And as for others that haven't been mentioned, JD Shaw has done okay for himself as a player as well.........

I can name a couple of others that marched specifically with me that went on to pro careers playing in military bands etc...... but they don't have the national/international fame that the others that have been mentioned do. I know several would also vouch for several positive things it did for them as performers.

Edited August 29, 2008 by nhsalan

[Patrick_D]

Just to play devil's advocate, horn does have a different embouchure than mellophone (2/3 and 1/3 split vs. 1/2 and 1/2). So yes, if you're not practicing on horn all summer, you'll probably have some issues when you come back home from tour.

You hit the nail on the head here. I'm also a Horn player, and have marched Drum Corps. As long as you are AWARE of the actual embouchure difference from the beginning, before you even put a mellophone to your face, you should be fine. Its far too easy to not pay attention to it, and before you know it, you are playing your Horn (in F) with a trumpet embouchure.

So, did marching "ruin my embouchure"? No. But did I pay very close attention to it the entire time I was marching.

Hope this helps.

[KeithHall]

My junior high band director said that to me all the time. I replied, "I use the same mouthpiece and I breathe the same way, how can it mess up my embouchure?" That was in 1973. People still say that? How many world class trumpet player got their start in drum corps? Look at Jeff Kievett, Al Chez just to name two.

I have heard from several people that marching in DCI, will ruin your lips if you wish to pursue a career in a professional orchestra? Is this true? I play horn, (mello for marching) and was just curious if this is true or not.

[mellophonium]

Maybe I can help you out. I'm a horn player who just finished a summer marching mellophone. My chops are fine, if not a little better. According to my teachers, my pitch accuracy and tuning have improved. I managed to keep my chops in good shape because I brought my horn mouthpiece with me on tour, and would spend a few minutes buzzing on it at least every other day. Because I did that, my transfer back to the horn was, for the most part, fine. The only thing that's causing me lots of trouble right now is that my endurance is basically shot (on horn). I can't play for nearly as long as I was able to before tour (I don't know why, either...can someone help me out on that?). But, that's something that can be fixed with time.

Hope this helps.

yeah I noticed that over the summer my lips were dead much quicker than before

[Shadow_7]

First, I would venture to say that the percentage of professional players who came through drum corps is absolutely not any smaller and most likely larger than any other musical ensemble produces. (that's a guess, I have no facts or figures, merely my anecdotal experience) Are they rare, absolutely.

It depends on how you define professional player. If it's getting paid to play, then it's actually quite high. If it's most proficient studio recording artist, then maybe not so much. When I went through the USAESOM for the Army Band, I'd say as much as 50% of the brass players there had drumcorps experience. Which is 25% of all army musicians, bearing in mind that Trumpet numbers are artificially inflated specifically for taps duties. Can you say that 25% of your unpaid HS / College / Community band members did drumcorps?

To me it's one more skill set. A paid gig is a paid gig. So you're getting paid to dress up like a clown and play while walking around on stilts. It's still a paid gig, just don't use your best horn. It may even pay better in terms of frequency of, and maybe size of the paycheck. Playing with the local symphony is also a paid gig. But if you're getting paid to play on only weekends for 1/2 or 1/4 of the year.... Although I don't expect many of the strings / woodwinds / harpists to have drumcorps experience.