Drew Wilkie

I think the poster had a question regarding mouthpieces. My rookie year in The Cadets, I used a Schilke 13A4a that I had opened up to a 25 throat. It was a terrible mouthpiece! But, I still have it for sentimental purposes :) At Cabs, I used a Laskey 40S*, and a Bob Reeves Dynamic Mass 40ES...both smaller versions of the Schilke 6A4a. Great mouthpieces, btw. Since 2006, and for the foreseeable future, I've been using a Monette BL4S6 Prana (#23 throat). It's the best mouthpiece I have ever played! It's a bit smaller than a Schilke 6A4a, but has a much larger throat and backbore. I can play softer and louder on this mouthpiece, than on any other I have played. The pitch is amazing, and the sound palette is quite vast. I've played everything from ballads to big band on it. It also has taken me a couple years to really learn how to play it correctly, such that consistency and control are never an issue. I can't see myself looking at other mouthpiece brands in the future. As far as actually playing high notes, it has very little to do with raw strength. It's not like weight lifting...it's more like learning how to ride a unicycle and juggle at the same time. You'll hear a ton of people preach the "it's all air!" mantra, but in actuality, the amount of air that moves through the instrument diminishes the higher you go, even at extreme volume levels. Tons of pressure is never good, and try to avoid playing the instrument like it's a clarinet (extreme downward angle). Don't try to "blow" the trumpet; instead, think of small, intense air going past the tip of the tongue, through the lips, and into the mouthpiece. Keep all the lip material inside the mouthpiece RELAXED...don't "bite". Don't curl the lips. The more relaxed your chops, the louder you will play (this is also how you achieve "all day chops"). If you feel like your head is going to explode, you get dizzy, or experience pain...you are using way too much tension! Remember...the pros make it look easy, because they make it easy. They know that it only takes a little bit of tension, and a lot of relaxation, all in the right places. Watch (don't just listen) guys like Wayne Bergeron and Eric Miyashiro...they have it figured out.

Very true. The jaw, and specifically the space of the oral cavity, plays a crucial role in maintaining control of every register. Generally, a smaller oral cavity makes the upper register more attainable, whereas a larger oral cavity makes the lower register more clear.

Very true, Marty. My post was in regards to technique and the specific differences between the two.

A good way to differentiate between a lip trill, and a shake- A lip trill is done with the tongue and the lips, working together. Motion of the horn (hand) isn't used to create the trill. With the exception of the upper register (where partials are much closer together, and can be played with many alternate fingerings), lip trills happen in the stave. They occur between notes of the same harmonic structure (fingering). Within the structure, most lip trills occur at major or minor third intervals (C to E, E to G, C# to E, B to D#, etc). Listen to baroque or natural trumpet players...in most recordings, there are pristine examples of true lip trills. Lip trills are inherently more elegant than shakes. Conversely, a shake is done in conjunction with horn (hand) motion, and the tongue and lips. The horn is rocked back and forth with the hand, while the lips and tongue work like a lip trill. It usually occurs at a much wider and undefined interval, can be executed at any speed, and is something that is used in the commercial/jazz idiom...the dirtier the better. You won't find a shake in Mahler or Beethoven. "But Drew, these aren't the only ways for each to be executed!!" While that is definitely true, these are the ways that produce the most "characteristic" sound, in my humble opinion.

HAHAHA--- Yeah about that. Gino actually told me to hang that release a bit. Believe me, I was as bewildered as everyone else is! But, what Gino wants...Gino gets.

This show is so much fun to play. The creative team and Jay Bocook have created a monster of truly epic proportions. Can't wait to put it on the field. I am in awe of the outstanding people who have filled the ranks of The Cadets this year. Being a part of such a special group, and having the chance to perform such an incredible show, has brought me to one realization: I am the luckiest person I know.

As a lead trumpet player, I have become an expert in the execution of the following: SPEEYAH!

Air is one of those things that is hotly contested amongst trumpet players, because often what we think we're feeling, isn't what is actually happening. Many players feel that they are moving a lot of air when they play loudly in the upper register. This is because the abs are tight, and physical exertion is occurring. But in reality, to sustain notes in the upper register, the aperture has to become smaller...resulting in LESS air actually entering the instrument! Now, the air is being injected at a higher speed, but less volume. Even though it FEELS like a lot of air is moving, it's actually a pretty small amount. The moral of the story is that in reality, one needs only a very small amount of air to play the trumpet in all registers. Jim Manley (great lead trumpet player in the St. Louis area) is a big proponent of the "not blowing" camp. In his words, one only needs the amount of air it takes to speak, to play the trumpet...even in the upper register. And what's better, is that he can demonstrate it! Just enough air to get the vibration going is all that's needed. I don't mean for this to sound arrogant. Apparently someone found phantom arrogance in some of my posts. To alleviate any confusion, I am not arrogant :) Oh, and about the Cadets...yup, we still play! Hey Frank...thanks for the kind words! It's rocking my world to read such nice things about me, written by a drum corps legend. I AM NOT WORTHY!

The whole "you need to move tons of air" mantra for upper register playing is false. The higher you play, less air enters the instrument.

A true lip trill is actually done with the tongue. I suppose a more accurate term would be "tongue trill". AA EE or EE EH are typically most effective. Using the hand to produce the trill is not a trill...it's a shake.

What would I put in my ultimate drum corps facility? Easy... A BAR.

Since no one has jumped on this one, I'll take the reigns. Picking up the instrument after a 30 year layoff is just like picking it up for the first time. This SUCKS, but it's a blessing in disguise. Without many habits in place, you can start practicing with correct embouchure technique with relative ease. My advice to you is to spend the next few weeks just lip buzzing without the mouthpiece. This is easy to do in the car going to and from work. Aim for a clear buzz, achieved through a relaxed feel. Starting back up on the trumpet with lip buzzing does a few things: 1) Begins to re familiarize the facial structure with the movements necessary to play. 2) Making a clean, relaxed buzz draws the lips into a more efficient position. Without a rim to support the lips, they must find the sweet spot alone. This will pay off BIG time in every aspect of playing. So I'd spend the next week or two just lip buzzing. Do it until you can easily buzz scales or simple tunes. The worst mistake you can make is buzzing too high. When we play the instrument, the lips do not buzz at the actual pitch we hear. Because the trumpet helps to establish a sympathetic vibration, the lips are MUCH more relaxed when playing than when "free-buzzing". Just about all trumpet players should have a buzz-set that is a fifth or a full octave below the note that is played on the trumpet. Example (for me): when I set my face to buzz a low C, if I play the trumpet with that set, a middle G will actually come out. This physically relaxed approach is what will give you sound, power, endurance, flexibility, range, etc. So when you free-buzz, don't do it over middle G! Lip buzzing has been the sole reason for my success as a player. Not from a muscular standpoint, but from an efficiency standpoint. It takes VERY little facial strength to play killer double C's. We all have the innate strength to do so. What holds back players from achieving command over all the registers is the coordination of that innate facial strength. Now, the tongue does play a vital role, but that's a discussion for a different thread. My warm up consists ONLY of lip buzzing. If I spend a minute or two lip buzzing simple stuff below the staff, I'm ready to perform any piece of music, from low C to double C. So my advice to you, is to embrace the notion that the instrument is not the trumpet, but the face. We don't play the trumpet, we play the chops. Make your chops work for you by lip buzzing and thus, teaching them to find their own way into efficient playing. And ALWAYS strive for the most physically relaxed approach possible. The best players make it look easy, because it IS easy.

1) I went to my first drum corps show in 1987, and have been to live shows every year since. I've grown up around drum corps my entire life. My father was a lead soprano and soloist with the Garfield Cadets from 1981-1984. My grandfather was a Woodsider, a Caballero, a Skyliner, and is currently with BS Golden Knights Alumni. My great uncle is a former Crusader and current Golden Knight, as well as a current member of the Mass Brass minicorps. My great aunt is a former Crusader and is a member of their respective Hall of Fame. Their daughter was a Spartan (and world champion) and is going to be marching her first year with BAC this summer. My signature displays my time in drum corps. 2) The rule changes in drum corps, to me, are ones that were inevitable. Music in our society has become largely electronic, and the voice is the primary medium. Voice especially allows for much more complex ideas to be expressed through art. I think the major issue people have with such changes is that they have occurred pretty quickly over the last few years. There are people still around who marched in the 30's, when drum corps was vastly different. Rapid change always produces a generation gap, and drum corps is no exception. Luckily, there are multiple venues (DCA, for example) for people to enjoy drum corps in different capacities. Traditionalists will always have DCA, and the liberals will have DCI. Is it bad? Not really. DCI will never lose the speed and precision of performance. What will continue to change are the show concepts and the medium in which performance is allowed. Despite the rule changes, I would never turn away from an opportunity to be on tour. It is such an incredible experience, with the actual show itself being only a portion of that. I've never marched to win, nor have I ever marched to lose. Have I been disappointed by loss? Absolutely. But I have never had regrets about my corps. Bing a part of something that is new and different, and maybe a bit crazy, is incredibly exciting. Being a Cadet is a privilege for me, no matter what the show is.

The more massive a mouthpiece is, the less it will vibrate. Thus, it transfers more energy into the instrument resulting in a richer sound. This is brand-specific. Bach Megatone mouthpieces tend to deaden an otherwise clear trumpet sound. This is because the internal dimensions of the mouthpiece do not compensate for the increased mass, save for a throat that is one drill size larger. The internal dimensions of Monette mouthpieces do compensate for mass. Typically the heavier the blank, the larger the throat and backbore. This keeps the mouthpiece from playing stuffy or dead. Essentially, you get all of the benefits of added mass, with few drawbacks. I have experimented with XLT, LT, STC-1, and STC-3 Monette blanks, and each blank does play differently. A mouthpiece that is too heavy for the instrument will cause the sound to be very diffuse and "dark". Conversely, a mouthpiece that is too light for the instrument will cause the sound to be thin. I eventually settled on a B1-1 on the STC-1 blank for legit work, because the mouthpiece is exceptionally large and open (18 throat), and mass helps to accommodate. I'd like to end up on a B1-1S5 Prana, simply because the new cup shape and Prana configuration just allow for an even larger and more brilliant sound. For drum corps and commercial stuff (about 99% of my playing) I settled on a BL4S6 Prana on the extra lightweight blank. I like this mass because the mouthpiece is extremely small, but very open. The lighter weight of the blank helps to keep the upper register freer blowing and sounding bright. Benefits of added mass -Larger targets -Tighter slots -Increased dynamic range -More consistent timbre Drawbacks of added mass (eg., Bach Megatone) -A "darker" or deadened sound -More acoustical resistance -Loss of flexibility

I really like this. Some superb imagery, and something that anyone who has had a romance on tour can relate to. Can I post this elsewhere and give credit where credit is due?

I think the overall decline of trumpet talent in DCI is a symptom of a number of things. Drum corps has become more expensive, and players looking to further themselves in music are choosing to spend what money they do have on college, instead of tour. Also, instrumental music (especially music rooted in orchestral instrumentation) has been declining for years. Live bands are no longer mainstream. Why? One can spend much less money on a DJ to hear the music they want to hear, instead of dropping a ton of bread on a band that knows a limited number of charts. Kids just don't listen to horn music anymore. Pop, rock, rap, etc...these have become mainstream. Because of this, musicians are no longer in any real demand. Music performance is not a viable career path, and thus, kids are going into business or technology or other fields. What kids ARE going into drum corps, are being brought up in a different musical atmosphere than 10 or 20 years ago. High school music programs are declining, and kids aren't getting lessons like they used to. They aren't being exposed to records or artists of any instrumental merit. And if a kid is getting some kind of musical training, the emphasis is on the classical idiom, which does not lend itself to upper register acuity like jazz does. Also, there is just a general shortage of people who not only have a viable upper register, but can teach it. Put all these together, and you've got an entire generation of trumpet players who live below high C. Bad? Not really. Limiting? Sort of. Much of the high energy horn literature that exists does require a solid understanding of the upper register. Live performances of these pieces will only continue to become more rare. On the flip side though, the days of hearing some kid ruin a great chord by playing a high note that's out of tune and out of balance are dwindling, which is good news. I can think of a few corps that have a history of doing this, but I won't mention them.

Ideally, a trumpet player should play with his tuning slide out by only 1/8" or so. Having the slide out father than that creates pitch problems, and it also is representative of the physical approach. A person who plays "tight" will be high on the pitch, will have a nasally "dark" or diffuse sound, and thus...they'll have to pull out the tuning slide. A truly relaxed and efficient player needn't deviate from the true pitch center of the instrument. 1/8" of pull on the slide is enough for the player that plays down into the center of the instrument, instead of playing tight and blowing too much air. Get with the pitch generator (not a tuner) and gradually push the tuning slide in and match pitches until you hit the dead center of pitch (where the sound is most brilliant).

I actually never listen to drum corps. Not really sure why, because I love it! AC/DC, Metallica, Pearl Jam, STP, Beck, Colin Hay, Counting Crows, Dave Matthews, Dispatch, Greenday, Nirvana, Goo Goo Dolls, Third Eye Blind, etc. I do listen to a bit of jazz, too. Ahmad Jamal, Art Tatum, Mingus, Miles, Maynard, Count, Brubeck, Earl Hines, Ellington, George Benson, Monk, Herbie Hancock, Faddis, Trane, Bird, Vince Guaraldi, Woody, Wynton, etc.

Air is air, no matter how much emphasis you put on it. Air is the FUEL, but it does not determine how high one can play. Blowing your brains out into a trumpet will just kill your sound, range and endurance...and you'll look pretty funny, too. Trust me...it only takes a small amount of air to play in the upper register with clarity, control and power.

A man amongst men. ::HOLY NAME::

If you want to get the right feel for playing in the upper register with ease, do ALL of your practicing at pianissimo and with as little mouthpiece pressure as possible. 99 out of 100 people with range and/or endurance problems are playing with an aperture that is pinned open, and held shut with mouthpiece pressure. Pull the mouthpiece away, and practice as soft as possible.

Hey Marty-- I do use the tongue controlled embouchure for the upper register. It has taken me about 5 years to REALLY get it going to the point where I can play some great solos (Oh Holy Night, Maynard Ferguson, Macarthur Park, etc) at a level which is worthy of public performance, and without physical strain. For legit playing, and most everything in or below the stave, I anchor tongue ala Claude Gordon. The two approaches are very similar, but anchor tonguing provides a more characteristic trumpet sound below the upper register. Quick tongue switch, and the upper register is easily accessible. Earlier this year, I did a Maynard tribute concert with Andrea Tofanelli (if you aren't aware as to who he is, please look him up!!). Charts on the set included On Green Dolphin Street, People, and Macarthur Park. I have to tell you, playing lead AND the solos in Macarthur Park would have been IMPOSSIBLE had it not been for the tongue controlled embouchure. Not only has it made the extreme upper register viable and easy, but it has saved my life MANY times from an endurance standpoint. If you haven't really looked into the concepts, please do. I would not steer you wrong!

The Voice of Logic hit the nail right on the head. Trumpet playing should be a very relaxing endeavor, even in the upper register. Straining or using tension in the wrong places to play high notes will only kill your range, endurance, sound, flexibility, and power. The best high note players in the world make it look and sound easy, because they aren't doing very much physically. Emulate that approach, and always strive to get tension out of your playing. Works for me!

I'm really glad that there have been so many good remarks about Blue Shades. It's a VERY difficult arrangement, especially for 64 horn players to get together. Jay did an outstanding job...very fast, very loud, many notes! As for the trumpet solos, they're not easy! It's taken me a few reads to really get them under my fingers. But thanks to all for the kind words! Can't wait for the semester to be over, and move-in to finally come.

My warm-up, on ANY occasion...be it drum corps, a gig, a concert, whatever...takes about 5 minutes. This is how things are in the real world...if it takes you more than that, nonetheless several HOURS to sound good, you're as good as sunk. Yes, there are a few exceptions...no, there are not many of them in the pro world. My warm-up consists of flubbing out my lips for a minute or so, playing a few long tones and articulated notes, and some scales...and that's it! My warm-up hits every register, from double pedal C to triple high G and above, in 5 minutes, without beating a dead horse. It should be everybody's goal to be able to sound good after a 5-minute warm-up...such an existence as a brass player is very liberating. My point is that if your chops are working properly, you have good embouchure technique and good playing habits, you won't NEED more than 5 minutes to warm up. My .02