Wilderness Medic

There's heat in Rochester?? Good luck to you guys out there.. Can't wait to see you in NY!

In some of the areas down here in "metro Atlanta" GA the artificial fields are great. Cheaper in the long run for the schools because the heat kills the organic (?) fields, feels much closer to the real thing compared to the older artificial fields and they have some give.. i remember almost twisting my ankle in the GA Dome on their old turf in 1995 because it felt like my feet were stuck to the ground.

embouchure.. the top lip usually just hangs there and vibrates while the lower lip accordions back and forth to adjust aperture size. this makes the air speed up or slow down and and thus gives you different pitches. not having enough upper lip in the mouthpiece can thin the sound out because.. there is less lip hanging there to vibrate in the first place. the lower lip has a different job to do in addition to vibrating so it can't do all the work.. make sense? how do you fix the issue of getting back to center?? take your 51D and play a low Bb that feels and sounds centered and full. go down chromatically to see if you can play lower without shifting to much.. ok now that you have your fundamental notes working... play some 2 octave legato arpeggios in one breath, never stopping the buzz. if you can start on low E (EGB-EGB-E) or F (FAC-FAC-F) it will be best.. if you can't play that low and be solid, start on whatever low note you can and do a major arpeggio from there. you will start to see what it feels like for the air speed to work for you. think of flowing warm, wet, dark air for low register and cold fast dry air for high register... blow against your hand so you feel the air temp change before even doing the arpeggios this works great for tpts too.. if fact if you ask any of the studio tpt plays i play with that have full fat low registers as well as screaming high ones... this is how they did it.. as long as you have a centered and nice low register you can develop a good high register. everyone always says "to play high, you need to practice low".. but no one ever seems to know what that means!! they just keep repeating it because it is what they heard, etc.. here is what it means... you play low to get the air flowing freely and in large amounts while staying fairly relaxed, then you apply that air flow (support) to the upper registers. most people try and back off the air to play high when in reality you need to use just as much to play high (sometimes more).. high notes take a lot of focus and endurance with the embouchure.. that extra focus up high will then flush out a more focused and fatter low register.. this is why it is cyclical. 2nd THING... buzz on the mouthpiece!!! remember the mouthpiece is your instrument.. the rest of that crap in your hand is really expensive tuner and amplifier!!! if you can buzz your part on the mouthpiece by itself then when you put it into the horn it will be a 1000 times easier ... i usually buzz for a third of my study time but i don't do it by buzzing for an hour and then play for two hours.. i integrate it.. play a phrase on the horn, buzz the phrase on the mouthpiece, play the phrase again on the horn. rules for buzzing: don't buzz super loud.. remember your amplifier is not attached.. so don't make up for it feel for airflow consistency no tongue.. gliss between notes so the buzz and air don't get interrupted.

Is that the same spot you play for lower notes? how is your lower range?

Does anyone know if this was caught on the fan network? The EMT in me wants to see what the MOI was... !?!