Date: Fri, 10 Mar 2006 10:24:19 -0700
From: "Reaban, Derek" <email@example.com>
Subject: [TPIN] Jens
Lindemann Master Class (Part 2)
I also have to discuss his take on sound production (clearly my
favorite topic). He said, "find the perfect point of balance, like a
violinist would do on an open string". He does this on the mouthpiece
with breath attacks. He said, "really great trumpet playing has to do
with coordination, not strength!"
Basic vibration with breath attacks is a very important component of
sound production. Start your morning with this (he commented on how
Hakan Hardenberger describes this - see OJ's site).
(Gentle mouthpiece buzzing).
Jens pulled a student up on stage (literally) and asked him to speak in
a radio voice (after some great modeling from him). This creates a
great posture (drawing the chin in slightly) and helps to develop a
resonant chamber. Then Jens demonstrated some arpeggios with his head
slightly extended towards the mouthpiece versus the chin brought in
slightly (the radio voice posture). This is so similar to the David
Krauss superhero pose that I picked up in Denver (great minds think
He went on to discuss breathing and talked about the "egg breath" (a
deep sound on the inhale). He held his whole hand up with his index
finger pressed against his lips from his chin up to his nose. He said,
"tension is the enemy". Since Allen Vizzutti was in the room, he
commented that when he stands beside Allen he is very aware of the
length of the inhale. Where possible, take longer, slower, relaxed
breaths. It's a very good way to diminish tension and harmful
nervousness. I've found this to be true when I work regularly with my
He came back to breath attacks and said he picked them up from Alain
Trudel (a trombone player) several years ago. Jens is a huge proponent
of these. He then lay down on the stage and did a breath attack on a
high E, pianissimo and stood up with a great sound!
I just loved this analysis of the breath attack and was really
impressed with the thought that he has put into this important concept.
You remain calm, cool and collected, take a relaxed breath and then "le
moment de la vérité" (the moment of truth). The point
where you strike the note (ictus) is the moment of truth. Right after
that instant you're back to calm. The only point of true tension is the
actual act of striking. It's a coordinated activity that involves your
whole body when you're playing the trumpet efficiently. If you can get
really clean breath attacks you'll be teaching yourself this. You won't
have to rely on the tongue to release the note.
Wow! That's why I came. What great information.
I asked my typical question (tied in to the voice impressions that Jens
did throughout his class - hearing this sound in his head) and I really
enjoyed Jens' response. My question was something like...I always come
back to the words of John Hagstrom commenting on the clarity and
intensity of the sound in your mind needing to be so strong that it
drowns out the sound coming out the bell. Charles Vernon talking about
approaching the ideal sound in your mind with the sound that you can
currently produce and bringing them closer together. And the words of
Arnold Jacobs talking about playing two horns simultaneously, the one
in your hands and the one in your head. John talks about immersion to
get to this point. Literally bombarding yourself with music until it
has penetrated. Jens told me that I need to focus on my musical
imagination. I like that idea!
Jens finished his class by inviting his Wife up to the stage and they
finished with a solo in the style of Raphael Mendez in line with the
theme of the weekend. They both sounded fantastic!
Jens' Wife found me afterwards and shared some ideas with me related to
my question. What insightful comments she had for me! I am just amazed
at what a great couple of days it has been!
This is not even half of what was presented today. I'm sorry I don't
have time to talk about Allen's class, but it's after 2 AM and I'm
Thanks so much to Dave, Jens, and Allen for a very memorable couple of
days of music making and conversation. I can't think of a better way to
spend my vacation!
Date: Fri, 10 Mar 2006 10:38:30 -0700
From: "Reaban, Derek" <firstname.lastname@example.org>
Subject: RE: [TPIN] Jens Lindemann
Master Class (Part 2)
Tom and Noah,
I noticed you taking notes when Jens stressed the importance of breath
I wrote this in my bigger overview, but I wanted to add some more to
In addition to Jens, here are more advocates for the breath
The breath attack is used in this initial exercise because it is the
quickest way to get the lips in focus, to get them touching.
One of the most effective methods of developing correct tone production
is through the use of breath attacks. Commencing the tone without the
aid of the tongue will require the embouchure and throat to be relaxed
Learn to buzz the lips without using the tongue to start the first
Use a 'ho' syllable to articulate each note. This exercise aids the
lips to vibrate the desired pitch more readily.
[For the exercises] All breath attacks - don't use the tongue to start
or stop a note".
Hoo (Breath Attack) for the first exercises - Warmup #57.
"If done correctly [lip buzzing] helps a student to get a bigger range
of color in his or her tonal spectrum."
"Proponents of the Stamp buzzing concept find that when they are
buzzing correctly their sound is more colorful,
they are more flexible, warm up faster, and are more consistent players
from day to day."
Stamp on Lip and Mouthpiece Buzzing - "Stay as loose as possible in the
center of the lip while buzzing".
"As you practice on the mouthpiece [the reduced resistance compared to
the trumpet] tend to let the lips relax and buzz more freely into the
mouthpiece... As the lips become less tense the tone from the
mouthpiece will become fuller, with more overtones sounding."
"While buzzing, the lips need to be relaxed, not tense."
"Always strive for a focused, centered, free sounding [mouthpiece] buzz
in all registers. Using a lip vibrato helps to focus the sound."
"Only the corners should be firm, the part of your chops inside the
mouthpiece should stay relaxed".
Bill Adam on Leadpipe Buzzing
"I know there has to be a certain amount of mouthpiece buzzing to warm
up the resilience that we have to have here. But, if we can set the
mouthpiece and tube in vibration, the embouchure is much more relaxed.
What we're trying to do is to get the air through that horn with the
least amount of tension and the least amount of muscle."
One last quote that I really like. This one is from Thomas Moore: "For maximum
resonance, let the horn play the lips rather than the lips play the