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Text of the page (random words):
g him play throughout the masterclass is that he often uses an ergobone a support system that helps hold the instrument off the player s chair i ve never used one before but it doesn t seem to be slowing trudel down at all take a look at this video and skip around for clips of trudel demonstrating things and see if you can spot his embouchure type some of the best spots to watch are about 30 00 48 00 and 1 07 08 this one is tricky my guess after the break this one is difficult trudel s mouthpiece placement has enough upper lip inside that it s certainly one of the two basic downstream embouchure types but his embouchure motion is difficult to spot the fact that his embouchure motion is so minimal suggests to me that he might have a medium high placement embouchure type since those players often have very minimal embouchure motions compared to the other types but that s not a definitive clue i think that i see him pulling his mouthpiece and lips together down to ascend particularly at the 1 07 08 time that i mentioned above but at other points i m hard press to see that and it looks as if he might be pushing up to ascend it s tougher to spot the embouchure motion when the player moves around or has grainy video which makes it more difficult to say for sure here so my best guess for now is medium high placement partly because of the difficult to spot embouchure motion and partly because his placement looks a little too low to belong to the very high placement type i looked around for some other videos of trudel playing to see if i could find a clip of him playing that would be more obvious and i was surprised to find a couple of videos of him playing jazz trombone which i wasn t aware that he also did i know him as an orchestral style performer particularly his solo recording of trombone concerti here s a video of him playing all the things you are what do you think is my guess that trudel belongs to the medium high placement type accurate or am i missing something let me know your thoughts in the comments below urbie green king promotional clinic may 19 2026 may 15 2026 wilktone leave a comment sometime in the early 1970s best guess 1971 1972 trombonist urbie green made a promotional film for king musical instruments giving a clinic to students from willowbrook high school and filmed at proviso west high school in the chicago suburbs not far from where i grew up the clinic covers basic trombone technique mostly but he also covers some more advanced multiple tonguing and slide techniques throughout the whole video urbie demonstrates and performs for the students which alone would make this video worth watching check out both parts lennie tristano may 12 2026 wilktone leave a comment it s not instant composing it s not following any kind of a formula all you do is hear music in your head and reproduce it lennie tristano in 1983 the norwegian broadcasting company produced a 1 hour television documentary on the life music and teaching of the pianist composer and jazz educator lennie tristano i have to admit that i haven t check out nearly as much of tristano s music that i should have but after coming across this documentary i m very interested in going back through his music one of the things i find so fascinating about tristano is that his legacy was not just as a musician but also a music educator he was one of the earliest jazz educators i m aware of predating even the stan kenton clinics i believe his philosophy was to help students express their ideas through freeing themselves from the tyranny of their thinking brain but that didn t mean that tristano relied exclusively the think method he required his students to learn scales jazz melodies in all keys and practice with a metronome he stressed ear training and learning to sing and play improvised solos by jazz greats at a time when most jazz musicians were following the lead of charlie parker tristano developed and encouraged a different approach that became influential in the cool jazz period to follow in 1949 tristano even recorded music with the form of the music improvised predating the free jazz movement by about a decade some jazz critics today argue that one of the reasons tristano isn t better known today is because his music was so hard to quantify and pin down to a particular jazz style learn more about tristano and his music at the lennie tristano experience r i p paul mckee april 29 2026 wilktone leave a comment i learned yesterday of the passing of my mentor and friend paul mckee he was an amazing musician an excellent trombonist and composer arranger he was also one of the best teachers i ve had the pleasure of studying from and was an all around great guy he will be sorely missed here is an interview paul gave me back when i was a student the worst trumpet embouchure is maybe not quite right april 7 2026 may 30 2026 wilktone 2 comments estella aragon is a trumpet performer and teacher who teaches online lessons she advertises her lessons on her youtube channel as well as her own web site she has a couple of different videos where she discusses playing in the red but her take on this is a bit different from what i usually see from brass teachers who strongly advise not to play in the red of the lips here s one of those videos it might not embed here so follow the watch video on youtube link if it doesn t appear for you i ve already spoiled what aragon feels is the worst trumpet embouchure that is playing on the red of the lips what is different about aragon s opinion here is that she s not talking about placing the mouthpiece on the vermillion per se but she s talking about the inner membrane of the lips i agree with aragon on this point when conducting my own research into the topic of playing on the vermillion the only information i could find regarding the supposed sensitivity of the vermillion from a medical professional stated that the vermillion portion of lips tolerates pressure well wilson h l 2000 lips the clarinet 27 4 38 39 the inner membrane however does not a mouthpiece placement lip position demonstrated in the photo here is not recommended however i m a bit confused about what aragon is actually suggesting she specifically defines the red as the moist inner part that in the trumpet world we call the red of the lips that s different from what most brass players and teachers call the red which typically is referring to the vermillion in fact the vermillion of the lip is specifically named after a word that means red aragon s definition of playing in the red is distinctly different from how other brass teachers use that term aragon states so playing in the red happens when the inner rim of the mouthpiece is placed too far onto that moist inner part of the lip beyond the vermillion the red exposed part of the lips ideally the mouthpiece placement should encourage the vermillion to be vibrating surface what is it about the vermillion that makes it better as vibrating surface let s take a look at george roberts playing a pedal f on bass trombone in slow motion notice that the entire upper lip not just the vermillion is contributing to the lip vibration now of course in a trumpet embouchure the mouthpiece is so much smaller so similar filming wouldn t show quite as much lip surface vibrating but you can still see there is no specific line around the vermillion border where the lip vibration pattern noticeably changes aragon uses a cut away embouchure visualizer to demonstrate what she means the image on the right shows the inner rim is well on the vermillion encouraging the lip to roll outwards revealing the red and making that the vibrating surface again if you look at the two videos above that show functioning embouchures in slow motion we can see that when the aperture is at its most open position the inner membrane of the lips can be seen it s not that the lip vermillion vibrates only and the inner membrane of the lip is static the entire lip vibrates so while there are elements of truth to aragon s suggestions to avoid placing the mouthpiece on the inner membrane i don t believe that placement on the vermillion itself is necessarily problematic that depends on the individual performer s anatomy according to aragon playing in the red is problematic because the skin there is sensitive i ve already quoted a medical doctor s statement that the vermillion tolerates pressure so i don t believe her statement here is true continuing on it s prone to fatigue and injury in my review of the literature i could not find any evidence that the vermillion is prone to injury furthermore lip injuries happen outside of the vermillion on brass players perhaps more commonly since most brass musicians have anatomy suited for a mouthpiece placement above and or below the vermillion this embouchure is so limiting in fact that it s extremely rare to see successful professionals with it aragon states i do agree that brass musicians who have anatomical features that make placement on the vermillion best are rare excepting when we re talking about the placement along the sides of the mouthpiece rim but not because there s anything inherently limiting about this placement any placement that isn t ideal is limiting as are other embouchure characteristics that aren t related to placement but it s not as rare as aragon thinks i happen to play trombone best with the rim placed right on the vermillion of my upper lip here s a trumpet player with a very similar mouthpiece placement to mine later in her video aragon goes over a checklist of six playing issues that she believes are symptoms of placement on the red chronic fatigue swelling pain fuzzy airy tone limited range and endurance undefined articulation chronic lack of progress those symptoms can certainly be caused by incorrect mouthpiece placement for the brass musician but doesn t necessarily even mean the player is setting the mouthpiece on the red for example i had many of those symptoms while playing a more common mouthpiece placement off the vermillion which didn t improve until i actually switched my placement to one that aragon is discouraging there are many other things that can cause these symptoms including pinning the lips open with the rim regardless of where they are placed in relation to the vermillion a bit later aragon mentions embouchure overuse syndrome as being caused by placement on the red i ve written before about embouchure overuse syndrome but briefly there is no evidence that suggests it is caused by placement on the red in fact you re going to find brass musicians who have those symptoms which are too broadly defined more frequently who have more typical looking mouthpiece placements aragon uses one of her trumpet students as an example to demonstrate what she feels are symptoms related to placement on the red here unfortunately she blocked the view of his placement and initial breath with her video transition so it s hard for me to assess what s going on with his embouchure i can see his lips coming together as he makes his initial attack so i suspect that at least part of his issues weren t being caused by a faulty mouthpiece placement but by pinning his lips into a too open position as he tried to get his embouchure into buzzing firmness at the same time as starting to blow her student does the same thing in the example aragon posted demonstrating his embouchure change six weeks later he clearly has made some improvements but i m not really convinced that the mouthpiece placement change is fully responsible for that without getting the opportunity to work with the same student or know his background with other trumpet lessons prior i can t guess what i would have advised that student to try but even a student with a faulty mouthpiece placement can make similar improvements in six weeks so i don t think aragon s example here is definitive i do commend aragon for mentioning more than once that every embouchure is different and therefore everyone will need individualized instruction on how to play at their best however i wish that she would have been more clear about what she means about placement on the red and allow for that placement when it is correct for the individual all that said aragon has an impressive background as a teacher and performer and maybe you want to explore her ideas further if so visit her web site and from there you can reach out directly to her and schedule lessons the hidden trombone database march 30 2026 wilktone leave a comment i m always looking for new trombonists to check out but it can sometimes be hard to find those hidden gems if you don t know where to look often the trombonists on a jazz recording are sidemen and you have to go out of your way to find them shannon barrett has put out a new public tool that helps jazz trombone fans find recordings called the hidden trombone here s what is said about this project this research project was established by professor shannon barnett at the hochschule für musik und tanz in cologne germany it aims to combine the knowledge of several professional trombone players and educators into a functional database that can be used by anyone interested in good examples of trombone improvisations in jazz and adjacent genres these can sometimes be difficult to find as many are hidden on albums where the trombonist is not the bandleader in this age of streaming that can lead to some players being overlooked when considering the history of the instrument in jazz each participant was invited to submit up to ten examples of trombone improvisations or features that they value along with the reasons for their choices the participants were chosen due to their experience in performance and or education and come from varying musical and geographical backgrounds the result is a database of 75 examples which can be searched by trombonist style focus or recommender or a combination of those categories it is not meant to be a thorough overview of the essential examples of trombone improvisations from the history of jazz but rather a curated collection of personal favourites there is potential to expand the database in the future they helpfully include links to where you can stream and purchase the music which trombonist recommended the track and also a short description of why that track was recommended go check it out and purchase some music to support great artists reinhardt archive launched march 12 2026 march 12 2026 wilktone leave a comment trombonist rich hanks studied from a long term former student of donald reinhardt s dave sheetz he recently has launched a new web site to archive reinhardt s exercises instructions photos audio recordings and more here s what rich says about it i m thrilled to announce the reinhardt archive reinhardtarchive com the largest digital collection of donald s reinhardt s materials ever assembled in one place for decades doc reinhardt s extraordinary body of work his books private teaching notes unp...