I started out writing this blog entry with the intention to talk about the importance of tongue position and how it saved my butt recently, but as the few functionally remaining brain cells started firing, I started asking myself a bigger-picture question:

What’s the best way to approach playing the trumpet?

I’ve heard some teachers say that if you’re approaching playing muscially, then you’re doing the right things mechanically.  I’ve also heard other teachers say that if your mechanics are working properly, then you can do anything you want musically with a piece.  What side is right?

Both…and neither…

I can see both, but why neither?  That is because I’ve heard amazing musically-oriented players who are limited with certain technical aspects such as range and endurance, and players who have technique out the wazoo but are as musical as a $10 toy electric piano demo button.

In thinking about it further, there is no right answer because we are not all the same; nor do we think exactly the same way for each piece, style of music, or playing situation.  While I can only speak for myself based on what I know works for me currently and in the past, you can try the same approach and it could yield completely different results.  Those teachers who try to tell you that their way is the only way are only correct about themselves.

For me, warming up correctly both mentally and physically for the situation is key.  For most classical situations and jazz improvisation work, my warmup focuses mainly on relaxation, sound, and musicality.  If do my “lead warmup” before one of these situations, I find my sound isn’t as dark as what I would want to hear.  If I don’t have a desireable sound happening, then it distracts me from remembering/creating free-flowing improvised lines and ideas or from shaping the phrasing of a classical line.

For commercial, big band lead, and piccolo trumpet situations, my warmup is definitely mechanically-oriented.  This warmup focuses on making things happen with minimal pressure and relying on the tongue to do most of the work.  If I do my “classical warmup” or if “the machine” isn’t working correctly by the time my warmup is complete, then I’ll be fighting the horn the entire time through a piccolo trumpet concerto or a lead trumpet gig, no matter how much I’m trying to play musically.

When it comes down to any performing situation, my approach is always from a musiciality standpoint with an awareness of how it sounds and feels.  If something doesn’t sound or feel quite 100%, then I try to relax and make small, quick adjustments to play myself back in to the zone.  Air seems to be the biggest culprit (too much or too little), so that’s usually where I start.

Ultimately, if you want to become a solid player on the trumpet, you have to acknowledge the importance of and work on both musicality and mechanics every day.