Mystery to Mastery - Performance

What is Aperture Posture?

Aperture Posture is a term used to describe the degree of tension, primarily at the corners of the aperture, of the lip tissue and muscles used when playing a note.

Aperture Posture should be recognized in two parts:

1. The Lip Aperture (where the air leaves the lips)

2. The Aperture Corners (not the corners of the lips but the ends of the Lip Aperture)

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There are different tensions in guitar strings to get different pitches. The same principal applies to the Aperture Corners. To make a piece of pipe or a trumpet resonate at a higher pitch, the Aperture Corners must increase in tension. The posture of the aperture is controlled by the muscles surrounding the mouth. These muscles are collectively known as the embouchure. The face and cheek muscles, especially the buccinators (the muscles used to spit with at the corners of the mouth) and the tongue control the Aperture Posture.

As discussed on the Natural Airflow page, changing airspeed changes volume. If the Aperture Posture does not change, the pitch will not change. The instrument can only lock into the harmonic that the Aperture Posture allows.

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How do I work on controlling my Aperture Posture?

Use the BLUZZ exercises to develop Aperture Posture awareness and control.

The Lip Aperture opens slightly as you play from very soft to very loud. The extra airflow makes the Aperture Corners work a little more; not enough however to change harmonics (except perhaps from a low C to middle G) but enough to send the pitch sharp.

Let’s say for example you are playing a Concert A (440 Hz). That means that 440 high pressure pulses of air pass through the aperture every second regardless of volume. To increase volume, more air has to get through the aperture during every oscillation. For this to occur, the Aperture Posture must relax slightly (see the article on Messa Di Voce Singing for Trumpet).

The vibrating/oscillating section of the lip inside the rim of the mouthpiece must remain relaxed and responsive as it may have to vibrate at over 1000 times a second. Any pinching or gripping of the Lip Aperture results in major physical strain, headaches, hernias, blackouts etc, and a failed attempt at a note.

The louder you are playing the more open the Lip Aperture is. Use the Windspeed Visualiser to work on Lip Aperture control. The more open the Lip Aperture is, the more work the Aperture Corners have to do to maintain pitch. Besides pinching the Lip Aperture, the other major downfall to range development is blowing the Aperture Corners apart. If the posture of the Aperture Corners becomes looser, the note that the instrument will give you, if any note at all, will be lower than anticipated.

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The role of the tongue is one of the most hotly debated subjects in trumpet mechanics.

The two common arguments are:

1. The tongue DOES affect the velocity of air through the aperture!

2. The tongue DOES NOT affect the velocity of air through the aperture!

Strangely enough, both arguments are correct!

The Bernoulli Principle demonstrates that no matter what happens behind the aperture, the aperture itself determines velocity and in our case, pitch. Look at the pipe demonstration and play around with the yellow boxes. Notice what effect changing the cross sectional area has on velocity at different points in the pipe. Notice how the only box that changes velocity at the aperture (the right hand side of the pipe) is that box at the aperture. No matter how small you make the pipe before the aperture, the velocity at the aperture does not change.

The Bernoulli Principle

This dispels the common myth that the air speeds up over the tongue so therefore you play higher!

When the forward arch of your tongue arches in your oral cavity, it does change the velocity of the airflow but only between the tongue and the roof of the mouth, the cross sectional area, not the velocity of air through the aperture if the Aperture Posture stays exactly the same.

Why does pitch change when I arch my tongue?

The note that the instrument is giving you changes because as you arch your tongue, your Aperture Corners are increasing in tension due to the musculature connection between the tongue and all of the muscles that make up the embouchure.

You will learn as you progress that it takes almost no air to make a soft sound on the instrument and only a tiny change in the Aperture Posture to change the resonant harmonic (the note you are playing).

The No Mystery Guide to Trumpet Mastery book and CD package provides the exercises and the know-how you need to improve faster and to get better results. It shows and demonstrates to you what exercises you need to learn and how to learn the fundamentals necessary to develop your skills to your desired level.

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Regardless of the science involved, the early teachers that advocated tongue arch were visionaries. The aperture must be able to vibrate and respond instantly to airflow. Putting emphasis on airflow and tongue arch will always produce better results than telling a student to tighten their lips. You would never tell a singing student to tighten their vocal cords!

The Tongue and Aperture Posture
What is Aperture Posture? Aperture Posture is a term used to describe the degree of tension, primarily at the corners of the aperture, of the lip tissue and muscles used when playing a note. Aperture Posture should be recognized in two parts: 1. The Lip Aperture (where the air leaves the lips) 2. The Aperture Corners (not the corners of the lips but the ends of the Lip Aperture) —————————— There are different tensions in guitar strings to get different pitches. The same principal applies to the Aperture Corners. To make a piece of pipe or a trumpet resonate at a higher pitch, the Aperture Corners must increase in tension. The posture of the aperture is controlled by the muscles surrounding the mouth. These muscles are collectively known as the embouchure. The face and cheek muscles, especially the buccinators (the muscles used to spit with at the corners of the mouth) and the tongue control the Aperture Posture. As discussed on the Natural Airflow page, changing airspeed changes volume. If the Aperture Posture does not change, the pitch will not change. The instrument can only lock into the harmonic that the Aperture Posture allows. —————————— How do I work on controlling my Aperture Posture? Use the *BLUZZ* exercises to develop Aperture Posture* awareness and control.* The Lip Aperture opens slightly as you play from very soft to very loud. The extra airflow makes the Aperture Corners work a little more; not enough however to change harmonics (except perhaps from a low C to middle G) but enough to send the pitch sharp. Let’s say for example you are playing a Concert A (440 Hz). That means that 440 high pressure pulses of air pass through the aperture every second regardless of volume. To increase volume, more air has to get through the aperture during every oscillation. For this to occur, the Aperture Posture must relax slightly (see the article on Messa Di Voce Singing for Trumpet). The vibrating/oscillating section of the lip inside the rim of the mouthpiece must remain relaxed and responsive as it may have to vibrate at over 1000 times a second. Any pinching or gripping of the Lip Aperture results in major physical strain, headaches, hernias, blackouts etc, and a failed attempt at a note. The louder you are playing the more open the Lip Aperture is. Use the Windspeed Visualiser to work on *Lip Aperture* control. The more open the Lip Aperture is, the more work the Aperture Corners have to do to maintain pitch. Besides pinching the Lip Aperture, the other major downfall to range development is blowing the Aperture Corners apart. If the posture of the Aperture Corners becomes looser, the note that the instrument will give you, if any note at all, will be lower than anticipated. —————————— The role of the tongue is one of the most hotly debated subjects in trumpet mechanics. The two common arguments are: 1. The tongue DOES affect the velocity of air through the aperture! 2. The tongue DOES NOT affect the velocity of air through the aperture! Strangely enough, both arguments are correct! The Bernoulli Principle demonstrates that no matter what happens behind the aperture, the aperture itself determines velocity and in our case, pitch. Look at the pipe demonstration and play around with the yellow boxes. Notice what effect changing the cross sectional area has on velocity at different points in the pipe. Notice how the only box that changes velocity at the aperture (the right hand side of the pipe) is that box at the aperture. No matter how small you make the pipe before the aperture, the velocity at the aperture does not change. The Bernoulli Principle This dispels the common myth that the air speeds up over the tongue so therefore you play higher! When the forward arch of your tongue arches in your oral cavity, it does change the velocity of the airflow but only between the tongue and the roof of the mouth, the cross sectional area, not the velocity of air through the aperture if the Aperture Posture stays exactly the same. Why does pitch change when I arch my tongue? The note that the instrument is giving you changes because as you arch your tongue, your Aperture Corners are increasing in tension due to the musculature connection between the tongue and all of the muscles that make up the embouchure. You will learn as you progress that it takes almost no air to make a soft sound on the instrument and only a tiny change in the Aperture Posture to change the resonant harmonic (the note you are playing). *The No Mystery Guide to Trumpet Mastery* book and CD package provides the exercises and the know-how you need to improve faster and to get better results. It shows and demonstrates to you what exercises you need to learn and how to learn the fundamentals necessary to develop your skills to your desired level. —————————— Regardless of the science involved, the early teachers that advocated tongue arch were visionaries. The aperture must be able to vibrate and respond instantly to airflow. Putting emphasis on airflow and tongue arch will always produce better results than telling a student to tighten their lips. You would never tell a singing student to tighten their vocal cords!