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Sore chops revisited ("P"-free, honest!)

The unexpected direction taken by the recent thread on sore chops distracted
me from giving my own humble contribution.  Apologies for the delay.

The first consideration is whether the soreness is caused by: -

a) infection

b) environmental influences (drying due to wind / low humidity), or

c) how we brass players punish them in pursuit of our hobby or profession.


For a), I offer no advice, other than to seek medical opinion [though most
listees will probably know that herpes, a.k.a. cold sore virus, now has a
strong adversary in the form of Zovirax (spelling)].

For b) I'm sure the advice given already is very good: i.e., simply seal
them against further fluid loss (drying out), preferably with a lotion or
potion that also moisturises.  I used to work for a personal care products
manufacturer and we developed, though didn't launch (for commercial, rather
than efficacy reasons), a lip-stick type product based on - amongst other
ingredients - bees wax and Vitamin C.  Apparently, the Vitamin C helps in
production of collagen, the backbone (I understand) of skin tissue.  In
other words, it accelerates the healing process, as the rest of the formula
moisturises.  I only have a couple of sticks left, so can't help anyone
else, but do check out your local drugstore for similar products (could be
in cosmetic, rather than pharmacy, department, with prices to match.  Might
be in cream form).

A fair proportion of problems fall into category c).  It's important to
remember that our "chops" comprise both the soft tissue on which we
place/screw the mouthpiece AND the supporting, extensive network of facial
muscles .  The brutal, inescapable truth, however, is that if healthy lips
are routinely getting bruised, split, or start bleeding, we are abusing
them.  Before you all rush for your quill or keyboard, I'm also a realist
and concede that a heavy gig or band rehearsal will often leave its toll,
whether you're a hobbyist or professional.  The Laws of Physics apply to us
all, unfortunately.  There are many times when, despite doing all the right
things in home or band practice, you just have to keep ploughing on and the
demands of a heavy performance programme will take its cruel toll.

This begs the questions: -

1. How can we minimise the damage in the first place? and

2. How can we best repair the damage, once done?


The main answer to the first question is hard work and more hard work, doing
the whole spectrum of exercises we all know we should - but often don't - do
regularly.  In this way, a supporting framework of healthy, strong and
flexible facial muscles will be built and maintained.  The crucially
important point to remember, though, is NEVER (during INDIVIDUAL,
self-regulated practice) carry on beyond a reasonable level of tiredness of
your supporting muscles.  You WILL end up putting increasing pressure on
your lips and crucifying them.

It is also an established fact that all our muscles need a constant supply
of oxygen and sugars, etc., to get them going and sustain their activity.  A
proper warm-up (which shouldn't leave you totally knackered!) is essential
to start with.  Volumes have been written about this contentious subject, so
I won't add much.  However, just watch athletes preparing for races and they
will always be "shaking" their limbs to loosen up - not tearing-off down the
track.  Likewise, try "fluttering" your lips and surrounding muscles for a
couple of minutes in a totally relaxed manner, before even touching your
instrument.  They should be flapping loosely at about 5-10 times per second
(OK, Hertz).  This gentle vibration definitely gets blood flowing more
freely through the matrix of capillary blood vessels that serve the muscles.
Used between short spells of playing, it also works wonders to replenish the
muscles and helps to prevent the build-up of lactic acid that accompanies
muscle "distress."  This means that it becomes less likely (given any state
of condition the chops are in) that excess pressure will be used to
compensate for loss of muscle support.


The repair process is entirely natural, but does take time (i.e., rest).
Again, this reconstruction process is entirely reliant upon the constant
supply of the necessary biological ingredients within the blood stream.  It
can, however, certainly be encouraged by regular fluttering during the
recuperation period - which begins as soon as the last note of a performance
/ practice session is played.  Pedal notes are a sort of "half-way house"
towards fluttering proper.  If the playing session has been particularly
heavy, it may also help or prove necessary to use lip balms as well.
Failing that, you could still try the remedy first suggested in this thread!
Enough said.
John McLoughlin


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