..and yet another question about range..

Discussion in 'Trumpet Discussion' started by coolerdave, Mar 28, 2011.

  1. coolerdave

    coolerdave Utimate User

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    After reading all the comments, drawing on my past experience, and watching Adam Rapa (amoung others) ... I am trying to put together a good range exercise for my daily routine. I don't think my chops are up to my old routine yet.
    So here is the issue and question
    My range currently goes up to a point and the sound is generally full but cuts out ( how many times have you read that)
    when I listen to other trumpet player the tone seems to change a little as they get higher.. a bit thinnner
    so from what everyone (except the double high C salesman) seems to say play soft, don't strain, and do slurs (among other things)
    so I figured if I backed off and played arpegios almost just sliding up and letting the tone thin out earlier I could softly eek out some higher pitches. The purpose being to get my chops use to vibrating faster. It also keeps me from re-adjusting the mouthpiece. I do this down into the pedal zone and then add another interval to put me back above the staff. I end up covering 3 octaves when I get to pedal C and I do it twice per set.
    so the exercise goes like this
    low c arpeggio up to high c or e if I can hit it then back down and repeat.
    rest
    then low b ... same thing
    down to double pedal f
    well..... what do you think?
     
    Last edited: Mar 28, 2011
  2. stumac

    stumac Fortissimo User

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    I think you are pretty much on the right track, I am having success with Bob Odneal's "Casual Double High C" exercises, ascending scales up and down adding a tone each time, played very soft and slurred. In 3 years my playing range has increased from G on top of the stave to the E above.

    Practicing notes below low F# I feel is a waste of time, they are not written in any music I have seen and should be left to instruments designed for that register. Teachers have told me that to play high to practice low notes, I did until I came to the realization that to develop the high register one must practice there.

    Regards, Stuart.
     
  3. coolerdave

    coolerdave Utimate User

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    If I run across that book I will take a look at it... maybe in a few months look for it online.
    okay, on the topic of pedel tones... I have a few thoughts.
    Like your statement about "to develop the high register one must practice there" ... I have noticed that by playing pedals my low F# has become a piece of cake... so they have that going for them. One of the better students of the same instructor I had was sitting in the band room and I was struggling with the pedal C. So I asked him if he could play one for me so I could hear what they should sound like. He was leaning back on 2 legs of the chair picked up his horn and with out playing any other note ripped out the loudest dead on pedal C you could imagine. I was amazed. That's when I understood what they meant about playing pedals is like playing the upper register. You really have to push that note out and really be set.
    I really think the sliding up from the pedals accomplishes a bunch of things. It keeps my chops loose. I do know you can play high if your chops are tight but then the lower registers seem to suffer (well mine do anyway).
    thanks for the comments.
     
  4. Satchmo Brecker

    Satchmo Brecker Piano User

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    I've been playing only 1 year now and I really focus on the things stumac said...lots of lip trills, ascending scales (esp chromatics), etc. and no pedal tones (and nothing very loud). Unless I'm way off, it seems like you have to really screw with your embouchure to get pedal tones, and I can't see how that's a good thing. I've also tried to focus on keeping my lips/corner stable and tight, but never strained (based all on info I've gotten from posters on TM btw).

    If my corners start to strain so much that that's the only thing causing the high note, I figure I'm doing something wrong. I've also tried to focus more on the ah-ee tongue movement combined with focused air. I've had lots a luck too. I can now play a solid high C above the staff both as part of a scale and as part of lip trills.
     
  5. graysono

    graysono Mezzo Forte User

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    I asked some guys who attended a Byron Stripling master class, what the take away was: they said: "Pedal tones". He purportedly also said that it may take a year to develop them but to keep at it, as it would improve the chops overall.

    Just a thought....
     
  6. RustoleusMaximus

    RustoleusMaximus Pianissimo User

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    Claude Gordon's Systematic Approach is the ONLY thing I have ever used. I have never had a private teacher etc. I can play a nice loud pedal C all the way up to a double C. The Systematic Approach is perfect for those who do not have access to a teacher as it lays out weekly lessons using eight of the major trumpet method books including Clarke Technical Studies; Charles Colin lip Flexibilities etc. plus pedal tones.
     
  7. Rich Wetzel

    Rich Wetzel Pianissimo User

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    Frank Minear Routine = on the track you mention, nice and easy volume, it works.

    A daily trumpet routine for Jazz and lead trumpet players.

    The warm up part sets your chops right, and the octave slurs nice and easy on top, do not play the top note any louder, nice and easy, go for the sound and making it feel easy.
     
  8. fraserhutch

    fraserhutch Mezzo Piano User

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    +1 - a great routine.
     
  9. craigph

    craigph Piano User

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    This sounds similar to the lip flexibility exercises (often suggested for range building) in a number of different books. I use Smith's Lip Flexibility book. It has a number of different patterns, but basically you go through all 7 valve combinations. Since you are talking about arpeggios - section 2 (I think) in the Smith book has arpeggios starting from low C going up to high C, with all of the notes other than the low E played on the same open valve combination. (c - e - g - C - E - G - C...hold, then back down....) And then repeat the same patterns moving down chromatically. ie. start from B, .... then from Bb, then A...

    Or visually (valve combination): 000, 100, 010, 110, 011, 101, 111

    I like the Smith book. On this forum I have read about people using Charles Colin's book or Jeremy Irons book on many occassions. One of these might be good to work with.
     
  10. coolerdave

    coolerdave Utimate User

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    am going to check these out next trip to the music store... I know they have a few lip flexibility books.. just didn't notice by whom.
    I believe I use to have the Colin book... 30 years ago :)
     

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