Building Upper Register

Discussion in 'Trumpet Discussion' started by Double_G, Oct 29, 2005.

  1. Double_G

    Double_G Pianissimo User

    May 4, 2005
    Gordonsville, TN
    Ok, I know the first thing I'm going to be told to do is search this topic. I already did and I didn't find anything that really strucking me as helpful.

    Ok, I was told by Van I need to work on my upper register. My first reponse was "I don't know how." I have tried every method I can think of. I do Clarke. I do flow studies which are "suppose" to build strength in the upper register. My Arban book is starting to fall apart on the arpeggioes pages. I've even attempted the "caveman" method(play the high note once, take the horn away from the lips, then try to play the note again). Nothing I do works. My comfortable range is (as I would say) an F on the top line of the staff. I can play up to a high D and on rare dumb luck occassions, gone higher, but I probably sounded like crud. I want to get my comfort range up to a high C that way I will have a good 2 and a half octave range.

    So, thanks ahead of time and I appreciate the support and advice.


    P.S. Don't tell Van I posted this...hehe :evil:
  2. Umyoguy

    Umyoguy New Friend

    Feb 1, 2005
    Playing beautifully, cleanly, and accurately in the high register is a byproduct of playing beautifully, cleanly, and accurately in the middle register.

    It's also a result of efficient air usage, a vivid internal sound concept, and years of hard work and dedication. It's not something that just "comes."

    My guess is that your teacher is aware of what you do well, and what you don't do well, and that s/he is working with you on appropriate exercises (clarkes and arban are ALWAYS appropriate) to fix the deficiencies in your playing. With time and diligence on exercises from those books, you'll come to understand what is necessary in the upper register. A little bit of faith is required, in the sense that there are things about trumpet playing you'll only understand after you understand them. Hopefully that makes sense...

    If you're practicing three hours a day, doing what your teacher is telling you to do, you should be well on your way.

    Good luck,

  3. Rick Chartrand

    Rick Chartrand Piano User

    Nov 22, 2004
    Toronto Canada
    What kind of mouthpiece are you using? I have several that I use. For example on my 1c I use for ballad work I can get up to double F on top of the staff. With the Holton Heim 10c I have for high regester work I can get up to double C on top of the staff. Thats a huge difference of 4 notes so maybe you need to get into a good high regester mouthpiece, then work the high regester with sustained high notes.

    Your lip is only a muscle and muscles can be built. Finding the correct tools to assist you is the hard part :cool:
  4. tpter1

    tpter1 Forte User

    Jan 12, 2005
    Northern New York
    Hallelujia. Couldn't agree more.

    Trust're paying him for his time and suggestions, so trust him. Don't give in to the darkside and follow the latest craze fad high note chick-machine method book or instant "range enhancing" mouthpiece. Remember: the longest distance between 2 points is a shortcut.
  5. cornetguy

    cornetguy Mezzo Forte User

    Sep 12, 2005
    Saint Paul, MN
    One thing I am not an advocate of is building high range on the "cheater" mouthpieces. Yes maybe use them for lead playing to make the job easier. I think we need to do more of what Mr. Herseth calls the 3 baseball bat technique. (you know the on deck batter is swinging 3 bats around while getting ready to go to the plate so that one will seem easier)
    IMO I think this is place where that can apply. Built the high range on your symphonic mouthpiece then worry about lead etc.

    Plus I am of the opnion that if a hs student can play from low f# to high c in tune with good sound they are well on their way to becomming an excellent player.
  6. stewmuse

    stewmuse Pianissimo User

    Apr 28, 2004
    NW Chicago
    I have two books that do exactly what the folks talk about - playing musically and gradually working your way higher. "Courting the Upper Register" and "CUR II• JAZZ" both present melodies in a relaxed range and then graduallly transpose them and work their way to well above the staff. Melodies start out at 8 bars, then 12, 16, and 24 measures at a time. More info:

    Available in book form or as PDFs...

Share This Page