Double 'C'

Discussion in 'Trumpet Discussion' started by Benji, Jun 7, 2006.

  1. johnfin

    johnfin New Friend

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    Beni says he learned that middle C is in the staff. Isnt, the real definition of middle C (center of the piano keyboard) the C below the staff or is that just for piano music?
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  2. Satchmo Brecker

    Satchmo Brecker Piano User

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    Perfect example of why Context is so important (whether it's music, politics, etc). The OP (way back in 2006!) was speaking in the context of the trumpet, relative to itself, not in the context of music/concert pitch in general.
     
  3. The Kraken

    The Kraken Piano User

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    Re: uhh..

    Say Nick!!

    Could not have said it better myself,:thumbsup: not that I say much!!
     
  4. kingtrumpet

    kingtrumpet Utimate User

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    I'm thinking that most anyone with normal ability on the trumpet can play a Double High C. After my 2 year + comeback AT 3 hours each day - and finally obtaining a solid DHC, (something I never got close to before my comeback) -I am starting to agree with some of the others here -- in that it is just another note. BUT playing in that range for much more than a line or 2 is not sustainable for me without some rest for the lips.
    IT does take a huge amount of time -- at least for me to keep it consistent, maybe it's not worth that amount of time -- for just another note.
    well that's my opinion today - maybe if I could play a whole song up to that range my opinion would change.
     
  5. Phil986

    Phil986 Forte User

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    OK, but then you would have to ask people you know, non trumpet players, if they liked the song played up there.

    I respect Maynard and Jon Faddis for their extraordinary abilities. For myself, I enjoy their music, but can't really listen to it for more than 15 minutes at a time, and I am a trumpet enthusiast. However, give me Miles, Wynton, or Maurice Andre, and I can have hours of their playing on end.

    The truth is, the extreme high register is really a "special effect" of the trumpet, like growling or flutter tongue. It's like spice in cooking. It can make the dish absolutely delicious but if you put too much of it, it overwhlems everything else and ruins it. There is nothing wrong with specializing in that special effect, even more so when one can also play outstandingly well oterhwise, as Maynard and Faddis can. But it remains a special effect. That's not where the music is. It's not the meat in the dish, so to speak.

    Given a choice between being able to play like Maynard or being able to do what Allison Balsom does in the clip below, I'll choose the latter in a heartbeat. Just my perception of music.


    YouTube - Alison Balsom (solo trumpet) - Bach: Gigue from Suite no. 2


    PS: I'm not claiming that the high register artists cited above could not play what she plays. I'm saying that I will rather taylor and focus my practice toward that goal, rather than toward increasing range to whatever note in the hope to imitate Maynard.
     
  6. BrotherBACH

    BrotherBACH Piano User

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    That was so beautiful. QED!

    BrotherBACH
     
  7. kingtrumpet

    kingtrumpet Utimate User

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  8. Phil986

    Phil986 Forte User

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    Good point Kingtrumpet. I heard something similar once from someone listening with me to some latin stuff that featured Arturo. Of course he's doing his thing and pushing lines way up there above high G and I go like "unbelievable, do you hear how he's playing that super fast riff way up there!?" Then in response I get the blank stare.

    Truth is, the vast majority of the listening public (even many musicians unfamiliar with the trumpet specifics) don't really realize how high the notes are and what makes it so amazing to us. It's on recordings, they think it's normal (!). They also don't realize how high the notes actually are.

    However, they are sensitive to the energy that it injects in the music; that's why Maynard was so popular. People sensed the energy and responded to it, but if you would have asked them where it came from, a surprising number wouldn't have been able to pinpoint it. The funny thing is also that there are ways to mimic that energy without the stratospheric notes, with a good band and good arrangements.

    All in all it's about balance. If one is gifted for the high register and into it, it should definitely be developped and made into an asset. That implies being good on the all the other stuff too and making the high notes sound like music, so it is by no means a free pass.

    If one is not naturally good at it, then range should still be worked so that it is not an obstacle to playing (that's what I'm trying to do). But it probably should not pursued in a way that will likely bring disappointment and distract from developing other things that will be more rewarding.
     
  9. kingtrumpet

    kingtrumpet Utimate User

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    that is a good point also -- and in my comeback, I am always pushing to do everything besides range, tonguing, octave leaps, sound quality -- perhaps that is why in my occasional gig -- I can play in the "regular" range, and it was still a success --- ok it was only a 2 song success in my small spot in a fundraiser ---- but success is success.
    ken
    ps. however, hitting a fat high A, or that Double high C or the occasional double high E (of course everything in the body has to be perfect for that), when it can be held for awhile and having good sound -- well it is still a VERY VERY COOL thing for me --- since In my 35 years of on and off trumpet playing --- this is the first time in life that I have ever been able to play notes and short licks there.
     
    Last edited: Apr 17, 2011
  10. kingtrumpet

    kingtrumpet Utimate User

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    Allison Balsom---- wow I might even learn to like classical if I listen to her --- nice sound, good clip.
     

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