Help From the High Note Guys

Discussion in 'Trumpet Discussion' started by Buccaneer, Jul 22, 2012.

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  1. kingtrumpet

    kingtrumpet Utimate User

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    New York State USA
    and what about after EVERYTHING???????????? ROFL ROFL ROFL ROFL ROFL
     
  2. Local 357

    Local 357 Banned

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    Jul 1, 2011

    Got news for ya: The great majority of strong Double C players wash dishes for a living. As did my buddy Max until he died last year at only 52. Tell ya about him sometime. He was world class lead and jazz player.

    We trade off financial security for the love of the music. To be able to blow a solid big band lead or jazz book is worth more than a billion dollars. Despite the crap we take from the world at large which often looks down on us.

    I have two ex wives who couldn't figure why I didn't want to make more money in business. Materialistic B's if ya ask me. Now I'm hangin w/my dead buddy's gal. He would have wanted it that way. To take good care of this fine woman who understood musicians and especially lead/jazz trumpet players.

    I feel a curious sense of responsibility to him now that he's found the hereafter...
     
  3. AKtrumpet

    AKtrumpet Piano User

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    Please do tell us about this guy! :)
     
  4. Local 357

    Local 357 Banned

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    Note: I did not know Max while he was alive. He died in early 2011. We seem to have lived parallel lives. An ASTONISHING coincidence that we have/had so much in common...It was only upon meeting his widow earlier this year that I learned of Max and became most impressed with his life and career. Right now I'm taking care of his widow and we intend to move in together soon.

    Whereas Max usually refused to do any other work besides playing the trumpet I decided long ago to at least supplement my music by learning other, unrelated trades. Other than that I'd say we are the same animal. Except (sorry to say) I believe that Max's technique was stronger than mine. I have my gifts but his jazz licks were up there with say Blue Mitchell. Or almost that good. He also could pick off at will Double C's and such. I can get these but don't have the inherent gift to hit them easily...

    If there is one lesson we should learn from Max it is the value of staying true to one's art such as he did. On the more negative side:

    1. RECORD your music often. Max left this world with far too few examples of his stuff taped.

    2. STAY AWAY FROM CIGARETTES. Enough said on the subject. We don't know the exact cause of his death but smoking certainly was the root cause.
     
  5. nieuwguyski

    nieuwguyski Forte User

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    I wouldn't go quite that far, but the absolute best double C player I know is a postal carrier. Ed is a monster lead player, but he left the uncertain life of a professional musician behind decades ago and provided for his family.

    I'm still astonished every time I have the opportunity to play with him at a local church, both that such a talent lives in my neighborhood and that I get to play second.
     
  6. Phil986

    Phil986 Forte User

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    Near Portland, OR.
    Couldn't agree more with that. Evil stuff they are.
     
  7. RustoleusMaximus

    RustoleusMaximus Pianissimo User

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    Feb 1, 2008
    I don't know that any of this will help but here goes: As a trumpet player of 42 years who can play a pedal C to a double C I have learned over the years that great range is a combination of the following:

    (1) Learning how to practice so that you BUILD rather than destroy your embouchure! ... I learned this from 32 years of Power-lifting Competition. You have to follow a sensible plan and BUILD ... not over tax and destroy. This means pulling back on your intensity within your practice when you are overly tried or your chops are tight and tired. Learn to listen to your body and know when you can play all out and when you need to play softly for a short period of time and call it a day.

    (2) There is absolutely such a thing as efficient equipment. I play a relatively shallow mouthpiece; however, I get great tone on it and it is NOT shallow to me. Furthermore, I have a very small mouth and very thin lips ... so, again it is a big mouthpiece to me. I have zero lip intrusion into the cup so my lips do not actually make the cup smaller through lip intrusion as would be the case with a player with big lips etc. I can play the same notes on a 3C; however, they are weak and it takes a ton more effort to do so. My Monette Prana mouthpiece has a #24 throat and an open back-bore so it does take some effort and skill to play as it isn't a #27 or #28 throat. As Bobby Shew has said, why use a shovel to dig a ditch when you can use a back hoe. Use efficient equipment for what you are doing. Now, I realize there are trumpet players out there who can scream on a 3C mouthpiece such as Arturo Sandoval and Charley Davis; however, again you wear the shoe size that fits YOU. I also found that I like a freer blowing horn as opposed to a horn with a lot of resistance.

    (3) Rest as long as you practice. I use a metronome and after playing say Clarke's Technical Studies lesson number one and exercise number one ... I rest for an equivalent number of beats. Again, building the chops up systematically instead of destroying them.

    (4) There is absolutely a skill to playing high. It involves developing strong chops; however, it also involves learning how to harness air compression or air speed. This involves learning how to fill up with an adequate amount of air and then compress it via the diaphragm. This took me some time to learn as it involved a lot of coordination and learning what body parts to tense versus what body parts to relax.

    (5) I believe in the Pedal Register and learned them way back in high school. I believe that they relax the chops and also are formed by learning to relax while also blowing etc. Other than the usual music played all through high school and college and post college ... I would say that all of my practice time has been devoted to Claude Gordon's Systematic Approach which is 52 weekly lesson laid out for you. I have also spent considerable time with Herbert L. Clarke's Technical Studies for the Cornet. Since I have never taken any lessons, I value the Claude Gordon book for laying out lessons for me. I believe that if you are particularly tired or stressed out ... it helps to just take a day off from practicing here and there. As a result of following the above for years, I can actually play in the high register loudly ... not just screech out high notes here and there. I hope some of this helps as it has worked for me.
     
    Last edited: Jul 26, 2012
  8. chierholzer

    chierholzer New Friend

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    May 31, 2012
    Chicago
    Here is an actual answer to your question of what books are out there. i have used: John Lynch New Approach to Altissimo Trumpet, Hessions Sessions Book, Tastee Bros. Book #1. I have taken bits and pieces from each, but found the Hession Book exercises have brought consistency.
     
  9. kehaulani

    kehaulani Fortissimo User

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    Hawaian homey
    Oy! Thanks for the information and advice, but I have a request from you - and to all others reading this, as well. Not all of us on the forum are blessed with 20/20 eyesight. It would be a real courtesy to us if blocks of text could be broken down into workable paragraphs. It's not only easier on the eyes, it's easier to follow the narration and also helps those posting to communicate their comments more effectively, as well. Win-win all around. Thanks!
     
    Last edited: Jul 25, 2012
  10. Rapier

    Rapier Forte User

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    UK
    I'm with Kehaulani, I didn't bother to read it, because the lack of breaks etc.
     

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