How We Precieve "Distances" Between Registers

Discussion in 'Trumpet Discussion' started by Markie, Oct 17, 2010.

  1. Markie

    Markie Forte User

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    I was talking to an individual recently who asked for help on range development and he spoke about the mental preparedness it takes for him to go from one register to another register, for example from middle C to E or G above the staff.
    This got me to thinking,
    "Why do some people describe going from middle C to E or G above the staff as a huge distance or jump, and others see it not in terms of distance but as a physical act that requires subtile physical adjustments?"
    Maybe if a person rids themselves of terms like "how far" or "distance", when they play notes in different registers, the ability to go from one register to the next might get a little easier.
    Thoughts?
     
    Last edited: Oct 17, 2010
  2. dhbailey

    dhbailey Piano User

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    These days I approach such things by thinking "I have to do ABC to play this first note and I have to do XYZ to play that next note" and then make that happen. I've stopped thinking about registers altogether, preferring to think of them all as "just notes to be played in their own special way."

    But not everybody will succeed thinking that way. Some people need to think "wow, that's a big leap so I have to work extra hard" and that gives them the impetus to do what they need to do to get to the next note.

    We're not all the same in how we think of things, so one very important thing for everybody to keep in mind is to find out what works for us, and to ignore things that others say which don't help us.
     
  3. kingtrumpet

    kingtrumpet Utimate User

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    I found that concentration is needed. I can do some stuff in the middle register, and also in the high register. They have the same fingerings --BUT sometimes I find that I mess up on the fingerings, cause I am "thinking" differently when I approach the high register, and somehow have to "think" about the fingerings -- when in reality they are the same for the middle -- and should require NO thought.
    ((here's a thought -- perhaps I am thinking of air speed, lip position, tone, and such that I ADD one more little thing, by thinking of "fingerings" --- maybe someday it will be just reflex, put the horn up and play --- that would be cool ----))) it's getting there --- but it seems to take years.
     
    Last edited: Oct 17, 2010
  4. stumac

    stumac Fortissimo User

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    Markie, thanks for a very thought provoking topic, it has got me thinking where do the registers change? My take would be the F# below the stave 123 as the lowest note then the C would be the top of that register, the next starting at C# and topping at second line G, the next starting a first space F# played 123 to third space C and so on.

    dh, agreed, I have never thought of separate registers in the trumpet, only as ascending the notes get harder, now after 25 years of playing I realize they are not harder, only require better co-ordination of all playing parameters.

    king, the reflex action between the eyes and fingers if reading or the ears and fingers if improvising will come in time with practice, it may take thousands of repetitions to establish the necessary pathways in the brain.

    Regards, Stuart.
     
  5. SCV81

    SCV81 Pianissimo User

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    I think this perception of distance starts in grade school, especially for the students who did not receive any private training. I and my fellow 2nd and 3rd trumpet players believed that the 1st trumpets were somehow gifted or strong enough to apply incredible mouthpiece pressure to their lips to reach those high notes
     
  6. jbkirby

    jbkirby Forte User

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    Outstanding post. I finally figured this out just this past week while practicing upper registers. I missed a slot and jumped to a G. I was shocked. It wasn't a squeak, but a sustained note. At this point, I figured out that if my technique is correct, anything is possible. I also know that you have to believe you can do it before you can! Personally, I alway achieve more when there is no one around to tell me how hard a task is to achieve.
     
  7. NickD

    NickD Forte User

    For me the problem is a slight pivot in my playing. I practice the big skips slowly and softly to work on doing them with control. Then work up to double tonguing, etc. I believe the challenges, though, are indeed partly mental.

    ND
     
  8. The Kraken

    The Kraken Piano User

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    I have come to discover that it truley is just another note!!

    I know I read it somewhere, just don't remember where but when I start to choke the higher notes off, I remind myself its just another note.

    I notice that once I realized that I relax and hit the note nicely.

    Don't know why it works but it does, I try it over and over again and the note just gets better and better. :dontknow:

    Now for the fingerings above say high "C" ? I never played higher before and now that I am starting to play in that range and since I do not have alot of experiance playing high I have to think about it! I am assuming that the fingerings will come as I continue to progress with many repetitions, thats where I am now and it does get frustrating, for some reason my mind thinks they are different some how, I'm learning they are not.

    Any suggestions would be helpful !!

    :play:
     
  9. edfitzvb

    edfitzvb Forte User

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    Once you get above the staff, the intervals are so much closer together that several notes can be played with the same fingering. This means that concentration is more important in this register than in any other. There are a number of notes that could be reached with a lesser degree of variation than in the staff, where the intervals are octave, fifth, fourth, third, etc... lots more room between notes with the same fingering. Here there is much more emphasis in hearing the note internally before articulating the note. Therefore more concentration is required
     
  10. gbdeamer

    gbdeamer Forte User

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    I think a big driver for the preception is the "upper limit" of one's usable range.

    When I was a kid with a range to G above the staff, going from middle C to that G seemed huge. when my range extended to high C, middle C to G didn't seem that big anymore.

    Once my range extended above high C, the difference between C and G became much less pronounced. In essence removing any phyical barriers that make playing a note difficult can remove any perception of a lage gap.

    I think when you get to a point (like Nick) where you really have a ton of control of the horn (even above double C) then the distances become very much mental.
     

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