Knock on effect???

Discussion in 'Trumpet Discussion' started by NYCO10, Apr 16, 2010.

  1. Al Innella

    Al Innella Forte User

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    This isn't about high notes as much as it is about playing too loud,playing too loud in any register will cause lip damage.
     
  2. trickg

    trickg Utimate User

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    That's one perspective I suppose, but for the young, bright-eyed, bushy-tailed player still learning, it's not always easy to discipline yourself or remember that you need to put the horn down and rest, and to practice within your limitations.

    Based on what's been posted thus far, that's what it seems like to me - someone very eager to improve, so they are working very hard toward that end goal without realizing that with the trumpet, it's better to work smarter, not harder, and they are beating up their chops in the process.
     
  3. jbkirby

    jbkirby Forte User

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    It is much harder for me to play with a centered, full tone in the lower registers than it is in the higher registers. In my fledgling attempts as a comeback player, I find it MUCH more challenging sounding really good from treble C to middle C. This is where I concentrate my efforts. I want to sound good when I sit down to a piece of music in front of me whether the first part or the fourth. IMHO, the high stuff is gravy.
     
    Last edited: Apr 19, 2010
  4. trickg

    trickg Utimate User

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    ^^ One of the things that helps me when my sound in the lower registers starts to get a bit of fuzz in it (usually attributed to doing a lot of gigging with the party band where I start to use my "octave key" a bit too frequently) is to do some light articulation stuff in the lower register - nothing above C in the staff at first. I keep the pressure on my lips lighter, and I do a series of sharp articulations quickly:

    ta ta ta ta......ta ta ta ta........ta ta ta ta......

    Nothing structured - just working to get the articulation clean, crisp and sharp. I'll toss in some double and triple tonguing too. For me, this works very well to bring the chops back into focus. I do that along with some low, soft long tones as part of my warm up.
     
  5. ca5tr0

    ca5tr0 New Friend

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    Look, don't even think about anything more than middle c for about 30 min of split warm up. This meens divide 30 in 2. the first 15 minute session do low long tones at pp. I really recommend peddle tones to really get the blood flowing through your lips. Then take a 15 min break, ( practice as much as you rest), then the next 15 min warm up, work on scales and sluring and light touging. Then i take another 15 min break. Then come back and begin working on the easier music and work your way up to the hard stuff. It's simple, you dont run before you can crawl. Don't worry about screaming, it will come on its own. When you really fortify your emouchure range will come with ease.
     
  6. trickg

    trickg Utimate User

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    ^^ I agree with that, but top line F# is my threshold due to the fact that I play through my scales doing a circle of 5ths. But, I also do some light long tones down low to loosen things up before I embark upon my scales. Part of the reason I do the scales is to simply keep my figers fresh with the scale patterns, but part of it is that the F and F# are kind of "check tones" to see how focused my chops are, which determines some of the other stuff I'll do in my practice. If they pop and resonate a certain way, things are focused. If they don't, then I do some drills that promote chops focus.
     
  7. veery715

    veery715 Utimate User

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    In your best basso profundo, sing; "Trumpet for sale, trumpet for sale!"

    v
     

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