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Discussion in 'Trumpet Discussion' started by Edvard22, Dec 3, 2013.
Thanks for spotting the typo - I fixed it.
Ouch! The tongue is and the tongue does, but focusing on the result delivers more and quicker. Playing on time gives us about an eleven millisecond slop, playing in tune has some even tighter parameters. Playing on time, in tune and musically takes so much concentration that honestly there isn't a whole bunch of cognition left over for tongue arch.
Observe the tongue, yeah, as a minor episode in the daily routine but don't make tongue arch a mantra.
Gives a whole new meaning to that crock phrase "this trumpet plays itself"... doesn't it? Ha ha...
Anyway, these things come with time and practice (good practice, not just trying to "hit" a desired note). On the upside, it doesn't sound like you're too far away from your goal. Keep at it, follow the advise from the above posts, and you'll be there soon.
I'm sure everybody here has more experience than me and is better qualified to teach, but when I read your description of what happens when trying to produce these notes higher than B, I see something pretty darn obvious: you don't yet have the chops for these notes, but you're still trying to blare them out. Whenever I start experiencing what you describe, I know that it's time to rest because these notes won't happen and trying harder will be counterproductive. That's the sound/behavior of strained lips. When you really push it, the notes happen but they're unstable, forced out through an embouchure that is not ready for it.
Some gifted players have a jaw/mouth/lip conformation such that the specific effort needed to produce the sound is more easily performed. They get to the high C (and above) earlier and more easily. For the rest of us, it takes simply more time and more work: we have to achieve a high level of remodeling of the lip and mouth muscles, with the associated neuromuscular development. It is truly a feat of perseverance. It takes time and there is no short cut.
Working specifically toward range may yield a slightly quicker improvement but at the cost of weaknesses in other areas of playing, which won't likely receive enough attention. As I understand it, working specifically on range is something that already well rounded players should attempt.
Playing well is hard to do, it requires balanced playing, in which each element is strong enough that the whole is clearly pleasant to hear. Range develops as a result of diligent practice within the range in which one is comfortable, with just a little nudging beyond that, an incursion here and there. Trying to play long/loud in the range where one is not comfortable yields strained ugly sounds and is injurious to the chops. With sustained practice you will get better but it likely will take months and years.
There is plenty of advice and recommendations above, and reference to well respected instructional works. For me, I have seen my range progress by doing melodic studies with lots of long notes near the top of my comfortable range. Nothing else seems to have worked as well as that (I'd have to disclose that it's very much a work in progress).
This looks pretty good
Anybody else listen to the ends of their notes? Not good, in my far from humble opinion.
He says, tongue in cheek.
LONGTONES!! Longtones soft, LONGTONES loud, longtones crescendo, longtones decrescendo. Absolutely the most boring exercise around but the benefits are well worth it. Oh, and do all the other things mentioned too! Should keep you busy awhile!
Allow me to expand on your idea (and avatar )
Can't see the pic on my kindle!!! Don't know why!!