Range Developement

Discussion in 'Trumpet Discussion' started by Bad Luck Lux, Nov 13, 2011.

  1. kingtrumpet

    kingtrumpet Utimate User

    Sep 20, 2009
    New York State USA
    Yes - I agree -- Nick Drozdoff and many other players can take just about any mouthpiece and play well, in Nick's case he can also play all of the brass instruments very well. So the mouthpiece is a tool, and the player is the determining factor in how well the tool (mpc) is perceived. So if you watch "some" of Nick's vids - you might think that the Parduba, or the Asymmetric, or the Schilke 14A4a is the BEST MPC. Or if you watch ALL of his videos, then you might conlude that ----- Everyone, can play any mpc, and any brass instrument, and make it sound good!!!!!!!!
  2. kingtrumpet

    kingtrumpet Utimate User

    Sep 20, 2009
    New York State USA
    and I would agree and say that most trumpet players don't have a decent high C or above --because they are unwilling to put in the time and effort that it takes to be consistent. Most of the trumpet players (in my opinion) see a Doc, or Arturo, or Faddis, Bergeron, or whomever they view as their favorite trumpet player -- and they instantly think they can do that with a half hour each day (some even think they can skip lips slurs and long tones). Most people in my opinion don't achieve what they are capable of -- because they do not have the work ethic, the commitment, or the desire to put in the time and the 1000's of hours of work to achieve a decent High C, or a decent Low F# for that matter.
  3. Mike Barkett

    Mike Barkett New Friend

    Nov 19, 2010
    Kingtrumpet- I think by high notes written in music, they meant band music not jazz. And speaking of jazz players you forgot the god of high notes: Maynard Ferguson. I play lead trumpet in my jazz band and I usually don't HAVE to go higher than an high E. But I might harmonize higher if I have the chops and feel like it. High notes aren't very useful but if you are able to produce them, they are fun as entertaining. For marching band this year, I was featured in Gonna Fly Now, made famous by Maynard. Once it got cold outside, I never played it perfect but people are just amazed by the range. Just a good crowd pleaser.
  4. joshlalonde

    joshlalonde New Friend

    Nov 8, 2011
    Everyone's telling you the sort of attitude you should have, but nobody has told you how to play high notes in the first place!
    Think of it like this:
    To play low notes, you need to use slower air. How? Take a slower breath.
    To play high notes, you need to use faster air. How? Take a faster breath and compress your abdomen! (Think: Someone is going to hit you in the stomach with a baseball bat) Be careful to not pinch your face up, apply immense amounts of pressure, etc. because 1) OUCH!! Don't damage your embrochure! 2) It makes you look really weird. By using pressure, you can hit the high notes, but they often sound flat and pathetic. Now that you know what to do, how can you apply it? Well, I forgot the name of the exercise but it goes like this:


    The second C, G, and A's are the higher range in case it confused you.

    So, work your way until you reach your limit. Then, do it again, trying for just one note higher. Repeat, aiming for a note higher each time. If you can't go on, then take a short break (5-10 min.). Repeat the exercise. Do this daily or bi-daily, until your range gradually increases. The reason this works is because your embrochure is a muscle, and I'm using the principle of progression and overload to strengthen the muscle. (Actually muscles because theres more than just the embrochure.) But basically progression is working your way to the goal, and overload is going just past your limits)
    Last edited: Nov 16, 2011
  5. DaTrump

    DaTrump Forte User

    Oct 21, 2011
    Huntsville, Texas
    Its chicowitz, part of my trumpet diet!
  6. jiarby

    jiarby Fortissimo User

    May 7, 2011
    That's from the VC studies...
  7. gbdeamer

    gbdeamer Forte User

    Oct 16, 2008
    Again, a kid making blanket statements like this is silly. Why the hell wouldn't someone "just go out and get" one? If you're doing lots of lead work and and need a bright/commercial sound then a 6A4A might be the perfect choice. ANYONE can use one. It's not a magic pill that will give everyone a double C, but with time and practice there's no reason why someone couldn't adjust.

    No you haven't. You haven't seen vast amounts of anything at this point in your life that would constitute any kind of meaningful trend.

    Inexperience is showing here in my opinion. Yes, playing different mouthpieces requires changes in approach and with chop settings, but so what? It's very common, and regular practice (lots for some) makes it possible. Becoming proficient with a "lead" mouthpiece (asymmetric, Schilke, etc.) for lead work and alternately using a Bach 1.5C (for example) for "legit" playing isn't something that can't be accomplished if someone regularly practices with them.

    Calling you a kid wasn't a low blow, it was a statement of fact. You trying to pass yourself off as some kind of expert at this point in your development is ludicrous, and comparing yourself to Wynton Marsalis is delusional. How can you possibly expect/pretend to have even a fraction of the knowledge or experienced gained by the people here (many of them working pro's) who have been playing, teaching, and performing for decades??

    The phrase "you don't know what you don't know" applies here.

    Very true statement.
    tobylou8 likes this.
  8. richtom

    richtom Forte User

    Dec 7, 2003
    I will say just this.
    An improperly chosen mouthpiece which is far too small, too deep, too shallow, has the wrong alpha angle, too big, or has a rim that doesn't work for simply cannot ever be "adapted" to. It is just plain wrong and the player will never rise to any competent level. If the mouthpiece is a fairly close match to a player, there is a chance one can overcome a slight mismatch.
    There is no way I could ever "adjust" to a Schilke 24, Bach 1, GR 61A (the Al Hirt Model), or a Schilke 5A4. None of them fit my particular embouchure. I would think this would hold true for just about anyone on this website.
    Most of the pros I know in the Chicago area do not go to extremes in mouthpiece selection for the job they have in hand. I guess that's why they have the jobs they do.
    I am donning my flame retardant suit for the next comment, but here goes.
    There certainly are young, inexperienced players giving out some rather poor and often very wrong advice, but there are more experienced "expert amateurs" here who give out even more very bad information as well.
    Rich T.
  9. tobylou8

    tobylou8 Utimate User

    Dec 22, 2008
    Hope it ain't me!
  10. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Why are there so many stupid posts when we talk about high notes? Why do those that obviously have no idea try to come on as experts.

    Stupid comment one: push more air. If the poster had even half of a clue, they would know that it isn't MORE air that gets high notes, the air has to be adequate, synchronizes with the face muscles, tongue and brain - just like Al said.

    Stupid Comment 2: use an Asymmetric. Hardware does not solve our problems - ever. If we have issues with our breathing, chops, ears or brains, no amount of hardware can compensate.

    Stupid 3: arguing about what is written up high. For those with the INTELLIGENCE to do a good job upstairs, it doesn't matter. I play with a big band and we have over 200 tunes in the book. There are only 4 or 5 where anything is scored upstairs. The Gordon Goodwin titles are scored upstairs. the second and third players need substantial range too.

    Stupid 4: use lots of pressure at the abdomen. If this was the solution, every lead trumpet player would have a rupture. Tense your stomach and march around for a while (without playing). There is a good chance that you will need diapers before too long. This is really dumb.

    My advice: if you aint doin it, just shut up. The chance of really messing someone up is too great.

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