Range, Endurance & Power...

Discussion in 'Trumpet Discussion' started by trjeam, Jan 27, 2006.

  1. trjeam

    trjeam Pianissimo User

    Dec 5, 2003
    I need more endurance and power in my upper register.

    In the past I would do calisthenics (ala Caruso) and lip slurs but I'm afraid that those exercises will hurt my new "prettier" sound...

    Actually I'm overly afraid to practice in that register because of the fear that I will loose my new sound...

    My main problem is articulating with power in the upper register.

    Any advice?
  2. dbacon

    dbacon Mezzo Piano User

    Oct 24, 2003
    Scottsdale, AZ.
    Take that great sound with you into the high register!

    Doc said, "If you want to play up there, practice up there..."
  3. trjeam

    trjeam Pianissimo User

    Dec 5, 2003
    that might just be crazy enough to work! lol

    easier said then done.. but are you saying that doing my usual endurance/power exericises won't harm if I approach them with the sound I want?
  4. Umyoguy

    Umyoguy New Friend

    Feb 1, 2005
    Playing in the higher registers is like any other technique. If you don't practice it, it won't develop. And don't be fooled - It is a technique like any other. It's possible to learn. Some people are more gifted than others, but that holds true for anything.

  5. trjeam

    trjeam Pianissimo User

    Dec 5, 2003
    I'm just afraid of messing up my tone because of practicing high notes.
  6. Derek Reaban

    Derek Reaban Mezzo Piano User

    Jun 16, 2005
    Tempe, Arizona

    I certainly understand your dilemma. I always felt like something changed in my approach to sound production as I went into my higher register. I could hear the change in sound take place, but I knew that to play in that register I needed to spend time up there.

    For quite a few years I played through Book 1 of the James Thompson Buzzing Basics material, refining my sound and my general approach to sound production. Most of the exercises went up to a 4th space E and down to a low F. One exercise went to a G at the top of the staff and another went down to the Pedal C. Eventually, my sound has become very even on all of these exercises, and I know that I have pushed out my “breaksâ€, taking this great sound with me.

    Recently, I have diligently been putting in more time with the Buzzing Basics books, and I spend time in Book 2 daily. This book starts to extend above the G. I can feel my sound coming with me as I do these exercises. I know exactly when things begin to shutdown, and I’m very aware of the slightest signs of tension. I’m able to divert my conscious thought, and release my air (as I’ve written about recently), and I can usually do the exercises up to a High C, C#, D. This sound follows me to all of the other playing that I do these days!

    The sound and feel above the G is directly related to the rest of my playing registers!

    I’ve gone the other route (forcing the sound and trying to play up there), but for me, I’m tired of the inconsistency associated with that approach. I’m playing better now than I ever have, and I attribute this to a daily centering session with the proper focus, and extending these exercises at least up to the High C.

    Remember, that “power†and projection comes from resonance. You want to get in phase with the horn, not overpower it.
  7. Jimi Michiel

    Jimi Michiel Forte User

    Mar 22, 2005
    There might be a few people out there who disagree with me, but I never found that I had a lot of success with method books and teaching techniques designed to boost power and endurance. For me, I just worked on orchestral excerpts that stressed that kind of playing: Alpine Sinfonie, Firebird, Bach picc parts, etc. Maybe my attention span is too small, but when I tried playing out of range building method books I found it really hard to make music, which led to frustration and then tension, which eventually negated any progress I made...

  8. dizforprez

    dizforprez Forte User

    Nov 2, 2003
    At what point, note wise, do you start to loose a good sound? what kind of exercises are you already doing for fundamental work?
  9. trjeam

    trjeam Pianissimo User

    Dec 5, 2003
    I do a lot of flow studies. I do Eddie Lewis's "Go Flow" studies, then I do this:


    So I spend about 20 mintues do long tones and flow studies..

    Then I do clarkes #3 and then #2 Single Tongued...I sometimes will take #2 up the 8va

    I also will do a little bit of lip slurs ala Collins.

    I also work on 2 8va scales.... and that's pretty much what I do for fundamentals

    I guess I start to loose my "tone" at around high B.

    The thing is that I have Eb range. I can slur and get a pretty big sound up to Eb but when it comes to articulating and tounging I start to struggle at around B.
  10. camelbrass

    camelbrass Mezzo Forte User

    Nov 5, 2003
    Dubai, UAE

    In my experience a fully controlled high B (by that I mean a note you can articulate, shade, crescendo, decrescendo, bend) is nothing to be discouraged about. Don't get too carried away about range that people claim to have on these boards. It's not uncommon for people to claim their range is a 4th above where their actual limit is, and a musical high B is more rare than common. Playing scales and arpeggios to that high Eb is very different than playing music to that level.

    My advice is go back to Caruso. If you're doing it properly it will not hurt your sound, ...it will, however, make you a stronger player a bit at a time.You appear to have found a sound you like...great...practising in all registers is the only way to develop that sound.

    Just my take on it.



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