Review of Barry Danielian's "How To Play High Notes" video.

Discussion in 'Trumpet Discussion' started by Local 357, Aug 21, 2012.

  1. Local 357

    Local 357 Banned

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    From: How to Play High Notes On the Trumpet! - YouTube



    I love these concise, simple explanations. Someone had posted Barry's video the other day (in "Trumpet Discussion") as it relates to arpeggios in range production. After watching it appears to me to be probably the best, practical, common sense explanation about building good lead trumpet register I've ever seen put into a video.

    The interesting thing is there are no real "secrets" or profound ideas expressed by Barry. As well there probably shouldn't be. While I do believe that there actually are a few hidden secrets to the game, most of it involves patience and perseverance.

    So OK there are a couple "secrets" to playing high notes and Barry doesn't mention these. But then no one else does either so he can't be blamed for that. Almost anyone can learn something from this important video of Barry's. Again its all common sense applications typical of any sport. Some quotes:


    "High notes for a lead player are a different scenario than a jazz player"

    (as a jazz player) "I can decide to play in the upper register and I can decide not to"

    "I can also decide how I want to get up there and how I want to get down"

    "But if you're playing lead you basically have to do what the music says and most the time you're going to have to play high when its the least convenient time to do so"



    Someone ought to carve those last thoughts on to your trumpet case... Let's repeat them:

    "You're going to have to play high when its the least convenient time to do so"



    At about 2:19 Barry begins the comparison of lead trumpet playing to strength training such as a weight lifter does. Its all common sense.


    Where Barry is remiss (and I don't blame him for this because everyone else is remiss here too) is that there is no mention of certain physical limitations induced by incorrect applications of embouchure usage and positioning. He is from the Carmine Caruso crowd who while often often promoting an effective playing regimen never understood the physics involved.

    I have a good friend and monster lead player who explained the Caruso system's limitations well to me:


    "With Caruso you could be like an athlete who runs on his heels. Not his toes. All the Caruso system will do for this guy is make him a better runner on his heels. Never fixing the obvious limitation"


    And so it is with all efforts to develop high notes that do not take into consideration the often flawed physics of a given trumpet player. And since these physical problems occur to some degree in the great majority of trumpet players I can't predict how well even Barry's fine video will help them.

    But it is good video and worth a serious watch. It simply has to help anyone who struggles. At least to some degree. Watch the video!
     
    Last edited: Aug 21, 2012
  2. TrumpetMD

    TrumpetMD Fortissimo User

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    Nice video. And good commentary from Local 357.

    Thanks for sharing.

    Mike
     
  3. robrtx

    robrtx Mezzo Forte User

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    Nice post with some good advice; I like how he drops to a low "G" between exercises to relax the chops. Kinda like a runner stretching between sprints.

    Thanks for sharing this
     
  4. kingtrumpet

    kingtrumpet Utimate User

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    yes, and a little practice -- the average player can add a trick or 2 for an extra note -- most notably changing the position of the horn (either raising it, or lowering it for high range - depending on your jaw structure I imagine).. The 2 most notable guys that come to mind at the moment are -- Maynard Ferguson, who actually seemed to raise his trumpet a bit for higher notes, also uses the "fat" lip method, getting a lot of lip on the mpc, I suspected for a little increased pressure at his awesome volume on high notes ---------------------The opposite of this method, is that of the gospel trumpeter/ singer Phil Driscoll, who actually lowers his bell/horn quite often on the reaching of the high notes, I suspect because his jaw formation, and "airstream" are different than Maynards was.

    Nonetheless -- Phil Driscoll had a decent Double High E back in the late 90's in concerts -- and most of the "playable" range was somewhere around the High A in a lot of songs ---- nevertheless, for demonstration, and actually in a couple of songs -- he did uncork the DHC, D, and DHE --- but, hey if you got it, why not use it!!! --- and for all of the "high note", that is not written in the music whiners out there ---- I NEVER HEARD ANYONE BOO OR HISS A PHIL DRISCOLL WHEN HE UNCORKED EXTREME HIGH REGISTER NOTES -- but I did see standing ovations!!!!!!!!!!!!!!!
     
  5. bumblebee

    bumblebee Fortissimo User

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    Interesting - and do you mean no one else except for Mr. Thompson and similar people?

    I must admit I would like to extend my comfortable range (currently locked at about F above the staff, and really only D can be guaranteed if I'm tired) without resorting to "screamer" mouthpieces, so am a little intrigued by your words.

    --bumblebee
     
  6. kingtrumpet

    kingtrumpet Utimate User

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    welcome to the club --- how does it feel to be NORMAL???? ROFL ROFL ROFL
     
  7. stumac

    stumac Fortissimo User

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    I am glad I have some semblence of normality, although at aproaching 75 most of my effort is concentrated to stay at the present level, a weak high F. One time I did aspire to a Double C but since moving to french horn in orchestra the screaming is not required or encouraged.

    Of the 5 trumpets in our comunity orchestra only the two younger ones can play a high C, (in their 40's) the others are around my age.

    I am happy to play 3rd and 4th parts in Big Band, sometimes though called to play 1st or 2nd.

    Regards, Stuart.
     
  8. bumblebee

    bumblebee Fortissimo User

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    Hi Stuart,

    Listening to the opening phrases of "El Farol" played by Doc Severinsen he goes up pretty high (to F# above the staff if I hear it correctly) yet his tone remains so clear and musical I would never describe this example as "screaming". Doc Severinsen performs "El Farol" with Gil Gutiérrez & Pedro Cartas - YouTube

    I think if I want to play this music I need to be able to play the notes.... ...but of course not to the detriment of all the other notes....

    --bumblebee
     
  9. Cornyandy

    Cornyandy Fortissimo User

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    One thing I do like about this video is that it isn't a "trick method" its good practice technique and simple to follow. There's no restorting to changing your method, just strengthening it
     
  10. JNINWI

    JNINWI Piano User

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    Learning to play in the upper range is not a detriment to other ranges if done correctly as Barry talks about here. Actually if you develop your upper range correctly all other ranges will become stronger in that you are now breathing correctly, you have backed off on your pressure, you are playing very relaxed and basically using your mechanics correctly to achieve this. It benefits the entire range of the horn, adds flexibility, and increases your endurance. These are just a few of the benefits I’ve experienced learning to play correctly in the upper range.
     

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