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Discussion in 'Trumpet Discussion' started by songbook, Jul 7, 2011.
Or 1-2 with the first slide out a crack
Rowuk and Dale have passed along some good advice about the third valve instead of the
usual 1-2 combination and it is what I sometimes use on those somewhat snarky A above the stave entrances.
There is an old story - maybe somewhat true, too - about a gambler once betting Louis Armstrong that if he could hit 100 high C's in a row, he would give him $1000.00.
The story concludes with Pops pulling out his horn and nailing 100 high C's in a row, winning the $1000.00.
Hear the note first and don't put the thought of failure in your mind.
+1 on the air attacks .. sometimes we over due the tongue which is almost a guarrenteed cracked note... less tongue more air... and the 3rd valve ideal sounds brilliant
I am working at developing clean attackes above the staff as well. What i have come to appreciate is how necessary it is to hear the note before you play it. I have been using a piano to set the tone, I sing the tone (in a lower octave), then play it on the horn. For some reason this "A" seems to be a gatekeeper for me. once i get it it cleanly, the tones up to the "D" go just fine.
I feel fortunate that on my main Bb (the courtois) this note sits perfectly in tune that way (also makes the low Es fit in better with arpeggios timbre-wise)
Definitely a lot easier to play 3rd than it is 1&2
Something that helped me with this sort of thing was to grab a mental image of a note above the A in this case, and then you automatically know to relax into the now "lower" note.
But practice the alternate fingering 'trick' too - I'm hanging out to read Robin's reasoning (I have formed an idea about this all on my own but unlike the normal trumpet player, I will hold my opinion until Robin explains what's REALLY happening).
I've recently joined a 'new band' and am experimenting with alternate fingering - particularly the 1+2 or 3rd valve variation - it certainly speeds up the fingering on some of the "new pieces" I am seeing.
The A above staff is a notorious difficult note to slot. I agree with Rowuk the 3 rd valve substitution works well. But practicing hitting the note repeatedly periodically throughout a rehearsal session is also a good idea. Don't start doing this however until you are warmed up.
I also cannot wait to hear Rowuk's reasoning, my bet is it may have to do with resistance. We will see.
I wonder why that is? I never noticed as a junior, but since coming back I have found the A something of a stumbling block. Mind you it's still rather close to the top of my current range.
I wondered that. One less bend to go around? I was half expecting him to laughingly say it was a mind trick. I tried it and it worked for me too. I could hit A more easily with 3. Is there a real reason for it or was it because I was expecting it to work?
I may be showing my ignorance here, but I think it's because the sound wave has a smoother path with 3, and it's more in tune on most horns with 3, so it finds the slot easier. Whatever the reason, it works in many cases.
It is flatter = lower = easier
Also one less valve that could be out of alignment on the downstroke.