Upper register is airy

Discussion in 'Trumpet Discussion' started by sfrey000, Aug 17, 2011.

  1. sfrey000

    sfrey000 New Friend

    Dec 15, 2010
    Hi, I am a music education major in college and I have been playing the trumpet for about 7 years. Before getting started, I am very dedicated to the practice of fundamentals, and, although I can always improve, I believe I have them managed. My problem in the upper register is that when I am ascending I eventually reach a point (sometimes a high E or G) where the air is passing through the aperture unbuzzed. I use an open aperture (with a slight curl so that I am not on the soft inner tissue) with the Farkas embouchure, and I rely on tongue arch to achieve the fast air speeds. What should I do and how should I go about doing it?

  2. jiarby

    jiarby Fortissimo User

    May 7, 2011
    find out what is killing the buzz... is it mpc pressure, weak corners, or lack of air support?
  3. craigph

    craigph Piano User

    Mar 12, 2010
    Did you talk to your trumpet prof(s) about this?
  4. Peter McNeill

    Peter McNeill Utimate User

    Jan 30, 2009
    Melbourne Australia

    If you find yourself dropping off the note, then it is your chops, and just keep with the practice.
    If it is unbuzzed air, then probably pressure - and this is shutting down the buzz. Get a trumpet player to watch you and try to help you analyse what you are doing. It could be any of the 3 mentioned by jiarby
  5. frankmike

    frankmike Piano User

    Dec 5, 2008
    its the embouchure. farkas is bad embouchure. Try to set the embouchure so that soft inner tissue vibrates. And improve air support

    oh, and close the aperture.

    and just listen to faddis -ljust istening to faddis does mirracles
  6. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Who comes up with this aperature crap? Why would ANYONE make an effort to keep the aperature open?

    The lips need to open and close like a valve. They should not vibrate like violin strings.

    I would say that something got lost in the translation. Philip Farkas was an excellent french horn player that did not play inefficiently. Still, a french horn embouchure is probably not the right model for a trumpet player unless your name is David Guerrier:

    David Guerrier - Carnival Of Venice - Variations sur le Carnaval de Venise - YouTube
  7. gbdeamer

    gbdeamer Forte User

    Oct 16, 2008
    According to Roger Ingram, he does. According to Roger Maynard did as well...
  8. chenzo

    chenzo Piano User

    Jul 18, 2008
    Interesting .............whant to play in upper register above high C with decent tone?
    I think this will only happen after many many years of dedication to trumpet playing,(maybe life long)
    sometimes we are in such a hurry to scream our heads off, being the end product sounds so unmusical.
    Please correct me if I am wrong but isn't it a fact that most music written for trumpet rarely goes above a high C,
    and is it not the offical range of the trumpet. I know the trumpet freaks we all admire make this nonensense but we all can't be naturally talented as the gifted few in this world.
    I have read somewhere were Mandez after mishap with his lips only played bottom A long tones,to get his foundation in order to achive future playing and I think he was talking about a year of doing this.

    To me I rather have a top range to High C that I can play in a relaxed manner with total control and sound, and the rest would be a bonus.

    Funny I was once told by an avid Brass band freak that not to many trumpet players play musicaly................I kind of agree to a point.

    Just my thoughts on this..........

    Let me put it to you this way.......... who can play a bottom G with a nice fat tone with total control.

    Anyrate I hope the trumpet gods smile and blow sweet sounds apon us all

    Cheers,relax and enjoy what we do.............................after all we are trying to play music................... not make war.............................
  9. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    I think that it is necessary to know HOW the chops work. What Roger Ingram says may very well be dependent on the CONTEXT that it was said. If you want to SEE how the lips work:

    IWK Brass Research

    Understand the process and MANY things become logical (or illogical).

    I had 2 lessons with Maynard Ferguson - I actually got exercizes to tighten up the corners.

    If the aperature is open, the lips have to move a much longer distance to close, that would limit upper register.

    What muscles could one use to keep the aperature controlled open? The only ones that I can think of is those in the left arm.
  10. Local 357

    Local 357 Banned

    Jul 1, 2011
    There is a clear association of "airy" tones in the upper register with those people who rely on the tongue arch. (not to be confused with the concept "forward tongue" which may actually help).

    But where you REALLY notice the weak, thin airy upper registers though is on the Caruso students. Even some of their noted players and teachers can not deliver a real double forte above the High C. Almost comical the weak tones they have although they may play very professionally otherwise. Many/most simply can't cut through a full big band. Making their upper register functionally worthless.

    My suggestion to the O/P is:

    Play louder and gain more endurance on high volume below the High E. This should help the chops gradually gain more volume on the High E and above. better volume = less air in tone.

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