Upper register tonguing issues.

Discussion in 'Trumpet Discussion' started by Mambo King, Jul 14, 2011.

  1. JRodri

    JRodri New Friend

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    I noticed that when I started double and triple tonguing too!
    What worked for me was getting my range first whole tones and lip slurs, and the tonguing just came in naturally. If you can hold and sustain the notes perfectly I'm pretty sure you'll be able to tongue it too.
     
  2. kingtrumpet

    kingtrumpet Utimate User

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    yes
     
  3. kingtrumpet

    kingtrumpet Utimate User

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    but only one postROFL because I love those little guys:wub: they are so cute :roll::roll: and they make me so happy:roll: when I put them in a post:whistle: my goodness GM even you should raise a gin and tonic to that:bravo: for all of you who don't like the little guys lets all have a big group hug :grouphug: , if only because I am sooooo very cool:cool:
     
  4. trickg

    trickg Utimate User

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    Wow, KT, just....wow. ;-)

    To the OP, I suggest working on your fundamentals in your lower register because I would tend to think that the reason you are having issues in your upper register is because that aspect of your playing - articulation - isn't particularly strong in any register. The upper register tends to magnify the flaws in our playing, and especially if the chops/air struggles to support it - that's when the tension comes in, the mouthpiece pressure gets cranked up, and things start sounding a little hairy.

    Spend a good amount of time working the basics from tuning C on down - lots of articulation, long tones, lip slurs, etc, and IMO you'll be better off if you do a lot of this off the cuff without a page of music or an exericise book in front of you. My thought on this is that rather than focusing on the page, instead the focus and be turned completely on what's going on between you, the mouthpiece and the horn so that you can really fine tune what's going on with your chops.

    That's just my 2ยข on it.
     
  5. AaronPlaysTrumpet

    AaronPlaysTrumpet New Friend

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    Jul 7, 2011
    One thing that might help is soft playing. Try a basic technical study (I like Clarke 1 and 2 for this) and soft as possible - WHILE STILL SUPPORTING WITH GOOD AIR AND EMBOUCHURE - play each exercise at your own pace slurred and tongued in one breath.

    Remember that the tongue only interrupts the air. Your air must always be moving. The old metaphor is to run your hand quickly through a running faucet (water = air, hand = tongue).

    Don't worry about the "quality" of articulation on this exercise right away. Just focus on letting the tongue interrupt a constantly forward-moving airstream. Allow yourself to crescendo as you go higher, but the entire exercise should be relatively soft and always as relaxed as possible! Focus on allowing the air to move the same way slurred and tongued.

    I don't know if this will solve your problem completely, but I think it may act as a magnifying glass into your own personal bubble of articulations and airflow, which will of course carry into the upper register. Couple this with standard articulation exercises and I think you'll start to see the connection soon enough!
     
  6. Dave Hughes

    Dave Hughes Mezzo Forte User

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    Kingtrumpet, the answer is yes, you do move more air. If you move air faster, then for the same length of the note (because of air volume) you've also moved MORE air then when the airstream is slower. So, blah :-P
     
  7. kingtrumpet

    kingtrumpet Utimate User

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    yes but it is still controversial -- to some -- anyhow -- who argue the point -- and say "fast air" is a bunch of bunk ---- and "good air...........:shhh:ROFL
     
  8. kingtrumpet

    kingtrumpet Utimate User

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    :cool:and if you said WOW backwards -- :dontknow: -- you would say WOW:thumbsup:
    of course if you looked at WOW upside down and backwards --- you get MOM:grouphug: -----------:roll:
    I'm so happy with the little guys :play: -- did anyone ever notice that these guys have NO mouthpiece??? --- I guess that resolves the mpc questions with them:lol: --------and NO -- this doesn't help the OP, but it is fun ---right ON dude!!!!!!!!!:bleah: ------I am sorry that was so juvenile of me :woop: that is better -- but I should remind everyone here on TM that I am KING trumpet :worthy: , but I am so humble you don't have to bow to me!!!!!!!!!!!!!!!
     
  9. Bob Grier

    Bob Grier Forte User

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    I've developed a series of exercises to help tonguing through the entire range. can't tell you about them, have to show you. It's not a quick fix. it'll take some time to develop these skills.
     
  10. rowuk

    rowuk Moderator Staff Member

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    the major issue is that we use the tongue as part of our embouchure. When we articulate, we move the tongue and everything else not firm falls apart. Many players substitute heavy tonguing for breath support. The hammer blow to the chops gets the note started.

    That is the problem, and the cure is actually not that bad. You need to play a lot of long tones with NO attack - simply inhale and exhale. I have made enough references to the "circle of breath" here. Look it up.

    Once you can "exhale" the notes in the various registers with ease (with no attack), you ADD only enough tongue to give the note definition. This will be like only 10% of what you used to hammer out. The greatly reduced tongue motion now is not in the way of your upper register. Everything is easier.
     

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