PhatmonB6

and this coming from a guy who knows what the heck he is talking about when it comes to playing trumept and hitting the high ones after all he did tour with The Boss...Joe Cool so take some notes.

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Bach Strad 180S37
Monette B2

Well, if I could play like Wynton (Marsalis), I wouldn't play like Wynton.
Chet Baker

cornetguy

if you can play the g above hi c don't worry about it. you are doing everything right and highter will come. but you don't need to worry about range. if it is the g above double hi c the i agree with Nick, you can work on other things.

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Per aspera ad astra

Bennem

Before I start I have to say that I cant hit these notes never mind play them. But I have been working with a teacher who basically plays these notes and the triple range above pretty much without thinking about it. Nor does he use a herculean effort to play them

His tip is to actually back off the air volume slightly above double G (as NickD says this is the one above double C which is an octave above the two ledger line C) and go for speed of air.

Deecy

Lou Maggio used to say, "It's a baby, Sonny, but it will grow!"

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Tom//

TrumpetJimmy

Everything shuts down due to the tension you are creating throughout the passage of the air(could be stomach, throat, aperture).Somewhere along that route is the culprit of the shutdown or the pinch off. You have the set up that creates the sound you have in your head when you think {play Double G} and it comes out great. So the normal reaction that most of us have is to apply more of everything to get a higher note. So you think {more air, smaller aperture} and all the notes should come right? My suggestion is to continue the same success of the daily double G and try to focus on not creating tension when going higher ...your not thinking about it to do the double G by now so this should be an easy habit.

stchasking

I asked Patrick Hession the same thing at ITG 2006. He said imagine gripping the outside rim of the mouthpiece with the embouchure. He said Maynard has mentioned that on a really good day he (Maynard) feels like he could hold up the horn with the grip on the mouthpiece.
I think this takes a lot of time to develop.
Do any of you at ITG remember him saying this after his class?

post horn

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"I was performing professionally at age 17 and have never had a real job." Allen Vizzutti

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patdublc

Yes, after his session, he talked about it pretty much as you said. He also said that this created two grip points - the traditional one on the inner rim and the second grip on the outer rim. I've tried it and its a funny feeling. I guess every change feels that way to begin with. It wasn't something that I could adopt right away.

pat

Liad Bar-EL

I can get the G about high C with no problem but then what? Rarely do I need to use it.

If you can get that high as Nick mentioned, then IMO you DO HAVE SOMETHING TO WORRY ABOUT.

With all the time and effort that you put in to getting this technical thing accomplished, you've missed the training and experience of putting your soul into your music and through your horn so that others can share that feeling which is the mark of a true musician and an artist.

Juggling high notes is no different that a juggler in a circus......here today and gone tomorrow with no memory, no feeling and no sharing in other peoples hearts and souls. Tomorrow, another "juggler" will come to take your place. When you get older and can't juggle so good, then you're out completely.

If you're a ture musician, then you will always have something to share and be appreciated for.

If you're affended, I'm sorry but it's the truth.

My advice? Spend as much time trying to express yourself through your horn with gut soul feelings as you do trying to get high notes. I think you will soon see that the expressing efforts will win out.

Think about it,

Liad

Vulgano Brother

Joe, I am assuming that you are practicing so that you can do anything you want on the horn -- dynamics, tonguing etc., so here are my tips for getting higher and louder.

Go for the double c first, and work your way down.
Experiment with fingerings -- Chase played high a with 123.
Pedal tones -- an in-tune pedal c seems to work some of the same muscles
we need for the high stuff.
Learn to clutch your trumpet firmly and fall on your back when you black out.

Have fun!

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aneel

Hi Joe. It`s normal for even the most extreme high note
freaks to get smaller in sound as they get higher. This cut off point as I call it is normally between high G and B flat. Some players can play flat out to these notes but no higher, players that can play higher diminish in volume the higher they play. (They only sound loud because of the range they are playing in, not the volume they are playing at!) Whatever your goals are on the trumpet, remember that you are a musician. Al Porcino once said ``play big, not loud`` I hope this helps. remember, trying to imitate a jumbo jet taking off has no place in music! P.S. take a look at Arnold Jacobs`
book `song and wind` (wind song press) some useful tips, not just on high playing!