barato

What I truly meant was that I would play a heck alot more. 14 hrs was just a metaphor saying that I would play more. At the moment, all I can do is put as much improving exercises and do the best I can at every practice. I love playing, but I like playing more in groups. Groups make the piece of music I am playing feel more complete. The only exception is if I am playing a solo, then the music feels very complete by itself. The last thing I feel like doing at the moment would to play for 14 hrs and damage my lips, for they already have cuts from the first week of playing with braces. You are totally right though, practice does not make perfect, perfect practice makes perfect. For if you play the right way, and improve what you need to improve in, then you will see improvement.

stchasking

Barato,

I think I sent you a private message awhile back. Check your PM's at the top of this page.

Now to answer your question. If I knew 40 years ago what I know today I would work on memorizing techniques. I attended/sponsered a precontest recital of trumpet players a few years ago. The two top girls played from memory and their musicianship was magnificent. One is now a pro and the other is getting back to it now that she has her Phd. They both had 1st ratings all four years of high school.

My range in high school was a high C. It did me no good what so ever except at basketball games where a high note at the end of a pep band piece was expected. No musicianship required.

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rickperon

Range is something I have been putting a little stress on myself, because many songs do carry some of these higher components which my school music teacher will kill if I could not play advice.
Later,
Howard[/quote]


I understand that this statement is somewhat of a figure of speech. However, as a private trumpet teacher myself, this unfortunately is a problem that I hear about from my middle & high school students too often. There is too much pressure to perform music that is too difficult in my opinion, especially in the area of range. This type of pressure on young players won't do anything for confidence building, if anything it's discouraging. A smart band director IMO should build his/her rep. according to the level of abilities he/she has to work with. Of course you should challenge young players to the next level when they are ready. I'm hoping that your private teacher is guiding you with a well rounded practice routine that shows what you must do in order to achieve such & such. Range building should only be a small percentage. You want to make sure you are fresh when practicing any given area for the most chance of success. This leads to confidence in your abilities which allows you to "play the music".
Best to you!
Rick Peron

Magnusverdixon

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_TrumpeT_

I used to really obsess over range. One day, my peer (knowing my obsession with range) surprised me by saying that he had a range of over seven octaves. Then he added, "on the piano... but I still can't play like Horowitz or Tatum." I learned a good lesson that day.

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trumpetnick

Will,
Did he play the cadenza which is on the CD ? I mean the one that goes down to pedal E flat (below the staff) and the this crazy 2octaves separated e flats? I still cannot get this clear....Well, I got your point, but I believe that Marsalis could play this screaming notes at the time...

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wiseone2

You completely missed my point. Two of the most outstanding trumpet players of the 20th century did NOT play screaming double Ds.
In Wynton's case he did not even own that Bach/Schilke Eb trumpet. He had been in NYC for only a month or two. He was Wynton Who He was barely out of high school.
My point is that great trumpet players do just that.....they play great trumpet.
Without playing one note above a high c, I knew that 14 year old, Sergei Nakariakov was a one of a kind trumpet artist.

Far too much time is spent trying to play the upper reaches of the trumpet.
High notes don't impress me, music does.

Wilmer

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rowuk

Hey fellow TMers,
maybe we have a reincarnated Maynard Ferguson here. Just imagine if we had given HIM all of the above advice? I would say that RANGE in that case had a different meaning.
Maynard was able to swing in the stratosphere (and not always politically-Schlossbergly correct). So if double D it is, get those scales, intervals and patterns down up there and SWING. Your the one that hates concert band, so now you know what to do to get your "jazz chops" up and running.
IF you are telling the truth - we will be hearing from and of you!!!!!! You can be sure that we have our eyes and ears open.

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Bear

Ya know,
I am one of those guys with range and I also have a lot more fun out of my jazz bands than I do out of my orchestras and wind bands... (sidenote: Although rencently I'm having a lot more fun in brass bands...) Anyways, all that to echo what Mr. Rowuk said. However, something that I had to learn (the hard way) was that musicianship IS above all. Even is he is sceraming dubba d's at 16 years old, no one will listen to it if their isn't any heart or music in it.
Please man, listen to these guys, learn MUSIC, not notes!! It'll save you a ton of trouble in the future. If you can honestly own a dubba D then you are WAY ahead of the ballgame in the range department. Work on other things like your sound, shaping the phrase, articulation, etc.

Keep blowin',
Tim
The Bear

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Venturion

Somehow I think the original poster meant by "double D" the D immediately above high C, sitting on the 2nd ledger line, NOT the sixth ledger line D. His comment "pretty pathetic" is what makes me think this . . .

-- V.

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