Jason Parra

I agree that a fast fix is not the real solution. This being said, I have a few suggestions and questions for you.
Where in the tune is this note going to be played? Is it a power ending note (the root and it is held till your director cuts off the band) or just in a passage of the song? In either event you could do a few things; 1) check with your director/piano player and the other trumpets and possibly re-arrange the end note (a strong C/5th instead of a wimpy F would be a lot better) or even try a minor 7/Eb with the alto pasting a high F (in Bb terms). This depends of course on the chordal structure and style of the song. You can also gliss the note to F and come back down to C....In a passage just ghost it or replace with a C/Eb or Bb...
Since you have the note now---improving your high range is a combination of the mental and the physical. We all have reached the limits of our practical range and then one day....Poof! We just added another note to the working arsenal. Thats the mental, the physical can be improved by a variety of methods that are too many to list. Your private teacher would be your best resource for that. I evaluate a students breathing, technique, embouchure, equipment and so on before designing a range studies program for them. One really classic old book that is great for range (and all around playing) is the Maggio system for brass. I have had students increase a whole note a week in practical range using this method (it really varied per student and the amount they put in the shed).
Hope this helped and good luck on the concert.

RaeRayMusic

This actually was one of the things that my lessons teacher recommened. But seeing as my concert is not in 8 days she said to just wait and try it out next year. I'm just playing on a 3C right now. Just bought a Schilke 14A4a. It's going okay with that and I can play the higher notes a lot clearer but when I go back bellow the staff it sounds fuzzy sometimes and I don't know if I want to risk that.
I'm wondering if it would throw me off if I changed back to a 3C on the two of the pieces where I'm not playing lead? I have a solo that doesn't go above the staff at all and I can sound beautiful on it with my 3C but not my Schilke.

RaeRayMusic

I actually know that the 2cd trumpet part is playing a C(that she can only play 1/2 of the time) while I'm playing the F and the third is playing the F an octave lower(there's a 4th and 5th part but I haven't looked at them yet).
I might have to ask about that because this is the last song we're playing and while I have only one other song that I'm playing lead on(the first one) and the other two don't go above the staff(though I have a solo in the second one). I'm imagining I'll be alittle worn out by the end. I do have a really strong C, so I'll consider that.
*temorarily cowers from director who she considers the God of music*

Just so you all know I did volunteer for the part. Nevermind that no one in there right mind should take something like this on. Thank you everyone for their suggestions!

Elliot84

Funny i did the exact same thing. and i threw the mouth piece out after a month. I think the first rule is never sacrifice your tone below a G above the staff just to get those higher notes. i don't really believe in the lead trumpet player thing. now let me explain what i mean by that before i get posted to death. As a lead trumpet player my self i dont believe that you should be given sterotypical name like a lead trumpet player, or an orchestral player etc etc. we are all trumpet players of course we do certain things better then others. we just have to work harder at the things you cannot do well. an example on a yamaha podcast i herd an interview with wayne burgeon, he was taling about his difficulties with slow flowing musical passages, and how hard he had to work to become better at that. i would suggest you stay on what mouthpiece / horn you are most comfertable on, then work towards a goal (being able to hit those high notes or whatever that may be). i dont know how a guy like lew soloff brings 7 mouthpieces to one gig use's them all and sounds great my lips dont work like that. but this way has work well for me.


as for getting a high F. i jumped about a 5th in 2 weeks just by learning how to properly use my air. but i had a very good classical teacher. i also met a deep sea diver who gave me some tips about really filling up my body with air.

Patric_Bernard

This is actually close to what maynard did. He started with a nice smooth melody that he loved, and played it perfectly. Then he took that melody up a 3rd, and played it until he could play it perfectly. after that, he took it up another third. If there was ever strain in his tone, he stopped and took a break. What he was trying to do was raise what he though was normal range. I'm sure you all have a certain pitch you like to start warming up on, may it be low c or middle c.

Patric_Bernard

Actually... I always took on stuff like this. Its really good to help you push yourself. You learn alot of lessons in high school, about your own limits, and about how hard you really can push yourself in playing. So keep taking on these challenges, and you'll get there.

Jason Parra

Your mouthpiece is critical; some guy’s can play a 3C on legit and lead gigs—most cannot. I would try to keep the same rim/cushion/bite of your current piece, and then try others with various cup depth/shape---again, one that feels good. I have played with Lew, Vizzutti and a few other pro's who use the same mouthpiece for every job; generally a medium shallow custom. Other guys adjust their embouchure (Arturo) when playing a "lead" style or for a double G and above---kind of like a falsetto break in a singer's voice. Mark Curry and Bob Reeve's make great mouthpieces that will feel like your 3C, but have either interchangeable cups/shanks or a set cup (medium-shallow) with a 3C feel. Check out a MP comparison chart or just go to mouthpieceexpress.com and order 5 to demo. Their really is no wrong or right in terms of an individuals mouthpiece selection; it's your sound, your comfort and your face!
I personally use a Marcinkiewicz Custom for almost everything except Flugel. I do switch to a classic Reeves for studio jazz work and ballads. I can't produce a duck fart on the Lynch Asymmetric Lead 342, but I can nail a decent double A on my dads Bach 2 1/2 C....Go figure.
If you need any tips on range just shoot me an email. I have been very fortunate to have studied under a few great players. I also had my high range/lead kind of forced on me in high school like you did as well. I was playing 2nd/jazz chair as a Junior, then as a senior I had the Chase arrangement of "Somewhere" as our festival solo chart. I then lucked/bribed my way into the split lead book in the McDonalds All American HS Jazz Band under Bob Curnow......He loved Buddy Rich--- Channel One/West Side Story and Bob O'Connell's (sp?) arrangements (written by a trumpet player to make other trumpet players look foolish). So, "I been where yo at!"
Best of luck,
Jason

mfhorn63

Everything already said is valid and true. High range playing is like weight-lifting- you can't just "clan and jerk" a note you need.

Working up to strength with the High F you need will take time, and, again, is like weight lifting. I am a believer in the Claude Gordon methodology of using arpeggios and long-tones. It's tedious and dull, but will accelerate your progress. Most young trumpeters I know think that hours spent on rep alone will do the trick. That just isn't true. But it doesn't have to be complicated. I do a program of S_L_O_W arpeggios, whole notes, from 3rd-space C down to low F#, then up again. After this loosens things up, I then begin to progress S_L_O_W_L_Y up in half-steps to high C. At my age, I don't work out my ultra-range much anymore- once I'm loose, I can get whatever I need. Remember, a la Claude Gordon:
REST AS MUCH AS YOU PLAY
3 tries at a note, then STOP
BE PATIENT!! You'll be pleased with results gained from measured, deliberate effort
-and finally (and most importantly), WHAT WORKS FOR ME MAY NOT BE RIGHT FOR YOU!!You may have to shop techniques, then, as I did, synthesize a number of them into a routine that feels good and works for YOU. Any teacher who says "This is the only way to do it" does you a disservice. A competent teacher will be sensitive to your unique mechanics and personality. Don't get wrapped up in some pro's routine either- the short answer is that trumpet technique is like a golf swing: 99.9% of the "tips" you try probably won't work. Experimantation is one thing, but if something doesn't work, move on.

Hope this helps!