Stressed Upper Register

BPinard · 09-11-2005, 10:57 PM

I already posted this question in Manny's forum, but I figured I'd get another opinion, just to see what two different people say about it. By all means, if you don't feel like answering this, you can delete it, but I think it's good to get a couple people's opinions.

Quote:

Hi Manny,

Let me first start off by saying that it's really a privilege to be able to interact with you here.

Ever since school started, (just this past Tuesday) I've been having problems playing. I'm now in the advanced jazz band and wind ensemble (it's a step above the regular concert band). In Wind Ensemble, we're playing a lot of marching band music (homecoming is coming up and WE also doubles as the pep band for all home games). Some of the marching charts go up to high C above the staff. Since we started playing on the second day of school, I noticed a slow but steady degradation of my tone and range. I know that you always say something along the lines of "A beautiful high register starts with a beautiful low register," but my low register tone has gone downhill also. It's really thin sounding. I've been working on the Clarke Technical Studies (I & II) trying to get my tone and range back. When I try for the upper register (top line G to D), the tone sounds incredibly stressed and 90% only air comes out. I haven't hit a high D since before school started. Could you recommend me some exercises? I'm becoming more and more reliant on using mouthpiece pressure (ACK!).

Thanks a lot!
if you need to know more, just ask

BPinard · 09-13-2005, 08:33 PM

I also noticed that after I do a couple of warmup exercises, I get a nice sound (not to brag, but it reminds me a lot of Clifford Brown). The only problem is that Ican't play for a long time with this tone and it really starts to deteriorate once I start playing above C in the staff. Would you be able to recommend any exercises to increase my endurance and increase the range with which i can play with that great thick sound?

ecarroll · 09-13-2005, 11:48 PM

Bp,

I noticed that Manny closed his post with "that's the best that I can do without hearing you", and I'll lead with that also. It's possible to express general principles over the web, but it's up to you, in your own unique way, to assimilate them. This is what makes trumpet-teaching fun -- we teach students, not methodology.

That said, I'll take a wack at this, although it's vital to remember that every technique related topic is also connected to the joy of making music, the infinite power of your imagination, and the joy of discovery. . .

(Deep breath) I find that many trumpet students have learned to blow at one speed and thus are most efficient around G in the staff. They then decrease airspeed (washing out their sound) as they descend, and add tension (choking their sound) in a vain attempt at increasing air speed as they ascend. They have to learn to master air management: the delicate balance between broadening the air/glissando between the notes in order to find true legato in descent and the delicate balance between increasing air speed/glissando to find released legato in ascent. It takes a tremendous amount of relaxed, efficient, energy to play above the staff.

I love Jim Thompson's Buzzing Basics as a first step in attacking air management and balance. I then ask my students to apply the same principle to a number of exercises: Caruso, Plog, Cichowicz, Stamp, etc. Please remember, however, that it's the application of the air management principle, not the exercise, that matters.

Remember to follow your ears. . . it's the music that matters.

Pulpit relinquished and I look forward to hearing you some time.
EC

09-13-2005, 08:33 PM	#2 (permalink)
BPinard Pianissimo User Join Date: Jun 2005 Location: Setauket, NY Posts: 136	I also noticed that after I do a couple of warmup exercises, I get a nice sound (not to brag, but it reminds me a lot of Clifford Brown). The only problem is that Ican't play for a long time with this tone and it really starts to deteriorate once I start playing above C in the staff. Would you be able to recommend any exercises to increase my endurance and increase the range with which i can play with that great thick sound?
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09-13-2005, 11:48 PM	#3 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,401	Bp, I noticed that Manny closed his post with "that's the best that I can do without hearing you", and I'll lead with that also. It's possible to express general principles over the web, but it's up to you, in your own unique way, to assimilate them. This is what makes trumpet-teaching fun -- we teach students, not methodology. That said, I'll take a wack at this, although it's vital to remember that every technique related topic is also connected to the joy of making music, the infinite power of your imagination, and the joy of discovery. . . (Deep breath) I find that many trumpet students have learned to blow at one speed and thus are most efficient around G in the staff. They then decrease airspeed (washing out their sound) as they descend, and add tension (choking their sound) in a vain attempt at increasing air speed as they ascend. They have to learn to master air management: the delicate balance between broadening the air/glissando between the notes in order to find true legato in descent and the delicate balance between increasing air speed/glissando to find released legato in ascent. It takes a tremendous amount of relaxed, efficient, energy to play above the staff. I love Jim Thompson's Buzzing Basics as a first step in attacking air management and balance. I then ask my students to apply the same principle to a number of exercises: Caruso, Plog, Cichowicz, Stamp, etc. Please remember, however, that it's the application of the air management principle, not the exercise, that matters. Remember to follow your ears. . . it's the music that matters. Pulpit relinquished and I look forward to hearing you some time. EC

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