Bear

Mind if I jump in for a sec? It is completely possible to have a great upper range with sizzle and projection without losing the lower registers and the smoothness. How? Well, that's the question isn't it. A four letter word we all hate is the answer: WORK.

The reason why a lot of jazz guys can't play classical is because they do not practice that stuff. They practice what brings home the bacon. The same reason applies why a lot of classically trained professionals prefer not to sit in on a big band gig. However, there are lots of great players who feel equally at home in both professions. They just work a little harder. They can get up in the morning, play their symphony rehearsal, go to the studio and do some takes for lunch, play a orchestra concert in the afternoon, and then stay up all night blowing DHC's in the clubs with other cats.

I am lucky enough to be one of those guys. Yes, I'm young, no I don't have a Ph.D. or DMA after my name... yet.

People always ask how I can play my lead book and then turn around and play principal in the schools orchestra. I always answer with "practice". To keep your sound flowing, dark, smooth, (insert your own adjective) then keep doing your long tones or whatever you desire that produces that effect for you. To work on range do your scales, or whatever works for you. You have to practice all aspects of performing. And yes, it is also possible to have a dark sound in the upper register (Lord only knows why someone would want that but its possible).

Just remember that sound concept is 99% mental. You will sound like what you think/try to imitate. If you think you sound like #@$^, then likely, you do. Listen to great players as much as possible.

Range: There are soo many things out there that work for different people. The biggest thing people neglect though is upper register sound/power (dynaimcs) COUPLED with finess. They just want notes. We (well some of us) don't want to listen to notes. Be able to move/tounge up there as well. Yes, you can play a DHC piano or fortefortissimo. PRACTICE.

What I have done is first read literature (how the body works, different breathing systems, etc) then listen to cats with an upper register I admire, and then work on my transposing. Take a chart and transpose it up a step, then a second, then a third, blah blah blah. (Don't forget the tri-tone) I've found that mentally subdues my mind from thinking "AH highnotes!" to "ok, C up a fifth is G in the key of, yadda yadda".

Other thoughts, I truly believe that a good sound concept and total relaxation are the keys. Yes, there must be some pressure to keep the seal of the mpc in contact with your lips. Yes, some people use toungue arch, I'm not a fan. But just try to use as much air as fast as possible all the time. Let the apperture and physics of the horn control the dynamics and you just work on hitting stuff COP (center of pitch). Work on real pedals as that volumne (not to be confused with compression) of air will help with the altissimo.

Just my two cents. PM if you need clarification on anything.

Bear

stchasking

I am going to add 2 pence for what it is worth.
Contract the meat of your lip toward the center of the mouthpiece. Get cushion under the mouthpiece.
It works for me. I have been trying to understand the Louis Maggio method for about 15 years and this is the best I can say without someone teaching me.

I have found recently that playing low notes with my borrowed flugalhorn has greatly improved my playing the next day. Call it a warm down or whatever but it has really helped me. I use the Chas Colin suggested above.
I use a Bach 3D in both the trumpet and flugalhorn. The flugalhorn is a lot easier to get the pedal tones with the D cup mouthpiece compared to trumpet.

rickperon

Toby, you might want to consider the equipment angle. Comming from the other direction myself in that I mainly play lead so I play on a medium shallow M.P. for most work, but play on a larger mouthpiece for other things not so demanding & that require a better sound in the middle & lower registers. For me, trying to play in the middle & lower registers alot is much easier on a larger M.P. - I'm able to go back to my lead M.P. without any problem. What I would consider is finding a shallower M.P. that is smaller in inner rim diameter but has a high point & outside diameter that "feels" like what you are currently playing on. You will IMO end up playing with less effort in the upper register and add the sizzle you need. I agree with practice you could probably achive both with in reason by using only one M.P. , me personally - I don't have that kind of time, so this might be an option to consider.
Rick