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kadleck · 03-26-2007, 04:42 PM

I think that alternate fingerings can help to some extent, but for me it's either there or it's not. I agree with Rich & Mike - the horn/mouthpiece match up does come into play. I have a great Besson (Stamm model, mid 1990's) that I could swear didn't have a high D on it. (A bad note to not have.) I was complaining about it to Marvin, so he put his mouthpiece in my horn and played about 15 high D's in a row and handed the horn back to me. I then promptly proceeded to continue missing high D's.

Mouthpiece, chops, gap, horn ... who knows?

Andrew - when Greg did the exercise, he just played chromatically up to the note and tried to hold it (softly). It was all over the place at first, but then he would hone in on the spot.

Certain guys have no break. Faddis, Dave Stahl, and Roger Ingram come to mind. Probably Wayne too.

Tony

03-26-2007, 04:42 PM	#7 (permalink)
kadleck Artist in Residence Piano User Join Date: Feb 2006 Location: new york Posts: 473	Re: high range breaking point I think that alternate fingerings can help to some extent, but for me it's either there or it's not. I agree with Rich & Mike - the horn/mouthpiece match up does come into play. I have a great Besson (Stamm model, mid 1990's) that I could swear didn't have a high D on it. (A bad note to not have.) I was complaining about it to Marvin, so he put his mouthpiece in my horn and played about 15 high D's in a row and handed the horn back to me. I then promptly proceeded to continue missing high D's. Mouthpiece, chops, gap, horn ... who knows? Andrew - when Greg did the exercise, he just played chromatically up to the note and tried to hold it (softly). It was all over the place at first, but then he would hone in on the spot. Certain guys have no break. Faddis, Dave Stahl, and Roger Ingram come to mind. Probably Wayne too. Tony