Double_G

Ok, I have been trying to increase my range for some time. I have found the mouth piece that works best for me, that is, within the limits of getting a custom one made. Sound fairly simple, but just a regular old Bach 3C. It's comfortable and plays great for me. I love my horn plays great as well. So, I play well on all my tools and I have corrected my embouchure to a further extent (my bottom lips had an air pocket in it when I played). So, I want to increase my range because the further into school I ge tthe more demanding the parts are for me. So, I've always been told that if you develop your low range your high range will increase at the same rate more easily. So, the question. If this technique does work how do you develop you low range when you cna only play so low on a trumpet? Any tips? Thanks in advance guys and girls!

FlugelFlyer

I'm not quite a field expert, but one thing that bugs me is not enough emphasis is placed on developing one's SOUND. For me, the perfect sound has always been the gateway to the higher registers. You say that you corrected your embouchure. Did you notice an improvement in your sound when you did so?


In terms of the lower register, I'll keep the pedal theory out as I don't want a flamefest. What I will say is developing a great sounding low register develops your lungs due to the air you have to push. This will help you move the air necessary to develop the force required to push the high register, at least in theory. Take it for what it's worth.

Double_G

Yes my is much darker and more resonant. I still have an airy upper register which is mainly what I am trying to correct or imporve. My pedals are solid and full, but it doesn't seem to be influencing my high range.

FlugelFlyer

You MIGHT be (keyword: might) straining yourself and trying to get too far too fast. Give it time, and enjoy the journey. For a month, you'll feel like you suck completely. After that, you'll notice improvement, but you'll still think you suck. Give it time, and the point will come where you'll be back on top and nobody's pushing you off.

Billy B

The area behind the mouthpiece must remain supple and relaxed in order for it to vibrate freely. This allows for fast vibration in the high range and slow vibration in the low range. As long as you play with the same embouchure, developing the low range (not pedals) will transfer to the high range. Too tight hinders both ends of the spectrum as the fast and slow vibrations won't work as well, only half-ast. :D

FlugelFlyer

Pedals, no pedals, to me it's inconsequential. Maynard never practiced pedals. Doc has at least played pedals, whether he emphasized them is beyond my knowledge. Aurturo has developed his pedal register down to double pedal C as playable notes. Either way, as long as the theory is there, it'll work. In terms of tension, that's very easy to say that one shouldn't use too much or too little tension, or do too much or too little of this or that (hey, I do it all the time!), but it means nothing if the student hasn't tampered enough to find that total setting where everything clicks in place. It all comes down to practice, and if one is practicing, patience. Don't get me wrong, a great teacher to guide the student is necessary if the student hasn't "been there, done that."

Heavens2kadonka

Andrew,

The reason for the airy tone is you are pushing in the mouthpiece too much, not allowing the lips to vibrate. The lips HAVE GOT to vibrate to create the note.

The higher range requires more focused air vibrating a smaller area of the lips. The softer dynamics also require a smaller area vibrating. So therefore, soft dynamic playing would help you work on higher range playing.

I am not going to say use more air to create the higher tones, and here's why. If you get the chance to watch a great trumpeter play, watch as he holds out a low C, then a high C. He cannot play the low C very long. It takes a lot of air to vibrate all the lip required to create this note. A high note does not require all the air hitting the lips. It actually requires you to focus the air into a smaller area to vibrate the higher note. DO NOT use the throat to clamp the air stream.

Slurs and chromatics, Clarke would help. Also, reading etudes and exerpts that take you into your problem register would be helpful. Voxman Concert and Contest Pieces, Arban, Herring.

Also, doing vibrato on higher notes have seemed to help me with my upper register.

Van