oldlips48

In my year of being a comeback player I've gotten my technique back so I can play my high C in concert with my community band. The problem is, I can play a D above high C consistently when I practice, but the E is elusive. It seems I'll slide right over it to an F or G. I've been working on the range exercises and concentrating on tone at PP levels. Is it a matter of my embochure not being strong enough? I play a used Getzen 700 that I'm very pleased with. Should I be able to slot all the notes up to a G (i.e. is it me and not my equipment)?

BTW in the 70s when I played as a youth, reaching a consistent high C was considered quite an accomplishment. So I find the conversations here about range up to G or double C amazing!

Thanks for the input (Robin, be gentle...)

Steve

__________________
I gotta get me one of those cool slogans.....

Pete

Hi Steve,

Try using alternate fingerings. Try 3rd valve, or 1 and 2, instead of open. Sometimes it's a mental thing. Once you get it, try it with the open fingering.

Pete

__________________
Pete Grimaldi

Darthsunshine

Just what I was going to suggest. Invariably, I'm able to return to the standard fingering within a few days. It's problably more a mental than a physical trick, but I find it works.

__________________
Glen Ferguson

1977 LA Benge 3C
1976 LA Benge 3X+
1972 LA Benge 5x
1963 Burbank Benge Eb/D
1959 Olds Amb. cornet w/ Getzen shep crook bell

Bear

yes, alternates often work with slotting. Also, get with a piano and make sure you can HEAR the pitch accurately too. Sometimes I find if I'm not blowin in the center of pitch, I'll miss partials. My two cents.

__________________
The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6

Whataguy!

I have the same problem but with F, F#, and G. There was a thread in Tony Kadleck's section a while back where he said one of his friends would play the questionable note softly until he could feel the slot and he worked on getting the note consistently from there. Tony didn't say how long that process took his friend, though. I now use alternate fingerings, lip, or anything else I can think of to play those notes when I need to on a gig. During practice, I constantly take melodic lines up an octave softly to get the feel of the slot. Still working on it. And, yes, I'm a comeback player who remembers when High C was considered high.

TrumpEd

Maybe it's just not ready but with that said here goes: Above the high "C" you are reaching the compressed harmonic intervals H-6/7 and above. If the pitch is clearly in your ear and your embouchure is capable you'll nail it.

Remember that at that range of a 4.5' ''tube" (for a Bb trumpet) the interval separation has been reduced to minor thirds, & major & minor seconds, like a natural trumpet. By using the 1-2 (adds 8" & 4") valve combo or the 3 valve (adds 12") alone, you place the note "E" at a lower harmonic series step ie: h4-5 where the harmonic separation is a little more forgiving (m3rd's/M2nd's). These altrernate fingerings should give you a way to play the high "E", get it locked into your memory and lips and then nail it however you want. A lot of horns allow you to be able to adjust it's intonation with these alt. fingurings.

Did I mention a lot of practice helps??????????

__________________
Schilke B-7
Bach Strad 180S-37
Conn Vintage One Flugel

Al Innella

If your over shooting a note you are probably tensing your embochure too much try relaxing and arch your tongue while playing soft high notes.

rowuk

I agree with Al.
Anything above high C requires very minute changes in embouchure compression or tongue level. That is why practicing softly is so beneficial - we train small movements.

That being said, the trumpet is not linear when it comes to slotting. Weight distribution, brace positioning, valve alignment, bell and leadpipe shape all play a role in slotting (that is why I am so critical of pimping - the design balance of all of these factors gets messed up!). It could very well be that your Getzen/mouthpiece combination does not have a good slot there and that only embouchure control will give you satisfactory results.

I recommend slurs and Clarke up an octave at pianissimo to get the high chops together.

__________________
Whenever I feel blue, I start breathing again.

Bob Grier

because high D (1sr valve) and E (open) are thirds in the overtone series on the trumpet. They can be harder to slot. High F and double G are fifths in the series and easier to slot. everything else being equal, It's the nature of the beast. Just practice smart and they'll all be under control.

__________________
Bob Grier, An Old Pro
Web Cam trumpet & jazz improvisation lessons
bgrierjr@triad.rr.com
Schilke B5 GB bell
NY Bach ML 37GB Bb 1949
Benge 7X 1985
Conn 22B 1940s
King Liberty Silversonic 1975
King Master Model Siversonic cornet 1975
1985 Bach C L 229GB 25A
1985 Bach D ML 239
1985 Bach Eb ML 239
1967 Martin C ML rose brass bell
1985 Selmer Paris Picc with Osmun A pipe
& Blackburn Bb pipe
1975 Getzen Eterna Flugelhorn
1985 Yamaha YFH 635T Flugelhorn

oldlips48

Thanks everyone for the responses. I especially appreciate the explanation of the harmonic intervals by TrumpEd, as well as Robin's comments about practicing softly to train the small movements.

Thanks again,
Steve

__________________
I gotta get me one of those cool slogans.....