Last edited by bumblebee; 12-15-2011 at 10:04 PM. Reason: Smiley to indicate there is a joke in there somewhere; though I suppose it might not be a joke really...
The process of changing a note without changing valves is called "overblowing". We are actually forcing the resonant trumpet to add a wavelength in the length of the horn.
Pedal C is one wavelength
low C is two
2nd line G is 3
3rd space C is 4
4th space E is 5
G on top of the staff is 6
Bb above the staff is 7
and high C is 8
The tone does NOT change just because we buzz higher. Maintaining the pitch requires enough embouchure strength and air pressure to prevent the trumpet from returning to one wavelength - essentially its state of rest.
So, just playing more slur exercizes only helps IF we have a constant build process for the other factors of playing at the same time. Our embouchure works with fine motor control, that means hundreds to thousands of repetitions until we get habits built.
Whenever I feel blue, I start breathing again.
I am going to assume you are referring to slurs across the same fingering
Start practicing slurs using a metronome ...slowly
If your embrochure is correct
If your breath support is correct
You should be able to "flip" the notes using your tongue... syllables ah-ee --ah --ee (but not limited to those) You should try not to move your jaw around ... the syllables are for the tongue.
Some players say it's like whistling ... and can use the tip of their tongue ( I can't but I know great players who do)
as always a good teacher is the way to go..
and the suggestions above about Irons, Stamps breathing and practice practice,practice, are spot on as well.
If you can sound Taps please take a few minutes and check out this site.
Bugles Across America > Home
Playing the trumpet is very much embouchure dependent, and much of our intelligent practice time should be devoted to supporting exercises that (as Rowuk so well stated) enhances fine motor control. Using lip slurs wisely will achieve this. Using octave alternating phrasing will achieve this. Playing long tones in between these exercises.... priceless. This is what I would refer to as intelligent practice skills.
And yes, technical flexibility studies WILL help tremendously. Colin advanced lip flexibilities is a wonderful technical study. And there are many more out there. Like ANY technical study, it must be done correctly to gain anything out of it, so a teacher is an important part of learning the mechanics of slurring and flexibilities.
Knowledge is freedom, and ignorance is slavery - Miles Davis
The difference between a beginner and pro mouthpiece is practice - tobylou8
Nobody has learned how to play the trumpet. It's endless. - Maynard Ferguson
Don't be afraid to try something different. The Ark was built by an amateur and the Titanic was built by a group of experienced engineers.
By the inch it's a cinch, by the yard, it's hard!
The point I was making is I was trying to "squeeze" high notes out without proper wind support and when I realized what I was doing and corrected the problem by increasing the breath support I found the proper balance for me.
I took a few trumpet lessons 20+ years ago when I was in high school. In our band trumpet was THE cool instrument and playing high notes and super fast lip slurs was even cooler! Silly youth. Now as a comeback player I realize the most important thing is practicing lip slurs slow, with a metronome!, and with complete control. I also make a point of not trying to progress too much too fast. I do the usual quarter/8th/triplet/16th note exercises but rarely get to the 16th because it's too much. If the notes aren't even and squared off (as someone earlier mentioned) I stop immediately. Something to work towards :)
bah do dweeeee bah do bleep blop
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