Every once in awhile someone will write "you can't hit a double high C if you can't play a pedal C" .... and then they get a bunch of "Likes" .... so that has to mean something .... and since I can't hit the double C and my pedal C is usually flat or something that sounds not so solid I have to interpret it.
My gut is that the embrouchure has less movement across the registers and the aperture does not spread to hit the lower notes. Like watching the pros play and it seems effortless ...
Not to hijack your thread but I feel like the air in the upper register is sort of a "hee" .. the middle "ha" and the pedals "ho" ... that might be relevant or not ... might be bad or good.. don't know... just where I am at in the same type of thing you are asking here.
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Check out the Thibaud method (available through Balquhidder, i think) - that has lots of great stuff on pedals and double pedals, and working through his method has done wonders for my efficiency.
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Charlie Porter has some great advice on pedal tones.
Exploring Pedal Tones (Pedal C to Double C) Trumpet Tips & Tricks with Charlie Porter - YouTube
To play pedal tones correctly you must keep the same embouchure with out making adjustments.When done correctly you can feel it in your corners.I'm not saying you have to be able to play pedals to develop an upper register,but if do practice pedals incorrectly you won't get the full benefits that pedal can give you.
Some,including myself like using pedal tones in their warm ups,others think it harms their playing.Only you can decide if they're right for you.
Like the upper register the pedal register takes time and practice to develop.I use the same fingerings for pedals as an octave higher.Don't pull out slides or triggers,use your lip to get the pitch.The goal isn't so much to get the notes in tune any way you can,but to get the notes in tune using your embouchure muscles.
You might have better results if you drop your jaw as you descend below the F#.
Nothing is more contagious or tenacious than music. Once you are exposed it gets inside you and you can never get rid of it. It is also non-discriminating. It can be Ride of the Valkyries, In a Gadda da Vida, the Jeopardy 15 second thinking tune, your most disliked commercial jingle - it doesn't matter. Once triggered, off you go, like it or not.
When done correctly they help endurance and range.
The pedals below the first pedal C are real notes from pedal C down to Pedal F#. They are the fundamental pitch of the harmonic series of each valve combination on the trumpet. Below that you are lipping the pedals flat. From pedal C to pedal F3 there is an upper slot but not a lower slot. At first the low C and below may be a whole step or more flat. this is normal. It can take a long time to get it up to pitch. Why? because even though th epedals feel easy, no mpc pressure, very little feeling of compression in the air stream, it does require the development of some strength before they will be in tune.
here's the key, keep the same set as you do for your normal register. You should be able to play from a pedal C up to low C and above just like you would playing from low C to an upper note. What you learn to do is play with a relaxed air stream, relaxed mpc pressure and a relaxed center of the lips. Don't loosen/drop the whole embouchure.
While doing pedals correctly benefits a lot of players and some players don't like them or do them, but play realy well. it is possble to do them wrong. At best you will receive no benefits. At worst you can mess your embouchure up. OH and don't roll your lips out to play the pedals. If you have questions or problems consult a knowledgable teacher. Either in person or via Skype.
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I disagree. Having a strong, properly developed embouchure is what enables altissimo playing.
You don't need to use pedals to achieve that at all and think players who spend time learning pedals are just wasting time and effort
that could be spent on practicing real useful skills.
my 2c - let the stones be cast.
Stop acting like someone shot your dog.
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