Ever blow on a piece of taught cellophane? Described here:
Blowing on most types of candy wrappers -- inner foil wrappers, waxed or colored paper and cellophane -- produces a high-pitched, wavering whistle noise. Whistling with a gum wrapper takes a bit of practice, but once you master the technique you can whistle with virtually any thin, flat item to eradicate boredom and annoy your friends and family.
Read more at: How to Whistle With a Gum Wrapper | eHow.co.uk How to Whistle With a Gum Wrapper | eHow.co.uk
I especially like the term "annoy your friends and family" lol.
Yeah well for a good candidate for a forward jaw embouchure setting it is almost that easy to play SCREAMING high notes. Just like blowing into the cellophane and driving everyone crazy. Conversely for a lot or most receded jaw setting trumpet players it is quite the challenge to get those notes. Most of us playing receded jaw have to settle for something under that ceiling. I have a decent sounding Double C myself, but it's a real biatch to play it. Consequently I don't use it very often. And don't need to. i suppose no one really "needs" a Double C anyway.
Here follows a few notes i just scribbled down for the hell of it. Enjoy! and thanks in advance for reading.
Some of your well known forward jaw players are;
A good photo of Wayne here: http://www.yamaha.com/yamahavgn/Imag...eron_wayne.jpg
Showing the upward horn angle peculiar to the forward jaw player.
Missing from the list and for good reason is Maynard Ferguson. Maynard didn't quite keep his jaw out far enough to be called a forward jaw player. Almost but not quite. I'd say he was sort of on the cusp of the forward jaw setting. Probably at least part of the reason he had such a huge sound.
And thus lies a reverse condition common to the forward jaw player. These type often don't project the full spectrum of sound resonance in his tone. One might play loud enough (although the setting is known for a lot of "squeak artists" too). However the usual result of the tone is something missing in the partial series.
Another common feature to forward jaw players is the dry lip setting. Either one or both. Although some receded jaw cats play dry. I heard tell Maynard played with one dry lip. Probably the upper.
If you listen to enough Maynard Ferguson you'll note that he generally topped at a solid D above Double C. He did play higher but in most instances the effect was more histrionic or showmanship. "Sport trumpet playing" and fun at least for us trumpet players to listen to. His E above Double C near end of "Blue Birdland" on "Live At Jimmy's" is nice and effective. Slurs up to it.
However Brisbois would have picked the note off clean. No slur, but i always like Maynard better. We do hear Maynard nicely picking off the D above DHC on his "Eli's Coming" off "MF Horn I album.
What it is is that these forward jaw players who can play that way (most of us can't) are able to CONTROL that soft, fleshy upper lip tissue well. They can hold the smallest of apertures while still keeping the chops soft and vibrant. With these stable, well controlled chops they find it easier to articulate the notes.
Bobby Shew said of Brisbois:
"Bud used sort of a combination of this and sort of the Costello thing. Basically Bud played with a real sort of jaw out, sort of bulldog jaw out which is Costello, which appears to be an upstream."
Some of the problems that Bud did have was that he never got a really big sound, which is because he was using the Costello pinched aperture thing. He could control the s--t out of it and but couldn't get much sound and it drove him nuts.
Conversely on that receded jaw player whom by some miracle can play above a Double C will tend to get a scratchy, hesitant tone.
It isn't like we all get a real choice. In other words we can't really say to ourselves "I'm going to switch to forward jaw upstream". not unless we have the latent capacity to blow that way.
Here's Wiki's source on Wayne Bergerons early days;
"Wayne has said that it was difficult for him to learn the trumpet because he naturally played everything up two octaves. He could play a double high C (C7) before he could play low C (C4/middle C)."
from Wayne Bergeron - Wikipedia, the free encyclopedia
This last quote is interesting because it identifies another problem many or most forward jaw trumpet players have: Difficulty in opening up and controlling their lower register.
For myself I think that in my early days on the trumpet or up until about the tenth grad that i probably played with a more forward jaw. least ways early photos my mom took showed me holding the trumpet angle higher. Then one day while practicing the Carelton Macbeth version of "Louis Maggio's System For Brass" I dropped my jaw to get some pedals. Soon afterwards my upper register blossomed. It wasn't forward jaw easy to scream but it was good High G's and such. So for me it was the opposite direction that helped high note production.
Who can tell which way the young aspiring trumpet player will eventually blow? I guess that only he can provide that answer. I believe that the criteria lies in the suppleness of the upper lip flesh down low on the lip.
Anyway I'd like to assure everyone here who struggles for extreme range that the lack of ability to blow easy Double C's probably isn't your fault. Practice may make perfect but natural ability can carry the load almost by itself.
good luck and again thanks for reading.