Quote Originally Posted by gmonady View Post
There was high trumpets a playing, but that sound at 4:17 was the definite high of a flugelhorn. I don't call it a acream... I call it a thrust. I is not nearly close to being the harsh sound of the trumpet. The sound of a high ranged flugelhorn is truly a beautiful thing, like hearing a dolphin cry.
"Dolphin cry" a good comparison.

The Double B natural at the end was over dubbed. Sounds sounds so anyway. Kind of makes me think that whoever popped it could play the screamers softly. He may also have good volume too but that note was clearly played at moderate to soft volume when recorded. Then just boosted on the re-mix.

Playing the screamers softly took a long time for me to develop. I still haven't exactly polished the ability as well as I'd like to. There seems to be two kinds of high note artists on the trumpet:

1. Squeak artists. My high school music director was one of these. First high note guru I ever met actually. Maybe I was lucky to have known him in spite of his reputation as a prick (see why I like to keep my name anonymous? lol). I used to hear him giving trumpet lessons to my fellow band class musicians down the hall during my algebra class. He'd be blowing these pianissimo scales starting on High C. Like "do re, mi fa, so la" up to A above High C Think he was learning at the time too. The next year he could squeak a decent D above Double C with excellent control. Sure made my algebra class a lot more interesting. Only class I ever got a D in.

2. "Boomers". Those who find playing soft high notes impossible at first. But they can really make the windows rattle. I was one of these in the beginning.

Before I used to envy the squeak artists. Like my buddy Richard who studied with Roy Stevens. Rich could glissando close to Triple C and play with great ease. However he kind of envied my ability to pump up the volume even with my more limited range. Combine the two of us back then and you'd have had one helluva lead player lol

At that time I had to blow the A above High C very loud just to make it speak. Took me twice the effort to play the A as did the High G. And forget about the A Flat/G# Wouldn't slot to save my butt.

Another friend of mine concurred. He said:

"I'll give you a hundred High G's a night if the book calls for it but maybe only one or two A's. My A is five miles away from the G".

This was just the physics of his blow and not much could be done to change his condition. He was a very diligent player and practically "married to the horn"

Then there are other trumpet players who blow seamlessly even well past Triple C. BUT... But these kind often can not put out the volume. The High G cut-off point seems more common on the loud screech players.

How about the Quad C? Well for one it sounds like bacon frying. I got close to it twice while screwing around with something that resembled Steve Reid's "wig embouchure". Now that was funny! Used to practice the horn when stuck in traffic jams. So while sitting out the toll booth on the Richmond, San Rafael bridge I took a B Flat arpeggio up to F above Triple and to my amazement lightly squeaked the Quad B Flat.

Did it one more time just before the toll woman took my two bucks. That was six years ago and never got that note again. Usually can get the E or F above the Triple but its on an alternate embouchure that is fairly weak in most other ways.