Rain

Hey, I was just wondering what mouth pieces are out there to get me to play in the upper regesters better, cause I have a hard time playing above the c above the staff and even that doesn't sound very good, My band director told me that mouth pieces won't do it, and i know they aren't magic but I figured one might help, I have a 3c, 5c, and 7c I play on the 3c all the time and don't really touch the others. thanks guys

Rain

camelbrass

Rain,

Your band director is right. It's good advice.

Keep up the diligent practice, focus on making a great sound and range will come.


Regards,


Trevor

Grizzle

Exactly. Get a great sound in your ears, and seek out patience and practice time. It'll come in a few years when your chops have *developed* into the high register. If you try to rush it, it will take much MUCH longer. Just copy the sounds of the great sounding players--Doc, Maurice, Herseth.

You can't teach a horn a darn thing.

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cornetguy

There is no such thing as a magic mouthpiece or a high note mouthpiece. All a mouthpiece can do is help you get the sound you want or get in the way of you getting the sound you want. The 3c is a good sensible mouthpiece, stay on that. Practice things like Schlossburg, Clarke Technical studies, flexibility from books like Bai Lin, Colin, Irons and the front section of the Arban book. Slowly, always thinking about the sound. Make sure you keep the air moving. Work on getting the middle range with the best sound with the most efficiancy you can and the upper range will come.

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rowuk

Rain,
if we look at what the pros are using, we see in fact that the "screamers" use a shallower mouthpiece than the symphony players.

This does not prove that shallower mouthpieces are "better" for high notes, it is an example of the right equipment for the right job. The story that does not get told is the "embouchure" required for those specific types of mouthpieces. There are some VERY big differences in physical approach taken by a lead player compared to a symphony player.

Like many other things in life, you need a stable base before you can think about specializing!

If the 3c works for you, stick with it. It is a great allround mouthpiece and can be played high and low provided the PERFORMER pays his dues!

Your band teacher is absolutely right!

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ewetho

Once again we agree with the band director. Not to say you might not pick a note or two on a different piece that is in fact possible but not necessarily a useful one. Just because I can squeak out an occasional High G (Above C) on lead piece does not mean I can really play it. Heck after playing for a short while I can really play no higher than my useful range on a lead (Say a S 14A4a) or quasi-lead piece (Say a BR 43.5/D 69) or my Bach 1B. Sure if I stop at the end of practice I can still hit E but not during a piece, so what good is it.

It matters more for the sound you want. If you need that commercial lead sound then realistically for most a 3C ain't it. But if you playing all aroud pieces switching from Jazz, to Orchestral to Pop and so on then a 3C is great choice. But be sure you are up to it. If you feel like endurance is hurting over you old 5C then taking a step back is not a bad thing or if the sound is overall much better than by all means possible start putting in the time. It will all come together. Back in High School when I was putting in the time my Sophomore year High D was in useful range and High E was solid in Junior year. Just takes time, practice and Patience. Too bad I took 16 years off. Now stuck on High C again. But main can I wail on it.

No real short cuts. Long tones and balancing upper register paying and lower register playing helps maintain a good embouchure to make sure you develop properly.

Good luck. Remember a quality sound is most important, start their.

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stchasking

I'll add that you might try a Bach 3D to compliment your 3C. I have very good impedance matching with a Bach 3D. I took me years to get there. In the last weeks I tried a 7DW and a 15a4a I have a custom Bach 5D bowl and rim with the 5C back bore. I found out the 3D still does it for me. I am pretty sure I can get away with a 3D in a wind band. I am pretty sure I could play the old big band music with a 3D and get away with it.

So my advice is to change one parameter at a time. Try the 3D but you have to practice. It isn't magic.

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Dale Proctor

A smaller mouthpiece won't add much range (but you may get a half-step or two), but may allow you to play your regular upper range somewhat easier and for a longer period of time on a gig. I say "may", because some players find they can't play on a small mouthpiece. Usually, the tone on a really small mouthpiece will suffer, too, being more thin and bright. In my opinion, a 3C is fairly shallow, and with proper practice, should not be a roadblock to a good range.

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ewetho

I'll second a shot at a Bach D cup like a 3D. Changes backbore too but not very shrill at all. Far far closer to the classic Bach sound (actually it still has it) than say a Shilke 14A4a which get very shrill with me. It just a few more overtones in the color of the sound making a slightly brighter Bach sound. I play my 1D interchangeably with my 1B and no-one else notices which one I am on just that it seems to carry just a bit better so I can play just a tad softer and be heard just fine.

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Grizzle

Danger grasshopper--the mouthpiece safari looms ahead. The advice coming here is largely from very experienced older players who have payed their dues. Do the same: Practice you butt off while listening to the great sounding players, especially Doc, Maurice, and Herseth. And your listening should be an hour+ a day of the deepest sort. I still think your band director is right.

Your 3C should be fine through college. Charlie Davis uses it or something real similar, and Byron Stripling plays a much bigger one than that. Not all lead guys use small equipment (I can named 20 others that use pretty standard and fairly big mouthpieces and sound great upstairs--they also were guys who practiced a TON, listened a TON, didn't blame their equipment, and studied with great teachers like Bill Adam).

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