duval

I know that range isn't everything, and that musicality is more important overall, but what range would you consider being the minimum required to get the job done as a professional?
Thanks, David

brem

high W. ;)

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brem
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NYTC Stage 1 California Light - Wedge 3C cup w/ Warburton 7 backbore mpc
Bach Stradivarius Bb Model 37 * #124xxx (circa 1975) - Schilke 15B mpc
Yamaha YFH-731 Flugelhorn #000xxx - Yamaha 14F4-GP mpc
Conn Connquest 20A Cornet 1954

wiseone2

If you can play from low f sharp to an f above high c you can cover the notes on most Broadway shows.
There are many things a pro MUST have. A beautiful sound is most important. Flexibility of style. Consistancy is a must. The ability to work in tight surroundings. A sense of humor also helps
Today's professional players have many more demands placed upon them than the players from the past.
Wilmer

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Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

brem

If you can hit a high F#, what's preventing you from hitting a double high G?

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brem
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NYTC Stage 1 California Light - Wedge 3C cup w/ Warburton 7 backbore mpc
Bach Stradivarius Bb Model 37 * #124xxx (circa 1975) - Schilke 15B mpc
Yamaha YFH-731 Flugelhorn #000xxx - Yamaha 14F4-GP mpc
Conn Connquest 20A Cornet 1954

Dale Proctor

This, along with poor lighting, are the two things that drive me crazy. Maybe I have a slight touch of claustrophobia (or some other phobia), but being crammed elbow to elbow in a pit or on a stage without enough room to even hold my bell straight out without hitting my stand makes me a little frantic sometimes....

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Olde Towne Brass
www.otbrass.com

Brass Band of Huntsville

"Brass bands are all very well in their place - outdoors and several miles away ." - Sir Thomas Beecham

Bear

Low F# to High F is the only range needed to cover 98% of teh material out there depending on your definition of a "pro" job. There have been several instances of DHC's among other, but these have usually been placed in parenthesis. However, as mentioned before, we all know range is subservient to sound, style, etc. That being said, it won't hurt to be comfortable up to a DHC.

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The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6

duval

Thanks very much for the response, I currently am comfortable up to high C/D ish but not consistent, however I've got a few years to work on that until applying to music school (finishing a history degree first) I find that I use too much pressure, and have been told by a professional jazz player that the Maggio system would be appropriate for me, have you used or heard anything about this? Any info would be much appreciated.
Thanks, David

rowuk

750 lbs per square inch
(double G is more than an octave away from high F# too - the pressure method "chokes" everything off much much earlier)

In Duvals other post I mention a daily routine assigned and monitored by a good teacher as the best way to start playing smart. Replacing brains with brawn never works too well.

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Whenever I feel blue, I start breathing again.

brem

no it's not... it' s a halftone away ;) if you consider high G to be the note just above the staff...

My question was more, since when we press the pistons we lower our "true pitch" a halftone down, what prevents someone who reaches a high F# to hit the next halftone by not pressing the darn piston? :)

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brem
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NYTC Stage 1 California Light - Wedge 3C cup w/ Warburton 7 backbore mpc
Bach Stradivarius Bb Model 37 * #124xxx (circa 1975) - Schilke 15B mpc
Yamaha YFH-731 Flugelhorn #000xxx - Yamaha 14F4-GP mpc
Conn Connquest 20A Cornet 1954

Patric_Bernard

Lets see... so if your packin 750 psi... onto your bach 3C, which is about 3 or maybe 4 square inches total lip area...well shit...Just make it 751 and you gotta DHC... Trumpet playing isn't smarts... its ALLLL BRAWN hahaha jk

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