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HealthyTpt
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 Posted: Wed Jul 20, 2016 7:33 am Post subject: High register studies |
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Please post your high register studies here.
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Thank you for your business. Happy playing!
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McVouty
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| Posted: Wed Jul 20, 2016 7:48 am Post subject: |
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Lesson 1 Claude Gordon's systematic approach.
Chromatic long tones from Pedal C to Double C.  |
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royjohn
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| Posted: Wed Jul 20, 2016 8:21 am Post subject: |
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You don't need any special exercises...any simple melody or exercise transposed higher or played up an octave, musically, is good. Pops McLaughlin makes the point that you can develop high notes through arpeggios, but this "hitting" of high notes can actually decrease your flexibility and impede your ability to play musically in the upper register. So take Mozart melodies or Greensleeves or any Irish ballad, etc., up an octave and learn to play musically in the upper register.
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royjohn
Trumpets: 1928 Holton Llewellyn Model, 1957 Holton 51LB, 2010 Custom C by Bill Jones, 2011 Custom D/Eb by Bill Jones
Flugels: 1975 Olds Superstar, 1970's Elkhardt, 1970's Getzen 4 valve
Cornet: 1970's Yamaha YCR-233S . . . and others . . . |
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petenerch
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Mikefink
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Craig Swartz
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| Posted: Thu Jul 21, 2016 5:09 pm Post subject: |
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| I like SA (Gordon) and John Daniel's Special Studies has things to push one's range. Back in the 1960s and early 70s, I was so stupid I didn't realize one needed special high register material. I just played most of the pep band stuff in HS up an octave, as well as about everything else I could without being kicked out of the band. I've always felt it was important for one to be able to "hear one's self" playing high before beating up the face. |
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mhendricks
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| Posted: Fri Jul 22, 2016 12:05 am Post subject: |
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Full Range Studies for Trumpet
http://mphmusic.com/trumpet
Free sample PDF too.
Mark Hendricks
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x9ret
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| Posted: Fri Jul 22, 2016 3:45 am Post subject: |
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You could also play solos or concertos meant for piccolo or D/Eb trumpet on your Bb, as an exercise? As many Bb solos top out at say Bb... just promise yourself no squeezing, no pushing instrument on your face, just try and play them as nice and easy as possible. Good luck!
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Larry Smithee
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| Posted: Fri Jul 22, 2016 7:16 am Post subject: |
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| In other words, play the trumpet in a holistic sort of manner and do it a lot (as in years). And good things can happen. |
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NYC-player
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Joined: 03 Jun 2016
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| Posted: Fri Jul 22, 2016 7:23 am Post subject: |
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High range is discovered, not built.
It's not like weight lifting, you don't build high note strength or muscles.
Finding the upper register for me, was done by lots of articulations to really find where the notes sit. Not overblowing, using less air pressure than you think you need.
Long tones are a waste of energy. Arpeggios and slurs in the upper register for "hitting" high notes is a waste of time.
As stated here already, play music and melodies in the upper register. Not just exercises |
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John Mohan
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| Posted: Fri Jul 22, 2016 3:33 pm Post subject: |
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| McVouty wrote: | Lesson 1 Claude Gordon's systematic approach.
Chromatic long tones from Pedal C to Double C. |
Actually, Claude just wrote the Lesson One to help students get the feel of playing the Pedals. When he had a new student, he would make sure the student knew how to properly play pedal notes, then he'd start the Student out on Lesson Two (Parts One and Two) in the book, plus the rest of a well-rounded routine (flexibility studies, technical studies, etc.).
From the thing that you wrote, I'm thinking maybe you missed the part in the instructions where Claude wrote that the Part One (pedal) studies should be taken as low as the particular student can go, and the Part Two (upper range) exercise are to be played up as high as the particular student can go.
These type of exercises are how most of the great high note players developed their range, players including Jon Faddis, Arturo Sandoval, Rashawn Ross and Adam Rapa among others. Personally, I built a practice register from Triple Pedal C to the G above Double High C (with a performance register to a solid Double High C) by using these exercises daily.
Cheers,
John Mohan
Skype Lessons Available - Click on the e-mail button below if interested
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1st Trpt for Cats, Phantom of the Opera, West Side Story, Evita, Hunchback of Notre Dame,
Grease, The Producers, Addams Family, In the Heights, etc.
Ex LA Studio Musician
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John Mohan
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| Posted: Fri Jul 22, 2016 3:46 pm Post subject: |
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| NYC-player wrote: | High range is discovered, not built.
It's not like weight lifting, you don't build high note strength or muscles.
Finding the upper register for me, was done by lots of articulations to really find where the notes sit. Not overblowing, using less air pressure than you think you need.
Long tones are a waste of energy. Arpeggios and slurs in the upper register for "hitting" high notes is a waste of time.
As stated here already, play music and melodies in the upper register. Not just exercises |
I sure do agree about what you wrote about long tones - total waste of time!
But high notes are both discovered and developed by most players. With the exception of unusually strong people (Rashawn Ross, and other large players), most players need to develop extraordinary (extra-ordinary, not astonishingly high) levels of strength to play the notes above around a High E or F with full power. High notes require strength and coordination. But note that one cannot develop the coordination (the "discover" part of it) to play a given high note unless they already have the necessary strength to play that high note.
That's why range studies such as those in Claude SA book are so helpful. When practiced correctly they address both the strength-building part (the development part) and the coordination aspect (the finding the "knack" or "feel" of it, i.e. the "discovery" part of it).
Personally, I'm one who needed to develop the strength aspect in order to be able to develop the knack or feel aspect (discover) the upper register. I'm nearly six feet tall, but only weighed about 125 pounds through my twenties (except for a period of time when I worked out regularly and managed to hit around 145 for a while), and even today at age 54 I weigh just about 150 pounds (and I'm sorry to say, the gain ain't muscle). I'm NOT built like a linebacker! If I stop practicing the exercises that build and maintain Air Power, I lose my full power G above High C in a matter of days. (I can still hit it nice and loud still, but only a few times before losing the strength required). I've laid off the horn for as much as a few months once due to an injury from a dentist. After picking the horn up again, I had a good F (full power), but even though I had the "feel" of the higher notes, I couldn't play them again until I built up the required strength to do so.
One can build the feel and strength by practicing melodies up high (Maynard did). But I think success is more likely to come by practicing in an organized, systematic approach using well-thought-out range studies.
Best wishes,
John Mohan
Skype Lessons Available - Click on the e-mail button below if interested
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Trumpet Player, Clinician & Teacher
1st Trpt for Cats, Phantom of the Opera, West Side Story, Evita, Hunchback of Notre Dame,
Grease, The Producers, Addams Family, In the Heights, etc.
Ex LA Studio Musician
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NYC-player
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| Posted: Fri Jul 22, 2016 5:39 pm Post subject: |
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For me, upper register came like an awakening one day. I'd had a wall of a high F since high school. Then one day, I learned on accident after a mouthpiece switch about my bottom lip placement and gained a third that day.
I just have played 10,000 high As because I was afraid it would disappear.
Once I moved back to my old mouthpiece, the new notes were still there. And never left, and I've learned to have a playable C, C# and sometimes D. Which in reality, there is like no call for. But I have them.
Backing off less air, more control, and more musicality but the rest of my high chops. I approach high notes like I'm playing piccolo trumpet. Clean, reserved, articulated notes that I can make music with...not just sit on a note. The more reserved I am, the more I can do with those notes.
Huge breaths, maximum lung capacity, yoga breath, etc.....voodoo.
Once I had my "aha" moment, I never went back. Had nothing to do with strength, pedal tones, long tones, buzzing, mouthpiece buzzing, lead pipe buzzing, pencil tricks....just figured out what my chops were doing.
Smaller mouthpieces make ALL of this easier |
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Dayton
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| Posted: Sat Jul 23, 2016 3:23 pm Post subject: |
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For me it is a combination of things. First, technical studies by Caruso, Clarke, Gordon, Irons, Schlossberg, etc.
Second, I work on transposition and upper register simultaneously by transposing etudes and studies until they become challenging range-wise. For example, you can use etude/method books that you already have -- Arban's Characteristic Studies, Concone, Getchell, Hering, etc. -- and transpose them to D, Eb, E, F...or take the studies from Bugs Bower's Rhythms Complete up an octave. |
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Thomas T
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Location: Gainesville, GA
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| Posted: Sat Jul 23, 2016 3:48 pm Post subject: |
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| NYC-player wrote: | | Then one day, I learned on accident after a mouthpiece switch about my bottom lip placement and gained a third that day. |
Very interesting. I've heard lots of talk about upper lip placement, both positive and negative...never hear about bottom lip placement. Would you mind elaborating? Seriously interested over here...Thanks. |
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NYC-player
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| Posted: Sat Jul 23, 2016 4:46 pm Post subject: |
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| Thomas T wrote: | | NYC-player wrote: | | Then one day, I learned on accident after a mouthpiece switch about my bottom lip placement and gained a third that day. |
Very interesting. I've heard lots of talk about upper lip placement, both positive and negative...never hear about bottom lip placement. Would you mind elaborating? Seriously interested over here...Thanks. |
Sure, I was playing on a rim with almost no bite, so my chops were very free to move about. My bottom slipped up over my top teeth, my corners went from a smile to a frown and my chin kinda bunches up now.
I now play with my bottom lip almost always over top teeth except in the very low register. This creates an obstruction for the air to leave my mouth, and for whatever reason, gave me a third immediately....and more later. |
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Thomas T
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Location: Gainesville, GA
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| Posted: Sat Jul 23, 2016 4:59 pm Post subject: |
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| NYC-player wrote: | | Thomas T wrote: | | NYC-player wrote: | | Then one day, I learned on accident after a mouthpiece switch about my bottom lip placement and gained a third that day. |
Very interesting. I've heard lots of talk about upper lip placement, both positive and negative...never hear about bottom lip placement. Would you mind elaborating? Seriously interested over here...Thanks. |
Sure, I was playing on a rim with almost no bite, so my chops were very free to move about. My bottom slipped up over my top teeth, my corners went from a smile to a frown and my chin kinda bunches up now.
I now play with my bottom lip almost always over top teeth except in the very low register. This creates an obstruction for the air to leave my mouth, and for whatever reason, gave me a third immediately....and more later. |
Interesting...thank you. |
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danny45635
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| Posted: Sun Jul 24, 2016 6:40 am Post subject: |
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I've been doing some Caruso which has seemed to help. I also do a Jon Fadis range excercise that Sean Jones showed me (I know it's an excercise and not a study).
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Fuzzy Dunlop
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| Posted: Sun Jul 24, 2016 8:07 am Post subject: |
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| danny45635 wrote: | | I've been doing some Caruso which has seemed to help. I also do a Jon Fadis range excercise that Sean Jones showed me (I know it's an excercise and not a study). |
Is the Faddis exercise the one with triads followed by a soft low G? |
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John Mohan
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Joined: 13 Nov 2001
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Location: Chicago, Illinois
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| Posted: Sun Jul 24, 2016 8:31 am Post subject: |
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| NYC-player wrote: | For me, upper register came like an awakening one day. I'd had a wall of a high F since high school. Then one day, I learned on accident after a mouthpiece switch about my bottom lip placement and gained a third that day.
I just have played 10,000 high As because I was afraid it would disappear.
Once I moved back to my old mouthpiece, the new notes were still there. And never left, and I've learned to have a playable C, C# and sometimes D. Which in reality, there is like no call for. But I have them.
Backing off less air, more control, and more musicality but the rest of my high chops. I approach high notes like I'm playing piccolo trumpet. Clean, reserved, articulated notes that I can make music with...not just sit on a note. The more reserved I am, the more I can do with those notes.
Huge breaths, maximum lung capacity, yoga breath, etc.....voodoo.
Once I had my "aha" moment, I never went back. Had nothing to do with strength, pedal tones, long tones, buzzing, mouthpiece buzzing, lead pipe buzzing, pencil tricks....just figured out what my chops were doing.
Smaller mouthpieces make ALL of this easier |
I can relate to much of what you wrote.
I just would like to submit that a full, relaxed breath can help, as one can generate the most air pressure when full (with the caveat being that someone who already has plenty of air power doesn't really need to take full breaths to play high notes). But for the developing player I think it's helpful. Lung capacity has nothing to do with it. As we all know, we can hold high notes for a long time, because they don't require much air flow (just a lot of air pressure). But I think we can all agree that when playing our highest notes we are blowing as hard as we can. So anything that gives us a bit more air power (such as filling up) can be helpful.
I particularly liked what you wrote about the piccolo trumpet approach.
It seems to me you had already developed all the air power you needed when you discovered those higher notes.
Some day I want to do an organized study and measure various players' air power levels (how much thoracic air pressure they can generate) and then correlate those figures with how high the various players can play. I'm guessing that while there will be those who can blow extremely hard yet not play much above High C (the strength is there but the "knack" (discovery) is not), there will be few if any players that can reach into the G above High C and higher register with full power who don't have extraordinary levels of air power.
Cheers,
John |
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