Today's squeaks are tomorrow's high notes.

Valerie

"Today's squeaks are tomorrow's high notes."

I've heard this statement bounced around here & there for several years, but can't find the origin. Does any one know if this statement was originally spoken by a well known trumpeter or is it just common knowledge among brass players?
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musicman0097 · Posted: Mon Apr 21, 2014 4:21 pm Post subject:

I've heard Rashawn Ross say this a few times.

Matthew
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John Mohan · Posted: Mon Apr 21, 2014 4:46 pm Post subject:

I've found the "squeaks become notes phenomenon" to be true. My take on it is the fact that the extreme upper register requires strength and coordination. In other words, you've got to find the "feel" or the "knack" of how to do it, but you also need the required physical strength to do it.

We all have a spot in our range where we reach the highest note we can play with full power. Many of us, who who haven't found the feel or knack of how to play any higher find that they can't play any note higher than that highest (loud) note. Often this is a result of not using proper tongue arch for the high notes - players who don't arch their tongues properly can often reach a real loud, but rather raucous High C - which they usually can't play softly, and even at that, often cracks down to a Bb and embarrasses them.

But those who do know how to use their tongue arch, and who are starting to get the feel (or "knack") of how to play the notes beyond their highest full power note, will be able to get as much as perhaps a half octave above their highest full power note - but since they haven't yet developed the air power strength necessary to play these higher notes at full volume, they won't be able to play them loud and in fact, as they reach their very highest note, until the strength is developed, these notes will be "squeaks" as some call them. As the player continues to practice and develop more strength, these squeaks become full power notes (and as the player continues do practice and develop, he or she starts finding the feel for the notes that are even higher than these newly developed full-power high notes which also will start to speak as squeaks).

All of the above is assuming that the player knows what to practice, how to practice and when to practice in order to practice correctly and continue to develop all facets of his or her playing. I can help with that.

I hope this explanation is helpful.

Best wishes,

John Mohan
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pepperdean · Posted: Tue Apr 22, 2014 4:46 am Post subject:

Not the exact quote but Carmine Caruso used to say, "where there's smoke, there's fire." In his terminology, higher notes required better "balance". The player starts to get the feel and, through repetition, develops the strength.

Roy Stevens also taught this wasy through his development of statics.

Alan

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zackh411

Mac Gollehon · Veteran Member Joined: 27 Feb 2014 Posts: 254

[quote="Valerie"]"Today's squeaks are tomorrow's high notes."

I've heard this statement bounced around here & there for several years, but can't find the origin. Does any one know if this statement was originally spoken by a well known trumpeter or is it just common knowledge among brass players?[/quote
The first time I heard this phrase used and explained as an actual procedure was from Doc Reinhardt. That was around 1976 and another student of his,Bob McCoy said this and had studied with Doc Reinhardt in the 1960s. So I am sure he had used this description many years before any of us were playing.]

Mr.Hollywood · Heavyweight Member Joined: 14 Dec 2002 Posts: 1730

As a student of Reinhardts for many years I can verify that Reinhardt did say this often......"The squeak of today is the note of tomorrow". He even had many routines for developing your "squeakers" then very slowly adding the sound.

But on the other hand, its such a common and popular practice with so many other teachers/players who is to say that it originally came from Reinhardt?

For all we know Herbert L., Kryl. Jules Levy or any other of the early cornet masters could have said it first......

There all dead so there really is no way to know for certain.

Chris LaBarbera

mcgovnor · Posted: Wed Apr 23, 2014 8:56 am Post subject: I think

I think..I said it, first..

ljazztrm · Posted: Wed Apr 23, 2014 10:59 am Post subject:

"It's a baby sonny, but it'll grow." - Louis Maggio

I don't know how true this is though..at least for me. Playing the squeaks up there, for me, first taught me where the slots were...but that didn't take so long. It was only when I really strengthened my aperture muscles and combined that with the right equipment did I get more volume in the extreme registers. Although, that being said, playing pp is one way to develop the aperture muscles. The most effective exercise of all for me for aperture has been the pencil exercise exactly the way Pops recommends to do it in his book 'Chops Builder'.. But I also love doing Clarke #1 slurred and tongued from the middle out just about every day as I think it sets the chops up in an excellent way. Best, Lex
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Jeff_Purtle · Posted: Wed May 07, 2014 4:37 pm Post subject:

Claude Gordon said, "Remember, a baby crawls before it walks."

It's all a process and most of us don't have enough patience.

At the time I was doing Systematic Approach to Triple C, but frustrated that the tone would change at an Ab above High C.
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mcgovnor · Posted: Wed May 07, 2014 5:58 pm Post subject: frankly

Frankly..Although I've heard this saying for 40 years..I have not found it to be true..neither with students or myself. If you have the note it's a note. If you have a squeak you have a squeak. However, gaining access to notes above a certain point..and that differs player to player..is often accomplished by playing at a moderate volume and in the context of simple melodic patterns..like the Clarke Studies..or the mislabeled lip trills..slurs..or arpeggios. When a player learns how to make what feels like 2 miles of separation feel like a quarter mile, the desired upper register is simply a matter of adaptation.

Avan · Posted: Thu May 08, 2014 6:59 am Post subject: Re: frankly

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Mac Gollehon · Veteran Member Joined: 27 Feb 2014 Posts: 254

The squeak is a start but doesnt guarantee continued deveopment. Many students get to that point and hit a wall. After squeak is obtained it is important to sustain for at least 6 very slow bars. This needs to be done early as possible in high register development otherwise squeaks can continue to be squeaks for years. Next phase should be to sustain highest soft note possible 6 slow bars and crescendo to very loud making sure pitch stays and does not break off or downward. Eventually pitch should hold steady from very soft to brutally loud with good pitch and center. Only then is the embouchure,alignment, wind control and other components developing properly.

crzytptman · Posted: Fri May 09, 2014 7:21 am Post subject:

That's good advice. Thank you.
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patdublc · Posted: Fri May 09, 2014 7:34 am Post subject:

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For me, it didn't take a year from when I made a serious attempt to find those notes every day during my warmup routine. However, that is the mindset one needs. Be in it for the long game. Be more concerned about playing them correctly, without forcing them, than with rapid progress.

I also don't try to hold them for the 30 seconds that six slow measures would cause. I am going up-down-up in 1-5-1s (High C, High G, DHC, High G, High C, High G, DHC) and holding on top for several seconds, because I want flexibility and control around the note as opposed to just sustaining it.
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Mac Gollehon · Veteran Member Joined: 27 Feb 2014 Posts: 254

Blaine the ability to sustain for 6 bars would require control ,believe me. Scales arpeggios and flexibility should be the benefits derived from embouchure development and the breath control developed from sustaining tones at the top of your register both soft and loud.