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Robert P Heavyweight Member
Joined: 28 Feb 2013 Posts: 2596
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Posted: Thu May 20, 2021 10:06 pm Post subject: What do you think about when playing higher? |
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Let's call "higher" anything over top of staff G on up to however high you can go.
Whatever you consciously think about or do, visualize, whatever is involved that makes it work for you. Feel free to include mechanical specifics, I'm looking to compare notes. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Chinese Flugel
Last edited by Robert P on Fri May 21, 2021 11:11 am; edited 1 time in total |
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GeorgeB Heavyweight Member
Joined: 20 Apr 2016 Posts: 1063 Location: New Glasgow, Nova Scotia
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Posted: Fri May 21, 2021 3:00 am Post subject: |
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I am relaxed ( for me always important in the high range ) and don't really think about anything more than the next note I am to play. If I started thinking about how I am going to play that next high note I would likely screw it up. _________________ GeorgeB
1960s King Super 20 Silversonic
2016 Manchester Brass Custom
1938-39 Olds Recording
1942 Buescher 400 Bb trumpet
1952 Selmer Paris 21 B
1999 Conn Vintage One B flat trumpet
2020 Getzen 490 Bb
1962 Conn Victor 5A cornet |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6130 Location: Des Moines
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Posted: Fri May 21, 2021 3:33 am Post subject: |
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the sound _________________ Bill Bergren |
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THE BD Heavyweight Member
Joined: 17 Apr 2005 Posts: 897 Location: Columbus, Oh-hi-uh
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Posted: Fri May 21, 2021 3:38 am Post subject: |
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I think about the air speed velocity of an unladen swallow...
But really, i try not to think of it as high range, just an extension of the normal range and focus on good technique across all notes. _________________ Martin D Williams
Yeah, I did that! |
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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3309 Location: Endwell NY USA
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Posted: Fri May 21, 2021 4:14 am Post subject: |
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I do not actively THINK about anything other than 'playing the note well', but I am 'aware' if I am using too much upper lip pressure (and then use more lower lip pressure to adjust). _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Richard III Heavyweight Member
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
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Posted: Fri May 21, 2021 5:54 am Post subject: |
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Fill the horn and ride the air. _________________ Richard
King 1130 Flugabone
King 12C mouthpiece |
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deleted_user_687c31b New Member
Joined: 03 Apr 1996 Posts: 0
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Posted: Fri May 21, 2021 6:19 am Post subject: |
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GeorgeB wrote: | I am relaxed ( for me always important in the high range ) and don't really think about anything more than the next note I am to play. If I started thinking about how I am going to play that next high note I would likely screw it up. |
The same, except the ‘relax’ part is still very tough for me. |
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Yamahaguy Heavyweight Member
Joined: 09 Dec 2004 Posts: 3992
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Posted: Fri May 21, 2021 7:14 am Post subject: Re: What do you think about when playing higher? |
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Robert P wrote: | Whatever you consciously think about or do, visualize, whatever is involved that makes it work for you. | "Visualize" is a great word, in that, what I think I may be doing is actually not (but it works for me!).
Specifically, the tongue arch as related to 'faster' air...I made a video of it for other TH'ers
and will start sharing them on my YouTube page soon. I'll PM you the details-
Other key words of significance: Relaxation, Support, & Balance |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6130 Location: Des Moines
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Posted: Fri May 21, 2021 7:24 am Post subject: |
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How I'm not getting extra pay for playing lead _________________ Bill Bergren |
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Al Innella Heavyweight Member
Joined: 08 Jul 2008 Posts: 755 Location: Levittown NY
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Posted: Fri May 21, 2021 7:57 am Post subject: |
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The two things I think about are playing the figures correctly and playing in tune. I don't think about what I have to do how to play in different registers. You should know how to play a G below the staff with out thinking about how, or a G in the staff or above the staff or above high C or double C.
If you know how how to play in that register , you should be thinking about the music, not the mechanics of playing high ,that's what practicing is for.
If you're talking about hitting the note in practice, think about your air, playing relaxed, using as little arm pressure as possible , don't over blow just fill the horn. I don't want to get into embouchure or pivoting etc. because every one is different ,so this is just a general guide.
Hope this helps,
Al |
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trpthrld Heavyweight Member
Joined: 09 Mar 2007 Posts: 4810
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steve0930 Veteran Member
Joined: 07 May 2018 Posts: 191
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Posted: Fri May 21, 2021 9:38 am Post subject: |
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Nice question Robert. my answer is the same every time.
Morpheus
Quote: | Neo, sooner or later you’re going to realize, just as I did, there’s a difference between knowing the path and walking the path. I’m trying to free your mind, Neo. But I can only show you the door. You’re the one that has to walk through it. |
I imagine the scene from the Matrix when Neo is standing in the corridor - three indomnitable foes approaching - and then from somewhere he gets it.. he gets what it is to be "The one" At that moment his world slows to the tick of a clock hand - with absolutlely no effort and perfect coordination he can unleash complete power - do anything he wants - he can stop bullets in mid air with one hand behind his back. He gets it - all the hours in the gym.. all the work outs and yet if he can only trust in himself / find that space where the second hand slows / he can do what he questioned was even possible. What he thought was so hard and so unattainble was in fact so easy and there all the time.
That's what I think about. These moments happen only about once a month (first one 3 or so months ago) but when they come I'm ready for them - cos you see I call my Trumpet Trinity.
All the best and stay safe Steve in Helsinki. _________________ My Number 1 supporter
http://langdons.com/images/langdon-image.jpg |
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delano Heavyweight Member
Joined: 18 Jan 2009 Posts: 3118 Location: The Netherlands
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Robert P Heavyweight Member
Joined: 28 Feb 2013 Posts: 2596
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Posted: Fri May 21, 2021 10:05 am Post subject: |
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Al Innella wrote: | I don't want to get into embouchure or pivoting etc. because every one is different ,so this is just a general guide.
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Since I'm comparing notes feel free to include any mechanical specifics you think about. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Chinese Flugel |
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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3309 Location: Endwell NY USA
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Posted: Fri May 21, 2021 10:18 am Post subject: |
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If you're interested in what I 'think about' during practice - and especially related to embouchure setting and usage ... my 'basics' are here -
http://users.hancock.net/jkosta/Embouchure_Basic_Concepts.htm
If you are NOT interested or concerned about how an embouchure 'works' or 'some things to consider' about your embouchure, then there is no need to view it - it is likely to annoy you, and be wasted time & energy.
It is not meant to teach you how to play, but to be things to at least think about - if you are interested in thinking about things ... _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Jaw04 Heavyweight Member
Joined: 31 Dec 2015 Posts: 900 Location: Bay Area, California
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Posted: Fri May 21, 2021 12:21 pm Post subject: |
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JayKosta wrote: | I do not actively THINK about anything other than 'playing the note well', but I am 'aware' if I am using too much upper lip pressure (and then use more lower lip pressure to adjust). | Does that work for you? Sounds like a recipe for confusion to me. The part about, I'm using too much pressure on my top lip so instead I'm going to add pressure to my lower lip. |
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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3309 Location: Endwell NY USA
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Posted: Fri May 21, 2021 12:47 pm Post subject: |
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Jaw04 wrote: | The part about, I'm using too much pressure on my top lip so instead I'm going to add pressure to my lower lip. |
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For me, it is not 'adding more overall pressure', more a matter of 'transferring' pressure off of the upper lip and accommodating by applying a little more pressure to the lower lip (that is the feeling that I get).
The critical element is that BOTH lips are involved with rim pressure, and the amount and distribution is dependent on the range of the notes being played.
It is a controlled and coordinated use of rim pressure. it has to be learned somehow, and become habitual.
It seems that many players have developed the habit of only considering upper lip pressure, and get poor results playing above the staff because they believe (have been trained?) to think that adding upper lip pressure is the way to 'make the lip tighter, so it will vibrate faster'. In many cases the excessive upper lip pressure hampers its ability to vibrate - so high notes become squeaks or impossible.
I think that some teachers who suggest 'use less pressure' might actually mean to 'use more coordinated pressure distribution on both lips'.
But that's a fairly detailed instruction that would lead to questions, and perhaps need more verbal instruction than the teacher wants to provide - or that the student is able to understand. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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kramergfy Heavyweight Member
Joined: 13 Apr 2004 Posts: 992 Location: Los Angeles, CA
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Posted: Fri May 21, 2021 2:47 pm Post subject: |
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Anything that makes you calm and focused on the desired result is probably what you should think about. The music would be mine, or as Bill said, the sound.
There's a time and place for experimenting with mechanics if you're having some serious problems, but in the end, you shouldn't focus on those things while you play.
It takes energy to play up there with an electrifying sound, but that should come from the excitement of the music, not from anxiety or nerves. Calm intensity is the desired mental state. Find out what that means for you. _________________ "I'm 73 and I'm still learning." - Maurice Murphy
Thread killer. |
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dstpt Heavyweight Member
Joined: 14 Dec 2005 Posts: 1286
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Posted: Fri May 21, 2021 4:33 pm Post subject: |
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In a master class years ago, I heard Arturo say, "Sometimes, I think of playing a double high C from my pinky finger."
Then I heard Dizzy say in a TV interview, "To play high notes, I tighten my ***h*** and blow real hard!"
My takeaway:
Sometimes use your pinky and sometimes use other parts of your body. |
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Al Innella Heavyweight Member
Joined: 08 Jul 2008 Posts: 755 Location: Levittown NY
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Posted: Sat May 22, 2021 8:39 am Post subject: |
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Like I said before ,I don't think about how I'm going to play each a note when ever there is register change. If I had think about what I have to do differently to play the low notes and then the high notes at a fast tempo up and down in an octave scale, it would impossible for me . |
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