D above double C

[Al Innella]

What I described was how I learned to slot the D above DHC. That the D was much closer to the DHC that I thought, so when I didn't try so hard and backed off a a little the D spoke. I didn't change any thing physically , what I did was change my thinking about where that note was.

So Jay, you talk about lip posture and fine tuning, but you didn't tell us what you did or how you fined your lip posture when you did slot that D above DHC.
I'm always interested in how others play in that range.

[JayKosta]

[Lionel]

I've always preferred and profited by a physical approach to the upper register. Initially, back in my late teens and early twenties, I had read through a friends copy of the Steven-Costello Triple C Embouchure Technique. It is an amazing book. However, it soon became apparent to me that at least as the system was described, I couldn't play squeaky notes way above Double C. Nor could I move my jaw forward and play much at all.

Since then I have studied V hard trying to learn why I had this limitation. And this has largely been my main avocation in life. At least for the past 48 years or so.

However just because at that time (1974) that I couldn't adapt to the forward jaw positioning as described in S/C, I did near immediately notice an incredible improvement in my endurance, power, and volume while playing my regular, receded jaw chop setting. And that was a good thing at the time. Because I was playing six nights/week in a traveling band and prior to learning what Stevens called the Two Aperture Theory I had been really struggling.

In fact since that time I have found that most trumpet players do not adapt the Two Aperture Theory (TAT) to their playing and that this fault is responsible for most of the trumpet players' serious range issues. In my own case, and after seriously adopting the TAT my endurance increased to the point where I could play damn near all day long and up to F/High C throughout most of it!

Incidentally I did take seriously the OPs concerns about playing notes above Double C. This is because this very action is an essential part of learning the Stevens-Costello Embouchure technique. Its no joke folks! This stuff can really help many trumpet players. And in time I will show you what one of my students is doing. Prior to working with me on the Stevens System he had never played a note above High D before. AT least not one of any value.

However in just last Fridays lesson he was absolutely playing incredible high notes. It is such a pleasure to witness these things. Best regards all!
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).