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Extreme register getting weaker?



 
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number juan
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Joined: 15 Dec 2015
Posts: 40

PostPosted: Sat Oct 02, 2021 12:49 pm    Post subject: Extreme register getting weaker? Reply with quote

So I don't know if it's just in my head, but I could swear my register above a double G is getting weaker, while my range up to that G is getting stronger. It was never super amazing, but I remember being able to play a respectably loud and clear Bb, and an audible double C, but now even an A is a barely, even when the G right below it can be easily screamed at full volume. It might not seem like much of a problem, and in most classical playing it isn't. But as a college music major, who's established himself as a lead player in the time I've been here, I'm getting music that's starting to push my limits, and I want to be able to perform. Even in jazz, my professor is asking me to play a double C# at the end of our closer, and while I can squeeze it out, it's nowhere near where I'd want it to be.
And it's even weirder cuz just a month ago I was actually expanding, being able to slot Es above double C.

So does anyone have any idea what's going on with that? Or any ideas to get a stronger extreme register?
In case it helps, I'm currently playing on a picket 3c with a #25 shank thingy
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kehaulani
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Joined: 23 Mar 2003
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Location: Hawai`i - Texas

PostPosted: Sat Oct 02, 2021 2:10 pm    Post subject: Reply with quote

Is it possible that the opining in your embouchure is openinig a bit in favor of tone and the range is lowering a bit w q result of that?
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JayKosta
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Joined: 24 Dec 2018
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Location: Endwell NY USA

PostPosted: Sat Oct 02, 2021 2:42 pm    Post subject: Reply with quote

kehaulani wrote:
Is it possible that the opining in your embouchure is openinig a bit in favor of tone and the range is lowering a bit w q result of that?

--------------------------
I agree with the above being a possibility ... (and I have NO experience in the high range being discussed.
Lip formation and control is a delicate 'blend' of many factors that can be in competition with each other.

Probably the most important factor in being able to 'produce the pitch' is making certain the the lips are CAPABLE of vibrating at that pitch.
Unconscious actions about 'tone quality' or 'loudness' might prevent the lips from doing their basic vibrations.

Reacquire the 'squeaks and squeals' of those notes, and THEN refine making them playable.
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Lionel
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Joined: 25 Jul 2016
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PostPosted: Thu Oct 07, 2021 2:15 pm    Post subject: Reply with quote

Either you've been overtraining or fallen into a sloppy usage of your embouchure. Meaning that your upper lip is somehow pinned in between your upper teeth and the mouthpiece.

The answer is always found in physics. A study of "The Stevens-Costello Triple C Embouchure Technique - Embouchure Self-Analysis" would definitely prove helpful. I bought 2 copies last year of the second edition from Allen Colin at *Charles Colin Brass Publishers.
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bach_again
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Joined: 03 Apr 2005
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PostPosted: Fri Oct 08, 2021 3:54 am    Post subject: Reply with quote

You might be over-blowing a bit... try backing off, re-establish this range softly, octave slurs etc... you shouldn't have to "scream" a high G, makes me think you are potentially working a little too hard. The harder you work up there the more it'll fight you - at least that's my experience! Good luck, and consider a lesson with someone like Bryan Davis who can really set you straight. Cheers!
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