Scary Notes

trickg · Posted: Wed Sep 29, 2021 7:52 am Post subject: Re: Scary Notes

It's been my anecdotal observation that slot "shelf" for that partial isn't as defined, and those two notes are naturally a bit out of tune. With those two things combined, I think what tends to happen is that the mind "hears" the pitch, your chops set to where they think the pitch is, but ultimately you'll hit right on the edge of the slot - sometimes you'll hit it, but sometimes it will break to the next slot.

That's totally anecdotal though - there's no science behind that, and I could be totally off the mark.

I think back to when I was younger and at my peak from a technique perspective. Back then I was VERY accurate. I think there were two reasons why:

1.) I played A LOT and therefore my chops were always in shape
2.) I did a lot of technical drills - lots and lots of lip slurs, lots of arpeggios, lots and lots of articulation, etc.

Ultimately I think I was just really dialed in to that horn, so mechanically I'd already fine-tuned the adjustments necessary to be accurate.

Someone also once commented about my trumpet when playing it, "Wow! This horn actually has an F" - meaning that the F on my trumpet centered better than the F on theirs. That may have been part of it too.
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Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

Brassnose · Posted: Wed Sep 29, 2021 11:27 am Post subject:

I can only offer little advice but it may be helpful. I just started to use a drone to train my ear for intonation. Also, I seem to hear my intervals better when I use ear protection, which enhances the sound in my head as opposed to the sound that comes form the outside to my ear (I hope that was clear …).
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Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

Lionel · Heavyweight Member Joined: 25 Jul 2016 Posts: 783

Don Herman rev2 · Posted: Wed Oct 06, 2021 11:00 am Post subject:

Scariest note = G in the staff... When playing the first note of "Taps" after standing in the weather for an hour-plus with friends, family, clergy, and military all listening for it.
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trickg · Posted: Thu Oct 07, 2021 5:39 am Post subject:

Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

Andy Cooper · Posted: Thu Oct 07, 2021 4:10 pm Post subject:

A few tests you can do:
1. Play first line E. Stop and take the mouthpiece from your lips. Rest for at least 4 counts and try to play the E an octave higher.
2. Play the interval from 2nd line G to the E above with a light tongue.

Repeat using 1&2 for the 4th space E. Try this both softly and forte.

If you can reliably get the E, then just practice.
If you cannot get the E this way, it's probably not a problem hearing the note in your head before playing.

I have a problem with the G to E interval with some horn/mouthpiece/backbore combinations. I suspect it may relate to mouthpiece gap but I have also resolved the problem with small amounts of added weight.

(It's easy to try increasing your mouthpiece gap with a slip of paper. You can experiment with weight with a couple of pennies, some painters tape and 2 or 3 inches of non-lead solder wire.)

Don Herman rev2 · Posted: Mon Oct 11, 2021 10:48 am Post subject:

Lionel · Heavyweight Member Joined: 25 Jul 2016 Posts: 783

The O/P has presented a very good question. Like on the other hand, take an instrument like the clarinet, flute or even an E flat alto sax. None of these players have ever been afraid of such a note. Why is this so? Like,

"Why is it that trumpet players and only they have difficulty playing and developing their range?

So people have suggested more practice. And in some cases I'm gonna be right behind them. However if this trumpet player is using a loose, flabby embouchure? He may only reinforce his weakness rather than defeat it.

Also too, the notes he fears aren't very high at all. My thoughts,

If you can get a copy of the "Stevens- Costello Triple C Embouchure Technique". You then ought to read up on the PHYSICAL LAWS that govern trumpet playing. This is a system that tells the reader to utilize a highly "rolled-in" chop setting. As such this condition adds great "leverage" to the chops. Making a mere F/staff nothing at all. Just blow, but get your chops set right at the beginning. And teachers too ought learn of the physics governing range & sound production
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kehaulani · Posted: Sat Oct 16, 2021 10:10 am Post subject:

The Stevens-Costello Method is your panacea. Get it.
p.s. funny how many outstanding lead players don't use a rolled-in embouchure.

Ref easier notes on sax, are you kidding? Totally different acoustic system.
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