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Why can't I play certain mouthpieces?


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Robert P
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PostPosted: Tue Mar 28, 2023 9:25 pm    Post subject: Reply with quote

TriumphantTrumpeter wrote:
Ach this is a personal challenge and exploration. I don't ever see myself playing in public with my trumpet and have no desire to play for others if I'm honest. I play for myself because it moves me. I love the challenge of exploring, trying something and, if it doesn't work, tearing it down and taking a different tack until I hear something that I just think "Now that really hits me where I live" and I feel the swing take me over. I'm interested to pick up hints, tips and generally shoot the breeze on things that puzzle me a bit but I don't really want anyone to point out the way to me. It's no loss to the world if I never progress beyond 'crappy' and, if I do manage to sound half decent I can pat myself on the back over having done it all by myself with just a few kind words and advice here and there.

Who it would be a loss to if you remain mired in your current state is *you* - you'd enjoy it a lot more if you gained enhanced facility. If you could achieve the same functionality on trumpet that you have on guitar you'd be a solid player.

I've been mulling over some things you've stated. I recommend a teacher while being keenly aware that there are a lot of teachers who aren't well versed on chops issues.

You say you want to see if you can discover certain things on your own - I had to discover a lot of things on my own because I encountered a number of teachers who didn't have the vaguest idea how to guide me in fixing problems I was having.

Thinking about it, a significant difference between you and me is I had a certain amount of standard instruction as a framework to work within. I had range issues but was still able to function in playing a number of different calisthenics - the kinds of things I mentioned previously. Worked on Clarke's, Arban's. Also played in various ensembles, worked on solo pieces. I could double-tongue, triple-tongue. I was building skills even if there was an area I had problems with.

Yes, you're the one inside your own consciousness and have to tune in to nuances of what you need to do to get better sound but there are things that you're just not going to get just noodling around without a framework of structured skill-building. As an example - at one point I couldn't play chromatically from low F# to high C. I would get stuck somewhere mid staff and couldn't go higher without re-setting. But I had this as a guidepost - I could see others could do it so I knew I had to do something differently.

To do any real playing of music you have to be able to function within different key signatures - that means scales and exercises in different keys. You have to have flexibility, be able to articulate, be able to attack notes cleanly, be able to negotiate intervals, etc. etc. be able to do all of it at different volume levels. And all of it can be improved no matter how good you get.
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TriumphantTrumpeter
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PostPosted: Thu Apr 13, 2023 4:59 am    Post subject: Reply with quote

Well in just a little update to my 'range' wars I think I've cracked it. A few days ago I was just sitting and I had a recently acquired copy of the Louis Armstrong Trumpet Method from 1961 sitting closed on my music stand and I was looking at the picture of Louis and how he was holding his mouth. I visualised this in my mind and tried to replicate it with my own mouth against the trumpet and I found that to mimic it I really had to push my upper lips downwards 'til it reached a bit past the bottom of my upper teeth. Bingo! My range, and the clarity, was greatly improved. I am now rising up to Double C much more comfortably and I can foresee a time when I can get maybe a few notes past it. I know that I am a very long way from where I want to be but I am certain I am now back on track. Just got to work my way through all the Key exercises etc. and work on a myriad other facets now. I am immensely enjoying noodling around and, while my sounds may not please the neighbours I find it a hoot myself.

Thanks again to all for advice and tips on the journey.
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delano
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PostPosted: Thu Apr 13, 2023 6:12 am    Post subject: Reply with quote

Hmm, double C is one octave above high C...
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TriumphantTrumpeter
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PostPosted: Thu Apr 13, 2023 7:23 am    Post subject: Reply with quote

Have I got that wrong?
The C I meant anyway is the one above the Staff. I doubt that I'd ever be able to hit the one an octave above that. If I'm wrong please forgive my ignorance.
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TriumphantTrumpeter
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PostPosted: Thu Apr 13, 2023 7:30 am    Post subject: Reply with quote

OK I know what 'Double C' is now having watched a Youtube video and, even more surprising, to me at least, I managed to hit the darn thing myself in a sort very uncontrolled and not exactly musical way.
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kehaulani
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PostPosted: Thu Apr 13, 2023 7:43 am    Post subject: Reply with quote

delano wrote:
Hmm, double C is one octave above high C...

On the trumpet staff, (not the Grand Staff in Concert Pitch), assign tessiura name starting at the bottom of the Trumpet Staff.

So the lowest F# is "Low F#.
First space in the the staff is middle F#
Top line F# is Hugh F# etc.
All the way up. Hence:

The C below the staff is Low C.
Third space C is Middle C.
C above the staff is High C.
C one octave above that is Double High C.

This is the trumpet staff and not anything else. Whether or not pedals are actually "real notes" is quibbling and I won't get into that.
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TriumphantTrumpeter
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PostPosted: Thu Apr 13, 2023 10:35 am    Post subject: Reply with quote

Thanks for that clarification Kehaulani
I had been typically referring to 'C above the staff' as I wasn't at all sure whether it was 'High C' or what I had heard referred to as 'Double C'.

On the plus side I've learned another new thing as well as now being able to reach High C fairly easily and I think with plenty of practice that I will be able to hit that Double C. I've just got to keep pushing my range up the way and get those fabled 'chops' working as best as they possibly can.

I must say that I haven't had such a challenge or enjoyed it so much with any other instrument that I've ever played. There is nothing like the feeling when the sound coming out of the horn is hitting the sweet spot.
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