Joined: 23 Mar 2003 Posts: 9085 Location: Hawai`i - Texas
Posted: Tue Apr 25, 2023 10:36 am Post subject:
I can't believe how difficult music notation terminology is at times on this Forum
The C two ledger lines above the trumpet staff is High C.
The C above that is Double High C.
No prime slash marks (") no Grand Staff etc. Trumpet staff. We're trumpeters talking about the trumpet.
What the OP actually means is probably High C.
The term double C is ambiguous. There is High C and there is Middle C and there is Double High C. _________________ "If you don't live it, it won't come out of your horn." Bird
"I wouldn't play like Wynton Marsalis even if I could play like Wynton Marsalis." Attributed to Chet
Joined: 02 Jan 2002 Posts: 5698 Location: Glen Burnie, Maryland
Posted: Tue Apr 25, 2023 12:04 pm Post subject:
I think that there's a shift somewhere too when even talking about the notes above 2nd ledger C.
I never called Ds or Es anything other than D or E, but for years anything above that was "double-" and then the note. 4th ledger G was double-G, and so on.
I think that technically "double" doesn't start until after double C, but yeah - there's a fair bit of confusion that surrounds it.
But one thing there has never been confusion about is that trumpet players are like pirates - they're both murder on the high Cs. _________________ Patrick Gleason
- Jupiter 1600i, ACB 3C, Warburton 4SVW/Titmus RT2
- Brasspire Unicorn C
- ACB Doubler
"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP
Joined: 02 Jan 2002 Posts: 5698 Location: Glen Burnie, Maryland
Posted: Tue Apr 25, 2023 12:07 pm Post subject:
jmor56 wrote:
I was referring to double high c when I first pick up the horn. I am referring to high c, c#, d, or eb, below double c when I’m speaking of notes I need to play in the middle of rehearsal and struggle with.
I think maybe I've hit a double C once in my whole life. I was screwing around in the practice room one day and wham! It just kind of popped out slurring up from a G. I've never done that before or since and I'm not sure what I did that day to do it.
You're ahead of me. _________________ Patrick Gleason
- Jupiter 1600i, ACB 3C, Warburton 4SVW/Titmus RT2
- Brasspire Unicorn C
- ACB Doubler
"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP
This is borderline comical, but I love it! _________________ Patrick Gleason
- Jupiter 1600i, ACB 3C, Warburton 4SVW/Titmus RT2
- Brasspire Unicorn C
- ACB Doubler
"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP
As is well known Maynard holds the patent on the Double C so this video is the definitive, official, irrefutable answer on the topic.
This is borderline comical, but I love it!
Maynard isn't my favorite overall player but it's amazing how easy that C was for him even near the end.
He had an unconventional embouchure but it sure worked for him. I read somewhere that when he got to the conservatory in Montreal his trumpet instructor was told not to try and change his embouchure. When he was a kid if some teacher had insisted he adopt a more textbook pretty embouchure we likely never would have heard of him. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Joined: 03 Feb 2021 Posts: 123 Location: New Hampshire, USA
Posted: Sun Apr 30, 2023 7:29 am Post subject:
Well, I'm a mid-60's comeback player 2 years in. I can hit the 2 ledger C anytime, and usually the D and sometimes up to E or even an F above that on rare occasions. I thought I was doing pretty good...
I'm not accurate up there, though. This past week, I started playing a lot of scales from the top down to try and improve accuracy and getting more familiar with the sound up there, while continuing to work on other fundamental-type exercises also.
I think it's probably good it takes so much time and effort to get a high range. By the time we get there, we should be playing everything a lot more musically. _________________ -Ed
The answer to this question is compression and new embouchure technique. Most upper register courses deal with this problem, but they don't deal with the music.
So try to keep the music under control and decide for yourself how elaborate and when (say every other week) you want to apply the techniques.
The upper register instructors claim continuous daily practice of the techniques is the holy grail for upper register playing. But I think it's better to do the excercises (isometrics, buzzing, extremes etc.) every 2-3 weeks.
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