Need Advice Re: The Top-end of My Range

[MF Fan]

I've been working on S.A. Lesson #2 for the past couple of weeks and have been pleased with the results. I have a specfic question regarding Part II. Using today's session as an example, my sound and the overall feel as I ascended was very strong. Up to the E-flat above high C it was relatively effortless and felt very stable! The 'E' didn't want to sound as clearly, but I considered it a success and went on. The F was better, F# O.K., G was a stretch but the note sounded. That's as far as I got after 3 attempts. On better days I've gotten to A-flat, but the sound is definitely thinner than High C thru E-flat.

What I'm wondering is this: how would Claude coach a player as they worked Part II of the lessons? Would he just have you do them and encourage you to let time take it's course, or did he intervene between arpegios with things to adjust? For example, I've think I read somewhere in this forum that you shouldn't necessarily try to play the top notes of your developing range as the same volume as the lower notes in the arpegio(?) I suspect I would be able to add a note or so to my top end if I reduced the volume, but that seems counter to the directions to crescendo the top note of each arpegio. I also doubt Claude would want you to consciously back-off, even if it meant going a bit higher. Or am I wrong? I think trying to maintain the same volume on the top-end is causing me to tense up in the upper chest and tongue on the final few notes which effectively reduces the air-flow to the chops. Some days I just naturally play more relaxed and the F and G sound much better. So, I plan on keeping at it and assume the center of my range move up over time, but I can't help but wonder if Claude would have dispensed some helpful hints to address these barriers?

[John Mohan]

Hi there!

Claude would be very encouraging and positive. In his presence, I'd usually be able to go several steps beyond my normal stopping point on SA Part 2 exercises.

He would NOT do any kind of "adjusting" between arpeggios as you ascended.

As for "backing off", I think the correct thing to say is, don't "blast" as you go up. A full, nice, ringing tone on each note. And crescendo the last note of each arpeggio as you hold it for 3 or 4 slow beats. The crescendo helps you to learn to squeeze the air out properly (and not "pinch off") as you play higher. By doing the argeggios at an mf to a f level (with a crescendo on the last note after you get it), you don't overblow and flatten your tongue in your mouth. There is always a balance between tongue level and volume. When you play a little softer (f compared to ff), the tongue has to be arched a little more - and this is good.

As for the way the notes start getting less powerful for you beyond the Eb, this is COMPLETELY normal. This is the point for you where you haven't developed the physical strength yet to provide the air pressure required for the higher notes at full volume. I think at this point in your range, you can speed up the air more and get the higher notes, but since you've reached your limit strength-wise, you are at this point trading off air volume for air velocity - in other words, you can get the higher notes, but only by sacrificing sound-level. Everybody has this point in their range. Back when I started SA, this point for me was at High C#. I had a killer C#, but my D was a little weaker. And so on, up through about an Eb or E above High C. With time and development, this point in my range has crept up little by little.

Keep in mind that it's the Pedal Note routine (the Part 1 exercises) where you hold the last note "as long as you have air and longer, with a crescendo at the end" that builds up the blowing muscles that are required for the extreme upper register. In order for these muscles to develop, you MUST push yourself to really work those muscles in the way the book tells you to (holding each last note of the Pedal routines until the blowing muscles shake with strain).

Hope this helps,

John Mohan