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Playing in the Upper Register



 
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mafields627
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PostPosted: Mon Jan 07, 2002 2:03 pm    Post subject: Reply with quote

I know at some point everyone has hear or been told that the upper register will come with time, it will develop itself, etc. I believe the only way to develop the upper register is to develop it, but one must develop it musically. I have enough lip slurs to last a life time. What I'm having problems with is finding good upper register material that will develop good breath support, phrasing, etc. such as long tone exercises and chorales/melodies. I noticed a post for "Courting the Upper Register," does anyone have any experience with it? Also, can anyone reccomend any long tone exercises that are written in the upper register (other than playing the standard long tones up an octave)?

Thanks!
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Quadruple C
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PostPosted: Mon Jan 07, 2002 2:15 pm    Post subject: Reply with quote

[ This Message was edited by: Quadruple C on 2003-10-01 11:27 ]
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mafields627
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PostPosted: Mon Jan 07, 2002 6:08 pm    Post subject: Reply with quote

Thanks for the lead QuadC. . . I'll head that way and check out his advice. Anyone else?
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tcutrpt
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PostPosted: Tue Jan 08, 2002 7:01 pm    Post subject: Reply with quote

Have you tried Smith's Top Tones book? It doesn't get extremely high, only up to Eb's or so, but it's a more melodic way of approaching the upper register. I believe if one was capable of playing through these two page etudes that it would be a good indication of proper breathe support and air control.

matt
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Redhothorn
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PostPosted: Tue Jan 08, 2002 7:48 pm    Post subject: Reply with quote

I personally like The Maggio System For Brass and added three notes to my range in twelve weeks using this book. I still have it as my chief "range" book.

Rusty
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Nicholas Dyson
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PostPosted: Wed Jan 09, 2002 11:16 am    Post subject: Reply with quote

Any chorales or lyric etudes played up an octave will work. Try Getchell bk 1. If you can make those sound musical in the upper register, you're on the right track.
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mafields627
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PostPosted: Fri Jan 11, 2002 9:13 pm    Post subject: Reply with quote

Redhothorn,

Can you give me some more info on the Maggio System? I hate to be one of those who focuses on range so much but, you've gotta have it in order to be successful. I wonder why it's so hard for some, yet so easy for others.
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Emb_Enh
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PostPosted: Fri Jan 11, 2002 11:51 pm    Post subject: Reply with quote

Matt wrote....

''Also, can anyone reccomend any long tone exercises that are written in the upper register (other than playing the standard long tones up an octave)?''...

...Try Keith Johnson's book.....

''Progressive studies for the high register''
publ. H Gore


I find this an excellent alternative to long note boredom!! (although they do have their place)

Rgds. Roddy o-iii<O
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mafields627
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PostPosted: Sat Jan 12, 2002 12:03 am    Post subject: Reply with quote

Roddy,

How does it train the embochure? What kind of exercises does it have? Sorry to be so persistant about details, but I'm the proverbial poor college student without a lot of money to go around. I just want to make sure it's something I'll use before I buy. Thanks a lot.
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detpt
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PostPosted: Mon Mar 13, 2017 6:54 pm    Post subject: Reply with quote

Registration activation comment #3
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HERMOKIWI
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PostPosted: Mon Mar 13, 2017 7:36 pm    Post subject: Reply with quote

I think it's all well and good to work on material which exercises the upper register. However, I think that working on material which exercises the upper register and actually learning the techniques which make the upper register easy are two different things.

I don't believe that the concept that if you work on the upper register long enough you'll develop a solid upper register is a very valid concept for most players. The primary reason most players don't develop a solid upper register is because they are not employing the techniques which are consistent with having a solid upper register. They keep practicing techniques that are not the techniques most consistent with their goal of having a solid upper register.

I think the best investment you can make toward having a solid upper register is to work with someone who can actually show you how it's done, who can teach you the techniques consistent with having a solid high register. "Pops" McLaughlin is the first name that comes to mind. Once you have the techniques down your practicing will be much more productive.

The idea that you can just use whatever techniques you have, keep practicing and muscle it out and end up with a solid high register is, to me, not very likely. It's certainly not very efficient. There are techniques which make the high register a lot easier. Learning them should be your first priority.
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ATrumpetBrony
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PostPosted: Mon Mar 13, 2017 8:06 pm    Post subject: Reply with quote

HERMOKIWI wrote:

The idea that you can just use whatever techniques you have, keep practicing and muscle it out and end up with a solid high register is, to me, not very likely. It's certainly not very efficient. There are techniques which make the high register a lot easier. Learning them should be your first priority.


It's understandable why one should work with an experienced player to build those techniques - but is it a standard thought-process in the trumpet playing world that NO one is capable of just picking a lot of stuff up without a teacher? I know a guy who can bust out a blazin' F over high C on command - never practiced, was more interested in sports, thought music was nerdy - never took a lesson.
Just curious! Because there are a LOT of videos and information out there, plus a lot that can be chalked up to logic -

Again, I get that working with someone who's figured it out would speed up the proces and remove variables, chances for error, and help with potential problems/bad habits early on - but why is it so exclusively thought of as the only solution rather than a diligent practice, self-examine, diagnose, repeat cycle?
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HERMOKIWI
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PostPosted: Mon Mar 13, 2017 8:57 pm    Post subject: Reply with quote

ATrumpetBrony wrote:
HERMOKIWI wrote:

The idea that you can just use whatever techniques you have, keep practicing and muscle it out and end up with a solid high register is, to me, not very likely. It's certainly not very efficient. There are techniques which make the high register a lot easier. Learning them should be your first priority.


It's understandable why one should work with an experienced player to build those techniques - but is it a standard thought-process in the trumpet playing world that NO one is capable of just picking a lot of stuff up without a teacher? I know a guy who can bust out a blazin' F over high C on command - never practiced, was more interested in sports, thought music was nerdy - never took a lesson.
Just curious! Because there are a LOT of videos and information out there, plus a lot that can be chalked up to logic -

Again, I get that working with someone who's figured it out would speed up the proces and remove variables, chances for error, and help with potential problems/bad habits early on - but why is it so exclusively thought of as the only solution rather than a diligent practice, self-examine, diagnose, repeat cycle?


No one does what you want to do without proper technique. Some come by proper technique naturally (Wayne Bergeron). Others have to learn proper technique (most of the rest of us). If you don't have proper technique then what you do with diligent practice is to become very good at techniques that are less than optimal. Self examination, diagnosis and repeating won't get you proper technique if you don't know what proper technique is. It is, in fact, very difficult to self diagnose problems and craft consistently effective solutions. If it was otherwise then everyone would have a solid high register. Few have a solid high register but it seems everyone wants one.

So, what I'm saying is this: Instruction isn't necessary if you come by the proper technique naturally. But if you're working at this for years and are still waiting for the results you want it's apparent you don't have the proper technique and need instruction.

High range is easy for those players who use the proper technique. Wayne Bergeron had a useable range to double C by the time he was 15 years old. A solid high register is a technique thing. It is not a strength thing. You have to develop a feel for the technique and the quickest way to progress is to work with someone who can guide you through the technique. There are very few teachers who can do that. "Pops" McLaughlin is a teacher who has a proven track record in understanding and teaching what is required in terms of technique to develop a solid high register.
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Grits Burgh
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PostPosted: Tue Mar 14, 2017 6:32 am    Post subject: Reply with quote

Great posts by HERMOKIWI.

If you are determined to do it on your own, check out Claude Gordon's Systematic Approach to Daily Practice. Using his exercises I was able to hit a double high C (when I say hit it, I don't mean well enough to play it in a performance. I'm just getting started.). The CG approach teaches you the technique required to play in the upper register.

That said, take the advice offered by HERMIKIWI. "Pops" McLaughlin, John Mohan, Jeff Purtle and others can help if you are serious about mastering the technique.

https://www.purtle.com/how-i-became-a-student-of-claude-gordon-by-john-mohan

Regards,
Grits
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