Range Development

[FivePointer]

For the past two years I have been trying to play more consistently B above the staff and high C. I have been using the Caruso Method to develop my embouchure and have been doing this on a daily basis. I have been methodical and patient with this method. I was doing well and making good progress but now I seem to be hitting a wall and feel as though I am regressing. "B" has always been a problem. I did the slurs in Caruso with a metronome every day. Is this too much, perhaps? Should I do these exercises every other day? Should I not try to develop range and go back to just play mid- range and the range will take care of itself?
Any thoughts would be appreciated.

[mike ansberry]

How long have you been at this wall? In my experience, progress is not a steady climb. Often a period of progress will be followed by a bit of a down turn and then pop up to another level.
_________________
Music is a fire in your belly, fighting to get out. You'd better put a horn in the way before someone gets hurt.

[homecookin]

The Caruso exercises are not the be-all end-all
of range development.
I am not saying not to practice them.
But you need to combine them with
other fundamental practice.
Soft long tones throughout the range of the
instrument, along with scales,
and a moderate amount of lip slurs
should be part of your daily practice routine.
You should also practice etudes to develop
endurance. Endurance and range go hand-in-hand.
The characteristic studies in the Arban book
are a good place to start.
Breath control and embouchure development
are the keys to improving your range.
Be sure not to practice too loudly
and rest before you get tired.
Hang in there.

[TrpPro]

You would be better served to ask this question in the Caruso forum

[dkwolfe]

Good Morning;

The following links are a few things that have helped me extend my range a bit. It is worth noting that I've only gained a note or two since starting working on these, but everything up to the top of my range has gotten stronger. So while I haven't increased my overall range much, my usable range has changed dramatically.

https://trumpetshed.wordpress.com/2014/07/22/the-greatest-exercise-ever-conceived/
Practice this one with a metronome, and start at 66.

https://joeytartell.com/2016/10/24/the-secret-to-high-notes-part-3/
Make sure to watch all 3 sets of videos.

Those two, combined with working on the Majio book and my regular practice, have done wonders for my playing.

YMMV

D
_________________
Nullius in Verba.

[John Mohan]

[kalijah]

[BBB1976]

Hi
Good advice from John Mohan here.
Yes he is absolutely correct re: the air speed etc....
Really is a kind of knack when you discover this.
Indeed, lip flexibilities are important to discover this.
Also, John is correct in saying that people are too lip conscious, and yes it is the air speed and tongue arch which produces the high notes.
Personally, the air speed concept was a big break through for me years ago.
Furthermore, you don't necessarily have to use the CG book as there are others.
Lastly, try to keep a steady flow of air when doing Caruso. My friend Markus Stockhausen says that the embouchure regulates itself with proper development. Also, Markus says that the air and tongue is the secret!! Which relates to what John Mohan was saying.
Try and develop a sensible routine.
Best wishes.

[rufflicks]

If you are practicing the same exercise in the same way everyday you may not be gaining ground. To gain or challenge what we have by approaching our limits in different ways like cross training for a sport is an excellent idea. Here is a playlist that might help with ideas how to challenge your range in different ways. Best, Jon

https://www.youtube.com/playlist?list=PLjtQbOLXI0BB_2bn5GjxlWCYsEM8DDVTH
_________________
http://www.youtube.com/user/Rufftips

Remember this is supposed to be fun.

[John Mohan]

[kalijah]

[rufflicks]

Darryl how do we control the aperture or create the correct aperture for any give frequency?

High note players talk about unfurling this would seem counter to a smaller aperture as we ascend . Please help me understand.

Best, Jon
_________________
http://www.youtube.com/user/Rufftips

Remember this is supposed to be fun.

[Billy B]

[kalijah]

[FivePointer]

Thanks to all for taking the time to responsd. The trumpet is such a vast world! I am finding out stone the problem may be the horn itself. I am checking into it. But I gave much to learn from you guys!

[Lionel]

[deleted_user_02066fd]

[rufflicks]

Darryl,

It seems to me that we typically describe the larger movements that control the aperture as concentration on just moving the aperture is nearly impossible.
“The muscles around the lips and the jaw/teeth position are the elements that control the aperture posture”.
This would imply understanding and manipulating these larger elements produces the end result of correct aperture involvement. Without understanding these, the aperture is unable to describe proper placement. As a result we then describe motions that support the aperture and thus frequency. (A mater of Semantics to me)

It is our body that controls pitch; the sum of the parts not just a single point. Without the correct adjustments of mouth and air support accurate pitch reproduction will not be achieved. Air is obviously a component as we are creating the vibration of the lips with air.

I have experimented with using a very weak or minimal amount of air support. When employing this methodology the only way I can sound a double C is through a motion in my throat and mouth that momentarily achieves correct pitch. Try as I might I find it impossible to produce correct pitch with a quality tone without engaging air support.

Though not hooked up to electrodes I certainly am aware of my energy level or amount of exertion as I play. I find myself engaging more energy from my air support mechanism as I ascend. I am able to produce a mp high C with minimal engagement from my air support mechanism. Once I go above High C I need more support/energy to activate the frequencies.

Going from high F to double C requires even grater engagement or energy. I find it difficult to separate air engagement from upper register success. I find it difficult to believe that air pressure or greater energy is not required to produce the higher frequencies. I do not debate that it has “negligible effect on what specific frequency”, specific being absolute. My own experience is that I simply use more energy to produce higher notes at the same volume as lower notes.


Is there a greater pressure requirement to produce the higher frequencies at the same volume as lower notes? Are the higher frequencies naturally softer so the air component is a compensation for volume and not pitch?

Best, Jon
_________________
http://www.youtube.com/user/Rufftips

Remember this is supposed to be fun.

[MusicByThePound]

For me....
The more I think about how to play the trumpet the more confused I get and the worse my playing gets. I find, good, fundamental, proper playing, with rest, is the best! Whatever that is to you (Clarke, Schlossberg, Colin, some Caruso maybe, Saint-Jacombe). Just do it and results will come naturally over time because you are doing the right thing. Yes, like magic!

For range development, what works best for me is to play Clarke studies. Mostly 1-2-3, as high as I can go. At least one exercise per day, every day. And mostly 1-3 because the rest are really hard for me but you are better than me so go for them- they won't let you down.

Even if I maybe can't play them very high today vs. yesterday, for whatever reason, it pays off tomorrow at the gig. Just keep your head down and play them. You will practice yourself into high range and good embouchure.

In hindsight, I think the reason is...playing the many repeats over and over, trains and firms the corners. A few months ago I was watching one of those Arturo University You Tube videos with Wayne B. and he says something about how important maintaining firm corners are for his playing thru practice and days off. I never understood this but light bulb went off over my head and I connected the dots from that statement to the GENIUS of H.L. Clarke and why playing them works for me.

When people ask, if you could go back in time and meet one person in history who would it be...My answer is Herbert Clarke. Heavy Dude!

[kalijah]