• FAQ  • Search  • Memberlist  • Usergroups   • Register   • Profile  • Log in to check your private messages  • Log in 

Any good range/endurance exercises in the Arban?



 
Post new topic   Reply to topic    trumpetherald.com Forum Index -> High Range Development
View previous topic :: View next topic  
Author Message
Cerberus
New Member


Joined: 17 Jun 2020
Posts: 1

PostPosted: Thu Jun 18, 2020 12:01 pm    Post subject: Any good range/endurance exercises in the Arban? Reply with quote

Hello I'm a junior in high school this year and was wondering if there are any good exercises for range but more specifically endurance in the upper register in the Arban. This year all of the seniors who could play as high as I can (not to sound conceited) graduated. This means that I will be playing first trumpet in every band in the school. I need to be able to play in the upper register both higher and for longer than I've ever had to before. If anyone could give me some good Arban exercises that would be great!

Equipment:
I play a 1955 F.E. Olds Mendez Los Angeles California Trumpet with a Stomvi 12FVR Flex mouthpiece that I got from Mr. Skinsnes. I'd rather not use a new mouthpiece to compensate (that's more of a last resort option for me).
Back to top
View user's profile Send private message
cheiden
Heavyweight Member


Joined: 28 Sep 2004
Posts: 8910
Location: Orange County, CA

PostPosted: Thu Jun 18, 2020 12:43 pm    Post subject: Reply with quote

Best shot at increased range and endurance is a well constructed daily routine. If you don't have one then you'd do well to hook up with a pro teacher who can show you what to practice and how to approach it.

If lessons aren't in the cards right now you might want to consider the book by Earl Irons or the one by Bai Lin. Approached with care they can be a big help.
_________________
"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart
Back to top
View user's profile Send private message
JayKosta
Heavyweight Member


Joined: 24 Dec 2018
Posts: 3274
Location: Endwell NY USA

PostPosted: Thu Jun 18, 2020 1:07 pm    Post subject: Reply with quote

Star of Paris Polka
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Back to top
View user's profile Send private message
kehaulani
Heavyweight Member


Joined: 23 Mar 2003
Posts: 8964
Location: Hawai`i - Texas

PostPosted: Thu Jun 18, 2020 1:15 pm    Post subject: Reply with quote

I personally got a lot of success with Maggio's book. You can ignore the mechanical description and still get a lot of good out of the exercises, as long as your basics are sound.
_________________
"If you don't live it, it won't come out of your horn." Bird

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Getzen Capri Cornet
Adams F-1 Flghn
Back to top
View user's profile Send private message
Stan Harrison
Regular Member


Joined: 11 Feb 2010
Posts: 20
Location: Newark, De.

PostPosted: Thu Jun 18, 2020 1:25 pm    Post subject: Reply with quote

One thing a Teacher gave me 42 years ago was Carmine Caruso Calisthenics for Brass.
Back to top
View user's profile Send private message
Grayman470
Regular Member


Joined: 21 May 2020
Posts: 55

PostPosted: Thu Jun 18, 2020 1:57 pm    Post subject: Reply with quote

Clarke 5. Playing two octave scales evenly and softly, crescendo while ascending descendo while descending. I found my range improved when I started doing two octave scales in the Clarke book.
Back to top
View user's profile Send private message
deleted_user_02066fd
New Member


Joined: 03 Apr 1996
Posts: 0

PostPosted: Thu Jun 18, 2020 3:21 pm    Post subject: Reply with quote

I recall Maynard Ferguson saying he would play ballads up a few steps to increase range. Try some of the simple etudes up a few steps. The added bonus is you are also working on transposition skill as well.
Back to top
View user's profile Send private message
RussellDDixon
Heavyweight Member


Joined: 04 Apr 2014
Posts: 830
Location: Mason, OH

PostPosted: Thu Jun 18, 2020 3:53 pm    Post subject: Reply with quote

Specifically Arban's ... Jon Faddis states that he practices pages 125, 125 and 127 up to double C. He also is a big proponent of Herbert L Clarke's Technical Studies for Cornet - Study #1
Back to top
View user's profile Send private message
kgsmith1
Regular Member


Joined: 30 Nov 2019
Posts: 73
Location: Greater Chicago

PostPosted: Thu Jun 18, 2020 4:36 pm    Post subject: Reply with quote

I agree with everyone recommending you look beyond Arban's.

I also add the usual disclaimer that even one lesson with a teacher who can show you a routine to build range would be very helpful.

Second (or third or whatever) recommendations of Irons, Bai Lin, Caruso, and Clarke.

My current favorites are Flexus by Laurie Frink and John Mcneil, and John Daniel's Special Studies. Both have suggestions for routines of various levels. Read the instructions carefully for both. Your goal is to build coordination, which could require building new muscle in your face, but overworking your face can be counterproductive. Settling into a new routine probably takes at least a month of balanced practice.

Other favorites that belong in your library are the books by James Stamp, James Thompson, and Bob Findley.
Back to top
View user's profile Send private message
gwood66
Veteran Member


Joined: 05 Jan 2016
Posts: 301
Location: South of Chicago

PostPosted: Thu Jun 18, 2020 5:39 pm    Post subject: Reply with quote

Some of the previously mentioned exercises helped me make some significant gains:

Clarke 1 and 5
Lip slurs out of Irons 27 groups
Maggio/Gordon pedal exercises
Lip bends will also build strength and endurance
playing melody's up an octave or above the staff

I would focus more on the how of the exercises:

Elimination of unnecessary embouchure movement while playing any and all exercises.
Reduction of lip tension(caused by pressing the lips together) to only that necessary to play the notes.
Elimination of unnecessary upper body/chest tension.
Resting as much as you play (never play on tired lips).

If you check out Pops McLaughlin's website he has rewritten/added exercises to Arban that go above high C.

http://www.bbtrumpet.com/the-pops-mclaughlin-trumpet-foundation-page/
Back to top
View user's profile Send private message
Jerry Freedman
Heavyweight Member


Joined: 29 Jan 2002
Posts: 2476
Location: Burlington, Massachusetts

PostPosted: Fri Jun 19, 2020 2:47 am    Post subject: Reply with quote

I believe Pops McCaughlin wrote an extension of Arbans well into the upper register/ Check it out at BBtrumpet.com
Back to top
View user's profile Send private message Send e-mail
Dayton
Heavyweight Member


Joined: 24 Mar 2013
Posts: 1990
Location: USA

PostPosted: Fri Jun 19, 2020 6:21 am    Post subject: Reply with quote

Sticking with Arban only requires some creativity as few of those exercises go into the upper register as written. Here are some ideas with page numbers from the Carl Fischer version edited by Goldman/Smith/Gordon.

FIRST STUDIES
P. 12 Take an exercise like #9 and continue past the point it is written. So, instead of ending at the bottom of the page in the key of E, return to the beginning of the exercise and play it up an octave.

P. 14 Group similar exercises like #16-18 into super sets that you play without a break.

P. 20 Play #46 in the style of Jimmy Stamp, putting a hold on each highest note. For example, on the first line you'd hold the E in the second measure, the D in the fourth measure, the G in the sixth measure, and the F in the seventh measure.

STUDIES ON THE SLUR
P. 42-47 These flexibility studies can be a big help. There are lots of ways to make them even more useful/challenging, such as by continuing them upward, or by playing a study from the beginning to the end and then from the end to the beginning without a break, etc.

P. 48-51 Super sets

P. 55 Play #68 many times. Add a repeat after the second measure of each line.

P. 56 Play #69 a la Stamp. On the first line you'd hold the G (second note of the first measure), G (second note of the third measure), F (second note of the fifth measure), and F (second note of the seventh measure). Don't rest between lines for as long as possible.

SCALE STUDIES
P. 61 Play an exercise like #16 in all keys (similarly #69 on p. 74).

P. 79 Play #8 and #9 many times. Slur all, slur first 2, slur last 2, single tongue, etc. Once you get to the end of the exercise work your way back to the beginning. Start on the bottom line of the exercise and play to the beginning, continue upward (start on C#, then D, then Eb...).

GRUPPETTO
P. 91-93 Continue these exercises upward by playing to the end and then going back to the beginning up an octave.

INTERVALS
P. 125-129 Continue these exercises upward by playing to the end and then going back to the beginning up an octave.

And on and on....

Good luck!
Back to top
View user's profile Send private message
theslawdawg
Heavyweight Member


Joined: 13 Oct 2008
Posts: 843
Location: Waikiki, Hawaii

PostPosted: Fri Jun 19, 2020 7:01 am    Post subject: Reply with quote

"This means that I will be playing first trumpet in every band in the school."

That's the only sentence I took note of. I think the most important thing for you is to ensure you are taking the right steps to rest/recover with all the playing you'll be doing. If you are playing first chair material with every band...the range will get there if you don't overdo it.
_________________
My go-to Trumpet and Flugel: Thane.
Greg Black MPs
Back to top
View user's profile Send private message Send e-mail
Turkle
Heavyweight Member


Joined: 29 Apr 2008
Posts: 2450
Location: New York City

PostPosted: Fri Jun 19, 2020 7:16 am    Post subject: Reply with quote

peanuts56 wrote:
I recall Maynard Ferguson saying he would play ballads up a few steps to increase range. Try some of the simple etudes up a few steps. The added bonus is you are also working on transposition skill as well.


I used to do this all the time. Take those melodies in the back of the Arban and play them as beautifully as you can, up a minor third each time. I got the idea from some Maynard masterclass on YouTube where he said "you don't own a note until you can play it romantically." Those beautiful arias and melodies in the back of the Arban are a great resource to learn to play sweetly and musically in the high register.
_________________
Yamaha 8310Z trumpet
Yamaha 8310Z flugel
Curry 3.
Back to top
View user's profile Send private message
dobs
Regular Member


Joined: 18 Dec 2004
Posts: 80
Location: Hannover, Germany

PostPosted: Fri Aug 14, 2020 1:23 am    Post subject: Reply with quote

Here is an exercise out of Arban's that I got from Charley Wagner:

Arban page 49, Exercise 22.

- Take it all up an octave and slur everything at a moderate volume.

- Pick a slow enough tempo so you can play the fastest notes at the end.

- The goal is to spend more time up in this register to develop an
understanding of how much pressure is required to play these notes without force and to create a relationship with the “basic level of air pressure” required to play these exercises.

- The goal is to float on the air and allow the trumpet to do the work without crazy movements of muscles in the chops or arms, etc.

- Make sure to use the suggested fingerings.
Back to top
View user's profile Send private message Visit poster's website MSN Messenger
Craig Swartz
Heavyweight Member


Joined: 14 Jan 2005
Posts: 7769
Location: Des Moines, IA area

PostPosted: Fri Aug 14, 2020 6:01 am    Post subject: Reply with quote

I guess I had a far different approach when I was in HS. In the late 1960s I attended a HS with a nationally-prominent music program. Expectations were high and everything we performed had to be "proper", except- during "pep band" sessions in the stands at football (not on the marching field) and basketball games, where I'd just play any and all things I could up an octave. It was a student-run show in the stands, so as long as we didn't embarrass anyone, the program or the school it was fair game and was great practice and exercise in an almost practical setting.

All of the material mentioned by the posters is very relevant to the issue but in the end, the way to play high and long is to start playing high and long. Doing so in a real ensemble setting was a great motivator, at least for me. YMMV.
Back to top
View user's profile Send private message AIM Address
plnelson
New Member


Joined: 07 Jun 2018
Posts: 1

PostPosted: Tue Dec 01, 2020 7:42 am    Post subject: Reply with quote

Scales and arpeggios are a simple, effective option. Slur and tongue in every style (legato, staccato, marcato) when going into the upper register so you know you can play those high notes in any context.
Back to top
View user's profile Send private message
wilder
Veteran Member


Joined: 27 Jun 2020
Posts: 341
Location: NYC

PostPosted: Tue Dec 01, 2020 10:51 am    Post subject: Reply with quote

Lots of great advice here. I would like to just reinforce the advice to get a teacher and play long and hard every day. Good luck! jw
Back to top
View user's profile Send private message Send e-mail
Display posts from previous:   
Post new topic   Reply to topic    trumpetherald.com Forum Index -> High Range Development All times are GMT - 8 Hours
Page 1 of 1

 
Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Powered by phpBB © 2001, 2005 phpBB Group