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high squeal



 
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lozza
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Joined: 07 Apr 2021
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PostPosted: Wed Apr 07, 2021 10:01 pm    Post subject: high squeal Reply with quote

I have been playing for about 5 years, but only took the trumpet up when I retired aged 65. I was gradually improving over this period until about a year ago I developed a squeal when ascending particularly anything above F# or G above the staff. I have had lessons from a couple of teachers but neither can come up with a solution to this problem. I have tried various mouthpieces and embouchure position but to no avail. Has anybody out there had similar problems and if they overcame the problem how?
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Seymor B Fudd
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PostPosted: Thu Apr 08, 2021 3:14 am    Post subject: Re: high squeal Reply with quote

lozza wrote:
I have been playing for about 5 years, but only took the trumpet up when I retired aged 65. I was gradually improving over this period until about a year ago I developed a squeal when ascending particularly anything above F# or G above the staff. I have had lessons from a couple of teachers but neither can come up with a solution to this problem. I have tried various mouthpieces and embouchure position but to no avail. Has anybody out there had similar problems and if they overcame the problem how?




Welcome to the TH! You found the BE - good idea but;
Squeal?? Wordsworth┬┤s Concise English Dictionary:"to utter a high-pitched cry";"to cry out in pain"...
How do you do it? All preceeding notes sound OK? Hard to understand!
Shouldn┬┤t be a mpc problem (unless you have a really weird mpc, or a horn with leaks or a...etc.).Beats me!
When I try to play above my range, squeaky sounds may be heard.....
Have you been able to play above G on staff?
But: Try to describe in more detail how you approach tone production.
And what did your teachers have to say about your general approach?
Maybe the 'Fundamentals' department should be more convinient?
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trumpetteacher1
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PostPosted: Thu Apr 08, 2021 8:05 am    Post subject: Reply with quote

Iozza, do you mean F# and G on the top of the staff?

Also, can you describe more clearly what you mean by squeal? More details are better.

Finally, this is a subforum of the TH dedicated to BE. Did you post here specifically to ask for advice from a Balanced Embouchure perspective? If not, I can have this thread moved to Fundamentals.

Thanks!

Jeff
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lozza
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Joined: 07 Apr 2021
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PostPosted: Thu Apr 08, 2021 5:51 pm    Post subject: Reply with quote

Hi Jeff
Yes F# and G on top of the staff. The only way I can describe what happens is a sort of thin squeal, definitely not a proper note. My teacher has always said try and open your sound up so this probably relates. And yes a general question not related to BE.
Cheers
Lozza
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Bethmike
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PostPosted: Thu Apr 08, 2021 5:56 pm    Post subject: Hi squeal Reply with quote

Hey Iozza,

By squeal, do you your tone is a squeal? Or do you mean there is a secondary sound (buzzing) in addition to your tone?
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OrangeDreamsicle
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Joined: 10 Mar 2021
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PostPosted: Thu Apr 08, 2021 6:11 pm    Post subject: Reply with quote

It may be worth trying long tones right under where you begin to hear the squeak and see if refining your technique on those notes ends up helping. Another suggestion is to run scales slowly to try to connect your lower range to the notes you're having trouble with. You might be able to tell if you are doing something different on the higher notes. Maybe try air attacks? Sometimes if I have response issues and such practicing air attacks helps my sound and technique a bit. Accenting the beginning of the note also might help you. For me, if I have entrances on higher notes I articulate a little harder than I do on lower notes like notes in the staff to make them "pop" more in the beginning.
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Bflatman
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Joined: 01 Nov 2016
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PostPosted: Sat Apr 10, 2021 4:00 pm    Post subject: Reply with quote

It is a mistake to think one might help over the internet. I wont fall into that trap.

I am put in mind of the tendency of students to play thin notes that lack richness body and core.

Thin notes in the staff can still sound rich but thin notes at the top of the staff can easily sound shrill like a squeal.

I am guilty of this.

The thinking is that student players who try to reach above the staff often resort to clamping their lips together by closing their jaws to help the clamp but this closing of the jaw restricts the oral cavity and restricts the ability of the lip reed to vibrate in a relaxed manner.

Thin tones can be the result.

Opening the gap between the teeth to a thumb tip sized gap while closing the lips together holds the oral cavity larger, and more rounded tones can then be generated.

The more rounded tones are more full of harmonics and are less shrill.

I am not saying this is the problem and I am not saying this is a fix but I offer it as a possible explanation of what might be happening.

Uan Rasey instructed his students to play one tone repeatedly and strive to make this tone as rich and beautiful as possible.

OrangeDramsicle is I believe speaking on this very topic when he speaks of refining technique.

Higher notes reveal our deficiencies in tone generation that are easily hidden and pass unnoticed within the staff and this is compounded by our range falling away in this area and we therefore make greater efforts to reach our full range and this holds the seeds of its own downfall.
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