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What do you think about when playing higher?


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Robert P
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PostPosted: Thu May 20, 2021 10:06 pm    Post subject: What do you think about when playing higher? Reply with quote

Let's call "higher" anything over top of staff G on up to however high you can go.

Whatever you consciously think about or do, visualize, whatever is involved that makes it work for you. Feel free to include mechanical specifics, I'm looking to compare notes.
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Last edited by Robert P on Fri May 21, 2021 11:11 am; edited 1 time in total
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GeorgeB
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PostPosted: Fri May 21, 2021 3:00 am    Post subject: Reply with quote

I am relaxed ( for me always important in the high range ) and don't really think about anything more than the next note I am to play. If I started thinking about how I am going to play that next high note I would likely screw it up.
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Billy B
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PostPosted: Fri May 21, 2021 3:33 am    Post subject: Reply with quote

the sound
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THE BD
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PostPosted: Fri May 21, 2021 3:38 am    Post subject: Reply with quote

I think about the air speed velocity of an unladen swallow...

But really, i try not to think of it as high range, just an extension of the normal range and focus on good technique across all notes.
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JayKosta
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PostPosted: Fri May 21, 2021 4:14 am    Post subject: Reply with quote

I do not actively THINK about anything other than 'playing the note well', but I am 'aware' if I am using too much upper lip pressure (and then use more lower lip pressure to adjust).
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Most Important Note ? - the next one !
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Richard III
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PostPosted: Fri May 21, 2021 5:54 am    Post subject: Reply with quote

Fill the horn and ride the air.
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deleted_user_687c31b
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PostPosted: Fri May 21, 2021 6:19 am    Post subject: Reply with quote

GeorgeB wrote:
I am relaxed ( for me always important in the high range ) and don't really think about anything more than the next note I am to play. If I started thinking about how I am going to play that next high note I would likely screw it up.


The same, except the ‘relax’ part is still very tough for me.
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Yamahaguy
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PostPosted: Fri May 21, 2021 7:14 am    Post subject: Re: What do you think about when playing higher? Reply with quote

Robert P wrote:
Whatever you consciously think about or do, visualize, whatever is involved that makes it work for you.
"Visualize" is a great word, in that, what I think I may be doing is actually not (but it works for me!).
Specifically, the tongue arch as related to 'faster' air...I made a video of it for other TH'ers
and will start sharing them on my YouTube page soon. I'll PM you the details-
Other key words of significance: Relaxation, Support, & Balance
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Billy B
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PostPosted: Fri May 21, 2021 7:24 am    Post subject: Reply with quote

How I'm not getting extra pay for playing lead
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Al Innella
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PostPosted: Fri May 21, 2021 7:57 am    Post subject: Reply with quote

The two things I think about are playing the figures correctly and playing in tune. I don't think about what I have to do how to play in different registers. You should know how to play a G below the staff with out thinking about how, or a G in the staff or above the staff or above high C or double C.
If you know how how to play in that register , you should be thinking about the music, not the mechanics of playing high ,that's what practicing is for.
If you're talking about hitting the note in practice, think about your air, playing relaxed, using as little arm pressure as possible , don't over blow just fill the horn. I don't want to get into embouchure or pivoting etc. because every one is different ,so this is just a general guide.

Hope this helps,
Al
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trpthrld
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PostPosted: Fri May 21, 2021 9:30 am    Post subject: Reply with quote

How much chicks will dig it.
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steve0930
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PostPosted: Fri May 21, 2021 9:38 am    Post subject: Reply with quote

Nice question Robert. my answer is the same every time.

Morpheus
Quote:
Neo, sooner or later you’re going to realize, just as I did, there’s a difference between knowing the path and walking the path. I’m trying to free your mind, Neo. But I can only show you the door. You’re the one that has to walk through it.


I imagine the scene from the Matrix when Neo is standing in the corridor - three indomnitable foes approaching - and then from somewhere he gets it.. he gets what it is to be "The one" At that moment his world slows to the tick of a clock hand - with absolutlely no effort and perfect coordination he can unleash complete power - do anything he wants - he can stop bullets in mid air with one hand behind his back. He gets it - all the hours in the gym.. all the work outs and yet if he can only trust in himself / find that space where the second hand slows / he can do what he questioned was even possible. What he thought was so hard and so unattainble was in fact so easy and there all the time.

That's what I think about. These moments happen only about once a month (first one 3 or so months ago) but when they come I'm ready for them - cos you see I call my Trumpet Trinity.

All the best and stay safe Steve in Helsinki.
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delano
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PostPosted: Fri May 21, 2021 9:45 am    Post subject: Reply with quote

My Number 1 supporter
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Robert P
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PostPosted: Fri May 21, 2021 10:05 am    Post subject: Reply with quote

Al Innella wrote:
I don't want to get into embouchure or pivoting etc. because every one is different ,so this is just a general guide.

Since I'm comparing notes feel free to include any mechanical specifics you think about.
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JayKosta
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PostPosted: Fri May 21, 2021 10:18 am    Post subject: Reply with quote

If you're interested in what I 'think about' during practice - and especially related to embouchure setting and usage ... my 'basics' are here -
http://users.hancock.net/jkosta/Embouchure_Basic_Concepts.htm

If you are NOT interested or concerned about how an embouchure 'works' or 'some things to consider' about your embouchure, then there is no need to view it - it is likely to annoy you, and be wasted time & energy.
It is not meant to teach you how to play, but to be things to at least think about - if you are interested in thinking about things ...
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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'.
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Jaw04
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PostPosted: Fri May 21, 2021 12:21 pm    Post subject: Reply with quote

JayKosta wrote:
I do not actively THINK about anything other than 'playing the note well', but I am 'aware' if I am using too much upper lip pressure (and then use more lower lip pressure to adjust).
Does that work for you? Sounds like a recipe for confusion to me. The part about, I'm using too much pressure on my top lip so instead I'm going to add pressure to my lower lip.
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JayKosta
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PostPosted: Fri May 21, 2021 12:47 pm    Post subject: Reply with quote

Jaw04 wrote:
The part about, I'm using too much pressure on my top lip so instead I'm going to add pressure to my lower lip.

------
For me, it is not 'adding more overall pressure', more a matter of 'transferring' pressure off of the upper lip and accommodating by applying a little more pressure to the lower lip (that is the feeling that I get).

The critical element is that BOTH lips are involved with rim pressure, and the amount and distribution is dependent on the range of the notes being played.
It is a controlled and coordinated use of rim pressure. it has to be learned somehow, and become habitual.

It seems that many players have developed the habit of only considering upper lip pressure, and get poor results playing above the staff because they believe (have been trained?) to think that adding upper lip pressure is the way to 'make the lip tighter, so it will vibrate faster'. In many cases the excessive upper lip pressure hampers its ability to vibrate - so high notes become squeaks or impossible.

I think that some teachers who suggest 'use less pressure' might actually mean to 'use more coordinated pressure distribution on both lips'.
But that's a fairly detailed instruction that would lead to questions, and perhaps need more verbal instruction than the teacher wants to provide - or that the student is able to understand.
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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'.
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kramergfy
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PostPosted: Fri May 21, 2021 2:47 pm    Post subject: Reply with quote

Anything that makes you calm and focused on the desired result is probably what you should think about. The music would be mine, or as Bill said, the sound.

There's a time and place for experimenting with mechanics if you're having some serious problems, but in the end, you shouldn't focus on those things while you play.

It takes energy to play up there with an electrifying sound, but that should come from the excitement of the music, not from anxiety or nerves. Calm intensity is the desired mental state. Find out what that means for you.
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dstpt
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PostPosted: Fri May 21, 2021 4:33 pm    Post subject: Reply with quote

In a master class years ago, I heard Arturo say, "Sometimes, I think of playing a double high C from my pinky finger."

Then I heard Dizzy say in a TV interview, "To play high notes, I tighten my ***h*** and blow real hard!"


My takeaway:

Sometimes use your pinky and sometimes use other parts of your body.
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Al Innella
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PostPosted: Sat May 22, 2021 8:39 am    Post subject: Reply with quote

Like I said before ,I don't think about how I'm going to play each a note when ever there is register change. If I had think about what I have to do differently to play the low notes and then the high notes at a fast tempo up and down in an octave scale, it would impossible for me .
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