From Intermediate to Advanced Flexibility Studies?

[HackAmateur]

This is my first post, so I may not be great at formatting. Forgive me in advance for that.

Before I get into the heart of my question, I will provide some basic information about where I am currently as a player, based on the different fundamentals.

Feel free to skip this next section ('straight to the point' section) if you don't care where ALL of my fundamentals currently are. Or, feel free to only read the flexibility part to save time.

Tone: Advanced (I use a bright 'commercial' timbre, think Conrad Gozzo or Doc Severinsen timbre, but they sound a bit better than me as their tones are stronger than mine)
Range:High F# above High C (in terms of high notes), Pedal G below Pedal C (in terms of low notes)... difficult to slot 'pedal' notes, but I can slot them... also difficult to slot High E, but I can slot it, too
Flexibility: Schlossberg's basic flexibility studies are my foundation (Schlossberg 31, 14, and 15 are part of my routine)... I am proficient at basic flexibility throughout my entire range, except sometimes with notes below low F#, it takes a second to lock in the correct pitch
Finger Dexterity: I practice Clark Technical #1 and #2, in addition to Arban's Characteristic Studies #13... I can play them at a decent, but not great speed at this time
Articulation: I use "tu" for regular single tonguing, "tu-ku" for double and triple tonguining, and "da" for 'legato' tonguing... I practice the double and triple tonguing throughout most of my range, from low C to High Eb above High C (but any higher or lower notes I can't double or triple tongue proficiently at this time, only single tongue)
Endurance: When I'm "fresh" chops, I can normally play up to Double G (aka. G above High C), but when my chops are exhausted, my highest clear and consistent note is High Eb... it takes about 30 minutes of practicing around my absolute highest notes (notes Higher than High Eb) to exhaust my chops

Straight to the point:
Now that the boring overall fundamentals part is out of the way, my priorities on what fundamentals to build and in what order are as follows:

1.) Tone (I'm satisfied with my tone and will continue to build it)
2.) Range (I won't really be satisfied with my range until that G above High C is always resonant and powerful, but I am satisfied with the progress I've made on Range so far)
3.) FLEXIBILITY (I'm not satisfied at all with this, I'm way too sloppy with certain intervals and want to improve)

So, with my tone being refined and me working specifically on range twice a week, I'm building myself up to have a high note range of Double G (G above High C). With fresh chops, I can blast out the High F# and almost feel paint off my bedroom walls. With tired chops, I can play a pretty strong High Eb currently. In the meantime, however, I want to be gaining Flexibility on top of the Range gains I'm currently experiencing.

Basic Schlossberg exercises are a solid foundation that I already have (Schlossberg 31, 14, and 15). But, I want to take my Flexibility to the next level.

Trumpet is a journey and, for me, my chops are getting way stronger, but my flexibility is too sloppy.

I already have a good foundation of BASIC flexibility. So, what are your recommendations on what I can do to take my flexibility to the next level?

If you've been in my position before on overall fundamentals, what has helped YOU to improve flexibility that is lagging behind your tone and range?

Thanks, everyone!

P.S. My Equipment
Bach Stradivarius 180 series Model 37
Two mouthpieces, a Schilke 15 and a Bob Reeves s692s5 with Schilke 15 rim
_________________
As a composer, I will never write "B Sharp", "C Flat", "E Sharp", or "F Flat". I don't care what the key signature is. I'm not an academic; I'm a musician.

-Bach Strad 180 series 37
-Schilke 15
-Bob Reeves s692s w/ custom rim

[Dayton]

Tom Hooten had an interesting post recently on slurring and flexibility studies. You can find it on his Instagram page: https://www.instagram.com/tomhooten/channel/?hl=en

He groups flexibility studies into three categories, discusses what each is most useful for, and offers examples.

Based on what you are already doing, you might find the Arban slurring exercises beginning on page 42, or the Schlossberg lip drills starting with #59 on page 18 or some of the early studies in Ridgeon's "How Brass Players Do It" (2, 5, 8, 10...) to be a useful additional step and then build from there.

Good luck!

[HackAmateur]

[deleted_user_7354402]

I think all the things you are looking to improve can be addressed in the Boom Method book by Dan Rosenboom. Check out some of his videos explaining his approach. The book sounds perfect for what you want. I think the part about lower and upper bends will really help slotting notes up higher and increase fullness of tone. So much great stuff in that book.
I hope this helps

[HackAmateur]

[deleted_user_7354402]

Glad to hear the suggestion might be useful. It’s been pretty helpful for me and super great for me as far as upper register slotting, aperture control and strength, efficiency, and moving around the horn in a relaxed manner. Initially, the exercises really built up embouchure strength to the point that I would maybe do them two days in a row and then balance other days with stamp type flow studies. But after about two months of doing Dan’s exercises I really began to notice huge leaps in all the areas you are looking to improve in. I think I got the book last March and I probably work in it about every other day.
Dan is also great about answering specific questions you may have. He’s also a killer Jazz player as well and has some amazing albums worth checking out

[deleted_user_7354402]

Thinking as well, other books that are helpful in this regard might be Tom Steven’s After Schlossberg, specifically for extending Schlossberg concepts and also Pierre Thibauds Supplemental Method Book. The primary method is good as well but the supplemental puts it all together into a routine. If you hang out in his book, your pedal tones will be killer and the exercises can really make your lips supple and crazy efficient.

[Christian K. Peters]

Hello,
You and I are about in the same place. I found that Colin lip flexibility volume 3 helped me most. Listening to people who could do the things I would like to do is a great aspect to discover. I did spend the pandemic switching to a Schilke 14. I love the sound, but it isnot really conducive for range. A 14B gets me closer, but a Warburgon 5M really helos support the upper range. Tone suffers down low though. I am not familiar with you Reeves, though I assume it is shallower. Imitating better players and analyzing what they do helps me much.
_________________
Christian K. Peters
Schilke Loyalist since 1976

[HackAmateur]

[gwood66]