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

Does anyone have a fingering (+ alternate) fingerings for ab



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


Joined: 22 Aug 2015
Posts: 865

PostPosted: Thu Sep 16, 2021 1:32 pm    Post subject: Does anyone have a fingering (+ alternate) fingerings for ab Reply with quote

Above hi c and it would be great to actually see notes above hi g as I have never played a chart that had above hi g written, mostly 8va notations I had to ignore at the time. Any help would be great especially the fingering and alt fingering.
Rod
Back to top
View user's profile Send private message Send e-mail
Beyond16
Veteran Member


Joined: 07 Jan 2020
Posts: 185
Location: Texas Gulf Coast

PostPosted: Thu Sep 16, 2021 4:26 pm    Post subject: Reply with quote

Here are some based typical B flat trumpet valve slide lengths:

The red squares are supposed to mark suggested fingerings. The blue dots are alts. But marking suggested fingerings in this high range where so many alts are present is an exercise in frustration. For example, F6 would be most accurate with a 123 fingering, but the shorter tube length of a 1 or even 12 fingering might be easier to play.

Text version here.
Back to top
View user's profile Send private message Visit poster's website
Rod Haney
Heavyweight Member


Joined: 22 Aug 2015
Posts: 865

PostPosted: Thu Sep 16, 2021 5:26 pm    Post subject: Reply with quote

Thanks I wouldn’t have thought of 1-3 for g# or that a and bb would both be 1-2. I haven’t figured out yet how to read alternates from this yet. Right now I lip them about as well as I finger them ?? But they are thin now so maybe more use in that range will develop a stronger tone. Does anyone have the notes as they appear in written music, I have a hard time reading with out the continuous staff lines🙃
Rod
Back to top
View user's profile Send private message Send e-mail
Billy B
Heavyweight Member


Joined: 12 Feb 2004
Posts: 5754
Location: Des Moines

PostPosted: Thu Sep 16, 2021 5:46 pm    Post subject: Reply with quote

2-3
_________________
Bill Bergren
Back to top
View user's profile Send private message Send e-mail Visit poster's website
Lionel
Heavyweight Member


Joined: 25 Jul 2016
Posts: 761

PostPosted: Thu Sep 16, 2021 8:17 pm    Post subject: Re: Does anyone have a fingering (+ alternate) fingerings fo Reply with quote

Rod Haney wrote:
Above hi c and it would be great to actually see notes above hi g as I have never played a chart that had above hi g written, mostly 8va notations I had to ignore at the time. Any help would be great especially the fingering and alt fingering.
Rod


A flat/High C, for those who can actually play it? Is usually the hairiest note there is in the extreme upper register*. Back when I used a receded jaw embouchure I could absolutely nail a High G. However the next note above was nearly impossible. Even the great scream player Lynn Nicholson says that he approaches that tone a bit differently than the others. He's even put out an interesting You Tube video on the subject. No fooling.

My feeling is that this tone is best practiced softly and with just enough arm pressure that it takes to pull it off.

As for the reason why this happens? It's probably due to a combination of factors. While the note is being blown, the upper lip is usually receiving lots of pressure from both the arm pressure in the front and air pressure from the back. As you must really raise the PSI within your mouth & lungs just to make this pitch sound. At this point in the horn's register, the condition of the vibrating point on the upper lip becomes much like a squashed raisin.

So build up dem mouth corners to strengthen the chops. Allowing you to back off the arm pressure. At the same time, play it softly until the chops become strong enough to sustain this tone without undue arm pressure.

Here is where I like to point out Jeff Smiley"s "Lip Clamp Squeaks". He prescribed them as just a practice exercise I think. Similar to those isometric exercises. But me?.I formed a whole working embouchure out of them. Calling them "Air Pocket Emanations". I'm not plagiarizing. As I discovered their effectiveness separately from Prof Smiley, but I do like to compliment him for publishing and prescribing them. A great idea!

When practicing on this condition any poor fool can play at least a soft F/High C and with a little practice?.Double Cs! And that's before you even put a mouthpiece up to your chops! Now just imagine the the kind of range you'll get by complimenting this very "Rolled-In" chop setting with the added leverage a good mouthpiece provides?

Hey, other people have really done this. Even Maynard was only human. And some cats could even play higher than him. Though none did it better. There is a solution.
___________________________________________________________________________
*Actually the A flat an octave below is our most commonly cracked tone, but for other reasons.
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).
Back to top
View user's profile Send private message
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