Opinions Please

[jvf1095]

Hello All. I've been reading through this forum & other places that the road to a high register is doing long tones, lip slurs, etc, after a good warm up. BUT, I also read that if you really want to train your embouchure to play high... then freaken play high; & have your embouchure build on that & get use to it! Any opinions on that? Thanks!!

[kehaulani]

That may be true, but it may also be at the expense of a smooth connectivity from low to high. So, make sure of your goal before limiting yourself to exercises in one resister.
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[jvf1095]

You're absolutely right & thanks for your response. Even if I can only spend 30 min a day practicing, at least 20 min with cover low f# through 4th space e. Then 10 min from 4th space e & above that as smoothly as possible, enough to sustain what I can play clean. Any other thought from anyone?

[huntman10]

About 50 years ago, I got to chat backstage during a rehearsal with Doc Severinsen (he was doing his amazing stuff with that Amarillo Symphony, I was playing in the offstage brass group in "Pnes of Rome"). It was a great chance for a very pleasant chat I will never forget. Anyway, he said he practiced flute etudes to keep his range up while keeping his musicianship up as well. And not exclusively, just as part of his routine.

From my experience trying to stay in shape these days, I will add, do not wear yourself out on range for too much of your rehearsal time. Especially if you are not up to playing hours a day. You cannot build the strength and control in your embouchure by damaging you chops, which is what is going on if you get swelling. Practice in short sessions, with rest for your muscles, and build up in stages
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[jvf1095]

Good advice. I do rest as much as I play; this especially if I'm going to work on my upper register. And as for purposely practicing high range; I don't do that everyday. Every other day will suffice.

[jkarnes0661]

Everything posted here is good, I would add that playing extremely soft has helped me a lot. It has helped add control, strengthen the muscles needed to form the small aperture needed for the upper register, and create muscle memory for the small aperture. It also doesn't beat up the chops so you can practice for longer. I start with playing soft in the middle register and extend upwards. This more than anything has helped me extend range while keeping the mpc pressure on the lips as light as possible.

Eventually you do have to practice at the volume you'll perform at but I try and keep that at 10-20% of my practice time.
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[JayKosta]

[jeirvine]

[jvf1095]

What great advice! I know it's a slow progression building up your range & there are lots of low & middle register exercises to work toward it. But I'm thinking have to (SENSIBLY) spend time in the upper range as well, right at the point where my range falls off. My high note that I can play clean is a G to an A above the staff. So for the last say 5 minutes of a 30 minute practice, I've been working those two notes to get my embouchure use to setting & playing those notes clean, especially long tones for those notes. I'm trying to play them softly avoiding too much pressure, warm down below the staff, & then call it a day. I'm hoping that this is a good balance, because along with everything else, I feel part of increasing my range, is to play up to my max range, get comfortable with that, get my embouchure to set itself & get use to that,& slowly move up. (Today's squeak is tomorrows note). Any more incite for you guys on that? Thanks so much!!

[Robert P]

[Brassnose]

I’ll second (third, fourth, …) everyone saying embouchure mechanics. Work out lip, tongue, mouthpiece placement, and trumpet angle. After only 40 years or so I found a much better mouthpiece placement adding about three notes to my range Still, I am no Jon Faddis or Arturo, but I can actually use those additional notes in a gig.

Also, I find practicing on low brass benefits my range and tone on trumpet, even if I only practice long tones, scales, and intervals.
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[Mike Prestage]

[jvf1095]

Hello Mike. I'm not understanding why questions about range building, especially someone who tops out at an above the staff G, would be "mute". Shouldn't someone like myself beasking questions about range building?

[gwood66]

I play in a big band and have to play my share of parts with Es, Fs, and some Gs above high C. As a comeback player, here is my 2cents based on my experience.

I built my range initially with exercises in Claude Gordons Systematic Approach to Daily Practice, Irons 27 groups and Clarke. I practiced the Systematic Approach exercises that arpeggiate into the pedal register, Clarke 1 & 5 and the first several pages of exercises in Irons.

The exercises are not the key as much as how they are played and what you are focusing on. My belief is that efficiency and coordination play a large role in range. That starts with learning not to overblow or expend excess energy in the middle register, eliminating unnecessary embouchure movement, staying as relaxed as possible when ascending, and not using excess lip to lip compression. The air, tongue and aperture need to be coordinated. You have to have confidence that you can play those notes. You gain that confidence by playing them numerous times.
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[RussellDDixon]

What has worked for me is first finding the correct inner diameter of my mouthpiece(s) for my individual physical features ... that being a 10.5 diameter and smaller inner diameter.

Secondly, I practice range AFTER I have practiced various legit studies for an hour on a Marcinkiewicz Claude Gordon Personal mouthpiece with a deep V Cup and 20 drill.

Third, knowing how to correctly compress air is essential.

RussellDeanDixon.com ... tips from Bill Chase and Scott Englebright.
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[Mike Prestage]

[jvf1095]

After a proper warm up, tone is clear & crisp from Low F# up to F on top of the staff. G is ok at times too, clean. (And that's on a 1965 Holton Collegiate "student horn").After that, pretty much a brick wall.

[Brassnose]

Range will come with proper practice. Also, range w/o sound, phrasing, time, articulation, or dynamics is pointless. What I mean to say is that range alone is not the key to playing music.

If possible get a teacher and have him/her evaluate your playing (overall, not just range). This may be better than an online discussion.

I have a Holton Collegiate cornet from 1966 - good horn and pretty close to yours. Downside is neither you nor I can blame the horn
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AR Resonance, Frate, Klier

[jvf1095]

All helpful advice. Thank you everyone. Just odd that my overall tone, articulation, crispness is really good vs hitting a wall at G above the staff. Let me ask this question as odd as it might sound. Range was progressing nicely; but I had 3 molars taken out just recently, & I am going to have implants done. So there is a lot of space in my mouth. Could that be affecting the airstream, where it's not as concentrated for lack of a better description? Even forming a proper embouchure, or trying to keep the corners firm against the teeth. (No, I'm not drinking as I write this). I am definitely planning on seeing an instructor though; after the new molars are in place & I get use to them. Anyone else of this forum with this possible issue?

[Robert P]