Pressure Check.

[dbacon]

DB

[_bugleboy]

Sorry to be always buggin' people about this stuff, but could you specify exaxctly where the high register begins and how far (to what note) would be the relevant interval to apply your test. You said, "if trills are tough up there......," exactly up where. is it around G on top of the staff to high C, or high C to G above that, or that G to double C, or double C to G above, etc. What register should the test be applied to tell me (or anyone) if I'm using too much pressure?

[dbacon]

DB

[Big Jake]

[tom turner]

Hi,

I understand what Charly is saying and trying to define.

I guess "high register" is being used by the original poster as a relative term to any player's level of development. It this is the case then the "bar" gets raised higher and higher through time . . . and "high register" keeps changing and referring to different areas of notes.

Using the term "high register" in the context of that person's current ability level probably makes this thread somewhat relavant for any person to "understand" at a somewhat ambiguous and superficial level.

The danger comes when different players are trying to approach playing in different "high registers" using the instructions of someone else's "high register" which may work well for the latter, but not the former.

My high school son calls the G above high C a "Double G," and his trumpet-playing buddies do too. For years I called it a "Double G" too when that was an accomplishment to get one to squeak out but now refer to it as a "High G."

I DO understand Charly's frustrations in trying to get everyone to define what they call different parts of a trumpet's range . . . because a lot of things change in the approach to the way each register must be played on a trumpet.

Maybe we could get more precise here in what range of the horn is actually being spoken of in the original post.

Thanks for tryin' guys . . . let's get a little bit more precise so we're all "singin' from the same page."

Sincerely,

Tom Turner

Ahhhhh . . . the English language . . . so many words . . . so many different meanings . . . and my darn spell check is broken!!!

[dbacon]

DB

[zachenos]

Lip trills, vibrato, shakes, etc tell me if I "own" the note, so to speak, they let me know if I'm barely getting the note or if have it solid (of course the sound is a big indicator too). Im not putting words into Dave's mouth, and I think he could explain this more clearly rather than responding to questions with questions or the samething that was previously said. Personally I like the idea but don't agree with the justification, that is to say I have found the ideas (vibrato, trills, etc) to be a helpful tool but they don't neccessarily tell me that I'm using too much "pressure." They could tell me the air support is not there, my throat is closing, or any number of other bad habits that could sneak in. That being said I really think you could approach it from two ways with pretty equal success (again, my opinion) you could work up to the point where you can easily do lip trills and vibrato in your high range (whatever that means for you personally) or you can move up to the point where you are squeaking out notes and try to "open" them up or make them sound better, or of course you could combine both ideas. To each their own.

I guess thats my two cents,

Zach

[Wtrager]

Dave,
I love your posts and responses, but after reading this one, I had the exact same question that Charly had. If I wanted to see if I was using too much pressure, where would I begin if I don't know what your definition is of "upper register"?
Sincerely,
Wayne
http://communities.msn.com/TragerTrumpetTalk

[dbacon]

DB

[_bugleboy]

Dave,

My confusion over what you mean stems from the fact that in your original post you said.

**** Practice a slow melody in the high register ****

So I simply asked what "the high register" is in terms of specific notes. Did you mean to say, "Practice a slow melody in your (meaning each player's) highest register?" Because if that's what is meant, then everything is clear. Everyone has a high register that is different so if a player is unable to execute lip trills, vibrato, etc., in their own particular high register, then you believe that is an indication of excess pressure being used by that player. I have no idea if this is what you had in mind, but it is a possibility. Or another possibility is that there is a specific register, like from G on the staff to high C or D, that might be a good indicator for us all. But you didn't offer either of these possibilities. And it appears that I'm not the only one confused by the opening statement. But then you ask,

**** Why not tell us where you think this applies? ***

You're asking me to clarify your thread??? How could I do that??? I don't know where this applies. That's why I was asking you, since you brought it up.

*** Charles, with all due respect, I think you keep missing the forrest for the trees. ****

I suppose it is out of the question that you would add any clarity to that.

CR

[Emb_Enh]

Dave originally wrote>>>

>>>Here's a way to see how much pressure you are using on your chops. Vibrato, lip trills and shakes. Practice a slow melody in the high register and if you can't do a good vibrato that tells you, too much pressure. Lip trills as high as you play, and shakes. Lip trills tell you more, if trills are tough up there that's a big clue.

...I would like to say that I think this is a good idea...

I would like to restate it perhaps in this manner .....


Here's an indicator to gauge how much pressure you are possibly using on your chops.

Vibrato, lip trills and shakes.

Practice a slow melody at the high end of YOUR high register, and if you can't do a good vibrato that may tell you amongst other things, that you might be using too much pressure.

....and from me ...another thought....

I have seen plenty of guys lip trill shake and vibrato whilst using too much pressure.

SO... it is an indicator.... as Dave pointed out but NOT a "catch all" one!

Just trying to clarify a basic good point!

http://www.R-o-d-d-y-T-r-u-m-p-e-t.cC/highaliptrill.mp3

Roddy o-iii<O

_________________
Roddy o-iii<O website
http://www.R-o-d-d-y-T-r-u-m-p-e-t.cC

[ This Message was edited by: Roddyo-iii

[bj]

Hello
I think that Dave's point is sound but I took the meaning of high register to be what ever the upper end of your range is, had I read it with a more questioning mind perhaps I'd have thought different.
I take it to be that as the ranges and requirements of different types of player are so varied. eg. a player on these forums like Lee or Charley probably has a range in excess of an octave or an octave and a half above the greatest orchestral trumpeters of this or any other generation (heck some kids seem to post about phenominal ranges).
So surely high register must be subjective, depending upon the player and the type of work they do.
all the best
Brian Jones

[dbacon]

DB

[dbacon]

DB

[dbacon]

DB

[PC]

Hi,

I agree that doing a lip trill on notes high up in one's range is a good indicator of healthy mechanics on a particular day. As for what note to try it on, I would suggest where you can do a controlled one tone or better half-tone trill, near the top of your clean-attack range. For me, this means doing a lip trill on F3-G4 (F to G above high C) on my Bb, while on my C trumpet I'd probably manage a C3-D3 (High C) trill and on D natural trumpet that would be written high B- high C (sounding concert C#3 - D3). On bad days, even if I can play the notes, I can't make the trills happen. Bigger interval shakes can be played, though, with the use of some alternating pressure on the mouth, so they are not good "fine-tuners".

Pierre