Can only play up to Double G# ---need help with A and above

[dbacon]

"All of these great musicians"

These certainly are fine musicians!

I believe a fine musician knows that technique is not an end in itself.....but a means to an end.

[markchuvala]

If I may add my opinion.

Speaking to Maynard Ferguson's core sound...

I have made a few posts here, and I'd have to agree the for just core sound...not volume, or musicality for that matter: just core sound Maynard had something spectacular. He seemed to have the overtones...and an "undertone" of lower harmonics ( I am not schooled in acoustics...but the undertone term is the only way I can describe it.) that gave a core of richness that other lead players don't seem to have.

I have been searching for this sound. I truly believe that the V cup has something to do with it. I think the depth of the cup combined with the efficiency adds a certain tone color that does not come with a bowl shape or overly shallow cup. I have tried different combinations of V cup pieces and have had much difficulty.

I had one made with a little underbite that is making playing the V cup more possible for me. Now I seem to have a broad rich sound with colorful bright overtones and brilliance that reminds me of a late 60s early 70s MF. I also am using a very soft inside bite and small cup diameter. Guys that I know who play smaller pieces still are not able to do much with it but it is clicking for me. in combination with a large bore Schilke (X4) I have a sound that I heard in my head for years and was never able to produce.

Do I have superman MF chops?? No ...I have about the same range I always have comfortable high G#-A...than the insecurity I have had in the past and inconsistency to my double C is getting cleaner and more reliable.

But the core sound that I have been searching for is getting closer...my lower register is prettier than ever and my break in range is getting cleaner...more "seamless" if you will. It used to be a dramatic break... but it is getting cleaner and cleaner.

Most guys I know don't or can't or won't play on a deeper V cup. And I respect that...but the sound "I" am searching for seems to be practical with the cup and set up I am using.

Just a thought

Thanks
Mark

[stradlover]

Just for point of clarification.....this thread is really talking about what we call "high G#" isn't it? Or do I mis-understand. Seems to me that from pretty much the B under double C on up 'slotting' notes isn't so much the problem as breaking that barrier on the "high G#." I do NOT mean to start the whole 'high' versus 'double' controversay at all! I am just asking for clarification so that I am sure I understand your coments within context of this thread.

Thanks and God bless......
_________________
'78 Bb Bach Strad 180-37
Getzen Genesis Rick Braun Signature Model
Schilke B6
4-Valve Getzen Eterna Flugel
Yamaha 6810S Piccolo Trumpet
Yamaha 2330 Cornet
Stomvi Titan Eb Soprano Cornet
Pocket Trumpet for the car

[LeeC]

[stradlover]

So, who on this thread uses alternate fingerings for the upper register? I've seen several threads on this over the years. It would be interesting within the context of this thread to see who uses alternate fingerings at what points, on which horns. For example, I may use some on my Strad beginning at notes over the G above 'high C.' On the Destino I played a few weeks ago, this was not necessary for me to do at those same notes. The fellow who owned the Destino, on the other hand, used some alternate fingerings up there for slotting.

It might be interesting to see who uses which alternate fingerings on which horns....though the exercise might be futile. It's probably one of those 'individual' things I suspect.
_________________
'78 Bb Bach Strad 180-37
Getzen Genesis Rick Braun Signature Model
Schilke B6
4-Valve Getzen Eterna Flugel
Yamaha 6810S Piccolo Trumpet
Yamaha 2330 Cornet
Stomvi Titan Eb Soprano Cornet
Pocket Trumpet for the car