High C

Trumpetlover · Regular Member Joined: 25 Feb 2003 Posts: 29

I am a type IV upstream player. For some reason I am having difficulty playing a high C. I can play well below high C and well above it. However, at that particular frequency my lips seem to not want to buzz.

Wilktone · Posted: Wed Feb 26, 2003 5:59 pm Post subject:

Ha! It's about time you joined us, Trumpetlover.

I have some video of Trumpetlover (as long as it's my student who I've been pestering to start posting here and not someone else with the exact same difficulties) playing the pivot stabilizer and some of the track routine. I'll try to post it tomorrow so everyone can take a look.

Dave
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wilktone.com

bgibson · Veteran Member Joined: 04 Sep 2002 Posts: 211

Before I make comments I would like to see the stabilizer and track routine.
Please make these 2 drills your first notes of the day so we can all get an accurate idea of how to help.
Stabilizer is played with a Hoo attack at quarter note = 60.
You only need to do the track routine with open horn and tounge first then slur.
Looking forward to seeing your video.
Dave W, do you have the Transition Eraser Drill?????????
Has your student tried that drill??????????????
WEG

airdyn · Heavyweight Member Joined: 07 Feb 2003 Posts: 579

Bill, you are one step ahead of me. I was just ready to post my reply when I saw you mention the words "Transition Eraser". Dr. Reinhardt found a "transition" area in most if not all of his students. What that means, for the novice in the Pivot System is that somewhere in a person's range while ascending and descending, one particular note has a "hitch" in it. That is, something happens when passing through that note, whether on the way up or on the way down.
Usually, it is on the way up! Sometimes that note doesn't speak at all! (as in the case of "no High C"). This is clearly a transition note. Most players experience the "glitch" around concert "Eb" just above the middle concert "Bb". This is about where the middle register starts to meet the high register.
Doc said that the transition note should be approached from below (ascending) and "pushed up" out of the normal playing range. Most professionals that don't know about this transition thing use that note to "take a breath"...not because they need air but because the have to "shift gears" to get over this note going from the middle register to the high register.
Doc would usually use the Chromatic 4th Routine (for range extension) to "push this area" up and out of the normal playing area...
As Doc's ideas expanded, he came up with the Elasticity Routine in conjunction with The Transition Eraser.
For those of you with a "sticking" note while ascending, please see a qualified Pivot Instructor for the above routines...I will not describe them now because they need to be taught and "guided through"...
For the high "C" area, push it up as high as possible with chromatic 4ths and play HEEE DEEE TEEE on the high C (or any problem note, for that matter) many times. Transition notes are tricky and we all must learn to not "make excuses" for shifting gears in mid stream, so to speak, by disguising it as taking a breath or "lipping" our way through the area in question!
Thank you, Doc!

[ This Message was edited by: airdyn on 2003-02-27 09:39 ]

Wilktone · Posted: Thu Feb 27, 2003 10:54 am Post subject:

scream · Posted: Thu Feb 27, 2003 1:14 pm Post subject:

Hi Dave (Airdyn),

On the Pivot Deviation sheet in regards to a type IV, the jaw moves slightly (underlined) forward and either to the left or right according to ones particular malloclusion. Is the forward jaw movement important (along with the pivot of course) or even integral in getting over that hump, or break as I like to call it. It feels like it to me anyway.
_________________
Paul Garrett
Sandy Springs, GA

The right to be heard does not automatically include the right to be taken seriously.
Hubert H. Humphrey
US politician (1911 - 1978)

bgibson · Veteran Member Joined: 04 Sep 2002 Posts: 211

Dave W;
1. Is the jaw out far enough for a type IV???????????
2. Are the mouthcorners going forward and down towards the rim of the mouthpiece?????????
3. Is he playing the first note of the "Stabilizer" with a no tounge (Hoo) attack?????????????
4. The first note of the "Stabilizer" should be tenutto, no accent.
5. Are the arms out and away from his body?????????????
6. What happens if he raises the height of his left arm when he plays?????????????

The Chromatic Fourth routine and the HOO-DOO-TOO are 2 seperate drills.
I do the Hoo-Doo-Too every day (and have been since 1982). Starting on the tpt middle C, then to the E above that to the G on top of the staff to the high C then down on the open notes to low C.
I do all three articulations on one breath. Doc did have me repeat the drill breathing after every note, but that did not work for me, so he cut it down to one time through with all three notes on one breath.
Dave S.; I am thinking of the drill where you slur partial wise from the E above high C to the fourth line E then back to the high E. Slurred, Marcato, Legato.
Then it is followed by Concone #8 starting each phrase on the E above high C then slur down to the starting note.
WEG

Mr.Hollywood · Heavyweight Member Joined: 14 Dec 2002 Posts: 1730

Wasn't that the " High Register Partial Routine" ?

Chris

airdyn · Heavyweight Member Joined: 07 Feb 2003 Posts: 579

Re: Transition elimination routines.
The Reinhardt Routines for "pushing" the transition note(s) up and out of the normal playing range are: 1. The Chromatic 4ths Routine, 2. The Special Chromatic Drill (ascending 5ths) and 3. The Elasticity Routine in conjuction with the Transition Eraser.
The Reinhardt Routines for eliminating the transition area from "the top down" are: 1. BRINGING THE TOP DOWN Routine ( mentioned by Bill Gibson previously that starts on the trumpet E above high C) and 2. THE NO TRANSITION EMBOUCHURE TEST, which starts on the high C.
For the less advanced player, The Chromatic 4ths is the best. This is the 3rd part of Warmup #57, as all Reinhardt Students are well aware of as one of the greatest warmups ever devised.
Good wishes to all.
Dave S.

BeboppinFool · Posted: Fri Feb 28, 2003 8:15 pm Post subject:

Trumpetlover · Regular Member Joined: 25 Feb 2003 Posts: 29

I just wanted to chime in and say a big thanks to all those who have given their time and effort to answering and helping with my question.

I am now beginning to work on the chromatic 4th routine to help push the high C up out of the normal playing area.

I also received the pivot deviation sheet, elasticity routine, no transition embouchure test, and special chromatic drill.

Thanks Again!
Trumpetlover

bgibson · Veteran Member Joined: 04 Sep 2002 Posts: 211

Dave S;
That is correct, "Bringing The Top Down" is the drill I was thinking about, Cook and I used to lovingly refer to it as "Smashing The Top In". Cook was a III A and Doc had him on that drill for many months.
WEG