I can't seem to expand my range

[skidawall]

Hey, I'm a senior in High School now, and play lead trumpet in my jazz band. Since freshman year my range has pretty much been capped to D above high C. I can hit Eb, but can't always command it like the D. Occasionally I pop out E, F, and G, but by no means do I have a consistent ability to produce that. I've just sorta been stuck with the same range (though my tone quality has gotten better over the years).

I've gotten into honor bands and take classical trumpet lessons, so I definitely know there's more to playing than screaming high notes. But I know that in modern times, a key part of jazz trumpet playing is the high notes. I would like to expand my range, but I don't really know how I should go about it without hurting my lips and embouchure. I'm not looking to get a double C in a month, I'd just like to be able to play the high F#'s in "The Jazz Police" when my band performs it at the end of May. Any suggestions? I would much appreciate any advice


equipment:
I play a Bach TR300 in class, and a Bach Strad 37 when I practice at home. I have a Bach 3C I use for most things, and have a bach 3E for jazz songs with lots of notes above the staff. I also use a schilke 14 (equivalent of bach 1 1/2 C) for classical stuff that isn't too high.

[HERMOKIWI]

The most likely problem is that you are relying on increasing tension to ascend the scale instead of increasing compression. Within the context of the foregoing and speaking very generally, "tension" is side to side (horizontal) stretching of the embouchure to thin and tighten the area of the upper lip that is vibrating to produce the tone, and "compression" is vertical lip to lip movement which compresses the air column.

If a player relies on tension instead of compression their top reliable note is usually D above C, sometimes E above C and, in rare instances, F above C. There can be exceptions but you do not appear to be an exception.

Tension can be thought of as tightening a string on a violin. As you tighten the string the pitch raises. By contrast, compression can be thought of as placing a finger on the string to raise the pitch by shortening the string. Shortening the string is much more efficient than tightening the string in terms of raising the pitch.

If you're relying on tension, then learning to employ compression is going to be a whole new thing for you to learn. I suggest that you go online to Trumpet College and order Pop's book called "How The Chops Work" and also his book called "Chops Builder". He explains compression very well in these books.

Your issue is not your horn or your mouthpiece. Your issue is learning how to utilize air through your embouchure to increase efficiency and make it easier for you to produce the range you want to have.

[bagmangood]

Try playing easy exercises or tunes in the upper register (clarke technicals, sometimes up an octave) very quietly. If you have a good set-up embouchure-wise, you'll be able to hear what the problems are
What this prevents is the overblowing to get the high notes that we can't only force out, rather than play.
Maybe also talk to your teacher about it...
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More than one trumpet
A "few" mouthpieces

[dershem]

A lot of people 'plateau' for a while, especially at your age. Work on your fundamentals and make sure everything is being done as efficiently and correctly as possible, and when you're ready, your range will increase.

Stressing and trying too hard can easily lead to more problems than gains!
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[skidawall]

thanks for the advice guys. Hermokiwi, I think the compression vs. tension thing might be at least part of my problem. I might have some minor breathing problems too, but I have noticed that I do pull my embouchure a bit more to the sides when I start going higher. I'll definitely look into that.

I'm not sure if it matters, but when I am doing some of these exercises to expand my range, would it be better to use my shallow-cup bach 3E or a normal depth 3C?

[mcahynuacrkd]

For high notes use narrow , faster air, the lips act as a valve, air pressure not lip pressure.

Why not try a
Yammie Allen Vizzutti trumpet mp. You can use it as your
only trumpet mp , and I think it might help your range issue.
If budget is an issue, try the Marcinciewicz Allen Vizzutti mp.

Also, neither of your 2 horns are going to help you increase range, I see your trumpets as legit, classical, symphonic trumpets. For better range at a low price, why not pick up a good used LA Benge 6X , or perhaps the most likely less expensive used Benge UMI 7X. Try a Benge 6X or 7X, and get a mp like the Vizzutti and watch your trumpet range soar.
Here is a UMI Benge 7X for only $700.00 Buy It Now price on eBay from a seller with over 400 transactions who has a 100 % feedback rating.

http://cgi.ebay.com/BENGE-7X-TRUMPET-470-BORE_W0QQitemZ190289806196QQihZ009QQcategoryZ16214QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

The 7 X UMI is a is a nice 6X copy, .470 bore.

Don Bindrim of the well respected Tooters Music in Cleveland , Tn once had a very nice Benge 7X that he sold to the superb trumpeter Roy Roman.
www.royroman.com

I am unsure if it is true, but I heard that Roy Roman later sold his Benge 7X.

Churches book Roy Roman to come play the trumpet in your church, you will not be disappointed.
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[Shaft]

🎺

[butxifxnot]

If you work on range with a shallower mouthpiece, you will have better range on the shallower mouthpiece but not necessarily the deeper mouthpiece. When working strength/range, use the big cup (3c isn't that big anyway). It'll transfer to smaller; just spend a little more time doing flow studies on the smaller mouthpiece now and then to get the feel of it, if switching back and forth is a problem.

I wouldn't recommend heavy equipment changes to someone with a struggling high range (by struggling I mean up to before the DHC area), just to make the "high" register easier.
You've hit a plateau, like dersham mentioned: I did the same thing in high school and mentioned it here on TH several years ago.

most of the stuff here I agree with, but in order to incorporate the stuff mentioned to your playing, I'd recommend Caruso. Particularly when we can't see you play and give you specific advice that will probably help your particular situation. When done exactly by the letter, Caruso cannot hurt and can only help.
Short of getting a good teacher. =) Good luck!
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-Adolf Herseth

[EdMann]

Yes, jazz Police. We're playin' that animal in one of our bands. There's a nice little break before the F#'s, but I'll say this: using range as a goal is not the right way to approach this, IMO. Seems strange, but your work in the middle register, getting a brilliant sound there will translate as you go higher. Jens Lindeman does a vid on this on the Yamaha site, and you might want to check it out. Thanks to his comments and those of others, I've been playing more lead charts than in the past; it's really about staying relaxed, and that's easier said than done. Take it from a tensed up guy with 40 years of bad habits. Try your best to relax up high as you do down low, and that means playing more down low. Strange but true.

I'm gonna bet you spend a good chunk of your practice time trying to blast away in the upper register. Tense time.

Ed
www.myspace.com/jazzlips

[wbpool12]

Agreed. Hitting notes while tense will not only lead to inconsitency but also horrible pitch. Keep practicing and blow like your trying to put a hole through the base of the mouhpiece...
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BLAKE

[quad_c_screamer]

Equipment changes are not the answer. Plenty of guys have solid Double Gs on Bach 37s. Maybe a shallower mouthpiece, but a 3E sounds like a decent mouthpiece to use for lead, or Picc.

What I like to do, to make sure my range is secure, is just play them out of the blue. Play a C in the staff at mf, then rest for 10 seconds, keeping that pitch in your head. Now play a High C at around mf, too, and see if you can nail it. If you can, try the C#. If you can't, go down to maybe A and try the same thing, going up chromatically. That will help to make your range more usable. If you can't hit a clean C out of nowhere, you don't own a C yet. That's the main thing I practice when I work on my upper register.

As far as extending your range farther, try chromatic exercises at mp volumes. Of course, playing the notes at mp means you can play them, but you don't own them yet. When you can play a note while doing this exercise, it means you can play it. Then, try to do the octave, out of nowhere exercise, until you own that note.

Just one half step at a time. Every new note gives you a feeling of accomplishment. 2 years ago, I topped out at a D above the staff on a good day. I could pretty much guarantee a C whenever, but that was it. Now, I am to the point that I can pretty much count on an F above High C at any point in a gig. Ya, a 4th in 2 years doesn't seem like a lot, but having a secure F has made all of the Ds and Ebs that much more secure when I play in jazz band.

Try your best not to force it, and it will come in time.

Patrick

[NickD]

Here are some things I work with:

http://www.youtube.com/watch?v=zCnKHYdSP3E&feature=channel_page
http://www.youtube.com/watch?v=1jLj1GkSoh0&feature=channel_page
http://www.youtube.com/watch?v=ijx7VhVOO8w&feature=channel_page
http://www.youtube.com/watch?v=jqJ9ZlsLYQk&feature=channel_page
http://www.youtube.com/watch?v=2NosqwAHUrU&feature=channel_page
http://www.youtube.com/watch?v=bQGFTPhQopI&feature=channel_page
http://www.youtube.com/watch?v=45YsHqoTiaY&feature=channel_page

Keep scrounging around my website. Hopefully there is sometihng there that can help you. Check out my other website, as well. See be;low my signature.

Peace!

Nick Drozdoff
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[TimTheTrumpeter]

Skid, I was in a very similar situation as you are now when I was a junior/senior in high school. After being in college for just a few months, I noticed some good changes in my playing. Some things you want to think about when practicing:
Focus on the way you breathe - you don't want to be tense at all in your upper body (shoulders/chest), and take the air in and think of expanding your stomach outward (instead of breathing with your chest) and when you play, try not to tighten the throat, because these greatly affects the air stream
Rest as much as you play - this goes especially when doing exercises in the upper register. If you look at your embouchure in the mirror when you play, take a look after playing for a while and make sure you're not using too much pressure - you'll know by the indentation of mouthpiece most likely.
Support your playing with air, don't rely/think too much on the embouchure, but still keep firm and compress the air (somewhat mentioned above).
Hope this helps,
Tim

[alexjazz]

so do you guys consciously think about your tongue doing the work for the higher notes? i mean my general understanding is that you want the compression also to be sped up by the fact that the back of your tongue is almost touching the roof of your mouth-

[EdMann]

Compressing from the back of the tongue, meaning the throat, is a big no-no, at least for me. One needs to have a free flowing column of air and using your chops, your tongue, your pinkie finger, anything but your throat to gain some compression, you'll likely be better off.

em

[Christopher D. Campbell]

Skid-

I would also suggest lots of lip slurs/ flexibility studies. Start mid-range and then work down and up through the range of your instrument. In my opinion, nothing helps range moe than lip slurs. All the best.
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Christopher Campbell

[JakeUND]

NO horn or mouthpiece is going to help you increase your range without correct practice. And the Bach 37 is a very popular lead trumpet. I know you won't argue with the results Mr. Engelbright has using it. I owned the Benge 7x and really didn't like it much. It was actually made as a Stan Mark prototype. There is almost no resistance, meaning it can be a big pain endurance wise for many. And in quality, I don't think it compares to a good Strad or the Kanstul 1070 copy of the same model. It could just be that it didn't work for me though. I'd stay on your current equipment and work. You CAN'T BUY good playing. It's hard work in the practice room, not equipment.

I'm more of a small combo jazz player now, but used to be into all of the high note stuff. This is a little of what I learned after obsessing about range for way too long Don't tense up when you get up there or your own tension will shut you down. Think about your air entering the receiver and exitting the bell like a lazer beam. The higher the note, the farther you have to project the beam out from your bell. It's a visualization that helps many people I know. Also, remember that tension is not created by pinching the lips together. That will make for a thin, nasally tone. Work on playing pianissimo in your high range with very little pressure(no pressure is kind of an exaggeration, you will need some to seal the mouthpiece to your lips). Learn to use your tongue arch, air speed, and the resistance provided by your horn and mouthpiece to your advantage and once you do, things will click and you'll surprise yourself with how easy it actually can be. Don't get stressed when it doesn't happen overnight. I think you'll get it. Even moreso than taking my advice though, ask your teacher. He knows your playing better than I do
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[Hornucopia71]

Hello,

On Sun March 1, mcahynuacrkd writes in response to "I Can't Seem to Expand My Range" post..
"Neither of your 2 horns are going to help you increase range, I see your trumpets as legit, classical, symphonic trumpets. For better range at a low price, why not pick up a good used LA Benge 6X , or perhaps the most likely less expensive used Benge UMI 7X. Try a Benge 6X or 7X, and get a mp like the Vizzutti and watch your trumpet range soar."

-How could a horn with the same tube configuration/dimensions as another allow for greater upper register? Shallow mouthpiece, OK I understand the physics behind that, but why trumpet. Incidentally, I play an old NY Back Mercedes with a Bob Reeves 41C and F above High C is the most I can squeeze out. I'd like to be able to hit that G above high C consistently and with some bravado.

Thanks for the insight..........Mickey

[JazzmanGIANT]

hows your double tonguing? I am a junior in high school and I play lead in my jazz ensemble. The notes frequently go to Es. One thing that helped me is one 1. playing a lot of lead 2. scales 3. breathing exercises 4. pedals 5. Lots and lots of lip slurs up and down the whole horn 6. double tonguing the high register. I am transcribing clark terry's solo on perdido that has double tonguing up to high C, and when I do that, the Cs come out great afterwards because of the open through.
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[HERMOKIWI]

The idea that switching to a Benge 6X or 7X and playing a Vizzutti mouthpiece will solve range problems indicates a misunderstanding of what causes range problems. There is no "Holy Grail" trumpet or mouthpiece. Assuming that the horn and mouthpiece are suitable for the player and function properly, range problems are player problems, not equipment problems.

Building range is a process of combining a correct range building physical technique, of which there are several, with correct air control. In the time a player takes to blame a lack of high range on equipment, that player could have been learning and developing the physical techniques and air control necessary to develop high range.

Jon Faddis plays a medium bore (.450) Schilke. So did Bill Chase. Cat Anderson played a small bore (.438) Conn. Maynard played a large bore (.468) Holton. These are totally different horns. Does anyone seriously think that any of these players would not have great range on ANY of the trumpets? It's not the horn. It's the player.

Go write "There is no Holy Grail" 100 times on the blackboard. Then start studying and developing the techniques and skills you need to get you where you want to be.
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HERMOKIWI