What is the best method for increasing one's range?

[trumpet1256]

First, get a good teacher! Now that you do that, focus on the foundation first. In order to get the double C you have to be solid on everything below it. My teacher has taught me to practice only up to high D. The octave above that can be found by development of compression and proper toungue levels. Don't worry so much of instantly playing a double C. Most charts aren't written there! Why not focus on acheiving a solid high G? A little more development can lead to the double C. Yes its not too far away. As your airstream develops, it can become a little easier where you know the slotting up there.

Jon A.

Jupiter 1600I XO
Marcinkiewicz Ingram
Marcinkiewicz Shew 1.25
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[dbacon]

DB

[trumpet1256]

The whole idea of posting on the TH is to gain knowledge and insite on what has worked for the individual. We take ideas and put it all together to what works for us. It's frustraiting to read when someone posts a negative direction on what did'nt work for many students of a great teacher. I did'nt study with Claude Gordon but I have studied with 2 of his successful students! David Evans and Rhys Henson. David Evans taught more to me more than any director or educator. I'm very thankful to learn the basis of Claude Gordon. It's been a joy when it's time to play and I have had more fun making music.

Jon A.

Jupiter 1600I XO
Marcinkiewicz Ingram #30 drill
Marcinkiewicz Shew 1.25
Marcinkiewicz 9C 80's
Yamaha Bobby Shew Jazz

[PiCK Kanstul]

[fraserhutch]

I agree 100%.
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[garrett901]

PiCK Kanstul wrote:

[swthiel]

At one point I was conductor/performer in a small SATB vocal ensemble, and was able to learn to lead through singing the tenor part; that worked pretty well.

From this I conclude that it's entirely possible to lead from an inner voice if you're the acknowledged leader. If one tries to do this when not the acknowledged leader, that person is (IMO) being rude.
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Steve Thiel

[deleted_user_fdb91a0]

As someone who has marched for the last 10 years, I'm a little wary of one soprano player trying to "lead the way" when you have 19 other sopranos trying to blend and make one uniform sound. That's the essence of drum corps: sounding like a complete section and one voice. It does make sense to have some players that the rest can work to emulate as far as ability is concerned, because strong players always make weaker players rise to the occasion, just by being there. But if you've got some cowboy who decides to stick out because he feels like being a hero, it's just ugly...especially if it's in a lower part.

That said, playing lead in a big band is entirely different. The lead players are the ones to whom the band differs for time and feel. This is why they play lead. Not for the high notes, but because they can swing (in theory). Because of this responsibility, the lead player SHOULD be heard at all times, within the context of the given dynamic.

[PiCK Kanstul]

[crzytptman]

[2-5-1]

[garrett901]

Drew Wrote:

[jhatpro]

I helped break up a fight in a bar last night.

One guy was wearing a Cubs jersey and the other one had a White Sox shirt on so, naturally, I figured the dispute was about baseball.

Nope, it was about the role of the lead trumpet player. Who knew that was such a touchy issue?
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Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
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1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[2-5-1]

We're talking about drum corps??

Never played in one, so I'll bow out of this conversation.
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[crzytptman]

I as well. I'll differ to the experts . . .
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[garrett901]

Folks, no need to bow out of the discussion!!!

I find it interesting how there is a suggestion or thought that the Leader of a section (any section) cant play anything other than the 1st part. If I'm playing the 4th part, even though I'm leading the section, does not mean that I'm trying to set the tone, drive the band by being overbearing playing that part. I still blend in the section. The leadership is during practice sessions or during sectional practice. Putting the parts together, ensuring we all interpret the overall musicality of the piece the same. making sure the dynamics are played together and in a harmonious manner. Only the person playing the 1st part can do that???
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Jeff Garrett
Playing "G" Soprano Bugle, Freelancers Alumni/Mini Corps
NorCal Horn Line Instructor/Musical Arranger
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Yamaha YTR-739T
Xtream XZ w/ XXX backbore GREAT MP!!!
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[deleted_user_fdb91a0]

So the issue here is actually the usage of the word "leader". Yes, we had/have section leaders at The Cadets. But they don't rehearse the section, the brass staff does that.

In a drum corps, you have section leaders. It's not their job to rehearse the section, nor is it their job to decide how the music is to be played. Instead, they are simply accountable for the rehearsal etiquette and behavior of their section.

In a big band setting, the lead player DOES set the time and feel.

[garrett901]

Oops.... My bad. I should be more clear. Yes, back in the Junior Drum Corps days it was exactly as Drew states for the most part. The only exception is that in our Corps, we only had two instructors on staff. As section leader, I ran the rehearsals (sectionals) of the Sopranos. But I did not establish the interpretation of the music, that was done by the caption head/musical arranger. I ensured it was applied to the section.

Today, in our Sienor drum Corps (Alumni), we do it as I stated. That's a big difference...
_________________
Jeff Garrett
Playing "G" Soprano Bugle, Freelancers Alumni/Mini Corps
NorCal Horn Line Instructor/Musical Arranger
Kanstul G Soprano (Powerbore Bell)
Yamaha YTR-739T
Xtream XZ w/ XXX backbore GREAT MP!!!
http://freelancers-alumni.org

[Briansback]

I set the horn down for 25 years, picked it up last fall and decided since I have so much free time, I'm determined to get my chops back to where they were before, and more so since I dropped it for guitar, which I do some insane stuff with. I just started composing new music via. what I know on the guitar, and translate it over the the trumpet, and it's let's say, going to be pushing this horn into areas it never dreamed of before. lol.

Day one, from the beginning, boy, I was barely making out any clear notes, just a few toots on the lower registers, and I could maby get up to a C at best in range, and that wore me out. I did soft tone exercises, as in blowing 1/2 air and 1/2 tone through the horn, for the first couple of months, just to be able to play the notes on the staff. I filled in the gaps with some simple songs, stuff that didn't push me past my range, but was enough to keep me entertained while I focused on my tone. I found out early on, the tone was always there, be it, I couldn't keep it as long, but the old ways I was doing it back in the day, very sweet sounding, I could do, be it for limited intervals.

Next on this one, partially chromatic scale slurs, arpeggios, which got me into being able to do the high G's well, be it, if I dwell in them too long, I'm going to wear out too soon. Also, by now, I play a few pieces of music that just get's me into the upper registers enough to give me a good work out, and this is where I divide my old strategy with mainstream. And now, why I'm able to play a double C, and even squeaked out something higher. This is from someone that used to play those back when I had real teeth, and now I have the added bonus and fun of playing with full dentures....And they don't even fit snugly to boot, lol.

Back in the day, my best friend, who was given the best horn, best private tutoring, and played along side of me for years, was always in competition with. It was good, it pushed me hard and I enjoyed being able to catch up and surpass him, with this lowly junk horn and no interest from parents to bother with a tutor. Boys have a competitive spirit, and it's not about how much money you got, it's about how much heart you have.

He was using the formal systems, I dabbled with them, but I also researched and implemented weight training into the process, and playing trumpet is working out just like you are lifting weights. Some times you work this set of muscles, and other times, others, and you always give each set at least one day of rest in between. I've been doing that one big time, and this is why progress has been so fast.

You spend one day, in this range building aspects, arpeggios, merely trying to hit your highest note, and keep playing it, staying in the upper register as much as possible, winding down in the between and lower ones, you are totally worn out in very short order. Do a few sets of those in that day, and rest for at least a day.

Second set of muscles, day three, you must have the break between day one and day two, it's mandatory, unless you can't help yourself, and if you must, stick with the lower registers. You are focusing upon endurance, and you do not go over High G, Even high E, is acceptable, but you are mainly in the mid C, to lower C section's. Do 3-5 sets of 20 minutes each, just like a typical weight training program. Lip slurs, if you want to make it just a mere work out, and keep in mind guys, this program is for those of us that know how to finger all of the notes and have sheet music down pat....

Final day, before you go back to stage one, practice your sheet music, and test the results, this is given you have given yourself a day of rest from the prior. Take note if you are still struggling, pick some "realistic" sheet music, not the stuff you were doing when you were at the top of your class, and throw in at least one piece that's pushing your range to it's limit. I have one I use now that's a work out unto itself, but not sure if I can post links here, for it's the first post I've made here. For me, for now, it's my limit, back in the day, absolutely not, and it's the combo of the endurance I'm building up and the range that takes it's toll.

I've talked to other horn players, and they all tell me it takes them many years to get back to where they were, I'll be back in full by the end of the year easily, and then some. The music never stopped, only a switching of instruments, the dream I let die though, is coming back to life. I was at the college/semi pro level when I set that horn down, I'm kicking myself for not making a career out of it, I very much could have, so now playing a game of catch up, but only my chops, the tone and what's upstairs is still perfectly in tact, so it's not at all like starting over from scratch..

[Briansback]