Range and Endurance
(Name) Adam
(Address) Ohio, USA
(E-Mail) nksoccer@bright.net
(Play) Yes
(Career) Click for options...
(Player) Definetly Maynard Ferguson
(Comments) I am still in high school and I was wondering if
you could help me. My upper register is decent, but I'd like to
take it higher. I can get the high G (above the one right above
the staff) and on good days I can push out the A or Bb. Is there
a way to get it higher or lengthen my endurance in the higher
register. My goal is to get one more octave, to the G'''.
Is it reasonably attainable?
(Subject) Survey Results
Adam,
Thanks for filling out the survey. I have the same problem
you do. My technique, (Tounguing, fingering, etc. ) and tone are
well developed. I seem to be on a plateau on my range and
endurance though. I can hit high C's if everything goes right,
and my endurance is embarassingly short. I'm going to recommend
some of the things my instructor told me.
My biggest problem is my embrochure. This may be your problem
also. I position my mouthpiece over 2/3 on my upper lip. The
upper lip has less endurance than the bottom, so it is preferable
to have about a 50/50 position. This can be extremely tedious,
frustrating and time consuming, as I am finding out. You must
take it easy on your new embrochure, allowing it to develop like
your other has for years. I'm not saying this is the solution to
your problem, but it might be.
Another technique I use are slurs. Slurs help your flexibility,
as well as making the upper register more comfortable, "your friend".
After I am warmed up, I slur from third space C up to G. Do this in
half note patterns, as speed is not a factor. Then do the same with
2, 1, and 1-2 valve combinations. Once you are familiar with this,
continue up from C to G to C and back down. Use the same valve
combos too.
Also it is important not to use excess pressure on your lips. I had
this problem, and it still haunts me. Part of the solution was to
remove my fourth finger from the ring. This seems like a big change,
but I got used to it in about two weeks. Talk to your instructer
before making drastic changes in your playing style.
Best of luck, Tristan Rhodes (tu tu ku)
Pivot System
I was wondering if you could lend me a hand.
I recently found a book in the library here at Southeast Missouri State
University (where I'm a freshman music ed. major) entitled "The
Encyclopedia of the Pivot Sytem". It is copyrighted 1964 Charles Colin
Publishing company. I had never heard of this before, but the author,
Dr. Donald S. Reinhardt, asserts that everyone successful uses the pivot
system whether they realize it or not. This system is based on science
and logic and diagnosing the player's natural physical "equipment" to
determine which of the four types of technical players he should fit
into. I haven't run into anyone who has heard of this, but it all seems
to make perfect sence so far. I cannot, however, determine which
physical type I should fit into, making it hard to apply. I have been
hoping to find someone knowledgable on this sytem for help. Any
comments you may have would be greatly appreciated.
Trumpet Player,
Mark Hamblin
ee88stu@semovm.semo.edu
Jazz Improvising
(Name) Nikki Zack
(Address) Tucson, AZ
(E-Mail) samzack@azstarnet.com
(Play) Yes
(Comments) Hi. I don't really know what to say, but i can't leave without writing anything so
I guess I'll tell a little about myself. I'm 14 and I started playing trumpet about
3 or 4 years ago. I started playing jazz this summer at NAU Music Camp and I'd
appreciate any advice on improvising or, uh, well anything that can make me a better
trumpet player. Thanks.
Name: David "Pasha" Morrow
Location: Washington, DC, USA
Email: pasha@oocities.com
Comments in Response to Nikki Zack's Question:
In response to Nikki -- and anyone else who might share her questions:
I am not an authority on the subject: I'm only 15; I prefer
classical music to jazz; I'm not an extremely talented improvisor; but I
have studied improvisation with two //excellent// musicians and taken
a clinic on it from a great little band called the Motion Poets.
It does help to know your scales -- especially the obscure ones:
the pentatonics, minor 7s, diminished something-or-other [ ;) ], and so
forth. Scales and chords are not the most important thing, though:
The best thing to do, IMO -- which is probably wrong --, is
simply to play and to listen: i.e. if you've got an improvised solo,
just play anything that comes to mind; if it sounds good, do it again!,
and if it sounds bad, find something else that sounds better.
Listen!! Listen to yourself; listen to how the notes that you
play fit with the chords that the rhythm section is playing; listen to
what the rhythm section is playing and respond to it -- communicate with
the other players during your solo.
Of course, as everyone will tell you, go out and buy some of the
Abersold CDs -- which, if you haven't heard of them yet, are just
recordings of a rhythm section playing changes, over which you can
improvise. Play and experiment with that; soon you'll hear what sounds
good and what doesn't fit, and then you're on your way!
What I have said very well may contradict the truth. If there's
anyone out there who really knows how to improvise, please do correct me
and add anything else you might have to share.
--
PASHA WAS HERE `12
(Name) Jessica (Trumpets Rule) aka trumpetqueen
(Who) Nikki Zack
(Address) South Carolina
(Reply)
---------------------------------------------------------------------------
Nikki-I am fourteen also and I have been playing the trumpet for 3 years now. To become a
better player, I have a few methods that help me sometimes. First-the 'Dwindle Exercises'...
put the horn up to your lips and hum the note you are going to play, then play as soft as
you can while still maintaining the note next, raise the volume until you have played as
loud as you can play, then lower the volume until you hear the slight 'hum' of the note
This exercise helps TONE and RANGE.
Next PRACTICE your scales (With a metranome if you have one) Start at around 60 then
GRADUALLY increase the speed (Not too fast) As you are going back down the scale, make the
notes louder and NEVER breathe at the top of the scale. NEVER 'shoulder breathe' this
means the second before you play that you take short breaths that raise your shoulders...
NEVER DO THAT! Take a LONG soothing breath each time you play and you will last a whole
lot longer in your music...<> a lot...And if you are in Marching Band,
hold the horn up high and DON'T OVERBLOW!!! Imagine an invisable 'wall' and try to knock
it down with your breath, but don't go overboard...(All I had to do is try to blow the
3 little hairs off of my band director's head to blow better and get louder
*he never knew* ha ha)
Anyway, PROTECT your horn and try not to get little dents into it like I did mine (they
are pesky little knicks and they bring the luster way down) Lastly, when you polish your
horn, polish in CIRCULAR motions...If you rub the cloth straight up and down the horn,
you will create minute scratches that are on there forever and if you have a valve guard,
take it off at least once every two weeks (If you don't, the leather will eat into the
metal and tarnish it)
To conclude this writing, I wish you the very best and keep it up!!! I hope some of
these tips have helped you and I wish you and everyone that has read this the best!!! : )
---------------------------------------------------------------------------
(Subject) Reply Comments
Here you can reply to what others have posted.
