@@miltonderezende7906 Stop commenting this under everyones comments. To answer you, it is in literature that creates a different tone and style. I'm not talking about screaming solos and lead trumpet stuff either. There are many songs I've played where there are e's and f's played at a mf or mp delicately rather than blasty. It is a good skill to have although most trumpet players try to do it for ego.
Nice work! Just a couple of things to mention (nothing negative!). I am also rebuilding damaged chops..for the 5th time. But when you mentioned "Jake's Method" you got my attention!! I studied with Jake from 1977-1986. This was before he penned the method. When it was hot off the presses, I got the 4th copy out of the box. There is also a "Memorial" book that his son published. Just great stories of his career. I damaged my upper lip in 1979 while at UNT. I thought I was "done." After a year off I had to try and recover. Jake walked me through the rebuild every week for over a year. By that end of the year, I was playing ok. As long as I played the way you're describing, I was good for gigs and band directing (long story that no one wants to hear). In 1982 I went to UT-Austin to study with Ray Crisara. Those two guys were polar opposites, but great friends from back in the day. They both studied with Ernest S. Williams.I played in the wind and jazz ensembles. Sorry, this post is too long. But I wanted to thank you for mentioning Jake. He's a well-kept secret to all but serious trumpet players, as is Ray. I had another round of "loss of lip" and then some serious dental work in 2012. In 2022 my new dentist put on a permanent bridge across my top front teeth. I started playing again about 2 months ago. It's gonna be a while, but I am doing the same things you are, plus Stamp, John Daniels, Claude Gordon, Clarke, Bill Adam, Stevens, etc etc. If I can rebuild at age 68 from zero, anyone can. BTW - it's not Bell's Palsy. Ray, Phil Smith, Chase Sanborn, my uncle and a bunch of folks have had to work through that. The difference? My damage is permanent. Bell's usually goes away...eventually. Again - great work on the video!!! Best of luck and hope you can get your double C back!!😎😎😎😎
Excellent advice all the way through. Studied with Jake - he said there are no high notes - only notes further away than others. His approach was to avoid tension, always focusing on playing the note next to the last one you could consistently and comfortably play.
@@miltonderezende7906 You must play hi notes as a greeting in polite company, and at the end of the night you should play goodbye notes, or the more staccato bye notes.
@@miltonderezende7906 If one is playing lead in big band jazz situation, you definitely need to play those notes that the composer intended. All the jazz big bands have a 'lead' part. Yep, Count Basie, Duke Ellington, Woody Herman, Oliver Nelson, Maynard Ferguson (yes, lead players, not just Maynard), Gordon Goodwin, etc. Stan Kenton had the entire trumpet section to play a high 'F' in unison, in Malaguena.The drum corps/jazz musical 'Blast' certainly had notes of high 'G' and beyond. Sometimes, my high 'G' is not enough to play some of these composer's charts. Decades back,In my senior high school year, I performed Herbert L Clarke's 'Carnival of Venice' for a solo festival. It ended on a high 'F". Classical trumpet players usually carry with them higher pitched trumpets to make it easier to play the high notes for Baroch and other music. The Hayden trumpet concerto goes to a high 'Eb'.
Great info! Mouthpiece pressure does help for a few minutes/seconds until the blood flow is reduced enough cause fatigue I find it you create the compression with the tongue the lips are more free and lip tension can be minimized also the jaw can remain open. To work on mouthpiece pressure Costello/Stevens Pen/Pencil and Palm Technique get it done. Another big issue trumpet players have is topping out at high C/D or F/G above high C, usually due to getting compression for the higher notes by closing the teeth/jaw. For this practice dropping/opening the teeth/jaw before each phrase. Another benefit is it opens the throat for more harmonics causing "PRODUCTION" a big boost in efficiency of tone aka Less air is needed for a way louder sound just like an opera singer does. Spit buzzing or tongue controlled embouchure is what I use to train and work the tongue Quiet playing is a similar aperture size to high notes so practice normal range as soft as possible is another great way to work those lips in a relaxed manner, another great use for H.L. Clarke 2nd study or 1st or 3rd etc...
Hey, thanks for a very helpful post; a lot of good advice there. Here's what I've been doing lately: Arban pages 12 & 13, simple half note slurs - but playing then as ppp whisper tones, at 60 mm. This is a killer, a real workout for the tongue muscles. I also do the Caruso whole tone slurs, loud-soft-loud, then soft-loud- soft. I've noticed considerable improvement in my range from doing these. By "iimprovement in my range" I mean getting really comfortable - and reliable - in the octave up to high C. If I could do that, with only occasionally going up to a D or an Eb in a solo, I'd be a happy camper. I'll leave the high stuff to the screamers and show offs and be content to make beautiful music.
5:51 Nose breathing for circular breathing and specific exercises that call for it (some people will try to tell you never breathe through your nose without realizing there is a time and place to do so).
@@gregaudrey307 Only for the musical calisthenics exercises (as you are supposed to maintain your embouchure throughout each exercise without taking your lips off of the mouthpiece).
@@charmsly9506 I would think it isnt efficient enough for long passages where there are few short places to breathe, and mouth breathing just gets air in faster
This video was so unbelievably helpful! I've been playing trumpet for about 3 years now and i have struggled with my range and trying to hit high notes consistently. I've watched so many videos trying to figure what i was doing wrong gut none of them helped. This is the first video I have found that has genuinely helped me. I can now consistently hit a c above the staff I can even hit a d most of the time! Thank you so much!
ive watched so many videos because im learning trumpet for my high school band march and im making sure i get every detail right when i first start off instead of relearning everything in the long run ive watched easily 30+ seperate videos and you have one of the best information
I last played cornet in 1984. I can still detect the scars inside my top lip from the pressure I used to try to squeeze out B or C above the stave. I am finally at a time in my life I may have time to pick up the cornet again. I just had it serviced. I am looking forward to trying to blow again.
Great advices ! Also nice editing 🔥 I find the last advice IS one (if not THE) greatest 👍 Practicing to copy the good feelings when producing notes. I find your demo of a stuffy and Bad sound really Amazing 👏
Everything you have said rings with what I’ve been taught. A few good tips that I haven’t heard in there tho. Application for me is a reminder to do all the things I do but keep doing them more and more. My problem is in performance it sometimes goes out the window. The practise part is the key
I played trumpet in public schools and college (not a music major). I'm returning to the trumpet after not playing for 20 years and wow, how hard and bad I sound. My takeaway from this video was that the corners of my mouth are not tight. In fact, I can feel air coming out of the corners, especially on low notes. I never heard of the arched tongue method before and it is helping me play more comfortable but only up to G above the staff. Something is missing being able to hit high C.
I'm in eight grade and you helped me out so much i have been straining myself so much for high notes now thanks to you i can play way above a high C thank you!
Thanks so much for the Three Tips. Practicing with the Arban's #1 through #5 etudes, y struggled too much to sustain high notes and after 45 minutes my lips went exhausted, only elephant screaming came out. My throath bekame tense too.
As a horn player and teacher, I've learned that people use equipment that's too big. XL inner diameters, cups that are too deep, bores that are too big.
I used to believe the bore of the trumpet had something to do with endurance. Bigger was more taxing to play. I no longer believe that. I think it becomes a self-fulfilling prophecy. Think about it. We’re talking, about THOUSANDTHS of in inch. Just how much extra air volume does that really encompass? We psych ourselves out about a big horn the way we psych ourselves out about “high” notes. I think what DOES make a difference is mouthpiece selection, and the most important part of that is finding a rim diameter/rim contour that is comfortable to play. Then, you need to make sure the cup depth/backbore are compatible with each other and conducive to the type of playing you want to do. I did a lot of experimenting with different throat diameters (I found a #22 ideal for me) until I lost a mouthpiece and discovered it was no longer made. The closest alternative wasn’t quite there, and I went to a different cup (next level shallower), which seemed even better than my original mouthpiece. Before I spent money possibly changing it for the worse, I decided to play on it for awhile before having it drilled out. It turned out that the stock balance between the throat and backbore was excellent “as is,” and I didn’t need to modify it, which was an eye opener for me. I thought you had to have a large throat to keep from being restricted. My advice, now, would be to play on whatever rim diameter/rim contour feels most comfortable, and then play on the most shallow cup that you can still produce a good, full sound on, with a backbore that is appropriate for the cup depth (some combinations are better). I don’t worry about horn bores. One of my trumpets is a .460, another a .462, and one more a .470. As long as my mouthpiece lets me vibrate the air column, I don’t think about the size of the horn’s bore. I can play my full range on all of them. My preferred setup is a large horn with a shallow mouthpiece (but my personal rim diameter is large, a Bach 1-sized rim, and has been for over fifty years). And yes, I no longer only have one copy of my mouthpiece. I have four, and if one gets damaged or lost (it’s happened), I immediately replace it so that I’ll never be without my mouthpiece, again. Always have extras.
IMO, Trumpet/Brass payers that don't create the compression themselves use the horn/lips to do so resulting in less than ideal sound and endurance. Compress with the tongue, lips will vibrate whatever note the air speed tells them as long as they are in the correct corner tension or roll. My horn is .468 bore, doesn't restrict low notes like smaller bore horns and I don't have any issues with range or endurance up to the triple high notes.
I started learning trumpet my freshman year and I am still having this problem in my senior year. My primary instrument is the saxophone so it’s a very different embousure.
All of those tips were spot on, but another tip is to think of those "high notes" as low notes. Atleast think of them as the middle of the register, does that make sense?
I have pretty egregious scar tissue throughout my upper lip, can't comfortably reach above the staff anymore. I feel that as I pull at my corners, the tissue is pulled thin and my lip has trouble vibrating. Do you have any idea if it's even possible to recover my range from before? Been looking for answers for a while now but it doesn't seem like many have had similar problems. I will try these tips to help but any info would be great.
Think about moving the corners of your embouchure inward as you go higher, forming a "V" shape that you're balancing the mouthpiece at the apex of the V. Make sure to play only one-handed, not having your right hand pinky in the hook on the leadpipe. Start your scales on low F#, one octave, and then a half step higher, and higher, till you go up to high C, easily. Lastly, ALWAYS PRACTICE AT A SOFT VOLUME. This is a ten minute routine that should fix your issues in about 1 years time. Do it daily.
Experiment with different mouthpiece shapes to see what suits your lip anatomy now. Focus mostly on cup depth and rim size for something like scar tissue in your lips. Good luck and I hope you find something that works for you
I'm late, so sorry. Have you tried Chopsaver? Sounds silly but it's a useful lip balm. A bit of massage will help to break down scar tissue and make it more pliable. You might also invest in a mouthpiece visualizer. An exceedingly useful tool, it can help determine if your placement of the mouthpiece is contributing to the described thinness. Given that you said the scar is "egregious", though, you might find lip flexibilities (ex. Bai Linn) to be particularly helpful. Another exercise I found to be useful in working out upper register muscles was to do basic scales going a third further (ex. C scale going up 8 notes then three more to E). This helps to solidify the lower register embouchure as you ascend, especially because most players have a couple of preferred placements for different registers. Hope these help.
I am trying to NOT press my m.p. so much when I practice .But sometimes I get all involved trying to make the high notes right...and all the other notes that I forget to NOT PRESS .
I've noticed that I play with a ton of pressure, but I cant really make myself not without double buzzing, or just generally making the sound terrible... also a ton of pressure in the neck
Why not the nose? Can someone explain? I was considering to try to switch from mouth breathing (cause it's not very good for the health), to nose (considering it's faster theoretically)
Frankly, you should breathe through your nose, but many brass players are stuck on this stupid idea of mouth breathing and aren't aware of the fact that it's not healthy for you. My best guess as to why they're stuck on this is because most (a majority; there are still a decent amount of mouth-breathers out there in the general population) people naturally breathe through their nose, so a lot of teachers love to be contrarians and tell people to breathe through their mouth because it gives them an "issue" to "fix" and thus lends them credibility. That being said, unless you know how to circular breathe (which is a worthwhile skill to learn), there are quite a few instances where breathing through your mouth is beneficial ONLY because you can take in a lot more air faster, but I don't believe it should be standard in anyone's playing.
If one is playing lead in big band jazz situation, you definitely need to play those notes that the composer intended. All the jazz big bands have a 'lead' part. Yep, Count Basie, Duke Ellington, Woody Herman, Mel Lewis/Thad Jones big band, Oliver Nelson, Maynard Ferguson (yes, his lead players, Maynard was just a soloist), Gordon Goodwin, Tom Kubis, etc. Stan Kenton had the entire trumpet section to play a high 'F' in unison, in Malaguena.The drum corps/jazz musical 'Blast' certainly had notes of high 'G' and beyond. Sometimes, my high 'G' is not enough to play some of these composer's charts. Duke Ellington employed Cat Anderson. Decades back, in my senior high school year, I performed Herbert L Clarke's 'Carnival of Venice' for a solo festival. It ended on a high 'F". Classical trumpet players usually carry with them higher pitched trumpets to make it easier to play the high notes for Baroch and other music. The Hayden trumpet concerto goes to a high 'Eb'.
So that tips will finally lead me to quad C (above 7kHz), like the famous recording by Marc van Cleave? Honestly, I'd be very happy to have comfortable double C. I even reached double C about an quarter century ago (only on good days barely), then stopped practicing completely. Now I'd struggle with anything above high C, if I'd try again without practicing.
Additional tip: practice with other instruments such as baritone and French horn. Just exercise, practice, and remember that if you practice poorly then you'll perform just like you practiced.
It's the aperture, not the corners, that determines range and endurance. That's where the focus needs to be. Most of these natural players have no idea how they do what they do, but they have to make up some story...
I play peddle toned down to a double peddle C every single day. Then I play a double peddle C up to my highest note without taking my face off my instrument. You want to know why we do high notes instead of low notes? One: It’s harder so it’s more fun. Two: It’s part of getting better at your instrument. You every heard of a professional sax player not able to hit altísimo range? You ever heard of a pro flute player unable to play high? Horn? Trombone? Tuba? Euphonium? Clarinet? Name an instrument and they all know how to play high when they are good
Holy shit. Your jaw put you in the hospital! Were you focusing on keeping your front teeth aligned, your jaw forward? I wish you well with your development, playing. Stay healthy. Think small sound with big sound potential, focusing on resonance. Any thoughts on the PETE? I have to go practice 40 hours now.
The top lip shouldn't be relaxed, there needs to be the right amount of tension in the right places all around the embouchure as well as all the other elements that need to be in place - air, teeth opening & angle (same as horn angle), the lips need to be in the right position relative to each other, tongue level, mouthpiece pressure and pressure distribution. The size of the aperture per say isn't what creates high notes, the change in tension of the vibrating tissue is what's important - the aperture size on any given pitch changes depending on how loud or soft it's played. Everything changes depending on the pitch and volume. All the parts of the whole need to be doing the right things.
I have to smile at some of your claims. The non-stretching -- Haven't watched videos of Maynard or Jon Faddis set up their chops, have you? Lots of stretching there. The Darth Vader breath -- check out the video by James Pandolfi. Completely different approach that works well for some of us. Nose Breathing -- While I don't find it useful myself, there are a lot of Carmine Caruso advocates that use it not only while rehearsing but also in performance. Which makes my point: completely contradictory methods from various presenters and players online. No wonder we trumpet players are such a confused lot.
Great statement Steven, exactly what I preach-we're all different. I NEVER tell a student you HAVE to do it "this way" or play THIS equipment, etc. or forget it. It's all an individual journey and ultimately, we each have to be our own teacher and find what works for us as individual's. Speaking of Maynard...the ONLY thing I tell people is that Maynard played extremely relaxed in the face-the rest was showbiz.
"You can practice like that for a thousand years and never improve."--Jerry Callet Tight corners are death to an embouchure. Jerry advocated tonguing through the teeth (no eee-aaa-ooo nonsense), relax the corners, use the minimum amount of (compressed) air to play (no deep yoga/wedge breath). If you "struggle" for high C, you're simply playing wrong. Believe me, I know the euphoria of finding "The Key" to trumpet playing only to realize it was just more snake oil. Claude Gordon Book. Irons Book. Colin Flexibility book. Caruso. Adam. Deeper mouthpiece. Wider mouthpiece. Maybe a heavy receiver? Heavy dust caps! Gap? Stamp? Maggio? Pedal tones? Long tones. Flow. All promised progress, but ended unhappily. Nobody can keep tiny facial muscles "firm" for a two hour gig; but you can stay relaxed that long. Also, two hours of AHH-EEE-OOO tongue-arching will result in a sore throat and an ever-increasing number of missed notes. Over breathing gets you dizzy. If the tongue stays between the teeth at all times, in contact with the lower lip, and the corners are relaxed, range, power and endurance will skyrocket. As far as breathing goes, Raphael Mendez had it right--Breathe as if for normal conversation. (Can you picture Maurice Andre strengthening his core with sit-ups?) I say all this not to troll or 'hate on" you, but because you're headed down yet another blind alley. You think your sound is open, ringing, and characteristic of the true trumpet sound (as I used to think mine was!) but I assure you it is not. Your g above the staff was slightly flat, like most players, and I'm sure things gets flatter the higher you go! And practice, practice, practice, just cements all the wrong habits in place. Most of the greats never practiced! Not for chop maintenance, anyway. Sure, to get a new piece under their fingers, but not to stay great players. Warmups, also, are a waste of time. Again, you seem earnest in your journey and I may come off as a know-it-all, but I feel your pain, brother! Check out Ralf Salamone on the True Power Trumpet UA-cam channel. He's Jerry's protege. Jerry's gone, but Ralf keeps his teaching alive. BTW, the trumpet can be played with ZERO air "going through the horn." As Vern Reynolds told Roger Ingram when Roger said his teacher was teaching him to "Fill the horn with air," What do you suppose they're filled with now? It's not your job to put air in or through a horn, it's already there! it's your job to EXCITE it! Check it out: ua-cam.com/video/WZvDvuxjHvU/v-deo.html
You are making the same silly mistake that most professional and semi professional trumpet gurus make all the time. Playing high has very much to do with techniqe, but technique is nothing if you do not have the years of training that builds all the neccessary muscle in and around your lips, to make you able to control the very high air pressure from your lungs and chest and abdomen to produce the small, but strong airflow neccessary to give the high frequency sound you are after. You already have all the neccessary muscle. You never did after only the first year. You did not. You, obviously have the years and lip musculature that is neccessary. No beginner does. That is why many beginners struggle to top the first octave, and need time and practice to reach the D and E. After one and a half year of practice (more or less an hour - an hour and a half a day) i can comfortably play two octaves, from the low #F up to the G above the line, that is what the brass band requires. I am working to get higher, and my lip muscles are strengthening by te week. I can press up to a B above the line, but it is not yet possible for me to use that in playing. I will get there. When my lip muscles get strong enough. The techniqe takes care of itself. Without the muscles, you are nowhere. Takes years. Not just "good advice". Practicing scales up and down, playing what you can, and the high notes will come, one half-note at a time. Work at it. The Only Way.
Nearly ten minutes of video and I cant buy a magic pill at the end for high notes? Ridiculous. Just another lame video about how proper practice and hard work are somehow supposed to pay off. Thanks for nothing.
I just don't like to hear the trumpet played high. (Piccolo trumpet excluded.) It's just too screechy. Yes, it's difficult, and a feat for those who can. But beyond that, I don't find it an instrument that's pleasant to hear in its extremeties.
Best intro, EVER EVER, IN EXISTENCE
😖🍑🪙👈
What is the utility of hi notes?
@@miltonderezende7906 Stop commenting this under everyones comments. To answer you, it is in literature that creates a different tone and style. I'm not talking about screaming solos and lead trumpet stuff either. There are many songs I've played where there are e's and f's played at a mf or mp delicately rather than blasty. It is a good skill to have although most trumpet players try to do it for ego.
Nice work! Just a couple of things to mention (nothing negative!). I am also rebuilding damaged chops..for the 5th time. But when you mentioned "Jake's Method" you got my attention!! I studied with Jake from 1977-1986. This was before he penned the method. When it was hot off the presses, I got the 4th copy out of the box. There is also a "Memorial" book that his son published. Just great stories of his career. I damaged my upper lip in 1979 while at UNT. I thought I was "done." After a year off I had to try and recover. Jake walked me through the rebuild every week for over a year. By that end of the year, I was playing ok. As long as I played the way you're describing, I was good for gigs and band directing (long story that no one wants to hear). In 1982 I went to UT-Austin to study with Ray Crisara. Those two guys were polar opposites, but great friends from back in the day. They both studied with Ernest S. Williams.I played in the wind and jazz ensembles. Sorry, this post is too long. But I wanted to thank you for mentioning Jake. He's a well-kept secret to all but serious trumpet players, as is Ray. I had another round of "loss of lip" and then some serious dental work in 2012. In 2022 my new dentist put on a permanent bridge across my top front teeth. I started playing again about 2 months ago. It's gonna be a while, but I am doing the same things you are, plus Stamp, John Daniels, Claude Gordon, Clarke, Bill Adam, Stevens, etc etc. If I can rebuild at age 68 from zero, anyone can. BTW - it's not Bell's Palsy. Ray, Phil Smith, Chase Sanborn, my uncle and a bunch of folks have had to work through that. The difference? My damage is permanent. Bell's usually goes away...eventually. Again - great work on the video!!! Best of luck and hope you can get your double C back!!😎😎😎😎
Excellent advice all the way through. Studied with Jake - he said there are no high notes - only notes further away than others. His approach was to avoid tension, always focusing on playing the note next to the last one you could consistently and comfortably play.
What is the utility of hi notes?
I was going to say everybody struggles to play high, but then I realized you were talking about notes...It's also a struggle to type high.
What?
@@annimon2814 he means high like off weed. L weed
L.
L
@@annimon2814he’s saying he’s high numb nuts
“Go practice”
Me watching this video at 1:15am 🤷♂️
Practice with a mute.
What is the utility of hi notes?
@@miltonderezende7906 You must play hi notes as a greeting in polite company, and at the end of the night you should play goodbye notes, or the more staccato bye notes.
@@miltonderezende7906 If one is playing lead in big band jazz situation, you definitely need to play those notes that the composer intended. All the jazz big bands have a 'lead' part. Yep, Count Basie, Duke Ellington, Woody Herman, Oliver Nelson, Maynard Ferguson (yes, lead players, not just Maynard), Gordon Goodwin, etc. Stan Kenton had the entire trumpet section to play a high 'F' in unison, in Malaguena.The drum corps/jazz musical 'Blast' certainly had notes of high 'G' and beyond. Sometimes, my high 'G' is not enough to play some of these composer's charts.
Decades back,In my senior high school year, I performed Herbert L Clarke's 'Carnival of Venice' for a solo festival. It ended on a high 'F".
Classical trumpet players usually carry with them higher pitched trumpets to make it easier to play the high notes for Baroch and other music. The Hayden trumpet concerto goes to a high 'Eb'.
Sounds like good advice for any brass player generally
Great info! Mouthpiece pressure does help for a few minutes/seconds until the blood flow is reduced enough cause fatigue I find it you create the compression with the tongue the lips are more free and lip tension can be minimized also the jaw can remain open. To work on mouthpiece pressure Costello/Stevens Pen/Pencil and Palm Technique get it done. Another big issue trumpet players have is topping out at high C/D or F/G above high C, usually due to getting compression for the higher notes by closing the teeth/jaw. For this practice dropping/opening the teeth/jaw before each phrase. Another benefit is it opens the throat for more harmonics causing "PRODUCTION" a big boost in efficiency of tone aka Less air is needed for a way louder sound just like an opera singer does. Spit buzzing or tongue controlled embouchure is what I use to train and work the tongue Quiet playing is a similar aperture size to high notes so practice normal range as soft as possible is another great way to work those lips in a relaxed manner, another great use for H.L. Clarke 2nd study or 1st or 3rd etc...
What is the utility of hi notes? I prefer the soft and beautiful medium tones. if necessary hi tones use the piccolo.
Hey, thanks for a very helpful post; a lot of good advice there. Here's what I've been doing lately:
Arban pages 12 & 13, simple half note slurs - but playing then as ppp whisper tones, at 60 mm. This is a killer, a real workout for the tongue muscles. I also do the Caruso whole tone slurs, loud-soft-loud, then soft-loud- soft. I've noticed considerable improvement in my range from doing these.
By "iimprovement in my range" I mean getting really comfortable - and reliable - in the octave up to high C. If I could do that, with only occasionally going up to a D or an Eb in a solo, I'd be a happy camper. I'll leave the high stuff to the screamers and show offs and be content to make beautiful music.
5:51 Nose breathing for circular breathing and specific exercises that call for it (some people will try to tell you never breathe through your nose without realizing there is a time and place to do so).
Doesn’t Carmine Caruso advocate breathing through your nose?
@@gregaudrey307 Only for the musical calisthenics exercises (as you are supposed to maintain your embouchure throughout each exercise without taking your lips off of the mouthpiece).
I always breath in my nose, why shouldn't i?
@@charmsly9506 I would think it isnt efficient enough for long passages where there are few short places to breathe, and mouth breathing just gets air in faster
Great Video, I never thought about what my corners do. I tried working a bit with them and somehow hit a Triple F
This video was so unbelievably helpful! I've been playing trumpet for about 3 years now and i have struggled with my range and trying to hit high notes consistently. I've watched so many videos trying to figure what i was doing wrong gut none of them helped. This is the first video I have found that has genuinely helped me. I can now consistently hit a c above the staff I can even hit a d most of the time! Thank you so much!
How did your mindset change with this video? New exercises?
Am I playing Trumpet? NO
Am I planning to? ALSO NO
Did I just watch the entire Video and enjoy it? HELL YEAH
ive watched so many videos because im learning trumpet for my high school band march and im making sure i get every detail right when i first start off instead of relearning everything in the long run ive watched easily 30+ seperate videos and you have one of the best information
I last played cornet in 1984. I can still detect the scars inside my top lip from the pressure I used to try to squeeze out B or C above the stave. I am finally at a time in my life I may have time to pick up the cornet again. I just had it serviced. I am looking forward to trying to blow again.
Great advices ! Also nice editing 🔥 I find the last advice IS one (if not THE) greatest 👍
Practicing to copy the good feelings when producing notes.
I find your demo of a stuffy and Bad sound really Amazing 👏
Everything you have said rings with what I’ve been taught. A few good tips that I haven’t heard in there tho. Application for me is a reminder to do all the things I do but keep doing them more and more. My problem is in performance it sometimes goes out the window. The practise part is the key
I play high all the time and I never seem to have any troub...... Wait a second. They mean play high notes.
I played trumpet in public schools and college (not a music major). I'm returning to the trumpet after not playing for 20 years and wow, how hard and bad I sound. My takeaway from this video was that the corners of my mouth are not tight. In fact, I can feel air coming out of the corners, especially on low notes. I never heard of the arched tongue method before and it is helping me play more comfortable but only up to G above the staff. Something is missing being able to hit high C.
I'm in eight grade and you helped me out so much i have been straining myself so much for high notes now thanks to you i can play way above a high C thank you!
Thanks so much for the Three Tips.
Practicing with the Arban's #1 through #5 etudes, y struggled too much to sustain high notes and after 45 minutes my lips went exhausted, only elephant screaming came out.
My throath bekame tense too.
Excellent thoughts, brother Freddy!
8:04 the F Major scale instantly reminded me of the song Flint
The secret to Clarke is the dynamics - especially the quiet stuff. THAT will help those corners.
Thanks for the help, it helped a lot, I’ve noticed it’s been getting harder for me to be as good and this is doing great at making me better
i could've used this 3 years ago when i was in my prime playing, might inspire me to get back to work lmao
Best tip of the video 8:00 😊
I feel called howdy. Pointed out everything I did wrong lol😂
As a horn player and teacher, I've learned that people use equipment that's too big. XL inner diameters, cups that are too deep, bores that are too big.
I used to believe the bore of the trumpet had something to do with endurance. Bigger was more taxing to play. I no longer believe that. I think it becomes a self-fulfilling prophecy. Think about it. We’re talking, about THOUSANDTHS of in inch. Just how much extra air volume does that really encompass? We psych ourselves out about a big horn the way we psych ourselves out about “high” notes. I think what DOES make a difference is mouthpiece selection, and the most important part of that is finding a rim diameter/rim contour that is comfortable to play. Then, you need to make sure the cup depth/backbore are compatible with each other and conducive to the type of playing you want to do. I did a lot of experimenting with different throat diameters (I found a #22 ideal for me) until I lost a mouthpiece and discovered it was no longer made. The closest alternative wasn’t quite there, and I went to a different cup (next level shallower), which seemed even better than my original mouthpiece. Before I spent money possibly changing it for the worse, I decided to play on it for awhile before having it drilled out. It turned out that the stock balance between the throat and backbore was excellent “as is,” and I didn’t need to modify it, which was an eye opener for me. I thought you had to have a large throat to keep from being restricted. My advice, now, would be to play on whatever rim diameter/rim contour feels most comfortable, and then play on the most shallow cup that you can still produce a good, full sound on, with a backbore that is appropriate for the cup depth (some combinations are better). I don’t worry about horn bores. One of my trumpets is a .460, another a .462, and one more a .470. As long as my mouthpiece lets me vibrate the air column, I don’t think about the size of the horn’s bore. I can play my full range on all of them. My preferred setup is a large horn with a shallow mouthpiece (but my personal rim diameter is large, a Bach 1-sized rim, and has been for over fifty years). And yes, I no longer only have one copy of my mouthpiece. I have four, and if one gets damaged or lost (it’s happened), I immediately replace it so that I’ll never be without my mouthpiece, again. Always have extras.
IMO, Trumpet/Brass payers that don't create the compression themselves use the horn/lips to do so resulting in less than ideal sound and endurance. Compress with the tongue, lips will vibrate whatever note the air speed tells them as long as they are in the correct corner tension or roll. My horn is .468 bore, doesn't restrict low notes like smaller bore horns and I don't have any issues with range or endurance up to the triple high notes.
I started learning trumpet my freshman year and I am still having this problem in my senior year. My primary instrument is the saxophone so it’s a very different embousure.
Nice to see Jakes Method mentioned in a vid. Lots of good stuff in the book. Pops
Ty man you helped me play taps as a middle schooler
Great demonstration, I’m doing all three bad techniques !
Turns out I was focusing on the wrong cheeks!
😂 me too!
Ur ass?
My mother was next to me for the intro.
What is the utility of hi notes?
What should I practice to reach the hier register?
All of those tips were spot on, but another tip is to think of those "high notes" as low notes. Atleast think of them as the middle of the register, does that make sense?
Excellent video this is gold...hey Dizzy was something ..😅
Good, helpful material! Thanks.
I have pretty egregious scar tissue throughout my upper lip, can't comfortably reach above the staff anymore. I feel that as I pull at my corners, the tissue is pulled thin and my lip has trouble vibrating. Do you have any idea if it's even possible to recover my range from before? Been looking for answers for a while now but it doesn't seem like many have had similar problems. I will try these tips to help but any info would be great.
Think about moving the corners of your embouchure inward as you go higher, forming a "V" shape that you're balancing the mouthpiece at the apex of the V. Make sure to play only one-handed, not having your right hand pinky in the hook on the leadpipe. Start your scales on low F#, one octave, and then a half step higher, and higher, till you go up to high C, easily. Lastly, ALWAYS PRACTICE AT A SOFT VOLUME. This is a ten minute routine that should fix your issues in about 1 years time. Do it daily.
Experiment with different mouthpiece shapes to see what suits your lip anatomy now. Focus mostly on cup depth and rim size for something like scar tissue in your lips. Good luck and I hope you find something that works for you
I'm late, so sorry. Have you tried Chopsaver? Sounds silly but it's a useful lip balm. A bit of massage will help to break down scar tissue and make it more pliable. You might also invest in a mouthpiece visualizer. An exceedingly useful tool, it can help determine if your placement of the mouthpiece is contributing to the described thinness. Given that you said the scar is "egregious", though, you might find lip flexibilities (ex. Bai Linn) to be particularly helpful. Another exercise I found to be useful in working out upper register muscles was to do basic scales going a third further (ex. C scale going up 8 notes then three more to E). This helps to solidify the lower register embouchure as you ascend, especially because most players have a couple of preferred placements for different registers.
Hope these help.
Best trumpet instructor ever🔥🔥
Well, well explained.............thank you so much.
I was literally already practicing when you told me to - smug mode enabled.
I am trying to NOT press my m.p. so much when I practice .But sometimes I get all involved trying to make the high notes right...and all the other notes that I forget to NOT PRESS .
I've noticed that I play with a ton of pressure, but I cant really make myself not without double buzzing, or just generally making the sound terrible... also a ton of pressure in the neck
Very good advice
Thank you
Hey! My game is pressure, pressure, and more pressure! Until your teeth hurt and your overbite is gone! 😅
Like it thanks I'll try too practice this.
Well Done!
Why not the nose? Can someone explain?
I was considering to try to switch from mouth breathing (cause it's not very good for the health), to nose (considering it's faster theoretically)
Frankly, you should breathe through your nose, but many brass players are stuck on this stupid idea of mouth breathing and aren't aware of the fact that it's not healthy for you.
My best guess as to why they're stuck on this is because most (a majority; there are still a decent amount of mouth-breathers out there in the general population) people naturally breathe through their nose, so a lot of teachers love to be contrarians and tell people to breathe through their mouth because it gives them an "issue" to "fix" and thus lends them credibility.
That being said, unless you know how to circular breathe (which is a worthwhile skill to learn), there are quite a few instances where breathing through your mouth is beneficial ONLY because you can take in a lot more air faster, but I don't believe it should be standard in anyone's playing.
Very helpful
Thank You so much
What is the utility of hi notes?
If one is playing lead in big band jazz situation, you definitely need to play those notes that the composer intended. All the jazz big bands have a 'lead' part. Yep, Count Basie, Duke Ellington, Woody Herman, Mel Lewis/Thad Jones big band, Oliver Nelson, Maynard Ferguson (yes, his lead players, Maynard was just a soloist), Gordon Goodwin, Tom Kubis, etc. Stan Kenton had the entire trumpet section to play a high 'F' in unison, in Malaguena.The drum corps/jazz musical 'Blast' certainly had notes of high 'G' and beyond. Sometimes, my high 'G' is not enough to play some of these composer's charts. Duke Ellington employed Cat Anderson.
Decades back, in my senior high school year, I performed Herbert L Clarke's 'Carnival of Venice' for a solo festival. It ended on a high 'F".
Classical trumpet players usually carry with them higher pitched trumpets to make it easier to play the high notes for Baroch and other music. The Hayden trumpet concerto goes to a high 'Eb'.
What purpose do tight corners serve if the lips in the mouthpiece are relaxed regardless?
Ends will be tight, leaving the lips to be in a set position to vibrate. If corners are loose the lips will vibrate freely without guide.
I noticed I struggle when my lips are in more of a frown shape, but when I bring them up the high notes are easier.
Thanks, maybe I will get higher. I'm stuck at g''' for a year now.
So that tips will finally lead me to quad C (above 7kHz), like the famous recording by Marc van Cleave? Honestly, I'd be very happy to have comfortable double C. I even reached double C about an quarter century ago (only on good days barely), then stopped practicing completely. Now I'd struggle with anything above high C, if I'd try again without practicing.
It Germany we say it depends on your „Naturfresse“
will you be attending TMEA
What’s the intro song
Additional tip: practice with other instruments such as baritone and French horn. Just exercise, practice, and remember that if you practice poorly then you'll perform just like you practiced.
It's the aperture, not the corners, that determines range and endurance. That's where the focus needs to be. Most of these natural players have no idea how they do what they do, but they have to make up some story...
why trumpet players struggle to play low?
honestly it sounds better then playing ultra high notes
I play peddle toned down to a double peddle C every single day. Then I play a double peddle C up to my highest note without taking my face off my instrument. You want to know why we do high notes instead of low notes? One: It’s harder so it’s more fun. Two: It’s part of getting better at your instrument. You every heard of a professional sax player not able to hit altísimo range? You ever heard of a pro flute player unable to play high? Horn? Trombone? Tuba? Euphonium? Clarinet? Name an instrument and they all know how to play high when they are good
The first thing is getting an efficient flowing horn. A D slide Bach style is not ideal.
What's the problem with breathing through the nose?
play trombone, but very helpful
Holy shit. Your jaw put you in the hospital! Were you focusing on keeping your front teeth aligned, your jaw forward? I wish you well with your development, playing. Stay healthy. Think small sound with big sound potential, focusing on resonance.
Any thoughts on the PETE?
I have to go practice 40 hours now.
The top lip shouldn't be relaxed, there needs to be the right amount of tension in the right places all around the embouchure as well as all the other elements that need to be in place - air, teeth opening & angle (same as horn angle), the lips need to be in the right position relative to each other, tongue level, mouthpiece pressure and pressure distribution. The size of the aperture per say isn't what creates high notes, the change in tension of the vibrating tissue is what's important - the aperture size on any given pitch changes depending on how loud or soft it's played. Everything changes depending on the pitch and volume. All the parts of the whole need to be doing the right things.
Thanks. Great video!!!
I feel called out. He pointed out everything I did wrong lol😅
If you don't feel bad then your doing trumpet wrong😂.
I play the sax I dunno even why I am here 😂
I watch this video for help but I can play 1 note above him
OK but how do you crank the face filter up that high?
can i play wheni donot have two teeth infort
I can actually light up a joint and play a bit better I’d say lol
I have to smile at some of your claims. The non-stretching -- Haven't watched videos of Maynard or Jon Faddis set up their chops, have you? Lots of stretching there. The Darth Vader breath -- check out the video by James Pandolfi. Completely different approach that works well for some of us. Nose Breathing -- While I don't find it useful myself, there are a lot of Carmine Caruso advocates that use it not only while rehearsing but also in performance. Which makes my point: completely contradictory methods from various presenters and players online. No wonder we trumpet players are such a confused lot.
Great statement Steven, exactly what I preach-we're all different. I NEVER tell a student you HAVE to do it "this way" or play THIS equipment, etc. or forget it. It's all an individual journey and ultimately, we each have to be our own teacher and find what works for us as individual's.
Speaking of Maynard...the ONLY thing I tell people is that Maynard played extremely relaxed in the face-the rest was showbiz.
🤧🤧🤧🤧🤧🤧
actually.... my uncle said that....
"You can practice like that for a thousand years and never improve."--Jerry Callet
Tight corners are death to an embouchure. Jerry advocated tonguing through the teeth (no eee-aaa-ooo nonsense), relax the corners, use the minimum amount of (compressed) air to play (no deep yoga/wedge breath).
If you "struggle" for high C, you're simply playing wrong. Believe me, I know the euphoria of finding "The Key" to trumpet playing only to realize it was just more snake oil. Claude Gordon Book. Irons Book. Colin Flexibility book. Caruso. Adam. Deeper mouthpiece. Wider mouthpiece. Maybe a heavy receiver? Heavy dust caps! Gap? Stamp? Maggio? Pedal tones? Long tones. Flow. All promised progress, but ended unhappily.
Nobody can keep tiny facial muscles "firm" for a two hour gig; but you can stay relaxed that long. Also, two hours of AHH-EEE-OOO tongue-arching will result in a sore throat and an ever-increasing number of missed notes. Over breathing gets you dizzy.
If the tongue stays between the teeth at all times, in contact with the lower lip, and the corners are relaxed, range, power and endurance will skyrocket. As far as breathing goes, Raphael Mendez had it right--Breathe as if for normal conversation. (Can you picture Maurice Andre strengthening his core with sit-ups?)
I say all this not to troll or 'hate on" you, but because you're headed down yet another blind alley. You think your sound is open, ringing, and characteristic of the true trumpet sound (as I used to think mine was!) but I assure you it is not. Your g above the staff was slightly flat, like most players, and I'm sure things gets flatter the higher you go! And practice, practice, practice, just cements all the wrong habits in place. Most of the greats never practiced! Not for chop maintenance, anyway. Sure, to get a new piece under their fingers, but not to stay great players. Warmups, also, are a waste of time.
Again, you seem earnest in your journey and I may come off as a know-it-all, but I feel your pain, brother!
Check out Ralf Salamone on the True Power Trumpet UA-cam channel. He's Jerry's protege. Jerry's gone, but Ralf keeps his teaching alive.
BTW, the trumpet can be played with ZERO air "going through the horn." As Vern Reynolds told Roger Ingram when Roger said his teacher was teaching him to "Fill the horn with air," What do you suppose they're filled with now? It's not your job to put air in or through a horn, it's already there! it's your job to EXCITE it! Check it out:
ua-cam.com/video/WZvDvuxjHvU/v-deo.html
So what is your recommendation?
You are making the same silly mistake that most professional and semi professional trumpet gurus make all the time.
Playing high has very much to do with techniqe, but technique is nothing if you do not have the years of training
that builds all the neccessary muscle in and around your lips, to make you able to control the very high air pressure
from your lungs and chest and abdomen to produce the small, but strong airflow neccessary to give the high frequency sound
you are after. You already have all the neccessary muscle. You never did after only the first year. You did not.
You, obviously have the years and lip musculature that is neccessary. No beginner does.
That is why many beginners struggle to top the first octave, and need time and practice to reach the D and E.
After one and a half year of practice (more or less an hour - an hour and a half a day) i can comfortably play
two octaves, from the low #F up to the G above the line, that is what the brass band requires. I am working
to get higher, and my lip muscles are strengthening by te week. I can press up to a B above the line, but it is not
yet possible for me to use that in playing. I will get there. When my lip muscles get strong enough.
The techniqe takes care of itself. Without the muscles, you are nowhere.
Takes years. Not just "good advice".
Practicing scales up and down, playing what you can, and the high notes will come, one half-note at a time.
Work at it. The Only Way.
Nearly ten minutes of video and I cant buy a magic pill at the end for high notes? Ridiculous. Just another lame video about how proper practice and hard work are somehow supposed to pay off. Thanks for nothing.
😂😂😂
How high can you go?
Right? Where's the trumpet high note fairy when you need em
All this tech shite gets annoying.
Just gush the air through the mouthpiece.
After 2000 hours you will realize you need to practise more.
Very high notes are unpleasant for the person sitting there listening. Stop messing around with that.
Stop talking bull💩 high notes need proper wide tone to be enjoyable.
I just don't like to hear the trumpet played high. (Piccolo trumpet excluded.) It's just too screechy. Yes, it's difficult, and a feat for those who can. But beyond that, I don't find it an instrument that's pleasant to hear in its extremeties.