Play Higher More Easily! | "F for Falsetto" | Trumpet A-Z, S01E06
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- Опубліковано 1 бер 2018
- Do you want to play higher on the trumpet, more easily? Of course, we all do! In this episode of Trumpet A-Z, Bryan Davis shares an approach you may not have considered, but should allow anybody to get the feel for playing effortlessly in the upper register. F is for Falsetto! If you can sing, you can play!
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Thanks for watching, everybody! If you have questions about this, or any other feedback, please comment!
Thank you very much! New suscriber here!
Thanks for watching and subscribing!
Thank you so much. I will try this tomorrow. 🙏🙏
I really need help with high notes. I've been playing for 2 years but can't hit higher than a high g over the staff, and thats a barely. How do I get better range?
That double C is so clear and full of sound...amazing tone
Glad you enjoyed it. Thanks for watching.
@@AirflowMusicNYC Thank you for helping others and sharing information with those in need. Illuminating their struggles and causing them to progress and accel in what they do. God bless you, God bless this channel, doors are opening for you, opportunities are endless, you are flying in this year of 2020, this is your year...every desire you have for this year, its coming into fulfillment in the Name of Jesus Christ. Amen
Be blessed sir
I've been watching many of your videos, I'm hopeful that your excellent and comprehensive videos will finally put me on track to actually making progress on developing my trumpet range safely. Thanks for all the work you put into these videos.
Great teachung metaphor -- "reaching farther away". Thanks, Brian!
My pleasure. Thanks for watching.
Brain you are my teacher! Getting back into trumpet after 40 years, you're videos are EXTREMELY helpful.
So glad you’re finding them useful. Thanks for watching. Best of luck with your comeback!
Phil Driscoll is my friend and inspiration in playing again. Getting serious about it this time. Played from 4th grade through 10th grade but didn't take it seriously. So I find your videos invaluable! You are my teacher! Thanks so much for sharing your gifts.
Thank you, sir!
this video and especially that about the letter "A" (1 st-of that series - A for "Air") is extremely helpful and encouraging, thank You very, very much !
I’m so glad you think so. Thanks for watching, and I’m happy to try and answer any questions they may raise.
Thanks for making this video...for sure this will help many trumpet players...
Thanks for watching. I certainly hope so! :-)
That’s very good, thanks.
F for fantastic video. Had a lesson with Willem Van De Vliet, he talks heaps about falsetto too, not heard anyone else until now, you explain it very well. I really think you are on to it mate, absolutely excellent teachings here. Cheers
The eminent Mr Trumpah himself! 🎺😀 Thanks for looking in, Scott. Glad you enjoyed it.
Bloody brilliant, well done
+GBUKMilo Glad you think so! Thanks for watching. Please tell your friends.
illuminating
Thank you for these very helpful videos
You’re very welcome. Thank you for watching.
"Go practice?" NO! Go play! Go perform! There is no better practice than the practice of performance. But I get what what you're saying. Good stuff!
amazing. Rock on, brother
Thanks! Will do!
I've tried several embouchure methods with a goal of increasing my range by even a half step above the Eb above high C that I've been forever stuck at: Balanced, Maggio and Caruso. None of those three have made a bit of difference after a year and a half at using them at different times (I'm still practicing the first couple of Caruso exercises at this point). It feels like I have a hard limit at that Eb point. In any case, if the lips won't buzz that high, you won't hit the notes up there. Octave and two-octave glisses (as are in this video) are among the things I've tried using. Same result; the sound stops trying to reach the E or higher. So I either have an unpassable physical barrier to going any higher, or I'm still doing something wrong and not finding what it is. Meanwhile, I keep browsing the net for other ideas, and I came across this video. A reliable G over high C is as high as I'm interested in; I don't really care about being able to hit a double C.
Excellent Bryan, so many younger players will greatly improve by following your approach to playing...
Thanks for watching, Jan. Please share with any young players you think I can be a positive influence on.
Always Bryan, all your advice is right on the money... I've got a great stable of up and coming young trumpet players.
I stopped playing trumpet after I had to get stiches in my mouth and haven't been back since. Now coming back in 4 years later, these videos are really helping me
I’m glad to hear it. I hope you’re enjoying playing again!
Yes Sir 😀👍👍👍
Awesome video Bryan! Your advice sounds spot on. I wish we had these videos back in the day. I still might have been playing. Played lead with 3c then 1.5 for fuller sound. My upper range was only a solid high g. I used too much pressure I guess & the 14a4a just gave me a brighter sound, then experienced double tones with it. A future suggested video... horn pressure for mouth piece & tongue placement for upper register. When playing I could also cut the line but I never achieved the upper range I wish to have had. This is why I stopped. Hopefully others won't stop playing because your videos will be beneficial in their success to play better. I look forward to watching & learning from all your past, present & future videos. Thanks!
Thanks for watching, once again Timothy! I'm seeing a bunch of comments on various videos - I appreciate you taking time to comment so much!
Always glad to have suggestions for video topics. Can you elaborate on what you mean by "horn pressure for mouth piece & tongue placement for upper register" - are they 2 separate topics? Do you have a more specific question for one or both?
Airflow Music Hi Bryan. Thanks for your advice! I think you had made a video about how much pressure to apply mouthpiece onto embouchure. My other question was the placement, form, location in mouth of tongue which directs the air flow from the diaphragm to produce a higher register. Sorry if I am not explaining it as well as I should. Many trumpet players including myself doesn't realize the importance of how much the tongue plays a role in trumpet playing. Thanks for your future videos.
The best part is the importance of using fundamental air support
Bravo. Wow.
K should be Kenny Dorham!!!!
Amazing videos. Incredible.
Maybe I should do an A-Z of Jazz Trumpet Transcriptions...
Hey Mr. Davis. I've had the thought before that singing and playing the trumpet have some sort of connection with playing into the higher register and this confirms my theory. You talk about the "ceiling" that players hit in their high range and I find that point being around High Bb to High B and so on. I do these "hitting air note" sort of exercises which is when i visualize playing a note like and E above high C and then trying to play it with as little pressure as possible resulting in only compressed air being heard in the horn. After I finish this, i can feel a little soreness around my mouth where the chop muscles are, but i look in the mirror and there is always 2 lines on my lips from where the mouthpiece sits regardless of if I barely use any pressure at all. I feel like if I do what I'm doing for long enough, that air will turn into a pitch, but I'm afraid I'm going to injure myself. I feel like i could possibly expand beyond high D when I do these exercises but then again, I feel like I'm never going to get anywhere by constantly playing only air every day. Is there anything you recommend I do differently to more safely go into the higher register? Thank you
Hey Mr Lott! Thanks for watching and commenting.
It's impossible to know for sure without seeing you play the exercise you describe, but it sounds like you're generating most of your compression by squeezing your lips together. There will always be a component of lip/aperture compression but, to my way of thinking, it should not be the primary source. You also have abdominal/core compression and tongue level at your disposal which can be much more powerful, and make life much easier for you. The trouble with aperture control as a primary is that it can over-tense the lips which cuts down the response to the airflow. That means less ability to vibrate so it's harder to make a note (that compressed air sound you describe...)
The first thing is to breathe and support correctly - watch "B for Breathing" at ua-cam.com/video/QS7C4Z0yq6Y/v-deo.html for my tips on that. Supporting properly will automatically activate your base core compression.
Once support is in place, examine your current range and find the highest note you can play softly and comfortably. Test it out and find out what it is. It might be a few notes from the top of your range, or it might be much lower. What note it is doesn't matter - the important factor is that it's comfortable and pretty easy. Start there and aim to play that note 100 times. You can play it short, play it long, play it in all manner of ways. Just try and maintain the same easy way of playing - rest as necessary to keep that together. The repetition will help your body learn what you need to do to play that note. Then do the next note up and so on. This is not something just for today, but something you need to develop over time. In the end, there's no substitute for playing a note a lot of times - just always focus on trying to keep it easy. In time, you'll develop the necessary balance of strength and airflow to own the notes.
I hope this helps.
- Bryan
How long did you get development of the range and what is the feel like on the tongue level...? Thanks for sharing this.
So I’ve been running into a ongoing situation...I will have good range for a while going up to a double C but after a while it’s like it all shuts off and I can’t play above a high C and it usually takes weeks or months to get back to where I was...any tips on how to keep my range locked in place?
Yes I have a concern. I've week ago I tried the falsetto approach. I could immediately see the possibilities even up to double Bb... Trombone. However, one week later I can barely maintain a high D. Are my chops simply adjusting and the high notes will return?
GREAT video! Question, please- I see very little movement in your embouchure- are you tightening your corners in addition to your abdominals as you perform the glissandos?
I’m probably tightening my corners a little, but they really only need to move/tighten if you’re overblowing and you need to restrain the air. In a perfectly efficient system, they should be able to stay still and just support, so the aperture can adjust to the airstream as necessary.
Glad you dug the video, and thanks for your question. Please share it if it’s been helpful.
@@AirflowMusicNYC this is a very good illustration/explanation...thank you so much!!!
Some very interesting issues in your videos-thanks. It does look as though you are pulling the trumpet in as you gliss up and down. Difficult to see if it’s pressure or just general body movement as you compress and release.
It’s a little of both. If I was 100% efficient that might be different. It’s a work in progress for me too!
Thanks for watching.
thanks for your videos! question , i do the glissando's and reach a ceiling im always thinking less air and holding my air in my chest area like playing holding your breath ,but i cant seem to find that balance getting past aHigh G or playing it with ease , i seem to see to much compression whats a good exercise for this thanks !!
Have you seen the later videos in the series? Letters S-V may well answer your question.
Thanks for watching and commenting.
I have gone through this whole A-Z playlist and more and every one of your videos is fantastic but I have been struggling to use my core to get into the higher register the way you have described. I consider myself to have a developed core and embouchure (I have 5 different mouthpieces as well) but I don't know what exactly I should be feeling in order to get above the G above the staff, which is my reliable limit (I could squeeze out the next note every once in a while (A natural?...). Could you describe physically where I should be feeling a certain muscle flexing or tensing up? I taught myself how to whistle which was very, VERY frustrating with zero progress until I came to what I would say is a "revelation" for lack of a better word. Every kind of flex or position I try doesn't seem to help so I would appreciate it if you could describe where and what I should be feeling? Thank You. If my question was answered in one of your videos I apologize.
Thanks for your elaborate work and great advice. What are you doing with your tongue during the appregios ? Regards
Thanks for watching!
In common with when I sing, I'm trying to not overthink what my tongue is doing - it will be arching and lowering as the pitch goes up and down, but my focus is on my air and my core compression as my primary means of controlling pitch.
I really like your videos. That's some great advice you got.
Question regarding this one: Do you think squeaking on just the leadpipe beyond what would be f''' on the trumpet helps me get the feeling of where my falsetto-range starts and how to "flip the switch"? What's your take on practicing on just the leadpipe in general?
Appreciate your response!
Hi Margret. Thanks for watching.
I don't understand which note F''' is - is that the F in the bottom space on the treble staff? I'm going to assume it is...
I don't have any parameters for where the "falsetto" range of the trumpet might begin. Similar to our voices, I think it probably varies from person to person. Honestly, this is also more about the mix - I want the sound to stay as consistent as possible no matter what the register is.
Practicing on the mouthpiece and lead pipe alone can be valuable, particularly for getting the feel for an easy response from the lips to the airflow. The lead pipe has a harmonic series, just like the trumpet, but it's pitched higher since it's a shorter length of tubing. The note we commonly find around E or F at the bottom of the treble staff is actually the equivalent of the first pedal partial on the trumpet. The next note is a 9th above - right around G at the top of the treble staff, then D above that, G above that and so on. I don't personally spend a lot of time practicing on the lead pipe, but it is a useful tool for many of my students to help balance their response.
Hi, and thanks for your reply.
I meant the f above high c. On the leadpipe I feel that is the area where the falsetto approach gets me further than brute force. And I feel like I can translate that setup to the trumpet more and more. So, I guess, what I'm trying to say is, at least for me, playing on the leadpipe makes it easier to find the "falsetto-switch". :) If that makes any sense.
If that works for you then that’s great. I would usually expect the nearest slot in that register, on the leadpipe, to be a G on a Bb trumpet, so experiment with that if you’re finding otherwise. You can also use that approach to play much lower on the trumpet - playing with the resonance rather than (partially) forcing past it makes for a much easier and better sounding experience.
...and thanks for clarifying the register. I’ve never seen it written that way before.
Hi Bryan, guess this way to name the notes is quite common in europe, high C is C''', double high C is C'''' a.s.o.!
Hey! I know this is a really old video, but I was wondering if I could get your advice about something. I currently have braces on, and fingers crossed they come off around May of 2022. I haven't tried the falsetto method of playing high, but I assume I have to do something different in the approach due to my braces. Am I right or wrong, and if I'm wrong, how do I go about building my range?
It shouldn’t be especially different, as an approach. In fact, it should be a much more effective way of playing with braces. When your braces come off, and I hope that’s soon for you, then you’ll be in for an adjustment period because it’s going to feel different. Take your time and try not to force anything.
Thats a great video in great series! My question is where does your falsetto voice on the trumpet start? Is it possible to lower the point with practice so you "switch" at a high c or lower? And how do you make this transition smooth and fluid? Thanks for the Videos and please keep creating more of them :)
Glad to hear you're enjoying the videos. Thanks for watching!
To further the comparison with vocal technique, this is really all about the "mix" - a good singer mixes the chest and head voice so you don't hear a difference, and they perceive it as much less of a switch. In the example video of me playing the arpeggios and glissandi, I'm pretty much in the falsetto version of playing already, so it's something that can work further down the register than you might expect.
More videos coming soon! :-)
Airflow Music thank you so much, i ll have to try it then :)
Hello, i find extremely difficult to hit any note above d in the fourth line of the staff. I play for about 2 months, total begginer. Is it normal? I try really hard but only air comes out. I use a practice mute everytime. Is it a problem? Thank you
It takes time. You’re doing just fine. I would suggest spending some time without the mute. You need to hear your sound to develop.
Hello Bryan - can you please make a video for most common mistakes that prevent a trumpet player expand their range past top of the staff G, that is a G a 4th below high C ? I've been struggling with this problem for the last 5 years and nothing works for me.
Are you able to play with a clear sound and easy approach up to the top of the staff, or does it feel like a fight with sound getting tight and scratchy?
@@AirflowMusicNYC Bryan - I play "full and nice open tone" up to about E in the staff and down to low G also. Everything above E up to G on top of the staff becomes thinned out and G is a cut-out note: nothing is possible above it.
Does an unbalanced embouchure like more bottom than top lip affect range ?
That's a good question! I don't think so, in general. We're all different, with different facial constructions, so our embouchures are different too. I don't mind what your ratio of top to bottom lip in the mouthpiece is, providing the rim sits and anchors outside of the red of the lips. That's what I look for, rather than the ratio.
Thanks for watching!
👍👏👌
Not trying to trash or discredit you, but I noticed the mouthpiece pressure increase as you ascended. I've also noticed that when I get air above G on top of the staff, which happens almost always now, and just increase the pressure slightly, the note I'm going for squeaks out. Do you think pressing beyond the point of forming a seal is valid or detrimental to one's progression? A "P for Pressure" video would be interesting
Thanks for watching and thanks, in particular, for commenting!
If I were able to play perfectly efficiently, then there wouldn’t be any additional mouthpiece pressure. It’s worth considering where mouthpiece pressure comes from. The first thing is that zero pressure is a myth - if you have a seal between the mouthpiece and the lips, then you have contact which means minimal pressure. Any additional pressure has two causes - 1. if you blow harder than necessary for the note, at all, then the air can’t fit through the small throat of the mouthpiece, so you’re blowing the mouthpiece away from your face. Therefore, you pull in a little more which increases pressure. 2. Considering #1, we naturally tend to overdo any pulling in we do to maintain the seal.
In the case of the examples on this video, it’s worth noting that I’m playing my “middle of the road” mouthpiece - it would be considered a lead piece, but it’s only medium shallow, with a #28 throat, and is not the mouthpiece I’d actually use to play lead trumpet on a gig. Despite that, I’m still popping out a double high C with fairly minimal effort and quite softly. I could probably play even more efficiently but that’s what i practice to develop... I’m still playing far more efficiently than average.
tell me what mouthpiece can be used for the upper register as an alternative to Bach 1.5C?
muzh1k_ try a smaller diameter like a 3 5 or 7 c
I don't entirely disagree with premise to try something a little narrower. However, since 1.5C, 3C and 5C are the same diameter with different rim contours, which may account for a different feel, the 7C is the only ostensibly smaller one suggested here.
I made a subsequent video about upper register mouthpieces. Check it out at: ua-cam.com/video/HiA9vOL4RKg/v-deo.html
hello i have issues with my airflow tonguing higher notes
Ok. Can you be more specific about what the problem is?
I find it rather difficult to play higher than a high concert f on euphonium (without going sharp). Anything I can do to combat that?
Which “high” F? On top of the 2nd ledger line in bass clef (or G sitting on top of the Bb treble staff) or the octave higher?
Bass clef
Like, not stupid high f, but normal, brass band high f
why do i have such a hard time with low register flexibility? but can hit the double F nice and clear
Hard to say without seeing you play, although I hazard a guess that you might find some insight in “J for Jaw”, later in this series.
Buhuuu... I wanna cry. Im far away from this...
Don’t be disheartened. I didn’t wake up one morning automatically able to play things. I practiced a lot over many years. Be patient, put in the work, enjoy the process and #gopractice!
@@AirflowMusicNYC There is hope for an ugly swan... Thanks.
You’re welcome. That’s the spirit! All you have to do is try and play a bit better today than yesterday. Then same again tomorrow.
"the today's squeaks become the tomorrow's screams"
Question - with my falsetto I can pretty easily and solidly hit double A flats my problem is actually keeping this same lip position when going low. - I tend to gravitate to the old pinch method and air push. Do I keep working on the flexibility to go lower and then keep working my way up? It feels like there is a weird break in my chops and how the two positions are battling. Cb
Thanks for the great videos. I find that my lower jaw moves forward when trying to hit high register.Also press harder and harder as I go up. Help!
Sounds like practicing with a bugle as you go up and down the scale. Am i right.
Well, it’s moving through the harmonic series, rather than diatonically, so I guess you could think of it that way.
I'm 47, I'm professional tp player and I would never play easily to reach c4, I'm slim like Nakariakov and he also doesn't play high and he never will... I could practice 10 more years, gain weight, but I can't and it will not change anything. I don't have even such a great face muscle base like You. Ehh, this dream will never come true unfortunately, I would be then complete tp player...
Weight has nothing to do with it. Both muscles and coordination can be developed, if you choose to focus some of your time on it. Sergei Nakariakov is one of the very finest trumpeters in the world. The repertoire he typically performs doesn’t demand notes in the extreme upper register, so you’ve never heard him play them. I’m certainly not going to bet against his ability to do so, though. He could certainly figure it out, if he hasn’t already.
It seems to me that the only thing preventing you from playing in the upper register is your belief that it’s not possible for you.