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trb420
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« on: Jun 05, 2017, 04:15PM »

1. Everybody says "work on your low range to improve your high range." I know practicing in the low register helps build air support, but I fail to see how this helps high playing, but not that I don't believe it doesn't. How exactly does this aid in high range development?

2. I have a fairly decent high range, as a function of getting the notes to come out and sustain. But they are airy and forced. How can I work on making them seem more relaxed and resonant (please don't say to work on my low range without an explanation!!!  >:()

Thanks!
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« Reply #1 on: Jun 05, 2017, 04:31PM »

1. Everybody says "work on your low range to improve your high range."

No, "everybody" doesn't say that.

There are lot of things you can work on, but the important part is a proper diagnosis of what YOU need to do - not somebody else.
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« Reply #2 on: Jun 05, 2017, 04:41PM »

Here's a case where a good teacher is a great resource.  Somebody who is intimately familiar with your playing and can make cogent recommendations.

I can tell you to use the Remington "Security in the Upper Register" exercise until I am blue in the face, but it won't help you a jot if you are doing something wrong.

Doug is an excellent resource via Skype or if you are going to be near one of his travels.  But he's not the only guy out there.  There are good teachers everywhere in the country.  Pay for a lesson or two with one.
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« Reply #3 on: Jun 05, 2017, 06:23PM »

1. Everybody says "work on your low range to improve your high range."

I believe this originates as a misstatement or oversimplification of a range-building book of (trumpet) exercises by Claude Gordon.

I haven't seen it since college but I recall a lot of it was about gradually expanding low range and high range at the same time.

There may be a trombone edition.
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« Reply #4 on: Jun 05, 2017, 11:13PM »

I thought I had a great high range and then I shifted the 'weight' to my corners and air support, instead of tensing/rolling my lips. Now my upper register is more resonant, and I can last longer. Can't play quite as high, but it doesn't hurt anymore!
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« Reply #5 on: Jun 06, 2017, 01:35AM »

Do you mean everybody in the bandroom?  ;-)

There is a pretty common advice to expand the range both up and down wards.
I like that myself. However to play high you got to practice high. How? Isn´t intersting how differnt players embouchure work in different ways? Some players do practice low and it works combinated with high music practising, some other players pracrice low, and it is actuallly just not good for them the they do it, but they continiou because they believe "it is good to practice low". It certainly can be, but not allways.
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« Reply #6 on: Jun 06, 2017, 04:24AM »

I suspect that the advice given about low range meant specifically developing pedal notes range. Playing pedal notes with a good sound and in a control manner may force a player to put more flesh in front of the mpiece, which usually results in more vibrating mass and better embouchure control. This should give you more consistency and better control, possibly few extra squeaks, which eventually leads to musically usable tones, notes.

In trumpet world, the so called palm exercise seem to help. I don't know how to translate this for a tbone, but anything that reduces the inward pressure applied to the lips through the mouthpiece or the instrument, and forces you to use more compression from your faces muscles more is probyb         
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« Reply #7 on: Jun 06, 2017, 07:02AM »

I believe this originates as a misstatement or oversimplification of a range-building book of (trumpet) exercises by Claude Gordon.

I haven't seen it since college but I recall a lot of it was about gradually expanding low range and high range at the same time.

There may be a trombone edition.

I believe this may be correct. There are a lot of band directors in my region that say that and many of them learned brass pedagogy from trumpet players if they aren't themselves trumpet players. 
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« Reply #8 on: Jun 06, 2017, 07:56AM »

I believe this originates as a misstatement or oversimplification of a range-building book of (trumpet) exercises by Claude Gordon.

I haven't seen it since college but I recall a lot of it was about gradually expanding low range and high range at the same time.

There may be a trombone edition.

+1. Sounds plausible and legit. There is nothing wrong in expanding, but the question is whether we move towards more efficient set up, or just augment pressure and tension.
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« Reply #9 on: Jun 06, 2017, 08:08AM »

"Systematic Approach to Daily Practice for Trumpet: A Fifty-two Week Trumpet Course Designed to Develop a Register From the Second C Below Low C to C Above High C"

I love stuff with clear goals and time frames and schedules like that!

Why haven't I bought that book and got with the program?

I guess I've never been sure the world would still be here in 52 weeks.
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« Reply #10 on: Jun 07, 2017, 04:00AM »

I practice my bass trombone from the Teele book every day.  My high range began to improve when I began practicing the high range.
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« Reply #11 on: Jun 07, 2017, 04:19AM »

2) Fast air.

...Geezer
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« Reply #12 on: Jun 07, 2017, 07:57AM »

It seems to me in my practice that working on low range does not necessarily benefit the high range. 

However, the process of acquiring new or better low notes seems exactly like the process of acquiring new or better high notes.  And you don't get so quickly tired down there. 

The process is as sabutin say, try everything and use what works.  It the low register, some unexpected lip movement, use of muscle (that one to the chin for instance), tilt, etc. may help that next note happen.  Who knows?  Gotta try. 

Doing the trying in the high register seems to require much more muscular effort, at least until results show up and things get much easier.  But the process seems to be the same. 
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« Reply #13 on: Jun 07, 2017, 08:13AM »

It seems to me in my practice that working on low range does not necessarily benefit the high range. 

However, the process of acquiring new or better low notes seems exactly like the process of acquiring new or better high notes.  And you don't get so quickly tired down there. 

The process is as sabutin say, try everything and use what works.  It the low register, some unexpected lip movement, use of muscle (that one to the chin for instance), tilt, etc. may help that next note happen.  Who knows?  Gotta try. 

Doing the trying in the high register seems to require much more muscular effort, at least until results show up and things get much easier.  But the process seems to be the same. 

That's a nice sentiment, but it may lead to trouble. Tilting the head, the horn angle or the mpc placement might seem like a nice way to hit certain notes and maybe it is for some people. But not for me. My best bet is to keep everything rock steady as much as is humanly possible and train - over time - the muscles AND the membranes to co-operate through my entire range. YMMV! That stated, is there some movement when I play. Probably. But I try for there not to be.

There seems to also be two schools of thought on hitting higher notes. I believe one can muscle them out - to a point and then another approach must be used to go higher; that other approach being finesse. And yet it seems that - for me - I can use more finesse now on notes that used to require all muscle. So I can't help feeling that everything comes from strength and it's often the strength to be able to relax and not have to use the sheer strength, if that makes any sense?

The best bet for the OP is to follow the lead of his instructor, as I am doing.

...Geezer
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« Reply #14 on: Jun 07, 2017, 08:19AM »

"There seems to also be two schools of thought on hitting higher notes. I believe one can muscle them out - to a point and then another approach must be used ..."


That has been my experience. In music school, I had little trouble with high Fs. Now, 40 years later, my high range depends on a combination of air, chops and tongue placement and high Eb-F notes are still 50-50.
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« Reply #15 on: Jun 07, 2017, 08:23AM »

"There seems to also be two schools of thought on hitting higher notes. I believe one can muscle them out - to a point and then another approach must be used ..."


That has been my experience. In music school, I had little trouble with high Fs. Now, 40 years later, my high range depends on a combination of air, chops and tongue placement and high Eb-F notes are still 50-50.

We generally seem to "hit the wall" on the muscular approach at about high C or D - depending upon the player. After that, it's another approach that - when perfected - could possibly be used to hit those "muscle" notes easier as well.

...Geezer
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« Reply #16 on: Jun 07, 2017, 09:11AM »

David Vining's Breathing Book is very interesting.

It breaks down the whole process of how each part works and gives you simple exercises to do so you can remain focused on the breathing.

For me it has really helped open up my sound in the higher register and I'm discovering things about my embouchure as I go.

His idea on upper register is to increase the air pressure - in the way that partially covering the end of a hose with your thumb makes the water go faster and further.

I'm finding that if my lips are where they need to be then the air is doing the work for me as opposed to using excessive pressure etc.

Ross
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« Reply #17 on: Jun 10, 2017, 06:07PM »

Doing the trying in the high register seems to require much more muscular effort, at least until results show up and things get much easier.  But the process seems to be the same. 

We generally seem to "hit the wall" on the muscular approach at about high C or D - depending upon the player. After that, it's another approach that - when perfected - could possibly be used to hit those "muscle" notes easier as well.

Can you elaborate on this? Specifically the "much more muscular effort, at least until results show up and things get much easier" and the "after that, it's another approach" bits.
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« Reply #18 on: Jun 10, 2017, 06:44PM »

Can you elaborate on this? Specifically the "much more muscular effort, at least until results show up and things get much easier" and the "after that, it's another approach" bits.

I believe it involves mastering the art of employing concentrated effort with minimal exertion.

...Geezer
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« Reply #19 on: Jun 10, 2017, 06:46PM »

Sure.  

What happens with you may not be like what happens with me, but...

It's hard for me to think back to what it was like before I learned a couple things.  So let me conclude as I have before that there seem to be three basic ways to move up a partial: 1 more air, 2 contracted aperture (focus?), 3 tongue movement.  

Looking back to when the pressure would start to rise in my head starting from 7th partial G on up, I now realize I was relying on additional air, primarily, to get higher.  Eventually this resulted in a conflict between vigorous blowing and the glottis trying to resist it.  All that blowing was getting bottled up.  

A trumpet friend suggested the glottis may have been trying to perform the function of a raised tongue at the back of the mouth.  Trying this, the glottis immediately relaxed.  That was really crazy.  Then notes just happened, up to a limit, without head pressure.  

Since then it has been one implication after another, fluctuating tongue position.  In general, you can feel this off the horn by blowing through your aperture and listening to the rush of air, which has sortof a pitch to it.  Then vary your tongue as in whistling and that sorta pitch changes.  That is how I understand the higher notes now.  but the CHANGE in tongue position, vigorous change, is showing up in flexibility everywhere.  

So what I mean is that I could have, and did, do strength training in that high pressure zone, but looking back, it cannot have helped.  Much better would have been to hunt and peck for some way to get the pitch out with low effort.  Then finding a low effort path, practice it.  

I'm still looking for a reliable path for 16th partial A and above.  One of these days...

I'm sure I would be nowhere on this without working through a lot of sabutin's kindof experimental practice routines.  I'm not smart enough without a good lead.  
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« Reply #20 on: Jun 13, 2017, 08:24AM »

In general, you can feel this off the horn by blowing through your aperture and listening to the rush of air, which has sortof a pitch to it.  Then vary your tongue as in whistling and that sorta pitch changes.  That is how I understand the higher notes now.

Here's a video that explains this well, I think. The specific thing about how tongue position affects pitch starts around 13:35, but the whole thing is worth watching. https://www.youtube.com/watch?v=ArerPfHbkEk
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« Reply #21 on: Jun 14, 2017, 06:05AM »

I wonder whether this shaping the tongue technique is dependant upon the individuals palette shape. For myself, the change in my tongue shape/angle to help produce the higher notes is minute and something that I don't consciously use and have never felt the need of. Even when I deliberately include it into my practice it doesn't seem to help at all, and just gets in the way.

I do arch to tongue downwards to open out lower notes though..
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« Reply #22 on: Jun 14, 2017, 06:34AM »

I wonder whether this shaping the tongue technique is dependant upon the individuals palette shape. For myself, the change in my tongue shape/angle to help produce the higher notes is minute and something that I don't consciously use and have never felt the need of. Even when I deliberately include it into my practice it doesn't seem to help at all, and just gets in the way.

I do arch to tongue downwards to open out lower notes though..

One can only arch their tongue up so much. I can't arch it up into my brain, although some think I do. lol

When the tongue is already up there as far as it can go, to ascend further, something else must - apparently - occur.

I'm just beginning to get the idea of finesse. When I'm on it, the higher notes come out nicer with far less muscle and therefor with an increase in my endurance.

...Geezer
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« Reply #23 on: Jun 14, 2017, 07:26AM »

I wonder whether this shaping the tongue technique is dependant upon the individuals palette shape. For myself, the change in my tongue shape/angle to help produce the higher notes is minute and something that I don't consciously use and have never felt the need of. Even when I deliberately include it into my practice it doesn't seem to help at all, and just gets in the way.

I do arch to tongue downwards to open out lower notes though..

If I play any tone for a long time and flex the back of my tongue up and down, the sound changes. The pitch do change if the embouchure change i sympathy with the tongue. If I keep the embouchure absolutely still, I can flex my tongue all day, the sound changes but not the pitch. Most students can not separate the embouchure from this symphatetic move.

Whathappens with the tongue arch is that the rewsonance chamber (in the mouth) get smaller and higher pitches get priviliged. The air speed does not change because the lip apperture is smaller then the aperture between the tongue and gum.
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« Reply #24 on: Jun 14, 2017, 07:44AM »

One can only arch their tongue up so much. I can't arch it up into my brain, although some think I do. lol

...Geezer

That would require that you HAD a brain, and.........nah, that's just too easy.

Here's a thought.

It might not be a linear thing - higher tongue equals progressively higher pitch.

Is that true for the slide?  Can we only play 7 notes?  Nope.  But, we have to be in the right place. maybe it's the same for the tongue. 

It's fun to speculate. 

Probably the most practical takeaway is simply that if you're working hard, you're doing it wrong. 

And you can get to C or D by sheer effort, but you're doing it wrong. 

Disc golf pros say you can get to about 300 feet with arm muscle.  The record is almost 800 feet.  I'm not even at 300 feet yet, but I'm starting to throw with less effort, so I might be on the right track. 
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« Reply #25 on: Jun 14, 2017, 08:05AM »

That would require that you HAD a brain, and.........nah, that's just too easy.

Here's a thought.

It might not be a linear thing - higher tongue equals progressively higher pitch.

Is that true for the slide?  Can we only play 7 notes?  Nope.  But, we have to be in the right place. maybe it's the same for the tongue. 

It's fun to speculate. 

Probably the most practical takeaway is simply that if you're working hard, you're doing it wrong. 

And you can get to C or D by sheer effort, but you're doing it wrong.
 

Disc golf pros say you can get to about 300 feet with arm muscle.  The record is almost 800 feet.  I'm not even at 300 feet yet, but I'm starting to throw with less effort, so I might be on the right track. 

I figured I tossed up a softball! lol

I like how you phrased it b/c it's where things gets sticky on this Forum. There is strength involved. There has to be or not one single note of any pitch would come out. But it should not be hard work. And for those of us who make it hard, we are doing it wrong.

...Geezer
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« Reply #26 on: Jun 14, 2017, 11:36AM »



But it should not be hard work. And for those of us who make it hard, we are doing it wrong.

...Geezer

Are you using the same aperture in the higher register as you would for say, for a middle Bb?
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« Reply #27 on: Jun 14, 2017, 12:46PM »

Are you using the same aperture in the higher register as you would for say, for a middle Bb?

Logic tells me that it can't be. Taking it further, would the aperture be the same on a low C (below the staff) as it would be for an altissimo C? How could it possibly be the same? And yet, it should require no more work to hit the altissimo C as the low C. When we learn how to vibrate our chops to get out a low C, we don't really think of it as working hard. It's just a frequency at which we have trained our chops to vibrate and we have found the correct way to do it. I believe it should be the same concept for all other notes. But for some odd reason, somewhere along the line in our learning, we have turned playing high into an Olympic sport.

Maybe that is due to the examples we have all seen. Think back to some famous trumpet players you have watched bloating themselves up like big bullfrogs to hit high notes. Maybe that is merely showmanship on their part b/c that is what is expected. Perhaps, if those same trumpet players wanted to, they could casually play every bit as high leaning up against a lamppost, with one hand on their horn while shining the fingernails of their other hand on their lapel. No showmanship there, though! lol Which image do we have of Tommy Dorsey or Urbie Green playing high? The former or the latter?

Try this: warm up well, then cross-grain slur a middle Bb in 1st position up to a high Bb in 3rd position. If it is a lot of work to hold that high Bb, you are doing it wrong. If you can instead, do it so that the high Bb feels like just about as much work (okay, maybe a litttttle more work) as the middle Bb, you are doing it right. We should be able to stroll down Broadway all day doing that exercise; up & down & up & down... It should be that  easy.

Anyway, that's what I'm aiming for. Easy to say...

...Geezer   
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« Reply #28 on: Jun 14, 2017, 12:53PM »

Try this: warm up well, then cross-grain slur a middle Bb in 1st position up to a high Bb in 3rd position. If it is a lot of work to hold that high Bb, you are doing it wrong. If you can instead, do it so that the high Bb feels like just about as much work (okay, maybe a litttttle more work) as the middle Bb, you are doing it right. We should be able to stroll down Broadway all day doing that exercise; up & down & up & down... It should be that  easy.

Aha!!!

I see what you're doing wrong.

You're playing notes that you CAN play wrong, like high Bb.

You need to practice notes that there's no way you can play by working hard, like the double Bb.  There's no pressure on that note, because you KNOW you can't hit it with strength.
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« Reply #29 on: Jun 14, 2017, 01:01PM »

Aha!!!

I see what you're doing wrong.

You're playing notes that you CAN play wrong, like high Bb.

You need to practice notes that there's no way you can play by working hard, like the double Bb.  There's no pressure on that note, because you KNOW you can't hit it with strength.

No you don't. You aren't my instructor and you aren't in a position to see me play - - - - - unless..... Okay, I just put a piece of black electrical tape over that glowing dot on my monitor. lol

I don't know what in my narrative sent the message that I was doing anything wrong. I was trying to explain what I believe is the correct concept to approach high-range development.

I like the concept you stated about taking brute force out of the equation because it won't work anyway.

...Geezer
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« Reply #30 on: Jun 14, 2017, 01:09PM »

Are you using the same aperture in the higher register as you would for say, for a middle Bb?

I was asking this question because there seems to be a lot more interest in the mouth cavity rather than the "reed" set, or aperture.

Pages 30 and 6 of "Tromboninisms" by Watrous/Ralph is a good explanation IMO.
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« Reply #31 on: Jun 14, 2017, 01:18PM »

I have that book. It's good. But I think there are some things that simply can not be learned by most of us from out of a book or dissection on this Forum. I believe some things need to be learned by rote; observation, discussion, demonstration and trial; on a one-on-one basis.

OBTW: that hair-cut is soooooo 70's! lol Been there; done that.

...Geezer
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« Reply #32 on: Jun 14, 2017, 01:31PM »

brute force can be useful, if you know where to apply it....
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« Reply #33 on: Jun 14, 2017, 02:51PM »

I wonder whether this shaping the tongue technique is dependant upon the individuals palette shape. For myself, the change in my tongue shape/angle to help produce the higher notes is minute and something that I don't consciously use and have never felt the need of. Even when I deliberately include it into my practice it doesn't seem to help at all, and just gets in the way.

I do arch to tongue downwards to open out lower notes though..

I have often wondered this also. I dont conciously do anything different with my tongue regardless of what register I play in. Im sure its doing something, but it cannot be a huge involvement or it would be obvious to me. I actually notice my Jaw being more involved. If I slur from the pedal register to the high register through slow arpeggios I can feel my jaw raise slightly each time until it gets to a point where it feels like it doesn't need to any more. If I want to manipulate my sound quality, I think about blowing in different ways rather than messing about with my tongue.

Is there a way to determine what palette shape you have in comparison to someone elses? I would love to find out if that is actually a factor.
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« Reply #34 on: Jun 15, 2017, 01:56AM »


 I think there are some things that simply can not be learned by most of us from out of a book or dissection on this Forum. I believe some things need to be learned by rote; observation, discussion, demonstration and trial; on a one-on-one basis.

...Geezer

I really don't know how to respond to this post..  Confused
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« Reply #35 on: Jun 15, 2017, 05:15AM »

Well, it's been said that a picture is worth 1K words. For me, that holds true. So if I see a picture of something, I get more out of it than reading a narrative that goes on & on & on. Taking that a step further, if I see a live demo of something, I can get more out of that  than a static picture of something.

I believe some teachings must be done live; one-on-one with either a single student or a master class. I just don't think some things can be adequately communicated via written text to some of us, like - me. And that is why I have turned to professional instruction. I could only go so far by reading about it. I think learning how to play seemingly effortlessly in the extreme high range is something I need to be shown, rather than me trying to read about it.

I believe that concept holds true for many of us, albeit perhaps on different topics. Some of us can read all day long about playing with style, rather than just playing notes, but until we are taught by example - by rote, if you will - we might not get it.

...Geezer
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« Reply #36 on: Jun 15, 2017, 08:21AM »


Try this: warm up well, then cross-grain slur a middle Bb in 1st position up to a high Bb in 3rd position. If it is a lot of work to hold that high Bb, you are doing it wrong. If you can instead, do it so that the high Bb feels like just about as much work (okay, maybe a litttttle more work) as the middle Bb, you are doing it right. We should be able to stroll down Broadway all day doing that exercise; up & down & up & down... It should be that  easy.

Anyway, that's what I'm aiming for. Easy to say...

...Geezer   

You can also do a lip slur like a cross grain in 1st position only, from mid-range Bb to high Bb. Or, from 1st(mid) to 7th(high).

BTW, I always need more work. It's a life time journey!

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« Reply #37 on: Jun 15, 2017, 08:27AM »

You can also do a lip slur like a cross grain in 1st position only, from mid-range Bb to high Bb. Or, from 1st(mid) to 7th(high).

BTW, I always need more work. It's a life time journey!


Yes indeedy - to everything!

We can go Full Monty with cross-grain slurs, using all the alternate positions that fit in; up to as high as we want, with lots of them ending in 6th, #6th, 7th, #7th, etc. Try a cross-grain scale slur from middle C in 3rd, up to high C in 7th, with lots of alternate positions to make as many cross-grain slurs as possible. That high C should not be muscled or forced. Great exercises! The new Remmy!

...Geezer
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« Reply #38 on: Jun 15, 2017, 09:09AM »

Well, it's been said that a picture is worth 1K words. For me, that holds true. So if I see a picture of something, I get more out of it than reading a narrative that goes on & on & on. Taking that a step further, if I see a live demo of something, I can get more out of that  than a static picture of something.

I believe some teachings must be done live; one-on-one with either a single student or a master class. I just don't think some things can be adequately communicated via written text to some of us, like - me. And that is why I have turned to professional instruction. I could only go so far by reading about it. I think learning how to play seemingly effortlessly in the extreme high range is something I need to be shown, rather than me trying to read about it.

I believe that concept holds true for many of us, albeit perhaps on different topics. Some of us can read all day long about playing with style, rather than just playing notes, but until we are taught by example - by rote, if you will - we might not get it.

...Geezer

I agree! I have always benefited more from a one on one teaching situation(with me being the student), rather than playing exercises out of a book. Exercises in books are a collection of notes, and w/o instruction of the purpose that I'm to gain by playing those notes, then it's flying blind. I've done this for years. I guess I thought the purpose was to just be able to play the notes as written with good timing, tone, articulation, tuning, and breathing, and that's not a bad thing. However, there can be so much more to gain when you have an instructor give you specific exercises with specific details how to approach the exercises, and what he wants you to be able to achieve with those exercises.

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« Reply #39 on: Jun 15, 2017, 09:18AM »

No doubt.

And applying this to high-range development, I believe that every note we play or even try to play should be from a musicality standpoint. They aren't just notes to get out. Every written note is a musical representation of something. It's up to us to try to play the notes and play them musically if at all possible. That's a tough one when we are just trying to even squeak out a high note. But we would do well to still keep it in mind. It would be a little mental salve applied if I thought that - even though I stunk up the joint - at least I was conveying an enthusiasm of trying  to make music.

...Geezer
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« Reply #40 on: Jun 15, 2017, 12:46PM »

No doubt.

And applying this to high-range development, I believe that every note we play or even try to play should be from a musicality standpoint.

Hmmm.

That's a start, but there's a limitation when you play A musical NOTE.

I sing with some people who do that.  They put a lot of mental energy into singing the right note.  In fact, that uses all the concentration they have, and they never sing a phrase.  Really no note can exist on its own - it always leads to or comes from somewhere.

Now I've gone off the topic of high range though. 
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« Reply #41 on: Jun 15, 2017, 01:13PM »

Hmmm.

That's a start, but there's a limitation when you play A musical NOTE.

I sing with some people who do that.  They put a lot of mental energy into singing the right note.  In fact, that uses all the concentration they have, and they never sing a phrase.  Really no note can exist on its own - it always leads to or comes from somewhere.

Now I've gone off the topic of high range though. 

Maybe. And despite your ubiquitous bucket of cold water, I believe it can be applied to range-building. Every note that comes out of our horns should exist within a musical frame; or at least a mind-set of trying to make it so. I understand there probably are those who could subvert that concept into weirdness or otherwise Florence Foster Jenkins it up. There always are. But that doesn't mean the concept is invalid. Anyway, that is the premise I try to operate under; whether during range-building or anything else I'm trying to learn.

It's a matter of degree. We have all seen the posts (and I believe I've made some of them!) of middle school students huffing and puffing away mindlessly on long tones vs what I imagine how a top-ranked symphonic trombone player approaches them. Two divergent ends of the same spectrum. It can be applied to range-building efforts as well. Shouldn't we at least try to make our efforts sound nice?

...Geezer
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« Reply #42 on: Jun 16, 2017, 02:09AM »

Yes indeedy - to everything!

We can go Full Monty with cross-grain slurs, using all the alternate positions that fit in; up to as high as we want, with lots of them ending in 6th, #6th, 7th, #7th, etc. Try a cross-grain scale slur from middle C in 3rd, up to high C in 7th, with lots of alternate positions to make as many cross-grain slurs as possible. That high C should not be muscled or forced. Great exercises! The new Remmy!

...Geezer

I'd understand this post a little more easily if you could demonstrate as below...


 I think there are some things that simply can not be learned by most of us from out of a book or dissection on this Forum. I believe some things need to be learned by rote; observation, discussion, demonstration and trial; on a one-on-one basis.

...Geezer

 Hi
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