Power, Range, and Endurance Questions

Q: Dear Mr. Wilson.

I have a question regarding my trumpet playing. I've been playing for about 4 years now and just finished my first year in high school. I'd like to improve over the summer especially in the higher register (high G to high C's) and work on playing longer in the higher register without my lips failing me. What should I do to get to that goal?

Thanks

Frank

A: Frank,

There are no shortcuts. It takes time. The absolute best thing is to taker regular private lessons with a good teacher. They will work on all the areas you need to improve so that you can do what you want to do musically on the trumpet.

Dr. Douglas Wilson

Q: I don't consider myself to be an amazing player, nor do I concentrate on the upper register to often. However, I am an enthusiastic pep band player, who enjoys taking things up an octave every now and again (plateau is about a C above the staff) using a Schilke 14A4A. I have a couple questions and concerns. First, is there any shallower mouthpiece that is of higher quality then the 14A4A to assist me in the upper register? Second, could you please describe the ideal embouchure to aide such play? Next, is there a quick fire way to increase or improve endurance that is not tied to months of practice (I assume this is tied to embouchure)? Finally, after a prolonged amount of time playing up the octave I find myself to be light-headed when I stop; what is the cause and solution to this issue?

Thank you
David

Answer:

Dear David,

I suggest you go to the website and read my responses on range. You will find some answers and background info that may be helpful.

1. There are no short cuts.

2. There is no magic bullet.

2. There is no magic mouthpiece.

Professional trumpet players (who make a career of playing in the high register) play on a large variety of mouthpieces that range form very big to very small.

Through the years, I find myself playing on equipment about the 2-3C size and staying away from shallow mpcs. They have their place, but not for most players, IMO.

There is no perfect embouchure. There is no perfect mpc. It's the person behind it. You get light headed because you embouchure is not developed enough to handle the playing you are doing. I suggest you take lessons with an experienced teacher and see where he/she leads your playing. If you do, I think you will get to where you want to be.

DW

Q: Pressure & Endurance

I've been playing the trumpet for 5 years and have excelled greatly. This past school year I was a freshman in high school and the top trumpet player of the school. I have a great tone and work ethic. I play with immense pressure on my lips and I tire in minutes. How do I limit pressure and build playing length endurance? My other problem is double tonguing. I find a lot of trouble producing the sound into the trumpet, and having the sound come out. How do I quickly adapt to double tonguing and become great at it? I wish to improve even more. Thanks for helping.-Bridget


A: Dear Bridgett,

Great Questions! I congratulate you on your progress and determination.

The short answer is to your problems is that they are very easy to fix, IF you are taking regular lessons with a competent teacher.

If you not taking regular lessons, if will be very difficult, if not impossible to fix this on your own. No sugar coating here, just the truth! :)

The lips must be free to vibrate when we play. Using excessive pressure severely limits the vibration of the lips. Because you use too much pressure (everyone uses some pressure, BTW), you are going to continue to have problems with ALL aspects of your playing: range, technique (double tonguing), endurance, tone, everything.

I can give you some exercises to help free up the sound, but these should ideally be demonstrated "live" by your teacher.

Blowing the leadpipe to improve your tone and relax your sound:

1. Remove the tuning slide
2. Prepare to play as normal
3. Blow (instead of buzzing) the pipe and you should get a pitch that is almost an "F". You can test it by playing an "F" before you do this.
4. The sound should be free, full, and most importantly forward. You can change your sound by moving "it" back and forth or front and back. Just think forward and think backwards and you will hear the sound change. The sound should be forward.
5. Blow a tone for 5 full seconds and rest 5 seconds. REPEAT for 11 more times total 12.
6. Replace the tuning slide and play an "F" You should hear an immediate improvement in your sound.

Place the attached exercise with this new sound in mind.

DT. I use DAGA, keeping the sound forward at all times and moving HUGE amounts of air.

If you really want to improve invest in yourself and take regular lessons. Ask your BD for recommendations. Check with local colleges, etc.

DW

Q: Hello,

I've been reading questions from other people on your website and I am amazed at the range that some people can achieve. And I have also noticed that you shouldn't worry about range first but my range is horrible. I first started playing trumpet in year 4 and I'm now in year 12 (so 8 years of playing). A went to a trumpet teacher after a year of playing, I was progressing pretty well and then I got braces in year 7. The braces killed me as well as the will to practice. I struggled with a G (the one that is resting on the staff), and could never play any higher.

I finally got the braces off about 1/2 a year a go and now I can play an A confidently almost all the time (despite the sound). I also have two teachers now, and I am the first trumpeter in our bands at school. However my school in Australia is a small school and I'm the best trumpet player in the school, but I'm quite worried about the range because a lot of the pieces require me to play Cs and Ds above the staff. I'm almost certain that the range is quite bad for the amount of years I have been playing for, and I have been practicing 30-40 minutes a day everyday post braces, and I'm slowly improving but not as fast as I would like.

Would you be able to tell me a rough outline on the range I should be achieving at this age/years of playing, and any suggestions on improving range? My teacher has got me to focus on breathing, and also exercises with pedal notes.

Thanks
Ben

A:Ben,
Thanks for your question.

First, let me say, "Dont believe everything you read on this post from trumpet players!" Trumpeters are notorious for "stretching" the truth shall we say. Most can not play with the range they say they can. I have been a teacher and player for over thirty years. Only a few players can routinely play above "G above High C."

Second, you range is really pretty good considering the situation you describe. I would suggest however that you begin to think seriously about practicing more and perhaps harder when you do. 30 minutes just will not get it done , IF you want to progress to a higher level of playing. Your teachers will know best.

Best,

Dr. Douglas Wilson

Q:Hello,

Recently I have been experiencing problems with my endurance, and part of this has to do with my bottom lip I believe. After playing for about an hour or so, I can't play anymore, and my upper lip is tired. However, my bottom lip feels fine. So, how can I use my bottom lip?

A:

I don’t think that is the problem. I’m not sure you even really have a problem.

If I, or any trumpeter, played for an hour (WITHOUT REST) we would all be very exhausted. I suggest when you practice, that you rest as much as you play. I think this one bit of advice can help almost ALL aspects of your playing and growth. By resting, you allow the blood to remove toxins that naturally build up in muscles when they are used, you build strength, and your practice time becomes more effective.

If you can play for an hour, your embouchure probably is okay. I do not think you have a bottom lip issue. My advice REST!

DW

Q: Hello, My name is Micah. I'm a freshman in college majoring in jazz performance, though I play classically as much as I do in the jazz idiom. For seven years, I have been using ungodly amounts of pressure from my "left-arm-embouchure" and I've not had an instructor to tell me that was wrong, until coming here. She has done wonders for my playing and has, in this short period of time, helped me relieve a great deal of that pressure playing habit of mine. However, one issue that boggles me and seems to hinder my playing all the time is range. If I use my regular (incorrect) method, I can rip on high G's and A's above high C... however, if I don't, I'm really only reliable up to about an octave below that. I can't seem to figure out how to improve my range, or really even how to play any higher than that without using pressure. Can you help me with some advice about the physical mechanics of range playing? I honestly don't know what I should be doing with my body to produce the outcome of a solid upper register.

Thanks for your time!
Best,

Micah Maurio

A: Micah,
You teacher is right!! Be glad she came along in your career now.

The less pressure the better...especially for your career after college. Pressure will work……but up to a point. You also run the risk of damaging you chops when you really need them at 45-55 yrs of age, IMO.

This will take some while to fix. It didn't develop over night and it won’t be changed over night.

First, do what your teacher says.

Second, I have found that thinking about eliminating a problem can actually cause it to increase or at the very least not to diminish.

So..... Think about the sound you want to have and put ALL your concentration into making that sound. Don’t think about range or your left arm, etc; Think about the sound you want.

In so doing the body will make the adjustments naturally (as it CAN and WILL do) without interference. The problem comes in with our minds that wander and then want to start to take control. Your brain starts talking to you about how bad you are playing with this “new approach” and that if you only forget about what your teacher says then you could hit those high notes and “BE THE STAR!”

Baloney…

Read Psycho-Cybernetics (Maltz) and The Inner Game of Tennis (Galway). These texts can help explain want I mean and I made them required reading for my students.

Do lots of lyrical easy playing and then gradually work up in range. I.e. Do Getchell 1 exercises then transpose up several steps until you are at the octave. The REAL TRICK is to keep the same sound in the upper register that you have in the lower. This is the critical step most students miss. They want to "rip" G's and A's like Maynard and the sound they get in the upper register is thin and lifeless. Playing high really should NOT sound high!!! Unless you are going to have a career like Maynard, don’t worry about---range is highly overrated.

For Jazz: Great Ideas, Your own sound and concepts, playing in all keys, styles, etc. Great reading ability and getting along with others.

For Legit playing: Great Sound, playing in all keys, styles, etc. Great reading ability and getting along with others.

These are the traits that get a player hired and rehired!!!!

There are only a few guys in the industry that are high note guys. The business has changed dramatically in the past 20 years.

I know your ego is a little bruised right now. Forget your ego and become a great trumpet player and musician.

All the best

DW

Q: Hi I started to play the trumpet not so long ago. I have a question and I would like please to receive an honest answer. Can anyone with hard work and dedication develop a high register on the trumpet? To know where I stand, what note can a beginner trumpet player hit?

A: Thank you for your question. My honest answer is that anyone, and I mean anyone, can have a "high register" on the trumpet. Playing the trumpet has nothing to do with where you live, or how much money you have, or anything else, EXCEPT, hard work for a long time.

My question to you is, "Why are so concerned with playing high notes?"

I believe a trumpet player’s biggest asset is his or her sound and that one should strive to play with a beautiful tone in all registers..."High Notes, Low Notes and All The Notes In-Between" (to quote the great John Haynie).

Concentrate on becoming the best musician you can.

Learn to appreciate many different kinds of music.

Listen to great trumpet players, other instruments, and singers.

I believe you will enjoy music more and be happier in the life.

DW

Q: I have been playing 3yrs and I am in 7th grade, but I don’t have a private teacher. The highest note I can play is an E in the top space and sometimes an F. My goal is to play a G. Also, every time I play the mouthpiece goes to the right of my mouth. I have tried looking in a mirror but it doesn't work. I have tried out for the Honors County band and I did not make it. I got a 7 on my tone {on a scale from 1-15} I want to know how I can improve this.

A: Thanks for your question. It is a very good one. All improvement begins when we recognize we need help. The truth is… it is almost impossible to truly fix problems over the Internet, but I can guide you to people who can. That being said, my advice to you is to ask your BD for a recommended private teacher. If you live in a rural area, you might be able to study with a HS senior or junior trumpet player. Either way, it is rare that one can "diagnose" one's own trumpet problems and fix them. If your goal is make Honors County Band, you will need the help of a teacher. They can help guide you and get you where you want to be, IF you take the advice AND practice!

Please email me back and let me know how things improve!

DW

Q: I'm 2nd Chair in our high school concert band and 2nd also in jazz band. I'm in my 5th year of trumpet and it seems like everybody around me can play high (up to C above the leger line) for long periods of time. If I'm having a good day, I can maybe hit the C once or twice. It seems like everyone around me is getting better (even though I practice about 40 minutes a day) and I'm the same I was 2 years ago. Is there something that I'm doing wrong, because I'd really like to move up to 1st hopefully for the New Year.

A: Take time to look through the Power, Range, and Endurance archive, for good advice about this issue.

High notes are highly overrated in my opinion. What is more important is your sound. People don't remember how high you play, but whether or not it moved them emotionally, i.e. you play pretty and "say" something when you play.

Range will come with time, and it does take time.

The more you worry about it and keep thinking about how you can’t do it, the longer it will take to accomplish your goal.

Think about something positive…. like a beautiful sound. Listen to great trumpet players and copy their sound. Good things will happen.

The best advice I could give you is to find good trumpet teacher and stick with him or her for a couple of years. Our playing needs to grounded in good, solid fundamentals. When this is done,.....high notes, low notes, fast and slow notes all work well. :)

So...Get a teacher and then listen to what can happen!

Q: Hi, my name is Kenneth and I live in Georgia. I have been playing the trumpet for about a year and 3 months. I am a good player, at least that is what I think, but I have a problem with my playing stamina. I want to play longer but I just can't, my lips give out on me and it makes me mad. Do you have any suggestions on what I can do to improve my stamina? I also have another question. I can get high notes it is just that when I play them they sound like I am "pinching" them to come out. I really hate that sound, because it makes me sound as if I am struggling with the notes. What can I do to make a more "un-pinched" sound?

A: Hello Kenneth, Thanks for the great questions

Endurance:

Stamina comes with time and proper practice. The best advice I can give is to rest as much as you play, especially as a new player.

Your muscles need time to build and rest. Therefore, when you practice (which should be everyday!) put frequent rests in your practice time. Ask your Band Director and he/she should be able to help you.

High Notes and sound:
This also comes with time. Always keep a “good sound” forefront in your mind when you play. It really is as easy as this. However, it is not so easy to do.

You must make the decision to always play with a “good sound” It will take time for you to develop. Do give in to the temptation to “get the notes.”

Keep your “good sound” foremost in your thoughts when you play. It helps significantly to keep the “sound out front". Just think about it and it will happen.

You will find over time you will be able to play higher with a sound you like.

Check out the Master Class section of the Youth site for great practice tips!

Q: I have been playing trumpet for about one year now. I can reach the A 5 spaces above the staff and I have a high chair in my high school. However, recently another trumpet player told me I us more bottom lip when I play, which is what French horn players do, I have watched my self playing in the mirror and he is right. However, when I took private lessons my teacher never mentioned anything. My band director also told me I have one of the best tones in the school, and I made second chair in the All-Miami Jazz Band. Is my embouchure a problem, and if so, how do I fix it? -Abraham Brovold, 14

A: Dear Abraham,

Listen to your Band Director. He hears your playing everyday in class. He knows a good trumpet sound when he hears it. You have no embouchure problem.

DO NOT listen to your friends. Do NOT look into a mirror. There is no ONE perfect way to play the trumpet. There is no ONE perfect way to look when you play the trumpet.

Ask your BD for names of trumpet players whose CD you can buy. Listen to lots of recordings and enjoy the instrument.

Ask your BD for a recommendation of a private teacher. I highly suggest you get one!

Q: Hi. I have a problem that I keep running in to, that I think you can help with.

I'd like to say that my tone is pretty nice, but it seems like I have to blast my air just so I can be heard in the section (there’s 8 of us). Then when I do my good tone goes away. At home, I don't have to play that loud so I just hear my normal sound, instead of the blasting that I have at school. What can I do about that, I mean besides blasting at home.

Also I've been playing trumpet for 3 almost 4 years now and my range has improved a little, I mean I can hit a double C right off the bat and I've even hit a super G before (then I passed out...) and I can get low, like double low C, but I can't play high very long at school mostly. What can I do for it, because my director said "try playing a high G and holding it and then work your way up.", but it didn't really help.

Any suggestions?

A:

Tone:
I understand you dilemma. The answer to having a good tone in band class is to always play with a good tone. Don’t sacrifice tone for volume. It seems as though the trumpet section is playing too loud as a section and this is why you find it hard to hear yourself.

If you blast-away at school, you will develop a very poor tone. Remember, you probably play more at school than at home - school is where you will build good habits.

Range:
Range develops slowing over a long period. My advice for you is to a take a full and expansive breath and always play with the best tone possible. This will build the muscles in your face and embouchure needed for range. You also might want to look over past answers about range (on the ITG Youth website).

If you have been playing for four years, I suggest you start taking private lessons perhaps 30 minutes each week. You will see and hear the improvement more quickly - especially during the summer.

Good Luck

Q: I have two questions about the trumpet I would like to to ask you. First off, I would like to know what you mean when you say I can hit a D'''.I know what a triple C is, but would a triple D be a whole step higher than a C''', or is it the note right above C''? And is C'' generally called high C?

Secondly, I'm 13 years old and have played trumpet for 2 1/2 years, and I've been using a Bach 7C mouthpiece. I can hit a D above C''on a good day, and after playing up on those notes for a short period of time pretty much kills my trumpeting for the rest of the day. Every single trumpeter in my band has braces, so there is a lot of pressure on my to be able to strongly play high notes. I would like to be able to go higher, and I'm not sure if having a different kind of mouthpiece could improve my range. Do you have any suggestions?

A: Luke please refer to the this range chart for reference. http://www.trumpetguild.org//itgyouth/solo_rev.htm

D''' is one step above C''' ( most often referred to a high C)
Double High C is C''''
Triple High C is C'''''

Double and Triple High C are VERY high and playable by very few players.

Range development takes a long time. Having braces will many times limit what a player can do. That is the price for having a pretty smile, BUT it is worth it in the long run.

Playing a different mpc is not advisable at this stage. This takes some guidance from a teacher. It can do more damage than good at your stage of development so I recommend you NOT get another mpc for notes that are difficult to reach. Let the other guys do it.

My advice is to consider a teacher for good solid development as a musician because braces can be tough on the lips.

Your range will come in time!

Q: Hi!

I'm 16 and've been playing the trumpet for 6 years. My first two years @ high school i didn't really care too much about range cuz i figure its how well you can play not how high you can play that matters. But now i'm a first trumpet and suddenly... range is the only thing that matters (the guys on either side of me spend the entire warm-up time -- especially at jazz band -- trying to see who can play the highest). The problem here is, i don't have much of one at all. I can play high C very easily, but i can't play that C# to save my life. I can play it if i do the scale, and once i get to it i can go up and down and go back to it, but if i put the trumpet down then, with the pitch in my head, and try to play it again, i absolutely cannot. Any advice?

A: I think you have ask the question ALL trumpet players ask themselves at some point. There are many theories out there today about how to do this. They all boil down to two different approaches in my opinion:

One: Concentrate on the Sound, or Two: Concentrate on the physical aspects of playing high.

It has been my experience that using the first approach (Listening to the sound) is quicker and longer lasting.

Playing high is a "means to an end' and should be approached as part of a broad understanding of trumpet fundamentals. This means studying with teaching who can show the way and demonstrate how to do things. Range comes when the proper foundation is present.

Now some specifics just for you:

You have great range for a 16 yr old. Bravo! Do not worry about some numbskull, high note driven jock next to you. Warm up the way you have been doing and stop listening to these guys.

How to:

1. Take a big, expansive breath. Move lots of air with a sense of relaxed energy, not with strain or tension.

2. Keep a great sound foremost in your mind.

3. Stay relaxed and keep your sound "out front".

4. Practice Scales, Chromatic scales, and Arpeggios and melodies ( as in the Arban or Getchell's Practical Studies Book One). Start in a range where you can absolutely positively do it every time, probably 4 or five notes below C#. From there it is a matter of expanding up. Developing ranges takes time. There is no quick fix.

You indicated playing the note outright was difficult. <but if i put the trumpet down then, with the pitch in my head, and try to play it again, i absolutely cannot>.

Probably the biggest change you have to make is in your thinking. The mind is an incredible thing, but it takes directions literally. If you tell yourself you cant, you will have a VERY HARD time improving.

Finally...

Get a teacher and take regular lessons. Ask the teacher to demonstrate. Modeling someone is a proven way to make lasting changes.

You sound as if you are ready to do something special with the horn with the right guidance.
DW

Q: This is my second year playing trumpet but I have progressed very well I am able to hit the c's d's and e's above the staff but I just cant seem to get any higher no matter how much I practise, what should I do? I would also like to know the best way to learn how to vibrato inside your mouth, (without shaking the trumpet) I think it sounds a lot nicer. Finally, the flutter tounge, I would like to know the best way to do this I can roll my r's, but I cant do it inside the mouthpiece, Thanks for your time.

Based on your description of your playing and range, I recommend you get with a local teacher and take private lessons.

I believe range is achieved best as a by-product of developing endurance and playing in a relaxed manner. If you work on this concept with a teacher, your range will develop as well. It does take time however. Be patient. For a second year student you have exceptional range.

Vibrato ... copy a singer, preferably not a pop singer, but someone who sings Classical or Swing. Listen to the Arts Channel on Cable TV. (Tony Bennett, Harry Connick Jr., etc)

Sing a note and then add vibrato to it. Copy this sound on your horn. If you can think it and sing it, you can play it!

Without the horn, make the sound, "poo, woo, woo, woo, woo, woo, woo." one continuous sound.

The jaw will go up and down. But, when you do this on the horn, the movement is VERY slight, much less than when you make the sound with only your voice.

Flutter Tonguing.... You have the basic premise down. Just move more air when you start to flutter on the trumpet. It takes move air to flutter a specific note than it does to play the note without flutter tonguing. Patience, it will come.

Q: Hi. I’ve got a question to ask. I’m a beginner on trumpet and am trying to catch up to a senior band. I’m in grade 9 and have been playing clarinet for 4 years. I started playing trumpet for jazz band and found that I really enjoy it. Right now, I’ve been playing for a few months and can hit all of the lower notes up to a high e and sometimes a little bit higher. So I’m wondering if there are exercises I can practice that would help me catch up to my senior band and to be able to reach the higher range? Thanks.

A: (Pause while I get on my soapbox). To be able to hit an E’’ after only playing a few months is fantastic! Range takes time to develop. There are no shortcuts or tricks that can be employed. The best approach is a gradual process, focusing on developing your embouchure and lower lip pucker with lip bends and pedal tones (as mentioned in other answers). The stronger the embouchure muscles, the better the range.

Far too many high school students are fascinated with high playing. In an effort to play higher, the fundamentals of tone production and solid technique get pushed aside. Being totally honest, I have found that most of my money I have made as a professional has been for playing from C’’’ (high C) and below. Aside from playing lead in jazz bands, there isn’t really much call for screaming trumpets. Stick with a defined practice routine, follow the advice of a private trumpet teacher, and work on developing a good sound concept. This will serve you best in the long run.

Q. I've been playing trumpet for about five years. I've run into a problem lately on which way to go with my embouchure in the upper register. My first teacher's philosophy was "just blow". I think this helped me get passed the bumps when I was first starting out but I've realized that that just doesn't quite cut it in the long term. My teacher after her got into the more physical aspect of playing with me. His advice was to keep the corners tight and always in the same place (or as close as possible). I have no problem with any of this and from what I've tried I know this is the way to go. Where I'm confused is the actual lip tension. My second teacher (along with many websites and books) told me that there

should be no tension in the lips at all, just in the corners, and to use pure air speed when climbing higher. But no matter how much I try this I still don't make any progress. Recently I got to talk to a former classmate and lead trumpeter from my school jazz band. When I heard him playing double A's B's and C's (he was pinching out high G's the last time I'd heard him 6 months ago) I felt I should ask him how he approached it. He

said that he kept the corners and lips very tight and used the air to penetrate the wall. I've also heard and read this in different places. I'm just wondering if either way is wrong? I'm leaning toward the second method just because I've had my playing compared many times with his. If neither of these is right, how should I go about strengthening my embouchure? Any help would be appreciated and if you have any suggestions not necessarily related to the examples I've given please send them. Thanks.

A. Your question is similar to the first one on the "Ask the Teacher" column. First, check out what I wrote concerning range. The lip bends and pedal tones will help you a great deal. If your teacher isn't familiar with them, try to find someone who is to help you, because it will help in the long run.

In regards to lip tension, it is a common misconception that it doesn’t take lip tension to play the trumpet. There is enough documented evidence out there to negate this claim. The tricky part is finding a balance between lip tension and air compression. They have to be "in sympathy" with each other. Also, mouthpiece pressure will increase "in sympathy" with greater air compression and lip tension. It is finding a balance between them that’s the tricky part. (Look at Jon Faddis or Arturo Sandoval when they play and tell me there's no lip tension there!!) The key is to strengthen the lower lip "pucker" so that it is strong enough to balance the mouthpiece pressure. That's where lip bends and pedal tones come in to play.

Concerning lip corners, aside from keeping them firm, I don't think about them at all. Have you ever heard the phrase "over analysis leads to paralysis"? You are always going to achieve the best and quickest results by letting your natural talent control muscle adjustments.

Jonathan, keep experimenting! Different approaches work for different people. If you don't think one teacher's approach is working, find another one. The best teachers are the ones that understand and use different approaches depending on the student. Good luck. If you have any other questions, don't hesitate to ask.

Q. My 11-year-old nephew is attempting (very unsuccessfully) to play the trumpet in beginning band. The problem is, the teacher has no experience playing this instrument and, as a result, none of the trumpet players are learning much. Could you please tell me how to go from a “c” to a “g” or an “e” to an “a”? Any notes that are played the same all sound the same- how do you use your lips to make the pitch different so that c and g sound like two separate notes? And how do you stop chipmunk cheeks?

A. The pitch produced by the trumpet is determined by the frequency of the vibration of the lips. As air passed through the lips, they produce a vibration. The faster the air stream, the tighter the lips become, and the frequency rises, producing a higher pitch. For beginning players, I like to use the analogy of placing your thumb over the opening of a garden hose. The water coming out moves faster because it is more focused. Ask your nephew to blow slightly faster and he should be able to make the pitch change from c to g. Once it happens once, it becomes a matter of muscle memory. You can practice blowing air different speeds as well, without the horn, or with the mouthpiece only. Also, it might be of benefit to find an older student to demonstrate the process. One thing to avoid is trying to change notes using the lips alone. It is the lip tension in conjunction with the air speed that determines pitch.

As for chipmunk cheeks, if they are occurring, it is most likely that the student was not taught the correct procedure for producing a sound on the instrument. They most likely experimented and produced a sound, and were never corrected. I prefer an air-based approach to teaching students to produce a sound for the first time. It eliminates so many problems later on!

Here is how it works. Have the student practice taking a full, relaxed breath (using a “who” or “wow” syllable) and exhale with a natural sighing motion. Then have then practice breathing through the mouthpiece (lips around the mouthpiece) until the breath feels as relaxed as it did without it. Then place the mouthpiece into the horn and repeat the relaxed breathing, continuing until it feels natural. The lips are placed gently into the receiver, but kept relaxed. Continue the breathing. Gradually have the student firm up the lips, while maintaining the comfortable breathing pattern. It may take a few tries, but the lips will eventually firm enough to produce a vibration, and the resulting tone is always a relaxed sound, the perfect starting point for a student. I have used this approach with hundreds of beginners and it works every single time. It is the involvement of air from the outset that makes it so successful!

Q, I'm a tenth grade student, and this is my fourth year playing the trumpet. This year, I am playing second trumpet in my high school Big Band. I feel that second is the best chair for me to be right now, but still some of the notes are a little bit out of my range. I have a very good low-middle register. Right now, the lowest note I can play is G below the staff (lowest I know a fingering for), and the highest note I can play with ease is an F sharp. I can play a G and an A, but they don't always sound too pretty (especially the A) and they don't come out at all unless I am very warmed up. One of the charts we are working on is requiring me to play an A, quite a few times. My director said for now I could play it down the octave, but I don't want to stay down there forever.

A. In a recent issue of the Jazz Education Journal, trumpeter Marvin Stamm stated his belief that “too much emphasis is placed too soon on developing an upper register in a young player’s career.” (JEJ Nov. 2001) He goes on to state his belief that basic and continuous work on embouchure development should be the goal of younger players. This statement is right on the money and applies directly to your situation. First and foremost, I would suggest consulting a local professional trumpet teacher. There is no good substitute for private lessons with an experienced teacher who can help you work through these issues.

This being said, there is no great secret to range on the trumpet. As you ascend, the mouthpiece pressure against the lips increases. Eventually, the pressure becomes great enough that it stops the vibration of the upper lip, and the tone stops. The upper lip is responsible for about 90 % of the vibrations produced. The lower lip, formed with a good “pucker” balances the mouthpiece pressure. The stronger the lower lip muscles, the more mouthpiece pressure they can resist. This, combined with air compression, is how we play in the higher registers. David Hickman refers to this system as the “3 P’s – (Mouthpiece) Pressure, (Lower Lip) Pucker, and Push (the air, increased air compression)

Good exercises for developing the embouchure, so that it is strong enough to balance the mouthpiece pressure, are lip bends and pedal tones. These exercises, when done correctly, specifically exercise the muscles of the lower lip. Lip bends are produced by literally bending the pitch down using the lower lip. Play a second line G, and then bend the pitch down to F sharp without fingering the pitch, just use your lips. The bent note should be played quite loud with the goal being an even sound. These exercises really work at strengthening the lower lip muscles. It’s weight lifting for your lips!

Pedal Tones are well-documented exercises, but the main misconception lies in goals of the pedal tones. I have heard countless references to players explaining that they play pedal tones “to help them with their high range.” But they never explain why it helps! The reason pedal tones are beneficial to range is that they too strengthen the lower lip muscles (when done correctly), which helps balance the mouthpiece pressure as you ascend.

I incorporate these exercises into all of my student’s daily practice routines, but you should work on them under the supervision of a professional trumpet teacher, who is capable of giving you personal guidance with your specific situation.

Q: I'm a fine player with many excellent skills, but I begin to tire after only 15 minutes of practicing. How can I help my endurance?

A: It's quite likely that you need to develop a more efficient use of your air stream. To begin with, be certain that you are using an ample amount of AIR! Then, check to make sure you aren't getting too much embouchure tension. Too much tension will inhibit the airflow. Also, investigate how you practice; you should have a good warm-up that gets you ready to play, and develop a daily routine that works on all facets of playing (including endurance). Perhaps buzzing your mouthpiece as well as allowing yourself to rest more in the practice session will also help. Finally, you may want to gradually lengthen your practice sessions over time to build up endurance. A good trumpet instructor should be able to help you set up a practice regimen that will help.

Q: I'm a ninth grade student and have been playing the trumpet for just over two years. While I can play from B-flat below the staff to top space E, I would like to expand my range. What can I do?

A: Expanding the practical playing range is probably one of the most common topics for trumpeters. It is also one of the most debated, as there are a variety of opinions about how to proceed. Most trumpeters will agree, however, that solid middle register skills must be developed in order to achieve success in the upper register. The player needs to have a clear plan that is systematic and logical, always musical, and advances gradually.

Utilize all of the good skills that are already in place and gradually expand them in a slightly higher tessitura. For instance, play a simple tune in a comfortable register. Assuming it can be played with ease as well as with a beautiful, singing sound, transpose it one step higher and play it again. Continue this process until the highest notes become more difficult and tense. Buzz the tune (in this higher key) on the mouthpiece and then play it again. It SHOULD be easier! Follow this method into higher keys, but be certain to stop when the upper notes are tense and no longer beautiful and singing.

Take familiar exercises that are easy in lower keys and play them in expanding higher keys. Play scales and arpeggios in higher keys. Ascending lip slurs or flexibility studies can also be helpful. There’re a multitude of exercises that can be beneficial, as long as they are performed correctly! Locate a qualified trumpet instructor in your area to help set up a plan and measure progress. Always use sound musical judgement, take a full breath, and strive for the best possible sound. Above all, be patient!

Other examples of range exercises will appear on the ITG Youth Page in the future.

Q: I've been playing trumpet pretty seriously for about 7 years, but am unhappy about my skills in the upper register. My jaw drops listening to trumpet players who can "scream" and play notes in the stratosphere with control and power. I can play an e"' all right, but that's the point where things become incredibly difficult from a physical aspect. My throat begins to constrict and it seems that all my embouchure strength and air are going to waste because the sound output from my bell is nowhere near what I want it to be. I'm wondering if playing high is due to a trumpet player’s genetics, rigorous practice, equipment, or just a combination of those. Are some players just born lucky in the sense that screaming is no arduous task? I understand that being able to play incredibly high isn’t all the trumpet's about, but it sure would be nice to join the ranks of those who possess the skill.

A: There are certainly trumpeters who seem to have an innate ability to play in the high taciturn of the trumpet with ease. The largest groups of trumpeters who have success in the upper register of the trumpet, though, have learned to work at it in a logical, methodical, and artistic manner. Players will often reach a plateau, beyond which it is difficult to play without causing injury. While progress is often slow at this point, it is important to continue working in a thoughtful way. Rigorous practice is helpful as long as common sense is used. Using an energetic air stream is also advantageous, but it is important to avoid undue muscle tension and constriction. Some may recommend an equipment change, but the negative trade-offs are rarely worth the increased ability to squeak out additional note. Stick with it and keep a positive outlook; good things will happen!

Q: What are some good warm-up techniques that would help with my range? I can go up to c"' but am not able to go any higher.

A: It's probably not necessary to warm up much past c"' first thing in the day. However, you might consider all of the exercises that you play during the warm-up. While it is necessary to play slow-moving notes, avoid a prolonged period of time where you only play in the low register. This can feel really nice as it opens you up, but can cause difficulties playing in the upper register. Instead, choose a comfortable note on which to begin (g' or c"). After several minutes of descending exercises (with buzzing and breathing included), slowly expand your warm-up in both directions.

It would probably be best to work on range (as well as other aspects of your playing) at a time that is different from your warm-up. Remember to approach your practice in a logical, methodical manner, and always do inartistically! If you focus on good breathing habits and an excellent, singing sound, many aspects of your playing will improve (including range!). While many trumpet method books discuss range issues, you might consider James Stamp's "Warm-Ups + Studies" to get you started in the right direction.

Q: My problem is that I crack notes from d" on up. Any suggestions?

A: There are many things that could be amiss here, but most likely there is too much tension combined with unsatisfactory airflow. Try to be certain that your lips are in a state of repose, and that your air is able to pass them freely. Mouthpiece buzzing would be very helpful if you mixed it in with your regular practice. Listen carefully as you buzz, because not hearing the notes properly can also cause you to crack. Try playing and buzzing some easy melodies or scales that begin below d”, ascend above it, and return below. Do this by slurring and then tonguing. Gradually increase the range above d". As you ascend, aim for the same ease in playing as you get in a lower taciturn. Be certain that you have a filling breath. As always, strive for a great sound quality and approach each exercise artistically.