Technique Questions

Q: I've been playing for 4 1/2 years now, and I'm about to start college band as a trumpet player and I have a few questions. The first question is concerning range. Jazz band and marching band really got me hooked on high notes, and I work a lot on range, and I can crank out consistently any note from pedal C to the second C above the staff, and a little higher with considerably less consistency. I can play any note going up, but tend to miss a lot when I'm going down. Are there any good exercises you would suggest for improving flexibility (and endurance... if I do any screaming, I can’t practice much more than 45 minutes) in the extreme registers?

My second question is concerning jazz improvisation and soloing... I've searched the internet for ages trying to find myself a good guide on how to do it, and my teacher is more classically oriented... could you suggest any helpful literature catered to those with mediocre knowledge of theory such as myself? Thanks a lot! ~Zack


A: Zack, Thanks for your questions. You are not the only one who likes to play "high notes." I think most trumpet players do, but you do have to be careful.

Thinking and playing exclusively in your high range can cause other areas of your playing to suffer. Having a well-rounded approach is best because it helps you develop a strong foundation for playing.

Playing through a well-conceived regimen of exercises (lip slurs, arpeggios, etc) designed especially for you, by your trumpet teacher, is the way to go. So, talk to your teacher about your goals. You may find he is way ahead of you on this. ;)

Read the latest itg journal jr, (online and in the current itg journal), as there is a wonderful article by Pat Harbison on how to learn to play jazz.

Take his advice to heart and follow it.

Click Here

Dr. Douglas Wilson

Q: Hello,

My name is Carly, and I have been playing trumpet since 5th grade, and I am soon going to be a freshmen, and I will be in the symphonic band at my school. There are some things that I have been having trouble with, while playing.

1. Normally when I play scales, I can play the high notes fine, but when it is in a song, I normally have trouble, and I have no idea what to do.

2. I had a solo in a concert while I was in 8th grade and I messed up on a very easy note, a D. And I have no idea why I messed up, because in practice I always played it. Was that just nerves?

3. When I see music, I normally cannot figure out how to play it, unless I've heard it before. I don't know why, is that because of my playing, or is it just me?

Thanks!
Carly

A: Dear Carly,

These are very interesting questions you raise. First, I want you to know you are not alone. Many players are affected by what you describe. I think these problems are all related.

I believe that when you play, you react to your nerves AND they get the better of you. I would suggest two things.

First, you do not state whether or not you take private lessons. This would be my first bit of advice. Find a teacher who is both a teacher and performer. Not all teachers are good performers and not all performers are good teachers, but the experience of doing both is very important. They can relate to your situation and they probably have been there.

Second, work on playing something new each day and develop on your "reading skills." I think you have trouble playing the 'notes' because you do not read as well as you would like. This is something a teacher can help you with.

The good news is this can be fixed with lessons and a little time.

Good luck

Dr. Douglas Wilson

Q:I am now a sophomore and I have had my private teacher since eighth grade. He is a teacher at the local music store teaching many kids. Myself and another boy are the oldest of his students, most are beginners. A French horn teacher told me that people who teach at music stores tend to be for beginners. My problem is I am not sure if my teacher is still okay to take from or if I am ready for someone more experienced. I am not saying I am too good, but I don't know if there is other stuff I should be learning that I am not. It seems like my teacher is teaching me the right stuff, but since I have nothing to compare with I do not know. My question is: Should I try taking a lesson or two from other teachers to see what is out there or is my teacher able to teach me everything? I am currently in the Junior orchestra hoping to get into the top level next year.

Steven (Pacific Northwest)

A: Dear Steven,

No one individual knows how to "do everything" or "teach everything."

You will be a product of many musical influences. It cannot hurt to seek out other opinions (teachers). You may discover that your current teacher is the best one for you in the area. Give yourself permission to find out!

DW

Question:

Hi, I have a problem! When I play higher notes ( e above middle c +) I find myself clenching my tongue to the back of my mouth and the higher the note, the more clenched my tongue gets. This can get very painful! I've tried to move my tongue forward but I can't seem to relax it while I'm playing. If I do relax it, it becomes almost impossible to play and the sound is really bad! Also I find that if I can't clench my tongue back anymore then I can't play any higher. Are these two things related? Is it just a bad habit that I have and can I correct it? Playing does become very uncomfortable and I really think I shouldn't be doing it but I don't know how to stop! Please help, thanks for your time

Meg


Answer:

Meg,
It can be corrected and done easily over time. It cannot be done just by you. One needs a teacher to help guide the process. Get a private teacher who can help you get the sound you want.

I have not told YOU how to fix this, but I have told you HOW to get it fixed…get a private teacher.

DW

Q: Hello,

I'm sophomore in high school, and I've been playing trumpet since 6th grade. I consider myself to be a good player, and I always seat high at honor bands I try out for. I have an excellent tone, and I have a decent range (E above the staff). A problem that I've been having is that I always seem to frack notes. It's not too often, but it does happen a pretty good amount. It's kind of like I hit the note after a want to hit it.. if that makes sense. Do you have any suggestions for exercises or something that might help this? Thanks!

Ben

A: Ben

Regular lessons, with a teacher, are about the only "thing" you can do. A teacher would assign materials to help you over any technical areas that are causing the problem.

However, I suspect the problem is more mental than physical. Just thinking about missing a note will cause us to miss it. This isn't mumbo jumbo or new-age speak. It is real. What we think about manifests itself. Put another way, Thinking about the problem makes it bigger and more noticeable, which causes use to notice it more, which causes use to miss more notes, etc.

1. Sing the pitch you want to play. Sing the passage you want to play. Do it several times correctly. (This is why you need a teacher.) Most students don’t know if they are singing wrong.

2. Think about making music. Think about playing a beautiful melody. This is how you solve the problem.

Dr. Douglas Wilson

Q: My question is about transposing. In my youth orchestra in town for our spring concert next semester, one of our pieces is the Pines of Rome. It is very tough and range is very technical. I am playing first on it and right now all I have is a B-flat. I have seen and heard this piece played many times. 90% on the time all the guys play C trumpets. I know that C trumpet is much easier to play in the higher range. Should I ask my teacher about borrowing his C trumpet along with the rest of the section and just transpose the 1st,3rd, and 4th movement? The 2nd movement is already in C so that would help a lot in my opinion. What do you think?

A: Thanks for your question and congratulations on playing the principal part on "Pines"

You ask a great question, but for the wrong reason ( in my opinion). I personally do not believe it is easier to play in the upper register on C anymore than the Bb. If your upper range is tentative on the Bb, it will also be tentative on the C trumpet.

But for Orchestral playing, C is the standard in the US and much of the world and for good reason. I prefer the Bb for most of my playing, but when I am in the orchestra, I use a C trumpet.

But the trumpet part in Pines is a variety of keys; 1st mvt. - Bb, 2nd mvt. - C for the offstage solo, 3rd - A for few bars, then Bb in the 4th. IMO, the whole thing works pretty well on the Bb AND the opening flies by at an incredible tempo. Learning to play a new horn and transposing down a step at 100 mph is better saved for the practice room until you have the C horn under your belt.

If you are serious about playing orchestral music, you should purchase a professional grade C instrument. Ask your private teacher for recommendations. If not....stay on the Bb, learn the part and have fun.

Just a point of reference. All is not as it seems sometime---- Many European Orchestras ( English and Russian in particular) played Bb for years and some still do. I know also that many European orchestras use the Bb rotary on the third part to bridge the sound between the trumpets and other brass. Most American Orchestra Trumpets played Bb until the Mid 20th Century. Look at the Ernest S. Williams Method Book and you will find a wonderful transposition guide based on using the Bb trumpet. ESW was the first great American Symphonic trumpeter in Philadelphia in the early 20th century. Bb was the standard back then. BUT, Malcolm McNab, a (the) leading Hollywood Studio player plays Eb on many of his gigs!! Go figure.

Just Have Fun!

Dr.W

Q: My name is Brandi and I've been playing the trumpet for three years. I love it!! I've been under the teaching and direction of my private teacher but I still don't know how to tune my horn. How do you know when you're out of tune, and if you're sharp or flat? Thank you for your time.

Respectfully,

Brandi

A: Brandi,
This is a great question! Two areas can be addressed.

First,
Concert pitch for band. Concert Bb
Use an inexpensive tuner to get Concert Bb and Concert F. Once they are close.. forget the tuner and use your ears! During Band practice, if you can't tell if your out of tune, play softer and listen to the person next to you. (it might be him/her!)

Generally-- If your are sharp, you will sound brighter than the other person. If you are flat, your tone will sound dull.

Secondly,
With your level of playing, I suggest you ask your teacher to play some easy duets during your lesson each week. You will really start to develop you ear in this area.

I'm sure your teacher knows of some very good materials, but you can start with the duets in the back of the Arban. You can also play the songs together,
Duets Page 68
Songs Page 191

Thanks for the question.
DW

Q: I have read some responses to other people and i have heard you many times refer to the term bend, pucker, and pedal. Here is a quote from another Ask the Teacher question:

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 am somewhat confused on what these terms mean and how you perform them. Could you please explain them to me so i can also increase my range and finally not struggle to play Concert Etude?

A: Dear Cindy,

Thank you for your question. Too often, teachers and players use terms they believe everyone understands when often they do not.

So...Here we go.

Lip Bends... This should be really be called "note bends" or "note bending." The Lips do not bend. This is an artificial way of playing notes using alternate fingerings and literally bending the note (usually down ). As an example.. Play in the staff G, F#, G (0,2,0). Then play the same three notes using no valves (0,0,0). The effect is to play the F# with the same fingering as G.

Keep working down chromatically. I believe this helps one to open up the sound AND to play very relaxed.

Pedal Tones... This again involves playing in an artificial manner. Pedal Tones are the pitches that lie BELOW our lowest note on the horn, F# (123) below middle C. The idea here is to open up the sound and to play very relaxed. Just about any fingering can be used to play these notes. One must be very relaxed and should play the note with as little lip or jaw movement as possible. Play them as you would the notes in the staff. You really need to hear the pitch in your head before you play it so you know where you are going.

Both these concepts should be explored WITH a teacher. Most of the traditional trumpet methods or etude books do not cover these

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.

A: Before we start, you might ask your private teacher these questions. 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 best achieved 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.

Without the horn, make the sound by whispering, "poo, woo, woo, woo, woo, woo, woo." one continuous sound. Transfer your efforts to the horn. What is important is not the fact that your jaw moves, but that you hear the vibrato in your head. You have to know what sound you want to make before you play the horn. This is why I recommend listening to someone sing or play. Just copy what you hear. --- Hear the sound first, and then play it.

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 note than to play without flutter. It will come. topics. They are covered in many newer publications, which your teacher will know.

Q: Dear Dr. Wilson,
I am a serious thirteen year old trumpet player who studies at the Juilliard Pre-College Program. As I listen to many twentieth century solo and orchestral works, I notice that the technique of flutter tonguing is occasionally used. I read somewhere that the ability to roll your Rs (or lack there of) is passed down genetically. Unfortunately, I posses no such ability (no one in my family does either). I have been able to reproduce a flutter tongue like sound by gurgling when playing the trumpet, however I am a stickler when it comes to correct technique, and I know that this technique may be incorrect.

Is there ANYTHING that I can do to help this problem? I don't want it to get in the way of me going extremely far with the trumpet!

Thank you for your time!

Sincerely,

Jacob K. Paul

Jacob,

RELAX partner...If you are in the Julliard Pre-College Program you must have a lot going for you! As with most things in life, when we stop trying hard and relax, good things begin to happen!

Flutter tonguing is nothing more than rolling your R's. Just open up your ears and listen to all the Spanish that is being spoken around you in New York!

Go to the Spanish teacher in your school and ask how to roll your r's.

- Mimic the sound of a cat purring. Purrrrrrrrrrr. The tip of the tongue flutters when you blow across it.

- Make the sound you see/hear when you look at these letters: "ur" as in her. Now think the sound and move lots of air, as you do when you play the trumpet. AIR is the key here.

- Think about the TV Commercial for Ruffles Potato Chips........."RRRRuffles have RRRRRRidges"

Do this sitting down!! Once you get the concept down away from the horn, try it in the low register. It will take more air on the horn to flutter than it does just to roll your "r" without the horn.

Q: Hi. I’m playing my fifth year of trumpet in my school’s jazz band and recently the director has asked me to try improvising solos. Some people in the band just seem to have a flare for it but everything I put out seems very unnatural. I try practicing it at home and also listen to jazz frequently. Are there any specific ways to become better at this aspect of jazz trumpet?

-Adam

A: Absolutely Adam. You are already on the right track by listening. That is the key to any understanding of jazz. I would suggest a few things. First, seek out a local jazz trumpet artist in your community and start taking lessons. There is so much to the art of jazz improvisation that must be passed on from person to person. Also, buy How to Play Jazz and Improvise, Volume 1, by Jamey Aebersold. (Jamey Aebersold Jazz, Inc., 1992). This book covers the rudiments of jazz improvisation, and includes a rhythm section accompaniment CD, so you can practice on your own. I wish you all the best in your discovery of jazz, Adam. It is such a wonderfully diverse and rich art form. Just swing it, man!

Q: Hello. I am a 5th year trumpet player, and have four questions.

a) How would you recommend going about trying to produce the jazz effect known as a shake?
b) How do having braces affect one’s playing ability?
c) What are the differences between B, C, etc size mouthpieces? I understand the number represents how shallow or deep the cup is, but what does the letter represent?
d) Often, in the beginning of a session, I find that many of my notes do not start immediately. I get a slight “pff” sound that is very short and then the note will come (or in some cases, not). What do you have to say towards this?

I currently play on a 5C mouthpiece and find it is much easier to play with than the 7C most trumpet players start on, especially because of my braces. Thank you for you time.

A. Wow! Better warm up the ol’ typing fingers. OK, here we go!

a) The shake that jazz players produce is basically a fast lip slur. To produce one, try this. Start on an E’’, and slur up to a G’’. Now, try to set your embouchure tension to a point just above the E, but below the G. This will allow the lips to easily move back and forth between the two notes. Then, it is just a matter of developing the speed of the shake. Some players find that the hand, with a rocking, back and forth motion, aids in the production of the shake. Care should be taken not to apply too much pressure, however. Damage to the muscles can result.

b) Braces! They are something a lot of us have had to deal with. And there is no sure remedy that works for everyone. Wax from your orthodontist my help eliminate some of the discomfort. Other products like Brace Aid and Lip Savers may work too. When I had braces, I didn’t have a particular problem playing with them. My lips are thick and then didn’t seem bother me. Work on developing your embouchure muscles, so that they are strong enough to balance the mouthpiece pressure, and you should survive until they get taken off.

c) You have got the letters and numbers confused slightly, Tristan. The letters (using the Bach sizes for reference) refer to the depth of the cup. A being the deepest, B, C, D, and E being the shallowest. The numbers refer to the diameter of the cup. The larger the number (7 vs. 5 for instance) the smaller the cup. The standard cup is a C. Some people prefer the deeper cup, with a more funnel shaped throat (I play on a B cup. My mouthpiece is a 1B, with a #24 throat and a #23 backbore). With braces, try many different mouthpieces, and find the one that is most comfortable for you.

The delayed attacks that you are referring to happen to lots of students (and professionals on occasion!). The primary cause is trying to start the note with the tongue, rather that with air. The tongue provides the articulation, which helps to clearly define the

Q: Do you have any advice on how to learn to flutter tongue? I have never been able to roll my “r’s” and consequently I have been unable to perform contemporary solos and ensemble music correctly.

A. Believe it or not, more than a third of the population has the same problem! I

was never able to roll my “r’s” either, and I still can’t. It is a genetic trait, that’s passed down through your family. My mother can’t roll hers, and neither can I.

Here are a few suggestions that might help you. First, learn to growl. Pretend to gargle without anything in your mouth. Then do the same thing while playing the trumpet. The effect is nearly identical to flutter tonguing (most directors cannot tell the difference). I have had some success teaching myself to flutter by placing the tongue against the top of the mouth and forcing the air through the tongue. The flutter that is produced is quite harsh, however, and difficult to control. There is no clear-cut solution to your problem; it’s a physical trait that you cannot control. Your best bet is to work around it and learn to growl effectively.

Q: I have been studying privately for a while and realize that my tongue strikes the bottom of my top teeth. I believe that this may cause me to sometimes begin playing on the inside of my lip because the tongue sometimes knocks the top lip out. My playing, otherwise, is very good; slurring, tone, and range are excellent. However, when I try to move my tongue to the roof of my mouth I feel that the air gets caught in my throat. It feels as if I am throat tonguing. I realize it's better to tongue higher, but I can't get a good sound that way. What do you think?

A: Since everything else in your playing seems to be going well, it is probably best to make this a simple process. Without the trumpet or mouthpiece, speak a "du" or "tu" syllable. When you can vocalize it with a clear, resonant sound, then it is time to BLOW the syllables. As the air flows freely and the syllables feel strong, add your mouthpiece and then the trumpet. Be sure to pronounce the syllables in the same manner as you had when you spoke them. By applying this principle, your tonguing (and overall articulation) should feel precise and clear, and free from that nagging feeling of your tongue stopping the air in your throat!

Q: I'm playing a piece that has 32nd notes. How do I count them?

A: Sometimes it helps to approach this mathematically. In a quarter note, there are 2 eighths, 4 sixteenths, and 8 thirty-seconds. This can be subdivided further so that you can see there are 2 sixteenths or 4 thirty-second notes for each eighth note. Write this out on a piece of staff paper and you will easily see the relationships. The use of a metronome that subdivides will also help.

Q: I have an outstanding sound and can play as loud or soft as needed. Recently, though, I have realized that my valve technique is slow when compared to a lot of serious trumpeters my age. Are there any exercises that I can do to help get "faster fingers?"

A: Don't be intimidated by those players who are all fingers and flash, but haven't developed a good sound. If you have an excellent SOUND and use your AIR efficiently, the technique can easily be added to your playing with consistent practice. Many trumpeters recommend the Technical Studies of Herbert L. Clarke, Louis Davidson's Trumpet Technique, and selected exercises in the Arban Grand Method. A good trumpet instructor can help guide you in adding some technical exercises to your daily routine.

Q: I am in the 9th grade and have been playing the trumpet for four years. My instructor wants me to play the chromatic scale up to c"', but I have difficulty playing high notes and none of my books have fingerings up that high. Can you tell me the fingerings as well as what I can do to improve?

A: The fingerings for the notes directly above the treble clef staff (g" - c"') are exactly the same as those an octave lower (the ones in the middle of the staff). While some alternate fingerings might work, it will be most beneficial for you to use the natural fingerings to help keep your place. In addition, there have been many questions answered in this column regarding upper register playing. Perhaps some of those thoughts will already have helped you. As far as overall improvement is concerned, consistent practice (everyday!) will probably help the most. Remember to concentrate on a filling breath and a wonderful, singing sound.