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The reason people have trouble with the F-G trill is because of the intonation of both notes. Both notes are traditionally sharp AND people do odd things with the back of the tongue as they play. This results in the wind being cut off and the sound becomes nasal and thin. When the young player plays louder, the sound will often become brassy but not in a good way. This is discouraging and they back off. The cycle beings again and they don't have much success. The answer is to establish the best sound on both off those notes FIRST! Go back and forth slowly until you're happy with a proper sound on those notes. A REALLY nice, vibrant, beautiful sound. Also, the valves MUST go up and down with great security. It's a long process. It's not going to be a quality trill by this Saturday. It will be good in a few months if you work it every day! Just play 16th notes instead of trills. You'll sound fine and the judges will be pleased. Work this technique every day.

Thank you for your kind words. Please pass on this post to anyone who might need this advice.

@@MrPrincetrumpet I shall indeed, Sir.

Thanks for writing in. First, let me say that it is the very rare 9th grader that can control that particular trill, along with several others, so, don't believe that you are unusual this way. It's a common issue. There are three ways to go about this challenge. The first way is to work on and strengthen the sound and clarity of all your basic mid-register trills. Believe it or don't, MANY students have trouble executing a properly sounding trill from C to D! It takes a constant, unyielding flow of air that doesn't try to manipulate each note separately. In other words, a trill needs to have the approach of a strong, single long tone. The second approach is to study the lip slurs on page 44 of your Arban book. When you're able to get through that entire page WITH AN EXCELLENT, PURE SOUND, you'll be ready to approach the trill in the Hummel with confidence and it will be an accomplishment with great ramifications for the rest of your endurance and upper register. The third approach is the one I recommend if you're under a time pressure that will teach you well. Pull your third slide out until it achieves a half-step. In other words, it will sound as though you are playing G to Ab. Practice the passage, knowing full well you're playing a half step rather than the correct whole step. When you can play the entire passage in this configuration bring the slide in a little. Do the same. Do it again, bringing the slide in a bit more each time until you are closer to the actual pitch. You'll have it figured out very soon afterward. The bottom line is that if you a) play with the best sound possible in mind, and b) practice ALL of the above techniques, you will be well on your way to play this concerto as it should. Final tip: don't fall prey to playing this finale too quickly. This is not the William Tell Overture. It is a simple, bouncy Eb major that is, above, well phrased rather than a display of speed. It is a display of technique. Technique is not speed. Technique is about control over one's own skills.

Thank you for replying so quickly! I will incorporate your tips into my routine and I will check the lip slurs passage on Arbans. But I also want to ask if I should use the third valve or first and second valves for A?

@@bahukadapoet6764 In the G to A trill, the only good choice is open to third. Open to One and Two is asking for unnecessary difficulty. Read over what I wrote.

@@MrPrincetrumpet Thank you so much sir! I've seen considerable improvement after your comment and I am extremely proud of the improvement. I have to perform this somewhere between January 24-26 in my schools Jury performance. I perform in front of my schools music staff (Concert band and wind ensemble teacher, Strings teacher, and wind instrument methods and jazz band teacher). I will perfect my solo technically over these next two weeks! Thanks for the advice!

@@bahukadapoet6764 You're very welcome and I wish you the best success in your playing.

Yes, it can be a problem! It's the reason I play the equipment I use but the best thing you have is your ear. I know that sounds simplistic but it's true. That and a friend or two to play duets with are crucial to developing the kind of sensitivity one needs to be successful at ensemble playing. That said, the more relaxed a player is, the less the upper register will be a problem assuming all the aspects of a healthy embouchure are in place. Any pinching or tightening will disrupt a solid, healthy tone. A good mouthpiece is key. Without that, you will fight a losing battle, especially when you're tired.

@@MrPrincetrumpet I’m on the same brand horn as well. It’s new & im still settling into it! I’ve been reinforcing my approach (blow, sing, play) & it’s been helpful! Part of it seems I need more exercise lmao the other part is possibly UNdoing some of the tension habits I created. Either way, practicing good habits is the way to it, it seems!

@@jambajoby32 hey, I was thinking about your question a little more and I wanted to suggest something. Remember that keeping the corners forward a bit so that they stay consistently in contact with your round rim is very helpful in keeping the pitch stable. As they ascend into the upper register, players will pull back and away, making a lower pitch adjustment quite a bit more difficult. If you're playing in B major it's not a big a hassle as it is when you're playing in D or Eb major.

Great question because it gets to the heart of a problem most trumpeters face. The tightness with which many wind players play affects more than our sounds. I would say that a casual observation of the greatest singers in history and the way they hold their heads "back" with the chin down is a place to start. Then, look at pictures of Bud Herseth, Wynton Marsalis, and Doc Severinsen and notice how much they look like those great singers. The point is that this "position" with the eyes up, chin down, and head over spine helps the body to be relaxed and efficient. Watch a great basketball player shoot a foul shot and you'll see strength and relaxation balanced to execute the shot. They never think of themselves as "tense", physically. When you balance the relaxation of your body with the strength of the embouchure, you can lower the middle C, F# and G natural that people complain of. The same goes for the High C you asked about. If your tongue is overactive and you are hissing the sound, yes, you're going to play sharp. Relax the body, relax the pitch.

I will figure out how to demonstrate this for a future video.

@@MrPrincetrumpet thank you! I know what you’re saying but I cannot yet apply that I do get a hissing & only when I’m practicing physical health, I can press/blow that note down It feels like im trying to hold a ball underwater but it wants to surface so it takes more energy to hold it under

@@MrPrincetrumpet one trick my teacher showed me (he got this from a great trumpeter 😉) is to take in an extremely slow but active breath & the last 20% or so, a VERY ACTIVE breath & allow it to FLOW outward in a positive forward direction as we play the horn

@@jambajoby32 That's basically how I breathe. I start breathing gently and then take the last bit in the tempo, connecting the end of the breath to the start of the note.

Wow, you've made my day! Your description is exactly who this was made for. If you run across any situation that merits further discussion or questions, please write a note here and I'll do my best to answer in a helpful way.

@@MrPrincetrumpet That sounds great! Thanks for sharing your expertise!

I’m doing the same piece haha

Pull out your 3rd slide so that when you play the A it sounds like an Ab. Play the trill and gradually pull the slide IN as you make a crescendo. This teaches you to play with more wind which is necessary to make the trill sound full rather than squeezed out. When the slide is all the way in, you should have a good-sounding trill. The next step is to play the G/A trill with the confidence and relaxation of the G/Ab trill. Good luck!

Manny Laureano wow! That was masterful information! Thank you so much!!!

@@TheeMilesMonk by the way, you can do the same thing with the c to D Trill by pulling your first slide out. That makes the C closer to the D and then you do the same thing. Push the slide in until you get the idea.

My pleasure. As you can tell, it was done a bit on the fly but as I make others in this series I will add more info. My hope is people have a bit of fun with it.

You mean, "Me-e-e-e-e-eheehhehehehhh...."

Andrew Balio u do understand this man toured with ELP back in the day...HAVE SOME FUCKING RESPECT ASSHAT

@@punkerpoo45 Chris, thanks but it's okay. Andy and I are old friends and he was just messing around and I completely understood that.

oh those fatal codas...