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- เผยแพร่เมื่อ 4 ต.ค. 2024
- I learned this exercise in 2010 (I think) from Jon Faddis. I did not study with Jon, really. I had just the one lesson, wherein I learned this exercise, and I'm probably doing it a bit differently now. I've since seen others use it online, and thought I would post my own exposition on it.
On this video I was using my normal lead piece. I sometimes play this exercise on other gear, all the way from a huge Schilke 20d2d, to a tiny lead mouthpiece, to C trumpet, to flugelhorn, etc. The same principles apply.
"Why would you play up there?" " Because it's my damn trumpet." I laughed so hard... Thanks for the demonstration. Great stuff!
2023.... this video is 💯. This teacher is unpretentious and eager to share his wisdom. I agree higher notes are fun but more than that, musically important. In fact the more notes you have in your register the more music you can bring. Thank you, I will use the exercise, I need it!
This really helped me a lot. This is the first upper register exercise that really worked well for me.
I'm glad it helps!
Doood, this is the Holy Grail for me! I'm a mature beginner and I've been struggling to stop my head exploding at G above, rolling in lips, tongue arching etc and I've just nailed the C above, first time ever using this technique! Granted its gonna take a lot of work to refine it but hey, My foot is now in the door! Thanks man, much luv n respect.
Bruce Dobson awesome! Thanks for commenting!
This was the same lesson Jon gave me 30 years ago after playing a concert with my college band. It really works.
"Small aperture" and playing softly as keys for getting up higher... makes total sense to avoid blowing the lips apart with too much air. All my adult life I've struggled to hit high Cs and just now did a series of them with far less effort. The small aperture thought process is a great concept. Thank you for generously sharing this exercise with the trumpet world.
CaptainQueue don't get me wrong... If I'm playing lead, I'm playing loud... Using more air and using a lot more strength, and probably also bigger aperture... Don't get caught up on the physics (because it's probably wrong lol)... Just... For practice, do this quiet to add control when building range. You still want to add strength and volume later on. And probably something like octave slurs/glisses so you're maintaining flexibility. Triple G is already of limited utility... Even more limited if the only way you know how to get there is by walking up an arpeggio.
I think you had it right when you said "thought process."
I hear ya about later on getting stronger ... in the past (like, always) I was impatient and overblowing my aperture open accompanied by tension in face, tongue and throat. Just tonight I hit a solid D above high C, at pp volume, on this drill with small aperture thought process and relaxation. I've been playing with tongue arch only since October, this is another cool aspect. PS: GREAT insight about walking up arpeggios. Guilty, lol.
CaptainQueue I’m 13 and it the high C’s with ease
@@jahreacts6129 Rose's are red
Trumpets aren't blue
Nobody asked you
one of the most simple and effective excerice for range. thanks for your demonstration
I really like you approach , and simple direction. I’am a 61 year old comeback player, and I’ve had lots to work thru. I will apply your techniques , and maybe one day will get to double c . Oh , and I’ve subscribed to your channel 👍🏻
This is one of the most helpful videos I've come across. I'm going through a serious of intense dental procedures on 4 teeth right now with a lot of interruptions and no playing a week at a time over the long haul. This drill is helping me get back into things more quickly. THANKS.
CaptainQueue thanks man. I recently took a few months off for similar reasons. This exercise just twice a day and isometrics using the Warburton PETE got my double C back in two weeks.
@@DHCZack What is your approach to PETE? As described by Warburton or more individual? Per the below comment I understand you benefited a lot from using it so I guess you would recommend the device...? Thanks for the tips.
@@gawronowicz5010 well mostly I put it in my car and then look at it and feel disappointed in myself sometimes when I'm driving to and from work lol. But basically Warburton's instructions are pretty good. I don't use it on gig days or on the way home if I've got rehearsal that evening.
Great video Zack. Love your approach and delivery. Man you can play!! TP
I hear it, but I don't believe it. Those notes are incredible. I can't even think that high.
Hugh Wilson lol thanks. Go check out Jon Faddis or Jim Manley or one of the guys that can REALLY make use of that register. I'm only playing around in comparison.
Amazing G about Double C. Best I've ever heard. Congratulations!
At 12:18
Great video man. Makes total sense!
LOL at your captions!
Andy Cormier thanks man
Thank you patrick! Im up to double B natural with an occasional Double "C" because of your information,...Thank you so much!
Zack* lol
@@DHCZack I was a trumpet player in the 7th flt band and stop playing in 1986. started back up june 2018,,, you really have set me on fire,,,,you and lynn nicholson rock dude!
Inspiring clearly demonstrated. Playing high is a gas plus your point about other important notes are easier to get to in a more relaxed manner allowing a much more wonder sound. Well done 👍
Definetly gonna try this exercise today! great video 👍🏽
Great video Zack - thank you for sharing your knowledge! It's unbelievable how relaxed you are when you play. I've always been a 'pressure player' with limited range and endurance (no surprises) so trying to make the change now - starting with playing as quietly and with ease. Thanks for the video - would love to see more. Carl
@CarlRiseley thanks, man. Don't be fooled by how it looks though... For the higher notes I am using a lot of pressure. Much more than you'd think, but hopefully not much more than is required to hit the note.
Hmmm... right. That balance is important. Any tips for keeping the top lip buzzing with that kind of pressure?
Zack-- WOW !!
GREAT video demo. THanks
I am an upper range jazz player and this seems like a great idea.... I will practice this and see what happens👍👍
Me and a friend have been working on our high range for about 2 months now. We’re both sophomores in hs and sometimes I ask my director for tips and it helps out a lot, and I’m gonna start doing this exercise and see if it’ll help with my range practice, and talk to my teacher about arpeggios as well. When we first started I was able to play around maybe A above the staff, B luckily sometimes. Now I can play D above the staff and I’m working on getting E out currently. Thank you so much for the tips and I can’t wait to get started with the new exercise!
It's not the arpeggio that's important, it's that you're playing something quietly and intentionally up high. I just use the arpeggio because it's easy to hear. After I got bored of major ill do minor or dominant or whatever.
DHCZack Oh thank you, because I didn’t really have a specific exercise and whatever seemed to be working, so if it’s mostly staying quiet then I’ll just add the arpeggio to the exercises that I work on. Thanks again!
@@slowturts The low volume keeps you from wearing out too quickly, so you can get more good practice in. Also it helps "uncomplicate" your embouchure so you can tell what's going on and help pick up the right "feel." Essentially it's controlling independent variables. If you're careful not to practice until your chops are dead, you can take a short break and hit the exercise again. If you keep from wearing yourself out entirely you can get dozens of short sessions in during a day, and this will dramatically speed up your progress compared to big long practice sessions. I'll do this during ad breaks on TH-cam or loading screens on video games, or even just while watching Netflix. It's a great way to maintain a high register while you have, like, a life.
So you’re a senior now or u graduated?
this is good stuff. i am teaching my 16 year old son the trumpet.
this is very easy and very helpful.
I’m 16 and I’m teaching myself the trumpet. I’ve been playing for about 8 months now and I can play up to a double c and double d. Sometimes even higher on good days. I wouldn’t be able to do it without this exercise lol it’s amazing
@@xlordzz8740 I’m also a 16 year old trumpet player, and practicing softly has transformed my playing. It’s the one thing that I’ve been missing for a while when trying to improve.
Your range is truly underrated
Thank you!
Thanks Zack, found this helpful and also your comments below are really good.
Thanks bro! I kinda thought this concert would work in theory you just proved it for me! I teach trumpet and have always maxed out at about G4 going to try this exercise out this week I'll let you know how it plays out. Blessings
Nick Cedillo I usually recommend people give it a month or so. Takes a few weeks for the effects to become noticeable.
How did it go?
killin it man. I need to get back on my trumpet
Excellent exercise and fantastic video Zack!
congratulations! best explanation about the arpeggios exercice so far in youtube.nice regist btw :)
saul rosa thanks!
This has become my favorite exercise. Thanks for posting.
Great work out👏I’m going to put this into my routine 🎺🎶🎺🎶right away 😊
Thanks for the lesson! I have issue going above a G above high C but looking forward to testing this out!
Another reason to practice high is because it actually helps out your middle register sound a lot too
Works like magic!
❤🎉😊 Can you develop, do you have a similarly obvious and brilliant major/ minor arpeggio + scale fragment exercise? How does the Cat Anderson technique work for you? This (your’s) is the simplest, most doable and most effective high workout I have seen. Extra points for your attitude and dry humor! THANK YOU
I think it's the Reinhart book that says "There is no exercise written anywhere that will fix an embouchure problem." (It might be Stevens-Costello don't quote me; either way both of those books are super good conceptually). The reason the triad works well is that it's easy to hear the pitches in your head, not particularly technical, and slow-and-steady enough to allow you to be aware of what your chops are doing. Basically any exercise that allows you to control your independent variables so you can try to isolate and understand what's going on with your playing. So any kind of triad or scalar pattern is good. Any melody. Basically the whole Claude Gordon book is filled with exercises that more or less fit the bill.
I don't know a lot about what Cat did other than the Whisper-G exercise. I haven't done a lot of it because it loses my attention quickly because it's boring. I'm sure it has its merits. My brain requires constant stimulation.
Nice one, Zack!!
Thank you!!!
Holly smokes man! Lol, definitely gonna add this to my practicing, my range is pretty bad right now I top out just at D above high C on a good day lol
Ay you’ll get there man. I’ve been playing for 8 months now and I’m able to play about an octave higher. Just use this method and be consistent and it’ll do wonders for you
I’m a total noob in the trumpet but man... this just helped me a lot !
Thanks for your help... Liked and i'm gonna follow it.
Great job Zach. I did not know that you did these videos.
Very articulate explanation; Funny thing IT WORKS
Wow I’m amazed you can play this high! The highest note I can reliably play is an A so thanks for the helpful tips.
Now let's hear you play "Into the Faddisphere"!
Peter Burger someday. That song is literally my alarm every morning
Very helpful. Thanks.
Fantastic playing! Might I add that your voice and way of speech ressembles a lot Chris Pratt, famous actor en fantastic comedy actor. Inspiring video man! Thanks!
Because it's there.👍
Great video! Saw this last week but forgot to subscribe and comment. Playing softly and doing exercises like these are what really helped me "find" new notes up high and let my chops explore a bit ... most of the time it is squirrelly up there with new range notes. I still have an issue with pressure but the soft, relaxed playing you advocate really does help.
Thanks for the cool videos and looking forward to more.
Also - As a person who plays mostly in a big band setting but also does some "legit" stuff on the side, I must ask - where does your practice land in terms of equipment use? 50/50 split or more for what performances you have coming up? I have been finding myself ... let's say using the smaller gear for big band stuff far more often than my more straight forward set up. I try maintain the same sound/tone/range on whatever mouthpiece I use but I just enjoy the jazz stuff so much more. Don't we all? I use a Marc. Bobby Shew E14 and/or E9.1 for lead stuff and a Bach 3C for almost everything else. My Warburton mouthpieces do not get as much use anymore. I used to use a 4SV top with a KT backbore.
Anyway, thanks again and keep putting out the good sounds.
I'm a bad person to ask about gear. I play extremely small stuff, and because I do VERY LITTLE legit playing (and the legit playing I do is usually VERY easy stuff) I don't practice on anything quite so big as a 3C. Once upon a time, I practiced this exercise with a different mouthpiece very time. Everything from an unimaginably tiny screamer piece to a big Schilke 20d2d. I think it helped me become less sensitive to equipment. My advice is to practice on what you play, and split your practice accordingly. If you play 70% big band and 30% "legit", then splitting your practice 70:30 lead gear:legit gear seems reasonable to me.
I play oboe I don't even know why I am watching this but it's great.
Very useful for calling mosquitoes.
I was not expecting a Triple G in this video lol 😂 how is this not on one of those highest trumpet note videos
I'll raise you a 5th. Check this recording.
open.spotify.com/track/6xyrCy8lQp4hSAEGMZo9Qh?si=bf7a9d50538b4cac
😯
Well hopefully I will never be obliged to ply so high but still good exercise to achieve high notes that you'll want to play.
Almosr everything you attempted above double C was slightly off key! Anyway, G above double C is quite impressive!! In my best days after years of practice I could barely touch D above double C!
*Aqui *"SIM!!!"* Fala e *MOSTRA E DÁ PROVA DO QUE FALA!!!* Não é só mais um "garganta" que diz que "faz", que "acontece", e no final, não pode nem engraxar os sapatos desse MESTRE que fez esse vídeo!!!*
*Nível de agudos de VERDADE igual esse cara tira, só o Dom Sandoval e "olha lá"!!!*
Eu em quatro oitavas abaixo, já começo a me *"CAGÁ TUDO NA CARÇA"!!!*
Nível VIOLENTÍSSIMO!!! Não tem pra ninguém!!! E pra ele, faz com uma naturalidade como quem está comendo um Yakissoba!!! Kkkkkkkk
*Awesome high pretty notes, my mate!!!
I salute you from the city of MARINGÁ, State of Paraná, South Brazil!!!*
I just wanted to ask if you would recommend doing this exercise on a big mouthpiece or a shallower mouthpiece. I have both and do my range building on my big one (Bach 1.5 c) and would want your opinion
I lost my range after my band director had me ship my embouchure more to the middle. My range plummeted there after. But I'm glad I found this video. You give me immense hope.
How far to the side were you playing?
@@DHCZack barely. You couldn't really tell. But my mariachi instructor told me I needed it in the middle like him..
Your instructor probably knows better than me because they're familiar with your playing. In my experience as long as you like up with your teeth it's fine.
My set is off center. I would humbly submit to you that it doesn't get in my way much.
@@DHCZack I figured so. I feel like my lip isn't what it used to be. On average, how long should it take to build up my stamina and get back into the upper register?? Considering I'll do it twice a day.
@@hoe-teendelvalle4626 shoot me an email. Dhczack@gmail.com
Great vid
Been practicing this everyday starting with pedals. Just can't understand how some days I manage really fat Fs and Gs above high C with ease and even go beyond sometimes reaching B-flat while on other days it's a struggle to get a D above high C.
I’m exactly the same,I think it if also a gift for some trumpet-brass players
DHCZack, If I may ask, which Mouthpiece You are playing on?, thanks!!
Zack, Highly impressed. What part of your practice do you do this exercise, beginning or after daily practice?
What are the notes you’re playing? Great video on the best tutorials I’ve seen!
Yunehe Rodriguez I'm playing major triads ascending chromatically. Ex) D/F#/A, Eb/G/Bb, E/G#/B. If you're asking about how high I'm playing, I'd have to listen through, but on a good day I can get up to the D above Triple High C (the highest C on the piano). Most days I top out around the G below that. The extreme register is really finicky.
Amazing. Can you link some videos or audios of Jon Faddis or Jim Manley who you say can REALLY make use of this register? Thank you
For the break at A, try alternate fingerings. Ive found that playing a with the 2nd valve slots the best in my horn so try experimenting
Lientz oh I've tried just about everything for that note. It's serviceable at loud volumes on the horn in this video with 1 and 2. I've got another horn (36B) with a REALLY good A using first valve.
podrias hacerlo en escalas mayores, menores, aumentados y disminuidos?
Richard Bautista I don't see why not.
I've got 50 dogs barking outside the front door!
Hola Amigo, me gustó mucho su vídeo y espero que su explicación y manera de estudio me ayude con mis notas agudas en la trompeta. No hablo inglés por ahora pero si logro tener avance en estos estudios que explica, me esforzaré en escribirle en inglés. Muchas gracias.
Gracias y buena suerte
Seems to all make sense - topping off at E/F/F# currently but would like an A to play macarthur park. Going to try this 2x per day and try for super C to give me an effective A :)
Tried this regularly for a week. Was topping out at A above top.C now can get a quiet super c for the first time. Have been.alsomdoing a lot of other playing though as well
Superb .you play the high notes easily n effortless . I am a trumpet player. Very often l find it hard to blow the high G just above the staff. How can u help me ?
Did you wake up your wife with that full volume double C at the end??
Nah man she sleeps through it. Especially now that I've moved and I've got like an entire floor between my practice room and the bedroom
I need to find a wife like that! 👍🎺
Great tips and playing btw! Thanks for sharing your insight!
@@JacobGarciaMusic thanks man!
Okay, no focus on tone.. that gives me a different goal. When I do this stuff I try HARD to make the tone good, but I'm just not quite there yet. I like that mindset of playing 'comfortably' rather than particularly focusing on the sound. The sound will develop itself!
Is it all slurred, btw?
Whatever's easiest. For me, that's slurred. Also, easier to diagnose and understand what's going on when there's less moving parts... so slurred probably. Good tone up high comes from not being tense. Too much tension = not enough tissue vibrating = thin tone and tension in your sound.
Nice.. but how do i get my chops strong ..my xhopa usually get tired after playen like couple songs back to back and loud ?
Back off for an immediate increase in endurance. Practice endurance for long term improvement. Practice endurance while backed off too - sometimes pace yourself in practice, sometimes go hard. Set up a book of your favorite charts and play along. More fun than long tones. Also long tones.
It would help if you would show on the screens just what notes you are hitting. I don't recognize them...
Use a free tuner app. I'm not in the business of video editing.
Let’s hear more about your Freudian slip. 😂
Alguna red social para escribirle sobre dudas o clases
What size mouthpiece rim and cup are you using? Can I do it on a Monette B2S3? That's my mouthpiece
That's a custom job from Pickett. It's more or less a copy of a mouthpiece Jim Manley played for a while (the closest commercially available mouthpiece to Manley's is the JimFlex model that Stomvi sells, but the one in question was some iterative model Jim was on at the time) that I had modified to be slightly deeper. I'm still playing on the same mouthpiece, but a few years after this I got a new one with a 30 throat. The backbore is a Pickett copy of a Stomvi M4. It's a very niche/exotic piece of gear that works very well for me but probably is not for the majority of players.
You can do it on any mouthpiece. I used to do this every day several times a day, and each time I'd roll dice to pick my mouthpiece. I'd play it on everything from a Cat Anderson piece to a Schilke 20d2d. Getting the knack for the upper register on one mouthpiece translates to getting it on others. Sometimes the big mouthpiece teaches you things the small one doesn't, or vice versa. High notes not in mouthpiece, high notes in you. That said, just because you CAN do it on any mouthpiece doesn't mean you should. I have the same range on a 3c as I do on my shallow lead gear, but my sound and my endurance and the ease with which I can access that range is not the same.
I use the piece that gives me the easiest time sounding like what I want to sound like. And there's a knack to playing on the small gear. Small gear doesn't have to mean small sound. I definitely think you should TRY other things though. I first got the knack for the upper register after trying a small piece, and once I had figured it out on the small piece, I found I could do it on the big piece, too. I think it makes you a more adaptable player, too. But some people probably take it a bit too far. I switch between 4 mouthpieces, depending on what I'm doing and what I want to sound like. It's been the same 4 mouthpieces for like 10 years.
That B2S3 is a big mouthpiece. With a big throat, too. For most players, this is not a mouthpiece that's making your job easier in the upper register. If you want a lyrical a mellow classical sound up high, then that's a good pick. If you want a broad dark soloistic sound up high, then that's a good pick. If you're playing lead in a big band? Well it's all a matter of preference, but I can tell you that I prefer a bright sound on lead, both as a player and as a listener. So it's all situational. But lots and lots of trumpet players use mouthpieces that are too big for them and that gets in their way when it comes to learning to play up high. People will say things to me like "Arturo does everything on a 3c." And it's like, neither of us are Arturo. Arturo plays like a thousand times as much trumpet as I do. Which, like, if you're looking to do something because Arturo does it, better to copy his practice habits than his gear.
So like, in general you shouldn't let someone who hasn't actually heard and seen you play tell you what kind of mouthpiece you should be using, but in my opinion that's not a mouthpiece that's going to make playing in the upper register any easier for most people if that's what you're going for. I don't know where you're at, but if you haven't tried smaller gear before I'd recommend getting a few cheap used mouthpieces to try out. The Yamaha Shew Lead, the Marcinkiewicz Shew pieces (go with the smallest one first), Schilke 13a4a/14a4a/6a4a can all be found really cheap used, and will probably sell for close to what you buy them for if you don't like them. There are a few different concepts for shallow/lead pieces so just because you don't like one doesn't mean you don't like small.
You're a super human high note man Zach. Very inspiring to say the least. Most of us struggle and maybe are not fit or wired to play the upper register. Tell me, did you find playing high notes relatively easy as a young trumpeter? I suspect upper register notes came relatively easy as a youngster, therefore, rather naturally.
Yes and no. I got to high C/D quickly enough, and could play Gs in high school, but that's because I put a lot of work into it. Hours a day. If I knew then what I knew now....
I definitely don't think it's an issue of "some people can and some can't." It takes practice, and if you're unlucky - lots of experimenting.
Zack, just out of curiosity, what mouthpiece are you playing in the video. Obviously, a lead piece. I have a lead piece that works well for me, but I top out at G. I'll be adding these exercises.
I do arpeggios every day and I max out about g# a
But I don’t play them softly I play relaxed and let them slot with as little pressure as possible
What’s the key to gain more notes and notice progress as I go
I use TCE approach also 😊
Thanks 😊
Como se contacta con usted para clases
Great video! Just a quick question: after doing this exercise, how do you transition to also focusing on tone? Do you just do normal long tone exercises, or does the tone just come naturally as you do the exercise more?
David LoSardo that's a good question. The best answer I have is that once playing the notes is easy, making them sound good is pretty easy too. Good tone comes from relaxed playing.
Awesome
Is trumpet Double C the C5 , the C6 or C7?
I play cello...just starting trumpet...
Hello there and thank you so much for this video!! Your explanations are great and I am already practising this!! This gives me hope to see you play so high without too much tension!
I would really like your input on something that seems to go wrong for me. I am a new trumpet player and joined the local marching band. This is my second year of playing and although I started with a good quality sound and found comfort in the upper register, for some reason after a small break of a couple of months, I find it really hard to find the smootheness and ease in the higher notes. My sound has become rough and tight and my stamina is shit all of a sudden although I've been practising quite often the past 4 months or so. Do you have any ideas about what I could be doing wrong? Might have changed my embochoure without realising it or something? Thank you very much anyway.
General advice: most of the stuff that fucks you up is "you doing things that you shouldn't" and not "you not doing things that you should." you've probably picked up some bad habits over time. Work through fundamentals and really try to focus on minimizing effort and understanding what movements you make because you need to and which ones aren't necessary. These things may change as your musculature develops. It's a continuous process and the only part you should be dogmatic about is continuing to increase your own awareness of your playing mechanism to help you with troubleshooting. If you're paying attention and being methodical (control your independent variables) then you can get easily be your own best teacher.
@@DHCZack Hey mate thank you so much for the instant reply! I think I understand what you say and I try to do that. I am trying to understand what I do (the necessary and the not necessary) but it's so damn hard lol. Anyway I will keep doing your exercise and hopefully it will help me with minimizing effort and being more aware of the things that I do. Again thank you so much for the video and your reply! Keep it up mate
I don't call that playing soft. I'm not arguing. I"m asking. Is that playing soft? When I play soft ( I am a raw, raw beginner) it's much softer than that.
He was playing directly into the mic, so it was soft, but it sounded louder than it actually was (Ik I'm a year late)
gr8 video!! do u have a "break" to overcome before getting into high register or does it all feel the same?
Trumpeteer2000 A above high C is a bitch. Feels the same above and below that note, but that note itself requires some manipulation
DHCZack so my break is above high e and then my attacks gez quite difficult and coming back below e is almost impossible without resetting, do u think its worth working on it or should i continue searching for another way of playing high notes? Its sad cause i got hyped so much finally getting those notes easily ....
Trumpeteer2000 what's the worst that could happen if you try? Also, when you say "break," do you mean that's where your range stops entirely, or do you mean that note is troublesome but you can play above it just fine
DHCZack yes after e the range stops for a moment; it feels like unfurling my bottom lip and after doing this i can easily ascend from high f to dhc or higher and back but not below high f without resetting. It feels like a complete different embouchure so im trying to connect those 2 settings but so far it doesnt work. I realized that more pressure is not the way to Play so effortless like you and now im experimenting but i couldnt find the slight adjustments with lip/tongue position or what ever the missing Puzzle piece might be to reach this goal
Been practicing this for a while now and still feel like the air gets backed up and pinched. Feel like I’m getting diminished results.
You'll need to experiment to make progress. I take an analytical approach to practice. Control your independent variables... That is to say, try to become cognizant of the things you are adjusting when you play, and try to understand their individual and combined effects on your playing. How far your teeth are apart, whether or not you move them, the position of the front of your tongue, the middle of your tongue, the back of your tongue, are you flattening your tongue, "smile muscle" tension, lip pucker, top/bottom lip tension, aperture size, how hard are you blowing, etc etc etc. You'll become more cognizant of the minutiae over time. Start out with the basics...
1) how hard are you blowing?
2) are you guiding air in your mouth or obstructing air in your mouth
3) general body & face tension
4) aperture size
5) tongue
6) overblowing
Thanks for the demonstration; your methods coincide a lot with what my private teachers have all told me. How long did it take you before you could start playing over a high C? The highest note I could play for 7 years was an A above the staff, but after making an embouchure change this past September my Cs are finally starting to come out. I'm aware that building range takes time, but how long did it take you to play over a C?
I was playing up to High C/D in my first year of playing. So it's been a long time. After 4 or 5 years, I could play up to the G above that (not well), and that's where I stopped improving for a while. I got from there to double C (and above) in just a few short months doing this.
Hi, thanks for the video, i have a question : I'm playing now g above high c. Max!
How much time it will take until i can play doble c, in your technique? If I'll work on it let let's say, twice a day?
gonen 770 when I began doing this exercise, I topped out about where you are. I added an octave over a summer break. Though, I was doing this a dozen times a day or more. I was recently in a situation where I spent a lot of time off the horn. I did this twice a day for a few weeks and it brought me back close to where I was pretty quickly.
I think that if you did this twice a day, you'd certainly begin to notice benefits after a week or two.
Thanks for the speedy reply, I will do it, and I will call you back to let you know what happened! !
gonen 770 I'd be interested to hear how it works for you
DHCZack I'm now reaching doble c, and doble d, yet I have to clean it a little bit, but it's the first time in my life 😁
I can send you a sound file?
Is resetting the mouthpiece between arpeggios part of the exercise? I always leave it set...
Jeremy Fink I can see the benefit in leaving it set of you want to be hardcore. Honestly there's probably benefit each way. I don't think it matters that much, but I'm too lazy to leave it set... Plus I imagine I would tire out quicker. Might try it that way sometime though.
But remember: there are 500 individual types of building an embouchure.You are lost in space.
Using your logic, all 500 different ways are lost in space. Smart.
Thanks so much, this was great, going to try it. Note, your wife is NOT asleep and is quietly plotting your death.
Lol. She stopped being able to sleep through it after we had a kid. I have granted her a reprieve for the next few years, to be renegotiated at a later date.
I dont' know how to say this. You are just gifted. No doubt about it! I played from the time I was 10 or so until abouy 30 years old and I was good. Not nearly that good!
I hate to take issue with what I'm sure you intend is a compliment. I'm not gifted, I just practice(d) a lot. I used to not be able to even play a high c. No magic here. Just hard work.
Highest note as my middle schools first chair was high C and now I feel bad about myself
This is a very good video. Suggestion: Find a toastmaster club in your area. Join one. You will be totally improve your performance in your future videos.
He sounded genuine to me. I wouldn't change a thing.
Hey Zack, love this excercise. Gonna start trying this out. Questions for you: do you warm up before you do these or is this the first thing you do when you take your horn out? Thanks!
Michael Galea I usually play some low notes or lead pipe exercises first. something relaxing to get the blood flowing.
Hi buddy, I'm a Russian trumpeter, I'm 14 years old, I really like your diapozon. Can you write what arpeggio you used? Thank you the best.
Стилл just the 1st/3rd/5th of every major key, ascending chromatically.
Here they are in 12 keys (not necessarily the order you need to play them):
C/E/G... Db/F/Ab... D/F#/A... Eb/G/Bb... E/G#/B... F/A/C... F#/A#/C#... G/B/D... Ab/C/Eb... A/C#/E... Bb/D/F... B/D#/F#... C/E/G... And so on.
+DHCZack Thank you.You're the best!I'm waiting for new videos.
Hello Zack is good to do pedal notes before playing your exercise? and after play your exercise is good to play another type de exercise like Arban for example? thanks
Camelo Gonzalo whatever you need to warmup. I prefer some lead pipe stuff or, lately, expanding flow studies. I don't like pedals, but that's just me. Obviously you should do other practice - this is exclusively for building upper register proficiency and efficiency. The Arban's is a great book for most fundamentals... but I don't think it's designed to work the upper register the way a modem commercial player uses it, though you can always carry Arban's stuff higher than written to work the notes. (Page 124 &125 are great for that)
Thanks so much Zack for sharing his advice and this exercise !!!salute from Canada
Mouthpiece?
Wut mpc u using in this video?
Are you breathing from your tummy?
Yes and no. I consciously only breathe to about 80 percent fullness because it keeps me less tense. I'll use the Yoga/Wedge/Diaphragmetic breathing if I really want to tank up before a big section, but even then I won't breathe to 100% full. Breathing techniques never made a big difference for me. My pet theory is that is way more useful to people for whom "taking a full breath in such a way that the air pressure can be easily leveraged" does not come naturally for whatever reason.
That is to say, I think it either makes a big difference or none at all, depending on where you're coming from. I don't find that being ridiculously full of air helps me much.
Good 🇩🇪 1 Love