I got to meet Maynard in person and I'll never forget it. I just went to see his show and ended up running across the street to snag batteries for a guy in his percussion section and he took time out to say hi and thank me personally! What a guy he was!
I would have loved to have had this to listen to when I was in high school back in the 70's. I always believed that the fact that I was a female was the reason I would never be able to hit the incredible high notes that I've heard him play. Had I known what he said here, I might have tried harder. Oh well, thank you for uploading this. This man has made many believers out of young kids who want to play the trumpet like him.
Maynard is spot on here! Steady, fast, controlled air coupled with proper support from the 'diaphragm' and great posture are truly the only way to gain a consistent upper register
I love his explanation on what a lead trumpet player goes through mentally. He's totally correct, if s lead trumpet player splits a note everyone hears but if a 4th trumpet or 3rd trombone does the same its not normally heard by the public. I've always had great admiration for lead trumpet players I'm one and I always said to myself never forgot all the range I.e. Bottom range with tone and upper range with tone. I love paying MF, Kenton and such charts and you have to use that energy when playing miss the BOSS so much !
Thanks for posting these clinics JudeCincy...priceless perspective on the subject of the upper register by the master. Glad they have been preserved! Thanks again.
I play trumpet and trombone, and for me the knees comment is on point. each player does what works for them. I met Maynard in my high school jazz band years and learned a lot from a one hour session with him.
Thank you for uploading this series of Q A With Maynard! Had the opportunity of being in his presence with his Bee Bop Band , in Vernon Ct at The Middle School and at The University of Connecticut ‘s Jorgensen Theatre!!!
I have posture issues due to my back. Bending my knees makes it easier for me to breathe and get my jaw into position. I take in more air and can blow better when my knees are slightly bent. For me, it works, and that is all that counts when I'm on stage. I still hit double C and I'm in my mid 50's. When I stand up straight, it is much harder to do so.
@johnmohanmusic No, it's a combination of tension across the membrane, the membrane's willingness to vibrate (which is where individual formation comes into play) and increased air pressure. The notes won't happen without ALL elements in place. Lots of people can squeeze out dog shrieks, the question is to whether you can play in the high range in a musically useful way. Some people's tools are simply more conducive.
Buddy did get tired.But then again, he was playing in a range that Maynard had no real control in. That is in the register above double C with real control and a killer sound. I heard him many times and never heard him on a bad night.
Maynard was God to many of us, as much due to his soul/personality as his playing. If Maynard says his body not his chops are the reason he was great I would take him at his word.
@pongespob In the "Brass Playing Is No Harder Than Deep Breathing" book there are written testimonials from Carl Leach and Tony Horowitz testifying to the fact that they heard Claude playing the range of a piano with full power. Claude does glissandos from Low C to Double High C on his Selmer-produced video "The Seven Natural Elements of Brass Playing" - and this was recorded AFTER he had open chest surgery. I strongly suggest you read the "Brass Playing Is..." book.
im 52, a comeback player! no double c's for me yet, ive only been back 2 months. thanks to roy's scientific teachings i can feel the sky is the limit. not so when i played with a receeding jaw, closed teeth and a downward air stream! peace out!
suffice it to say that maynard's son Bentley studied with Roy because Maynard was certainly not able to teach. He was a natural, one of the rare breed!
robert solo most of the legends from Maynard's time were rarely also good teachers, at least not in the traditional sense lol...clark terry may be the exception
Maybe the issue was teaching his own son. And Maynard wasn’t self-taught. He went to a conservatory. Everything he says here is perfectly useful, by the way.
@pongespob exactly, lead trumpet play is much harder than altissimo, considering if we play for so long then it can become almost impossible to play with a good sound in the upper register, unlike alto, which lacks the aspect of lip vibration along with embouchure and air control neccesary for that kind of range.
@pongespob A few last things: 1) I wrote that Claude didn't partake in a solo career but I also wrote of his performing with his dance band. I don't really consider his performing with his Dance Band to be a "solo career" as the main emphasis was on the Band itself (and the female singer he had with the band). While it only amounted to a few albums, I think his playing on his Dance Band albums is pretty impressive. That's just my opinion, as a career professional trumpet player...
@pongespob I don't believe Maynard himself fully understood how it all worked, borne out by much of what he had to say. I think he felt obligated to say something. I don't believe at all someone would end up playing like him simply by following his advice.
@pongespob Claude displayed virtuoso levels of playing on his albums. In particular, his solos in his big band version of "Light Calvary Overture" contains playing that Mendez would have been proud to have done. And keep in mind: what he did on those albums he also did live nightly with his Dance Band. (Continued) -------->
@pongespob Thanks for you reply (though I still think you're completely wrong). I don't "dismiss the functionality of the reed" - I just understand that it is the Air Power and control of the Air Power that causes our "reed" to vibrate (softer or louder; faster or slower). You can disagree with me (and Maynard himself) all you want - you're entitled to your own opinion. No one can sound exactly the way Maynard did. My own range was up to G above Double C when I was playing full time.
Interesting he brings his lower jaw in for the high notes and never damaging his upper chops. I basically have my lower jaw slightly past the upper teeth when playing the trombone. I might try his approach but I did long ago experience upper lip fatigue with my lower jaw in. I could have been doing something wrong back then.
@johnmohanmusic I keep prompting you to refer me to tangible examples of Gordon's playing that demonstrate what a monster he was, you don't seem to be able to do this. All you seem to be able to do is relate apocryphal stories. Curious that such a phenom doesn't have a larger solo discography. Rafael Mendez, Macolm McNab, Doc Severinsen, Bud Herseth, Maurice Andre, Clark Terry - virtuosos. Claude Gordon is far more well known for promoting his method books than for his playing.
@NAtePoo When you can hit consistent, usable double C's on trumpet late on a gig then come back and tell us how much easier high trumpet is than high sax.
@chupatrekkie13 Hello Chupatrekkie. Had you read the entire piece, then there is positively no reason for your response. There is nothing insulting in that post...its merely an accurate description of how that man amazed us all....for decades.
@pongespob Claude's main job was 1st trumpet for the CBS Staff Orchestra. He did not partake in a solo career, so other than his few albums, you're right - there's not a lot out there to show what he could do. But there are written testimonials from several people that appear in Claude's "Brass Playing Is No Harder Than Deep Breathing Book" that tell of what Claude could do. It appears to me that you must think these people are all liars. (Continued) --------->
I'd have to disagree with Maynard about his own embouchure. He tries to imply his chops have nothing to do with it - his "reed" - the specific formation of his teeth and lips was more conducive to upper register playing. He had a somewhat unusual embouchure.
@johnmohanmusic You're assuming something I didn't say, and further you demonstrate a lack of understanding of the mechanics involved. It involves numerous elements that act as a whole. To dismiss the functionality of the reed is absurd.
@pongespob And finally (really), I went to your TH-cam page, and as I suspected, your a kid. Not a bad thing to be (you'll grow out of it), but perhaps, just maybe you might want to open up your mind a bit. If you're presented with the written word of several pro players that a certain player could do certain things, it might be wise to allow your opinion to be adjusted. Also: Is that you performing the "Perez Hilton as a Kid" thing? It's VERY funny!
@pongespob -cont'd- to johnmohanmusic - As a demonstration of the validity of this, lots of people practice a lot, not everyone has an upper register like Maynard. Can you play the Titan or "Maynard Ferguson" like Maynard could? No, you can't. If you practiced for the next 20 years you couldn't. Neither could Claude Gordon with all his "wisdom" to dispense. It's like saying anyone can set a world record in the 100 meter hurdles. Some people simply have more conducive tools.
@johnmohanmusic Funny, I never hear of Claude Gordon mentioned as one of the greats. From what I gather he was a decent player, dependable sideman, nothing really special as a player which is what the album I have of his would seem to demonstrate. By all means point me to something that shows what a freakish range Claude Gordon had.
@pongespob I restate - could you at any point play the things Maynard played - Maynard Ferguson, Ole, The Titan, etc. the way he did? My bet is no you couldn't. For that matter, neither could Al Hirt or Conte Candoli. Great players in many regards, they didn't have the same tools as Maynard, simple as that. Maybe Walt Johnson could, he has the tools.
@johnmohanmusic "...as I suspected, your a kid..." Um, no. Are you basing that on the Perez Hilton as a kid video? That's "Fred" - who's somewhat famous on TH-cam. Re: testimonials in method books - that's nice. I'm more interested in actual examples of playing. I'll look for other of his albums.
@johnmohanmusic "...playing the range of a piano with full power..." Besides that "with full power" is meaningless, I'm guessing we won't actually find any actual tangible demonstration of him doing this. Getting back to the original point. Gordon was a decent player. His method didn't give him the ability to play "Maynard Ferguson", or Ole' or the Titan the way Maynard could. Because he didn't have the tools Maynard had.
@pongespob And, given that I studied with Claude for 14 years and heard him play at virtuoso levels, I can tell you, you are very much off base in your opinion of what Claude could do. Of course, as we both know, your opinion isn't going to change. You'll just assume I'm also a liar... Reasonable people adjust their opinions to the evidence at hand. Try it sometime.
@pongespob It's funny and sad at the same time - perhaps the most important thing Maynard says on this video is completely lost on you. You pronounce with a rather silly air of authority that his "lips were more conducive to upper register playing." Always the lips! They get all the blame or credit. In reality the lips don't play the instrument. It's all about air power and CONTROL of the air power via the arching tongue. Get "Brass Playing Is No Harder Than Deep Breathing" by Claude Gordon.
@pongespob Claude was a "decent player"? He was a virtuoso. And he had a full power range to Double C. You of course, despite having never met or heard him play (other than on a dance record), will dispute this. What you don't get, is that while Maynard was a great high note player (and a great Be-Bop player), he wasn't the only one. It's just that he was one of the ones who showcased it. There are guys all over that can play as high or higher than he could (and with full power).
in addition Maynard's explanations will never enable you to play the way he does. He was a great player but certainly not a great teacher. Miles was right to laugh Maynard's suggestion about the knees.Look at Mile's posture in his later playing years all stooped over. But you cam bet his jaw alignment was spot on.
Maynard’s advice to Miles was about upper register playing specifically, and it’s correct. Tell us exactly what is incorrect in what Maynard says here about pressure, posture, breathing, etc?
@pongespob (continued). So while I don't sound and play exactly like Maynard, I have a pretty good handle on what's involved in playing the upper register (as did Claude Gordon who could also play well above Double High C). Maybe you should read more and pontificate less. Maybe we all should... :-)
here's a multi-instrumentalist to settle, playing lead trumpet part on a bari is easier than the trumpet. The alto however has a difficult altissimo in matters of muscle tension and fingerings. That being said, the trumpet takes more muscle to play high but as long as you can tune by ear its fairly simple. Regular battle of mind vs muscle but more like yin and yang. They are both difficult and both needed. Why must we always compete when we all play together to make music?
amigo it doesnt work like that!brass playing is based on definite scientific laws. get your hands on the book Embouchure Self-Analysis by Roy Stevens, the pre-eminent embouchure clinician of the twetieth century! Check out the Roy Stevens web site, it is a tribute sight developed by my freind David hay, a phenomenal player in his own right. I will not argue with you, go to an authoritative source. maynard is full of it!
pongesbob please do not be a high note freak there is no need to hit consistent double c's unless you are plying jon faddis freakazoid music to slash the ears. the cats that can do that are naturals that have trained to perfection. They are rare indeed. It is clear that Maynard is a natural with training!
haha lead alto learn high trumpet??? altissimo is stupid harder than upper register brass. -coming from an alto player who can hit g's, a's and the occasional double c.
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
I got to meet Maynard in person and I'll never forget it. I just went to see his show and ended up running across the street to snag batteries for a guy in his percussion section and he took time out to say hi and thank me personally! What a guy he was!
I would have loved to have had this to listen to when I was in high school back in the 70's. I always believed that the fact that I was a female was the reason I would never be able to hit the incredible high notes that I've heard him play. Had I known what he said here, I might have tried harder. Oh well, thank you for uploading this. This man has made many believers out of young kids who want to play the trumpet like him.
Maynard is spot on here! Steady, fast, controlled air coupled with proper support from the 'diaphragm' and great posture are truly the only way to gain a consistent upper register
joe740544 please see my post above about the "diaphragm"
I love his explanation on what a lead trumpet player goes through mentally. He's totally correct, if s lead trumpet player splits a note everyone hears but if a 4th trumpet or 3rd trombone does the same its not normally heard by the public. I've always had great admiration for lead trumpet players I'm one and I always said to myself never forgot all the range I.e. Bottom range with tone and upper range with tone. I love paying MF, Kenton and such charts and you have to use that energy when playing miss the BOSS so much !
Wow, I didn't know Maynard could play normal human notes on his trumpet!
Never got around to actually listening to his music?
Thanks for posting these clinics JudeCincy...priceless perspective on the subject of the upper register by the master. Glad they have been preserved! Thanks again.
I play trumpet and trombone, and for me the knees comment is on point. each player does what works for them. I met Maynard in my high school jazz band years and learned a lot from a one hour session with him.
and Sopransax
I had the pleasure of meeting Maynard, he was such a nice guy, cracked a few jokes, and even signed a harmon mute I have. Rest in piece.
Thank you for uploading this series of Q A With Maynard! Had the opportunity of being in his presence with his Bee Bop Band , in Vernon Ct at The Middle School and at The University of Connecticut ‘s Jorgensen Theatre!!!
god bless youtube these people are the reason we can share this GREAT information and maybe learn as artists and SHARE!!!!!!!!
nice. thanks for posting these. moments that can never be repeated.
your spot on Ed . MF gives us all his breathing and airstream secret and no one has commented or referred to it. this is gold dust.
I have posture issues due to my back. Bending my knees makes it easier for me to breathe and get my jaw into position. I take in more air and can blow better when my knees are slightly bent. For me, it works, and that is all that counts when I'm on stage. I still hit double C and I'm in my mid 50's. When I stand up straight, it is much harder to do so.
@johnmohanmusic No, it's a combination of tension across the membrane, the membrane's willingness to vibrate (which is where individual formation comes into play) and increased air pressure. The notes won't happen without ALL elements in place.
Lots of people can squeeze out dog shrieks, the question is to whether you can play in the high range in a musically useful way. Some people's tools are simply more conducive.
Buddy did get tired.But then again, he was playing in a range that Maynard had no real control in. That is in the register above double C with real control and a killer sound. I heard him many times and never heard him on a bad night.
@@jibberjabber564 Bud Brisbois
Maynard was God to many of us, as much due to his soul/personality as his playing. If Maynard says his body not his chops are the reason he was great I would take him at his word.
give us more of this clinic
@pongespob In the "Brass Playing Is No Harder Than Deep Breathing" book there are written testimonials from Carl Leach and Tony Horowitz testifying to the fact that they heard Claude playing the range of a piano with full power. Claude does glissandos from Low C to Double High C on his Selmer-produced video "The Seven Natural Elements of Brass Playing" - and this was recorded AFTER he had open chest surgery. I strongly suggest you read the "Brass Playing Is..." book.
im 52, a comeback player! no double c's for me yet, ive only been back 2 months. thanks to roy's scientific teachings i can feel the sky is the limit. not so when i played with a receeding jaw, closed teeth and a downward air stream! peace out!
it makes so much sense, wish I had been told all this, back in the day, oh well
suffice it to say that maynard's son Bentley studied with Roy because Maynard was certainly not able to teach. He was a natural, one of the rare breed!
robert solo most of the legends from Maynard's time were rarely also good teachers, at least not in the traditional sense lol...clark terry may be the exception
Maybe the issue was teaching his own son.
And Maynard wasn’t self-taught. He went to a conservatory.
Everything he says here is perfectly useful, by the way.
@pongespob exactly, lead trumpet play is much harder than altissimo, considering if we play for so long then it can become almost impossible to play with a good sound in the upper register, unlike alto, which lacks the aspect of lip vibration along with embouchure and air control neccesary for that kind of range.
@pongespob A few last things:
1) I wrote that Claude didn't partake in a solo career but I also wrote of his performing with his dance band. I don't really consider his performing with his Dance Band to be a "solo career" as the main emphasis was on the Band itself (and the female singer he had with the band). While it only amounted to a few albums, I think his playing on his Dance Band albums is pretty impressive. That's just my opinion, as a career professional trumpet player...
@pongespob I don't believe Maynard himself fully understood how it all worked, borne out by much of what he had to say. I think he felt obligated to say something. I don't believe at all someone would end up playing like him simply by following his advice.
What parts of his advice here do you disagree with?
Listen to his playing in the 50's/60's.
@pongespob Claude displayed virtuoso levels of playing on his albums. In particular, his solos in his big band version of "Light Calvary Overture" contains playing that Mendez would have been proud to have done. And keep in mind: what he did on those albums he also did live nightly with his Dance Band.
(Continued) -------->
@pongespob Thanks for you reply (though I still think you're completely wrong). I don't "dismiss the functionality of the reed" - I just understand that it is the Air Power and control of the Air Power that causes our "reed" to vibrate (softer or louder; faster or slower). You can disagree with me (and Maynard himself) all you want - you're entitled to your own opinion. No one can sound exactly the way Maynard did. My own range was up to G above Double C when I was playing full time.
@stephenok711
totally true man will have to check out all of these clinic videos totally vital to good trumpet playing.
I was taught Bobby shew breathing technique and that is very close to yoga breathing. It really does work
Interesting he brings his lower jaw in for the high notes and never damaging his upper chops. I basically have my lower jaw slightly past the upper teeth when playing the trombone. I might try his approach but I did long ago experience upper lip fatigue with my lower jaw in. I could have been doing something wrong back then.
@johnmohanmusic I keep prompting you to refer me to tangible examples of Gordon's playing that demonstrate what a monster he was, you don't seem to be able to do this. All you seem to be able to do is relate apocryphal stories. Curious that such a phenom doesn't have a larger solo discography.
Rafael Mendez, Macolm McNab, Doc Severinsen, Bud Herseth, Maurice Andre, Clark Terry - virtuosos. Claude Gordon is far more well known for promoting his method books than for his playing.
UN 'LOCO LINDO' gran trompetista.
@NAtePoo When you can hit consistent, usable double C's on trumpet late on a gig then come back and tell us how much easier high trumpet is than high sax.
@chupatrekkie13
Hello Chupatrekkie. Had you read the entire piece, then there is positively no reason for your response. There is nothing insulting in that post...its merely an accurate description of how that man amazed us all....for decades.
@pongespob Claude's main job was 1st trumpet for the CBS Staff Orchestra. He did not partake in a solo career, so other than his few albums, you're right - there's not a lot out there to show what he could do. But there are written testimonials from several people that appear in Claude's "Brass Playing Is No Harder Than Deep Breathing Book" that tell of what Claude could do. It appears to me that you must think these people are all liars.
(Continued) --------->
What was the type of yoga he suggested to look into.
pause right on 6:16. that would be an awesome poster.
I'd have to disagree with Maynard about his own embouchure. He tries to imply his chops have nothing to do with it - his "reed" - the specific formation of his teeth and lips was more conducive to upper register playing. He had a somewhat unusual embouchure.
that is... so true ChwyNiblet
check out my video response. My knees aren't bent. In fact I am in a recliner.
@johnmohanmusic You're assuming something I didn't say, and further you demonstrate a lack of understanding of the mechanics involved. It involves numerous elements that act as a whole. To dismiss the functionality of the reed is absurd.
He was a cool guy. I'd rather hear him talk than play....
@pongespob And finally (really), I went to your TH-cam page, and as I suspected, your a kid. Not a bad thing to be (you'll grow out of it), but perhaps, just maybe you might want to open up your mind a bit. If you're presented with the written word of several pro players that a certain player could do certain things, it might be wise to allow your opinion to be adjusted.
Also: Is that you performing the "Perez Hilton as a Kid" thing? It's VERY funny!
@pongespob -cont'd- to johnmohanmusic - As a demonstration of the validity of this, lots of people practice a lot, not everyone has an upper register like Maynard. Can you play the Titan or "Maynard Ferguson" like Maynard could? No, you can't. If you practiced for the next 20 years you couldn't. Neither could Claude Gordon with all his "wisdom" to dispense. It's like saying anyone can set a world record in the 100 meter hurdles. Some people simply have more conducive tools.
Do you "Juan"-a talk about it?
@johnmohanmusic Funny, I never hear of Claude Gordon mentioned as one of the greats. From what I gather he was a decent player, dependable sideman, nothing really special as a player which is what the album I have of his would seem to demonstrate.
By all means point me to something that shows what a freakish range Claude Gordon had.
@pongespob I restate - could you at any point play the things Maynard played - Maynard Ferguson, Ole, The Titan, etc. the way he did? My bet is no you couldn't. For that matter, neither could Al Hirt or Conte Candoli. Great players in many regards, they didn't have the same tools as Maynard, simple as that. Maybe Walt Johnson could, he has the tools.
@johnmohanmusic "...as I suspected, your a kid..." Um, no. Are you basing that on the Perez Hilton as a kid video? That's "Fred" - who's somewhat famous on TH-cam.
Re: testimonials in method books - that's nice. I'm more interested in actual examples of playing. I'll look for other of his albums.
@johnmohanmusic "...playing the range of a piano with full power..." Besides that "with full power" is meaningless, I'm guessing we won't actually find any actual tangible demonstration of him doing this.
Getting back to the original point. Gordon was a decent player. His method didn't give him the ability to play "Maynard Ferguson", or Ole' or the Titan the way Maynard could. Because he didn't have the tools Maynard had.
I trying to prove that both sides are correct. And since you must not have read what I put, I am a multi-instrumentalist
this sadly...makes a lot if sense
well i just played a half step higher. :)
@pongespob And, given that I studied with Claude for 14 years and heard him play at virtuoso levels, I can tell you, you are very much off base in your opinion of what Claude could do. Of course, as we both know, your opinion isn't going to change. You'll just assume I'm also a liar...
Reasonable people adjust their opinions to the evidence at hand. Try it sometime.
@pongespob It's funny and sad at the same time - perhaps the most important thing Maynard says on this video is completely lost on you. You pronounce with a rather silly air of authority that his "lips were more conducive to upper register playing." Always the lips! They get all the blame or credit. In reality the lips don't play the instrument. It's all about air power and CONTROL of the air power via the arching tongue. Get "Brass Playing Is No Harder Than Deep Breathing" by Claude Gordon.
Because you are trying to prove us wrong. Why is a sax player even watching a video about how to play on TRUMPET!!
don't expect anything but trolls in TH-cam comments.
@pongespob Claude was a "decent player"? He was a virtuoso. And he had a full power range to Double C. You of course, despite having never met or heard him play (other than on a dance record), will dispute this.
What you don't get, is that while Maynard was a great high note player (and a great Be-Bop player), he wasn't the only one. It's just that he was one of the ones who showcased it. There are guys all over that can play as high or higher than he could (and with full power).
in addition Maynard's explanations will never enable you to play the way he does. He was a great player but certainly not a great teacher. Miles was right to laugh Maynard's suggestion about the knees.Look at Mile's posture in his later playing years all stooped over. But you cam bet his jaw alignment was spot on.
Maynard’s advice to Miles was about upper register playing specifically, and it’s correct.
Tell us exactly what is incorrect in what Maynard says here about pressure, posture, breathing, etc?
@pongespob (continued). So while I don't sound and play exactly like Maynard, I have a pretty good handle on what's involved in playing the upper register (as did Claude Gordon who could also play well above Double High C). Maybe you should read more and pontificate less. Maybe we all should... :-)
here's a multi-instrumentalist to settle, playing lead trumpet part on a bari is easier than the trumpet. The alto however has a difficult altissimo in matters of muscle tension and fingerings. That being said, the trumpet takes more muscle to play high but as long as you can tune by ear its fairly simple. Regular battle of mind vs muscle but more like yin and yang. They are both difficult and both needed. Why must we always compete when we all play together to make music?
Maynard is sure entertaining to listen to but you have to work hard to glean some actual tips out of what he's saying.
Man I love Maynard, but he is NOT meant for public speaking haha
just saying, I was hitting double G within a year... granted in that year I practiced as much as professionals
LOL.
amigo it doesnt work like that!brass playing is based on definite scientific laws. get your hands on the book Embouchure Self-Analysis by Roy Stevens, the pre-eminent embouchure clinician of the twetieth century! Check out the Roy Stevens web site, it is a tribute sight developed by my freind David hay, a phenomenal player in his own right. I will not argue with you, go to an authoritative source. maynard is full of it!
pongesbob please do not be a high note freak there is no need to hit consistent double c's unless you are plying jon faddis freakazoid music to slash the ears. the cats that can do that are naturals that have trained to perfection. They are rare indeed. It is clear that Maynard is a natural with training!
haha lead alto learn high trumpet??? altissimo is stupid harder than upper register brass. -coming from an alto player who can hit g's, a's and the occasional double c.
trumpet high notes are objectively harder, especially with good tone -coming from a trumpet player who plays lead