Junior newsletter. Karl Sievers grew up in Louisville, KY. Karl went to college at the School of Music at Indiana University, where his primary teacher and greatest influence was William Adam. He also gained many valuable insights into trumpet playing and professional music making from IU Professor of Jazz, Dominic Spera.
During this time at IU, Karl began to realize the wisdom of being broadly skilled in terms of participating in Jazz and Classical idioms, a conviction which has greatly benefited his career to this day. Professionally, Karl has enjoyed a very busy career, having played in the orchestras of Indianapolis, Charlotte, Dayton, the Cincinnati Ballet, and a great deal of chamber music of all kinds. He is presently the principal trumpeter of the Oklahoma City Philharmonic and the newly formed Norman Philharmonic. In addition, his commercial playing resume is quite vast, having been on literally thousands of recording sessions, and having played lead trumpet for countless touring shows and for other headliners.
Karl Siever's website. Louis Brass and the Yale Brass Trio. Dean was a member of the New York Brass Quintet for 18 years and free lanced in the New York City concert and recording field for over 20 years before joining the faculty of Indiana University in In he moved back to the Northeast to join the Yale faculty. At Yale, Dean coaches brass chamber music and directs the Yale Cornet and Sacbut Ensemble in addition to teaching trumpet.
Integrating post-bop elements and Brazilian rhythmic concepts into his palette with ease, Grammy-nominee Claudio Roditi plays with power and lyricism. This fuels an ongoing search for personal expression and musical perfection. I can think of only a handful of modern trumpeters who combine brain and soul, technique and wisdom in a way that matches Roditi's.
Claudio Roditi's Biography. Claudio Roditi's Discography. Based in Tulsa, Oklahoma, trumpeter Ben Hay enjoys a very active career as a professional performer and music educator. He is pursuing a D. An avid chamber musician, he has performed with Tulsa Camerata, the faculty brass quintets of the University of New Mexico and Northeastern State University, and the brass quintets of the Symphony of Northwest Arkansas and the Tulsa Symphony.
Andrew Cheetham, Dr.
John Marchiando, and Dr. Karl Sievers. Richard J. He is currently Associate Professor of Music at the University of Arkansas where he teaches applied trumpet and brass chamber music and performs as a founding member of the Boston Mountain Brassworks the UA faculty brass quintet in residence. In addition to many Air Force recordings, Dr. Born Albuquerque, NM. Started guitar at age eight but switched to trumpet at age ten. Discovered improvisation at first rehearsal. Spent summers after high school in New York City listening to the great jazz masters.
Settled in Las Vegas for 7 years playing top show bands in casinos. In addition, Bobby played and recorded with combos of Bud Shank, Horace Silver, Art Pepper, and his own highly regarded quintet and sextet. Former Assoc. State Northridge years Calif. Institute Of The Arts 3 years. Bill Williams has performed as principal trumpet and soloist with orchestras and festivals internationally.
His activities have included an extensive range of performances, recordings and tours with with major orchestras including the San Francisco Symphony, the Berner Symphonieorchester, the Barcelona Symphony and many others. He has performed chamber music at a variety of festivals internationally and with leading ensembles including Ensemble Modern and Tafelmusik Baroque Orchestra.
In addition to his life as a performer, Bill has devoted his career to helping performers better cope with the challenges of performance. In demand internationally as a performance psychology coach, he has a private practice based in Santa Fe, New Mexico. A frequent recitalist and clinician, Dr. Cook has a D. While in Austin, Dr. Cook served as the TA to the trumpet program and the brass chamber program. Cook also has a M. From - , Dr. He also has been asked to be a guest lecturer at several universities around the country, including the University of Wisconsin, University of Iowa, University of Minnesota and Baylor University, and the University of Houston.
Cook moved to eastern Oklahoma in the summer of He lives with his wife, Dr. He teaches applied trumpet lessons, directs the trumpet ensemble, and serves as principal trumpet of the Faculty Brass Quintet. He is an active soloist and clinician, having appeared as a guest artist at many festivals and universities throughout the United States. Also active as a composer, his compositions and arrangements are available through Hickman Music Editions.
He performs, teaches, and provides masterclasses and lectures internationally and across the US. Gardner continues to enjoy impressive teaching successes. His students have been accepted on scholarship into distinguished graduate programs and elite summer festivals. Gardner is a Bach Performing Artist and Clinician.
Ben holds degrees from Oklahoma State University BM Performance as well as the University of New Mexico MM Performance and serves as an adjunct instructor for Tulsa Community College, where he teaches trumpet, brass chamber music, and assists in conducting the concert band.
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He is also pursuing a doctorate in trumpet performance at the University of Oklahoma. He has performed as a member of the University of New Mexico graduate and faculty brass quintets as well as being a founding member of Tulsa Brass. Possessing a deep commitment to music education, Mr. Hay maintains a dynamic private trumpet studio of more than thirty students, which consists of students from Owasso, Coweta, Tulsa Union, Catoosa, and Jenks public schools.
Additionally, Ben serves on the staff of the Coweta band program where he heads the high school marching brass caption as well as assists with all other aspects of brass instruction. Andrew Cheetham, Thomas Booth, Dr. He is currently Associate Professor of Music at the University of Arkansas where he teaches applied trumpet and brass chamber music and performs as a founding member of the Boston Mountain Brassworks the UA faculty brass quintet in residence He is the Principal Trumpet of the Symphony of Northwest Arkansas and the Arkansas Philharmonic Orchestra.
As a chamber musician, he is a member of the Evangel Brass Quintet. He has played with Mannheim Steamroller, the Three Tenors and a varied collection of music shows and musical theatre productions. While a student at Missouri State, he was a prizewinner in the International Trumpet Guild Solo Competition, a finalist in the Naftzger Young Artist Competition, and won the university band and orchestra solo competitions. Barbara York has been working in both Canada and the U. More than 10 other CD's are available commercially that feature her compositions and are available through Amazon.
David Hickman, playing as soloist with The American Sinfonietta in the Musikverein, played the trumpet concerto by Hummel. Hickman has released 19 solo albums encompassing a wide variety of repertoire—from cornet solos by Clarke, Levy, and others, to modern concerti by Planel, Baker, and Plog; from baroque works of Bach, Telemann, and Hertel, to recital pieces by Chance, Dello Joio, and Mendez. His articulation and phrasing are impeccable. More importantly, the wide affective range he coaxes from his instrument is continuously revelatory.
As a noted clinician and author, Hickman has presented workshops on over major university campuses. His latest page book, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques, is the number one text for university study and is used at over schools of music around the world. Hickman is founder and president of the acclaimed Summit Brass, a large all-star American brass ensemble that has released 11 CDs, toured the world and hosted annual brass music institutes for thousands of aspiring musicians.
He is also a past president of the International Trumpet Guild Hickman is a Yamaha Performing Artist. David Hickman proved himself expert in both capacities. McNees, Frank W. Baird, Walter J. Originally from Santa Monica, California, Dr. In addition to impressive teaching successes, Dr. Gardner also continues to enjoy an exciting performing career.
As an orchestral performer, Dr. After receiving a standing ovation for their performance at the International Trumpet Guild Conference, the OSU Trumpet Ensemble has been invited to perform again at the Conference. He is a Bach performing artist and clinician and continues to perform, teach, and provide master classes and lectures internationally. She has accompanied solo performers from major U. She has been guest pianist with such ensembles as Quintessence, Arpeggio, and Southwest Brass, and was a founding member of the Bavarde Quartet.
In addition to her active freelance career, she is also the organist at Church of the Epiphany in Tempe, Arizona and the owner of Classic Touch Music Academy where she teaches nearly sixty piano students a week. Trumpeter Alan Hood hails from the small upstate New York town of Pumpkin Hook and has been performing music for over 30 years. He is among featured soloists on the band's live compact disc recording "A Hot Night in Paris," on the Atlantic jazz label and appears on well over thirty other jazz, commercial and classical recordings. Dividing his career between performing and teaching full time at the University of Denver's Lamont School of Music as Associate Professor of Trumpet, Al directs the Lamont Jazz Ensemble and performs extensively with Lamont's artist-in-residence ensembles, the faculty brass trio, and the faculty jazz ensemble.
His research will be utilized in a forthcoming video documentary on Brown and he has been consulted by Jazz at Lincoln Center's Education Department for assistance with their new Brown exhibit that is now a part of the Nesuhi Ertegun Jazz Hall of Fame. Smith Symphony and the Springfield Symphony. He has played with Mannheim Steamroller, the Three Irish Tenors and a varied collection of music shows and musical theatre productions.
While a student at Missouri State, he won the band and orchestra solo competitions the same year. He enjoys performing as a soloist with various ensembles and in church settings. Burgstaller tours worldwide as a soloist, with his hit crossover group BM4 BurgstallerMartignon4 , with the revolutionary NY Brass Arts Trio, and as a clinician and teacher. Joe is a former full-time member and featured trumpeter with Canadian Brass, and holds the third longest tenure on trumpet in the history of that famed group.
I had to pinch myself for thinking that I heard a high clarinet! He is an active arranger and composer, and is in his second decade as a Yamaha Performing Artist. Burgstaller teaches trumpet, chamber music and a special 8-part series of all-instrument performance masterclasses at The Peabody Institute of the Johns Hopkins University in Baltimore, Maryland.
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Joe has built a groundbreaking one-of-a-kind trumpet studio that prepares their students for the demands and reality of today's music world. His teaching emphasizes creativity, connection, versatility and entrepreneurship, and he combines the best of traditional techniques with an innovative mental training approach that has its roots in the field's modern breakthrough discoveries of the last two decades. Joe was a child prodigy, beginning the cornet at age six. By age twelve he was improvising jazz and soloing with area bands and jazz clubs, and by fifteen was the youngest professional in the Virginia Opera Orchestra.
While in New York, he was a member of the Rochester Philharmonic and held principal chairs in three other orchestras. Current orchestra positions include principal trumpet in the Colorado MahlerFest, and extra trumpet for the St. Louis and Kansas City Symphonies. In addition to orchestral playing, Dr. Benjamin is an active recitalist and chamber musician, and is first trumpet in the Missouri Brass Quintet.
He has commissioned and premiered numerous works, including compositions of Samuel Adler, James Mobberley, Eugene O'Brien, and many others. Kansas City also affords him the opportunity to have a lively professional career as a commercial, studio, and lead trumpet player, including recording the "signature spot" for CNBC-TV.
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The duo recently released Clarion: New Vintage, their second disc on Gothic Records, this one consisting of all commissioned American works. Reed was born and raised in central Iowa. He has served as a visiting lecturer to scores of universities and conservatories, including the Crane School of Music and the Moscow and St. Petersburg Conservatories. Winking has presented solo and ensemble concerts and clinics throughout the United States, Canada, Sweden, Japan, Switzerland and Russia.
He is a freelance trumpet player, performing with many local and national groups, including the Austin Symphony, the Austin Jazz Orchestra, James Brown, the Manhattan Transfer, and the Austin Sinfonietta. He has extensive recording experience and has recorded national jingles for McDonalds and American Express. View the Trumpet Guild write-up of the Trumpet Festival. Virtuoso trumpeter Ryan Anthony is most notably known for his varied career as soloist, educator, chamber musician and orchestral player. Having departed the world-renowned brass ensemble Canadian Brass in , Anthony quickly became one of the most sought after trumpet players in America, prompting the celebrated trumpeter, Doc Severinsen, to note: He will be missed with [Canadian Brass], but I feel certain he will have a great and distinguished career as a soloist.
While Mr. Anthony continues to win over audiences and critics with his charismatic performances and artistic finesse. In addition, being selected as a Presidential Scholar to winning both the John P. Since then he has appeared as soloist with over 30 ensembles including the Dallas, St. After departing Canadian Brass in , Mr. Prior to joining the Brass, he was a member of the Center City Brass Quintet and Burning River Brass whose recordings continue to enjoy air play on classical stations throughout the country.
Gary Beard, on both organ and piano, joins Mr.
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Anthony in a unique show that has won audiences over throughout this country as well as appearances in Russia and Canada. His master classes have spanned the globe to include leading conservatories in Europe, Asia, and North America. A spectacular trumpeter with a very wide range, a beautiful tone, and the ability to blend together many influences into his own style, Byron Stripling is also the artistic director of the Columbus Jazz Orchestra, leader of his own quartet, and constantly in demand to play with pops orchestras around the world.
Byron is an extroverted performer who brings the audience into his music. The happiness that he exudes through his trumpet, his vocals and his words is reminiscent of Louis Armstrong yet very much his own. Byron Stripling was born in Atlanta, the son of a classical singer. In our house, music was essential to everything. My brother played clarinet and sax and I played trumpet, starting when I was ten or eleven. I did a lot of singing from the start because, when your father is the choir director, you have to sing whatever he needs each Sunday.
Louis and Texas. The week tour was Byron's first trip to Europe and he had the opportunity to start friendships with such players as Branford Marsalis and Conrad Herwig. After returning to school, he was three months away from graduation when he realized that he would graduate with no gig. Byron called Clark Terry and asked what he should do now. The problem was that Lionel wanted me to join the band right then.
I jumped at the chance and never went back to getting my degree. Performing was the most important thing for me. During a few months Dizzy Gillespie and Billy Eckstine toured with the band. He also had opportunities to play with orchestras led by Gillespie and Buck Clayton.
Byron proved to be both a superb lead player and a colorful soloist who was quickly learning how to excite audiences. In , after auditions were held all over the country, Byron Stripling was picked to play the lead in the musical Satchmo: America's Musical Legend. That has since led to a great deal of work with pops orchestras. He had performed previously with the Columbus Jazz Orchestra and, when the founder left after 30 years, Byron was the logical person to become his successor.
I take care of the programming, decide who the guest artists will be, come up with the concept, balance the artistic and the commercial, and work on any aspects of production that need help. His performances are full of remarkable musicianship, wit, showmanship, and a joyous spirit. While the Columbus Jazz Orchestra, which recently recorded The Colors Of Jazz, takes up a portion of Byron Stripling's time, he also makes many guest appearances with pops orchestras, conducts occasional clinics and seminars at colleges and high schools, and tours extensively with his own quartet.
Byron gets more of an opportunity to stretch out in the latter setting, making appearances at many festivals and clubs. There are always infinite possibilities in music. One looks forward to his future accomplishments. The Crowder Jazz Orchestra was formed in the fall of and grew out of a love for traditional big band jazz music and a need for a community-based ensemble in the Camp Crowder community. CJO has the ability to connect with audiences of all musical tastes and ages and often presents public concerts in tandem with educational outreach events.
The collective credentials of this ensemble are extraordinary. Whether performing in concert halls, jazz festivals, or night clubs, the Crowder Jazz Orchestra brings excitement and style to every performance. A versatile performer on the modern trumpet, Baroque trumpet, and the Renaissance cornetto, Jason Dovel joined the NSU music faculty in Dovel has published articles in the International Trumpet Guild Journal and The Instrumentalist and has been a recordings reviewer for the International Trumpet Guild Journal since He is among featured soloists on the band's live compact disc recording "A Hot Night in Paris," on the Atlantic jazz label and appears on well over two dozen other jazz, commercial and classical recordings.
Dividing his career between performing and teaching full time at the University of Denver's Lamont School of Music as Associate Professor of Trumpet, Al directs the Lamont Jazz Ensemble and performs extensively with Lamont's artist-in-residence ensembles, the faculty brass quintet, Aries, and the faculty jazz combo, the Climb. Alan is in the midst of his first solo CD recording project which will feature the arranging talents of Dave Hanson in various settings for trumpet, rhythm section, strings, sax, flute, oboe and French horn. A leading authority on the life and work of jazz trumpet legend, Clifford Brown, his doctoral research topic, Al has to his credit several published articles on Brown and has been invited to present his findings at international conferences.
His research will be utilized in a forthcoming documentary on Brown and he has been consulted by Jazz at Lincoln Center's Education Department for assistance with their new Brown exhibit that is now a part of the Nesuhi Ertegun Jazz Hall of Fame. He began musical studies in his native California with his father, Joseph Alessi, Sr. As a high school student in San Rafael, California, and was a soloist with the San Francisco Symphony before continuing his musical training at Philadelphia's Curtis Institute of Music.
Prior to joining the Philharmonic, Mr. Alessi was second trombone of The Philadelphia Orchestra for four seasons, and principal trombone of L'Orchestre symphonique de Montreal for one season. Alessi is an active soloist, recitalist, and chamber music performer. In April he made his solo debut with the New York Philharmonic, performing Creston's Fantasy for Trombone, and in premiered Christopher Rouse's Pulitzer Prize-winning Trombone Concerto with the Philharmonic, which commissioned the work for its th anniversary celebration.
His most recent appearance with the Philharmonic as soloist was in world premiere performances of Melinda Wagner's Trombone Concerto in February of In Mr. Alessi was awarded an International Trombone Association Award for his contributions to the world of trombone music and trombone playing. Alessi is currently on the faculty of The Juilliard School; his students now occupy posts with many major symphony orchestras in the U. As a clinician for the Edwards Instrument Co. He has performed as soloist with several leading concert bands, including the U.
Army Band Pershing's Own , and the U. Marine Band President's Own. Three new recordings are scheduled for release in Return to Sorrento, on the Naxos record label, and two recordings on the Summit record label that feature Mr. Alessi, entitled Urban Cabaret with Mr. Alessi as soloist. Alessi was invited by the International Trombone Association to record a solo disc of newly composed works, which was distributed to the Association's membership of 5, trombonists in early and is now available as Beyond the End of the Century through Summit Records.
Alessi as soloist, won a Grammy Award for Other recordings featuring Mr. Further information about Mr. Alessi can be found on his website, www. Vince DiMartino is one of our country's most sought after trumpet performers and educators. There he teaches trumpet, brass and jazz ensembles, and jazz history. He has also performed with some of this country's finest college jazz ensembles. He also appeared as guest soloist with the Boston Pops on their Summer Tour '99 and a national television broadcast of the same.
The band has recorded three CD's for Dorian Records. He recorded Mel Torme's "Christmas Album" as lead trumpet. Al enjoys sharing time with his wonderful daughter Kyri and exploring life, travel and photography with his wife Jennifer. As a member of the orchestra, he can be heard on more than 35 commercial CD's on labels such as Deutche-Gramophone, Decca, and Auvidis-Valois. As a professional trumpeter, Prof. Former students of Prof. Trumpet ensembles from KU have been named Finalists at the National Trumpet Competition in two out of two appearances in , In and , he was invited to be a featured artist at the International Trumpet Days in Riga, Latvia.
While in Spain, Steve Leisring played and coached in Spain's premier National Baseball League, and has a keen interest in the connection between peak performance in music and in sports. The Third Street Brass was formed in the fall of by four sophomores and one freshman, and has quickly integrated itself into the musical world.
Their first performance took place in the fall of and was a success. Since then, The Third Street Brass has performed numerous recitals, including some in the Chicago and Milwaukee areas, and across the state of Indiana. Then, practicing wide lip vibrato in the upper register balances the embouchure, centers the sound, provides a pressure check, develops confidence and builds control.
If you can keep a good lip vibrato on a high D, then you will easily get an Eb. If you can keep a good lip vibrato on a double G, then you can easily play the Ab a half step above it and so on. Lip vibrato is the perfect tool to get into smaller equipment and play in the upper register while reducing strain and natually avoid bad range limiting habits. Basically it's nearly impossible to play a smooth consistent lip vibrato above a high C "wrong". Too much pressure and your lips can't move to create the vibrato. Too much air overblowing and you can't get the control to keep the vibrato steady.
Too little air or too much lip strain you can't get the pitch to change. Lip vibrato in the upper register is the closet thing to the 'perfect' trumpet exercise IMO. Not that this is any magic bullet at all. It takes practice. Just listen to the sound and let the lips and lower jaw move freely and improvement is just a matter of how much you practice.
Anyways, I've rambled long enough. Sorry I've gone on so long It's a huge topic and entire books are written on the subject. These could be very likely what is happening. Another guess, since I can't observe you play, would be that you are using too much air. Alot of the guys that look like they are really working hard pushing air in the upper register are actually looking like they are working hard because the air compression inside them is very great.
The higher you play, the less air will enter the instrument. The aperture gets smaller, forcing the air through a smaller hole, vibrating a smaller area of lip tissue which is then amplified by the instrument. Just remember that trumpet playing isn't supposed to be like weight lifting. It's an artform. Make it sound as easy and graceful as possible. Play with as much ease as possible, then you can worry about musicality. Arturo Sandoval developed a range to well above Double C with "that kind of equipment.
Neither have a lot of other great highnote-playing trumpet players. Drilled out throats meaning throats in and around a 24, 22 or even bigger aid the upper register contrary to the belief of some. Maynard Ferguson found this to be true. So have many others. Any problems the player who started this thread is having with range has nothing to do with his mouthpiece choice.
You need to develop the tremendous Air Power required to play the upper register, and you need to learn how to control and channel that Air Power with your tongue. In other words you need to develop the required strength, and then get the "knack" or "feel" of the upper register. The book contains playing exercises for each lesson as well as assignments of supplementary material from a host of other books St. Jacome, Clarke Technical Studies, etc. When I was about 16 years old, just like you my range ended at a High C or a High D on a real good day.
Buying Systematic Approach back then was the first step down a long and fantastic path that ultimately led to a great career as a professional trumpet player for me with a range from below Double Pedal C to above Double High C. But i found something that helps. Play the C scale, double octave, then play a D scale double octave. And so on and so on, its really really helps. Amen to that. In most cases, I loathe 27 throats on my mouthpieces. I can add a clean 4th or 5th to my stock mouthpiece range providing I can play on the thing in the first place by getting it opened to the 24 or 22 range.
The 3C's definitely versatile enough to use for high note applications though it's up to the musician to make it "lead playing" , but the modern version tends to have an alpha angle that's a bit too high for me. If it's a financial option, try getting a hold of one of the older 3C's ask someone else what era. They'd know better and getting the throat opened to the same configuration you're on now. You might notice more chop room, which for me, allows for sitting on the notes better, rather than pushing them down from being sharp.
That's just me though, and it definitely won't work for everyone.
There are always people that someone can point out as having Double C's on huge mouthpieces. But let's face reality. Most lead players tend to favor equipment that provides an entirely different sound than a 3C. Even if it was just as easy to play on a 3C, it really isn't designed for lead work. The throat size has a lot to with the balance of the rest of the resistance in the mouthpiece.
Maynards 19 throat Jettone can't be compared with a 3C bach drilled out. It's apples and oranges. Maynards mouthpiece provides a lot of resistance in the V cup and has very little bite on the rim as well. The 19 throat does give a huge sound but it also makes intonation a problem at times. It's not an easy mouthpiece to play on and I've spent many hundreds of hours on it. Anyways, this is always a debate.
I figure if someone is really struggling for range above about an E-F above high C that is a time to look for something a bit more efficient than a 3C. The amount of strengh, effort and compression to play a 3C to double C is ridicuoulsy hard in comparison to a 'lead' mouthpiece. The challenge to get into the high register is tough enough on smaller equipment.
Certainly let's be honest and say a lot has to do with your goals. We are in the high range forum but that could mean Eb trumpet in a classical setting in which case you want a lot different equipment than if you are wanting to put together a band with a Bill Chase sound. While these are all just opinions we all know neither Bill Chase nor Maynard Ferguson played on a drilled out Bach 3C. We also know they both could probably play on any mouthpiece better than Anyone can do what they want on mouthpiece selection but I'm very glad I worked into smaller mouthpieces because now I can play on just about anything.
I write this with all due respect to all the great players out there on the larger mouthpieces. The mouthpiece certainly does not make the player. The best players can pick up any mouthpiece or trumpet and sound great and play in the upper register. Very good practical advice.
You can really accelerate your progress by practicing and using wide lip vibrato on the top two or three notes of your scale. I believe when practicing range you nearly always want to try to keep lip vibrato going at the extreme registers. This is particularly helpful on scales where pressure can begin to add up if you don't consciously avoid adding it on to get more range. When you find you can't do the lip vibrato anymore because of too much pressure, air flow problems, inadequate lip compression then you know that you're practicing in a range that has become determental and you should not try and play any higher.
Using his technique has helped me avoid over practicing in the upper register. Moving back the range wall gets much easier when you know how to practice without tearing down. There has been great advice from other trumpet players on using the ear. This is very important. When someone makes a practice suggestion such as 'use lip vibrato' or 'do lip slurs', the sound is what must guide your progress. Playing toward the sound you want to achieve is very important.
You don't want a strained weak unsteady lip vibrato. It needs to sound consistent and full. Personally I try to immitate Louis Armstrong's wide vibrato style. It's not as easy as it sounds and using the lips to create that style is great practice. I've found that most trumpet players struggling to play a high F are going to have a very weak sounding high D or an overblown high D. Unfortunately too many players keep working for the F when they should be working the B-D range to achieve tone and dynamic control. The level of advice on here is much higher than usual for this forum, and still very diverse.
I only want to add a few things: you may need to back off from your extreme highest note quite a bit to truly use the concept in the above post, which is excellent. And you can use other things besides just vibrato to be sure you're playing well, not just high. Make playing well your goal! As you ascend, don't try to kill it, force it, get louder, or even be loud at all.
Don't go for so quiet you lose security, but focus on purity of tone, intonation, and be content with minimal volume esp at first. One way to help achieve this is conceptualizing the next note higher as merely further away, not farther up; and it does indeed use less air.pierreducalvet.ca/104252.php
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Play well! View previous topic :: View next topic. Alright, when I am trying to play up into the upper register pretty much past High D I just stop producing sound. Back to top. Hey, the first time going for a note is always the hardest.