Thanks for the insight! I always appreciate hearing your perspective on topics that I'm always somewhat familiar with because you provide a very systematic approach. If I'm having a bad day on trumpet, having a systematic approach to the upper register provides a checklist of things that I can pay attention to. Is it my tongue? Ok, what about the corners? Not only does this help me get back on track, but it also prevents me from turning away from healthy habits as soon as things go wrong. Bad days happen and having a systematic approach to playing gives me the confidence I need to get through it.
You nailed it 100%. The systematic approach becomes a way to diagnose issues and keep you on track. Over the long run, this helps you play with better habits more often, which compounds significantly over time!
Upper range (and shallow mouthpieces in general) have always been my weakness. I’ve played with great lead players who I could run circles around technically, and I practiced more than them… but they had the tone and sizzle and could nail the part. Second trumpet syndrome 😂😂 if I could play the range more easily with better endurance, I could practice long enough to get really good. Been thinking about corners a lot
I hear you, it takes time to build this kind of strength. My take would be to focus on getting the form down (firm corners, consistent and energized air from the proper syllables), with plenty of rest. As you get more confident and automatic with the right form, you’ll be able to play for longer periods/rest less more successfully.
I’m a huge Maynard fan, but while it’s accurate to say “legit” players have a smaller upper register sound, that sound does seem to fit the way you guys play. It’s hard to sound better than Hakan Hardenberger (sic) or Phil Smith in his prime. One of the things I love about trumpet is that Miles, Chet Baker, Dizzy all have very different trumpet sounds yet they all play and sound fantastic.
I totally agree. I have lots of influences and I like to think they combined to become “me”, if you will. And also agreed about the volume difference between lead players and orchestral players. I had a lead playing friend sub with the orchestra here once for a big band pops show and it was crazy how much more volume he put out than I do.
I’m a tad confused on how we are supposed to do this exercise if we are meant to be playing past the note that is our “maximum highest note”, if that makes sense. for example, my highest usable note is Ab on top of the staff, and a perfect fourth below that is Eb, so I start at Eb and play the ascending Eb major scale? If so, how will I be able to play that entire scale if I can’t even get above the Ab in the scale? My guess is I play the Eb ascending major scale but start on Eb on the bottom of the staff? Which, thinking about it now, that wouldn’t really make sense either lol. Is there more depth on this that can be explained to me please?
Any tips for embouchure? When I ascend in my register I pull my corners back and feel like I’m smiling. My lips get really firm, so I have to use a ton of MP pressure
I have a whole video about embouchure setup on my channel, so I’d check that out. But generally you want to bring the corners in and down, not back. Helps create a cushion for your mouthpiece.
@@RyanBeachtrumpet so more of a “pucker” kind of embouchure where the lips aren’t rolled in to buzz, instead they’re neutral or even a little pushed out?
I don't understand what I'm doing wrong with the pencil exercise. The pencil hangs straight down no matter how hard I try unless I balance it on my lower teeth.
Start with a shorter pencil, tighten your corners. You can even start by putting a finger between your lips, up against your teeth and gripping the finger with your lips. Hold for 20-30 seconds, relax a few seconds and repeat several times until you can't - you'll feel a burn in your facial muscles.
Push your jaw forward and align your two front top and bottom teeth to align each other so your playing with a more jaw forward approach instead of an overbite/ downstream approach
Hello again Ryan nice to see you again. So the scales you told us to do A major etc ..get us up into the higher range and we hear it and feel it better than just randomly play high notes , correct me if I am wrong or misunderstood you , thank you Anthony
Yeah, we’re on the same page. You can play “randomly” if you want, it can definitely work. I think this structure is helpful so you don’t have to think as much and can progress more easily over time.
Ryan cascading knowledge to the mortals once again, thank you.
You’re welcome, glad you find it helpful!
Thanks for the insight! I always appreciate hearing your perspective on topics that I'm always somewhat familiar with because you provide a very systematic approach. If I'm having a bad day on trumpet, having a systematic approach to the upper register provides a checklist of things that I can pay attention to. Is it my tongue? Ok, what about the corners? Not only does this help me get back on track, but it also prevents me from turning away from healthy habits as soon as things go wrong. Bad days happen and having a systematic approach to playing gives me the confidence I need to get through it.
You nailed it 100%. The systematic approach becomes a way to diagnose issues and keep you on track. Over the long run, this helps you play with better habits more often, which compounds significantly over time!
Good stuff as always!! Make it habit is always a challenge!
Upper range (and shallow mouthpieces in general) have always been my weakness. I’ve played with great lead players who I could run circles around technically, and I practiced more than them… but they had the tone and sizzle and could nail the part. Second trumpet syndrome 😂😂 if I could play the range more easily with better endurance, I could practice long enough to get really good.
Been thinking about corners a lot
I hear you, it takes time to build this kind of strength. My take would be to focus on getting the form down (firm corners, consistent and energized air from the proper syllables), with plenty of rest. As you get more confident and automatic with the right form, you’ll be able to play for longer periods/rest less more successfully.
instantly helped! :)
Awesome, I’m glad to hear that!
I’m a huge Maynard fan, but while it’s accurate to say “legit” players have a smaller upper register sound, that sound does seem to fit the way you guys play. It’s hard to sound better than Hakan Hardenberger (sic) or Phil Smith in his prime.
One of the things I love about trumpet is that Miles, Chet Baker, Dizzy all have very different trumpet sounds yet they all play and sound fantastic.
I totally agree. I have lots of influences and I like to think they combined to become “me”, if you will. And also agreed about the volume difference between lead players and orchestral players. I had a lead playing friend sub with the orchestra here once for a big band pops show and it was crazy how much more volume he put out than I do.
I think part of it is due to what's considered desirable in each style.
I’m a tad confused on how we are supposed to do this exercise if we are meant to be playing past the note that is our “maximum highest note”, if that makes sense. for example, my highest usable note is Ab on top of the staff, and a perfect fourth below that is Eb, so I start at Eb and play the ascending Eb major scale? If so, how will I be able to play that entire scale if I can’t even get above the Ab in the scale? My guess is I play the Eb ascending major scale but start on Eb on the bottom of the staff? Which, thinking about it now, that wouldn’t really make sense either lol. Is there more depth on this that can be explained to me please?
You’d start on the bottom Eb. I’m sorry that wasn’t more clear. The scales you’d start on would be Eb, E, and F.
@@RyanBeachtrumpet All good, thank you for the help!
Any tips for embouchure? When I ascend in my register I pull my corners back and feel like I’m smiling. My lips get really firm, so I have to use a ton of MP pressure
I have a whole video about embouchure setup on my channel, so I’d check that out. But generally you want to bring the corners in and down, not back. Helps create a cushion for your mouthpiece.
@@RyanBeachtrumpet so more of a “pucker” kind of embouchure where the lips aren’t rolled in to buzz, instead they’re neutral or even a little pushed out?
@@aidanobuck5779I’d say neutral. Too much pucker might cause other problems.
I don't understand what I'm doing wrong with the pencil exercise. The pencil hangs straight down no matter how hard I try unless I balance it on my lower teeth.
Start with a shorter pencil, tighten your corners. You can even start by putting a finger between your lips, up against your teeth and gripping the finger with your lips. Hold for 20-30 seconds, relax a few seconds and repeat several times until you can't - you'll feel a burn in your facial muscles.
Also it helps to dry your lips first.
Yeah, try these suggestions. If you can’t, make a video and DM me on instagram and I’ll take a look.
Push your jaw forward and align your two front top and bottom teeth to align each other so your playing with a more jaw forward approach instead of an overbite/ downstream approach
Hello again Ryan nice to see you again. So the scales you told us to do A major etc ..get us up into the higher range and we hear it and feel it better than just randomly play high notes , correct me if I am wrong or misunderstood you , thank you Anthony
Yeah, we’re on the same page. You can play “randomly” if you want, it can definitely work. I think this structure is helpful so you don’t have to think as much and can progress more easily over time.
@@RyanBeachtrumpetthank You again much appreciated.Anthony