Upper register practise

Discussion in 'The Rehearsal Room' started by CRIMSONDRAGON, Apr 11, 2011.



    Hi guys, after alot of discuusion with friends and collegues in the band and other musical faculties I decided to ask this question here..

    How much practise should be done in the upper register to achieve openess and clarity of sound etc.. I had been playing long tones of slow 12 -16 beats from G to top C chromatically every day in my practise routine but was told that this is too much and to take it back!!.. but surely to increase clarity of sound and stamina in this region you need to practise in this upper area??
    Yes I do alot of lip flexibilty of 2 octaves etc but can some of the players on here give advice on this question.

    many thanks.
  2. kennywenny

    kennywenny Member

    Not a straight forward answer as everybody is slightly different ...what works for does not work for another ....however in my experience from both teaching and being tought..strengthen your lower register with running chromatic scales, concentrating on breathing ...ie strong flow of air supported by diaphragm and after a a week extend the register and keep going . Also slow lip flexibility exercises which sounds like your already doing.
    Also it can depend on the instrument ie high notes for trumpet, cornet or SOP as playing high on SOP is different if slightly than the way I would play high on trumpet ....sound being the obvious difference ...I'm shore you will have lots of replies some similar some very different ...I hope it helps if only a little .
  3. sionrhysjones

    sionrhysjones Member

    Air support is the main key with high notes and keeping the airwaves clear, ermembering not to tense up.

    I agree with the comment above as-well with practising the lower range, this is very important.

    thats just what i think :)
  4. worzel

    worzel Member

    Do any of you use lip buzzing (aka free buzzing) at all? Recently I have been doing about 10 minutes worth while getting ready for work, and I can now free buzz up to a tenor horn top C (sometimes even a D or E) . Although it's not the same as playing, I think my range and stamina up high are improving due to developing better habits. I'm curious if others have tried this and what their experiences were.
  5. kennywenny

    kennywenny Member

    I always found and told that free buzzing is very good but in moderation just like using a practice mute :) .....definitely helps with stamina ...just get funny looks in the supermarket from people that just don't understand what it takes to be a brass player lol


    hi guys ....thanks for the replies and advice etc.. forgot to say that I play solo horn now after years on solo cornet using a RW3 mouthpiece!. I play with a TH2 on the horn now and the sound is coming along well now.. just bought the new Yamaha Neo which is a fabulous instrument andindeed Yamaha do indeed seem to have got it right with this new instrument!!!.. tuning is fine and sound quality excellent!.

    I do alot of mouthpiece buzzing even in the car!!lol and this does indeed seem to help overall sound and production!.. this was recommended a few years back by david daws who taught me for a bit and does help a great deal..
    I try to pitch it as the horn would sound as well.

    For interest, David was given only a mouthpiece bu his first teacher masie wiggins for nearly a year before a cornet was attached!!! lol...
    thanks for the advice everyone, greatly appreciated
  7. Rapier

    Rapier Supporting Member

    Nice choice with the horn, if you get the chance try an Alliance mouthpiece in it. ;)


    hi ..i actually use the Alliance TH2 mouthpiec!! excellent mouthpiece!!..:) suits the Neo!
  9. Getzonica

    Getzonica Active Member

    One thing you could try is by practising lower notes because this helps you play the higher notes...

    the MD of my band and my music teacher have both given me flexibility exercises and lots of them go really low - For one of them, you play arpegios backwards (highest note first lol) starting on a C in the middle of the stave and go down a semitone each time. Eventually you get to the pedal notes but I've noticed a huge improvement with my upper regester!
  10. nethers

    nethers Active Member

    Not an expert in this field but...

    Surely the longer you spend playing up in the gods (assuming you're well warmed up and not pushing the mouthpiece through the back of your head) the better? Unless you're neglecting work in the lower registers I don't see how this can cause any problems?
  11. davidquinlan

    davidquinlan Member

    Upper register playing is about air flow, an "Theeeeeee" syllable (going from an Ahhh to an Eeee as you ascend), air support, air support and more air support..

    Good method books include Charles Colins Flexibilities.

    And lots of practice..
    Last edited: Apr 11, 2011
  12. Aussie Tuba

    Aussie Tuba Member

    And what better teacher would you need than Maisie Wiggins. I knew her by reputation and was in a Band thet accompanied a solo she played. I was taught by someone of Maisies Generation. They had their ideas but They worked.

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