First of all, if these books have all the secrets, they are no longer secrets.
Now down to facts.
All high range methods are based on known features and how these features differ will explain why some techniques work and some don’t.
I will discuss general categories which will help to explain the theory and application of these different approaches.
- Pedal Tones and how they work.
Many methods utilize the practice and effects of pedal tones when trying to increase one’s high note range.
Pedal tones include all notes played below the normal limitations of the instrument; any note below our low F#.
How do pedal notes improve your high note range?
The increase in slower vibrations of the embouchure stimulates blood flow to the lip, relaxes the same muscles and increases flexibility to the muscles around and under the area displaced by the trumpet mouthpiece.
Sustained playing of pedal tones will most often give the player a slight tingling sensation (increased oxygen) and in extreme cases a slight puffiness to the same area.
In addition to increasing high range, pedal tones are extremely beneficial as a “cool down” after an extra heavy practice or taxing show or concert. The benefit is that the lip, through the application of pedal tones, will recover more quickly due to the increase in blood flow and relaxation of the taxed or stiff embouchure.
- Gradual and consistent practice routine.
Trying to find a “quick fix” to high range playing seldom appears in advertisings of high range method material. If you see this advertised, be very skeptical for if it were that easy, we would all be playing Triple high X’s. And we can’t.
The most successful methods encourage regular, consistent practice time where the individual will see improvement in a reasonable amount of time. If you have tried such methods and after a month you see no improvement, this might be time to try something else. One month of consistent practice with any method should give you enough information as to the question, “Does this really work for me”?
- Will my high range improved without harming other areas of my playing?
Some methods will increase your high notes because of unusual contortions of your air, lips and equipment and at the same time turn you into a freak screamer but also gives you a tone that would scare your mother. Extreme increase in high notes does not mean that you should give up a beautiful sound or reasonable endurance. In other words, don’t sacrifice you best qualities in order to squirt out a couple high notes.
- How much time will it take to increase my high range?
No one can accurately predict that moment for we are all different. Once you have decided on the correct method material for you, you will be able to answer that yourself. “Doing anything in a consistent fashion will indicate a predict outcome, unless changes are encountered along the way”.
- Which methods would you (your author) recommend for getting started?
That’s like asking which car you should purchase. It depends on many factors such as how much time you can spend practicing, how much increase you actually need as well as your body/mind makeup.
All I can do is list some tried and true methods as well as add my thoughts on each’s strengths and short comings. I have no financial connections to any of the methods listed for my experience has no biases, only my personal experiences.
I have listed below three methods which I have actually tried and gained insight as to which worked for me. Your outcome may be completely different.
Double High C in 37 Weeks by Roger W. Spaulding
This well-known method has been around longer than most (Copyright 1963) and has a strong following among the older trumpet players.
To illustrate the age of this book, let me share with you an interesting statement in its preface.
“Today, the supply of high note (screamer) trumpet players is at a premium. There are not enough capable specialists to fill the need of the increasingly growing demand”.
Strengths– Related information on Body Building, Confidence Building, Breath Control, Equipment, Pedal Tones, warnings against Warm- up before playing the exercises, scheduling time for practicing as well as how to use the material.
Spaulding’s approach to scheduled practicing is different from most in that he promotes practicing his exercises every other day, similar to the practices of weightlifters, alternate days of working muscles with resting muscles.
His exercises incorporate both soft and loud playing which is in contrast to many other concepts.
Many exercises include fingerings which illustrates the author’s concern for the younger players using his book.
Possible conflicts with newer methods- Although Spaulding has included exercises working from middle register note and expanding both upward as well as downward, the vast majority of his exercises begin at the bottom and continue upward. Whether this is the best way to approach range development or not, only time to tell. Starting low does have the advantage of starting with a more open embouchure which can have benefits over a too tight or closed embouchure.
Once into the book, the player is faced with reading the actual ledger lines below the staff. When performing the lowest pedal tones, it requires the player to sometimes count up to 9-10 ledger lines which is more of a challenge than even trying to play the notes.
My thoughts on the value of Double High C in 37 Weeks by Roger W. Spaulding
The highest note I have been able to play was due to my perseverance and time spent using this method book. I was able to document a F above double C as the date is still legible in my copy of Mr. Spaulding’s book.
Systematic Approach to Daily Practice by Claude Gordon
When first opening the pages to this method book, you are introduced to several of the great trumpet players of yesteryears as their endorsements of Claude Gordon and his book are listed in the opening section “Read what these great artists say about this book”.
I would guess that there are many more trumpet players using this method than there are proponents of the Spalding method.
This book has much more instructional material in its opening pages than does the Double High C text. The statement “This is a book on how to practice” will give you insight into the depth of instruction the author has included in its pages. The first seven pages outline very important ideas to understand before the reader can even start to produce a note.
Strengths– Mr. Gordon’s instructions are very clear and easy to understand. He leaves nothing to chance as illustrated in his first lesson.
In the early pages of his book, you are told what and how to implement these lessons. After clearly written instructions on what to do, he continues with easy-to-understand exercises which begin with expanding your lower range through the exercises in the pedal tone range.
Something unique to this system is the encouragement to the student to “continue down as far as possible”. Once this is completed, the student is told to “rest at least fifteen minutes before continuing to part 2 of the lesson.
Part 2 begins in the pedal tone range and continues up “as high as possible and make three attempts for the next high note”. Instructions such as this makes each lesson tailor made for the individual.
At the completion of part 2, you are told to rest at least one hour. The concept of work, rest, work, rest cycle is in my opinion one of the best parts of this method. It deals with a more practical approach to building chops than practicing every other day as advised in the Double High C text.
As stated by the author, this is a method book illustrating “how to practice” and includes many additional texts such as the H.L. Clarke Technical Studies, Walter Smith Lip Flexibilities book as well as other supplements. Both of these supplements are vitally important in developing a total player.
My thoughts on the value of Systematic Approach to Daily Practice by Claude Gordon
This is an outstanding text and well worth the money. The instructions are easy to follow and offers the student a complete, well-balanced program which, with regular practice, will increase his/her upper range as well as strengthen other techniques such as tone, finger development, lip flexibility and endurance.
How to Practice The Drozdoff Method
Some may not be familiar with this method. I ran across this last year and had the good fortune to visit with Mr. Drozdorff while working on a post about his teaching methods and his philosophy of trumpet playing. To say I was impressed with his views on this subject would be a gross understatement. The title I chose for his post tells it all; Mr. Nick Drozdoff- “The Best Trumpet Teacher I Never Met” – Trumpet Blog (thetrumpetblog.com)
Mr. Drozdoff has included an amazing amount of material to read before you undertake your first note. DO NOT SKIP THE PRINTED INSTRUCTIONS.
If you decide that you can forgo the carefully notated instructions, you needn’t continue with the exercises. The printed material in the front of his book is equally important as the printed music. DO NOT SKIP THE PRINTED INSTRUCTIONS.
In addition to his method book on how to practice, I encourage you to also view his many videos on YouTube.
I highly recommend this method for I have spent many hours on each of the three methods listed above and experienced much greater improvement with Mr. Drozdoff’ approach than I did with the other two method. Not only will you improve your high range but will also increase flexibility, improve your knowledge of scales as well as learning important information about your instrument in an all-new way.
My personal evaluation of the three methods coved in this post would be-
*** Double High C in 37 Weeks by Roger W. Spaulding
**** Systematic Approach to Daily Practice by Claude Gordon
***** How to Practice The Drozdoff Method
