High note jazz trumpet legends nearly single-handedly changed the desire of young trumpeters all around the world decades ago. Hearing one of these giants live was an amazing and inspiring experience, and created a desire in so many trumpet players that it could be considered near cult status for trumpeters.
Maynard Ferguson, Cat Anderson, Doc Severinsen are just a few that were extremely sought after players... they each had a command of the upper register up to and beyond Double C. The more players tried to ascend to these upper register notes, the more the mystery built. Advice in every aspect of trumpet playing can be found. Mostly confusing, and some very much incorrect.
In 2004, I had the pleasure and distinct honor of being a part of the great Maynard Ferguson's band, and got to share a lot of time with "Boss" (as we called him). While on his band, I got to ask questions, take notes, and learn from the master.
What most players who begin this quest do incorrectly is mostly over compensate and fail to see what actually generates higher notes on trumpet. It is not sheer brute force that produces these notes with power, it is control and a balance between air and aperture.
To begin this journey properly, a player must master "whisper" tones... extreme soft playing that helps the aperture stay the size of a pin hole without pinching or straining the facial muscles. Starting with a second line G and holding it as soft as possible for extended lengths of time (2 minutes to 20 minutes) and allowing ample rest will start a player on the correct path. As the player develops more control, scales, etudes, and melodies can be incorporated into practicing that will have the player ascend to higher notes. Once control is established, playing louder is merely pushing a bit more with the air and allowing the aperture to open SLIGHTLY.
There is no fast solution to this. For many players this is a lengthy journey. Especially if the trumpeter has been practicing the "higher / louder / faster" method for months or years. Old habits will have to be broken... but once they are, the trumpet player will be amazed at how easily they can ascend to Double High C and beyond!
If you are a trumpet player on this quest and would like more information and resources, please visit Brass Player Solution
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Keith Fiala
Showing posts with label improve range on trumpet. Show all posts
Showing posts with label improve range on trumpet. Show all posts
Wednesday, September 23, 2009
Monday, September 14, 2009
Trumpet or Cornet - Frustration Keeps Us From Answers!
As a trumpet / cornet player continues to grow in their playing abilities, we all reach frustrating times with various skills that we either can't seem to master, or can't seem to get a grasp on quickly. To master trumpet/cornet playing, a student must have patience and tenacity! Both are required to help trumpet students through the frustrating times.
Most answers are simple than what our minds will let us accept. There have been many times that I've practiced something and it seems to fly out of the trumpet. Usually what goes through my mind is "it can't be that easy, I've been struggling so long with this!"
The quick answer is - yes, it can be that easy. Most people let the simple solutions escape them because of built up notions of complexity. Something that isn't performed easily within the first few tries, becomes more and more frustrating to the cornet/trumpet player. From double tonguing, high notes, better tone, playing pianissimo, controlling rhythm, performing difficult passages in a piece of music, learning scales, etc. These can all present challenges to each individual trumpeter or cornetist.
Working on major scales for younger students can be not only boring, but a daunting task because they are looked at as difficult in many ways. The F sharp major scale is one that has most notes sharp (or raised half step). What most students don't think about is that there are only 7 notes in each major scale. The F sharp scale has 6 sharps, so why not focus on the one natural? By practicing slowly and taking each note one by one, within a few practice sessions, this scale becomes easier. Within a week, the scale can be memorized. Within a month, it will play as easily for the trumpet student as the C major scale with no sharps or flats. Again - tenacity and patience!
For more simplified solutions, visit Brass Player Solution!
Keith Fiala
Most answers are simple than what our minds will let us accept. There have been many times that I've practiced something and it seems to fly out of the trumpet. Usually what goes through my mind is "it can't be that easy, I've been struggling so long with this!"
The quick answer is - yes, it can be that easy. Most people let the simple solutions escape them because of built up notions of complexity. Something that isn't performed easily within the first few tries, becomes more and more frustrating to the cornet/trumpet player. From double tonguing, high notes, better tone, playing pianissimo, controlling rhythm, performing difficult passages in a piece of music, learning scales, etc. These can all present challenges to each individual trumpeter or cornetist.
Working on major scales for younger students can be not only boring, but a daunting task because they are looked at as difficult in many ways. The F sharp major scale is one that has most notes sharp (or raised half step). What most students don't think about is that there are only 7 notes in each major scale. The F sharp scale has 6 sharps, so why not focus on the one natural? By practicing slowly and taking each note one by one, within a few practice sessions, this scale becomes easier. Within a week, the scale can be memorized. Within a month, it will play as easily for the trumpet student as the C major scale with no sharps or flats. Again - tenacity and patience!
For more simplified solutions, visit Brass Player Solution!
Keith Fiala
Wednesday, September 9, 2009
Trumpet Books - Picking One That Makes Sense!
If you would like more information about Keith Fiala's book, or online trumpet lessons please visit: Brass Player Solution
There have been books written about all facets of playing the trumpet. Whether you want to learn better technique, better range, jazz improvisation, flexibility, or tonal control, you can find it.
What makes the choices difficult for the student is how clearly does the author speak to you? Many of the books are written in vague terms that may be clear to the author but not to the reader. And when it comes to trumpet playing, there is tons of confusion already involved for most players.
By reading about the author, you may be able to get a better idea of how they communicate. Is what they say clear, or do they go in to extreme boring detail? Do they use confusing terms, explanations, or say things that logically just don't make sense?
For instance - in the H.L. Clarke Book there is a statement that says "You will not need to strain on the high notes if you keep your lips flexible and avoid playing too loudly." What does that statement say to you? Does it tell you to not tighten your lips and use your air? Is it clear? It wasn't clear to me for over 20 years... This does NOT mean that the Clarke Studies isn't a great book, because it's one of the best written trumpet books that's ever been published. But it does mean that the reader will have to read the writing very carefully and find a teacher who understands what that statement is saying.
Is the author available? What I do is make myself readily available for any purchasers to be able to ask questions.
Take a good look in to "Secrets to Efficient Brass Playing" if you really want clarity on playing high range notes on trumpet!
Go to Brass Player Solution
Keith Fiala / Anna Romano
There have been books written about all facets of playing the trumpet. Whether you want to learn better technique, better range, jazz improvisation, flexibility, or tonal control, you can find it.
What makes the choices difficult for the student is how clearly does the author speak to you? Many of the books are written in vague terms that may be clear to the author but not to the reader. And when it comes to trumpet playing, there is tons of confusion already involved for most players.
By reading about the author, you may be able to get a better idea of how they communicate. Is what they say clear, or do they go in to extreme boring detail? Do they use confusing terms, explanations, or say things that logically just don't make sense?
For instance - in the H.L. Clarke Book there is a statement that says "You will not need to strain on the high notes if you keep your lips flexible and avoid playing too loudly." What does that statement say to you? Does it tell you to not tighten your lips and use your air? Is it clear? It wasn't clear to me for over 20 years... This does NOT mean that the Clarke Studies isn't a great book, because it's one of the best written trumpet books that's ever been published. But it does mean that the reader will have to read the writing very carefully and find a teacher who understands what that statement is saying.
Is the author available? What I do is make myself readily available for any purchasers to be able to ask questions.
Take a good look in to "Secrets to Efficient Brass Playing" if you really want clarity on playing high range notes on trumpet!
Go to Brass Player Solution
Keith Fiala / Anna Romano
Tuesday, September 1, 2009
Trumpet - The Heroes That Inspired Us
As far back as I can remember, trumpet playing was something that I wanted to do. My Uncle and his son both played, so by age 4, I was hooked! Not being allowed to start until I was between my 3rd and 4th grade year, it was something that I wanted more than words could say. But who really listens to a child that young...
As I got a bit older, I was introduced to trumpet players that became my hero's. Growing up in that era (70's & 80's), the internet was science fiction to most everyone, so these artists still had that certain untouchable / super star quality to them. I could listen to them on purchased records and tapes, but would have to wait for them to come through or at least close to my home town.
Trumpet players these days are literally a click away... even the super hero's of the past are readily available through the advent of the internet and You Tube. So resources to these players are very close by, and yet, are a fading memory. I was fortunate to grow up in the era that I did, as I got to hear many great artists live.
In 2004, I received the chance to tour with my ultimate super hero, Maynard Ferguson. I had followed him since as far back as I could remember. His name was always flying around both at home and at school because of his trumpet playing abilities. His command of the upper register and of the music were captivating! Sadly, we lost Maynard in 2006 to cancer... leaving a huge hole in the universe of trumpet players!
Today's heros such as Wayne Bergeron, Eric Miyashiro, Roger Ingram, Bobby Shew and countless others really need to be recognized and celebrated. Music and the arts have been morphed into something that is commercialized and less about the art itself. Jazz trumpet players sell less albums, and have fewer and fewer opportunities to play because of this. Find a trumpet super hero!
If you are a driven trumpeter and want to improve your trumpet playing, go to Brass Player Solution to find resources that are both honest, and simplified.
Keith Fiala
As I got a bit older, I was introduced to trumpet players that became my hero's. Growing up in that era (70's & 80's), the internet was science fiction to most everyone, so these artists still had that certain untouchable / super star quality to them. I could listen to them on purchased records and tapes, but would have to wait for them to come through or at least close to my home town.
Trumpet players these days are literally a click away... even the super hero's of the past are readily available through the advent of the internet and You Tube. So resources to these players are very close by, and yet, are a fading memory. I was fortunate to grow up in the era that I did, as I got to hear many great artists live.
In 2004, I received the chance to tour with my ultimate super hero, Maynard Ferguson. I had followed him since as far back as I could remember. His name was always flying around both at home and at school because of his trumpet playing abilities. His command of the upper register and of the music were captivating! Sadly, we lost Maynard in 2006 to cancer... leaving a huge hole in the universe of trumpet players!
Today's heros such as Wayne Bergeron, Eric Miyashiro, Roger Ingram, Bobby Shew and countless others really need to be recognized and celebrated. Music and the arts have been morphed into something that is commercialized and less about the art itself. Jazz trumpet players sell less albums, and have fewer and fewer opportunities to play because of this. Find a trumpet super hero!
If you are a driven trumpeter and want to improve your trumpet playing, go to Brass Player Solution to find resources that are both honest, and simplified.
Keith Fiala
Sunday, August 23, 2009
Trumpet & The Tired Chops Syndrome
As a professional trumpeter, I often run in to times that I play for extended periods of time, have strenuous shows, or just push too hard. Recovering from this is more than just not playing, or taking time off. For me in particular, if I take time off after a strenuous day, I come back struggling even more.
After a hard day, I really can't say I warm down at all. I will free buzz a bit depending on how tired I am, but that is about the extent of a warm down. The next day, I extend my warm up (see Trumpet, Trumpeter, & Warm Up Woes) by playing very softly for extended periods of time... if I am still feeling a bit spent, I will usually limit my playing sessions to a few minutes and will not play anything above a High C.
What I've found through the years, is that it takes time to let the lips heal. I saw times with Maynard Ferguson where he would be extremely beat up from a long run of performances. He too would extend his warm ups, but also could take time away and come back strong.
What tends to happen to our lips is exactly what happens to a tired runner, exhausted athlete, etc. Our muscles need time to rebuild... if done properly, we can bounce back stronger... if we ignore the tired feeling or soreness, we can actually do more damage by staying in a tired or "torn down" state.
If you find yourself in a situation where your chops just don't respond, and you've played hard the previous day, give your muscles the day to be relaxed by playing softly in short practice segments.
For more information that can help you in your quest as a trumpeter, please visit Brass Player Solution!
Keith Fiala
After a hard day, I really can't say I warm down at all. I will free buzz a bit depending on how tired I am, but that is about the extent of a warm down. The next day, I extend my warm up (see Trumpet, Trumpeter, & Warm Up Woes) by playing very softly for extended periods of time... if I am still feeling a bit spent, I will usually limit my playing sessions to a few minutes and will not play anything above a High C.
What I've found through the years, is that it takes time to let the lips heal. I saw times with Maynard Ferguson where he would be extremely beat up from a long run of performances. He too would extend his warm ups, but also could take time away and come back strong.
What tends to happen to our lips is exactly what happens to a tired runner, exhausted athlete, etc. Our muscles need time to rebuild... if done properly, we can bounce back stronger... if we ignore the tired feeling or soreness, we can actually do more damage by staying in a tired or "torn down" state.
If you find yourself in a situation where your chops just don't respond, and you've played hard the previous day, give your muscles the day to be relaxed by playing softly in short practice segments.
For more information that can help you in your quest as a trumpeter, please visit Brass Player Solution!
Keith Fiala
Wednesday, July 15, 2009
Last Day In Paris - Jazz Jam!
Wednesday July 1, 2009
After eating breakfast at the hotel, we met up with Sparky and Tim to visit the Louvre and other historic destinations. I was at the Louvre in 1985 with my High School Jazz band on a trip to Europe, but didn't remember much and had since lost most of the pictures taken... although the French people were much friendlier this go-round, I still am not crazy about Paris. It's another big city similar to New York / L.A. in many respects, but certainly worth a visit if you've never been.
Seeing amazing works of art from centuries past, eating lunch at the cafeteria and checking out the gift shop, Anna and I decided to part ways with Tim and Sparky so we could walk to Notre Dame. This was easily a 3 mile hike, but well worth it. We wound around the old streets and stayed off the main roads... finally feeling like we were in Europe and not N.Y.!
We stopped off at a street cafe (one of the thousands) for a beer and a slice of tort so we could officially use the restrooms. There is a charge if you are not a customer... well worth the very needed break!
We decided after giving our feet a break and getting a little bit more energy that we should venture in to Notre Dame! There was a service under way with a female Cantor with an angelic voice! VERY haunting - yet beautiful! We were captivated!
Since the Sgt. Recruiter area was somewhat familiar, we decided to walk back down that way to window shop a bit. Anna found a Parisian designer store with a purse that even I have to admit was way cool! The owner of the shop spoke some English and was very friendly... offered advice on where to eat that wasn't going to break us nor poison us with dirty bathwater like the previous night!
Upon catching the last train back to our hotel, we ran in to a group from Temple Jazz Orchestra and they told me about a jazz jam just around the corner... so I hurried and grabbed my horn! Tim Cates, Sparky Thomason, Dave Wild, Ben Irom, Vince Bryce and myself all got a chance to jam with the locals at a place called "The Cave". A cool little underground dive!!! What a treat!
Monday, March 9, 2009
Why Brass Players Struggle With Range
Being one of the many brass players who was confused, frustrated, and just simply lost when it came to real range and high note efficiency, I decided to not only fix my problems but bust the myths behind equipment, tactics, as well as technique.
I spent the majority of my playing life on larger mouthpieces (5c, 3c, etc.). I was able to work my range up enough to "touch" the coveted Double C, but never enough to own it. Once every so often I could eek it out... but had no power, control, or guarantee of "hitting" one if called to do so. When I toured with Maynard, I had multiple opportunities to talk with Boss about this very subject. His solution was air usage, but when there was a mass confusion with chops, equipment, and everything else on the dark quest was a mystery, that just didn't make sense to me.
Do you feel the same way? Are you so confused by all the information out there that nothing is making sense (no matter how logical it may sound) that it's just not allowing progress? That's where my book comes in. I try to relay to the reader my confusion, misunderstanding, and then the discovery of what really made things improve. Pretty simple answers - and helped me see where Maynard was coming from.
Visit www.brassplayersolution.com
I spent the majority of my playing life on larger mouthpieces (5c, 3c, etc.). I was able to work my range up enough to "touch" the coveted Double C, but never enough to own it. Once every so often I could eek it out... but had no power, control, or guarantee of "hitting" one if called to do so. When I toured with Maynard, I had multiple opportunities to talk with Boss about this very subject. His solution was air usage, but when there was a mass confusion with chops, equipment, and everything else on the dark quest was a mystery, that just didn't make sense to me.
Do you feel the same way? Are you so confused by all the information out there that nothing is making sense (no matter how logical it may sound) that it's just not allowing progress? That's where my book comes in. I try to relay to the reader my confusion, misunderstanding, and then the discovery of what really made things improve. Pretty simple answers - and helped me see where Maynard was coming from.
Visit www.brassplayersolution.com
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