Chromatische Übung mit zufälligen Oktaven

Soft and Legato Approach to Trumpet Playing

Something I spoke about earlier in the course of lessons is the idea that everything is part of a soft and legato approach, a breathing approach to playing the trumpet.

The Role of the Trumpet in Rhythmic Music

In rhythmic music, such as pop and jazz, where drums are involved, the trumpet can often be used like a member of the percussion section. You hit things. This is really something that I've noticed in my life: the most injuries I've sustained as a trumpet player come from feeling that I have to get things right, particularly not missing high notes.

A Painful Experience

I was doing a gig, playing an outdoor event last year, where I had to keep playing a top C every eight bars or so. It was really painful. After a while, I realized, this is wrong. I'm not practicing how to handle this at home; I'm just showing up every week and punching myself in the mouth a little bit, going home feeling like I'm letting myself down.

• I probably was using my throat to regulate the airstream.
• I would stop the air before letting it out, which led to discomfort.

I felt stressed; my heart raced, my throat felt a bit closed and sore. Sometimes I'd walk away from that gig with a sore throat.

Finding a Solution

I began thinking, how can I make this easier on myself? This ties back into the legato concept. If your airspeed is correct, your central tongue position is right, and the airstream is fast enough, everything will work much better.

Development of an Understanding

The next exercise will help you develop an understanding of where every note really is. It shouldn't just be about pushing out high notes and hoping for the best. Instead, we will:

• Play every note on the trumpet with the same approach.
• Go back to the basics of 1, 2, 3 placement.

The Chromatic Scale Exercise

I'll play the chromatic scale in different octaves, meaning each time I go up a half step, it will be in a different octave.

• As trumpet players, we often think it's all about playing as high as we can.
• However, the way you play the low notes greatly affects how you play the high and middle notes.

Consistency in Approach

What I don't want you to notice is a change in approach when I go for a high note. It should look the same whether I'm playing a bottom F sharp or a top C.

Starting with Bottom F Sharp

1. Remember: It's all about the 1, 2, 3.
2. I want to show you how to play it well.

The reason my previous attempt wasn't good was because it did not have the necessary control at the beginning.

• We start with bottom F sharp, and we don't want to drop our embouchure.
• We need to maintain the same approach as if we were playing an octave higher.

Implementing Faster Air

This time, after I complete the 1 and 2, I'll tell myself, just before initiating the 3, to use faster air.

• The length of the note doesn't matter.
• Sometimes I vary the dynamics to test myself, but today we will aim for a polite mezzo forte.

Note Progression

Now, let's play through the exercise format:

• Bottom F sharp
• Bottom G
• Bottom B flat
• Middle C
• Middle C sharp
• Bottom D
• Bottom E
• Middle F
• Bottom F sharp
• High G sharp
• Middle B flat
• High B
• Middle C sharp
• High D
• Bottom E flat
• High F
• Bottom F
• Middle G
• High G sharp

Overcoming Fear

This exercise is brilliant because it helps eliminate fear. You get to know where the notes are and think more in terms of the speed of air and tongue position, rather than just hitting notes in a stressful way.

Short Staccato Notes

We've been working on playing short staccato notes. For example, when you have an offbeat eighth note hit:

1. Count: 1, 2, 1, 2, 3, bap.

You could play it the wrong way, like this:

• One, two.

Now imagine doing it correctly:

• A one, a two.

Just like that! It's much easier because I have the trumpet on my face and I'm also using fast air.

Reflecting on Playing Approaches

This exercise reveals weaknesses in your playing, especially in the lower register:

• A common approach to achieving high notes might not be necessary.
• What you need to do is bring the lower register approach upstairs.

Conclusion

It should not look different when you play high notes versus low. The main goal is to maintain that fast airstream and central tongue position further forward.

Good luck with that! I have found that these techniques have made potentially nerve-wracking situations, like live television performances, much easier because I really feel like I know where the notes are more than I ever have before.

Enjoy your practice!