Today I want to present the technique with which I play the high notes on the pipe.
Many people sometimes have problems getting into the top register of the pipe.
These problems don’t just come out of nowhere.
If you follow and apply this technique, playing high notes on your pipe will be as easy as playing low and middle notes.
When you practice and try to increase your range upward. This will be very useful.
Let’s get started.
How to play super high notes on-pipe step by step
Step 1 – Try to play slower if you climb above.
If you practice and try to increase your range upwards, is one of the things you can do right away, so stop playing harder as you go higher.
Play it pretty smooth.
Or at least keep the same volume. But try to be more gentle when you go upstairs.
Pay attention to low values, such as those of level B. Now try to play Bflat above softer.
Step 2 – Try to keep the same logo as the lower.
If you play softer as you go higher, try holding the same ear pad as in the lower part.
The only thing you really have to move is the middle part of the earpiece, which is called a small hole.
We’re trying to prevent the iris from opening. The hole will open if we let a lot of air flow through our lips.
Once the iris is open, we lose the concentration we need to play higher.
What most people don’t know is that playing higher up isn’t necessarily physically more difficult, but simply more difficult in terms of coordination.
If we look at a series of harmonic sounds by going from the lowest to the highest notes on the pipe, we have a large margin of error down, down, down, because the intervals are really far apart.
The higher you get, the smaller the harmonic series becomes in relation to the distance between the notes.
This means that we have to be more precise in the way we play high notes.
For example, take a low tone, as we did before for levelsto B. Now try to play the siflat overlay with the same setting as the siflat and softer.
What happens when you do this is that the lips fit together a bit, and the tongue goes up a bit when you move out of the air, all alone, like when you whistle. You don’t have much to do.
Do not actively attempt to change the earpiece.
Just do the same and go to the next octave. No matter how small the changes are, you don’t try at all.
This ensures that the lips are less and less concentrated as you lift the tongue.
Think about how you whistle lower and then higher. You’re not thinking of putting your lips up or anything. When the air is expelled, the lips begin to bond naturally, just as needed.
Go down again and retrieve and move the setting.
Step 3 – Press minus whenis raised.
You may feel that you need to apply a lot more pressure when you go upstairs, and the reason people do this is because they usually blow too hard. They blow their lips out, so they have to press on the mouthpiece to get them back.
Don’t exaggerate when you’re higher up.
If you apply a lot more pressure when playing higher, you cut away the vibration from your lips.
If you play very soft, you don’t have to press so hard. In fact, you need the same pressure as below.
Same pressure till the end.
Step 4 – Start exploring your top zone as soon as you get a high score of.
For example, if you reach a Bplaneso high and set this low setting Bplane , , one way to work with the scale at this time is to save this setting and then move on to C, D and so on.
Study these capital letters and try to make as few changes as possible to the typo. Ideally, you want to believe it won’t change at all.
Don’t forget to step back when you get up, never louder.
First work on the coordination of the building and then try to speak. Stronger requires stamina. If you don’t have coordination, your stamina won’t help you.
First you have to create a good coordination and then you have to learn to play harder.
Once the adjustment is complete, start moving and climb very slowly.
If you experience problems, for example if you skip notes, go slower and backwards if you go higher.
When you play this way, you begin to find these obscure slots for the notes of the harmonic series.
One of the things most trumpeters do without knowing is that they put so much effort into it You try to insert a note that is one octave higher in strength. No effort is needed to play high notes on the pipe.
Given the short distance between a low C and a high C, half a measure is even less important if you go higher and it feels like it is down there.
If you make a great effort to go from deep C to high Cto high C, you get a kind of bishop’s pass.
It’s the same, except , if you use too many uppercase letters, you get a balloon or no sound at all or a crazy distortion.
Remember, it’s a lot less than you think. Try to stay on the same tone and make the smallest movement possible.
Step 5 – Connect all your treble directly to.
Finally, you want to be able to connect all your treble in a straight line.
Keep in mind that you will not get high tones effectively, but only loud ones. But if you do it quietly, it can produce a good, loud sound.
Make sure you can link the notes in the upper register to the middle register and the lower register, because there are a lot of spaces between them, which means you drop your handset.
If you get into the habit of restarting while playing music and you have to find a low tone and then switch to a high tone, you don’t have a single earpiece that can do many different things.
You need an earpiece that can perform many different tasks. That’s really what we want to be able to do on the pipe.
This gives us the best sound and consistency from bottom to top.
Repeat these trebles, but make sure your treble is related to the lowest note. Make sure they are soft at the top and wide and greasy at the bottom.
If you do it right, you should feel like you are releasing force levels and pressure , the higher you go.
This should be simple.
Usually I open a small trumpet class by invitation only for my subscribers by e-mail during a few months of the year (form below).
TrumpetBeast is a music blog where I will help you to master the pipe yourself, complete.
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