Range for Brass Musicians by Philip T. Cansler
Tips for expanding range when reaching for those high notes - and low notes
A composition that includes a great-sounding high range on any brass instrument displays one of the most fascinating, stimulating sounds in music. Whether this is a piece performed on piccolo trumpet, a jazz lead trombone melody or the last notes of a horn solo, high notes excite listeners.
But the quest for that high range has hurt more brass players than it has helped because changing mouthpieces and instruments and buying all the gimmicks are not going to produce brilliant high notes. (I know; I've been down that road). A systematized routine that builds all ranges gradually over weeks, months and even years is the only sure approach. To develop range, a brass player must first have a good, full tone in the low and middle registers, which means a good embouchure has been established.
Learning the "sizzle" system, the trumpet player realizes that each note has a specific air speed. The air, not the lips, becomes the dominant factor in producing each note (review the previous Keynotes article on sizzling). Range development incorporates several other techniques of range building, such as the syllable method (ah, oh, eh) and the pivot system (jaw and trumpet pivot), because to develop a specific air speed for each note, both of these methods are enacted subconsciously. The fewer things to think about, the faster development occurs. Remember, true range is the highest note performed comfortably within a musical phrase. To develop a better range, strive to play phrases beyond the comfortable range level. After three missed attempts at playing a phrase, it is time to stop and begin warming down.
Following is a list of techniques for developing high range:
1. Always start the first note of each phrase with the lips together.
2. Use the correct air speed for each note (do not stop the air flow).
3. The lower jaw will come up slightly to help acquire the faster air speed in the upper range.
4. Play notes that lead up to the higher notes softer so that the upper range is not forced.
5. Let the lower lip protrude ever so slightly into the mouthpiece, which gives a feeling of control and improves tone.
6. Sometimes the tongue gets in the way of a fast air speed. Learn to tongue in the high register, but by slurring, several more half-steps can be obtained.
7. Pressure on the lips should ideally be equal, but the sensation of slightly more pressure on the upper lip is effective.
As the high range develops, many trumpeters encounter response and intonation problems in the low register. These problems occur when a balanced practice routine isn't used.
The low range must be incorporated into every practice session to establish this important balance. Pedal tones are also healthy, as they provide a fully responsive lip vibration and stimulate blood flow. Although the lowest written note for trumpet is an F-sharp and the first pedal note is F, by playing low G open and F-sharp second valve, you can achieve the feeling of pedal note playing.
Following is a list of techniques for developing low range:
1. Always start each phrase with the lips together.
2. Use the correct air speed for each note, and keep the air moving.
3. To develop the slower air speed for low notes, the jaw must drop.
4. Bring the bell of the horn up slightly, which also helps drop the lower jaw.
5. Learn to play the low notes at a softer dynamic, which warms the sound.
Review
Brass musicians must challenge themselves to be better each year. This means continually developing tone, flexibility and range. Make sure that you have a consistent tone in all registers by using the correct air speed for each note. Review the lists above to make sure that as one register develops, the other register does not weaken. Avoid overplaying in the upper register, which can cause more damage. Work to play any phrase higher and higher until you are unable to play the phrase. After three attempts, it is time to warm down and let the lip rest for at least one hour.
Dr. Philip T. Cansler is a senior-ranking professor of trumpet and instrumental music at the University of Portland, Oregon. He is a Conn-Selmer brass artist and a frequent contributor to Keynotes. He may be reached at cansler@up.edu.
