High register becoming a psychological problem
High register becoming a psychological problem
09:35 on Sunday, October 11, 2015
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Colombo (57 points)
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I was reading a thread that's now closed ( http://www.8notes.com/f/51_267252.asp), so I'm 'replying' here.
I don't think I can understand well JOhnlovemusic's explanation about frequencies. You say that 'A good all around professional horn player should have: A written high C (concert F5,698.46) and a good low written D (concert G1, 49.00)'. But if, as you say below, a written C two ledger lines above the staff corresponds to an F5 (698.46 Hz), wouldn't what you've called a 'high C' be three octaves above that (approximately 698 x 2 x 2 x 2)? I don't know whether such a note can be played or not, but I wouldn't call that a 'good' all around professional. I'd call that 'outstanding'! So I must have got it wrong, I think.
Anyway, I'm somewhat frustrated. I've been playing for eleven years now, although only two of them (between 2012 and 2014) was I able to study daily (since I was unemployed at that time, and my normal working hours don't allow me to play during weekdays). I play in two bands, always 2nd horn (if there are three or four, I always play the lowest voice, since, apart from the fact that it's easier, I do like playing the bass voice).
I'm going to talk all the time about written notes, and I'll explain also where they're written, in case my idea of what's a C4 or a C3 is wrong.
The range in which I play comfortably goes from E3 (below the third ledger line below treble clef) to E5 (fourth space in the treble clef). I know this is a very limited range, specially in the high register, but I get very nervous each time I see a note above C5, which doesn't help. I play a Yamaha 567D with a Schilke 31 mouthpiece. And, in principle, I want to stick to that mouthpiece, because I think the problem is mine, not the mouthpiece's.
If I play chromatically downwards, I can reach down to Db2 (the note just above the C in the second ledger line below bass clef). A couple of times I've been able to hit a very out-of-tune C2 (sounding almost like a B). Chromatically upwards, I don't seem to be able to go beyond G#5 (just above treble clef), and that very strainedly. A5 is just a mystery to me. For some reason, I find Bb, B and C slightly easier, but anyway, playing above E5 is a pain for me. And for those listening, I suppose.
You see why I say I'm frustrated? Even though I cannot study daily, as I've said, eleven years should have taken me up to C6 without too much trouble, I believe. I've tried everything I've been able to think of: playing a chromatic scale with long notes, with short notes, playing all sorts of arpeggios with the harmonics in all positions... I try to think of opening my throat, of keeping my lips tense and my mouth cavity small... But, even though I may be doing something wrong from the physical point of view, I'm afraid this has become more of a psycological issue. And I don't know how to approach that problem. I do know that I'll be more likely to miss a note if I think I'm going to miss it.
This is worrying me even more now because the other horn player in one of the two bands has left, and I've been left alone, which means that, for the first time in my life, I'll have to play first horn. We don't pay anything that's too demanding in that band, but I feel too scared.
Can you help me with this problem? As I was telling you, I think the psychological aspect is the most pressing.
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Re: High register becoming a psychological problem
09:41 on Sunday, October 11, 2015
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Re: High register becoming a psychological problem
16:41 on Saturday, October 31, 2015
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phred (157 points)
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For me, high notes comprise first, getting my embouchure settled into correct feeling and location on the mouthpiece, and secondly warming up with "Elephant tones" where I draw the lips tighter at the corners (I tell my two students "like pulling a rubberband") and drop my jaw. I do two octaves in F from middle C to C an octave below. Now, thinking you can play these notes, I just acquired a very cool descant horn that plays either F/Falto, or Bb/F alto. After playing on that horn, my high end always notches better on the F/Bb. And really, if you can play the notes on the descant, you can do it on the other. If you know anyone with a descant to loan, you'll quickly find yourself feeling more confident. Then try switching over.
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Re: High register becoming a psychological problem
14:06 on Sunday, November 1, 2015
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Re: High register becoming a psychological problem
03:42 on Wednesday, November 4, 2015
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Re: High register becoming a psychological problem
09:36 on Wednesday, November 4, 2015
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Re: High register becoming a psychological problem
11:14 on Thursday, November 5, 2015
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Re: High register becoming a psychological problem
01:24 on Friday, November 6, 2015
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Re: High register becoming a psychological problem
02:00 on Friday, November 6, 2015
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Re: High register becoming a psychological problem
02:02 on Friday, November 6, 2015
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Re: High register becoming a psychological problem
11:08 on Friday, November 6, 2015
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Re: High register becoming a psychological problem
12:24 on Friday, November 6, 2015
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phred (157 points)
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Como, no worries. I'm an enthusiast who majored in music conducting and composition almost 25 years ago, who always had issues with my high register. I played in a few local orchestras (semi-pro?) that had paid principals and auditioned amateurs. I then quit for nearly 15 years, because of the high end problems. It took me discovering two things, that I had to forget my embouchure I'd been using (I know use a more towards the inside of the lower-lip dropped jaw embouchure) and dealing with the issue of a nickel allergy that had been leaving my lips semi-numbed and swollen. Switching to stainless steel made all the difference. On top of that, I sold a Texas 8D I had, used those funds (plus some savings) to buy a nice instrument (paxman). Literally, within a month, went from having a secure F to a secure Bb. The decision to purchase a good horn was because I had the opportunity to play on one and hear that I could play notes I thought I could not. There are so many variables, that just hearing it is possible can make a huge difference in ones decision to play or not. I'm no pro, but have been asked to teach at the local music studio, and I always let my students try my horn. Just the flow is so much better than their $800 Chinese instruments, that they can hear it is possible for themselves. I still do a lot of just warming up as practice, rather than working on pieces, because I know my high-end needs work, but even for myself, hearing those notes notch gives me the courage to work on the Bb side. It is such a difficult instrument, that a lot of what I do is encourage students to work on the basics, and then the rest will come. My beginning 20 minutes are low notes, slurs up, half-step notch exercises, high notes. If that's all I do, that's fine, but frequently, busy students and amateurs don't have more than 30 minutes a day (if that) and psychology is just as important as work. No offense taken, just looking at things from the perspective of an adult learner who quit and returned. And yes, your exercises are the ones to do, just figured they'd been gone over with Colombo before. -phred
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Re: High register becoming a psychological problem
07:14 on Saturday, November 7, 2015
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Re: High register becoming a psychological problem
16:12 on Saturday, November 7, 2015
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