This is pretty interesting. I've always had a great low register ... never any problems there.the elephant wrote:High playing must be countered with plenty of low playing. Not only will your chops thank you for the break, but playing *well* in the low register requires that you do the same things correctly that will allow you to play freely and relaxed in the upper register.
Wade
Yeah. I was reading all the "play low, play low" comments and thought I'd skip inserting Mr. Jacobs' advice to me ("if you want to play in the high register, you must learn to play in the middle register with ease.") UNTIL I read yours. I should mention that the esteemed teacher at UNT (a friend of mine) also studied with Mr. Jacobs and knows very well how to teach his students to play high AND low AND in the middle. All part of the problem of trying to adequately address a performance problem in print.ztuba wrote:
BTW I believe arnold jacobs said most of his practice time was spent playing in the middle register. That would go nicely with this advice I think.
This is the only thing that actually works for me.bloke wrote:Just getting those muscles in shape ("boring" flexibility exercises, long tones: <>, scales, an hour or more of etude study, etc., etc.,) will condition the face muscles enough to be able to play around "middle c" for more than a few minutes.
Simply *playing* around "middle c" for as long as you possibly can (and another minute or two beyond) - just like weight trainers do...and adding time in this range to subsequent practice sessions - will increase your face muscle strength.
Since we can't adequately address the problem in print what say we all agree to meet Noel at some tuba booth at TMEA and help him with this? That way we can have him playing in the exhibit hall higher than all the "wannabe" trumpet screamers...without the fatigue. Just kidding, YutakaAlex C wrote:
Well, regardless of all of our good intentions, we simply cannot adequately address the problems of the original poster in print. What I mean to say is we simply cannot adequately address the problems of the original poster in print. So if we simply cannot adequately address the problems of the original poster in print and I believe that there is no answer the to the problems of the original poster in print, we should refer him to a teacher close by. So let's all simply admit we cannot adequately address the problems of the original poster in print. At least, I would.
AND if you do happen to be reading this, I'll give you a call soon.
I'll be spending plenty of time there and maybe watch a couple of concerts. (my younger sister got first euphonium in the 4A band)
I always thought that was a mythical beast...tubashaman2 wrote:KoolKat, where is your hometown. I might be able to find you a good quality inexpensive teacher
tubashaman2 wrote:KoolKat, where is your hometown. I might be able to find you a good quality inexpensive teacher
I value this opinion of the high range... thanks to all that reassured my feeling that the high register would come to me with practice.Todd S. Malicoate wrote:I always thought that was a mythical beast...tubashaman2 wrote:KoolKat, where is your hometown. I might be able to find you a good quality inexpensive teacher
The folks who are recommending more practice have it right. High range is simply an issue of muscle-building, and there is no "magic elixir" that any teacher can give you. Want to develop a strong, reliable high range? Practice more high playing and develop your embouchure muscles...simple as that.
[caveat]This advice is, like everything else I've ever posted on TubeNet, "my opinion." You are welcome to disagree.[/caveat]
You mean the three-legged stool analogy applies here, too?Todd S. Malicoate wrote:I always thought that was a mythical beast...tubashaman2 wrote:KoolKat, where is your hometown. I might be able to find you a good quality inexpensive teacher