Embouchure tips for success inthe upper register?

[hokkmike]

Since now, for the first time in my life, I have purchased my own euphonium I have had the opportunity and means to engage in more systematic and serious practice sessions. Also, I am recently retired and have the time. I want to concentrate in improving my attack and sustaining of notes in the (BC) ledger lines/spaces. To be able to play them quietly and fluidly is my goal. I wondered if any of you could offer embouchure tips for greater success in playing the high notes?

Several internet writers have suggested that choice of mouthpiece is not highly relevent. I am using a Yamaha 48 with my YEP-321S. Their opinion is that no choice of mouthpieces helps in playing high notes better than just plain old "practice".

I do remember some of instructions from my band and tutor (trombone at the time) - cheeks in, aim higher in the cup, tighten the upper lip, buzz practice with mouthpiece when possible. That was a l-o-n-g time ago.
Any comments or suggestions are appreciated. I would classify myself as an advanced beginner or maybe intermediate player, so I value the great experience that I see many of you have.

[Rick F]

Read this excellent post by Roger Lewis. This is a direct link to his post (which I have bookmarked). You can scroll up-down to read other posts.

Developing High Range

Hope this helps.

[hokkmike]

Read this excellent post by Roger Lewis. This is a direct link to his post (which I have bookmarked). You can scroll up-down to read other posts.

Developing High Range

Hope this helps.

Indeed it DOES help. Thank you very much.

[Rick F]

Glad it helped. I noticed that you're a fairly new member of TubeNet. Did you read the second page of posts too? Roger has a followup post about a eupher who had trouble with high range. Just in case you didn't read it, here's the direct link:

Here's another tidbit.....

[hokkmike]

Thanks again Rick F and Bloke. It is a little intimidating being here with you professional players. You have been very helpful in your resonses. Rick F - I did check out the second link as well. When I figure out how to do it I will bookmark them as well.

Bloke - I had heard that hitting higher notes on euphonium (I am assuming that the YEP 321S is a true euphonium) was a little more difficult. I have been trying to spend more time in that range without straining and causing pain to my lips/jaw. I read, further, that, comparatively, the model I have requires a little more effort to play. I don't know if it that is true but in my research in comparing instruments I read that more than once.

[Wilco]

"it's not embouchure it's air" I did not believe that for years until I did exactly what is demonstrated in this video. Endurance in the high range (trombone) is not an issue for me anymore.

Try it: http://www.mysterytomastery.com/videos/?id=88" target="_blank

[Tony Halloin]

I have a couple of ideas you should keep in mind as you work to increase your upper register.

First: Higher notes require faster vibrations in the lips. This means that your lips must vibrate at a faster frequency. You get this to occur by blowing faster air. Now, you can't blow faster air at the volumes you would use in the lower register as you would run out of air quickly and it would be much more difficult to maintain a high speed of air. Therefore, as you go higher, volume of air decreases as speed of air increases.

Second: To help speed this air, the oral cavity should remain relatively open (tongue low, teeth slightly apart, etc.) BUT the point of resistance (i.e. the lips) becomes smaller and more focused. What works great for me is blowing the air downward as I ascend in range. Try this exercise: blow a medium speed of air straight out in front of you at your hand. Speed up the air, tracking the stream downward slightly. If you envision this exercise with the horn on the face, you should be ascending in partials.

Third: Approach the upper register in a musical manner. Pounding away to try to screech out the same high note over and over will be counterproductive. Start by playing a pretty song that has an ascending motive ("Someone to Watch Over Me" would work great). Play the tune where you can comfortably play it with a good forte volume and good sound, thinking about singing the song through your euphonium. Then, move the tune up a step or two. Keep moving it up as each one starts to sound better and gets easier. Be patient though.
This exercise has numerous benefits aside from working upper register playing: you have to use your ear to figure out a good song, you have to work on transposition (which admittedly is initially hard but gets WAY easier the more you do it), you have to work on different keys, and you work on making a beautiful phrase.

I wouldn't focus so much on manipulating the embouchure in this instance as it is very difficult to control the vibrations of the lip. You can control air speed and the musical message you send to the lip, however.

Good luck!

[sloan]

Here's a three-step program guaranteed to improve your high range:

Every day:

1) play low-range exercises

2) play high-range exercises

3) play low-range exercises

[Tubaryan12]

The simply answer is that if you regularly (*two or three times daily, etc.) play up there for a little bit longer than you really can (and avoid jamming the mouthpiece into your face) you'll get better at it.

This is all I did to improve my range on tuba and euphonium.....and trust me, there was nothing "daily" about my practice schedule. My range on both is better than it was in high school and college simply because I make myself "go up there" more than I ever had to when I was younger. Take your time and don't expect instant results. You'll get there.

[hokkmike]

I am improving by tiny increments.

[Rick Denney]

Just don't depend on pressure. When your lips get too tired to play up high, it's tempting to use pressure to keep them from falling outside the mouthpiece rim. Don't do it. Play low for a while, or rest for a while. You can only build strength if you are using muscle.

Roger's method involves rolling the lips inward to make use of the harder and thinner tissue at the outer edge of your lips. This creates a tighter vibrating surface. But I have trouble implementing his approach fully--my lips are too fleshy to fit between my lips and still be able to blow air through the instrument. But whether you can fully do what Roger suggests or not, there is one consistent truth: To play high, you must reduce the size of the aperture through your lips. Roger's method allows a smaller aperture by using the harder lip tissue of your outer lips--each opening of the lips is constrained by that harder tissue. That allows one to vibrate at the higher frequency with less use of muscle. I roll my lips in, just not quite as far as what I've seen Roger demonstrate. My high range is pretty good for an amateur, as long as I'm mentally clear on the pitch going into the note.

The aperture reduction is what makes the air go faster. One reason it goes faster is because the pressure behind your lips is greater--and if you slack off the air supply, you won't be able to sustain the flow required to maintain the vibration. That's why air is important.

Bloke is right, it takes both air and embouchure.

Rick "but more important is to remember that body tension and mouthpiece pressure are the enemy" Denney

[k001k47]

Practice playing in the upper register.

[tubadavid94]

Focus mainly on airflow. Let the air do the work.