Humber Brass Clinic '06 High Register Exercises Alastair Kay

Most musicians I know are looking for ways to improve their high range. However, there are two main
problems to overcome in that quest. One is physical limitations; having problems with embouchure
strength, air support, closing of throat, or too much mouthpiece pressure. The other is psychological; being
afraid of the upper range (fear of missing the higher notes), no patience (it takes time to develop proper
techniques), and the fear of possible criticism from teachers, colleagues, audition panels, or the audience.
You have to address these two major concerns when planning a practice routine. Setting up strength exercises
is the easier of the two, and as you gain lip strength, your confidence will increase as well. Positive feedback
from friends and teachers is also very important. You will eventually change your attitude about high notes.
The idea of "going for it", is one of my main philosophies.
Here are a few ideas and excercises to help you increase lip strength and confidence.

1 Harmonics: (Slurred - tongue the first note only)

           
         
Start slowly at first. Keep the entire exercise mp at the most - no crescendos! Squeeze up to the next note,
avoiding using "air bumps", closing of the throat, too much mouthpiece pressure, or too high a tongue level.

simile Keep adding another note.

 
   Don't stop! Go as high


 
etc.






  




as you can! to
    









(as high as
possible)

2 Air: (Big crescendo to top note, use lip compression - don't let the lips blow out. Push to the end of the 2nd note...)

   
 
  
     

      
mp ff mp ff mp ff mp ff
AIR AIR etc... etc. as high

  
as possible
  
  
      

  
 
mp ff mp ff mp ff mp ff

3 Lip trills: (Exercises the "squeezing" lip muscles. Start trills slowly, then speed up)

  

  
or by

     
 
scale:
 
mp
Go up by 1/2 steps as high as possible. Always approach the high register from a low or middle range note
to keep one embouchure. Avoid switching embouchures half way up.

  

etc. as

   
or by high as

   scale:
     possible.

 -2-

4 Rips: Big crescendo to top note - a raw rip, hearing harmonics in-between is OK. The secret is to keep your
embouchure aperture open, holding it firm, and increase air speed from the abdominals to make the lips vibrate
faster (to produce higher notes!).

   

    etc...
       
      
          
mp ff mp ff mp ff mp ff

Tongue Concept: Higher notes need fast vibrations through the use of embouchure aperture and/or extremely
5a fast air from your lungs (pushed with firm abdominals). If it takes too long to get up the
proper air speed for a high D for instance, you will most likely miss the note. If there was a
way to get INSTANT air speed for that high D (there is!), then it would be much easier to play, and be
more consistant. Try "Hoo" (no tongue) attacking the following notes:

 
"Hoo"

 
"Hoo"
 "Hoo" "Hoo"

           
f As you can hear and feel, it's very hard to get the air speed fast enough to produce the higher notes.
To get from "0 to 300 km/h" instantly for that high D, you have to use your tongue as a valve, building
up air pressure behind it (pushing air from your abdominals as if you were getting ready to spit a seed from
between your lips), then quickly releasing the built-up air pressure. Use the quarter note rests before each
note to build up the pressure, then release to get the note.


Release!


Release!
 
Release!
    
Release!

          

build up ff build up build up build up
air pressure! air pressure! air pressure! air pressure!

5b Use the concepts above to play the following exercise: Keep the CONCEPT INTACT as you go higher.
Go back to lower notes to remind yourself of the proper technique if you start to struggle with it. Don't be
intimidated by the higher notes - go for it! The pressure set-up for each note should be much shorter now, just
before the release.

   
             
                
 
f f

 

  
        
    
 
     
      

f
f

  Keep going higher and be aggressive with the top

    
notes - fast air, fast lip vibrations = higher notes!

          
f
 -3-
6a Sound production: (Creating a sound that matches your middle range.)


-Start the note, then concentrate on your air supply (use firm abdominals), check lip compression-can
 you relax your lips (drop the jaw slightly) to help open up the sound? Play in center.

mf -Try pulling the trumpet off your lips slightly to hear if it improves the sound.
-Move the back of your tongue up and down - the lowest position should be best.

  
 

   
-You don't have to stop

   here, go higher!


6b Using the techniques discussed above, play this exercise, keeping the sound open and beautiful.



-Work on the A. Back of tongue down, check mouthpiece

     pressure, jaw down a bit?, consistant air, etc.

      
-Slur the scale - don't worry about tonguing. Just keep blowing perfect air!
mf
 

  
-Continue, going

       
       
up in 1/2 steps.

 

7 Play real music!: (Play a ballad such as "Stella By Starlight". Play rubato and very slowly, don't worry about the
time feel, and concentrate on the techniques above on every note. Fix problems as you go).

             

-etc. Over the next few weeks
gradually introduce a time

  
feel, but keep working on

      
   
all of the notes as you play.

8 Security in the upper register: (Hit the top notes really hard, immediately to very soft!)

       

-This exercise is great for hitting the high

Rubato
  
 
notes aggressively. Superb for jazz...

mf ffp ffp ffp ffp ffp ffp ffp
(Slur this bar)
-Go to the next scale (A), then

       
(Tongue hard!)
up by 1/2 steps as high as possible.

     The higher you go, the more

  
   
difficult it gets.

ffp ffp ffp -Make sure you take a short break
ffp ffp ffp ffp
between scales.
 -4-
9 Endurance: (When you play sustained high phrases, your lips will get very tired and the usually result is
missed notes. This exercise lets you concentrate on techniques to keep the note going!

               
(Legato) -As the notes start to disintegrate, blow harder,
Play for 2 or 3 minutes
make sure you don't use too much mouthpiece

  
pressure, and keep going!

mp/mf Random rhythms, breathe when necessary. -Take a longer break after this one! Try
doing this exercise up a tone or two. Your
-This exercise is great for lip and tongue endurance!
goal is to eventually be able to play a high
G (or higher) for minutes.

10 Music: (Almost every study book ignores the high range. So what do you do? Read them up a tone or two,
a fourth or fifth up, or transpose them up an octave or two!).
The main point is to exercise your lips up in the high register, give yourself confidence,
then when you need to use it, you will have it!
Borgdoni study #1


Original
   
        
 
  

             

etc.
 
Read it

                       
up a tone

etc.

    
  
Up a fifth
     
       
  

   
           etc.
  

       

Up an octave
   
  

         
   
 
etc.
