Sharp, flat and becar are alteration signs in music. How to Play High Notes on the Trumpet Random and Key Signs


Rosati's trumpet school, free translation

Trumpet lessons. Breath

An important step in the act of breathing is cleaning and careful analysis.
Here are the three main types of inhalation:
1) Nasal - only through the nose; slow, good for long and controlled sounds and entire phrases when playing the trumpet.
2) Oral - through the corners of the mouth; general and experienced for speed. Helps to hold the embouchure when playing the trumpet.
3) Combined - through the mouth and nose; for more confident performers, which gives enhanced results in contrast to the first two.

NOTE: It is also advisable to breathe through an instrument or mouthpiece - inhale, exhale; This method will help in training the lips and open teeth.

Trumpet lessons. Pipe valve combination or fingering

Retreat:
How many positions can there be on a pipe if it has 3 valves? For those who are familiar with combinatorics, this is elementary: pressed valve positions P = 3! = 1x2x3 = 6, taking into account unpressed valves, there will be 7 positions in total.
They need to be remembered:

1st position – no valve is pressed;
2nd position – the second valve is pressed;
3rd position – the first valve is pressed;
4th position – valves 1 and 2 are pressed;
5th position – valves 2 and 3 are pressed;
6th position – valves 1 and 3 are pressed;
7th position – valves 1 and 2 and 3 are pressed.

Trumpet lessons. Staccato

Sequence of actions:
- take a good breath, moving your jaw forward;
- draw in air by placing your tongue between your lips;
- release a stream of air under pressure;
- imitate “spitting” with your tongue.

When playing the trumpet, the sound should be distinct with good air pressure, loud and ringing. At the same time, it is as if you are pronouncing a short syllable “Ta”. Choose the right moment to understand the mechanism of the tongue and air flow when playing staccato on the trumpet. Place your tongue between your lips (like a valve), blocking the path of air, then quickly remove it, back and return with air supply.

This is a natural movement, familiar to everyone and similar to the “spitting” movement, but first you need to perform the following sequence:
- keep your jaw forward;
- inhale through your nose or corners of your mouth;
- stick out your tongue, almost touching the mouthpiece;
- hold air before blowing;
- lightly press your lips onto the mouthpiece;
- pronounce the word (for those who speak English this is easy).

This placement of the tongue gives space in the palate for air to pass through. Mouth and tongue in shaping the attack of sound when playing the trumpet.

For performers from the countries of the former Soviet Union, it will be more understandable to position the tongue as if “spitting”. If we take a closer look at the pronunciation, the first consonant in a syllable is a fricative sound with a voice - a gap should be formed between the front edge of the tongue and the upper teeth. The second vowel [a] is an unclear sound similar to the Russian “a” under stress. And the last consonant [h] is just an exhalation. Differences in performing schools of playing brass instruments.

Staccato is a hard exercise for trumpet, but no more so than other exercises. Remember, however, that there are different types of staccato. The physiological structure of the jaw and mouth also plays an important role, so it is necessary to look for your own embouchure setting. In order to determine how easy it is to play staccato on the trumpet, you need to experiment with the position of your tongue and lips.

For example:
- the tongue is exactly in the middle, not too forward;
-tongue slightly below the middle;
- the tongue is pushed forward exactly in the middle;
-tongue slightly above the middle.

All of the above options, when playing the trumpet, are suitable for different types of staccato. Find staccato notes and do the exercises, resting in between. Breathe evenly and slowly. Listen to yourself and other performers, comparing and analyzing. Give air from the lower abdomen, do not play with laziness!

There are alternative options with a lighter tongue staccato - placing the tongue over the end of the arch of the teeth, inside and attached to the gum, pronouncing the sounds and. In practice, you will find that light staccato (inside) is better suited for precise, clean and fast trumpet playing than heavy staccato (outside) which is best suited for military or jazz style trumpet playing.

Sequence and posture when approaching staccato:
- bring the instrument to the prepared jaw;
-inhale, locking the embouchure and tongue;
-release the air immediately by removing your tongue;
-free vibration of the lips will give a full sound when playing the trumpet.

Trumpet lessons. Valuable comments

To start playing the trumpet and play music, it is very useful to use a metronome. Make sure you can hear it and set it to a speed between 60 and 80. Get used to using the metronome all the time when playing any trumpet exercise, changing the speed as necessary. Try doing the exercise using all 7 positions from top to bottom. You need to learn to read sheet music. Pick some notes and practice.
It will be a little difficult to produce the "right sounds" at first. You must learn to use the exact amount and speed of airflow for each specific note. The essence of trumpet playing is the quality of your airflow, and therefore it is essential to create a stable and consistent column of air to fill the sound of the instrument. The air flow should be collected into a stream and not splash around.

Keep your lips pursed, especially at the corners of your mouth. The vibration should occur between the lips - the air - the mouthpiece, and not just between the two lips! Remember: if you press on your lips, you will have a bad sound and they will get tired very quickly. Know how to create more or less pressure in the air column as needed.
Staging is of decisive importance, how you observe the position of the muscles of the face, chin, head, teeth and body position. Learn to read and sing notes, make sure they correspond to real sounds, and distinguish them not only by their names.

To be continued

Today we will talk about what sharp, flat and becar are, and about what kind of alteration signs there are in music, and what this word “alteration” generally means.

Let's first explain everything very briefly, and then we will understand it thoroughly. Let's start with our last question, namely - What is ALTERATION in music? This is a Latin word that has the root “ALTER”; you can guess its meaning if you remember some words with the same root. For example, there is such a word as “alternative” (this or that decision to choose from), there is such an expression in psychology as “alter ego” (another me). So, translated from Latin ALTER means “OTHER”. That is, this term always characterizes either the existence of several different versions of a phenomenon or object, or some kind of change.

In music, ALTERATION is a change in the main steps (that is, a change in ordinary notes DO RE MI FA SOL LA SI). How can you change them? You can either raise them or lower them. As a result, new versions of these musical steps (derived steps) are formed. Raised notes are called sharps, and lower notes are called flats.

Alteration signs

We have already noted that NOTES are recorded sounds, that is, graphic signs. And to record basic notes in different octaves, a stave, keys, and rulers are used. And for recording changed notes there are also signs - SIGNS OF ALTERATION: sharps, flats, bekars, double sharps and double flats.

SHARP sign looks like a hash mark on a telephone keypad or, if you prefer, like a small ladder, it tells us that the note is rising. The name of this sign comes from the Greek word "diesa".

Flat sign signals us about a lowered note, it is similar to the English or Latin printed letter “be” (b), only the lower part of this letter is pointed (looks like an inverted drop). Flat is a French word, although with Latin etymology. The term is formed by very simple elements: “be” is the letter “be” (b), and “mol” means “soft”, that is, flat is just a “soft b”.

BEKAR sign- a very interesting sign, it cancels the effect of flats and sharps and says that you need to play a regular note, not raised or lowered. In writing, bekar is slightly angular, it looks like the number 4, only closed on top not with a triangle, but with a square, and it also looks like the letter “be” (b), only “squared” and with a downward stroke. The name "bekar" is of French origin and is translated as "square bay".

DOUBLE-SHARP sign, there is also one that is used to double-raise a note; it is a diagonal cross (almost the same cross that is written when playing tic-tac-toe), only with extended, slightly diamond-shaped tips.

DOUBLE-FLAT sign , accordingly, speaks of a double lowering of the note, the principle of writing this sign is the same as that of the English letter W (take V), it’s just that not one, but two flats are placed side by side.

How do sharps and flats change notes?

Let's start, perhaps, with this observation. Anyone who looks at a piano keyboard will notice that it has white and black keys. And with white keys, everything is usually clear; it is on them that you can play the familiar notes DO RE MI FA SOL LA B. To find the note C on the piano, we focus on the black keys: where there are two black keys, to the left of them is the note C, and all other notes go from C in a row. If you are not yet familiar with the piano keys, we recommend studying the material.

Why then are black people needed? Just for orientation in space? But on black, the so-called sharps and flats are played—high and low notes. But more on this a little later, but now we need to understand the principle. Sharps and flats raise or lower notes by SEMI TONE. What does this mean and what is a semitone?

A semitone is the smallest distance between two sounds. And on a piano keyboard, a semitone is the distance from one key to its nearest neighbor. Moreover, both white and black keys are taken into account here - without gaps.

Halftones are formed when we rise from a white key to the next black one, or when, on the contrary, we descend from some black to the nearest white one. And there are halftones between the white keys, or rather between the sounds MI and FA, as well as SI and DO. Look carefully at these keys - there are no black keys between them, nothing separates them, which means they are also the closest to each other and there is also a semitone distance between them. We recommend that you remember these two unusual half-tones (MI-FA and SI-DO), they will come in handy for you more than once later.

Sharps and flats on a piano keyboard

If a sharp raises a note by a semitone (or you can also say half a tone), then this means that when we play a sharp on the piano, we need to take a note a semitone higher (that is, the neighbor of the main one). For example, if you need to play C-Sharp, then we play the nearest black key from C, which is to the right of white C (that is, we take a semitone upward). If you need to play D-Sharp, then we do the same thing: we play the next key, which is higher by a semitone (black to the right of the white D).

What to do if there is no black key next to the right? Remember our white halftones MI-FA and SI-DO. How to play E-Sharp if there is no black key to the right of it in the upward direction, and how to play B-Sharp, which has the same history? And everything follows the same rule - we take the note on the right (that is, in the upward direction), which is a semitone higher. Well, let it be not black, but white. It also happens that the white keys help each other out here.

Look at the picture, here on the piano keys all the sharps that are in the octave are labeled:

And you probably guessed about the flats yourself. To play a flat on the piano, you need to take the key a semitone lower (that is, downward - to the left). For example, if you need to play D-FLAT, then take the black key to the left of the white D, if E-FLAT, then to the left of the white MI. And, of course, in white halftones the notes again help each other out: F-FLAT coincides with the MI key, and C-FLAT with SI.

In the picture, all the flats on the piano keys are now labeled:

What's with double sharps and double flats?

And double sharps and double flats - double increases and double decreases, of course, change the note by two semitones at once. Two semitones are two half tones. If you combine two halves of something, you get one whole. If you combine two semitones, you get one whole tone.

Thus, it turns out that DOUBLE-SHARP raises the note by a whole tone at once, and DOUBLE-FLAT lowers the note by a whole tone. Or two semitones, if you prefer.

How to speak and how to write?

RULE #1. So we all say: C-Sharp, D-Sharp, E-flat, A-flat. But you need to write in notes differently, on the contrary - SHARP-C, SHARP-D, FLAT-E, FLAT-LA. That is, the sharp or flat sign is placed before the note in advance, like a warning sign for a motorist. It’s too late to put a flat or sharp after the note, because the white note has already been played, because it’s already out of tune. Therefore, be sure to write the required sign before the note.

RULE #2. Any sign must be placed exactly on the same ruler where the note itself is written. That is, the sign should be next to the note, it’s like a guard guarding it. But sharps and flats that are written on the wrong rulers or even fly somewhere in space are incorrect.

Key and random sharps and flats

Sharps and flats, that is, accidental signs, are of two types: KEY and RANDOM. What's the difference? First, about random signs. Everything here should be clear from the name. Random ones are those that appear in the musical text by chance, like a mushroom in the forest. A random sharp or flat is played only in the musical bar where you came across it, and in the next bar they play the usual white note.

Key marks are those sharps and flats that are placed in a special order next to the treble or bass clef. Such signs, if any, are placed (reminded) on each line of notes. And they have a special effect: all notes that are marked with sharps or flats in the key are played as sharps or flats until the very end of the musical piece.

For example, if after the treble clef there are two sharps - FA and DO, then wherever we come across the notes FA and DO, we will play them with sharps. True, sometimes these sharps can be canceled by random players, but this, as you already know, is only for one time, and then they are played again as sharps.

Or another example. After the bass clef there are four flats - SI, MI, A and D. What do we do? That's right, wherever we come across these notes, we play them with flats. That's all the wisdom.

The order of sharps and the order of flats

By the way, key signs are never placed after the key at random, but always in a strictly established order. Every self-respecting musician should remember these rules and always know them. The order of sharps is: FA DO sol re la mi si. And the order of flats is the same order of sharps, only topsy-turvy: SI MI LA D SO TO F.

That is, if there are three sharps next to the key, these will definitely be FA, DO and GOL - the first three in order, if there are five, then FA, DO, GOL, RE and A (five sharps in order, starting from the beginning). If after the key we see two flats, then these will definitely be the flats SI and MI. Do you understand the principle?

And now one more important thing. The fact is that key signs are displayed not only in a certain order, but also always on the same lines. In the picture below, you will see the correct location on the staff of all seven sharps and seven flats in the treble and bass clef. Watch and remember, or even better, copy it several times into your notebook. Get your fill, as they say.

Designation of sharps and flats according to the letter system

You've probably already heard that there is a system for lettering sounds. According to this system, notes are written using the letters of the Latin alphabet: C, D, E, F, G, A, H. Seven letters correspond to the seven notes DO RE MI FA Sol LA and SI. But to denote changed notes, instead of the words sharp and flat, the suffixes IS (sharp) and ES (flat) are added to the letters. You can read more about this and what features and exceptions to the rules there are in the article.

And now - a musical exercise. In order to better remember what sharp, flat and becar are and what their strength is, together with the guys from the “Fidgets” ensemble, learn L. Abelyan’s song from the collection “Funny Solfege” about these signs (watch the video).

Greetings dear readers of the blog site. In this part we will look at what sharp, becar, flat are, but first we will need to remember the materials of this. This is the structure of the octave:

In the figure above we see the main seven steps - these are do, re, mi, fa, sol, la, si. Now notice that between the white keys C and D there is a black key adjacent. This key is located on the right side of the key before and on the left side of the key re. We deliberately emphasize this point, since the same key (note) is located either on the right side or on the left side: it all depends on which adjacent key you look at.

Now we will consider this neighborhood of keys (i.e. notes) from the point of view of music in the Fl Studio program or using a piano (piano, midi keyboard), etc. Most importantly, we need to see these keys. Run the program and add (i.e. a piano) or if you have a piano, then you can test us by pressing the keys and listening to the pitch.

In Fl studio, to see all the notes you need to go to .

So: now we are looking at notes that are within the 1st octave. Note ( before) sounding lower than the note ( re). And accordingly, the note ( re) in sound higher than the note ( before). Well, between these notes (do) and (re) there is another note, which is represented on the keyboard by a black key. The sound of this black key is higher than the note (do) and lower than the note (d), i.e. the middle of these sounds.

What is Diez? A sharp is raising the root note by a semitone. For example, consider the sound of the black key that is next to the note (C). The sound produced by the black key will be higher by a semitone - this phenomenon is called the word sharp. Remember that raising a sound by a semitone is called sharp. This sound is considered a derivative stage, and therefore it does not have its own name. In this case, the name of the main stage is used. In our example it will be -C-sharp.

Sharp indicated by the hash symbol, look at the picture below:

Sharp designation

In this picture, the note C-sharp is indicated. Without a grille it will be (do), and with a grille (c-sharp).

What is Bemol? A flat is a lowering of the root degree by a semitone. For example, consider the same black key relative to the note (D). The sound of the black key will be lower by a semitone of sound (D). This phenomenon is called flat. It is also a derived stage and does not have its own name and uses the name of the main stage. In our case it will be D-flat.

The figure below shows the designation of a flat:

Flat designation

I think that you already understand that the same note i.e. the black key may have different names depending on which stage you are looking at. In our example, as I wrote above, the black key can have the name either “C-sharp” or “D-flat” - it depends on the note that we take as a basis.

What is double-flat and double-sharp?? When the fundamental degree is raised by two semitones (i.e., a tone), it is called a double-sharp. And when the main level is lowered by two semitones (i.e., a tone), it is called a double-flat. Rarely used, but you need to know that this also exists.

Here's a simple example: C-double-sharp is the note D. And the D-flat is the note C.

What is Bekar? Bekar symbol cancels action sharp or flat. In the figure below, in each measure, this symbol appears before the third note. It is indicated by a hashmark similar to, but different from, a sharp.


Natural

Now let's read these notes. You need to read from left to right, the first bar: C, D-flat, D (here the note is preceded by a bekar sign - which we cancel the flat that the second note established), and D again. Second measure: D, C-sharp, C (here also the bekar sign canceled the effect of the sharp established by the second note), note C.

What is Alteration? Alteration is the raising and lowering of sounds.

Let's consider the zone of action of alteration signs.

The area of ​​effect of the accidental sign that stands before the note is valid for the entire measure. These signs are called random. This random sign will affect all given notes of the same octave within the current measure, either until the next random sign, or until the key changes.


Effective area of ​​alteration signs

Let's read the notes. Also from left to right, first bar: C, D-flat, D-flat, D-flat (here there is a flat sign before the 1st note D. It will remain in effect until the end of the bar, and lower the following D notes by a semitone). Second bar: D, C-sharp, C-sharp, C-sharp (the zone of action of the flat sign from the first bar ended in the first bar, and therefore the second bar begins with the note D. Then, before the next note C there is a sharp sign, which is valid to end of the second bar and will raise subsequent notes up to a semitone).

Important note.

The effect of the sign will apply directly to the note before which it is placed. In our case, in the 1st measure, the flat sign affects only the D note of the 2nd octave. But if in the first measure there were also a D note of the 1st or 3rd octave, then the flat sign would not have any effect on them.

These accidentals (flat and sharp) can appear not only before the note, but also at the key. These are the signs of alteration that are called key.

Key alteration signs are located at the beginning of each staff to the right of the key and act on all notes that are written on the corresponding lines in this staff until the key signs change. Also, within a beat, the effect of key signs can be canceled by random signs. The effect of key signs will apply to the entire work.

Here is an example of using sharps in a key:


Using sharps in a key

Key signs show us that all notes that are located in the corresponding lines of the staff of accidental signs present in the key will have to be played with an increase or decrease in semitone.

(Italian— tromba, French— trompette, German— Trompete, English— trumpet)

The history of the pipe goes back to the distant past and at present it is difficult to establish which ancient people invented it. The natural trumpet was used as a signaling instrument.

In the Middle Ages, a straight metal pipe was no longer used only as a signaling instrument, but also to accompany all kinds of ceremonies and rituals. Only nobles and knights used this instrument. The European trumpet was called elderberry (old French - buisine). The first mention of the use of pipes in Rus' dates back to the 10th century.

Already at the beginning of the 13th century. There was a division of pipes into high (treble) and low (bass). Subsequently, trumpets, like horns, began to be divided into low, medium and high tunings. In the 17th century Most often, instruments were used in the tunings of D, C, and later B-flat, made by the German musical masters Schmidt, Nagel, Heinlein, Veit and the English masters Dudley and W. Boole. At the turn of the XVII-XVIII centuries. one of the best were the pipes of I. Has from Nuremberg. Tools were made of copper, bronze, and silver. In the XVIII - early XIX centuries. the most common were trumpets in F with additional crowns in E, E-flat, D-flat and C tunings. During this period, pipes made at the Moscow musical instrument factory by Russian masters N.P. Kotelnikov, D. and S. Mikhailov and I.S. Khrapovitsky became widespread.

With the invention at the beginning of the 19th century. valve mechanism, natural pipes began to be gradually replaced by chromatic ones, and at the end of the century they completely fell out of use. Of the large family of trumpets, instruments of medium tunings were most often used: E-flat, E and F. Their lower and middle registers were distinguished by a wide, full sound, the upper sounded tense and presented great difficulty for performers.

At the end of the 80s of the XIX century. new chromatic trumpets of high tunings were designed: A, B-flat and C. It became possible to extract all the sounds of the second octave using them. The most successful of these instruments was the B-flat soprano trumpet, which is still in use today. In France, Belgium, Switzerland and some other countries, the most widespread in performing practice is the trumpet in order C. In Russia at the beginning of the 20th century. More often than others, valve pipes from the company Yu. G. Zimmerman were used.

Currently, instruments from the French company “Selmer” and the American “Bach-Strdivarius” are widely used. For pop and jazz orchestras, trumpets of special designs are made, adapted to produce high-pitched sounds.

Or soprano trumpet made of brass or tombac (an alloy of copper and zinc). It consists of a cylindrical tube about 1.5 m long, about 11 mm in diameter, turning into a conical tube, and a crescent-shaped mouthpiece. The barrel is bent twice and forms a single whole with the bell. The fingering of the trumpet is similar to that of the cornet (see example 97). The trumpet in B-flat is a transposing instrument. Notated in treble clef, it sounds a major second below what is written. Range and characteristics of registers (according to the letter, see example 92).

The trumpet is the highest of the brass instruments. Her sound is distinguished by strength, brilliance and at the same time lightness and mobility. The valve mechanism of the instrument allows you to brilliantly perform all kinds of passages, arpeggios, jumps, valve trills, single, double and triple staccato. A frulato technique is also possible, which has some similarities with the roll of a snare drum. During the performance process, various types of mutes are often used, which serve mainly to artificially change the timbre of the instrument.

Types of pipes.

Trumpet piccolo in B-flat and A was designed for solo performance of ancient music (clarino style, etc.), as well as for the performance of high-register trumpet parts in an orchestra (“The Rite of Spring” by I. Stravinsky, “Bolero” by M. Ravel, “Naughty Ditties” "R. Shchedrina and others).

The piccolo trumpet in B-flat sounds an octave, and in A - a major seventh above the main instrument. The instrument has four valves. The fourth valve is used to extract the four lower sounds (to expand the instrument's range downwards), as well as to more accurately intonate some discordant sounds.

Small pipe building D and E-flat. The instrument was designed to play high trumpet parts in some works by Bach and Handel. This instrument was also used in their works by Rimsky-Korsakov and Wagner. The small trumpet on the D scale is tuned with a major third, and the E flat trumpet is tuned a perfect fourth above the main instrument. The design and technical capabilities of the small pipe are similar to the soprane pipe.

Alto trumpet building F and G. The instrument was designed on the initiative of Rimsky-Korsakov in order to achieve greater fullness of sound in the low register. Rimsky-Korsakov first used this instrument in the opera ballet “Mlada” and a number of other works. Then Glazunov used it in some of his works. The alto trumpet in F is tuned to a perfect fourth, while the G is tuned as a minor third below the soprano trumpet. Technically, this instrument is less mobile than the main one.

Bass trumpet building C, D, E-flat. The instrument was built on the initiative of R. Wagner, who used bass trumpets in the tetralogy “The Ring of the Nibelung”. Jotted in the treble clef. Subsequently, a bass trumpet was built in B-flat, sounding an octave lower than the main instrument. The technical capabilities of the bass trumpet are more limited compared to the soprano trumpet. This instrument has a timbre similar to that of a trombone and a horn at the same time. It is used very rarely.

  • Never press on the pipe. Keep the pressure of your lips on the mouthpiece to a minimum.
  • Don't limit yourself to scales when you get to the upper registers. Practice arpeggios, chromatic scales, and cold attacks (after a long rest) on these notes.
  • Bring air not only from your lungs, but also from your stomach to increase air flow.
  • Practice belly breathing rather than chest breathing. This will give you more pressure to hit the higher notes. Maintain interaction with your abdomen, not your diaphragm.
  • When you are about to play a higher note, lift your tongue up. This changes the air pressure, causing the air to move faster, creating high-pitched tones.
  • Try playing major modes in octaves without removing the trumpet from your lips between octaves. If you can play from the lowest C to the highest C while maintaining your embouchure, your range will begin to increase dramatically.
  • Rest as often as you play. Only when you have good rest do your muscles train and recover. If you play too much and too often, you rip muscle without building anything.
  • Always play with an even posture, never slouch.
  • When playing in the upper registers, avoid puffing out your cheeks to maintain faster airflow. If you can't do it yourself, have someone squeeze your cheeks while playing in the upper register to teach your cheeks to stay that way. It will take some time.
  • Never hit high notes by pressing your lips against the mouthpiece. This can cause problems for your embouchure (bruising, irritation, abrasions). If the top note is unclear, or half as loud as needed, check all parts of your playing to identify errors and correct them. Your lips should be set in the mouthpiece, in a small circle, so that your air is fast and focused. Tighten your lips to form a “smile.” Sit up straight with your hands resting lightly on the pipe. If you are straining in an attempt to reach a certain note, then reach it with a scale. It is very important not to over-blow (it is very difficult to re-produce the tone obtained by over-blowing); then rest for no more than 5 minutes.
  • Avoid tuning to the piano. The piano has a well-tempered tuning. Instead, use an electronic (preferably with a strobe) tuner. Learn to hear tonality, especially when you're in the band you're playing with.
  • Never change your embouchure to hit high notes. As you ascended, so must you descend. By doing this you will maintain good sound quality in all registers.
  • Think about the letter "o", rounding the flow through your throat and head, even when you hit high notes.
  • Keep a firm embouchure (relaxed in the middle, firm at the corners).
  • Practice in front of a mirror. This will help you understand what lip position you adopt when you hit a note correctly.
  • As you breathe, let your tongue hang out like a dog's when he pant. This will open your throat wider and allow more air to enter.
  • Breathe deeply, filling your lungs with enough air to hit the notes.
  • Sit down to even out your breathing.
  • Buzz your lips a lot, both with and without a mouthpiece. Buzz from the bottom of the lower register to the top of the upper register. Do this without changing the mouthpiece with your jaw. This will train your muscles so that they can form their own sound, without a trumpet.
  • Take care not only to expand the top end of your range, but also the bottom end, using lip pursing and legato. This will not only allow you to produce clear sound across the entire range, but will also make your playing easier and more varied overall.
  • Try to relax your embouchure as much as possible and appropriate. If you try to play high notes with the same embouchure as you played low notes, your range and your sound in the upper register will improve.
  • First, try to keep your lips static, manipulating only the air flow. Only then strain your lips to determine how high you can go.


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