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Notes On High Notes
Notes On High Notes
A
by drián NájeraCoto
Principal Bass Trombonist
Orquesta Sinfónica UANL
Monterrey, México
Probably one of the aspects that low brass players have the most difficult time
with is the development of a solid and consistent high register. In order to improve this
aspect of our playing, there are several key elements that need special attention.
First of all, we need to understand that having a great high register takes a lot of
time, input and effort. Just like any other aspect of our playing, the more time we spent
playing in the higher register of our instrument the better it will get. Eventually, it will
also become easier and much more enjoyable. If we want to improve we need to spend a
good deal of time practicing it.
It is also very important to clarify that for the high register in particular, blowing
more air is not necessarily the best way of approaching it. Remember that air quantity
and air pressure are inversely proportional. In simple words: the high register needs
less air but blown with more pressure. The low register, on the other hand, needs more
air with less pressure. Taking that into consideration while we practice in the upper
partials of our instrument, could save us a lot of time and frustration since we would be
able to modify our air stream according to the small aperture of our embouchure more
easily and in a much more efficient way.
Articulation is also a detail that could hinder us from having a solid high register.
Remember that due to the nature of brass instruments, partials are closer in the high
register. Tonguing too hard could produce interference in the air stream, causing a lot of
difficulty in our tone production and even leading to discomfort or pain due to the
backpressure caused by the noncontinuous flow of the air. As an exercise, try playing a
high register orchestral excerpt without the use of your tongue. Record yourself and
listen to it. You’ll notice that, except for the chromatic notes that lay on the same partial,
it sounds articulated enough.
Finally, resting is as important as practicing when it comes to high register.
Developing a good high register is very close to the type of training a weight lifting
athlete does. There are a lot of muscles engaged in the process of tone production in the
high register. Big muscles of the abdominal region, muscles of the chest but also very
small facial muscles. While working on it, make sure you get plenty of rest. Balance your
practice with some pedal notes so that blood keeps circulating through your lips. Also
make sure that the corners of your mouth are firm enough to sustain the pressure of the
air. If your embouchure is working properly, you will notice how much rest you need
during your practice sessions.
Always remember that working on the high register is like planting a tree. It
might be small and fragile at the beginning but it could become robust and healthy if we
nurture and take care of it with patience and consistency.