Trumpet: Upper Register

   Failure to achieve a reliable upper register creates doubt and fear in the player.  So rather than risk missing notes, trumpet players experiencing high note difficulty skirt the issue by avoiding high notes.
   Confidence as a trumpet player comes from competence as a trumpet player.  There is no mystery in developing upper register ability.  And one of the best ways happens to be one of the oldest ways: chromatically.  Developing in this manner allows the player to take a "stairstep" approach by adding range one-half step at a time.
   Some instructors advise the player to curl the lower lip over the top of the bottom teeth.  And while it is true high notes can be more easily hit by some players using this method, it is also true notes can be more difficult to control.
   Sustaining a single note is one thing.  But when the player faces playing a series of high notes spread throughout the octave, control of each note (as well as pitch of each note) can be an issue.
   The most reliable way to develop a dependable upper register is to advance range through tongue arch while the lips are directed towards the mouthpiece.  This prevents the player from attempting to rely on lip tension alone.
   The typical thought process of "Tee" and "Eee" serve high notes the same benefit they serve when ascending mid-range notes.  The most notable difference is airstream speed.  High notes require a fast moving airstream.  So does the arching tongue in order for the airstream to overcome the tongue's resistance and encourage the lips to vibrate faster.
   Vibrations have to be doubled to raise each note one octave.  For instance, play middle C.  Double the vibrations and high C is the result.  Double the vibrations again and double high C is sounded.  And so on.
   Range development takes time.  And the player has to be willing to give it time.  Most mistakes in attempting to develop a strong upper register comes from player impatience.  These are the players who attempt high notes at random.  Their attitude is any high note will do.  And equally sour can be the manner used to produce the note.
   Random pitch placement leaves much to be desired.  Rarely is the player certain of the pitch produced.  Was it E?  G?  Who knows?  It is high.  That is all that counts.  The player is better served to play the note one octave lower to establish pitch before attempting to sound the note one octave higher.
   Random pitch placement has other drawbacks.  One of them is possibly feeding the mouthpiece too much lip.  Another drawback is using excessive lip tension or too much mouthpiece pressure.  All these needless mistakes take away embouchure balance.
   No note, regardless how high, requires strain to produce it.  Remember, it is simply a case of doubling lip vibrations.  And to double lip vibrations, the airstream speed must be increased as the tongue arches and the lips are drawn towards the mouthpiece.  This is what establishes grip (feel for the mouthpiece).
   Half-steps are easier to take than are whole steps.  And each half-step allows a more natural embouchure adjustment.
   Equally important to range development is sufficient rest.  Continually trying to hit high notes taxes the embouchure by stiffening facial muscles and numbing (or swelling) lip tissue.  This causes the player to lose feel for the mouthpiece.
   The ability to perform in the upper register requires proper embouchure development and commonsense.  And commonsense is in short supply for players who choose not to adhere to consistent practice procedures.
   Another source for range development is making use of the seven valve positions in the form of lip slurs and lip trills.  But rather than think in terms of building range through use of the seven valve positions, I think in terms of adding lip flexibility since it is lip flexibility which makes for effortless trumpet playing.
     Closing and opening valves does not guarantee pitch.  Pitch is controlled by the tongue.  Valves simply jet air through additional tubing making the pitch easier to establish as long as there is a sufficient supply of air, proper tongue arch and necessary tension in the embouchure to support the note being produced.
   Relaxation is important to range building since it contributes to fullness of sound.  In addition, the player should strive to develop playing with a relaxed firmness in the embouchure.
   Building range takes time, concerted effort and a sensible practice schedule.  Attempting to develop range too fast results in unnecessary setbacks and adds a blow to player confidence.
   Imposing a timeline on range acquisition is artificial at best.  Since doing so requires the assumption all players advance at the same rate which implies all players are the same.  Not so.  Building range takes as long as it takes.  Be patient.