The Trouble With Trumpet Trills!

[@nrcg2317]

Outstanding explanation, Professor!!!

[@MrPrincetrumpet]

Thank you for your kind words. Please pass on this post to anyone who might need this advice.

[@nrcg2317]

@@MrPrincetrumpet I shall indeed, Sir.

[@bahukadapoet6764]

Hey its me again! Now ive mastered the G to A trill. All i need is the F to G trill! I have it very commonly in the second movement and third movement and so far ive done it by lip slur. However, im not the best and not very fast with lip trills (however slurs are not a problem as i study the lip slurs page). Ive watched your video but more advice would be helpful as i have an adjudication coming up Saturday. I need to do movements 2 + 3 and ive mastered the components (even the mordent part in third movement). This is all i have trouble with!

[@MrPrincetrumpet]

The reason people have trouble with the F-G trill is because of the intonation of both notes. Both notes are traditionally sharp AND people do odd things with the back of the tongue as they play. This results in the wind being cut off and the sound becomes nasal and thin. When the young player plays louder, the sound will often become brassy but not in a good way. This is discouraging and they back off. The cycle beings again and they don't have much success. The answer is to establish the best sound on both off those notes FIRST! Go back and forth slowly until you're happy with a proper sound on those notes. A REALLY nice, vibrant, beautiful sound. Also, the valves MUST go up and down with great security. It's a long process. It's not going to be a quality trill by this Saturday. It will be good in a few months if you work it every day! Just play 16th notes instead of trills. You'll sound fine and the judges will be pleased. Work this technique every day.

[@luisraluisra]

Thank You Prof. !! very good information I have clarified doubts

[@bahukadapoet6764]

Hello I am in 9th grade and am performing the 1st movement of the Hummel concerto. I struggle with the last part trill from G to A. What fingers should I use? How should I control my air?

[@MrPrincetrumpet]

Thanks for writing in. First, let me say that it is the very rare 9th grader that can control that particular trill, along with several others, so, don't believe that you are unusual this way. It's a common issue. There are three ways to go about this challenge. The first way is to work on and strengthen the sound and clarity of all your basic mid-register trills. Believe it or don't, MANY students have trouble executing a properly sounding trill from C to D! It takes a constant, unyielding flow of air that doesn't try to manipulate each note separately. In other words, a trill needs to have the approach of a strong, single long tone. The second approach is to study the lip slurs on page 44 of your Arban book. When you're able to get through that entire page WITH AN EXCELLENT, PURE SOUND, you'll be ready to approach the trill in the Hummel with confidence and it will be an accomplishment with great ramifications for the rest of your endurance and upper register. The third approach is the one I recommend if you're under a time pressure that will teach you well. Pull your third slide out until it achieves a half-step. In other words, it will sound as though you are playing G to Ab. Practice the passage, knowing full well you're playing a half step rather than the correct whole step. When you can play the entire passage in this configuration bring the slide in a little. Do the same. Do it again, bringing the slide in a bit more each time until you are closer to the actual pitch. You'll have it figured out very soon afterward. The bottom line is that if you a) play with the best sound possible in mind, and b) practice ALL of the above techniques, you will be well on your way to play this concerto as it should. Final tip: don't fall prey to playing this finale too quickly. This is not the William Tell Overture. It is a simple, bouncy Eb major that is, above, well phrased rather than a display of speed. It is a display of technique. Technique is not speed. Technique is about control over one's own skills.

[@bahukadapoet6764]

Thank you for replying so quickly! I will incorporate your tips into my routine and I will check the lip slurs passage on Arbans. But I also want to ask if I should use the third valve or first and second valves for A?

[@MrPrincetrumpet]

@@bahukadapoet6764 In the G to A trill, the only good choice is open to third. Open to One and Two is asking for unnecessary difficulty. Read over what I wrote.

[@bahukadapoet6764]

@@MrPrincetrumpet Thank you so much sir! I've seen considerable improvement after your comment and I am extremely proud of the improvement. I have to perform this somewhere between January 24-26 in my schools Jury performance. I perform in front of my schools music staff (Concert band and wind ensemble teacher, Strings teacher, and wind instrument methods and jazz band teacher). I will perfect my solo technically over these next two weeks! Thanks for the advice!

[@MrPrincetrumpet]

@@bahukadapoet6764 You're very welcome and I wish you the best success in your playing.

[@TheeMilesMonk]

No how do we trill from G to A as in the Haydn Concerto????? (On Bb trumpet)

[@ethanbarsczewski6341]

I’m doing the same piece haha

[@MrPrincetrumpet]

Pull out your 3rd slide so that when you play the A it sounds like an Ab. Play the trill and gradually pull the slide IN as you make a crescendo. This teaches you to play with more wind which is necessary to make the trill sound full rather than squeezed out. When the slide is all the way in, you should have a good-sounding trill. The next step is to play the G/A trill with the confidence and relaxation of the G/Ab trill. Good luck!

[@TheeMilesMonk]

Manny Laureano wow! That was masterful information! Thank you so much!!!

[@MrPrincetrumpet]

@@TheeMilesMonk by the way, you can do the same thing with the c to D Trill by pulling your first slide out. That makes the C closer to the D and then you do the same thing. Push the slide in until you get the idea.