High Register Endurance

Just a quick note about that last comment by Ric. We are musicians, not athletes. One does not "cheat" when one is making great music. If we kept that attitude 200 years ago, we would all still be playing natural horn. Can you imagine? Those "cheaters" who use valves? Our instrument is evolving and changing with the ever rising standard of playing in the 21st century. We "big time cheaters" have the necessary high c. Heck we have high f's. And on regular Bb horn as well. That's not the point. The purpose is to be able to manipulate the dynamic, color and overall effect without effecting the accuracy. And incidently, one clams on the descant horn as well. On a sheer practical level, imagine playing horn 1 on a CD recording of the Ravel Piano Concerto and you have to do your first movement solo over 10 times because the clown in the recording booth has detected a noise somewhere in the hall or someone coughed or the pianist didn't like his take. One learns to appreciate the descant horn very quickly in that situation.

Hello Jason,

It seems there are many opinions on developing high range. Though I myself have recently switched to playing a triple horn (and by no means do I consider myself a "big time cheater"! I assume that comment was meant to be tongue in cheek, or at least I hope so)- it is quite possible to get those high C's on your horn you have now.

Might I suggest a few pointers to you for developing your high register: First of all, a good exercise is to play a really high passage down a 5th until it feels comfortable. Then take it up a half step till that feels right too. Keep going up in half steps until you have the high notes - it is also a good way to get a passage down in general.

Also, try not to use too much pressure while developing your high range, but don't worry if you strain from time to time to get the high notes. It takes time and a lot of work to get that upper range in shape. After practicing the high bits or a high etude for a while, make sure you take a good break, and always "warm down" after a strenuous session with some gentle mid-range long notes, perhaps in a descending arpeggio pattern.

Something else that worked great for me was to sing a passage before playing it, so that your ears get used to it and your body starts to learn how the notes will feel when you get them. I am a big believer in singing during practice for many reasons, technical and musical.

And don't be intimidated when you see leger lines above the staff - it may not be quite as high or difficult as your brain tells you!

Kristina

Good luck!