he world of high-note trumpet playing is perceived as one of the most difficult tasks of learning to play. Trumpeters tend to believe that they have to move to a mouthpiece “jazz” to reach high notes on a trumpet. So then have this belief that they play 2 different Mouthpieces-one for the tone, one for high notes.
What is interesting to me is that while some mouthpieces may tend to facilitate the ease of producing the air faster, which is quite a high note really is. Players who come to shallow cups tend to play with a more brilliant sound in General (hence the mouthpiece jazz). Once at a concert, tend to return to a “C” Cup or a cup of “B” and recover “classical” tone (hence the classic Mouthpieces).
If a player has learned to develop a clear upper register on a “C” Cup, that wouldn’t necessarily pass Baloch and confuse your muscles, airflow, mouth or their minds with varying degrees of myths!
The mouthpiece that I developed is near a “C”, what I changed to my game is the size of the circle. I found that the size of the circle affect my comfort-is not my tone. There are other variables in anatomy of a mouthpiece that will enhance or hinder those tone and range as the rear hole, throat size, etc. But if we stay with a standard bore and back of the throat, as in Bach mouthpieces, only changing tone can change the depth of the competition.
This is what trumpet most players don’t want to face up to-if we just did the job without looking for equipment to do it for us, would come out with a lot more money in our pockets and a lot less frustrated! My line of mouthpieces are great because they offer a bunch of hocus-pocus, empty promises, or claims that give you variety that haven’t already … offer a more comfortable and hem edge variable sizes in kit form-something that most manufacturers do not.