Double

High C in
10 Minutes

by Walt Johnson
qPress Music Publishing
Introduction

My purpose in writing this book was inspired by the vast interest from many trumpet players that
have approached me inquiring how I was able to master the upper register of the trumpet. I
experimented =irst by giving private lessons. I wanted to =ind out if this method was something that
could be taught to every player. The result was that nine out of ten students were able to utilize this
method successfully; thus proving that it is a valid technique that can be taught.

The Fact Is, It Works!

Your success depends upon self discipline and dedication while applying yourself to this new
approach. I can’t guarantee that you will be blasting double Cs in exactly ten minutes, however, this
"low gear" - "high gear" technique has been invaluable to me in my career. Most of the students that
I have taught were able to produce double Cs in a matter of minutes. For many of them it was the
=irst time in their lives they were able to play in that register!

My best wishes for your good luck and success,

Walt Johnson
About Walt Johnson

Walt Johnson, known as Frank Sinatra's lead trumpet player, is based in Los Angeles, where he does
various studio recording dates. He is well known for his work with major stars such as: Elvis
Presley, Barry Manilow, Barbra Streisand, The Pointer Sisters, Lionel Ritchie, The Commodores,
Wayne Newton, Johnny Matthis, Melissa Manchester, Tower of Power, Chase, Lionel Hampton,
Louie Bellson, Mel Torme, Vic Damone, Dionne Warwick, Burt Bacharach, Henry Mancini, Helen
Reddy, Engelbert Humperdink, Julio Iglesia, Tony Bennett, Tony Orlando, Dolly Parton, Joe Walsh,
Kenny Rogers, The Four Tops, The Temptations, Andy Williams, Bob Hope, Ann- Margaret and
others.

Platinum and Gold Album recognition came from work with Lionel Ritchie for “All Night Long",
Elvis Presley for "Elvis in Concert", and from Barry Manilow for "If I Should Love Again".

Mr. Johnson can be heard on the sound tracks for these and other major motion pictures: Aladdin,
River Wild, Ace Ventura, Rocky, Planes-Trains-&-Automobiles, Terms of Endearment, Star Trek,
Star Wars, Close Encounters, 1941, and all of the Naked Gun pictures.

He is in demand for television work as well and has lent his =ine musicianship to these shows: The
Academy Awards, Dallas, Knots Landing, Dynasty, Hotel, The A Team, Magnum PI, Happy Days,
Lavern & Shirley, Star Trek, MacGyver, T.J. Hooker, Great American Hero, Marblehead Manor,
Perfect Strangers, Coach, Brothers, Homefront, Full House, Family Matters, Step My Step, Roseanne,
Dear John and Golden Girls.

Walt’s career started in 1966 when, at the age of 19, he played lead trumpet for Si Zentner's Band.
After a year on the road, he was drafted into the army, where he played principal trumpet in the
52nd Army Band at Fort Ord. Then, Walt did a tour of duty in Vietnam, where he was required to
engage in combat as well as maintain a trumpet military occupation.

Upon discharge, Walt began working in Las Vegas. At the age of 23, he took the position of lead
trumpet for the Haig Relief Band. The musicians in this high quality orchestra were required to
sight read a new show each night!

While in Vegas, he was approached by the Elvis Presley organization to be Elvis' personal lead
trumpeter. This was a prestigious position which he enjoyed until Elvis' death in August of 1977.
After Elvis’ death, Walt became the lead trumpeter for Frank Sinatra and remained with him until
he passed away. In between concert tours, he was asked to take the place of The late Bill Chase in
the new "Chase" band. He recorded a fourth Chase album with them. To this day, Walt is the lead
trumpeter for Frank Sinatra Jr, as he tours the world in his father’s footsteps.

In September of 1977, he moved back to his hometown, Los Angeles, where he began a recording
career. He and his wife Rosslyn also own and operate "Johnson Cases," Specializing in hi-tech
molded musical instrument gig cases for every instrument.
This Approach to Trumpet

To produce the sound you desire from your trumpet, the only rule is to =ind and use whatever
method that will work best for you. Remember, it's what comes out of the bell that really counts.
Everyone =inds the spot on their lips that best coordinates the shape of the teeth with the lips and
oral cavity. To best utilize the teachings in this book, you should be prepared to make some changes
in your approach to trumpet playing.

You will, of course, continue using the same embouchure that you use right now. At the same time
however, you will develop a second embouchure. This second embouchure will not involve any
changes in the position of the mouthpiece on the upper lip. This is to say - your top chop stays the
same.

Of course, dedication is a must if you want to develop this approach to a standard where you can
use it while performing. At =irst, you should not over use the new embouchure. Be patient and take
your time, as this method has to be approached gradually to avoid any damage to the muscle.

Above all, you must speak the language called “music”. You want to keep high notes in their proper
perspective, which is, “only when they're called for”. But, when they are called for, you'll be glad you
are totally prepared. Remember that 99.9% of all the money made playing trumpet is below high C.
Through my experience and learnings, the best label a trumpet player could have is to be a “legit,
jazz, lead, and section player".

I recommend that you keep the high notes in your back pocket and take them out only when they're
written, or when you're practicing or when you are sure it is absolutely appropriate to play them.

How to Raise Your Ceiling

The technique is so simple that most players can immediately produce higher tones than their
normal embouchure permits.

How to Position the Mouthpiece on the Lips

1. Draw the bottom lip in so that the “red” of the bottom lip practically disappears.
2. Keep the top lip the same as you normally do. Place the mouthpiece on the same spot that you
always do on the top lip.
3. On the bottom lip, the mouthpiece will be placed in a somewhat lower position. This new
position will naturally occur because of the “curled in” position of the lower lip.

This new lip position will enable you to produce high pitched variations.

©qPress Music Publishing 2017 | All Rights Reserved

We will call your normal embouchure “Low Gear”, symbolized by:

The new “bottom-lip-curled-in” embouchure will be called “High Gear,” symbolized by:

Study these photographs and then look in a mirror to simulate the same lip position. I highly
recommend that you now hold the trumpet in the “pistol-grip” position shown below. This takes the
pressure off the top lip and will aid you in this new approach to playing.
If you are following this procedure correctly, then producing a High C should be practically
effortless. By bringing in the bottom lip you naturally create a much “tighter" embouchure that
makes playing in the upper register much easier!

It usually takes a little experimentation on your part to =ind out to what extent you will need to
bring in your bottom lip. Find the position that enables you to produce a tone and also suits your
own oral cavity. Don't be concerned if it feels extremely different to you at =irst . Remember how the
mouthpiece felt when you =irst started playing trumpet. In time it will begin to feel very normal
and natural to you.

While following the next few procedures remember, you merely want to produce the pitch. Right
now, do not be concerned with the tone quality.

Follow This Procedure

1. Take a full breath of air (keep your throat open)

2. Place the lower lip in the “high gear” position.
3. Softly produce a “C” above the staff and try to keep the tone even and steady.

Keep it soft at Iirst!

Later on in this book you will learn how to improve your tone quality.
Now, How Do I Hit A Double C?

Playing High C with the “high gear” embouchure should be thought of as the same as playing the C
in the staff with your normal embouchure. Stay relaxed! The only thing tense should be your “Air
Squeezing” muscles.

It is quite possible that the technique explained in “Raising Your Ceiling” has already enabled you to
produce a Double High C. Keep in mind that right now you will be merely producing the note and
not blasting it out.

Start by Playing the Following

1. Use your “high gear”

2. Keep a relaxed approach (don’t over exert)
3. Take a full breath of air!

Rest a few seconds...

Now Play the Following

This time hold the High G. Keep a relaxed feeling while

holding the G (this relaxed approach will give you the feeling
that you can go higher).

Remember that Double High C is the same distance from

High G that High C is is from G above the staff.

Softly Play

When you get to the High G - RELAX - then, with an

“air thrust" go up to the next big note, which is
Double High C.

If it didn't happen the Zirst time, make slight

adjustments in your embouchure to Zind the
position that is right for you. The next chapter will
help you overcome the most common problems.

©qPress Music Publishing 2017 | All Rights Reserved

Air

Throat Position

Your throat has to be wide open to allow maximum "air thrust". When playing, your throat position
should be the same as when you are yawning or smelling a rose.

Example: Pretend you are smelling a rose. Notice that your throat opens wide. Maintain that throat
position while inhaling and exhaling. Don't think of playing high notes on the trumpet as the same
as singing them with your voice. You don’t need your vocal chords when you are playing, so don’t
use syllables to shape your throat.

I recommend that students mark breathing reminders on their music. Never forget the importance
of air! AIso, there is a device called "The Air Extender" designed by Charles Colin Music in New
York City. This is very effective in helping your throat muscles to develop a memory to remain open.

Air Velocity

Proper air velocity is essential for achieving pro=iciency in upper register playing. To achieve this,
you will have to inhale a full breath of air.

Inhaling

Use a “yoga” type breath to get the most air into your lungs. This is a three step process.

Step One

Start by breathing in from the groin area. Take a small amount of air into your lungs
while only the groin or lower abdomen is expanded.

Step Two

Take more air into your lungs and expand

only the diaphragm area below the rib cage.

Step Three

Fill the remainder of your lungs

while expanding your rib cage and upper chest.
Exhaling

Think of your body as a plastic bottle. When you squeeze the bottom, there is only one way for the
air to go and that is up and out. So for maximum power playing, you need to utilize every muscle
that squeezes the air out of your lungs. To play in the upper register and achieve a big authoritative
sound requires the use of practically every muscle from the shoulders on down. Hereby, any
physical exercise that will strengthen your "lung squeezing" muscles, such as swimming, sit-ups,
jogging, etc., should be done regularly.
The Warm Up

1. Use a mute
2. Play as many times as you can in one breath
3. Play evenly
4. Always end on the top note

Change now to your High Gear Embouchure

©qPress Music Publishing 2017 | All Rights Reserved

Developing Accuracy & Tone Quality

Accuracy means playing the right note at the right time. To develop this, the logical approach is to
=irst play a note accurately just once. Then, remember how you did it and play it again. The more
you repeat it, the more automatic it becomes. You will naturally gain essential self con=idence
through correct repetitive practicing.

The notes on the trumpet can be described as slots in the overtone series. The air will move the
easiest and the tone will be the steadiest when a note is centred in its proper slot. Each of these
slots has its own characteristic. The slots in the upper register are much narrower and closer
together. To "pin-point" a slot, =irst you must hear the note, then send the correct signals to all the
involved muscles to play it accurately.

If you practice the following accuracy exercises daily, it will help you to develop precision and
con=idence.

Accuracy Exercise
High Gear

When you =irst start using the High Gear embouchure, you will notice that the tone quality is
"thinner" than the sound you get using your Low Gear embouchure. This is because the new
muscles you've brought into play are not yet capable of handling the air velocity required for a
bigger sound. The solution for this is "lip weight lifting". You have to build the muscles the same
way an athlete does. Start with a proper warm up and proper rest to allow the muscles to repair
themselves. Also, be careful you don't over exert or strain the muscles, for this could set you back.

If you practice the following exercises regularly, you will notice steady improvement in your
High Gear tone quality.

Daily Exercises
Play the following exercises for accuracy and tone quality. If you fail to hit a note
accurately, rest then try it again until you nail it.
Now use your High Gear embouchure to play the following exercises.
Building Chops

Trumpet should be a daily chore. As a general rule, the more you play, the more you will be ABLE to
play. To use an old phrase, “one day without practice and you will notice, two days without practice
and the other musicians will notice, three days without practice and everyone will notice.” Of
course, if you play too much without resting, you won't get better endurance, instead, you'll merely
learn how to play with sore lips.

A balanced routine of playing and resting is the answer to building chops. The weight lifter's phrase
“no pain, no gain" seems to =it as long as you allow a suf=icient rest period so that the muscle can
repair itself.

I believe in the alternating method of playing hard one day and not as hard the next day to actually
increase your capability.

Follow This Daily Routine

1. The Warm Up
2. Accuracy Exercises
3. Rest 15 Minutes
4. Play along with the radio, recordings, or music minus one records until you feel fatigued
5. Rest again for 15 minutes
6. Play characteristic studies (there are 14 great ones in the Arban book)
7. Be con=ident and enjoy life!

If you are looking for some tunes to play that take you up into the stratosphere, I have included
three in the following pages to get you started. Recordings of “Ballad” and “Up Tune” are included
with the purchase of this book to help give you model of sound to imitate.
 Characteristic Study

4 3
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œ œ3
b œ œ
3 3 3
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-
3
3 3
f
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. œ œ
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3 3 3
- ..
decresc. 3 3 p f

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p f

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œ
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œ œ bœ œ œ œ œ œ œ bœ œ
Œ Œ ˙ j b˙ nœ œ ˙
<n>œ ™ œ œ œœ ˙ ˙

œ œ œ œ œ bœ b œ œ œ poco rit.
œ bœ A tempo
bœ œ œ bœ œ œ œ œ œ œbœ œ œ œbœ œ œ
œ. . œ. . . . . .
f p

œ œbœ œ œ œ œ œ œ œ œ œ. œ. . œbœ œ œ œbœ œ œ

bœ œ œ. œ bœ œ
œb œ œ œ œ œ œ > œ œ œ > œ œ œ > œ œ > œ œ > œbœ > œ œ
> >
cresc.
D.C. al Coda
b>œ œ >œ œ >œ œ œ >œ œ œ œnœbœ œbœ bœ œ bœ œ U
bœ œ œ œ bœ bœ nœ bœ œ œ#œnœbœ œbœ œ œbœ œbœ
. . . . . œ. n ˙
f >
sfz

. . .
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œ w
. œ
œ œ œ. œ. bœ œ
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 Ballad

## 4
Slowly
5
& # ## 4 Ó ‰ j œ
œ œ
j j ‰
œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ™ œœ˙ ˙™ œœ

j j
œ™ œ œ œ œ œ œ œ™
j œ œ œ œ œ œ™ œ œ ˙ ˙™ œ œ

j ™ j
œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ ™ œ œ œ nœ œ œ ‰ œ œ

3 U U U
j j Œ œ
œ™ œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ

j j j
œ œ œ nœ #œ ™
œ ˙ œ œ nœ #œ w Ó Œ ‰ œ œ

œ œ œJ œ™ ˙ œ œ œ œ ˙™ œ œ ˙ œœœœœ
œœœ
œ œ œ
3

œ™ œ ˙ #œ ™ j ˙ œ™ œ #œ ™ œ œ
J œ J

œ™ œ #œ œ ™ œ œ œ œ œ #œ œJ œ ™ ˙ œ œ #œ œ
J

w ˙ Ó ∑ nnnn
n
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Ó Œ ‰ œ œ œj œ œ œ œ œ œ ™ œ œœœœœ œœœ œ œ œ™
œ œ™ œœ

œ
œ™ œ œ œ œ œ œ œ œ œ œ œ j j j
œ œ ™ œ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ ™
7
œ

œ œ œ #œ œJ œ ™
A tempo
rit. œ œ ˙ œ œ nœ œ
Œ œ œ J J w
œ œ

œ œ œ œ ˙™ œ#œ œ œ
˙ Œ œ œ œ œ œ œ œ œ™ œ Œ
J J

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˙ œœœ œ œ ˙ œ
≈ J J J
3

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J J

U
˙
œ œ œ #œ œ œ ™ œ œ œ #œ œ œ ™
A tempo
œ w
J J ‰ J Œ

w w rit.
∑

G Maj 7
ad lib. #œ œ œ œ œ
U œ œ #œ œ 6 U
‰ œ œ œ œ
#œ œ œ
5
5
œ œ #w
 Up Tune
œ. œ. œ. -œ œ. œ œ. œ.
LEAD
œ. œ. œ. œ. œ. -œ .
œ >œ œ >œ œ. > >œ
4 Œ Œ ‰ J J ‰ Œ J ‰ ‰ œJ œ J ‰
&4
sfp sfp

FLUG.'S 2x0
5
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œ œ œ™ œ ˙ w
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3
BOTH X'S

Œ ‰ j
9 3

& œœ™ œ œ œœ œ ˙˙ ˙˙ œ œ œ œ œw œ œ œ œ œ œ œ œ œ w
J œ w
3

13 TRPT.

Ó ‰ œ ™ bœ ‰ œ ˙
J Ó ‰ bœj œ bœ ™ œ™
œ ˙
J
& œ œ bœ ™
j

17
œ #œ œ ˙ œ
œ œ™ œ œ ™ œ
& Œ bœ œ œ
œ œ #œ
#œ œ ‰ nœJ J ‰ Œ Œ ™™
œ

SOLO
>œ ˙
21 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ >œ œ >œ œ
& Œ Œ ‰ J J ‰ Œ J ‰ ‰ J
sfp

25
œœ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œT
& Œ ‰ J œ

œ Tœ œ ≈ œ œ œ œ œ œ ≈ œ œ >œ
28
œœœœ œ œ œ œ œ œ œ #œ œ œ n
& œ œ
3

30
œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ
3

©qPress Music Publishing 2017 | All Rights Reserved

 LEAD
32
œ œ œ œ b œ b œ™ œ œ bœ ˙ œ. -œ
œ œ #œ J J œ
& ΠJ

36
>œ ˙ ™ œ ‰ ˙ œ #œ w
w ˙ œ ‰ Œ Ó Œ ‰ J J ‰ ‰ J
& J J
sf sf sfp

T
œ œ œ b œ T œ œ œ b œ œ œ œ ˙ ~~~~~~~~~~~~~~~~~~ œ ~~~~~~~~~~ œ ~~~~~~~~~~ œ ~~~~~~~~b œ ~~~~
~ ~ ~ ~~ ~
42 SOLO

& ‰ J

45 bœ
~~~ œ bœ œ œ œ n œ b œ œ œ™ œ œ œ œ œ b œ œ œ™
& Œ Œ ‰

48
œ~~~~~~~~ œ~~~~~~~~ œ~~~~~~~~ œ bœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
&
bœ ˙
œ œ œ œ œ œ œ œ œ™ œ~~~~~~~~~~ œ~~~~~~~~~~ œ~~~~~~~~~~ œ bœ ™
~~~~~~

51
J
~~~~~

& Œ

œ~~~~~~~~ œ~~~~~~~~ œ œ œ bœ œ œ œ œ œ #œ œ œ nœ œ œ œbœ œ œ

54
œ
& ΠΠJ
3 3

bœ ™ bœ ˙ n ˙~~~~~~~~~~~~~~~ n œ ˙ ~~~~~~~~~~~~~~~ ˙ ˙ œ
57
J Œ Œ
&
b œ~~~~~~~~ œ~~~~~~~~ œ~~~~~~~~ œ bw bœ œ œ œ œ bœ œ
61 œ œ œ
& ‰ J J
65 ˙ œ #œ œ
œ œ ™ œ œ™ œ œ™ œ ˙ ˙ œ œ œ
& ‰ J J
3

œ™ œ ˙ w œ™ œ ˙ ˙ œ œ œ w w
69
J J
&
3

œ™ b œ^ œ ˙ œ ˙
Ϫ
75
œ œ bœ ™ œ œ bœ ™
LEAD
J J
& Ó ‰ J ‰ Ó ‰ J

œ œ#œ ™
SOLO
w ˙ ~~~~~~
79 #œ nœ œ œ #œ #œ œ ~~~~~~
#œ # œ œ ~~~~~~
&
œ
‰ J ~~~~~

83 œ œ œ œ œ œ œ ™ œ œ œ œ œ™ œ bœ œ œ œ œ
& ‰ J J ‰ J J
SOLO

~~~~~~~~~~~~~~~~~
w LEAD Œ ˙™
86 œ bœ bœ œ œ œ w œ bœ bœ œ œ œ w
J J J J
&

91
Ϫ
~~~~~~~~~~~~~~~~~~~~~~
œ œ œ™ ˙™ œ w

& J J J ‰ ∑

œ bœ bœ w w
œ œ w
95

& J J ∑