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Discussion Starter · #1 ·
Whenever you learn or practice your altissimo do you figure out what notes you can get out then strengthen them or try to get other/ higher notes? Myself I work on what I can get out at the moment and improve the intonation and stability. Usually buy the time that happens I can add a few extra steps.
 

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Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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This is a very good strategy. I would add improving articulation as well as intonation and stabilty. Not just how the note starts, but whether it starts, how embarrassing is it to go for an altissimo note, only to find a rather sad and random low fart come out instead.
 

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Discussion Starter · #3 ·
Yeah that would be embarrassing. Articulation goes hand in hand with stability for me because, if you can't articulate the note and remain stable it is certainly not stable.
 

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Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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Yeah that would be embarrassing. Articulation goes hand in hand with stability for me because, if you can't articulate the note and remain stable it is certainly not stable.
That's true. But with altissimo I find those two stability factors are different, or rather connected as you say, but require different skills to maintain.

I mean: once I have a good stable articulation and the not pops out, I may want to sustain that note while increasing the level, or bending, or adding growl. Doing any of those things on altissimo can cause the note to collapse, whereas in the normal lower or upper register notes you don't really have that problem.

But yes, it's connected. The same notes that are hard to articulate (e.g. G and G#) are also hard to sustain.
 

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Discussion Starter · #5 ·
Very true. One thing I am wondering as well, how many have found fingerings that are not drastically different from the note below. I find that most mine are, but still need to work on the technique on that one.
 
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