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Allen_Vizzutti-Trumpet_metod-book_I-1991.pdf

Allen_Vizzutti-Trumpet_metod-book_I-1991.pdf

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studies for trumpet
studies for trumpet

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Published by: Δημήτρης Νίνος on Nov 03, 2012
Copyright:Attribution Non-commercial

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08/11/2014

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2
INTRODUCTION TO BOOK 1
HE PRIMARY GOAL of all trumpet players, regardless of proficiency, should be to play beautiful musicwith an appropriately beautiful sound. This thought must be foremost in one's mind when practicing, 3rforming or teaching.Undeniably, the trumpet is a difficult and unpredictable instrument to play, and it is technical proficiethat enables one to perform with beauty, control, endurance and consistency. As a result, dedicated student olthe trumpet often experience a "symphony" of technical phobias. It is my intention in this method to systematicallydeal with these problems in a musical way through carefully organized technical, harmonic and melodic sies and concise text.The
secret
to constant and quick improvement on the trumpet is consistent daily practice while keeping efundamentals of efficient breath control and musical artistry in mind
at all
times.
I believe the wealth of stuc ssin this method will prove useful for one's entire playing career.
 
3
PRACTICING
i"yi USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instru-LkU ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studyingmusic include:© Creative problem solving© Controlled concentration© Developed motor skills® Greater emotional expression© Acquired skills in the art of self-discipline© Raised social status® Creative interaction with other people® Raised awareness of art, beauty and moreThese skills are as basic and useful as any other skills taught in school. The freedom and enjoyment available in music can be had through daily practice.The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice inthree 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technicalstudy and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the material to avoid forming bad habits, boredom and to learn new things each day.
You
must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughtson breathing and sound. Most problems will correct themselves. Best wishes and good luck.
 
4
THE WARM UP
n
N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm iPreparation is required, not only to meet the physical demands of trumpet playing, but also to initiate 13mental focus and concentration necessary for making music. The following is a warm-up routine in four partswith variations for each day of the week. Remember to concentrate on the basic fundamentals from the fi tnote of each new practice day
(i.e.,
beauty of tone and utilizing large volumes of air when inhaling and wh-jblowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you areabout to play in the most musical and artistic way possible.© Buzz the mouthpiece in the approximate range indicated.The sound should be "fat," full and without gaps as you slidedownward. Keep repeating until there are no gaps. Buzz anywhere from a few seconds to a few minutes. Be aggressive anddemanding of yourself. It is possible to improve your trumpetsound almost immediately by working on the mouthpiece.For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possible.Be sure you are producing a fat, forte tone.
41 jTJ i r
J
TT
j.
i j pi i r Ppi j. i

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