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Claude Gordon Trumpet Exercises

Claude Gordon Trumpet Exercises

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CLAUDEGORDON
TongueLevelExercises
FORTRUMPET
TREBLECLEFEDITION
INENGLISHENFRANCAISENESPANOLAUFDEUTSCH
CARLFISCHER®
65BleeckerStreet,NewYork,NY10012Copyright
©
1981byCarlFischer,Inc.AllRightsAssignedtoCarlFischer,LLC.
InternationalCopyrightSecured.
Allrightsreservedincludingperformingrights.
WARNING!ThispublicationisprotectedbyCopyrightlaw.TophotocopyorreproducebyanymethodisaninfringementoftheCopyrightlaw.Anyonewhoreproducescopyrighted
matterissubjecttosubstantialpenaltiesandassessmentsforeachinfringement.
PrintedintheU.S.A.
ISBN
0-8258-0948-7
 
2
INTRODUCTION
---
---....
45
J
J
J
J
J
J
J
J
it
>:>:>:>
TawEeeAwEeeAwEeeAwEee
THETONGUE
Oneofthemostvitalelementsofplayingabrassinstrumentisthetongue.Ifyoudidnothaveatongue,youwouldbeunabletoproducemorethanonetone.Itisthetonguethatchannelsthepitch,justasintalkingthetongueshapesthedifferentsoundsofthesyllables.Alittleexperimentationwillprovethatunlessthetonguemoves,thesoundwillnotchangeineitherdirection,upordown.Ifyouplayanygivennoteandforceitsharp,thetonguewillriseinyourmouth.Thesamehappenswhenforcinganoteflat:thetonguewilldroporlower.Ifyousay
':4ww,"
youcannotchangetothesound
"Eee"
unlessthetonguemovesup.Ifyousay
"Eee,"
youcannotchangeto
':4ww"
unlessthetonguedropsorflattensout.Fromthis,onerealizesthatthetonguechannelsthepitchandthatitactuallyhasadifferentpositionforeverynoteontheinstrument.Thisdifferenceissominuteattimesthatitishardlydiscernable.Therefore,theknackofplayingmustcomefromtheactualfeelandnotfromtheory.Thepurposeofthesestudiesistohelpthestudentgainthisknackorfeelbytrainingthetonguetolockintoitsproperplacetoproduceeachsound.Whenthisisaccomplished,thehighregisterisjustaseasytoproduceasthemiddleregister.Alsotheplayerbeginstofeeleachnotesohenevermisses,eventhoughhemaybefacedwiththemostdifficultofintervals.AlthoughIhaveheardendlessdiscussionsandargumentsstatingthattonguingisdifferentthanslur-ring,thisissimplyuntrue.Thetonguemustbeinacertainpositiontoproduceanygivennote,whetherslurredortongued.Example:Placethetipofthetongueagainstthelowerteeth
neverrigidly,
but
lightly
withoutpressing.Say
':4w,Eee"
whilemaintainingthetongueinthisposition.Noticethemovementofthetongue.Nowsay'Taw,
Eee,Taw,Eee"
whilelightlypressingthetipagainstthelowerteeth.Noticethemovementofthetongue.Nowtakeyourinstrumentanddothesameexerciseasfollows:Placethetipofthetongueagainstthebackofthelowerteeth,
lightly,notrigidly.
Keepthetipthere.Play
the
followingexercise.Noticethemove-mentofthetongue.Playthebottomnoteslightlyand
the
topnotesmorestrongly.Now
again
placethetipofthetongueagainstthelowerteethanddothesameexercisetongued(say:
"Taw,Tee").
J
J
J
IJ
J
J
J
TawTeeTawTeeTawTeeTawTee
Noticethemovementofthetongue.Itisexactly
the
sameasinslurring.Thecenterofthetongue(notthetip)isnowstrikingbehindtheupperteeth.Thisisnotanewtonguingtechnique.Thisisthewayallofthegreatartistsaccomplishedfeatsthatwereseeminglyimpossible.Pleaserefertothelast
two
paragraphsonpagefiveofHLClarke's
Charac-teristicStudies
(CarlFischer,Inc.)publishedintheearly1900's.Thisexplanationhasbeenthereallthetime,butoddlyenoughhasremainedunnoticed
and
virtuallyasecret.Seealso
BrassPlayingis
No
HarderthanDeepBreathing.
Withthefeelofthetonguepressed
lightly
againstthelowerteeth,think
Eee
asyougoupand
Aww
asyoudescend.Rememberthetonguemust.neverberigid,noranchored,norpressedhard.Itmustbepressedlightlyagainsttheteethasitisconstantlyadjusting.Withthisinmind,practicethisexerciseuntilthetonguestartsworkingeasily.Thisbecomesyoursingletongue.
PARTI
Practiceexercise1ofPart
1
manytimeseveryday,untilthetonguestartstofeelnatural,andthengradu-allyspeedup,usingametronome.Thenpracticeexercises2and3ofPartI.Whensufficientcontrolofthetongueisdeveloped,practiceexercises2and3again,addingaglissandoattheendofeachexerciseasindicatedinexercises2Aand3AofPartI.Forfurtherexercisesofthistyperefertomybook
DailyTrumpetRoutines
(CarlFischer,Inc.).Tofurtherdevelopthistongueposition,useClarke's
TechnicalStudies
(CarlFischer,Inc.)practicingeverystudytonguedinthismannerslowlyatfirstandgradu-allyspeedup.Intimeyouwillbewellrewarded.
 
3
PARTS
II
TOVPART
VI
Continuewiththetongue
a/ways
inthismannerwhile
you
practicealloftheexercisesinthisbook.
Watchthetongue
a/ways.
Letthetongueteachyou.1.Thetonguechannelsthepitch.
2.
Theairdoesthework.3.Alwaysplaythelowernoteslightlyandthetopnotesstronger.Starteachexercise
lightly
withoutanyeffort,andgraduallygetstrongerontheuppernotes.
On
valveinstruments,
lift
yourfingershighandstrikethevalveshard.SomeoftheexercisesinPart
I
Vwillgointothepedalregister.Itisimperativethatyouproducethesesoundscorrectly.Foradetaileddiscussionofthis,referto
my
SystematicApproach
to
Daily
Practice
and
BrassPlayingis
No
Harder
than
Deep
Breathing.
Theextendedexercises1Ato12A,68and7BofPart
IV
shouldbepracticedaswritten
in
thefirstposi-tion(open),thencontinueddown
by
halfstepsthroughallsevenpositions,andfinallyrepeatedinthefirstposition.Forexercises1and2ofPartV,thestudentshouldplayeachmeasurefourtimes,thenrestforonemeasurebeforecontinuing.Thefinalpartofthisbookconsistsofaseriesoftrumpetpartsfromcuesofnetvvorkradioshowswhichdemonstratesomeoftheproblemsthatthestudentwillface
in
professionalbroadcasting.
Theseare
taken
from
actuallive
coastto
coastnetworkshowsbeforetheadventofrecordedtape.We
had
oneruleatthattime:
don'tmiss!
Therewasonlyoneopportunityforpertormancebecausetheentireshowwasbroadcast
live.
Theplayerscouldnotalwaysrehearsetheparts.Sometimestheywentontheairsight-readingtheir
parts.
Theinstrumentationofthisparticularmysteryshowwasoneof
each
ofthefollowing:
reed,
frenchhom,trumpet,percussion,andorgan.Thetrumpetpartsweredesignedtobestartling,frightening,andtosetamysterymood.Thesepartsaptlydemonstratetheneedofabsolutetonguecontrolsoastonevermiss.
They
can
be
usedasvaluableexercisesbypracticingeachof
them
aswrittenintheOriginalkeyandthentransposingeachofthemdownbyhalfstepsthroughsevenkeys.

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