Professional Documents
Culture Documents
Fundies Book PDF
Fundies Book PDF
2010-2011
Table of Contents
Foreword
10
17
20
23
24
28
30
32
Foreword
The following daily routine is a resource which will gUide the player through a
structured regimen of studies which is designed to prepare the player for a full day of
playing, as well as continuously hone and improve fundamental skills. Avoid trying to
play everything contained in this volume every day. In fact for moststudents, it will
take some time to learn most of the studies contained within this collection. Strive at
all times to produce the best possible sound. Each study should be worked with a
metronome at all times. Turn the metronome on when entering the practice room, and
leave it on until leaving. set the metronome to a tempo at which each study may be
played with the fewest errors possible, even if that means the quarter note = 40 or
slower. Please note the following goals for performance.
Take a few seconds to stretch arms and upper body to limber up and wake
2. Breathing Exercises
Use a piece of paper, breathing tube the Breathing Gym, Stamp exercises, etc. Breathing
exercises are most effective when they are simple, natural and directly related to a musical
context. If the inhale is relaxed, natural and with musical intent, the result be a relaxed sound,
with musical expression. Breathing is fundamental, but breathing without musical thought or
4. Free Buzz
Numbers 2-4 should happen quite fast and serve as a warm-up and reminder before applying the
instrument. A few minutes in the beginning of Stamp will suffice.
Part 3 Maintenance
STILL WITH THE METRONOME and TUNER
1. Scales and Arpeggios Work out a three day rotation, so you cover all scales twice a week
Major (by step and by third)
Minor - Natural; Harmonic; Merodic
Whole Tone
Pentatonic
Arpeggios - major, minor, diminished, augmented. You can use patterns by
Arban, MacGregor, Pares, etc.
2. Articulation
These articulation pattern exercises, used for years at Eastman, are a great way
to strive for excellence through simplicity.
Articulation Study
Always play extremely tenuto using the vocal syllable "du"or "de" - totally connected
1. ppp with appropriate emotion and your best sound
2. flfwith appropriate emotion and best sound - don't go flat
3. each day, perform several in all ranges, keys, and dynamics
333
After first 2 sustained measures, extreme staccato without changing the air support, tone, or
going flat Playas if using the vocal syllable "teb."
1. pppwith appropriate emotion and your best sound
2. flfwith appropriate emotion and best sound - don't go flat
3. each day, perform several in all ranges, keys, and dynamics
For DT and IT work, Clarke and Arban are very useful. Try creating exercises to
suit your own needs. Multiple tongue every day.
1. use all dynamic ranges
2. use extreme upper and lower reqlsters,
(Articulation, continued)
(Articulation, continued)
- Legato - very connected, vocal sound, full, rich and with vibrato.
These tonguing styles should be practiced in degrees of strength and length.
- Staccato - very detached, moderate and almost none
Dynamics - Try never to practice at mf. Strive to expand your dynamic range,
over time gaining control of ppp, fffand everything in between.
Additional Printed Articulation Studies
3. Clarke studies
The Three Day format, found at the end of this booklet, should provide an
interesting and efficient way to practice your Clarke studies. Now you can cover
all the Clarke Technical Studies 2 times a week.
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4. Lip Slurs
- Irons
- Arban pg. 44 #22 as written, #23 in same rhythm as #22
6. Multiple Tonguing
Before delving into a "multiple tongue study, try working away from the trumpet
with wind patterns. Strive for evenness of rhythm, and strong air on all
syllables. Focus on the fundamentals of the multiple tongue, namely making the
"K" sound like a "T' C'Ga" sound like a "Da''). Pick one note and, at a slow
tempo, work to play both kinds of attacks and get them to sound the same. For
example:
Quarter note = 60
TRest TRest K Rest K Rest etc.
TRest K Rest TRest K Rest etc.
K Rest K Rest K Rest K Rest etc.
Alternating the "T's" and "K's" in this fashion at a slow tempo will allow the
player to listen and check to see if both articulations are sounding the same.
After achieving some uniformity in articulation, the player should move to some
advanced studies in:
Scales
Arban
Clarke nos. 2 for double tongue and 7 for triple tongue
Gekker
7. Lyrical Studies
The goal in working any lyrical study is to play it as it would be sung by a great
singer. Use singers as models to emulate in your practice.
Arban, The Art of the Phrasing
Concone - various versions, including LyricalStudies - Concone/Sawyer (Brass
Press, Complete Solfeggio - Concone/Korak (Balquidder) and Concone vocal
editions.
8. Power/Range Slow, steady work is essential. Excess tension is your enemy
Below is a simple exercise attributed to Phil Smith. Make sure you practice this
exercise with the metronome and tuner!!
Philip Smith
"
=.tr
Everyday thoughts
Extremes of dynamics
Extremes of registers
Lip slurs and lip trills
Beauty of sound
Power of sound
Single tongue - fast
Multiple tongue - slow and fast
Slow (breath control) and fast tempi (almost out of control)
Sight Reading (duets with a buddy?)
Transposition
Initial soft attacks
Initial hard attacks
Ornaments (trills, turns, mordents, etc.) Arban pg. 100 - good place to start
Othertrumpets (e, E-flat, piccolo)
Lyrical work
Technical
Intonation (tuner on?)
Are all aspects of articulation clear centered and with ease of execution?
Walter Smith
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9
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28
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10
series 2
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series 3
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James Stamp
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28
29
31
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Chris Gekker
1. Major
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2. Whole Tone
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20
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23
30 Expansion Studies
Transpose theseto other keys within your range
H. Glantz
30
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38
II
65
17
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86
20
333
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25
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129
27
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Intervals
J.D. Arban
28
Intervals
29
Singing/Fingering Patterns
Sing these scale degree patterns as assigned during lessons. Use the syllable "la" (or
solfege) while fingering correctly in both major and minor. Start with easier keys, but
progress as soon as possible to all keys for each pattern. These exercises will develop
your ear and "connect" it to the trumpet, so that it will actively control your playing more
quickly. It is critical to practice these daily both in your trumpet practice session, and
separately. Use pitch reference ifnecessary, but don't play them on the trumpet. Part of
your applied trumpet grade will depend upon your improvement on these patterns.
1st set: Ascending and Descending. The arrows indicate up or down direction for the next
interval. The 7th scale degree often goes underneath tonic.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
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12354653 1
1 2 3 4 5 6 4 5 3 2 1 (!)7 1
1 2 3 5 4 3 2 (!)7 1
123456453272 1
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123 4 5 6 5 435 4 2 1
12345678978654231
123564578542 1
1 2 3 4 5 6 7 8 9 7 8 6 5 4 (!)7 2 1
123 5 6 5 9 8 642 1
13243 5798542 1
13243 5798542 1
123547978642 1
1 2 3 4 5 6 7 8 9 7 8 4 3 (!)7 1
1 3 2 4 5 3 4 7 8 9 7 8 6 4 (!)7 2 1
1 3 6 5 4 7 9 10 8 5 2 3 1
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3124534786471
5 3 1 5 6 4 2 (j)7 8 3 4 5 1
1 3 5 3 4 7 9 7 8 #4 5 3 1
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1 6 5 9 8 4 (!)7 2 1
1 (j)7 8 2 3 9 7 (!)7 8
30
2nd set: Descending patterns (up or down arrows indicate ascending or descending
interval for the next scale degree)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
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8 6 4 3 (i)7 5 2 (!)7 1
8 7 6 5 7 6 5 3 4 6 (!)7 5 1
857 4 6 3 5 2 4 (!)7 1 2 1
8 4 6 2 (i)7 3 5 (!)7 1
8 5 9 4 (i)7 3 (!)7 3 1
8 3 6 2 (i)7 4 3 5 1
823 (i)7 5 (!)7 2 4 3
31
Day One
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32
33
34
35
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36
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37
Day Two
Third Study
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38
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39
Fourth Study
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40
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41
Seventh Study
42
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43
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Third Study
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44
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45
Fourth Study
46
47
Seventh Study
48
------
49