CCM Trumpet Studio

Trumpet Fundamentals Book

2010-2011

Table of Contents

Foreword

Daily Practice Routine

Preparatory Embouchure Studies (Walter Smith)

Cichowicz Expansion Slurs

10

Flow and Expansion Studies (James Stamp)

17

Articulation Studies (Chris Gekker)

20

Pitch Bending Exercises (James Stamp)

23

30 Expansion Studies (Harry Glantz)

24

Interval Studies (Jean-Baptiste Arban)

28

Singing/Fingering Patterns (John Schlabach)

30

Technical Studies - Three Day Rotation (Herbert L. Clarke)

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.

Goals for Performance

Good / Characteristic Tone Quality

Clean Attack / Note Starts
o Avoid Wah-Wah's
Smooth Slurs
Move from center of pitch to center of pitch
o Avoid any extra sound between the notes caused by valve issues or
the lips moving at a different time than the fingers. (Think of the
piano)
Strive for a homogenous tone in all registers
Good Intonation
Play exactly the right note at exactly the right time.

Daily Practice Routine

Part 1- Warm up off the trumpet (3-5 mln.)
1. Stretching

Take a few seconds to stretch arms and upper body to limber up and wake

up.Thls should rea simplestretch that is accomplished within about a minute.

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

content is simplyan exercise.

3. Loose Lip Warm-up

loosens up the muscles, increases blood-flow, warms up all ranges

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.

5. Ear Training - Schlabach Studies (Ohio University Trumpet Studio Patterns)

Spend a few minutes at the piano with these studies. Doing this early will help honethe player's
ear before continuing to more advanced studies.

Part 2 - Warm up on the trumpet

Remember that even though this section is a "warm up," the player should constantly strive for
the best possible sound and to achieve the fundamental goals.

1. Mouthpiece work (five note scales/Stamp)

Take a minute on the mouthpiece to do check pitch and properair flow. Strive for a good
mouthpiece sound and intonation at all times. It may be a good ideal to play these studies while
seated at the piano in order to check the notes often.

2. Flow studies (Stamp 3, 4a, 4b, 5/Cichowicz flow)

Use these to enhance tone, smoothness of slurs and overall ease of performance. You must
develop an ear for this easy style of performance. Demand of yourselfa beautiful sound at all
times.

3. Slow simple slurs (Schlossberg 1-20, Irons group 1-12, etc.)

Read Irons notes. Slow practice at a variety of dynamics and ALWAYS with the metronome is
critical. Do shorter Irons 3X, 4X.

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

- Marcato - Very heavy, moderate and minimal

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

A few examples for further articulation work:

- Arban pg 28 - 35 and rhythm pattern from pg 44

- Gekker Articulation Studies (any)

- Stamp Staccato Control

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.

Always try varying articulation patterns when practicing Clarkes.

- Tongue two and slur two

- Repeat each slurred sequence articulating each note

~~u~
...
...
~

'-..-/

Be..

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

Transpose upwards Y2 step at a time

Everyday thoughts

Everyday, cover the following:

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?)

Some questions to ask about your Daily Routine

Is my sound fully open and resonant?

Are the lips responding easily?

Are my highs and lows freely working?

Are all aspects of articulation clear centered and with ease of execution?

Preparatory Embouchure Studies

Walter Smith

>

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---::-------=---__----.

4 times in one breath~

20

>
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Preparatory Embouchure Studies

Walter Smith

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3 times in one breath
9

>
4 times in one breath

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>

28

__

>

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Preparatory Embouchure Studies

Walter Smith

1.~~~ke~onebre~h~~~~~~~~~~~~_

>
>

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4 times in one breath

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Cichowicz Expansion Slurs

series 1

10

Cichowicz Expansion Slurs

J=50

series 2

~zz~ ~

Vincent Cicbowicz

J~~

iiJ Sst-~-------Ig

0023]5;$:---0

J=50

~zzW ~

ij

J=56
10

16

22

29

65

11

Cichowicz Expansion Slurs

I

1'1=50

series 3

Vincent Cichowicz

=50

~z~ ~~J--J--~?tJ:s 1-:

5

J=56
10

16

22

29

37

65

12

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Cichowicz Expansion Slurs

I
rJ= 50

series 4

Vincent Cichowicz

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29

t:\

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37

t:\

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46

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13

Cichowicz Expansion Slurs

series 5

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J=50

10

J=

Vincent Cichowicz

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j-~~J---t----I

J=56
16

22

1':\

J=60
t:\

29

1':\

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37

t:\

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46

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14

Cichowicz Expansion Slurs

series 6

-ij

Vincent Cichowicz

ij ===- g= s

54-:- I
U'

1':\

-I

15

Cichowicz Expansion Slurs

d= 50

series 7

Vincent Cichowicz

ij:=>' 5!~:s:

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5 1: -

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10

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22

16

Selected Stamp Excercises

James Stamp

Play the following excercises by buzzing the lips alone

":"

":" .

Play the following excercises on the mouthpiece alone

3 Play 0

1":\

1:\

1":\

1:\

14

17

":'"

transpos~

28

29

31

4a

-&u-1-qe-
35

-~u-

-qu
38

41

18

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19

Gekker Articulation Studies

Play these exercises in all keys, within your personal range

Chris Gekker

1. Major

"
2. Whole Tone

"

20

~
I

19

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21

4~Il ~========

23

25

~
~
29

~
-

31

~ .

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21

---37

~
M

43

~
-

22

Stamp Pitch Bending

James Stamp
Bend the notes a half step with lips, starting from a centered tone
0--------------------2

0------------------12

0------------------13

~......-.-J~----.-J~

---------...-~
II

23

30 Expansion Studies
Transpose theseto other keys within your range

H. Glantz

30

~\j
34

1
38

II

65

17

~e

~l

86

20

333
3

25

~~~~

98

A
I:\AAAAAAA

129

27

~e

26

29

30. Ala breve in one breath

1':\

'----

27

1':\
-

Intervals

J.D. Arban

Practice slurred and tongued in each key

28

Intervals

29

Ohio University Trumpet Studio - John Schlabach

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.

123453421
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
13243 5423 127 1
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
312453467864271
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
3427564278231
532495783542 1
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.

876453421
876534521
854535421
8 67 5 4 3 (!)7 2 1
865324571
8769765345231
857 4 3 542 1 372 1
8798543564271
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

Clarke Technical Studies - Three Day Rotation

Day One

=f~\~

~'I--

32

33

34

35

-----

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36

~.

---------------------

~~J~

J._

~~J~

------------------~

------------------

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t~~IJ~.
~
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'----

37

Clarke Technical Studies - Three Day Rotation

Day Two

Third Study

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~

, U

38

II ~~lzG\

39

Fourth Study

tUU

~u

40

'M 9~a

--------------------

41

Seventh Study

42

~~Il

--------

------ ------

------

43

Clarke Technical Studies - Three Day Rotation

Day Three
Second Study

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~"-4e.....--

II

Third Study

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~~

~
44

gW

45

Fourth Study

46

47

Seventh Study

48

------

49