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INTRODUCTION TO BOOK 1

HE PRIMARY G O A L of all trumpet p l a y e r s , regardless of proficiency, should be to play beautiful music

w i t h a n a p p r o p r i a t e l y beautiful s o u n d . This thought must b e foremost in one's mind w h e n practicing,

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forming or t e a c h i n g . Undeniably, the trumpet is a difficult a n d u n p r e d i c t a b l e instrument to play, a n d it is technical proficie that enables one to perform w i t h beauty, control, endurance a n d consistency. As a result, dedicated student ol the trumpet often experience a " s y m p h o n y " of technical phobias. It is my intention in this method to systematically d e a l w i t h these problems in a musical w a y t h r o u g h carefully o r g a n i z e d technical, harmonic a n d melodic s ies a n d concise text. The secret to constant a n d quick improvement o n the trumpet is consistent d a i l y practice w h i l e keeping in this method w i l l p r o v e useful for one's entire p l a y i n g career. e

fundamentals of efficient breath control a n d musical artistry in m i n d at all times. I believe the wealth of stuc ss

PRACTICING

i " y i L k U

USIC H A S THE POWER to e n a b l e a n y o n e to feel g o o d . Trumpet is one of the most versatile of instruments, a n instrument that is c a p a b l e of crossing a n y stylistic or cultural boundary. The gifts of studying

music include: Creative p r o b l e m solving C o n t r o l l e d concentration D e v e l o p e d motor skills G r e a t e r e m o t i o n a l expression A c q u i r e d skills in the art of self-discipline Raised social status Creative interaction w i t h other p e o p l e Raised awareness of art, b e a u t y a n d m o r e These skills are as basic a n d useful as a n y other skills taught in school. The freedom a n d enjoyment available in music c a n be h a d through d a i l y p r a c t i c e . The more o r g a n i z e d your p r a c t i c i n g is, the more fruitful it w i l l b e . Here, then, is a suggestion. Practice in three 15- to 30-minute segments, resting w h e r e necessary. Segment one is the w a r m up, segment t w o is technical study a n d segment three is p l a y i n g music material such as solos, etudes, orchestral literature, etc. Vary the material to a v o i d f o r m i n g b a d habits, b o r e d o m a n d to learn n e w things e a c h day. You must be your o w n best teacher. Listen w i t h honest ears. A l w a y s try to i m p r o v e . W h e n problems occur, refer b a c k to fundamental thoughts on breathing a n d s o u n d . M o s t p r o b l e m s w i l l correct themselves. Best wishes a n d g o o d luck.

THE WARM UP

N ORDER T O ENSURE consistent i m p r o v e m e n t through practice, it is absolutely essential to w a r m i Preparation is r e q u i r e d , not o n l y to meet the physical d e m a n d s of trumpet p l a y i n g , but also to initiate 1 3

mental focus a n d concentration necessary for m a k i n g music. The f o l l o w i n g is a w a r m - u p routine in four parts note of e a c h n e w practice d a y (i.e., b e a u t y o f tone a n d utilizing large volumes of air w h e n inhaling a n d w h - j b l o w i n g through the horn). Finally, p r e p a r e mentally to a p p r o a c h whatever exercise or piece of music you are a b o u t to p l a y in the most musical a n d artistic w a y possible.

w i t h variations for e a c h d a y of the w e e k . Remember to concentrate on the basic fundamentals from the fi t

Buzz the mouthpiece in the a p p r o x i m a t e r a n g e i n d i c a t e d .

The sound should b e " f a t , " full a n d w i t h o u t g a p s as y o u slide d o w n w a r d . Keep repeating until there are n o g a p s . Buzz anyw h e r e from a few seconds to a f e w minutes. Be aggressive a n d d e m a n d i n g of yourself. It is possible to i m p r o v e y o u r trumpet sound almost immediately b y w o r k i n g o n the m o u t h p i e c e . For extended b u z z i n g , use the following triads. Check pitches at the piano while buzzing whenever possible. Be sure y o u a r e p r o d u c i n g a fat, forte tone.

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A p p r o a c h the f o l l o w i n g exercises heavily. Make the legato

mentally as if p l a y i n g o n e long note. Articulate notes very l o n g a n d the m a r c a t o notes fat a n d s p a c e d n o breathing a l l o w e d in the m i d d l e of a line. This method is a n excellent tool for r e l a x i n g the lips a n d w a r m i n g d o w n as w e l l . For additional "loosening exercise up," 8va,

repeat the

preceding

resting w h e r e v e r necessary.

Play l o n g tone exercise # 1 , 3 or 4 w i t h as beautiful a sound as possible. Start each playing d a y with the three steps a b o v e . Some days may require more w a r m i n g up than others due

to the playing demands of the previous d a y or your biorhythmic cycle, but w a r m i n g up well never hurts, it only helps. Finally, p l a y the technical studies i n d i c a t e d for e a c h a p p r o p r i a t e day. In this w a y y o u can v a r y your w a r m u p , m a i n t a i n interest a n d learn n e w scales a n d f i n g e r i n g patterns quickly. W o r k g r a d u a l l y d a y to d a y through all of the keys until y o u c a n p l a y e a c h study w i t h a m i n i m u m of technical "hang-ups." It is not necessary to p l a y the studies higher than third space " C " in y o u r w a r m u p , though a d v a n c e d players m a y wish to d o so. Ideal w a r m - u p time should eventually b e 1 5 - 2 0 minutes.

Monday Tuesday Wednesday Thursday Friday Saturday Sunday

Technical Study # 1 Technical Study # 2 Technical Study # 3 Technical Study # 4 Technical Study # 6 Technical Study # 7 Technical Study # 8

In my o p i n i o n , lip slurs (except in the lowest seven partials) are not a particularly g o o d w a r m up. They are physically d e m a n d i n g a n d , therefore, useful later in y o u r practice time. Lip strength (more accurately, the strength of the muscle structure a r o u n d the lips) as a g o a l is greatly o v e r e m p h a s i z e d . A l t h o u g h strength is i m p o r t a n t to a d e g r e e , r a n g e , e n d u r a n c e , a beautiful s o u n d a n d a d v a n c e d technique as a complete package a r e b a s e d o n efficiency of breath control, not brute strength.

PERFORMANCE ANXIETY
E R F O R M A N C E ANXIETY (i.e., nervousness) is a c o m m o n a n d natural thing. Players at all levels of competency e x p e r i e n c e butterflies, dryness a n d other symptoms of nervousness before a performance. T g o a l o n e should pursue is not to b e totally r e l a x e d , but to maintain sufficient mental a n d physical control, o r d e r to e n j o y p l a y i n g music a n d p l a y w e l l . Experience is the real key. The more often one performs, the easier it gets. Take e v e r y possible o p p o r t u n i t y to p e r f o r m . Play for friends a n d family. Casual settings can be g r e a t help w h e n d o n e frequently. As a useful by-product, the more one performs a n d is h e a r d , the more likw o n e w i l l b e a s k e d to participate in other musical settings. That is the process through w h i c h one rises to the top of the music c o m m u n i t y , n o matter h o w l a r g e or small the community.

Here a r e a c o u p l e of practical pointers to help y o u defeat performance anxiety: W a r m u p w e l l several hours b e f o r e p e r f o r m a n c e time to ensure lip suppleness a n d g o o d response. W h e n the butterflies c o m e , d o n ' t resist them. Resistence causes tension. Tension causes p l a y i n g problem

Let the w a v e pass t h r o u g h y o u r b o d y . O b s e r v e the feeling as it happens. Don't panic. Scrape y o u r t o n g u e lightly across y o u r t o p teeth to cause saliva to flow. The less y o u concentrate on di

mouth, the sooner moisture w i l l return. Let g o of the inevitable mistakes. D o not d w e l l o n t h e m . There is a l w a y s time to think a b o u t that later. Think musically, not technically, e x c e p t for b r e a t h i n g . Breathe d e e p l y a n d project the air c o n f i d e n t ^

through the instrument. This is the o n e f u n d a m e n t a l y o u should a l w a y s fall back on w h e n you find your con dence faltering. Finally, stay in present time. D o n ' t w o r r y a b o u t w h a t has h a p p e n e d or w h a t is c o m i n g . Don't sacrifice o

entire piece for the sake of a high note or a tricky p a s s a g e . M a k e the note or phrase y o u are p l a y i n g as beautiful as possible. The rest w i l l fall into p l a c e . Present time is the key to performing from memory without slips a.* well.

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Technical Studies

Technical Studies
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The f o l l o w i n g studies should b e practiced t o n g u e d as w e l l a s slurred. Bang the valves down promote a c c u r a c y a n d rhythmic clarity. D o n o t b e p u t o f f b y difficult keys. discipline to w o r k o n them. They w i l l g r a d u a l l y b e c o m e easier a n d easier.

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Technical Studies

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1

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i
TN

sa.^l

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I I

56

Technical Studies

Major

^
m

jrm

15 |
g

-jHf

/,|

31

TI J J

' :N * f

_ F f n J J J

J E4r
JJJ|

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^
= - r

ii * T " . y ^ f |
0-m

/ TN
0-^

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0

31

| -

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ff
=

1 '

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0

TN

^ |
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W=0

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JJJ i f
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it _ =

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p F f

J J i f r

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p P i

TN

=6

p -

i
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p "

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0
m

t 1-0-4

P > j

1 1

J = S - = I

... p

m.

p .

f - f Pr

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l t -0-

Technical Studies

57

.
/ J M

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to

^J
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^ JJ
r

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./TN

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P
/TN

p
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2^=

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L -

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i.

i i

1 : 1

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f rrri
1

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TN

p-

m m .

58

Technical Studies

7#lg

Major

/N T

/N T
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J J *J J
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J J

J J J J

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' J * J J

* J _. J J J ^ J J J ^ J J
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J J

Technical Studies

59

60

Technical Studies

Technical Studies

61

18

tot*
.,

Minor

p-mf
TV
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5^

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62

Technical Studies

\ - - \ - - \

1 J
j

. J

>

j j J j J J J j J J J J J J J1 j J
J

j JJ J J

g =

Technical Studies

63

64

Technical Studies

mm

rffrprrrrrrrrirrrrrfrrrrfr
i

rfrf

rrrrrfrrfrr

r r r r f r r irrrrrrrr rrfrrrrr
TV

Technical Studies

65

Technical Etude

( J = 120) W=m

19
if m;

*****
n

#
1

ii_p S I
J8

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- ^ 3 ^ 7

dj-

IP

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66

Finger Flexibilities

Finger Flexibilities

Bang the valves d o w n firmly!

J . i 20

TN

[JbJJJJ JJJ

L_

arp

1-\
TN
1
1

TN

1
1

.1

TN

TN
M

5 J J

1
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J J 3 | J J J J J J J* J* J ^ J "
1

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I
I

ll b J
11:

TN

TN

IJ

TN

TN
~T7~

TN

TN

i i

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Finger Flexibilities

67

m
1

J. 120
f

1 I
TN

TN

TN

TN

TN

JJJJJJJJJJJJ*
TN

TN

TN

TN

TN

3_=
TN TN

~n~

t f e

68

Finger

Flexibilities

J = 100 p |

a y

three times

simile
bJ

3 * 3

_:

"

ITS

/7s

i- J JJ j J i i j i
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/7s

/TN

I
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17 0

ir
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/ ^

Play three times

simile
f

jjj 1j

l ^ g

/TN

Finger Flexibilities

69

/TN

/7s 3Z

m
/7s

i
/7s

/7s

J = 100 p |

a y

three times

Play three times

i
simile
/TN

1 1

W^P
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1 1

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f
/TN

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1+

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. J = 126

TT

Finger Flexibilities

Finger Flexibilities

72

Finger Flexibilities

J = 100

7i

TT

pK

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Finger Flexibilities

73

74

Finger Flexibilities

tij.iJjJJJjJJ'J^JJJJJJJiJJ'j

J. 116

Finger Flexibilities

75

j ^ j ^ j t e j

| JiiJJJpJlJ1JJ_3J1_1fl | =

-o-

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104 J=
W

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b i

b J

bd

b i

b ^

t J

b J

b J

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76

Finger Flexibilities

1111

11

Mb
I J g j

=
1

I.J

LJ

:||

Im

man
p
bJ tjJ
l,^=

1 B :||

Finger Flexibilities

77

JbJ^iJiJjJJ jjjlt
1

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a i i "i i i i i

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3
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11

78

Tonguing

Tonguing
Five to ten minutes w o r k every d a y is the best Practice d o u b l e a n d triple tonguing very slowly as well as

W o r k w i t h a metronome t o promote evenness a n d clarity. means b y w h i c h to g a i n speed a n d c o o r d i n a t i o n . very quickly.

Single a n d " K " Tonguing

1 1BE

3
T T T T T T T T T T T T

3_ _3

3_

TN

T T T T T T T T T T T T

_2
simile

TN

Jfc VLV

a a a a m

m mm a a a a a a a a a

4p

m
1
1

C 1

l~

i
1

i mm m 9 m mm m

J J J i ' JJUiJiJU JJJJUJJ3JX1

3^

TN

PI j j j m u m
i
3 3 3 3

TN

TN TT

3~ m

TN

W w"

TT

Tonguing

79

*^

TO/TTTTT

T T T T T T T

T T

T T T T T

T T

simile

1
JP

TN J J J J jj
1

TN

J J . : . TN TN

3 3

^ 3 JJ

- i

i i i i i

? i

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r4iMiii

TN

1
3 . .

1 rrflrm

.?

TN

3 rr-i
?'

TN

80

Tonguing

Tonguing 5

/7s

m
fa
a a a

The " K " t o n g u e should be p r a c t i c e d a l o n e in o r d e r to p r o m o t e clarity a n d evenness in d o u b l e a n d triple tonguing. Try to make it as clean sounding as the " T " t o n g u e a n d b e patient as the " K " tongue m a y sound bad at first.

mf

4
m

4Y 7

1 "
K
;

-j*9
tC

J
K

J
K

al
K

1 o
K

Lp-J
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1
K

J
K

J
K

L-b^
K

J
K

o
K

b J
K K

J
K

J
K

bo
K

=
K

i K

J K

J K

L K

F R

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^~mf~* -1J

3
m-m

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tw
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i
r

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n
a

_. mm

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1

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*>

j j

LTT

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iJ

J
n i ^ i

TN

II

82

Tonguing

Double Tonguing
Slowly ( J = 108;

8
~rLPJ1"

j | * | M j * j M j j j MtfJ j J * | J * r J
T K } T K T K T K T K

r *r
j

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&

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i f'if~i
f._

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p}sT~ 6 r. . A

simile fr
J

' J

ft

-ft

'J ' i *
1 It
i

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simile

J JJ
J J J

Tonguing

83

JT

00

00
T\

b J

j j j J h J

JJJJI^J

JJJ3tiJ J J J J i p p f p ^ rrrr^r rrrrr

12

g l

J J J J J J-i^i*

TN

mf

84

Tonguing

o cixrc y
13

- -

"

'

nvf
mmm

i
0 0 00

mmm

0 0 00

f
TT

# # # * =:

K M

00 00

0 0 0 0

E X

0 00

Tonguing

85

86

Tonguing

Tonguing

87

r
L

>

T5'

ran

j^JJJJJJJJJJ J J bJtJJJJJJJJJJJ J

' JJJJJftJJj: '[JJJjJ JJJJJJJ

9 * 9 *

9+9*9

bJk: ^ fcfstfc^J:b^tb ifc^tt^if^J: ^ : fbt ji ^

'b^bJJ J i^bi^bJ J

wm

88

Tonguing

20 j 1

m/

ff
TN

mmmmm

rrrrr rrrrrrr rrirrrrr rrr^^^


TN

21 B

22

mmmm mmmm

mf
"mmmm '-mm

-m-mwi

Tonguing

89

23

li

Jfl
mf

mmmmia

MZMZMMMX

mmmmmmmm

mmm

m m

J J J J J J J J

Play three times

24

J J J j ji
mf Play three times


simile

3=2

1
1 j-lj
aft

Jit II-

J H ^ J ^ T ]

||: J J J J J J J J J j J J J J J

f f " f f i P g r n frrrrf rrrrrrrrrr . a . n

f**f*?fffn
rr^rfff rrr |
r r

||, f f r r f f r r r r r r r r f
r

BuinBuoj.

06

Tonguing

91

Tonguing

93

94

Tonguing

Play three times

28 P

*m
mf

Play three times


3

simile

Play three times


2 9

I JJ-'i^jJjJJJJiJJJJ 1

Play three times

simile

3 0 ^ ^

Play three times


I
J

d ^ d f l '

-1

Play three times


3

*
A-41 V
4 1

B*

-J1

-
i

Play three times


4^J B* BJ

-a !

-BJ BJ

1"

II

Play three times

IN

-*

m [ Vm

-B* B*

B*

4 R

J I_ ....

..

II

Tonguing

95

96

Tonguing

Triple Tonguing

35

T / T T K

H
T

a
T K

* *
T T K T
T T K T

J . J i ' i simile

' J J J ' J .

' J J J

rrr r
1

J J J l-l
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36
5

m / " T T K T T K T T K

T T K T T K T T K

simile

JJJJ J
1

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p
5 5

5 5 5 5 5

II

r frj*j*nf"p r

1

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e
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9 9 9

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r e

err &.,.

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4
mm

l*W

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mw

mw

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_ _ _ _ _
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mw

fr~

Ji

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f f f, r r n

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mm 9 9 1 m ft

X
9

1
9

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I

E 1 X 1 1 X 1 1 X 1 1

f X

E 1 i /

=4

Lb

6u;n6uox

98

Tonguing

39
a

J
mf
'tmmmm

J J:
_'

mmm

nrr
^
1 *~
1

P i
1

~m m m

1, m j rfl :
L

J J J * JJiJ
3 3 3 3

mmmMmMwM

40

M
mf

3
3
mmm
l

T
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&

3
m

3
, |

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^
mf
3

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3 3 3
3 3

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3s
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3
31

42

m m m
mf
3
m m

mmm
1 ^~ - bJ 3 3

m m
3 3

4^

ITS w S

r4-n

mmm

m
m

3
m m

bJ J <

3-

3
W

3
W 1

43
=1 i
1

3
a m- m-m-

3-

J S
3 3
1 m

\
< m m m

3
1

3
mmm m

.? _

.? v f**WF

*m

. *

"ft

J J []J J
m^T
m m

IM 31^

**

Tonguing

99

100

Tonguing

4=
-3 3 3 3 3
f)
t.<

if

33 33
? ?

3~ 3

3 3 3 3 3 /7s bi

- r l ?

i 3 3-

3 3 ~3 T
w w

JUS}}
5

3
w w w -w
v

/7s

W h o l e Step-Half Step Scale

46 S I
3

JL.

4
3 3^ 3 3 3 3 3
1_

-3

,?

b JJ JJ* J
J J J I I J J J ? t 4 = y
_

47
1

ii^r

to-

im^m

- -

urn

Tonguing

101

104

Tonguing

Tonguing

105

106

Tonguing

jjjjijjujjjjjijjjjji-

PPPiiPiiPPPi
TV

55
JL.,

T j T ^

TN J <J 4

-* 9-

-t9- *J-

*9

i9


-m -m*

p.

TN

\mf

m'

- -
TV

^ JJJJ-JJJ JJ JJ JJ JJJJJ-J-

i Jl^^ JJj|:
;

TN

TN

MF * 56
; m
36
71^

r=F3-FT3-F

57

32 3

mf

mwJ - J V
i

- - # 1

J <4

"

3?

I L

. it

*w"

mt

-#L:

J ^J

HP

Tonguing

107

108

Tonguing

60
/

JJ^J s m u
K T T K T K T T K T

K T T K T

jgjJ J JUJJJ i j j y
1
K T T K simile

< J" 1 U
:

1i

J >
5iJ *
1 3 J 3 ^ XZJE

l>JXU JJ ,M
IM J>JT3J J)JT2\J
] b

J)JT3J
b

^JTJJ

|
PTU*

J J^,ry]J i ^ r i r p r r r r P r r r i r p r r r r

| r -p i i r r i i i r i r j cilr r pr ^
prrrr P
s
"

:|1

P L D T
=pk
m m m m

PLJJ

0"F

ir

i*

* 0

m> m> m

KLLJ
m m m m

plis
mm

0000

0 0 0 0 0

PfT" IT I
0
sbp

50
m
11

m\ m

\\)

0 1* 1ff=] 0

m
r

m 1 :\

"I

Tonguing

109

6i l a
m

=*=fF
~rk

3
3

/TV

=T
i

3 J J J J
r r r
,i

H -H J wJJJ
3

| | |f |
3

3
mmm
m

JSJJJ J \_ . ? j J J J, , ,JJJJ J ^ J J 1 0 0 0 J-.J..J* --J-J-J J J f, J


d d
9 m

~=

ft\

,?

rnnI
3

4= ' ^=
9

I
^ ,

3 J
m m mjm a m m

n ^'

_ _ _ ^_ _ _ ^
m

JJJJ J JJ JJ J JJ J
( J = 200 ]
mm m

h jii
= JZB-#

Triple Tongue Etude

62

JL ASt W-R

Tl

- -m
m

m> mbm 0

wzt

>-j

=d == b
i

pi
\rd

m m m mm

m ^ T

Tl m i i r J
P *" ri - BBBB BBB

m0

" m

TT
c

0 >

?
*

-=*=m m m m

^ CU;'
r

-r r
J

r
1

>

frrh
/
!3

0 0 0

/L .,,
VP

mf

}J * *

J > J J
" d *

J
d

"~

- g ^ J ij|J JtH J j ^ j j j

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i
J J

J -J 'dpi

1-

i \

mbJ J J ' Jl?Jt;Jk JbJtjJ fr*

m i

T~n

-iJi-

11

110

Tonguing

Odd Groupings

J i J i J J J J J J J J J i i i ' JJJJJJJJJJJ

~3 ~ * V V V V ar~

~m ~m ~a ~~m ~m a ~ a a a ~m

~a

-T?

3-

#3
3 3

-3

5-

3
M M m m m m *t-

m m m m m m m m m

3E

Tonguing

111

1 12

Tonguing

>

>

>

>

>

>

TN

64
>

7j 7 y
5

JJJJJJJJJ J
T K T K T K T K T K T K T K T K T K T K T K

35
T K T K T K T K T

J J J S/^~J^^^-^~J"J~~a^J~a~~~]~j

~a~a~m~m~mm~MI
5

TN

simile

TN

>

>

3
TN

>

>

>

TN

65
5

T K T K T K T K T K T K T

K T K T
5

KT

simile a g

-P

>

Li-i

%J

>

5
o

i
y

3
-*>

I 1 1
1 1

. <

>

> m-m- 1*1*1

*> * >->^**^

''Be sure to play the quintuplets evenly; not in groups of 2 & 3 or 3 & 2 as in the previous section.

Tonguing

113

AA

kL

1
m

i i i ft ' i - i T K 4 i T '

i=T

i = i

'J

> ir~%r

>
K T

>
K T

"

i T K

TN

J.
T TN

= 1

>
K

T K

> T

f l

> T

>
K

- i i i i l -8

>

>
T K

1
T

1
K

1:H
T

!
K

^1
K EE

TN

m
T K T K T TN

m
I

simile

1
m m -m

TN

| B H J~3 in

TN

TN

Ii r r r r If

TN

114

Tonguing

4 r ^4 = t!

U-73
- ' m urn

f1 V J

"

14

El
=

ft

'

"

T\ v

r
TV

1 Q_f ^ Iii
681 e g
>
TO/TKTK

Hi

r
TV

r'r in F"r r I
>
T K T

m
>
K T K

> i

PP
T

IT K T K T

6 c_/"LT iii
T K T K

>

>

a "u- iii
> >
T K T

>

T\

TN.

simile

g jj J l j ] b ^ j . lij | | b J | I,J"iJ b^J. |)[ | | b J :|| jj J 1 J


TN

T\

69^
d

K T K T

K T K

"

T K T

K T K T

K T

K T K

P
K

2ac

5 5

5_

4=]

5
r

JbJtjJ

, T7

4*

T7B

11 L

1 i

t/^

TN #

Tonguing

115

70

J J J J
T K T K

I i J i H
>
T K T

J J J J
> K T K
TN

!>i

>

J J J J J J
> >
K T K

> K

>
T K T

> K

>
T K

>
T K

*w
> T K T

E
>
TN K

>
T K T

>
K T K

>
T K T

> K

>

>
K T K

>
T K

>
T K

a simile
TN

5L
TN

TN

-H

4 >

1 1
TN

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Upper Register and Endurance


The essential elements of p l a y i n g in the u p p e r register a n d h a v i n g g o o d e n d u r a n c e are the same elements tha insure a b e a u t i f u l tone a n d flawless t e c h n i q u e . They a r e p r o p e r a i r s p e e d , l a r g e potential a i r volume projected through the instrument a n d efficient use of the a i r c o l u m n , never over b l o w i n g , not under blowing. In practicing ^he f o l l o w i n g studies b r e a t h i n g should b e d e e p , mouth a n d throat forming an " A h " syllable, as i you w e r e a b o u t to step into the d e e p e n d of a s w i m m i n g p o o l . Take c a r e , however, not to constrict the throat; but rather to hold the air in w i t h the throat o p e n . D o n ' t breathe h i g h in the chest or a constricted throat wil
1

also result. Push from y o u r d i a p h r a g m a n d take g r e a t c a r e to a v o i d too much left-hand pressure or right-hanc finger ring pressure. Too much pressure cuts b l o o d f l o w to the lips a n d w i l l reduce your range a n d endurance without fail! A n y lip cuts or soreness i n d i c a t e too much pressure. By the time a player is a d v a n c e d e n o u g h to w o r k in this m e t h o d , the e m b o u c h u r e is set a n d strong, i.e. firm corners a n d relaxed in the m i d d l e . p l a y i n g in the u p p e r register. Embouchure strength, although certainly important, is over-emphasized ir t o p / b o t t o m a n d in the center) to play well. Focus o n breathing in a n d increasing ai,, Please be patient a n d with P r a c t i c i n g d a i l y out o f this m e t h o d w i l l g u a r a n t e e e m b o u c h u r e strength I k n o w fantastic professional players, some of w h o n

Furthermore, one need not have a t e x t b o o k e m b o u c h u r e ( 5 0 / 5 0 W e all have different dental a n d f a c i a l constructions. play upstream, some d o w n s t r e a m , h i g h , l o w , a n d off to o n e side. practice improvement w i l l c o m e . Low notes a n d p e d a l tones should b e a p p r o a c h e d similarly. sharp) are not particularly pretty a n d a r e difficult to p r o d u c e . the normal fingering for the a p p r o p r i a t e notes. a trumpet teacher w h e n e v e r possible.

speed through the instrument to i m p r o v e y o u r u p p e r register a n d e n d u r a n c e .

Use r e l a x e d e m b o u c h u r e corners a n d large Pedal tones (below low F Play them loudly. The Slide, slur or a r p e g g i a t e d o w n to them usinc^

amounts of air, p r o d u c e a full s o u n d , a n d take g r e a t c a r e to p l a y them in tune.

Experiment until they b e c o m e familiar.

value lies in i m p r o v e d physical a n d c o n c e p t u a l use of the air. A s w i t h a n y p l a y i n g p r o b l e m , seek the help o

In o r d e r to o b t a i n beneficial results w i t h o u t suffering unnecessary setbacks, please observe the following pre requisites for upper register study: 1) You must b e a b l e to p l a y a c o m f o r t a b l e h i g h C . 2) You must b e familiar w i t h a n d a b l e to p r o d u c e p e d a l tones ( b e l o w l o w F-sharp). 3) You must b e a b l e to p l a y the half-tone bends in Exercise 1 easily.

Slowly

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IPET / SI 5.95 m U 5 A

"inely tuned w i n d , easy control, p o l y h a r m o n i c w i t , orchestral p e n m a n s h i p , Dunctuated spiritual w a r m t h . . . Rarely d o so many qualities find themselves in Dne musician.

Chick Corea
Hitch your w a g o n to a star.

Doc Severinsen

W h i l e g r o w i n g up in M o n t a n a , Allen Vizzutti w a s g u i d e d by his father, a selftaught musician a n d trumpet player, to performances of virtuoso literature, such as the H a y d n a n d Hummel concertos, the C a r n i v a l of Venice a n d H u n g a r i a n Dance N o . 5 . By the a g e of 1 6 , Allen w o n the concerto competition a n d w a s a w a r d e d first chair in the W o r l d Youth Symphony Orchestra at Interlochen, M i c h i g a n . Allen earned a B.A., M . M . a n d a Performer's Certificate from the f a m e d Eastman School of Music in Rochester, N e w York. He w a s the only w i n d or percussion player to have been a w a r d e d the coveted "Artist's D i p l o m a " in the school's history. As first trumpet w i t h the Eastman Jazz Ensemble, he w a s chosen "Best Trumpet Soloist" a t the N o t r e Dame Collegiate Jazz Festival. By his sophomore year, he w a s a regular member of the Rochester Philharmonic, the Rochester C h a m b e r Orchestra, the Chuck M a n g i o n e Orchestra a n d the only student in the Eastman Brass Quintet faculty touring ensemble.

People in G e r m a n y , Poland, E n g l a n d , Sweden, Brazil, C a n a d a , J a p a n a n d the United States have all h e a r d his brilliant sound over the airwaves o f national television. Allen's g r o w i n g status as a n artist has led to solo performances at the Aspen Music Festival, Banff Center for the Performing Arts, Israel Music Festival, Vancouver's EXPO ' 8 6 , M o n t r e a u x Jazz Festival, "Live Under the Sky" in j a p a n , Teton Music Festival, International Trumpet G u i l d , the H o l l y w o o d Bowl, C a r n e g i e Hall, N e w p o r t Jazz Festival, N a t i o n a l M E N C , T B A a n d 1AJE. W h i l e living in Los Angeles, he performed on 1 0 0 motion picture soundtracks (such as Back to the Future, Star Trek, The Black Stallion, Moon, Rocky II, Poltergeist Broadcast News, II, Fire Fox, Sudden Impact, Horseman 10, Under the Cherry The Electric

His latest recording, High Class Brass, is a unique classical/jazz mixture c o p r o d u c e d , written a n d performed with Jeff Tyzik a n d the 90-piece national

repertoire orchestra of the Keystone Musi """"


-

Festival (available from Prophecy Record; 102 Westiand Avenue, Rochester, N e w York, 1 4 6 1 8 ) . Allen's love of expression through c o m p o tion has led to w o r l d premiers by the Los Angeles Philharmonic, Phoentx Symphon-* Rochester Philharmonic, N e w York Philharmonic a n d the Tonight Show Orchestra, as well as recorded works by the Royal Philharmonic of London, the W o o d Herman Bond, the Summit Brass a n d the London Symphony Orchestra. In fact, the Tonight Show Band album (featuring Doc Severinsen), coproduced by Allen a n d fellow trumpet artist Jeff Tyzik, w o n the G r a m m y A w a r d for the "Best Big Band Recording" of 1 9 8 6

a n d / 94 1), a n d countless

television shows, commercials a n d record albums, with such stars as Frank Sinatra, Barbra Streisand, Prince, N e i l D i a m o n d , the Crusaders, the Tonight S h o w B a n d , four albums with W o o d y H e r m a n a n d three albums w i t h Chick C o r e o .

Allen's continued interest in education an the value of music in d a i l y life has led to an extensive schedule of concerts a n d clinics universities throughout the United Slates, C a n a d a a n d Japan, in both jazz a n d classical idioms Allen Vizzutti performs exclusively o n the Yamaha B flat, C, D, E-flaf a n d piccolo trumpets ^

Equally at home in a multitude of musical idioms, Allen has visited 3 0 countries to perform with a r a i n b o w of artists a n d ensembles, including Chuck M a n g i o n e , W o o d y H e r m a n , Chick C o r e a , the N B C Tonight Show Band a n d N o r t h A m e r i c a n orchestras in Phoenix, Rochester, Buffalo, St Louis, M i l w a u k e e , Edmonton a n d Honolulu, to name a f e w Allen's solo jazz recordings include Allen Vizzutti (K-Tel/Head First), Red Metal (available o n the B a i n b r i d g e label). Live in Montreaux with the Eastman Jazz [released in Japan a n d Focus, a c l a s s i c a l / Ensemble, Rainbow Sweden) a n d Double

jazz mixture (released in Japan). His classical solo recordings include The Versatility o( Allen Vizzutti ( G o l d e n Crest (CBS/ Records) a n d Baroque and Beyond

Alfred Allied M J . - J I . I H I G J . In. 1 3 0 Roitoe Blvd.. P Bv 1 0 3 68 O < 00


VnnC-liiyv f A V M i 0 - 0 0 0 3

3808 1 0 1 0 5 7 " 1

Sony Records in Japan).

THE

TRUMPET METHOD
BO O K 1
TECHNICAL STUDIES

A n Intermediate/Advanced Method in Three Books Allen Vizzutti

BOOK 1
TECHNICAL STUDIES Practicing The W a r m U p Performance A n x i e t y . . . . Long Tones Lip F l e x i b i l i t i e l ^ ^ A . : ^ " . ' . Technical S t u d i e s ? . . . .
c

BOOK 3
3 4 6 7 15 32 66

Finger Flexibilities Tonguing: / , >x " K " 7

Single a n d

8 82 96

D o u b l e Jk:.:::/.: Triple.. ::::::..'.*


i

O d d G r o u p i n g s .1 !'.*.'...110 U p p e r Register a n d Endurance.:...,..".... 1 20

Alfred has made every effort to make this book not only attractive but more useful and long-lasting as well. Usually, large books do not lie flat or slay open on the music rack. In addiL A Y - F L A T BINDING tion, the pages (which are glued together) tend to break away from the spine after repeated use. In this edition, pages are sewn together in multiples of ) 6 . This special process prevents pages from falling out of the book while allowing it to slay open for ease in playing. We hope this unique binding will give you added pleasure and additional use.

en
Copyright MCMXC by Alfred Publishing Co., Inc. All rights reserved. Printed in USA.
Cover Design: Martin Ledyard Art Direction Ted Engelbcrt

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