VOLOME ODKE eae PLAYING b's TECHNIQUES & PERFORMANCE STUDIES Facrmei moti Bersie Tectyatitess ansel Chncepis for Devetopinys er Solitt Fonurttartion HatsLeonarpeTeen nen) eae TABLE OF CONTENTS INGFOGUCHION. Foi 6s ake 8 ne ESDR tosh Gack Goo cheat taL: Ppl SE TCR oper © mine cay Mee DEBRCOTHING AIDGN o e'anie dle 3 oa oe eens Ee otis oak siden Sots oe oes PLAYING TECHNIQUES ¢ General Advicé........ x Se edt cg ghee he beens § wh ise ofa Lin eek 3 Ss PERFORMANC Fingering Chart..... pes a ate intl aaplPel lean Eo ee aeekees hate Awd Warm-Up voce c cece cc ccces fear yee Wise yadne ES adobe ahi waste Endurance eee eb eace eat ed eee kiss, edt ee 2 Articulotion. .3 2. 00006. 0 esc. aise § 5 Miia dake 1 x's Medes FA a 12 DRICCHIO Sein sea hew acess bs wienahlisees 2 epee caste git te Ni wen ae Staccato and Riythmic- Figures oo eC a www aes ria Se as CLTk oven e3 14 — Feria er AAs aa te Bs Articulations.) 2.0.06. 2.0 APES waa Oa gar vamaweba shad Seethe cae More Articulations...... Yara Sa "elif Boies Bie al 6K G3 Gece #13 shew ema 3S Major Scales. 2. 0.6. anne ene visdawean chs ere metas ares pena 36 Chromatic SCAU o2 cis cow eww a os eke cri re Res et Ps Br wietin din oO Staccato in 6/8... . 1. eevee eee o4 wadanaiy Spanets FB aduchc tg! 52 Staccato Rhythms. ... 0.0.0 08+- Pe Sune os pnw hae Sata e eee ea es 52 Accidentals..... 60.00.00 ee Cem ye aibata ce es mi NBER Wit) awe eee OB TOG ecu meee ko heaps CSR Be ieee haseten ne, ea 3 5d. Review .....-2-05- Gapmaarte ees a a coed eee ce See tere SF: GORCLUSION «oi 6 os es ties 11 igtoeee Hae ewe eels ree ts ear are 58 Acknowledgements...........- earkas « phebgae- ig pants po mais 8 RE Ph ale 58 BIOSIS os. Sas Sew 2 be ene Seed in eda wegen tesa mokmaeae eb be aes 59 Recordings by Arturo Sandoval... ccc nee eens 60 Cover Photo by Carol Weinberg 44 HAL*eLEONARD am CORPORATION 7777 W. BLUEMOUND Ro. P.O. Box 138619 MILWAUKEE, WI 53213 Copyright © 1995 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved For all works contained herein: a Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infringers are liable under the law. ‘STUDIES For Trumpet An Extension of _ Basic Techniques and Playing Concepts —Introduction ~All the exercises and music contained in this volume will be useful in preparing you for what awaits you in professional life. ; ‘There are exercises that will be of direct benefit to performance. There are pieces of _ music devoted to different stytes and also to develop a more general and ames f nUSI- cal vocabulary. | _ Keep lots of enthusiasm in your daily practice and don’t be dissuaded by those who try to overcomplicate the learning of this instrument. _ No one can deny that it takes a lot of effort and total dedication to become a highly polished trumpeter, but the dividends, rewards, and satisfaction you will experience when you reach your goals are immeasurable. The thrill of playing in a great orchestra, regardless of your musical background, is unlimited. That is because the trumpet has a voice with an unmistakable personality: a voice with power, energy, strength, and incredible dynamic possibilities. We should feel pleased to have chosen the trumpet as the instrument for our careers and love it. This devotion is the only way to learn how to play it and how to live with it. -_ My hope in these pages is to give you something of lasting value that you can contin- ue to draw upon throughout the years to come. I also want to devote this book to all the ‘great masters who have contributed to and been a positive influence in my Career, and I ~ hope will also in yours. | This work is dedicated to all those great musicians who have paved the way through- out their lives in order to improve trumpet techniques, to those whose single purpose was to build musical instruments of impeccable quality, and to those who have written music for trumpet. This book is for all of them, and for those who love music, the trumpet, and its sound. : Concerning Arban Since Jean-Baptiste Arban published his trumpet method in 1864, it has been the foundation for practically all the great trumpet masters of the past and present, and surely will continue to be into the future. With this in mind, it is with great respect and love that I have included his studies in my method. ~ Note that the Arban book has not only been present in our libraries, but his —— also resides in every refined trumpet performance. It is my opinion that no school of music should i ignore such a valuable work.General Advice | Remember, if you are in a good frame of mind wihel you smince and the dirideptioce stot, is filled with enthusiasm, the benefits will be more positive and you will enjoy it more. It is necessary to learn how to enjoy practice. Try not to view practice as an obligation, but rather as a daily need for your spirit and training, a REGEASATY part of your life. | Practice at all the dynamic levels that: are required to be played. I do not agree with the idea that one can practice at a single dynamic and then be able : to play instantaneously at all volumes on a job. If you want to play a at all dynamic lev- els, you must practice at all dynamic levels. Tt makes sense! _ Avoid the use of mutes in practice. Mutes distort the sound and the ‘octal response of the trumpet. , Avoid practicing in very “live” rooms with lots of cavarbedavions In echoing rooms, the sound appears to get bigger and rounder—in other words, more beautiful. Then when you face “reality” you realize, to your chagrin, how you ‘ve been deceived. Outside is a better place to practice! (For many years I practiced in a feathall staclivorn, I used to sit in the stands and pro- ject the sound toward the scoreboard. It worked well for me. Even though I did not play strongly, the sound flowed and I felt it stretch up to the other side of the field.) It is essential to practice not only at all volumes—piano, pianissimo, mezzo forte, for- tissimo-——but also to exercise the full range of the instrument by playing legato, stacca- to, triple- and double-tongued, with all the articulations at all the different intensities. 4 Hold the instrument firmly with your left hand, preferably with the four fingers just inside the trumpet, around the valves and through the third valve ring, and the thumb passing through the first valve “saddle.” The right hand should be soft, flexible, and yet dynamic, forceful, and ready to obey the commands epmiing from the brain direct- ly to the fingers with exact precision. : . , Take good care of your musical instrument. Keep it — inside and out. Especially keep the mouthpiece clean, for reasons of health. : | ‘The mouthpiece, valves, and slides should always be kept in “A-1” condition. | Avoid denting the bell or leadpipe: it could radically change the sound and pitch of the instrument. | Gig bags or soft cases ste very convenient for travel, but do not fealty Srotent the instrument. I personally recommend the use of hard cases. Music practice should be music reading practice. You need to develop the habit of playing what you see on the printed page. This also makes the discipline of practice stricter and more organized and helps you to keep a record of your progress by show- ing how much you have covered and what is yet to be done. Later, of course, improvi- sation and memorization will be necessary skills to include in your practice day, but reading well is of primary importance. Reading music should become second nature. In fact, consciously thinking about the mechanics of reading music will be detrimental to your performance; it will make you — sound much like a child does when. first learning how to read a book.Use a metronome. Use it as often as you can. This is crucial. In addition, learn to move your hands as drummers do, and learn how to hold the sticks and use a practice. _ pad, This is important not only for a general understanding of rhythm and coordina- _ tion, but also to adapt to the “feel” of drummers and percussionists. Listen to and play all types a music. Don. t discount anything; you need to learn all ~ you can about music. - Put into action the ‘ ‘golden rule” and do not artistes other musicians while they are ~ playing. Nobody enjoys ridicule or criticism upon committing a mistake. What counts 7 M is that the musical piece being interpreted is evaluated according to its true intent and . ‘that the audience enjoys and appreciates It. | A bit of advice for those playing i in an ensemble: Be courteous to the other members of the orchestra. Don’t turn your back during your colleagues’ solos, and keep a pleas- ant attitude toward the audience throughout their performances. . Your career demands the physical preparation of a high- performance athlete; there- : fore daily exercise is more than a need—it i is a responsibility. - ; Among the main physical concerns of a brass musician are the maintenance of the a respiratory system, keeping the diaphragm muscle in excellent condition and under _ control, and staying in good shape overall. | Drinking and smoking are bad for anybody, but for a wind musician they represent a disaster. Trumpet players in particular should avoid alcohol before a performance. Avoid any type a orugs’ eres. have desenngen many lives and potentially brilliant careers. — : ‘A word about iuprovieation Bach, Handel, Mozart—all improvised daily. Today, | BASED. on some badly mistaken suppositions, improvisation is reserved exclusively for “jazz” musicians. This is far from true. To improvise is to create music; it is to bring na _ forward all the musical ideas that have been collected throughout the years and to ~ share them with the audience at that very instant. I am also of a mind that improvisa- tion of a cadenza, even in a concert, is valid. Remember, improvisation is not only a “jazz’ ’ matter, it is.a musician's matter. A further example would be the aleatoric parts of avant garde music, or modern music, where improvisation on the musician’s part is ‘Tequired. This is normal repertoire in “symphonic” orchestras! Det on slay ' in a section and have respect for the lead player by fol lowing him or _, her. Don’t try to overshadow the lead voice. Your voice has its own important role in ~ the harmony and needs to be played with enthusiasm and care. Remember that in an orchestra with three or four trumpets, all the voices are impor- tant within the chord. Any missing voice will make the chord sound different. Learn to use all type of mutes. Always have all of them with you when you go to a recording session or whenever you're called to play. Byt the same token, learn to play the flugelhorn and the piccolo trumpet; the ability to “double” on both is expected of today’ s trumpet payers. Pay attention to and respect the conductor.