Cat Anderson made his first appearance with Duke Ellington at the Earl Theatre in Philadelphia on September 1, 1944. He had already acquired with other well known bands a considerable professional reputation fer playing in the upper reg ister, but in the years that followed, his name became indeliably associated with Ellington's. The pyrotechnics of Trumpet No End, The Eighth Veil, El Gato and El Vite were the bright, surface area of his contribution. The nonchalant reversal of the horn at the end of Jam With Sam as he exclaims That's the onel” after hitting a nigh note , has been seen by thousands , probably even millions, of TV viewers. His ascension to high Gothic roof in Cathedrals hi part of the original Sacred ces as the peak is reached. and abroad has been a vital ‘That's as high as we go," Ellington announ- Gat is a native of South Carolina, born to William and Eloise Anderson. His childhood was spent in the Jenkins’ Orphan Home, and from his immediate sur roundings ,“young William "Cat" Anderson took his immediate interests -- those of any young boy ~~ baseball, movies, and the trembone..... but his arms weren't long enough for the sixth and seventh positions and he switched to trumpet ‘The teaching at Jenkins’ was stern, "And," Cat As T look back on the techniques we were taught now, Eknow it was inadequate; that even the rudiments were not taught properly. I don't remember them teaching about breathing or correct embouchure, but the school was run on charity and the teachers" pay was small, so there was a limit to what could be expected. Cat has travelled to Europe and the Far East at least once, sometimes twie year since 1958 and has played before Queen Blizabeth, King Hussin of Jordan, Princess Grace of Monaco, and two US Presidents: Kennedy anel Jonson, Gat is a far more versatile musician than is perhaps generally recognized. Af- ter twenty-seven years of working with the Duke, he submitted his resignation and decided to try his luck with the studio bands in Los Angeles, as this would be @ new challenge for him. In only a couple of months Cat had done such shows as Ironside, Laugh In, Longstreet, Mission Impossible, Julie Andrews Show and some gigantic specials He is also a composer, and wrote such tunes as E1 Gato, Blue Jean the Beguine , How About That Mess, Sugar Loaf and many moriCAT ANDERSON TRUMPET METHOD Foreword - Study No. I... sidy No, De Study No. IT. . Study No. Look At Me... Study No. V. Study No. VI Hello You . Fingerings. Whole Tone Scale Study No. VI. Gold Worm . Study No. VII. Study No. IX... Study No. X...... Exquisite Woman. Study No. XI.. Study No. KIT. Look At Me Go. It's All Here. COVER PHOTO: CONTENTS IV DORY TANNENBAUM/CENTURY CITY CAMERA & SOUND Capynght 1973 by GWYN PLBLISHNG 60, International Cpynht Secured Printed in U.S.A. AI RehFOREWORD If you are in search of ways to improve your playing in terms of register, power, and control , then this book is for YOU. In playing this system , you will develop wind control necessary for playing in the upper register. Don't be too anxious ~ if you are, you will miss the boat, If you are too impatient , you will never make it. You see, impatience is the enemy of the player. ‘As you practice ~ concentratel Keep your mind on what you are doing and why. ‘These routines are necessary. It is absolutely essential that you practice them in the prescribed manner. Do not deviate. The lips will not get stronger by aimle: s blowing. They must be developed, and it is HOW you practice that counts Rest as much as you play. When you are tired, rest. This is because you are developing and co-ordinating another muscle action and cannot rush ahead any faster than nature will allow. This approach has helped me, and with serious , concentrated studying it can help you to " get it on.” The secret of your success depends on your desire and dedication. Many people ask me about the mouthpiece. Well, the mouthpiece has never played a note without your help, although a good and scientifically designed mouthpiece is very important. A mouthpiece can never substitute for ability. Once you find a comfortable mouthpiece that you like, never change. ‘The secret of playing in the upper register is you and you only! In my opinion, when you warm up softly, you preserve yourself for whatever playing is to come, By warming up softly, you give the blood in your body a chance to circulate at a normal pace. This method applies to all brass players. Now I cannot foree someone into changing, but I can tell you to think about it, or to give it a try. You have nothing to lose - everything to gain. When you've finished with this book, you'll be able to play double G's, D's, and triple G's and A's at will. You will, that is, if you stick to the rules and learn every lesson as prescribed in this book. WILLIAM "CAT" ANDERSON2 tuoy Ab. E ay) eee wise wpcreaer ) I PA ie AO Muetts ASW & ae Me. L fete a : =é = T Ss SY pp me—owaree = SA ae Play foe 40 minutes ChtArie wien wicissey 0 ie = = 7 =a ene ye DELLE cia: Faria fea BO ADE) (hes fox jo mun) Lene som ee s ————— = (eee ge ~ SS SS mag A : ae + —————_———— Cae: — Ga IF Fas ssUSruoy db db)Otuay Ab 3) A( Pear Fea a0 muures ag w LSS We EY Geparie, wat seces3te) == SS zo : or; WHISPER. SS SSS fee 1b wut Fi, Sean) Pi SE Ia PI Fe BI. Se DAIS LPB, (ist sao Eee Egeueees (ri | Nee SeEEsee >>> 2 2rd? fN fe pESGE eee f a ‘ (Gist fae 10 tres / ee ee RO Pe oe prteeeerer | Le os Se eepeeeeehecee erie tereere terre esee £ Life FREES Eee EES cree ey Peay THis be>rson foe Lb Divs eyWARMING UP Many trumpet players ask me why I warm up on the note G. Well, I think the note G is the easiest note to play on the trumpet, and it's in the middle range of the horn. You must play the note "G" VERY SOFTLY (as in a whisper) from the beginning of each study. This will help you build the muscles around your embouchure. Always practice softly - not loudly, Practicing loudly is annoying, so practice softly and build your embouchure muscles. This is the secret of playing high notes, in my opinion. In playing the trumpet, I think you should treat it like a woman - GENTLY! If you abuse it, you'll never make it, and that's no goad. So be patient, work hard, and you will have success. There are no short cuts to playing in the upper register. You must study to play up there. It's up to you - you must have confidence that you can play in the upper register with authority. With this book you can master it, so stay with it. IT IS NECCESSARY to play warm-up exercises prior to playing practice material, It's important for the best results, so BE PERSISTANTI Do not give up demands you have made on yoursel If you do, you will never receive full benefits.Sruoy ts 2 rox So PPP Like SPER. Ayo Lay fee 10 Minur be - BELATIE WHE MECESSAEY =e a a= 7 — Vee (Fara Tgess (Rist 10 mags) Basha dwuces \_/ Out Bitte BA Fit == —— “ SS wp? 2292p 9922p yey? 2A rarest ettte =e = (hist He 0 MaatLoon Ar Me eSSruoy Ab, 5) h Pia foe, AD manures — Bacarde witd deessaey . a =" == S = NN Pe iat al AP Tne FFM a 7 mr (Ker fe 10 awers/ # aot ae He = = al 4 = = —— S — a Ee § oo a —— —— tet x THis LESSON fon DAYS’FLAN Stowe y A (Qtuoy he. 5- C207) u i (Pray foe 2 Dans)(Sruoy Wo. / Ny Aeay ree do ninures- bb sarue wit WeceeSAey ie 2! a S. =a a LEE i in § eee tee Se Rest (0 malareS I {CLE ee 2 =r : Joh a = 7 ts = Se — f £ £ 2 2 Sa Gane (esr 0 muures r Liste w-igie le 2 tte eo ie ip — “ay THB LESS TES Z 7 ‘3 Ge ae ti (Rest 10 mauTEes) ite ele ey ie hs 24 ahs Ke scteb abe! et te [gic fete eee ra be st he : te [cece Se pel doe TENE pen ey a f = ee —— Day foe & DAYS,WH a all ol } 44/||| Gul | a i i Si | i 4 q | call ‘| au) “yh al att all) 4 il a fir) "dit ‘Ht al a $+ 4 i a " sal &In the "Cat" Anderson System , you finger the notes above the staif as you finger the notes in the staff. Although you can push any Ive down for any extremely high note, or play any note open, you must have @ system to know where you are and what you are playing. Here is mine:CUIHOLE Tome OcAces to i 2 te ir i bh . iP e lh Ib be «2 2 & wikD (Hl Ae A A pe ae e A ay ae es ze 32 = a r (NL Ae a 2 iia 2s ese = (Cray foe F oars)= Stuoy Mb. 1) ( = ; > A (Peay for L0 tauttS- Bacar wae vsctsssey ‘ € je ——— THe f ° PPP (RES 2 (tes 10 mung s_ (Bar 4 timss oe ain >Goro Woem/ =, t @ Lo fsa feb 10 Wiyurts o eee PPPS istse 3 Rae Like _ wdrShee (2651 0 mmurts/ (Pras tuis f Neal SE 10. Times >Gr9>0 $y sf $3, 57 P >> === = i eee Le: = FA RAPALA Cee Pea: a + = ( ar cove (Rest 10 Muures Rist 0 Mw ures)Sruoy As. 8- Cour / i OR ey Wis EXEROSE greg nine es Me! Abs E Leslee eee r20 When you hear a trumpet player complaining about hits “chops”, he's playing the wrong way - too loud - and THAT'S NOT FUNNY! Try not to let it happen to you. Take advantage of this casy system and YOU WILL PLAY double C's and triple F's and A's, With my formed ma- terial, anyone can build a fantastic range as I have done, This is accomplished by playing every day in an easy, relaxed fashion - no violent physical exercise, By practicing this way, in my opinion, you won't tear down the lip tissue, If you don't play every day, you are in trouble, because when developing and co-ordinating new muscle actions the lip tissue will lose its strength if allowed to rest too long. Many players use their lip as an excuse to get out of practicing. Just because a series of notes is written high doesn't mean that playing them will be injurious to your lip. It will not, if you provide a proper foun- dation by using the warm up exercises found in this book. I've established that performing the same duties daily and using the same museles regularly makes you stronger and more ready for any- thing and any job that comes up. By following the scheduled programs in this book, you will be building your lip foundation and making the most of each practice session.(Gruoy Uo. 4) a PANS Tay Fou 0 nee BREATHE, ee ) ae ) ee waters — 2 ——-7 (Pi hoateo-ranres) pe Bate oe her se nurs) ace : 5 = she (Bese a 2 thurs)Stuoy_ Mo Fecour. fim Ses. \ py —~ 6) | z ‘'3_8 oye sect pao »\Sruoy Ab, 10/ a - 4 SS = Pn PPP cite wwe (PLAY fo Times Count wi MAID é Pinu fou 20 mwures - BLEW Ab wien) WECESSILY \ (esr 0 maured) aoe eee Pa =F == = Saar el 1 =A (lest D mums)Otuey Ao /D = Cour 24 ———25 A Pesmise) (aN fiay fon 20 AajirTES - SREM A dite) HELESSALY. mI I Sa 0 wise fist [0 murs gies, > (Rest 40 muures Beeoke- vert Léssou/(AL Peomisé — 2 A exfttes, p»,-e tert Ske e. a ae SS eS Se Se ee eee ies : A (ee Tuese- bo ft B Ce i 0B REE os je eee a aan A Ae : = (= ) OF) aS)When a new student comes to me, I first have him play a long tone, 50 that I can determine immediately whether or not the student has mastered the two most important, although elementary, factors in play- ing the trumpet. ‘These factors are: (1) Correct Breathing (2) Correct Attack Together they govern the quality of sound. Since every trumpet player possesses a different range level, I find it most satisfactory to devote the entire book to building a proper foun dation. This will come easily for some players because they will take advantage of my Suggestions. Don't defeat your own purpose, but take advantage of this opportunity. Many people ask me if 1 have a special trumpet, I just laugh and say *No - definitely nol” And some say I have a “freak lip." The an incorrectly used word. 1 worked hard to develop my embouchure muscles - you can do the same, There are many approaches to play- ing in the high register. You know that if you start blowing in the high register without a warmup you could damage your embouchure muscles. It's surprising how high you can play if you condition yourself to do it. Relax = allow your lips to vibrate properly. You can play the exercises in this hook as many times as you please, and at any tempo you desire, I have indicated "Play slowly.” One af the objects of this book is to increase your range with power. Will-power is one of the main factors determining what we can hope to achieve, So just a word to the wise will be sufficient - "Have that get-up-and-go-attitude!” a7yf Pray Fok Mur ts- Seesrne Wate) uicesssay Z) =o = PPP. wnisme <= 7 Rest 10 murarts/ (a ae, BT pS 8 E = =e29 Exauisité Womin- 2) —— Se 2ie pie fe f= = $i ¢ ——— 5 == Wines bide eT ee ee ~ iS 3ee \Sruoy Mo. //) — flay FOR 20 MINUTES - BREATHE WHE) UECESSALY ey = z = YW. sone ee es) es wait a ee a a ee poe sence See OO _ $a as ee £2 4 fet Lest dd mar ed oS a tp | kekisr 30 maltese F _p-SEEES t chy Set )(Sruoy de. 1h) ix Pisy fod 80 Mwures- BlearAg Weal WICEESALY : — ————t <== —— Ss ——— —o ~ WMS AER Mes, ee ee z eine pnp Fp: rete ieee Ir ap. | CR Pe Pi 2 cape a #24 2 £2 S2822e¢--2 01 z= : Se Aisi) — oa) oe ee th * 1 48h 2 t Ft 544 z Ee H = ie : ssf Fok Jo mn,; Pit et t + + Set = Be LP ea eee Hest for 30 muures THew betear Les son) fe 1‘The most important groundwork in Cat Anderson's method is in gain- ing the ability to divide the range of the trumpet into low, middle, high double high, and triple high, I would like to suggest that if you are faithful to the messages in this book, you will be rewarded. The prac- tice of whole notes does wonders for breath control and tone quality in the upper register. It's so important for us to have a goal in mind, a plan of action to reach our goal, the ambition and the desire to mo- tivate ourselves, confidence in our ability, and the determination to succeed, ‘There will be no success in playing a trumpet without com- plete dedication. You can practice the material outlined in this book every day, and still carry ona busy schedule of dance jobs, rehearsals, concerts, etc. Please believe me - after playing these lessons and going to your job to play, you'll find that you're ready for anything. You will feel good and will have @ good attitude toward what you have achieved. 1 get so excited when I'm playing in the upper register that I feel like I'm in a glider plane gliding down to "Riol” I'm sure you get the idea. This is not an orthodox book. This book is based an my concepts and practice methods. I'm not saying that the same thing done another way is wrong. You have a choice, so take advantage and make the most of it, I've had a constant love affair with my horn from the time I fingered the three valves and caressed the shiny metal. It was not metal to me, but more like flesh: so much so that in my various moods I made it cry, laugh, scream with pain, or purr with great satisfaction, ‘The student should learn the importance of "saying something” with his horn by careful planning. Look at cartoons, or perhaps a photo- graph that tells a story, and then put these stories and ideas into music.3 Tes Au Hee) cae ee ae eet Bl Ble Dma cpesseer tu netete. fa) ett Sees OY Gest 0 mi LIts Ac Hee —_ 1)OLOS, COMBOS & HOWTO" FROM GWY BRASS: INE CAT BROERSON TRUMPET MERHOD = DRUMS ‘A FUNKY PROJER FOR THE ROCK DRUNIMER Bows ormoyasa (THESAURUS FO THE JAZ2 ROCK DUNE Dow ELECTRIC BASS FASY ELECTRIC BASS—Conolf Ealog by Kaye ELECTRIC BASS CASSETE COURSE—Karye HECTIC BASS LNES NO. 4 CASSETTE Deemer) ra017/1500 ELECTRIC BASS LINES NO. 1—Koye 6r2041/255 ELECTRIC RASS LINES NO 2-Kaye crz019/395 FLECTRIC BASS LINES NO, 9-Kovo grantg/399 LECITES SASS UNES NO, A-Koye cranissacs PECTRCEASSL 018355 ELECTRIC BASS TECHENCUE HOWTO PLAY THE ELECTRIC BASS— Kove esis JOW TO PLAY THE ELECTRIC BASS CASTE (Dentsottes) CAROL KAYE 8255 PICKS, per coon PERSONALLY YOURS—Kay9 sess GUITAR LAURINDO ALVEDA GUTAR NERIOD— ‘2004 reca/278 renia/3sc0 Jorenick! Jez2 CAETS—Posens corz027/4 IAL DUETS CASSETE= Posies cerz028/9.00 1AZ2 GUTAR SOLCS—Pos cor2024/3.95 {JAZL GUAR PHRASES & 50.08 a JOE PASS CHORD SOLOS Pore rz024/3 JOE PASS GUTAR CHORDS—Paxs 2F2026/8.95 JOE PASS GUITAR STVE—Poss er2022/8 95 JOE PASS GUITAR SIME CASSETE HARMONIC! TOWIMIY MORGAN BLUES KARWONICA organ =f we \ BLUES HARMONICA C Mee AN CHROMATIC HARMONICA. IMPROVISATION wan2/800 aaa co POSS JAZZ MPROVSATONS FOR TREBLE CLEF INSIRUMENTS ES FOR LEAD PSTFUMENTS CH SHOI—Medium Swe PAM esses son sa084750 DUCK HOOK Mean Fast OAC) it JOLEIN. CHE —Madaole Swi Latin (Ea) far Pitre "20234650 PORAR SRAZHIAN NUSIC—Almaida «R202 /5 85 OVS NASA Sow 9b aa KEYBOARD CREATINE KEYBOARD SOUNDS tuto CONTEMPORARY BASS UNES FOR ALL KEYBOARD. SSTRUVENTS Kove ION H RHVTEMS & NSTRUVENT PERCUSSION SEXTEI NO.I~Gokernan FREWDE & 2 DANCES FOR PERCUSSION ENE Cocmran WORLD OF PERCUSSION {HAROBOUND). Renares STAGEBAND PHANTOM Eos (Acianced) ROAIN—fses (termediate. SONY PINS—Estes(Intemedoto) WOODWIND JAZ FUE CONCERN Prao13/20 proornvaso Przota/s0 praor2/3.00, 2070/350 BLE (BF2OT1/9 0 praos/# 50, sna027/950 e2020/109 aana950 _n2e2e/es