Cat Anderson made his first appearance with Duke Ellington at the Earl Theatre in Philadelphia on September 1, 1944. He liad already acquired with other wel known bands a considerable professional reputation for playing in the upper rex~ ister, but in the years that followed, his name became indeliably associated with Ellington's. The pyrotechnics of Trumpet No End, The Eighth Veil, the bright, surface area of his contribition. The nonchalant reversal of the horn at the end of Jam With Sam as he excleims ‘That's the one!” after hitting high note , has been seen by thousands , probably even millions, of TY viewers. His ascension to high Gothic roof in Cathedrals here and abroad has been a vital part of the original Sacred Concert. “That's as high as we go," Ellington announ- ces as the peak is reached. £1 Gato and El Vite were is a native of South Carolina, born to William and Eloise Anderson. lis 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 trombone... 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 says, "AS T look back on the techniques we were taught now, [know it was inadequate: that even the rudiments were not taught properly. I don’t remember tem teaching about breathing ot correct emhouchure, hut the school was run on chazity and the te small, so there was a limit to what could be expected." Cat has travelled to Europe and the Far East at least once, sometimes twice year since 1958 and has played before Queen hy King Hussin of Jordan, Princess Grace of Monaco, and two US Presidents: Kennedy and Johnson. Cat is a far more versatile musician than is perhaps generally recognized. Af- ter tyenty-seven years of working with the Duke, he submitted his resignation and decided to try his Ick wi dio bands in Los Angeles, as this would be ‘a new challenge for him. In only a couple of months Cat had done such stows as Ironside, Laugh In, Longstreet, Mission Impossible, Julie Andrews Show and some gigantic specials, He 1s also a composer, and wrote such tunes as El Gato, Blue Jean the Beguine, How About That Mess, Sugar Loaf and many more.CAT ANDERSON TRUMPET METHOD Foreword .. Study No. 1. Study No. IL. Study No. I Study No. IV.. Look At Me Study No. V. Study No. VI Hello You . Fingerings. . Whole Tone Scale. Study No. VIE Gold Worm...... Study No. VIL Study No. IX Study No, X.... Exquisite Woman, Study No. XI... Study No. XIL.. Look At Me Go. It's All Here. COVER PHOTO: International Copymght Secured Printed in U.S, A. All Ric CONTENTS 21 23 28 30 32 aaa) 35 DORY TANNENBAUM/CENTURY CITY CAMERA & SOUND ops night 1928 by GWYN PUBLISHING C0,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 sce, impatience is the enemy of the player. ‘As you practice - concentrate! 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 aimless blow ng. They must be developed , and it is HOW you practice that counts. Rest as much as you play. When you are ured, 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 suecess 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 onlyl 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 force someone inte 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 C'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Sruoy Ab. ZL) BRERHE wasn UXCPBIEY zs \ Se a a ie Lis oe LO teen gs) i BLE He MELESSALY ae =f Coe a CEE ree meare eric eae Oey? ( hesr fos /0 anwres/ Sear Way semis foe 0 Miksures 5 Noe ~ : —_— No BST +f = ——— a 3 == = =CSruoy Ab. Lh) 2 epee ete a pada a torte = 3 Fey bal da. Geel Ee ae Ee Wigcbseteceteree eter tree = ec eee(Stuay Mb 3) (Peay tow 20 mivuris 4570 065S0d We.) Geraci wit ees —————————— ao — = WP ie WHISPER. SSS Sia (Bay Seowey PSP rd wp > Po > rr > % (aya: Sav ePE Apap POD PoP LPP I aPaIaION fo eres Kast fe 1d thurwtes_/ == hs se ee eee ee pitee ; pee ——— (a oo eeeege= iN 202 2 so mor eee 2 Dood >>> 9, doer ro ar DPR TIT? \ + THis £4500 f0¢ Lb Days /WARMING UP Many trumpet players ask me why 1 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 sceret 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 good. So he 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 te 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 PERSISTANT! Do not give up demands you have made on yourself, If you doy you will never receive full benefits.(Goro oem) if pt * a ee ftp bee aes ae. > ns ( REST JOM AATES bases ogee ee SaeEeS 2 eeekte tesa tl ipeste® Flee 422 - ptt frre f+ I ay es Fat = = ieis (Stuoy ib. B) : 4 fids fobe, AO Minutes fay fee 2 M/AATES « dg a =o F = SE ose = PPP Ceesc’, gs woe . + tT) = ===} KE WHsSPEe Lest (0 meurts/ Peay Tus £xeacist 10. Times f Tas fi 3 a is piyara ois ae cn Ne On ae Sinaia fs = ee =f eee x They owe (a ee (Cay me’ Ly Puen 9 ee eS Ps ct ees cae ‘, — —— = = anna ane (Rest 10 tars / Lar 0 tures)Stuy As. B-Cur/ ; Baw Wis: MERGE S Times us AES h pore? 2s? Ae Tee Baa af) Reise = eee 6a ft Oe bs FE A ele ce #aEEeE 2 = ee Lik pine Ete t€ peeeee 2 =. aS ( et ee eee === = 7 = os» ape ates os Ip20 When you hear a trumpet player complaining about his “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 easy system and YOU WILL PLAY double C's and triple and A's. With my formed ma- terial, anyone can build a fantastic range as I have done, This accomplished by playing every day in an easy, relaxed fashion - no violent physical exercise, By practicing d 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 duwies daily and using the same muscles 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 whe most of each practice session.(Qruay We. 2) x pf May Foe LO Misutés = BREATHE Akal whee Be + z \ Ts 2 fw PE wat ae ee a Bias homie trwutes) (Rest ip miures/ ena a {Rest 1 nue - en is ae == = = 5 : (Rest tod 2 umes ‘See 2 £ #£ be Hee 4 ASruoy_ Wb. Feces fia 5 Trme S t aS hate a ee aS a —————— —_ Sea 2) = ———— ae a ee —— a= ae & ( 2 ee ce 3) ve 3) : at = == —23 \Sruoy ab /0/ Ly Ltd Foe 20 Mnutes - SLEMHE Wilda! NECLSSILY LZ 4 SS PIP cig WHA (Gesr_w “ae! (PLAY fo Temes Count Ww MWD aaa =a — reeeeeake * r : ? 1é oe PP i REST fb myutty)Aruoy Ae. /O- Cor(A Promise) WN Play Fou 40 Majares be bates Wut WECESEALY ) EG Lis z J MP surah = =—S esr (0 musrres ) Siem ay eae ne eee nat ts nd np Pee Tr 1 Tigiee) SSS. Rest 40 mwurts Sefoke EXT céSsod)/(4 Paomise- 2, I ; S foto fet » pee sf25 555. a5 ze SS pete ter, es ee SS SE Trt eerste ett ms = ; A #. MGs e fiese ba fot re If ob (as bose Gi” Ey dey ! oz) f SS — 2 t ea fa e I a v3 f =) 02) fees 2 a E = — A A ha lzWhen a new student comes to me, I first have him play a long tone, so 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 I have a special trumpet. I just laugh and say “No - definitely nol" And some say I have a "freak lip," That's 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. I's surprising how high you can play if you condition yourself te do it, Relax - allow your Lips to vibrate properly, You can play the exercises in this book as many times as you please, and at any tempo you desire, 1 have indicated "Play slowly." One of 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-attitudel” 27» (Plas foe 0 mimares- Beet wata dicessity) —- z ———— 5 PPP. was (Bese 10 mvres/ - : — 3 — ies Nie were, =, os eee SEER Bet 2S [ta : = : me Te ed RES 20 Murgs= ee fe tt pee(Sruoy te. HL) z = =z la Zz We. oan == See /he thay Fok 20 MMT LS - BREATHE Wed) MELESSALY = i S /Oma ae | iilb>. “EL2 aan eae ee dgvtSB_S AGS 2429 3. gush 4 2 #1 Aspceet #2 #52 ¢ ,S8882 f =< chyotuoy bg « =e eS aA —— —— A>’ Tiny fa Ue Windus be = BObAEME LE) HEEESSAE —— 7 = ——— = = f = if nts oe —_ PP = (FRAT mee) BE MO marae 4S Fas foe 6 tunes (Jove BREAD LL tome + ae Sagara (Rest toe 0 stwst bySrupy Ab, 5) Pia foe, dd mulures — Bacardé weed veceseag v 2 == —— 3 j FOR 10 Miwuril = == = 5 eS —— ni 2 = \ Pray (His LESSow foe gd days/(Sruov Ab. 5- cowrs/ Play Seowey a = “Pos > > E = == CS ape an fe = ia f eS SEE eet = Pat Bato) eee Sono a aa. ee ee en a eee Er Ep Eee Ee fe FE: = (Peay foe 2 Bars)Zi (Srupy Vo. 6/ Fo Eee Pay feb do Mutes- Be paTue wit WKCESSALY a z =o ez LE ty : } GENTE SIU oem ee sn Rese 10 wire a & lig = > ta t2 = ft) ———— ee z aT a4 = = ae (esr 10 fares fo. Tk = Piay fe 2 Days,Hero You) af aan es A ELF cy + oe z = +In the “Cat” Anderson System , you finger the notes above the staff as you finger the notes in the staff. Although you can push any valve down for any extremely high note, or play any note open, you must have a system te know where you are and what you are playing. Here is mine:¥ Choe Tome Seaces) a on mn yo foto fo 2% ye oe 2 fe be ieee fale te 2 = 2 te t2 te pete eo ojo tele 2 =a = oe oe etela te # he oe 2 = = be 2 212 ft 2 po te ete = 2 FE iz 4 & Eg ae Sees op yee le 2 Pbee le eit POC eS Aa Bie a a ia ive Mee ales 2 (ei errs —— = = } | =} al Ao Aa Oe iQ 2 2 yf A = ‘ eo be 2 4. = 2 aoe = Pray Foe 5 oars)Sruoy Wb. 7 (Peay foo = Matt - BREATHE waka Weclssaey ( ré 3 = PP Tease (4st 10 mugs (Rar a times % arial I sete sai deee g = Wy | | la(Sruoy de (4h) 4 iar Fok Od Maures- SkAPAL WHEW WECERSALY ————— Wh S REL lah PE ith ~ ratte thy (ae it tks UU est Fok Zo md),=) fy hes for 30 muures Tata) kevear Les Son)‘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. [t'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 sueeeed, 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 on a 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 a good attitude taward what you have achieved, I 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 on 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 carressed the shiny metal. It was not metal to me, but more like flesh: so much so that in my various maods 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 thar tells a story, and then put these stories and ideas into musi= Irs Aue Hebe) ee gecriehe Beal es (Rest 0 ma 4