TRUMPET | BY MICHAEL DAVIS with performances by PHIL SMITH BP SAENGER Ini i | | | | contents INTRODUCTION ... 1 AIR IT OUT. 2 SOUND 3. TONGUING 4 EXTENDED SLURS 5 BASIC FLEX 6 FLEXING THE STH... 7 INTERVAL FLEXIBILITY 8 BROKENTRIADS .. 9 OCTAFLEX 10 INTERVALATTACKS 00... 11 STH CONNECTION 12. CHROMATIC 4THS 13 SUPER 9THS 14 CONTROL 15) PEDAL POINT. BIOGRAPHIES PHIL SMITH —sranpet MICHAEL DAVIS—Aeybcardi SHAR] FEDER eyduands and programming cower desigye ANNE DEMARINS track numbers fect pereine pth 16 2a7 SAS 419 621 722 - 924 1025 11/26 1207 19/28 . 1429 15/50{ \ i | I | i | i ) | | introduction Welcome to the 20 Minute Harr-Up Routine. This bool/CD i designed to give you 2 daily routine that will do move than just wast you up. Irwill challenge you and enhance your skills as a brass player. Thope you find these exercises to be a creative and inventive way of focusing on the most important elements of brass playing: sound, time and pitch, As you will notice, the 20 Minuer Warm-Up Routine is 2 more advanced set of exercises than its predecessos, the 75 Minute Warm-Up Rouzine. If you're like me, you'll find it advantageous to alternate between the nwo routines. On days when my chops feel fresh and J want more of aworkout in my warm-up, I'll use the 20 Minute Routine. On days when my chope are tired, perhaps rom a long gig the night hefore, 1'Ml opt for the 15 Minute Routine. In general, find it beneficial ro vary my warm- up. These nvo routines will give you that flexibility. For those of you who have been using the 15 Minute Warm-Up Restine, wwe heave structured the 20 Minaie Werm-Up Routine in a very similar way. ‘The first 15 tracks will include a demonstration of the exercises by cither Phil Smith (trumpet), Chris Komer (french horn), myself (trombone) or Gene Pokorny (tuba). These tracks will give you a model or guide ro ‘work from. I find these demonstration tracks to be an extremely valuable point of reference, Tracks 16-30 are the same tracks as 1-15 minus the demonstration performance. These are the trucks you will spend most of your time practicing wich. I believe by playing along with this CD, you ‘will increase the productivity and enjoyment of your daily routine.You will notice char there are no dynamic snarkings in this book. This is done for a very specific reason. J believe it is important to vary the dynamic levels in your warm-up. It is vital that we as brass plavers be able to play in time and in mune no matter what volume we are playing at, Additionally, I find that when my chops are tired, a softer warm-up is, more beneficial, Conversely, when my chops feel strong, 2 louder warm- up can be more helpful. The lack of dynamic markings in this book should encourage you re add as much dynamic variery to your warm-up as possible, Lastly, 1 would like to emphasize how important the use and velocity of our air stream will be in playing these exercises. Although J have indicated where breaths should be taken, these are merely suggestions. FEEL FREE TO BREATHE AT ANY TIME DURING ANY ONE OF THESE, EXERCISES. I would much rather you throw away 2 couple of notes, and maintain a good fall sound, then eek oat notes with a less than desir- able sound, Especially for Taba plavers, the theme of this book is breathe when necessary Michael DavisTrack 1/16 Air It Out 4 CLICKS IN FRONTTrack 2/17 Sound 4 OLieks IN 20NT o=6b ) : a oe durack 3/18 Tonguing 4 auicus IN eeONT o=87 2 & #Track 4119 Extended Slurs 4 CLICKS IN FRONT 280ie aTrack 5/20 Basic Flex 4 CLICKS IN FRONT #400 eeTrack 6/2 Flexing the 5th 4 OuIeS IN FRONT o=% 3Bmara Interval Flexibility 4 QUICKS IN FRONT o=8 —Track 8/23 Broken Triads GaLious IN econ e805 PeoTrack 9/24 Octaflex CLICKS IN FRONT o=84 ee eeeTrack 10/25 4 CLICKS IN EOONT oT Interval Attacks d poe = > > > > Ce Se 2 = + + = ee == te > > = > > s oe ie o- = seat == — = e 2 i Sete > 2 > Z aS ce = : 4 Ge SI ———— ties) a l - be —— SSS SS Zz =t SS ? ; oe 2 b> > be : ee. 2 : = oeTrack 11/26 5th Connection 4 OLieus IN FEONT et _ pe te he de im & 5, = : or Lt 19i : 3S 2 4 & 2 ‘ 7 &Chromatic 4ths Track 12/27 4 cuicks IN FONT eM — —— bo. pi Tg geet ee i Gone = Se, E ba ie +f St Ss be ITrack 13/28 Super Oths 4 aLicks IN FRONT e006 ——eas Control 4% CLICKS IN FONTTrack 15/30 Pedal Point This exercise can also be played as written 4 OLleus IN FOONT en Bye THEDUgHOUT Seer eee eat eeeeeeeeeeeeeeeea g | = = 2 ——— 3 eo o e 5 ——————— $ = = =F at eo bo| | | : | t biographies ‘Trombonist-composer MICHAEL DAVIS docs it all, Hailed as one of today's premier instrumentalists, he has established himself as a Btst-call sideman, both in the studio and on the concert stage, for the entertainment world’s biggest stars, including Frank Sinatra, Tony Bennett, Bob Dylan, Michael Jackson and the Rolling Stones. In the field of music education, he has served as a clinician esteemed instrac- around the world, while also authoring 2 number of high! tional books and band arrangements for musicians of al ages and abibities For the past ton yeats Davis has been forging ahead es an entrepreneur, with Hip-Bone Musi, « growing business that presently handles his publishing activities and work as a recording artist. Dedicated ro inereasing the popularity and stature of brass instraments and emphasizing “how hip, cool and fun it is to play music,” Davis said Hip-Bone Music is ser on expanding its educational focus and making it a viable avenue for other brass artists. ‘A native of San Jose, Californiz, Davis received his musical training at the prestigious Eastman School of Music in Rochester, New York, Upon graduation he hooked up with the Buddy Rich Band for a rwe-year stine that brought an immeasurable amount of bandstand experience and a wealth of professional friendships that continue to thie day. He settled in Manhattan in the mid-1980s and before long was being regarded as one of the top trombonists around, As testimony to his versatilcy and wide regard, the list of jazz and pop luminaries he has worked with over the years reads like a who's who: Sarah Vaughan, Sting, Harry Connick, Ir, Beck, Branford Marsalis, Aerosmith, Bon Jovi, Shery! Crow; Lyle Lovert, Terence Blanchard, Bob Mintzer and scores of others. A multiple recipient of awards from the Nasional Endowment for the Ars, Davis maintains his own ja2z groups and projects 2: well. Through Hip-Bone Music, Davis has documented his efforts on five solo CDs— Trumpets Eleven, a showcase for L1 virtuosic trumpet masters; New Brats, 2 meiding of jazz and classical brase styles; Brass Nation, a gathering together of 35 of the work's greatest brass players; Boncfowan, a pairing of Davis with LA bate trombone maestro Bill Reichenbach; and AAsolute Trombone, yet another musical conclave, this time with 18 New York City-based trombonist. Acknowledged by popular musicians, fellow educarors and audiences around the orld 28 an immensely talented musical artist who's committed to setting the highest standards possible for bath jazz and his instrament, it is no wonder that legendary Rolling Stones drummer Charlie Watts was moved to comment, “In this ‘bone-dry’ era, itis essential to have Michael Davis aroune.”PHILIP SMITH joined the New York Philharmonic as Co-Principal Trumpet in Ocrober 1978 and assumed the position af Solo Principal Tramper in June 1988, His early teaining was provided at The Salvation Army and continued under the tutelage of his father, Derek Smith, himself 2 renowned coxnetist. He is a graduate of The Juilliard School, having studied with Edward Treatel and William Vaechiane, former Principal Trumpet of the New York Philharmonic. In January 1975, while silat Juilliard, Mr, Smith ‘was appointed to the Chicago Symphony Orchestra by Sir Georg Solti, Me. Senith by former and appeared regularly as soloist, recialist, chamber orchestra per- jcian, He has heen featured as a soloist with the Philharmonic performances under conductors such as Zubin Mehta, in more than 7 Kurt Masur, Erich Leinsdorf, Leonard Bemstein, Neeme Jirvi and Barnwell ‘Tovey: He has heen 2 guest soloist with the South Dakota Symphony, Edmonton Symphony, Newfoundland Symphony, Columbus (Indiana) Syphon, Pensacols (Florida) Symphony, Hartford (Connecticut) Symphony, and Beaumont (Texas) Symphony, ‘An avid brass band enthusiast, Mr. Smith has been guest soloist with the United States Army Brass Band, Goteborg Brass (Sweden), Black Dyke Mills and Ridged Containers Bands (Brittin}, Hannaford Steeet Silver Band and Intcada Brass (Canadal, and numerous American and Salvation Army Brass Bands, He has also performed and recorded with the Canadian Brass, Empire Brass, Chamber Music Society of Lincoln Center, Mostly Mozart Orchestra, Bargemusic, and New York Vircaos) Chamber Symphony, His solo recordings include My Song of Songs with the New York Staff Band of "The Salvation Arsny (Triumphonic); Copland’s Quiet Ciey (Deutsche Grammoghone); News Vark Legends (CALA); Orchestral Excerpts for Trumpet, (Suinmit}; Ellen Vaatfe Zwilich's Concerto for Trumper and Five Instruments (New World); Bach Brandenburg Concerto Ne, 2 (Koch); and Walton: Fagade (Arabesque). For clinie, concert and commission nformation or to order a free Hip-Bone Muse eataloge «all toll frce at 1-888-633-BONE; few at 212-769-2155 or email at: bip-bone@nycrrcom Visit ous website avs www.hip-bonemusie.com Ze www. bip-bonemusic.com 7