hale TRUMPET METHOD BOOK 1 TECHNICAL STUDIES intertiee dEaraglochead MY 7 Method Allen VizzuttTRUMPET METHOD BOOK 1 TECHNICAL STUDIES An Intermediate/Advanced Method in Three Books Allen Vizzutti TECHNICAL STUDIES Practicing The Warm Up Performance An Finger Flexibilities Tonguing: Single and "K’ Double . Triple.. Odd Groupings Upper Register and Endurance... Alfred has made every effort to mcke this book not only arac- tive but more useful and long-lasting os well. Usually, large books do not lie flat or stay open on the music rack. In oddi- ion, he pages {which ere glued together tend to break oway after repeated use. In this ediion, pages are sewn together in mutiples of 16, This special process prevents jpoges from falling out of the book while allowing it to slay open for cose in playing ‘We hope this unique binding will give you added pleature and additional use. Copy ight © MCMXC by Alfred Publishing Co., Inc. ‘All rights reserved. Printed in USA. Cover Datign: Manin edad “an Dteolo: Ted EngolbonPRACTICING USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instru- ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying music include: 38 Creative problem solving Controlled concentration Developed motor skills Greater emotional expression eeo Acquired skills in the art of self-discipline Raised social status Creative interaction with other people ®©8e@e Raised awareness of art, beauty and more These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment avai able in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice in three 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technical study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the materi- al to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teach- er. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts ‘on breathing and sound. Most problems will correct themselves. Best wishes and good luck.INTRODUCTION TO BOOK 1 HE PRIMARY GOAL of all trumpet players, regardless of proficiency, should be to play beautiful music with an appropriately beautiful sound. This thought must be foremost in one’s mind when practicing, per forming or teaching. Undeniably, the trumpet is a difficult and unpredictable instrument to play, and it is technical proficiency that enables one to perform with beauty, control, endurance and consistency. As a result, dedicated students o the trumpet often experience a “symphony” of technical phobias. It is my intention in this method to systematically deal with these problems in a musical way through carefully organized technical, harmonic and melodic stud ies and concise text. The secret to constant and quick improvement on the trumpet is consistent daily practice while keeping the fundamentals of efficient breath control and musical artistry in mind at all times. | believe the wealth of studies in this method will prove useful for one’s entire playing career.THE WARM UP oO N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm up. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the mental focus and concentration necessary for making music. The following is a warm-up routine in four parts with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (.e., beauty of tone and utilizing large volumes of air when inhaling and when blowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you are about to play in the most musical and artistic way possible. © Buzz the mouthpiece in the approximate range indicated. The sound should be “fat,” full and without gaps as you slide downward. Keep repeating until there are no gaps. Buzz any- where from a few seconds to a few minutes. Be aggressive and nf Ay demanding of yourself. It is possible to improve your trumpet f sound almost immediately by working on the mouthpiece. For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possible. Be sure you are producing a fat, forte tone.® Approach the following exercises mentally as if playing one long note. Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced—no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well. For additional “loosening up,” repeat the preceding exercise 8va, resting wherever necessary. fess 2 ¥ eres a @ Play long tone exercise #1, 3 or 4 with as beautiful a sound as possible. Start each playing day with the three steps above. Some days may require more warming up than others due fo the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps. Finally, play the technical studies indicated for each appropriate day. In this way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study with a minimum of technical “hang-ups.” It is not necessary to play the studies higher than third space “C” in your warm up, though advanced players may wish to do so. Ideal warm-up time should eventually be 15-20 minutes. @® Monday Technical Study #1 Tuesday Technical Study #2 Wednesday Technical Study #3 Thursday Technical Study #4 Friday Technical Study #6 Saturday Technical Study #7, Sunday Technical Study #8 In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are physically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, the strength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is important to a degree, range, endurance, a beautiful sound and advanced technique as a complete package re based on efficiency of breath control, not brute strengthPERFORMANCE ANXIETY ERFORMANCE ANXIETY (i.¢., nervousness} is c common and natural thing. Players at all levels of cor petency experience butterflies, dryness and other symptoms of nervousness before a performance. Thi goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical control it order to enjoy playing music and play well. Experience is the real key. The more often one performs, the easi er it gets. Take every possible opportunity to perform. Play for friends and family. Casual settings can be o great help when done frequenily. As a useful by-product, the more one performs and is heard, the more likely one will be asked to participate in other musical settings. That is the process through which one rises fo the tor of the music community, no matter how large or small the community. Here are o couple of practical pointers to help you defeat performance anxiety: © Warm up well several hours before performance time to ensure lip suppleness and good response. ® When the butterflies come, don’t resist them, Resistence causes tension. Tension causes playing problems Let the wave pass through your body. Observe the feeling as it happens. Don’t panic. © Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on dry mouth, the sooner moisture will return. ® Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about that later. ® Think musically, not technically, except for breathing. Breathe deeply and project the air confidently through the instrument. This is the one fundamental you should always fall back on when you find your conf dence faltering. © Finally, stay in present time. Don't worry about what has happened or what is coming. Don’t sacrifice an entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beau- tiful as possible. The rest will fal into place. Present time is the key to performing from memory without slips as well.Long Tones 7 Long Tones Dominant 7 Cherd (J=84) Re8 Long TonesLong Tones 910 Long Tones Half Diminished 7 Chord (J = 84) a a = = = BP aS Se a coLongTones 11 Dominant 7(°5) Chord (J = 84) iN a pt12 Long Tones Diminished 7 Chord (4 = 84) a PFlong Tones 13 Major 7 (45) Chord (d=14 Long Tones Dominant 7 (b5) Ascending Major 7 (5) Descending (4 = 84) nfLip Flexibilities 15 Lip Flexibilities16 Lip Flexibilities ds132 ee ee eeeLip Flexibilities 1718 Lip Flexibilitieslip Flexibilities 19Play with and without alternate fingerings. are de 14a 622 Lip Fle: Play with and without alternate fingerings (Nos. 8, 9 and 10} J=108 i— bufLip Flexibilities 2324 Lip Flexibilities Play with and without alternate fingerings (12 and 13) | detos_ 3 i 12 a oe.Lip Flexibilities 2526 Lip FlexibilitiesLip Flexibilities 2728 Lip Flexibilities d= 100 22 nf30 Lip Flexibilities me etEtude J = 108 24 mf32 Technical Studies : Technical Studies The following studies should be practiced tongued as well as slurred. Bang the valves down hard! This will promote accuracy and rhythmic clarity, Do not be put off by difficult keys. Have the self-confidence and discipline fo work on them. They will gradvally become easier and easier, Tempos should range from very slow to as fast as possible. Use a metronome to promote evenness ‘and to document progress. Major a pf rg sars CTTechnical Studies 33 a34 Technical Studies Minor pntTechnical Studies 3536 Technical Studi Whole Tone p-nfTechnical Studies 3738 Technical Studies Diminished p-mfTechnical Studies 3940 Technical Studies Technical Etude (J = 120) Oe Se ee eee aapTechnical Studies 4142 Technical StudiesTechnical Studies 43| 44 Technical StudiesTechnical Studies 45 Whole Tone pont46 Technical StudiesTechnical Studies 47 Technical Etude (d= 120) —— samt Sere48 Technical Studies Major 10 3 pon & a Se wi ee NY OR SCRE teTechnical Studies 4950 Technical Studies ponfTechnical Studies 5152 Technical Studies Whole Tone a boat % aTechnical Studies 5354 Technical Studies Technical Etude (J = 100) 13 = =Technical Studies 5556 Technical Studies Major '?F 15 p-nf ee — Se Sor sae eSTechnical Studies 57 Miner $= __—__, 16 anf Be SS eee58 Technical Studies Major 17 poofTechnical Studies 5960 Technical StudiesTechnical Studies 6162 Technical StudiesTechnical Studies 6364 Technical StudiesTechnical Studies 65 Technical Etude (4 = 120) 19 nf66 Finger Flexi Finger Flexibilities | Bang the valves down firmly! J=12068 Finger Flexibilities J= 100 Play three times a 3 ftw ti * dpe 5 Play three times Swart wee Oe simile > ¢= 100 Play three times Play three times > simile A Ba Sh a Se tee ose a Rie eS ae we oe a Z A Se eeJ= 100 Play three times ft Play three times # See ee Big?s*s* bp Finger Flexibilities 717274 Finger FlexilFinger Flexibilities 7576 Finger FlexibilitiesFinger Flexibilities 7778 Tonguing r Tonguing Work with a metronome to promote evenness and clarity. Five to ten minutes work every day is the best means by which to gain speed and coordination. Practice double and triple tonguing very slowly as well as very quickly. Single and “K” Tonguing toe et EDF HET eT, TRLT ENT PP TETTonguing 79 mf TUTTT TTTTTTT TT TTTTTTT simile a80 Tonguing Single Tongue Etude Try tc develop enough speed to play this etude in one breath, lise SeTonguing 81 F 3 The “K" tongue should be practiced alone in order to promote clarity and evenness in double and triple fonguing. Try to make it as clean sounding as the “T” tongue and be patient as the “K" tongue may sound bad at first. simite mf K KKKRKK KKK KKKK82 Tonguing Double Tonguing Slowly (4 = 108)Tonguing 8384 Tonguing ——— 15 BE [ES SSTonguing 85 Double Tongue Etude (= 144) >> > 17 ft86 TonguingTonguing 8788 TonguingTonguing 89 Play three times 24 nf Play three times90 TonguingTonguing 9 Double Tongue Etude (d= 160) 25 Ff92 TonguingTonguing 9394 Tonguing Play three times 28 nf Play three times Play three times 29 Play three times Play three times 30 Play three times Play three times 31 Play three times 32 = Play three timesTonguing 95 = = ¢ = Double Tongue Etude (J. = 100)96 Tonguing Triple Tonguing 36 PTT KT TRTT KF PROT T ROT IT 3 2 2 simileTonguing 97 aft TK PERT: MEET ORK 1 TAT Le TAKER, DOT AR AS simile 38 mfpeeet TUKT TTKT TTKT simile98 Tonguing 39Tenguing 99100 Tenguing 3Tonguing 101| 102 TonguingTonguing 103104 TonguingTonguing 105 54 mf TIKTTKT TKTITKT TKTTKT simile106 TonguingTonguing 107 Whole Step-Half Step Scale nf108 Tonguing mf KTTKT KTTK T KTTKT KTTK simileTonguing 109 Triple Tongue Etude (J. = 200) 62 nf110 Tonguing Odd GroupingsTonguing 111112 Tonguing mf TRUKTKTRTKTKTKTKTKTK TKTKTKTKTKT z 5 5m 65 TKTKTKTKTKTKTKTKTKTK Simile 5 5 a > a 5 o o *Be sure to play the quintuplets evenly; not in groups of 2 & 3 or 3 & 2 as in the previous section.Tonguing 113| 114 Tonguing simile 69 3 o & FUR TKRT KT KTKT RK TK TK TK TK gamit 5 = 75 Tonguing116 Tenguing ny ry kK oT simileTonguing 117 TK Diker veer tke simile118 Tonguing 75 mp TK TKTKTKTKTKTKTKTKTK OT 5 5 a simileTonguing 119 vee Etude in Quintuplets 5120 Upper Register and Endurance Upper Register and Endurance The essential elements of playing in the upper register and having good endurance are the same elements tha insure a beautiful tone and flawless technique. They are proper air speed, large potential air volum« projected through the instrument and efficient use of the air column, never over blowing, not under blowing In practicing the following studies breathing should be deep, mouth and throat forming an “Ah” syllable, as i you were about to step into the deep end of a swimming pool. Take care, however, not to constrict the throat but rather to hold the air in with the throat open. Don’t breathe high in the chest or a constricted throat wil also result. Push from your diaphragm and take great care to avoid too much lefthand pressure or righthane finger ring pressure. Too much pressure cuts blood flow to the lips and will reduce your range and endurance without faill Any lip cuts or soreness indicate too much pressure. By the time a player is advanced enough to work in this method, the embouchure is set and strong, i.e. firn corners and relaxed in the middle. Embouchure strength, although certainly important, is overemphasized ir playing in the upper register. Practicing daily out of this method will guarantee embouchure strength Furthermore, one need not have a textbook embouchure (50/50 top/bottom and in the center) to play well We all have different dental and facial constructions. | know fantastic professional players, some of whom play upstream, some downstream, high, low, and off to one side. Focus on breathing in and increasing ai speed through the instrument to improve your upper register and endurance. Please be patient ond with practice improvement will come. Low notes and pedal tones should be approached similarly. Use relaxed embouchure corners and large amounts of air, produce a full sound, and take great care to play them in tune. Pedal tones (below low F sharp) are not particularly prety and are difficult to produce. Slide, slur or arpeggiate down to them using the normal fingering for the appropriate notes. Experiment until they become familiar. Play them loudly. The value lies in improved physical and conceptual use of the air. As with any playing problem, seek the help o a trumpet teacher whenever possible. In order to obtain beneficial results without suffering unnecessary setbacks, please observe the following pre. requisites for upper register study: 1) You must be able to play a comfortable high C. 2) You must be familiar with and able to produce pedal tones (below low F-sharp) 3) You must be able to play the halftone bends in Exercise | easily. Slowly Bend (lip) to notated pitch without changing valves. ‘ ——Upper Register and Endurance 121 Slowly Rest wherever necessary. Do not force! Not too much pressure! nm a 2 As rt ee - poe ft122 Upper Register and Endurance Glissando or rip smoothly, sounding all of the harmonics in the octave, no half valve. The glissando wil insure proper breath support of the upper note. Do not linger on the top note. Stop wherever necessary. genes Sy 2 Ho 9, 6 9 be » te 5 oe: = nf a b by bp. Play the following at any time to relax and revitalize the lip. Play three times 7 EM de a i : if Play three times124 Upper Register and Endurance Fast Do not go on until upper notes of exercise you are playing are easily played. nf simileUpper Register and Endurance 125 a126 Upper Register and Endurance Do not use left or righthand finger ring pressure to perform upper register lip slurs. Use air and control, ie., finesse. | 10 Play the following at any time to relax and revitalize the lips. a iW &b— a———! BbUpper Register and Endurance 127 > Play the pedal tones with regular fingerings. a 13 Medium to Fast u&% np Bee Sho he + he b, by128 Upper Register and Endurance ft whe ob A vrs tht thet g$16.95 in USA Finely tuned wind, easy contol, polyharmonic wi, orchestral penmanship, ppunciuated spiritual worth... Rarely do so many qvoltis find themeavas in ‘one msicion Chick Corea Hitch your wogon to 0 sar, Doe Severinsen ‘bod biting Co, he. 16380 Raee> Bhd, FO Bax 10003 Van Ns, CA 914100003 Wile growing up in Montana, Allen Viazut wos gucsd by his faber,o cle {aught musician and trumpet ployer, to performances of viduoso literature, such as the Hoydn ond Hummel concertos, the Carnival of Venice and Hungarian Dance No. 5. By the age of 16, Allan won he concerlocompeiion and wes aworded first choir in he Werld Youth Symphony (Orchestra at nteriachen, Michigan Allen earned 0 BA, MM. ond Pecformer's Certificate from the famed Eastman School of Music in Rachester, New York. He was the only wind or percussion player to have been awarded the coveted “Arts’s Diploma" inthe schoo!’ history. As frst rumpet withthe Eastman Jazz Ensemble, he wos choson “Best Trumpet Soois” ot he Notre Dame Collegiate Jazz Festiva. By his sophomore _yeor, he wa: o regular member of the Rochester Philharmonic, the Rochester Chore: Orchestra, the Chuck Mengione. COrchesiro nd the only student in tho Eastman Brass Quine faculty touring ensemble, Equally 0! home in a mulitude of musical Idioms, Allen hos visited 30 countries ‘2 perform with o rainbow of arists ond tenvembles, including Chuck Mangione, Woody Herman, Chick Corea, the NBC “Tenight Show Band and North American lotchesias in Phoenix, Rochester, Bufo, St.Louis, Miwoukee, Edmonton ond Honolul, to nome a few. People in Germony, Poland, Englond, ‘Sweden, Braz, Canado, Jopon and the United States hove all heard his biliant sound over the sirwaves of national television. Allen's growing sats at an orishas led fo sole performares ct the ‘Aspen Music Fsival, Banf Center for the Performing Ars, Iael Music Festival, Vevcouver’s EXPO '86, Monveoux Jazz Festival, tive Under the Sky” in Japon, Teton Music Fsival, nterational Trumpet Guild, he Hollywood Bowl, Carnegie Hall, Newport Jazz Festive, National MENC, TBA ond IAI ‘While living in loz Angeles, he performed 0 100 motion picture soundiacks {such 105 Book othe Future, Stor Trek, The Sle: Stolion, Rocky I, Po'ergeist I, FireFox, ‘Sudden Impact, 10, Under the Cherry ‘Moon, Broodcat! News, The Electric Horseman ond 1947), ond countess lelevision shows, commerciols and record ‘albums, with such sors a: Fronk Sinatra, Barbro Streisand, Prince, Nell Diamond, the Cruse, the Tonight Show-Band, four albus svth Woody Herman and three albums with Chick Cores, Allo’ sco jazz recordings includ Alen Viz Te/ted Fl, Red Met {ovcicbe on he Binge label, vein ‘Monte wih he Eostnon oz Ensembl, Roinbow (lease in Jopan and Sweden and Double Focus, 0 dowel jozzmistire rlosed in Jopol. Hi clonal sol ectings nce Tho iyo lon Vizzoi (Golden Crest Records) and Boroqe ord Beyond (C38/ Sony Reror in open His lates recording, High Class Brass, is © unique classical /jazz mindure coproduced, writen and performed with Jo Tyzk and the 90-piece national repertoire archetra of the Keystone Music Festival (oviloble frm Prophecy Records, 102 Westlond Avenue, Rochester, New York, 14618) Allen's love of expresion through compos fon has lod to world premiers bythe Los ‘Angels Philharmonic, Phoenix Symphony, Rochester Philhormonic, New York Philharmonic ond the Toright Show (Orchestro, os wall es recorded works bythe Royal Phihormenic of London, the Woody Herman Baad, the Summit Brass and the London Symphony Orchestra. In fat the Tonight Show Band elbum (eating Doc Severinser), coproduced by Allen ond fellow trumpet ons Jef Tyzk, wor the Grammy Award for tho “Bos Big Bond Recording” of 1986, ‘Alle’s continued intret in education and the value of music in daily life has led to on extensive schedule of concerts and clinics ot Universitas throughout the United Sites, CConeda and Jopan, in both jazz ond clossical idioms, ‘Allen Vizzut performs exclusively on the Yomcho Bat, C,D, Eft ond piccoke trumpets, nn 08:1