(ol-A4 lou. 2 MAX SCHLOSSBERG DAILY DRILLS AND TECHNICAL STUDIES FOR TRUMPET si M. BARON Company, INC. RON CICERO MUSICFrom Symphony, Cctober 1948 Notes on the Schlossberg Method by Aarny Preistadd ‘Twelve years ago this month the world lost one of the greatest teachers of alltime, and the finest of all teachers of the trumpet. Max Schlossberg, as much beloved as a person as he was a musi- cian, played with the New York Philhar- monic Symphony for twenty-six years, Joining i in the regime of Gustav Mahler, ‘and spending his last days under the ‘baton of Toscanini. His even greater name asa teacher is proved by the fact that Schlossberg students now occupy first chairs in many of the major orches- tras in the country ‘When a new pupil came to Schloss- berg, he would first have him play “long tones, so that he could judge immediately ithe Student had mastered the two most Important, though elementary factors in playing the trumpet. These factors are correct breathing and correct attack. ‘Together they govern the quality of sound, the control of phrasing, and the ability to execute technically difficult passages. The most important groundwork in Sohlossberg’s method was in gaining ability to maintain a steady flow of airinto the trumpet for the duration of a note or phrase. Itis also important inthis phase, he said, to gauge the amount of airneces- ‘sary to execute a particular passage, and rot to inhale an excess. An excess of air in the lungs and too frequent intakes cause a feeling of suffocation and conse- quent breathiness in the tone. ‘The air in the lungs, supported by the diaphragm, presses against the tongue, the tip of which les against the upper teeth. The air is released into the instru- ‘ment as soon as the tongue is withdrawn, ‘andthe tone is determined by the number of vibrations produced. ‘Attacking or striking the note, as this is called, is the second most difficut phase if one desires the resulting tones to be clean and steady. ‘Schlossberg’s method for developing ‘a good attack was to divide the range of ‘the trumpet into low, middle and high sections, assigning the syllable Ta to the low register, Tu to the middle and Tee to the high. In order to produce the tone, @ firm lip position, or embouchure, must be taken and never changed or dropped throughout the scale, The only movement fof the mouth during this scale is the pro- ‘nunciation of the syllables Ta, Tu or Tee, which permit, respectively, an open tone, ‘a semi-open tone, and an almost closed tone. The changes in vowel sounds cause ‘a change in pressure upon the instrument —the greater the constriction of the ‘embouchure, the higher the pressure and the note. One of Schlossberg’s most useful drills for practicing the foregoing re- quires the student to proceed rapidly from the Ta to the Tu, and from the Tu to the Tee registers. (The Schlossberg drils are unexcelled and all are pub- lished) | find that it Is possible to play ascending intervals legato, by using the syllables Ta-ve, Tu-ee, Tee-e — and in descending Te-oe, Teo-u, and Tee-2. By observing these rules the player will avoid incorrect slurring. If a trumpeter found it necessary to change the lip po- sltion throughout a performance, it would be impossible to execute swit passages or maintain a uniform tone quality throughout the scale. ‘The consonant T has been used as the example throughout this account. However, it must be added quickly that T is employed only in loud of explosive passages. When the score calls for a ‘soft tone, the player places the conso- rant D before the appropriate vowel sounds, The latter, however, remain the ‘same in both forte and pianissimo pas ‘sages, and the position of the lips is similar in both cases. Harry Freistadt played first trumpet with the CBS Orchestra for many years fand had @ long association with Max Schlossberg, first as a pupil and then {85 a son-in-law Schlossberg was a musician of great stature. The number ‘of his puplis occupying fist chars testes tothe caliber of his teaching, He PetoMax Schlossberg Max Schlossberg left more than the manuscripts upon which DAILY DRILLS AND TECHNICAL STUDIES is based. He left a battalion of pupils whose position in the front rank of American music offers the most concrete evidence of his ability to impart a measure of his mastery of the trumpet to the ambitious student. Born in Libou, Russia, in 1875, he received training at an early age under men like Marquard, Putkammer and Adolph Souer at the Imperial Conservatory of Moscow. He then studied under the fomous Professor Kozlic in Berlin. While conducting the ‘opera in Rigo he married. He toured Europe ‘as soloist under Nikisch, Weingartner and Richter. In 1910, he joined the New York Philharmonic Symphony, where he remained for twenty-six years until his death, September 23rd, 1936. Soon after his arrival in the United States he became a member of the faculty of the Institute of Musical Art and later the Juiliard Graduate School. His infinite patience with the idiosyner. stituted, perhaps, the true expla ias of each student, rather then rigid method, con- ion of his uniform success as a teacherThe daily drills constitute an outline from which it is hoped the basic principle run- ning throughout will be grasped by the student, selection of drills. The player should always choose only those drills which he has the capacity to play. THE DAILY DRILLS The book is subdivided into eight parts: Vi. Vil. vill. The daily drills should be played approximately twenty minutes with short rest periods after which the student should be ready for more concentrated work. Long Note Drills . Intervals . |. Octave Drills Lip Drills . . Chord Drills . Scale Drills. Chromatic Scale Drills Etudes Judgment must be exercised in the . Exercise No. I1— 37 "38. 48 "49 58 Sy oe 69 "70 88 " " g9—115 ” 116-128 "129-156 The player should select @ few drills from each group daily.INTRODUCTORY NOTES By Max Schlossberg 1, wa have ifs three valve mechanism which is manipulated "ight hand: In all, there are seven potitions which enable ster. To simplify the playing of the trum Oy eee Be fide fingers of H the student to ploy every note in the These are subdivided as follows: i 1. The first potition is called the open position. It is played with- £ Zc =f out the sid of any valves. The following notes are produced: = C.G.CEGC. Th if a Se x posit exactly matically, It is produced by the second valve resulting in B, Fy, B, Dg. B. i I. The third position is produced by the aid of the first valve = alone (exactly one-half tone lower) Bb, F, B° D, F. 1V. The fourth position is made by pressing down the Ist and 2nd & x valves simultaneously. We then have A, E, A, Ch. &, A. V. The fifth position is made by pressing down the second and 4 é be third valves at the same time. We then have A*, E*, AY CBA. a VI. The sixth position is made by pressing down the first and third = valves simultaneously, producing G, D, G, B.D. G. n is made by pressing down all three valves Z ev Vil. The seventh posit simultaneously resulting in Fi. C3. Fi, Ag. Cit. Fa. Before any actus! instrumental practice is begun, the mouthpiece must be played Joos ee ther ding and sldccate form arorcses from concer @ t0 Ce One-thi mouthpiece should be placed on the upper lip and two-thirds on the lower lip. The following mouthpiece drill should be played deily: | 2 2 z z + ef = uty tu tu tu ta tu uw tu tu : S| SS e - te fe 2.2 EE Ss en aeuea te ue a e¢ a e 2 e@ {hn broathing. breathe only through the comers of the mouth without displacing the emboucht ° rough the comer: ul isplacing the embouchure, aa ng higher register, the simultaneous use of the ae bork of tthe lips and cheeks importance. same muscles is essential.I Long Note Drills wend am yd te A) ee md AD mdm mw a2 3 = = . = ae P omy ste mr temas HD my EB my ON my SUED 9 = ee 7 ES = = P 4 = =— => => = => => = 2 2 2 2 2 ee pp ty - 22 See SS SSS = a Cap © 1591 Conga, cope ieee MMA Coen cats tai a nnber ear Ty Copyright € Renewed 1965 by M. Baron Company. New York Intemational Copyright Secured, All Rights Reserved, Printed in USA23 9 4 aes29) we 9m 8 2 10 & P ~~ A ‘ x. ' we 28md ” “Beginner Play tet 4 Bare of tach group and continue chromaticly20 nf == a 12 = a as a aa a san a “18 Entire exercise to be played A,B,C, D, (K, staccato)7 S§——$<= simile simile © nF sinale we be ST tee a +028 also to be played staccatoi ACA, vy eal aaa ee‘ z : z oy a z Z ———2 30 as 3 = raat A = b, 3s ~~ A cs Very slow and soft te 31 — intl Wetinet + A-Bnotes legato SF q Be atl Legato baAndante gy dolce10 + B-Two bars legato (' + A-Two notes leguto aa 36 A Ov =~ rarjation 1 = ‘ to : = z z =z = = — fz Variation 1 * Exercises 36 Aand B should be played in all keys ws well as the different variationsSlow simile Moderato 38: _/ PP we PP i Allegro con spirito 40 "To be played in as many keys us possible + To be played staccatoAlso to bo playod staccato Ne.. : II Octave Drills simile simile Note; Part B of drill 61 to bo played in lower keys oot —_on Waltz Tempo 2 +52 P Va t— simile as — — Moderato Presto St *Note drill 62 to be played ehromatically lower and higher= 16 Moderato 54 FF Slow> = = SST 55 0 SS = ee Mercato z ® SS SS Modertof 3 SE SE $2 570 D) ® +® +® simile a= 5 BS ee = SS = = a S= co 7 sinile NM "To be tranoposed to allhigher trumpets, + To be transposed to al ower hey, NS SQSH File simile P > & te simile, f ft tp ye __¢_ite _¢ ts _£ £, 3 Fae if = =p we oS Se aS = . + No 67 tobe played in lower keysNariants 1 @ > —® IV Lip Drills = Moderato 59 = 4 - P Se a} = ee a a eS “Bach phrase legato, then the entire bar legato under one breath7 0 f simile Presto 133 +63 a = ‘Each phrase legato then the entire bar legatounder one breath + Alto to bo played staccatogp SS * The entire drill to be played legato under one breath oe= PS es. a - fiePeepe leis tp te} -- ztete pf Fer E fe = 4 ‘amie 7 fiV Chord Studies *TOSTLA- Two notes legato B-4 notes legato C- all legato +72 A-Ist note staccato 3 notes legato B-3 notes legato, last note staccato24 (og | is simile Molto staccato, 76 5 | simile == ames fimile —<$== —— = beer Tha25 Presto 7 B a at molto staccato 5 a fe SS Ble simile Fimile Moderato 80 * simile we ‘Sempre staccato + To be played in (A) trumpetof Moderatosinile + 86, 87, to be played in (A)trumpetLD VI Scales ® Cfmaj Dmaj simile =Tit Fro a He SS ae Mee i jee30 & eS $ eH Se. fit «GE 2 mf molto staccato oe oe simile*94 Play chromatically lower95 = + P— fF ee Se simale * Ty be played in lower keys a34 Moderato nf molto staccato simile + To be played in A trumpet half tone toweri Sete ee So emile Moderato 99 Sempre staccato ~~ simile "To be played inC Trumpet 1 tone higher36 simile C$ maj 101 7 Daj Eb iia) Emaj Sinile F maj Phas Ama Bhmaj"To be played staccatoSS fe. efe {—= eS iedes Fras —— == Ga aa”71S ppp petteaes — = ——=40 + Also to be played in keys not mentioned a 106, a ———— — capeetit = ajAndanteVivace imag “mile Emaj Variant for Bx. tn C maj48 ve — = Veeiant for Sj“ VII Chromatic Scales Allegro vivace Weaxs tay Ame | Allegro Nz Variation pt kat——— ” Also to be played octave lower JSew $$ c ate oe _—_ 9 Ga 123 = oA dpe ete == a oe aPresto a beheteelag! wiatateig'si#?*ltipipaasion = ; 7 t t Tt tttt Ene lenee eae oieiattelase: ' el SE fe tittetesbessss =48 Presto — EEE @. : ee _————— —- ty - fat 128.49 VIII ETUDES otal ppg Pag tt ESS Allegro 0s =. ee| i i 50 Moderato ~ 131 = 2 Allegro moderato 132: maito staccato sinite “Fs Presto Allegro assai 135 simile51 Allegro 188 wll sintle Allegro Variation 5 = SS 1 hi tka aw52 Ses ce simile Variants 1 2 Allegro i 1389: ‘simileAllegroPresto simile simile f 2 simile 143 | | | | oS : simile Presto i444 simile STEIN ysimile 145:= 7 Rie t, aH é testes aise cise ce, gee i Andante (in 6) 18. ? Se Tee Gon Foie 5 oS Molto staccato ao PP = Molto staccato PP a = y> Lg PP zs *Play each bar in halftones up & down87 Alla Marcia Sf sempre staccato simile + i 1 M s) od 2 Allegro 152 Feengre sacato simile 2 £ 2 Alla Marcia 153 & (s « pp simprestaccato 2 simile58 sempre staccato stile * . bp £, Sete te eee Se Molto allegro 15: anf tony staccato Ss > simile fit EFor Albert M. B. Richard & MAGNA CUM LAUDE g POLONAISE DE CONCERT TRUMPET in Bb tor Trumpet and Piano p BARON Andante maestoso J = 94 zt BARON Pram Musigues de Chambre Nes if of in tempo © marcato 2 en Copyright © 1988 by : International Copyright secured M BARON Co. N.Y. All rights reservedgre VARIATIONS ON "GREENSLEEVES” (XVI CENTURY) yes for Trumpet and Piano TRUMPET in Bb Andante romantico 2-96 eee bla! BARON Musiques de Chambre Neg — eS a £ op aoe OK all aa omen iJ 3 ea sioms =——_ as Smee ett e a Ech . 2 RF placere poco ucce! dima tempo pl. tento mie io ll * = as a aie Ba ae Sa ee Fan Ep dolee ——— Tr poco accel atlarg dim fEmP0 py impetunse tanga 4 oli rit —_ SS OSS —sf=— F a Da tempo TEMA con malineanio a mal ——— ome —S= ss = af o-oo = Sa z A — = a ef — P= ee uO oe Printed m USA.Now Available On Cassette or CD MAX SCHLOSSBERG Daily Drills and Technical Studies For Trumpet Performed by CLYDE E. HUNT Trumpeter, Teacher, Composer, Arranger, and Author MAX SCHLOSSBERG, Daily Drils and Technical Studies was chosen for recording because many of these exercises hold the key to development of the upper register — that is, from G2 to C5. Not every note of every page was recorded because many of the exercises are exactly the same, except in several different keys. However, examples from every genre type have been included, and in the case of the Etudes, ail are played. Additionally, Hunt has selected certain exercises for expansion into the altissimo register — from "High Cor C3 to above “Double C" or C4, We are certain that both students and teachers alike will be delighted with this unique, demonstrated Audio Teacher. Hunt doesn't simply tell you how, he shows you how! TPermisonw parted 0 coy ns page for oem purpoass) Order Form Name: Addres: Address: City: State: Zip: Country: Hunt Plays Schlossberg “Daily Drills and Technical Studies” - CD @ $18.95 Hunt Plays Schlossberg “Daily Drills and Technical Studies" — Cassette @ $15.95 NC Residents add 6.75% Sales Tax Shipping and Handling - USA add $3.00 Shipping and Handling — Foreign add $10.40 II Total: Please mail Order Form with Check or Money Order payable in US Dollars to: M. BARON COMPANY P.O. Box 549 Corolla, NC 27927-0549 USA| | Baron Musiques de Chambre No. 1-NAZZI, MICHEL - Transcription of La Zaide (Reine de Grenade) by J. Royer, for Two Flutes (or Two Violins, or Flute and Oboe) i No. 2-PORRET, JULIEN - Six Exquises for Bb Trumpet and Piano | No. 3-PORRET, JULIEN - Six Equises for Trombone and Piano (This is not a wanscription of the Trumpet Sketches) No. 4-ORBAN, MARCEL - Sonatine, for Two Flutes (or Two Oboes, or Two Clarinets) No. 5 - SIBELIUS, JEAN - The Swan of Tuonela, Piano Accompaniment by I. Belinsky ‘A- Original for English Horn and Piano B - Transcription for Eb Alto Saxophone and Piano CC. Transcription for Bb Trumpet and Piano No. 6-BARON, MAURICE - Elegy fium Variarions on L'Amour de Moy” (15% Century), ‘A- for Violoncello, Flute and Harp (or Piano) B - for Eb Alto Saxophone, Flute and Harp (or Piano) No. 7-LAFOSSE, ANDRE - Transcription of Scenes D’Enfints, by R. Schumann, for Four Trombones, or Four Bassoons, or Four Violoncellos, Score and Parts No. 8- BARON, MAURICE - Magna cum Laude (Polonaise de Concert), for Bb Trumpet and Piano No. 9- BARON, MAURICE - Variations on “Greensleeves” (18 Century), for Bb Trumpet and Piano No. 10 - BARON, MAURICE - Concerto Classes, for Bb Trumpet and Piano No. 11 - BARON, MAURICE - Cantilena, for 8 Trumpet and Piano No. 12 - BARON, MAURICE - Grande Valse Vienoise, for Bb Trumpet and Piano No, 13- BARON, MAURICE - Tom, Dick and Harty, (Valse Brillante) for Bb Trumpet and Piano i No. 14- BARON, MAURICE - Nirvana, for Trombone or Horn in F and Piano No. 15 - BARON, MAURICE - Adastio de Ral, for Flute or Clarinet and Piano No. 16 - BARON, MAURICE - The Little Flying Saucer, for Piccolo (or Flute) and Piano Baron Manuscript Series Te Familiarize the Student with Music Whitten by Hand LAFOSSE, ANDRE - School of Sight Reading and Sryle, for Tenor Trombone in Five Books: ‘A’ ~ 30 Lessons in Bass Clef (Easy) + 30 Lessons in Tenor and Bass Clefs (Medium Difficulty) + 30 Lessons in Tenor and Bass Clefs (Difficult) + 30 Lessons in Tenor and Bass Clefs (Very Difficult) = 10 Lessons in Alto Clef, 10 Lessons in Alto and Tenor Clefs, 10 Lessons in Alto, Tenor and Bass Clefs (Highest Difficulty) moow 2 DAILY DRILLS ani TECHNICA M. Baron Company, INC. [onpre 00 P.O. BOX 549 79s "Secee guraag | COROLLA, NC 27927 NOP Avanagce =, MOSES Yi ™ rf HTT AHH g 2818440UIONe g