h Boptism Music Publishing Pivot Publishing Editions Focal Point a centered approach to embouchure development Revised edition beginning-of-your-playing-day warm ups and routines designed to build range and endurance while improving overall technique by Rich Willey Trumpet in Bb Boptism Music Publishing + 23 Oakwood Road #) Candler, NC 28715 2) boptism.comPR PIVOT PUBLISHING a subsidiary of Boptism Music Publishing a2 Boptism Music Publishing, 23 Oakwood Road, Candler, NC 28715 + 828-665-9107 Copyright © 2008 by Pivot Publishing, a subsidiary of Boptism Music Publishing All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Published by Pivot Publishing, a subsidiary of Boptism Music Publishing www:boptism.com Printed in the United States of America Engraving, typography and design by Rich Willey Proofreading and editing by Nick Mondello and Janet Willey Music font: Don Rice’s Golden Age “Text font: Janson with Janson Oldstyle Figures Display font: Goudy Handtooled, Goudy Oldstyle First printing 2008 Revised edition First Printing 2012, 10 «9 «8 =©7 6 5) 43Contents Forward! Reminders. Exactly what és your focal point? ‘What Will Help Me Get The Most From This Book? Section [JJ Warm Ups . Embouchure Stabilizers Section Section E¥ Single, Triple & Double ‘Tonguing Section J Cantabile/Performance Studie: Section El ‘Technical Studies Section [J Compression Studies Focal Pointers—Onward and Upward! About You and This Book Some of the most important attributes of the successful brass player are determination, dedication, enthusiasm, ‘optimism, and patience. Nobody ever picked up a trumpet for the first time and sounded like Maurice André. (Even Maurice sounded like a beginner when he first started!) Is okay to set high goals for ourselves, but unrealistic expectations merely lead to frustration and discouragement. Playing trumpet teaches us how to accept delayed (rather than instant) gratification. To sound like a mature player takes years of dedicated practice and performance. There are no shortcuts to learning to play a trumpet, but there are smart ‘ways to practice and develop, and the importance of the way we start every playing or practice day is what is specifically addressed in this book. cis our focal pain (the first notes of each playing session) that decides how our embouchure is going to develop over time. If, every time we pick up our horn, we play a low C, then over a long period of time, that is going to become the ‘most comfortable note for us to play. Many would argue that ‘we want our chops to be relaxed and that the low register is the foundation of our range. Don't we need to have strength to be able to relax without collapsing? The answer is “yes.” Strength training on trumpet is much like most any athlete’ strength training (there isan athletic aspect of pla trumpet afterall). Weight lifters go at it hard the first day, chill out the second day: They hit it hard again the third day, and take the fourth day off, ete.,ad infinitum, When they get really strong, they're good for heavy lifing every day of the week, every day of the year. ‘On trumpet, we know that we pretty much have to play every day of the year, particularly if we have a busy performance schedule. If weve been playing trumpet for ‘more than a couple years, we are probably good to go for “heavy lifting” every day. [As stated on page 17 of this book, some of us will feel a “jolt” the first time we play out of this book. For those who do, the second day we will do well to chill outand take it easy, ‘maybe do our usual practice routine. Then the third day we ‘ean go at it again out of this book, and alternate “hard days” and “easy days” until the strength required to work out of this book permits us to start our day with it every day. Here’s something based on what a French physician used to prescribe to all his patients back in the early nineteenth century: itS an affirmation that is said out loud. Each time you take the hom off your face, especially if you're having a less-than-perfect playing day, you say, “Every day in every way Vm getting better and better and better.” Affirmations are a ‘way of being your own cheerleader, and saying them out loud. really does change your “self talk” over a long period of time. Yes, say it out loud, even if you just whisper itso you can hear yourself. Trust me, ies far better than kicking trash cans and Shouting the negative affirmation “I suck!” P've done both, and the positive affirmations definitely help me stay calm and patient. Out of the 4o years I've played trumpet, up until the last 14 oF so I did the negative affirmations. After I read The Twvelfth Angel by Og Mandino, Thave been using the positive affirmation, and I recommend it wholeheartedly. “The principles in this book have been around a long time, they have just never been put together all in one place q like they'are now in this book. “This book won't make you a better player. Your time spent diligently working out of it the frst thing every possible playing day is what will make you a better player: ‘Happy trumpeting and good luck! — Rich WilleySpecial thanks as abcays to abmighty God, my Heavenly Father, and for all the great people He sends into my life including (but not limited to) Dr. Donald S, Reinbardt, my incredible wife Janet, my parents Carolyn & Leonard, ‘my extremely musical uncle Richard M. Gilchrist, my first band director and music teacher Donald W. Hacker, ‘my first trumpet teacher Jobn Baker my friend, fellow trumpeter and marketing consultant Nick Mondello, and pretty much anyone and everyone ziko bas touched my life and shaped my musicianship. Ob, yes, and anotber thank-you to Chris Batistone who belped me come up with a name for this bok WD wD PELE “I’ve always been open to different schools of thought regarding methods with which to develop as a trumpet player and brass instrumentalist. With this philosophy as a basis, I've always encouraged my students to explore as many methods and ideologies as possible, but not ‘put all their eggs into one basket.” personally have developed my own approach to playing by assimilating pieces of many methodologies: keeping the parts that work for me, and discarding those that do not. “Because of the many established brass playing methodologies already engrained in the multitude of students that come to me for private lessons, I have made a point of exploring and understanding as many approaches to playing the trumpet as possible. I do this in an effort to expand upon the student's current playing skills and to introduce them to my philosophies through a personalized avenue. In doing this, I of course do a certain amount of experimentation with these different methods. This gives me an educated reference point for my approach to teaching each individual student. “have been aware of the teachings of Dr Donald § Reinhard for years. I even own a copy of Reinhardt's tome, The Encyclopedia of the Pivot System, which I have read in its entirety. I even had David Sheetz type’ me a number of years ago. Lam a IIIA. @ “A year ago, one of my students gave me a copy of Rich Willey’s book, Focal Point, a centered approach to cembuichure development, and I started working out of it, coupled with the guidelines Reinhardt suggested for a typical IIIA player. “L was very impressed with my results from working out of Rich Willey’s book. I do a couple of his suggested exercises from the book two or three times a week when I start my playing sessions, It has made me an even more efficient player than I was. As I said in my book, Clinical Notes on Trumpet Playing, a student must understand there are other viewpoints to consider. With regard to gathering information, “it all good.” I Riel ighly recommend Rich Willey’ book, Focal Point. Ifa student reads and understands all the text in book, then the application of the exercises should prove to be very beneficial.” Roger Ingram, Jupiter Music Performing Artist, hetp://awa.rogeringram.comFORWARD! ‘Thank you for purchasing this book and for putting your faith in me, and, thus, in the man I consider the greatest brass teacher of alltime, the late Dr. Donald S. Reinhardt. !'m confident that by buying this book you have made the first of two important choices: the first is to become a better, more efficient trumpeter. The second choice is what comes next, and I hope that you choose to ‘commit yourself to the plan presented in these pages. No book is a shortcut or a panacea, and even the best book is useless if the student doesn’t make the commitment to practice out of it diligently. There are very few embouchure problems or hurdles that I haven't encountered in my 40 years playing a brass instrument. In fact, 'm a guy whose journey as a trumpet player has been bumpy, a veritable crusade to overcome difficulties including faulty embouchure, injury, impaired technique, Bells Palsy, and a fourteen-year “detour” on low brass instruments. My journey has not been that of someone whose playing has always been peachy keen. Learning to overcome an incredibly generous, share of challenges has resulted in a guy who knows how to get past seemingly insurmountable ‘obstacles, a guy who has learned to be content with delayed gratification, ‘This book is not intended to replace any other book or even to improve on any other book. ‘Writing this book was motivated by my experiences teaching trumpet and trombone students after years of studying and practicing things I learned from Dr. Donald S. Reinhardt. “Doc” told me that his ultimate goal was for me to learn how to teach myself and to be able to figure out for myself ‘exactly what I need to practice to improve steadily. He also encouraged me to teach other students, and he helped me learn how to troubleshoot and solve their various embouchure problems. ‘The students T teach in college and classroom settings do not come to me specifically to study Reinhardt’ methods. In ft, most of them don’t think that they have any real problems with their cembouchures. It’ my job to meet them where they are and give them materials that will help them improve with a minimum of practice time, What they need is a plan to get them practicing smart. T devised routines to start out your practice day at one of four focal points—you choose which ‘one you think will comfortably help raise the “hub” (or center) of your range. These routines will positively impact the way your embouchure develops, and they also cover the basic elements of brass playing Doe told me needed to be worked out during every practice day: something high, something low, something tongued, something slurred, something loud, something soft, some sustained (contable) playing, some multiple tonguing and some compression drills. All these areas are presented in this book, and at a pace and at the focal point that you choose. By simply starting each playing day covering each of these areas in an organized manner, students have the tools to enable them to build real chops and embark on a lifetime of playing that gets better every year. Ifyou do the suggested number of drills out ofall six sections of this book at the beginning of your playing day, you will begin to notice that your chops are performing better and better for you later in the day when you do your “normal” playing (gigs or rehearsals) You are not “on your own” now that you have this book. Anytime you need some assistance or encouragement, please click on the Pivot Publishing FAQ link at www.boptism.net and you can post questions or send me a private email. I'll post questions and answers as they come in, and we can all move forward together in our quest to improve as trumpeters and musicians. Your fellow trumpet student, Rich Willey April 2008 (revised June 20: 2)Reminders 1. This book is not intended to be your total practice regimen, however, it is intended to be the first thing you play on a playing or practicing day. 2. The earlier in your practice day you can get through this material, the better. Even if you only have time to do a few lines out of each section, it will help you reach the eventual goal of RocAL Porst— that is, another day further alonge in raising the “hub” of your range (see pg-3) 3. Whatever pitch you use as your focal point in this book is the pitch that you're planning to play every time you pick up your cold horn, either in the practice room or warming up in the dressing room before a gig. 4. Be smart in choosing your focal point. If you have excellent range and choose G3 as your daily focal point in this book, have the good sense to stop before you get tired, and also have the good sense to set your focal point lower if you find that you're straining to play the G3 exercises. 5. If you find that working out of this book is a “joie” on your chops, you may want to do these routines every other day at first. The first day, work out of this book. Then, the next day do your “usual” routines and ease into working out of this book daily after a couple of weeks or once your chops have ‘made the adjustment. 6. When you are comfortably getting through this book with favorable results, then you might ‘wane to stat trying to raise your focal point to the next higher one. Use eare when taking this step; avoid the Superman Syndrome (see pg. 12). You ‘might want to ease into the next focal point in the ‘manner described in point #5 (above) 7. The low chromaties at the bottom of pg.2 are something Reinharde recommended for trumpeters to relax their chops (rather than pedal tones). Another thing that is very effective at keeping your chops from getting too tired is simply putting the horn down and resting. Don't overlook this point. 8, When resting between sections you might want to read (and reread) the text elsewhere in this book, specifically pages i, vi (this page), 1, 2, 3, and 17. 9. Remember, you can ask any questions you may. have about this and other Pivot Publishing Editions by going to the Pivot Publishing FAQ link at woww.boptism.net — if you don't have any questions, write and let us know how you're progressing, okay? 10, Reread all these reminders often,Exactly what és your focal point? Your focal point is the pitch you decide upon to start every playing session of every playing day. ‘This book provides you with a choice of four" focal points in each section so that you can gradually raise the “hub” or center point of your range. *You get five choices in the Cantabile/Performance section.#1 Hyoasrion & Hotes — Before your daily practicing, drink at least pwo 8 oz. glasses of water. Also, wash your lips with Ivory soap (or some other brand that contains no skin softeners) and wash out your mouthpiece with soap and a mouthpiece brush. Starting every practice day with all the same clean surfaces and with your body hydrated promotes consistent progress. R Chors & Movrumrer Puacruest— Dr. Donald S. Reinhardt taught us to place, inhale, and ply. Additionally he taught us to Inuze the lips with no mouthpiece, and to place the mouthpiece on an embouchure formed with buzzing firme (a wet embouchure is preferred over dry embouchure). He also instructed us not disturb our mouthpiece placement when inhaling, and he always recommended moutheorner inhalations oF nose breathing. 8 Pisa Peavinc Facrons — Reinhardt used to talk about 680 primary playing factors, you ca get a trampet sound (notes) ‘without 1) air, and you can't get a trumpet sound without the 2) vibration of the lips, but you can get a sound without using your tongue (ondary playing factor). So he had ws play the first notes ofthe day using breath attacks (HOO no tongue “attacks. 4 [eearnune—There are many players (and teachers) who swear that air and breathing are the keys to successful brass playing. Fig What Will Help Me Get The Most From This Book? ‘When, on a given day, your chops are feeling great, it’ because the response factor is particularly good that day. For instance, ‘one day you notice that your single tonguing is especially agile and quick — Reinharde would say that it because your response is ata heightened level that day. Breath attacks at the beginning of your playing day and intelligent rests while ‘warming up will do wonders to inerease your response factor. A very basie response-oriented warm up is as follows: play the notes in Fig. using all breath attacks (HOO) and insert a whole rest between each note. #6 Risr Pextops — The importance of intelligent rest periods cannot be overemphasized. Most of these studies give you rests equal to the amount of time you just played, and this is a good guideline. Infact, encourage my students to do “buddy system” practicing so they can take turns and essentially rest as such as they play. Depending on the difficulty of the material being practiced, this isa good rule of thumb. Building endurance is accomplished this way rather than by constantly playing until the chops are totally “shot” before resting. ‘Think about it this way: if you play until you've beaten your chops to a pulp and then put the horn down, you'll pick the horn back up later and your chops “remember” that crushed feeling. Ifyou always rest when your chops are still feeling ‘good, when you pick the horn back up after a little while your = ea 2 app Most of them never encountered great difficulties in learning to play the trumpet, so they never had to work on much else For the res of us (the vast majority of players) ll the correet breathing in the world never got us the range and ease of playing we've seen in truly outstanding players. Here area few breathing points to bear in mind: 1) don’ lift your shoulders when inhaling, 2) inhale as slowly as possible to avoid tension, 3) take in only the amount of air you need to play the phrase a hand (do you really need a full breath to play a one measure phrase, 4) avoid excessive mouthpiece movement during quick, mid-phease inhalations Additionally, Reinhardt told us to start playing atthe peak of the inhalation without delaying the atack. When you say “Hello” to somebody, you don't inhale, wait abit, and then blore out “Hello.” At the peak of your inhalation you speak without delay, and trumpet playing is no different. #5 Response (Vinestiow oF tit ws) —'This primary playing factor is the key to progress in all departments of trumper playing. = chops “remember” chat fresh feeling. When practicing, get in the habit of resting Jyfare you're tired. #7 Recanmrsc Prout Toses 70 "Retax”— Dr. Donald S, Reinhardt used tp instruct trumpet players “Pastiely no pedal tones wile under my tutelage” Granted, there are players who have played them for years with no bad side effects (and even claim benefits) and there’ a reason for that. In Reinharde's Pcot Shem, he categorized various cembouchure types, and ofthe four types and five subtypes of ‘embouchures he catalogued, there is only one subtype that seems to get away with pedal tones, For the other types, the majority of players, pedal tones an interfere with embouchure development and cause embouchure distortion difficulties. ‘Using pedal cones is your choice. (I played them for years and my chops were only getting worse every year. haven't done them since 1978, when I frst saw Reinhard.) For pedal tone players who don’ seem to be able to develop a powerful high register, try this instead: when you feel a need to relax and loosen up, play some low chromatics (Fig.2 below). ‘Rapid slurring, many times in one breath Fig. aFigs ‘Note names and subsequent octaves in this book are based on this diagram: . Gs cl G2 c2 E2 faete che GB 3 be ojo ache * ee The lowest G is GI the lowest C is Cl, the second G on the horn is G: #8, Your Foes Porwt— Dr. Donald, Reinhardt used to instruct his, students to raise the “hub” or center of their range. Think about it—if you want your comfortable range to be from F#1 to F#4 (vce Fig.3), then logic would suggest that you would want to make the “hub” of your range C2 (concert Bb tuning note), C2 isin the exact center between F#1 and F#4. ‘Now, if you always pick up your cold horn and play C2 as your first note ofthe day/first note ofa practice session/first note of your warm-up, you eventually make that the most comfortable note to play on your trumpet. You've chosen C2 as your fica! point, and eventually it will be the “hub” of your range. For those players whose embouchures are not developed to the point where they can easily make C2 the focal point of the Spiderwebs presented, each study has the option of using G2 as its focal point. [The G2 drills car occasionally be useful for advanced players on days when its necessary to “take it easy” after a grueling playing schedule, but generally speaking, it’s best for them to start no lower than the C2 drills] “The drills in this book are divided into sections as follows: Section I) Warm Ups..o Se Section EI Embouchure Stabilizers svcsonennsnn 18 Section EH Single, Triple & Double Tonguing 3 Section EY Cantabile/Performance Studies 30 Section EH Technical Studies vo A Section [ Compression Studies... 56 Each section has drills centered around four* focal points— Aris, the Spiderweb approach is an excellent way to build various aspects of brass playing while developing range and endurance in the process as this book demonstrates. In Fig. 4, notice that ascending chromatic scales use sharps and descending chromatic sales use flats. This is musically and rotationally correct; however, this hook does not always “think” that way. Many choices of accidentals are to assist in the player's case of reading and thinking, Isn’t this just a Reinhardt book in disguise? ‘Many elements ofthis book are right out of the teachings of Dr. Donald S. Reinhardt. The underlying Reinhardt principle of this book is that itis emouchure compresion and not the low register that i the foundation of all registers. Breath attacks for enhancing the response factor, onguing before slurring (when ‘working on tongued and slurred drills together), Spiderwebs, the deb-geb syllables for multiple tonguing, and the concept “erescenddo-while-ascending/decrescendo-while-descending” are just afew examples of Reinhardt “embedded” herein, “Make no mistake, this book was not written by Reinhard, only influenced by Reinharde. “Doc” told me that he grew to ct using the term “system” when he named his brand of teaching The Pivot Sytem as he discovered that there are as ‘many “systems” as there are students. This book isn’t a “system” — ie’ an approach to warming up and practicing that, over along period of time, will rebuild your chops “from the middle out” rather than “from the bottom up.” G2, C2, F2,and Gas in the “Spiderweb” diagramsin Fig. Teveally works if you pat inthe time and effort Pet ay exending rama ae ends cya igh eto 613) _ “Teen rai ale end ye TS Terre ET 2 7 2 b 6 ir iF 0 Gs #9 ‘Tue *SPIDERWEB" — As shown in Fig.4 (above), the “Spiderweb?” (a term coined by Dr. Donald S. Reinhardt) consists of two chromatic sales starting at the same center point and moving alternately in different directions (up and down simultaneously), ‘When used as a series of starting points for various types of “ive focal poins in Section EJ the Cantabile/ Performance Seis f = 2 fe Ifyou start your practice day with this book and do the recommended number of drills out of each section for along. period of time (weeks or months), your playing will become noticeably better in all departments, Keep chugging away — you'll be glad you did. Good luck! HE ble4 Section BE Warm Ups sex your day wich any one of hese warm ups, then move on to Section 2, For your initial attack, use a HOO “no tongue” attack, then two legato notes (000), softer as you descend and louder as you ascend, Slowly (J=6) G2 400 poo _ poo 2 00 p00 _poo 2 la. mpm a Fa ? # fa simile 2 2 2 7 Ts 7 * ioaar = # taal a oe ae ca = tira 5 we a fa I ier 7 a ist 7 = Te Ss Sa ‘ = ‘a 5 ob aT Play sme trons ton in oe sal oF ore of 92) and Rest Slowly (J=60) © 9 100 peo _ poo 2 100 poo _poo 2 Ib. mbm 5 tra : i = simile 2 2 2 7 = tia c Teer 5 a iar re 7. 7 tee 7 = te Pe me ctponate Con ‘Gg ent Ror Ie ieIfembouchure development permits, make your focal point no lower than C2, Do not tolerate strain! Slowly (J=60) £2 HOO poo _ poo 2 H00__peO__bEe 2 le. mpanf a fal + = fal simile 2 2 2 7 = ia = = [aT 7 = inal 7 ca isa 7 * Toast 7 = ina re = raat 7 % tT 7 = Tiss Ea = tir ca = Terr 7 te aT ra = ar 7 is 7 7 tea i: = nar = = iar = = im Pay mei chron atom os oF Tos 94 or oe TorooT of 962) and Rest Slozy (J=60) Gs HOO DOO DOO. 2 HOO POO DOD 3 1d. mpm > tar + © sr sine 7 Pi 2 Teread * cS i = = irs = " Test a = i . ° tira 7 = Ter 7 ca iirvar i cS Te Tard Ply some Ine hour atom ‘fpg2) and Re© Blox your intl tack, use « H00 “no tongue” attic, then thee to notes (B00) and then sur the remaining notes, Sloraly (160) G2 HOO DOO _ DOO DOO oO HOO _DOO DOO DOO Oa oO simile mo a — a a a 4s 6 7 S $5 Phy ome le crmarc Chron andReminder: Make your focal point (starting note) as high as possible for your stage of development. Slorwly (J=60) Q 90 poo Poo Dee ———_f 2b. simile SS * hay ome crams Se (beta of 2) and Rest8 BE These warn ups (24 2, 2e & 2) area variation of Reinhardt “Legato Tongue Spiderweb We Sloztly (J=6e) a HOO Poo DOO OO m Up” HO0 DOO DOO DOO ————————— rr 7 Pay tm ro chromate — (Gotan of 2) and RestWoo poopeopee_ 5 ——} Pay ome nw chromate — (Goto of pg) and Rest10 This is a “quick warm up for days when you are pressed for time. Star with a you ascend and decrescendo when you descend, Do these as slowly as possible while playing the whole drill in one breath. When slurring (or tonguing) wide intervals, strive to keep your head as stil as possible. Bobbing your head up and down when slucring or tonguing wide intervals is like shooting at moving targets. Moving targets are much harder to hit than stationary targets. Keep the “weight” on your lower lip, particularly when slurring wide interval Slowly (272-96) __ @ 3a. "5 Play ome scram (atom 9 pg) aml Rot Phy some ls cramaris (beta of 2) and Rest ° 0 > "5 Pye cromarisr (atom pg) an Rot > ® 7 @ 3 Blame be romans (atom 92) an RotThis drill is meant to be played very slowly (J=6o or so). Your focal point needs to be played at a fairly constant moderate J 1 volume that is softer than the higher notes yet louder than the lower notes. The higher you go, the louder the note, and the lower you go, the softer the note. This develops aperture control and is an extremely important factor in developing range. Keep this in mind when doing the following drill. Again, you need to only do one of these warm ups a day. If you're able to comfortably make C2 your focal point and skip past the G2 drills aogether you are encouraged to do so. As discussed on the previous page, when slurring (or tonguing) wide intervals, strive to keep your head as still as possible. Slowly (J=60-96) @ 4a. 7 \ / 4 Phy same cbromaties = _ (toto ope and Ret Play ome chromatic (dotom of pg 3) and RestDg Aperture size is not something we can control using sheer willpower. We cam train our embouchure to control aperture size by keeping in mind the following fact: when you play (on a transparent mouthpiece) Cl at pp, C2 at maf, and C3 at f,an observer can plainly see that the aperture size is approximately the same size for all three notes. Therefore, during our practice time, when we decrescendo when descending and crescendo when ascending, we are correctly training our aperture and are increasing our chances of developing consistent range. It’ hard to be consistent when we're blowing on a wide open aperture. Slowly (J=60-96) E _—— —— i er aI 4 Play some crams (otro fing 2) and Ret Slowly (J=60-96) — —— ca a 4 hay ome crams (Geta of 2) and RestBreath attacks throughout this warmup. Play just fast enough to accomplish each line in one breath. 4 rsa) 4 8 o 8 6 tre) Play some lo cbromatics (bottom of pg.2), and Rest.“un Breath attacks throughout this warmup. Play just fast enough to accomplish each line in one breath. ra Play some low chromates (bottom of pg:2), and RestBreath attacks throughout this warmup. « ipseepierere stemee terre trertere cre Play just fast enough to accomplish each line in one breath. detclapment permis, play thee avila er tis made i) 4 2 o 7 las) iss88) lay some ls chromatics (bottom of pg.2), and Rest.16 Breath attacks throughout this warmup. lay just fast enough to accomplish each line in one breath. 53] Play some low chromates (bottom of pg.2), and RestFocal Pointers— Onward and Upward! a “This is just a bunch of stuff that I had trouble fitting elsewhere into this book. Bear in mind I'm a devoted, long-time student ofthe late Dr. Donald §. "Doc" Reinhardt, and pretty much everything you find in here you'll find in his teaching, writings and publications For instance, vibrato, Vibrato is great fon the gig, bu leave it out of the practice room. And when you do use it, develop a hhand vibrato, The last thing you want is to bbe one of those elderly trumpeters who has been using a jaw vibrato so long that he cant shue it off “This page is also a place to drive home points made elsewhere in this book, like the matter of resting as much as you play when practicing, For instance, st your ‘metronome at )=69 for the Cantabile section of this book. When you're done playing Finlandia, sing i t0 yourself (or ‘out loud i you lke) at the same tempo (same amount of time you just played) and then do iti the next key. Sustained work ean be very demanding on the chops, so rests extremely important here. A practice log is a huge help for those ‘of us who don't readily see progress. When wwe track our practicing including stare and finish times, number of practice sessions in a day, exact exercises played, metronome markings, how far we got in the various technical studies, ete.) we are far less likely 1 get discouraged, ‘Dental impressions! Doc Reinhardt recommencled that, at our next dentist visit, swe get Fill dental impressions of all our teeth, upper and lower, IFwe ever have an accident resulting in loss of teeth, dentists simply give us new teeth that “look good.” But they might not be so good for our playing. Ifthe dentist has a model ro go by, he ean give us replacement teeth that wil be close to those that were lost, lessening the chances that we'll pluramer into a playing spin from which we'll never recover. Granted, the time and trauma caused by having teeth knocked out will require time off the horn, and for most of, us, coming back from a long layoff is very difficult in itself, even before considering the healing that would have to take place after an accident. Buc coming back after all, thae time off om different teeth is apparently a gamble that Reinharde knew was not worth taking, and that’ why he told his students at their Orientation and Anabyis Period to get dental impressions made. He told us o do this every 7 years because we go through a complete dental cycle every 7 years, and essentially our teeth are different enough in 7 years to make the kind of difference that would stack the odds ofthat gamble against us, ‘Mouthcorner inhalations: these are very important to the well-being of our ‘embouchures. Reinhardt found that most ‘of the chop difficulties his students had ‘were due to the way they took a breath, especially chose quiek, mid-phrase breaths. ‘Once you get your mouthpiece into playing position, breathe withoue disturbing the placement. The less you move your ‘mouthpiece during a breath, the less work your chops have to do getting back into position to play. Players who essentially take the mouthpiece off the lips for every breath have to put it back again, and when that happens for many quick, mid-phrase inhalations, the player is “hiting himself” in the mouth with his mouthpiece again and again. Ifyou keep it right there when breathing (without changing your horn angle, your endurance and range will improve. It ‘might not happen immediately, and it may feel a litle funny o restricxing at firs, but ‘once you have made that a normal part of, your playing, you will be glad you did. Embouchure compression is quite frequently misunderstood. Its the “pinching power" necessary to hold the lips rogether so they can buzz at any frequency. “To produce a low note or a very high note, the lips must be together so the air can ‘make them vibrate. Reinhardt used squeakers, the Putty Ball Routine, the “pencil trick” and buzzing to strengthen and refine the vibrating points so they will develop the ability to vibrate at higher Frequencies, “Babies grow up” is one way to think of squeakers. When you first stare doing them, i's hard to imagine how this will ever lead 10-2 better high range, but when done consistently over a long period ‘of time (months and years) you will definitely notice that you're able to “throw your gut” into some of those notes you used to only wish for. Stay with it! Buzzing the lips without the horn or ‘mouthpiece is how Reinhardt had us doit ‘When you put the mouthpiece on your lips, youre sort of “pinning” the lips down against the teeth, and even a “fuulty” ‘embouchure ean produce a buzz. through the mouthpiece. But when you buzz with ‘no mouthpiece, its up to your muscles to maintain that strength necessary to hold the lips together so the air can make them vibrate. There’ no place to hide, and you really work out the muscles necessary to develop and maintain real chops. ‘The Superman Syndrome afflicts many ‘trumpet players, and this book requires you to get honest with yourself. Ifyou take on more than your stage of development can handle and then star having trouble with this book, chances are you're fooling yourself. You think you're Superman but you're not. Take it easy, do some of the rill that aren't quite as demanding (hey, even [ start on the G2 drills sometimes) and rest little more. Do those low ‘chromaties very sofly many times on one breath, and maybe do that more than once. You have my permission to be human, This book’ ttle, “Focal Poin refers to the first notes of your day. Raising the “hub” of your range requires time and patience, It oul take months, especially if yyuike one of those who has always picked tap the horn and played C1 as the first note of your day. IF you've been playing that way for years, this book ould be a shock to your system. You may want to do a “hard dayfeasy day” schedule at frst with this book; thats, phy out ofthis book on Day I using G2 as ‘your focal point, then on Day 2 sar with CL ‘or whatever you used to and do your “usual practice stuff” Aerating days eases the ‘change. We donit want to jolt our systems we ‘want to gradually reprogram itso that the ‘comfortable center of our range is higher. Exercises 3 and 4 in Seetion 3 are not written out completely fora couple of reasons. First, it would have taken probably an additional ewelve pages to cover all you are todo, and second, I'm not sure how I ‘would've notated any more notes on one line than what you see there. Please don't svuss out on those drills ust because they leave something for you to figure out. Ie just adding notes chromatically for you to dlouble and triple congue. Also, its probably better if you don't always start ‘your chromatic multiple tonguing on the same note, so taking those little chunks through the Spiderwebs is good for that Part of this book (the Tecbnical Studies) ‘was really written for me. For the past few years I've had a terrible problem train the ring finger on my right hand, and although the Clarke’ book is terrific, I've played those so many'times in my life that a 52, [just had to have something else, The plus for everybody else is that you get to spend more time in the minor keys and maybe even learn the key signatures for them. Oh, yes, the poine about this i that Reinhardt taught us to lay our fingers fla across our valves, but I've had trouble with ‘making that my “normal” way of plying. Ifyour fingers are just sluggish, my suggestion isto not mess with their position, just spend more time playing technical studies very slowly at firs so that you develop good habits, Always use a ‘metronome when doing technical studies! For more discussion on this book, go to worw:boptism.com (Pivot Publishing RAQ Tink). Ask questions and get answers, — Rich Willey*8 Section A Embouchure Stabilizers psy any sve ails out of this section then move on. The purpose of these is to play tongued, slurred, high, low, loud and soft all on one embouchure setting. Do not pause to “switch gears” between tonguing and slurring. As these drills become more strenuous, fee! free to increase the duration of the rests. The natural tendency while playing these is to play the closer intervals at a faster tempo, and then gradually slow down for the wider intervals. This is okay as long as you play each line as one continuous exercise without stopping. Crescendo as you ascend, and descrescendo as you descend. Aas acid strain, Also, do these: first time pp —— — pp J=96-120 @ la. |55-691 Py sel cromarie (stom of 2) amd RetAs these drills become more strenuous, feel ree to increase the duration ofthe rests. Always avoid strain. FE 19 Also, do these: irs time pp fF and on the repeat: ff — pp oie, 3 . is} _ 3 $ 7 = 3 " 5-51 3 x io 3 7 ta 3 8 tet 3 . ssa 3 36 as 7 8-40] 3 a os (43-45) —— by Y 3 # usa) — y ~ 5 iss20 In the practice room, when you crescendo as you ascend and decrescendo as you descend, you develop aperture control. Also, do these: first time pp {ff and on the repeat: ff — J=96-n20 E2 ' le. sss) ED ° ° 7 158-60) Pay some os cbromancs (Gato of 2) a RestAs “Doc" Reinhardt wsed to say, “Be polite — get up from the table while you're still hungry” Rest hifore youre tired, 2 = ff and on the repeat: ff — Pp Also, do these: first time pp —= 7 © ives) 158-601 Py sme scram (eto 2) ad Rest2a. Plays chrom nea) and Ree = £ z 1 CITY COT Co Cor CL COEF are, ofa) and Rest Pays fe ‘roma orto fea) and Rest Phy soe lication of 2 and RestHere’ a quick version going up (and down) in whole tone inerements. B33 Also, do these repeated: first time pp — ——— ff and on the repeats ff — “ a ofc 6-1 nth Py sme __——__ oa = ~ ‘and Res 8 Py ame da chroma Gon of 2) ~ atta ‘and Res degen Payson dae chromate bromo 2) ‘and ResBY ‘This drill was assigned to Donald S. Reinhards by Madame Longee Miguelle at Curtis Institute in Philadephia in the early 19008. Here’ an example of how to do this using 4a.—1] do the minor second starting on G minor second starting on G2 repeat) Continue through the (rongued then shurred on the repeat; [2] do the ed and shurred on the repeat); [3] do the minor second starting on Gb2 (tongued and slurred on the iderweb (line a. below) in this manner with plenty of rest. Next time you do this, do major seconds and do them through the Spiderweb as explained above. One interval per day through your focal point’ Also, when repeating: firs time pp ff andon the stured repeat: ff —— @2 4a, Jep-m 2 4b, J-2 ‘minor seond “Tongue the fist time and sar he repent. ‘ng the first time and slay Gee ae irerersees | [Pee major second ‘minor tind (ESSE =e SSE major thi perf fre $US ae ete al “Tange the first time and sar the repeat. afi fife Tange the irs time and slay the repent oie ie Ge SEs co ‘minor sive naj sist ‘minor seventb be major seventh Ply some le crams atm ofp) and ReeEG esren Rss @ Sa. mpoapo Ibss6) Te] Play some los chromatic (bottom of 196-2), and Res. t _neren ER sens J e 5b. mpmE2 Se. Ino) Play some low ebromaties (bottom of pg.2), and Rest mp-mp ——S—a» Tao) Play some low chromaties (bottom of pg.2), and Rest.3 f EE nzrecPEROM sun we bes, mp-mp 9 3° ra » i301 fe = * + isere ro4 Tost) iy pone ebromatics (bottom of neon Rese» Section Ed Single, Triple & Double Tonguing bo any on dvi in ens serion and move on. “This is a very demanding routine, both on the chops and the tongue. Lengthen rests as necessary to stay fresh. Even if your focal point is G2, start with the C2 drill to help shorten your tongue’ back stroke. Once your higher tonguing is responding, work on your lower tonguing keeping the tongue back stroke as short as possible. Use a clean, pointed deb for single tonguing. i 0-132 la. a SS Single Tongue Staccato (TErnary Farm) Single ‘Tongue Staccato (Binary Form) Also dlo this triple congued (deb-deb-ge). Also do this double tongued (deb-ge). ea 0-1 < a = 1b. Single ‘Tongue Staccato (Ternary Form) ingle ‘Tongue Staceato (Binary Form) eee eS tipeeereereee FS Also do this triple tongued (deb-deb-geh). Also do this double tongued (deb-geh). a oe te 2 2& fe 2 = Single ‘Tongue Staccato (TErnary Form) Single ‘Tongue Staccato (Binary Form) Also do this triple tongued (deb-deb-geh). Also do this double tongued (deb-geb). 2 fe = G3 ——_— a 1d. Single ‘Tongue Staccato (TErnary Form) Single ‘Tongue Staccato (Binary Form) igeeeerene? = ttereeresee wo pseattesee ” Also do this triple congued (deb-deb-geb). Also do this double tongued (de-gel. Here’ an abbreviated way of working through the above Spiderwebs (any ofthe four, not just C2 as shown): singe POE, — : & = = — SSS ] 1. 9p) Alegre Gort pointed note, with shor length of tongue hack stroke) To be applied | >. (mf) Maderato (short, pointed note, with medium length of tongue back stroke) ¢0 the abave 3. (ff). Adagio Ghort, pointed note, with long length of tongue back stroke) routines— rotate through \ * ?————— Shor, pointed noes, with graduated length of tongue back stoke) these daily | 5-f = P- Ghor, pointed note, with graduated length of tongue back stroke) 6. p——==—=_ f ——— phon, pointed note, with graduated length of tongue back stroke) “This page isa mos version of Day 9 in The Reinhardt Routines—a tol pln for embanchure development. the Reinhardt version this started on C2 and went up chromatialy to C3 and back down chromatally to C2 again. Then the next phase of trted on C2 and went down chromatiealyto C1 and chromatclly backup to C2 again. The version on this page permits you to sart on your focal poine and work upward and downward in Spiderweb fashion lay some loz chromatics (bottom of pg.2) and Rest upon completion of this workout.Use the syllables deb-go deb-gcb for double tonguing. Make sure the dei a pointed “d sound. Use of these syllables will give 33 you very clean double tonguing overtime, will shorten your tongue’ back stoke, and will aso prevent your tongue from moving forward between the teth and/or lps. Lengthen rests 28 necessry to ward off fatigue, Ako, atthe bottom ofeach Ex.2 page are azides for using tha page asa model fo adding single tonguing and triple onguing (use deb-deb-geh syllable for triple tonguing). A solid flow of air (consistent airspeed) will foster cleaner tonguing. Let your multiple onguings “oat” on your airstream. Play some los chroma (bottom ofpg.2) and Rest upon completion of this workout 100-132 single and double tongue @ 2a. Rotate through dynamics at bottom of page 20. e You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately. ‘Single Tongue ~~ = Double Tongue- Triple Tongue -lay some low chromaties (bottom of pg.2) and Rest upon completion of this workout. 4100-132 single and double tongue Rotate through dymannis at button of page 2 frttetipseet teres 2 SS oe 7 ry “Triple tongue using the deb-deb-geb syllables as below. Sa Se ggeet tees eS. 1 a You can also modily this drill to include single, double and triple tor (Piszzterwascratrens stat rrr ssrrtr en le ng in one phrase (below). Play quickly but accurately Penta e SPREE? PERS 95a Sj fonguePlay some low chromatics (bottom of pg.2) and Rest upon completion of this workout. Bs d=100-152 single and double omgue E2 Rotate throng dynamics at botom of page 20 eeletectessetteres > — Se by fttlettesectteessc 2 teetterteerettcree > ————S 2, 2 _— - bechtceaaretterens “Triple tongue using the deb-deb-geb syllables as below. aaa a | Gecoueees You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately. fe fe ‘Single Tongue =~ Double Tongue Triple TongueoR 41005452 singe ond dvb tue @ bow et 2 PP eres Play some le chromatic: (bottom ofpg2) and Rest upon completion of this workout. 2d. siecheresecicchetes & Rotate through dymarnis at bottom of page 20. b, 2 begheteespeettersec SS SSS toletesentetterenc SS # ephttastponsttecesc You can also modify this drill co include single, double and triple tonguing in one phrase (below). Play quickly but accurately [Papctshetestareettaraneettarnceettarnceseh: 2 3 3 3 Single Tongue ~--~- ~~ ~~~ Double Tongue- ~~This drill has three lines shown; you are to continue adding notes in the same manner as notes were added to the frst line 37 to make the second and third lines. There are two options to practicing this page: 1) the first line can be taken through your focal point’s Spiderweb, or 2) the frst line can simply precede the second line (followed by the third line, then add notes to ‘make a fourth line, ete). If you choose option 2, you will want to ck of your starting note so that on subsequent days you can use this procedure moving your starting note through the Spiderweb based on your focal point. Play some lw chromates (bottom of pg.2) and Rest upon completion ofthis workout “To work some tripe tonguing into this drill, also do these as shown in this modified version of 3b (measure 2 below: = 100-132 single and doe tongue @ 3a. Play through the G2 Spiderszeb or move onto nex line a a See divetionsabave aA = Conte a dirted em ie 3b. Play though the C2 Spiders or move onto nev lin. ‘See dvetions abun. aA (Cantina ar dirtod (aber El 2 ~ Por trl rere Play through the E2 Spiderweb or move on to next fine See directions abace = Contin a directed he) Play through the G3 Spiderweb or mace onto next line See directions abace a Am = Cntings as directed ‘abcThis drill can be accomplished with the same two options as Drill 3 on the preceding page. Be smart—practice long enough to get a workout, but rest often enough and cal ita day carly enough to always be building up, not tearing down, Many players find it helpful to alternate “hard” practice days with “easy” practice days (every other day), 4a. a 4b. Here are some double tonguing models. These are presented in one key; play each through your focal points Spiderweb. J=100-132 single and double tongue 3 ets, — continue adding notes inthis fasion Here are some triple tonguing models. These are presented in one key; play each through your focal point’ Spiderweb. 100~132 single ond triple tongue ete. — continue adding notes inthis fashion Ply sume li chromatic (btm of p2) and RetSection EJ Cantabile/Performance Studies Py any three o four of these as musically 39 as you can. Balance your practicing: if you've played mostly in the upper register today, then play some of these in the lower and middle register, and vice versa. Use as many breath attacks (HOO) as possible, and make your legato tongue sound as smooth and gentle as possible. Do not underestimate the importance of including some cantabile work in your daily practice. Record yourself often and see just how beautifully you can play this melody. A good quality recording reveals much about how we sound that we cannot hear ourselves when we're actually playing, so don't take this point lightly. Play some low chromeaties (bottom of pg.2) before frequent rests during this section. Dab Finlandia Jean Satis cl 1 dolce, legato sO40 B¥ Finlandia was chosen because it can be played very beautifully and only spans a major sith, Feel free to use other tunes with about the same range span for your cantabile work. A wider range span (especially more than an octave) will make the transposition to several keys far more challenging, so that’s up to you. Due to space limitation, only the first four keys of each Spiderweb are shown, Continue past those first four keys if you wish. This is the only section of the book using a C1 Spiderweb. This isto help balance the high register drills some players may have overplayed (you know how trumpet players are). a Jean Sil @ = — = — la. - Yolee, legato ; a .Do not overestimate your endurance. Play it safe! Stop when your chops still feel good. The higher you play when doing EE 4" your camabile work, the longer your rest periods must become. Over a long period of time you'll notice that your endurance is improving and that your chops feel good just about al the time. If you are always beating your chops to a pulp when practici youare invariably doing far more harm than good. You want trumpet playing to feel good: stop and rest while it still does! Finlandia Jean Sibelius dolce, legato’ 5 5ae Finlandia Jean Sibelius 905 d=69 dolce, legatoFinlandia 2-69 << —_———. Gs 1d. dole, legato ? s +‘Technical Studies ‘ty to complete one full S per practice day. These are minor key technical studies—most players have mastered their major key technical studies, These are presented using the G2 Spiderweb; on the sccond page of each are the other three Spiderwebs i yo choose to use one of them for this work. Every key has been shown, so if a higher octave is needed you can read from the one an octave lower. Play some low cbramatics (bottom of pg.2) before frequent rests during this workout. ‘These are Dr. Donald 8. Reinharde’s Tivelve Standard Articulations; use them with these technical studies. OD 4 + TT we TTI) peinbarde used sy “Become your ean om. a anon severest rte” “To mae yours doa * ot " certain thing in a certain way at a 3 7D + 9 TRAD TTTT ther) ST ‘ern ime spells CONTROL.” ve a firm left-hand grip to keep your born from moving; this keps the mouthpiece onthe chops and belp clean up your tecbnique ght 0-240 a la. . simileQobebp-etecette efter tte eee Grrr stecette a b I E2 6 i iF " Ip a Ic. Gs ~ fe 2 Ilo IIb i tl1.04.0 .am Use Dr. Donald S. Reinhardt’ Pr Troelve Standard Articulations 2» TTT), TTT Me 8. INI with hese eects Of S o Ana femora) a kermt)p STD @ 2a. similePlay some low chromaties (bottom of pg.2) before frequent rests during this workout. Perrine’. 0 p 1 io Ib gr 1) ib b Ib ir Ib iF {It Ib ui @ 1d.oH 1.00 4m 30m onan Use Dr. Donald S. Reinhardt’ “a TdT Toelve Standard Articulations 2. JT) 5. SST he 8. TOIT uM with these technical stud +7060 9. TAIN ITTF vom a TT Juxo0-240 GQ 3a. Tinielay some lw chromatic: (bottom of p:2) before frequent rests during tis workout 49 a Lptnteo tine etetert rie totter rhe» te oy ay m igsieter fire cise cE ele tatters ste tpitthttye 2 a = a = a jo _< fe o 2 fe 2 #2 = 2st 2 te 2 2 #8 £om 1.00 4AM 2am » Im Use Dr. Donald S. Reinhardt’ se Toelve Standard Articulations 2. JT) 5. SST he 8. TOIT mm with these technical stud J=100-240 a 4. GE tees feet fripieetines|y = a Fiore rl ett Fae arte breil yDPlay some low cramaties (bottom of pg.2) before frequent rests during this workout. st it b bred jo _< fe o 2 fe 2 #2 = 2st 2 te 2 2 #8 £°8 1.00 4,m 2am onan Teele Standard Articulations 2. 77) 5 Tes. TIT ui pene Gq y ine TH = x A Sa. PN etre = é Coo oo = z= ~Play seme low chromates (bottom of p2) before frequent rests daring this workout 3 b f i Ip ir fo 2 2 te“8 1.00 4AM 2am Use Dr: Donald S. Reinhardt’ se oe Teele Standard Articulations 2. 77) 5 Tes. TIT ui with these techni seis | 9 FADD IDA om) bal Miiegre similePlay some low cramaties (bottom of pg.2) before frequent rests during this workout. 2 b iF Ilo Ip IIb ue IlI¢5° Section [4] Compression Studies this page is m for sounds i about making tiny litle squeaker “noises? Use about ‘ath of a breath and a HEE no-tongue attack. Do not do these on tired chops it's better todo these eatly in your playing day. You will develop a “knack” for doing compression; some people “get it” right away, for others it can take {quite some time (sce embouchure compression on p.17). In fact, if you have trouble getting started with squeakers (another word for compression drills), spend a few weeks just doing the “Putty Ball” routine: Dr. Reinhardt’ Putty Ball Routine—continue repeating and getting softer until there is no sound left, just a “popping” sound. Py ome oe cromares teat te Pha ome somatic (bouton of 2) then Res. Goto of 2), then Re. pp ‘pppp Play some low chromaties (bottom of pg.2), then Rest. pppp Play some ls chromatic (bottom of pg2), then Rest“This “Buzzing Routine” is not a warm-up; it is extremely strenuous so rest frequently. Do not buzz. on fatigued chops. [J 57 Always buzz ona wet embouchure, never tongue a buzz (all breath attacks when buzzing), and do not buzz too loudly —mp to mf is sufficient. (See buzzing on p.17.) Note: This isa long-hand version of what Dr. Donald S. Reinhardt wrote (in paragraph form) with the exception of the use of the Spiderweb. Reinhardt had you start at C2 and go up from there. Reinhardt’ Trio of Daily Calisthenics (ee The Reinhardt Routines, Pivot Publishing) is also recommended for improving compression. Use Breath Attacks when buzzing! a a a a buaz lips (app. 20sec.) * buaz 3 use 4 play rreath attack) 5 Rest at least as long as ae \ P00 brat ene SA ej tok od, A simile a a a a use 7 bus Ize 9 play SS hae 7 2 use #4 play 5 ne hse 7 dase a bse 2 play 3° base 3 bus 3 base play 35 a a Mi hue ue 3 hues play rs buss 5 buss SS use 54 play 5 or ues buss, 63 usa 4 play 65 From this point on, continue upward in the same manner. Ifnotes get too high for you to buzz, you ean buzz them down an ‘octave and stil play the note in the higher octave (although Reinhardt recommended that trumpeters buzz.no lower than G2), Again, this is extremely strenuous so rest frequently.IF the drills on page 56 are beyond your ability to play, you can use this page to help work your way up to them, Some players require more time and effort than others when it comes to developing compression. The Putty Ball drill was ied to help those students. There are cases that require additional stages of preparation to get those squeakers started, and the drills below are for such cases. ‘The key to compression is to forget about sound quality and only think about response. The tiniest sound you can get is all that is required. These are not about working on your “Maynard Ferguson” power and projection; these are about getting your lips responding at higher frequencies, nothing more. ‘When playing these drills, a tiny, nasal, unpleasant sound is acceptable. These are drills are designed to help develop the response factor, period. The cantabile drills are for working on your sound. Play these just fast enough to accomplish each line in one brea. pppp Play some low cbromaties (bottom of pg.2) and Rest PPPP Play some le chromates (atom of p2), ond Rest. If chops are not tired, segue to page 4