Millett TRUMPET METHOD TECHNICAL STUDIES 7 Ee 9 duane “lean i n : Intermediate/Advanced Method Allen Vizzutti ‘Alfredee ee ee ee ee ee ee eeAllen Vizzutti BOOK JECHNICAL STUDIES Procticing 3 The Warm Up... 4 Performance Anxiety... 6 Long Tones 7 lip Flexibilities 15 Technical Studies......... 32 Finger Flexibilities ....... 66 Tonguing Single ond °K" ....... 78 Double 82 Triple... 96 Odd Groupings....... 110 Upper Register and Endurance...... 120 tive but more usell and longlasing os wall, Usvally, Lge bboaks do nat lie Bal or slay open on the music ack. In add Yon, the poges [which ere glued together tend fo break oway tom the spine afer repected use | Aled hor made every elfort to make this book nat only atvac: this edition, poges are sewn logehher in mules of 16. This special process preven’ foges From faling out of the book while allowing # 12 say opan lor ense in playing. ive hope this unique binding wik give you added pleasure and edditional vse, | TRUMPET METHOD | | BOOK 1 TECHNICAL STUDIES An Intermediate/Advanced Method in Three Books Alfred) (Gs) Copyigh © MCHXC by Aled ashing Co, I nghs rsoned Prien USA oer Oasgn, Mein asoINTRODUCTION TO BOOK 1 Boy F822 204 of ol tampa lovers, rogers of profciony, should be to pay beovifl msi with an appropriately beautiful sound. This thought must be foremost in one’s mind when practicing, per- forming or leaching. Undeniably, the trumpet is @ difficul! and unpredictable insirument to play, and it is echnical proficiency that enables one to perform with beauty, control, endurance and consistency. As a resul, dedicated studenis of the tumpel offen 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 ond melodic stud- ies and concise, text. The secret to constant and quick improvernent on the trumpet is consistent daily practice while keeping the fundamentals of efficient breath control and musical artisiy in mind at all fimes. | believe the wealth of studies in this method will prove useful for one’s entire playing career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: 8 Creative problem solving Controlled concentration Developed motor skills eee Greater emotional expression @ Acquired skills in the art of self-discipline Raised social status ee Creative interaction with other people e Raised awareness of art, beauty ond more - These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment avail- able in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be. Here, then, is suggestion. Practice in three 15-to JOminute segments, resting where necessary. Segment one Is the warm up, degment two is technical study ond segment thee is playing music materiol such as solos, etudes, orchestral literchure, ete. Vary the materi slic avoid forming bad habits, boredom ond to leorn new things each day. You must be your own bes! leach F gr Listen with hones! ears. Always try fo improve. When problems occur, refer back to fundamental thoughts Gnbresthing and sound. Mos! problems will correct themselves, Best wishes and good luckTHE WARM UP N ORDER TO ENSURE consistent improvement through proctice, 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 warmup routine in four parts with variations for egch day of the week. Remember to concentrate on the basic fundamentals from the first nole of each new practice day [i.e., beauly 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 fo play in the most musical and artistic way possible. © Buzz the mouthpiece in the approximate range indicated, a The sound should be “fat,” full and without gaps as you slide at downward. Keep repeating until there are no gaps. Buzz any- where from a few séconds to a few minutes. Be aggressive and demanding of yourself. It is possible to improve your irumpel sound almost immediately by working on the mouthpiece. For extended buzzing, use the followi triads. Check pitches at the piano while buzzing whenever possible. Be sure you are producing a fat, forte ton| ® Approach the following exercises mentally os if playing one long nole. Articulate heavily. Make the legato notes very long and the marcato notes fot 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 8vo, é 2 Lrety resting wherever necessary. ii saa ies @® Play long tone exercise #1, 3 or 4 with as beautiful o sound os possible. Start each ploying day with the three steps above. Some days may require more warming up then others due to the playing demands of the previous day or your biorhythmic cycle, bu! 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 @ minimum of technical “hang-ups.” It is not necessary to ploy the studies higher than third space “C” in your warm up, though advanced players may wish to do so. Ideol warmup time should eventually be 15~20 minutes. ® Mondoy Technical Study #1 Tuesday Technical Study #2 Wednesday Technical Study #3 Thursdoy Technical Study #4 Friday Technical Study #6 Saturday Technical Study #7 Sunday Technical Study #8 In my opinion, lip slurs (excep! in the lowest seven partials) ore not a particularly good warm up. They are physically demanding and, therefore, useful loter in your praclice time. Lip strenghh (more accurctely, the strengih of the muscle structure around the lips) as a goal is greatly overemphasized. Alihough strength is imporiant to a degree, range, endurance, « beautiful sound and advanced technique as a complete packoge are based on efficiency of breath control, not brut igth. .PERFORMANCE ANXIETY ERFORMANCE ANXIETY {i.e., nervousness) is @ common and natural thing. Players ot all levels of com petency experience butterlies, dryness and other symploms of nervousness before a performance. The goal one should pursve is not to be totally relaxed, but fo maintain sufficient mental and physical control in order to enjoy playing music and play well. Experience is the recl key. The more offen one performs, the eas! er il gels. Take every possible opportunity to perform. Play for friends and family. Cosual settings can be of great help when done frequently. 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 10 the lop of the music community, no matler how large or small the community Here are © couple of practical pointers to help you defeat performance anxiety ® Worm up well several hours before performance lime to ensure lip suppleness ond good response ® When the butterfies come, don't resist them. Resistonce causes tension. Tension causes ploying problems Let the wave pass through your body. Observe the feeling as ii happens. Don't panic ® Scrape your tongue lighily across your top teeth to cause saliva to flow. The less you concenitate on dry mouth, the sooner moisture will return ® Let go of the inevitable mistakes. Do no! dwell on them. There is always time to think about that later ® think musically, not technically, excep! for breathing. Breathe deeply ond project the air confidently through the instrument, This is the one fundamental you should olvays fall back on when you find your conte dence foltering © Finally, stay in’present time. Don't worry absut what hos happened or what is coming. Don’? sacrifice an entire piece for the sake of @ high note or a ricky passage. Make the note or phrase you are playing os beav- liful as possible, The rest wil fall into place. Present time is the key to performing from memory without slips as well.long Tones 7 Long Tones Dominant 7 Chord (J=84)8 Long Tones Major Chord (J = 8a) 2 a Minor 7 Chord (J=84) 7S a= a en ere along Tones 910 Long Tones * ‘Long Tones 11 Dominant 7(b5) Chord12° Long Tones Diminished 7 Chord (J = 84) aLong Tones 1314 Long Tones Dominant 7 (b5) Ascending Major 7 (25) Descending af (J= 84) = 8 6s 6s ese ee - e-Lip Flexibilities 15 Lip Flexibilities °2 =n oe OR 28 ee A. on Roe pe oe, 1G G 8 16 Lip FlexibilitiesLip Flexibilities 17 o ae Se ee So2 oo. 22-22 =. 82 92-22 82 82 of 22 me se eel ee 18 Lip FlexibilitiesCea eee ee Lip Flexibilities 19 “hee Poe 4 ee << fo= 83S &2 22 os == oo G2 e8 G8 5S G8 =2 @S 8S oS 20 Lip FlexibilitiesLip Flexibilities 21 Play with and without alternate fingerings. eras Ce ee Co |22 Lip Flexibilities Play with and without alternate fingerings (Nos. 8, 9 and 10) J 108 i— 1 aot asa ee ee ms ses ss ee lle ee!Lip Flexibilities 23 Tobin24 Lip Flexibilities a — ee ee er Play with ond without alternate fingerings (12 and 13). Juin 4_ i i 12 a nf * 5 = ee ee ee = ezLip Flexibilities 25 i 1 i q J 4. 1 4 126 Lip Flexibilities = = pape fal t aa == pe OFLip Flexibilities 2728 Lip Flexibilities Je 100 = - Bz w a i I = ws ss 82 ss ss oe se es sess ss® Lip Flexibilities 29 en i be = = =e « i 4 Pet ePhePstatet = = = 2 totetetetelefetete re Seer aera 4s : 1 . RS re eee , be i= os 6s oe oe oe oe oe oe oe os on oe os 2s os os ot acai | 30 Lip FlexibilitiesLip Flexibilities 31 Etude J = 108 et32 Technical Studies Technical Studies The following studies should be practiced tongued os well os slrred Bang the valves down hard! This will Promote accuracy and rhythmic clarity. Do not be put off by difficult keys. Have the seltconfidence endl discipline to work on them. They will gradually become easier and easier. Tempos should range from very slow to 08 fas! as possible. Use « metronome to promote evenness and to document progress. Major a p-nf ©S* o see ee ee 6 le le le le le es ee eeTechnical Studies 3334 Technical Studies a A ager ser gdevdgady guery odeevegeee — ITechnical Studies 35 a ow oe Se eee Oe oe oe ee eo ee36 Technical Studies Whole Tone BoatTechnical Studies 37 oes oe oe ee ee ee38 Technical Studies Diminished P-nfoe ee ed ee ee ee ee ee ee ee ee ee Technical Studies 3940 Technical Studies . Technical Etude (J = 120) ee eee Saye mp Tt eS = we a w&| ’ Technical Studies 41 —_- l ee ee ee e e ee e S Ll42 Technical Studies o_o. on oo 2 on oe op om op oe oe oe oe a! Hi . eter| Technical Studies 43 pee — SSEECiEr oT I Big ted genes Spray vases stey =44 Technical Studies *Technical Studies 45 Whole Tone —— a i ee eee46 Technical StudiesTechnical Studies 47 Technical Etude (J = 120) Storer eae ecm Te ceeee ce (ee48 Technical Studies Major P-uf %Technical Studies 49 = a ee a50 Technical Studies Minor pong 2Techhical Studies 51 =e ee eee ee eee ee eeWhole Tone 3 3 2 = 2 = 2 2 SsTechnical Studies 5354 Technical Studies Technical Etude (J = 100)I Technical Studies 55 Chromatic a pon OE f * 4 Be56 Technical StudiesTechnical Studies 57 Mine << infed 58 Technical Studies Major yg ncior 17 Bits — SS oe ee = SS 5 Fg einige ei - SS pao a ee cae ite Sec Bit © tea siniia wea Satie Sane nT 2S SS as a See ——— Se eye sede gov lo wyTechnical Studies 59Technical StudiesTechnical Studies 6) Minor SS SS SS SSS ES pypateavvegersaer ed yavgardavetee 5 Sport sere Ged ssev seers re a. 62 Technical Studies they ee ae z ——— —S— = =i 4 Sa 7 Se pb ee SS SO 6 es er SSS Ss Fee res es =F 2Technical Studies 63 at = SSS64 Technical Studies css = sae aaaasaase=asatsaar aeaeanaeaae a SS eeTechnical Studies 65 Technical Etude (J = 120)66 Finger Flexibilities* Bang the valves down firmly! J=120 Finger Flexibilities68 Finger Flexibilities } += 100 Play three times ) SS SSS OE lS be ee Cao era am three times Af == | vu, fas webs “"Je?i-tn sly N ee CS Tih —70 Finger Flexibilities SES SS Gaede easel Fee creer eee72 Finger Flexibilities ds 100 aa ER — ee iso Lea wou 1296 8 SS = Fe te teh he * Sieh oe a Figs sb seh on tS tHE nee ea oo be “Sivte givie Sihe siy= SS SS Deh heh eRe74 Finger Flexibilities vapaeavis apiesiavaiz: Jeu ‘ 10 fe nee76 Finger Flexibilities E> whit Se vives ve boFinger Flexibilities 77 : = ee ie viele VSS ee eye ease ie Seat eB Se ene78 Tonguing Tonguing ‘ Work with a metronome to promote evenness and clarity. Five to ten minutes work every day is the bes! means by which to gain speed and coordination, Practice double and triple tonguing very slowly as well as very quickly. Single and “K” Tonguing i ie Tr rT TTT TTTTTTTTT TTT simileTonguing 79 af TETTT TTTVTTT TT TTTTT TT simile mn80 TonguingTonguing 81 The "K" tongue should be practiced alone in order to promote clarity and evenness in double and triple tonguing. Try to make it as clean sounding as the "T” tongue and be patient as the "k” tongue may sound bed ol first : ff TIER ER ic tte neat CSIC Meee eet 2 2 gm82. Tonguing Slowly (4 = 108) Double Tonguing 8 te SS a ‘simile TKTKT KT K pp SSS aTonguing 83. 84 TonguingTonguing 85 Double Tongue Etude (J = 144) = 5 = - 17 = « wal =—e ee ene we we se ee ee ee eee ee Ce i ee 86 TonguingTonguing 8788 TonguingTonguing 89 Play three times —=— =. == SS SS SSS ae et ee nf Play three times simile90 Tonguing SS SS webs ys v sie 2 See ee* Tonguing 91 Double Tongue Etude (J = 160) 25 ee == Sete: 2 = = SS SS Se i = z oe92 Tonguing SS = - as] anf = —— z = SS SS =. SS = ———= © === i = =f 2s Se Pn as : aS SS o Sa e mae eSS Sa fie fe foe Se v = SS" (= ou re eet pete a= == == == SoS es Se ESS e = Spe ete f- eoprP ere. ee 2 = Ge maf fe ee ee SS} .