ee B> TRUMPET DP FINGERING CHART I rot ] 8 é A A AA A = o> be & fe bo os © od to G Gt oor Ab A Ag or Bb B Cc I i T I I A A A A AA ——] foo + tobe SS ctor Db oD Dé or Eb OB F FE or ch I i i I I I A A A A AA <= c ee AL or Bb B c | root r yf A AA AoA AY, eS =_ ——| == = | ee bi or ERO OE F rt or Gb I I I ] I ! 1 doa a. ia A A be A te ba a2 2s G Gt or Ab A At or Bb B cParts of the Trumpet _-LEAD PIPE FIRST VALVE aan _- SECOND VALVE _ THIRD VALVE = FIRST VALVE SLIDE LITTLE FINGER RING SECOND VALVE SLIDE a WATER KEY TUNING SLIDE PAGES.HOLDING THE INSTRUMENT FIG. Lisapicture of the left hand holding the instrument. Grasp the valve casings firmly between the thumb and the index finger. Make certain that the horn is gripped firmly so that it doesn't slip or fall but do not hold it so tight that your left hand wrist is rigid. Practice picking up the instrument and holding it with your left hand so that you can get a feel for the weight and balance of your instrument. PLACEMENT OF THE RIGHT HAND Look at the picture in FIG. 2. Gently rest your right hand fingers on the valve buttons as shown. The fingers should be curved slightly. The thumb is placed underneath the lead pipe and resting against the first valve casing. The little finger or “pinky” may be placed in the finger hook but, if it is possible, try to avoid this. It is a much better practice to rest the little finger on top of the finger hook rather than placing it in the hook. You will want to keep your right hand relaxed at all times so that your fingering may be done with case and agility. By forming a habit of putting the little finger in the finger ring, you will frequently tighten up your right hand and the fingers will have a difficult time working smoothly. Be careful not to raise the fingers too high. They should rest comfortably on the valve buttons. When you press the valves down to play different tones, press them all the way down in a smooth, not sluggish or too hard a fashion FIG. 1 FIG.2 PAGE 4FIG.4 HOW TO HOLD THE TRUMPET FIG. 3 shows the frontal position of how to hold the trumpet. FIG. 4 shows the side view. The height of the bell of the trumpet is frequently dependent upon the structure of your teeth and your jaw placement. How- ever, the pictures show the most frequently used height of holding the trumpet. Notice that there is a “slight” downward slant. Also notice that both the left and right elbows are not resting against the body. They should be free in order to keep your arms loose and to facilitate free breathing.HOW TO HOLD THE CORNET FIG. 5 shows the frontal view of how to hold the cornet. FIG.6 shows the side view of holding a cornet. Notice again the placement of the left. and right hand and that the left, and right elbows do not rest against the body. They should be held at a comfortable distance from the body so that the cornet player may remain relaxed and have free, smooth breathing. FIG. 6FIG.7 PHOTOGRAPH H— PROPER SITTING POSITION FIG. Tabove shows the proper position for playing the trumpet while seated. Notice that the positioning of the left and right elbows remain at a com- fortable distance from the body. Notice particularly the position of the back: The player should be sitting fairly straight but not in a rigid manner. Try not to form the practice of leaning back into a chair. This will restrict your breathing later on. The proper positioning is for the student to sit upright and perhaps lean a very slight bit forward. Both feet should be resting comfortably on the ground, however, many trumpet players prefer to rest on the balls of their feet. PAGETGETTING A TONE ON THE TRUMPET EMBOUCHURE ‘The embouchure is the positioning of the lips for playing your instrument. FIG. 8 shows the positioning of your lips at a normal relaxed position. FIG. 9 shows the correct trumpet em- bouchure. Notice that the corners are tucked in and ideally, the center of your top and bottom lip remains relaxed. PAGES FIG.8 FIG.9FIG. FIG. 1 POSITIONING OF THE LIPS IN THE MOUTHPIECE FIG. 10 shows the positioning of the lips in the mouthpiece. There are many theories as to how much upper and lower lip should be in the mouthpiece. The best rule for the beginner, I believe, is to have the mouthpiece filled with one half upper lip and one half lower lip. Variations may be made from this andard with the advice of your teacher. FIG. 11 shows the mouthpiece in position on the lips. Study all the proceeding photo- graphs and notice how they relate to the actual placement of the mouthpiece. Before proceeding to play your first note on the trumpet, refer to page 24 at the back of this book in order to learn prin- ciples of daily care of your trumpet.OUR FIRST NOTE “G” The following exercise consists of WHOLE NOTES ( o ) and WHOLE RESTS (~ ). Each WHOLE NOTE and each WHOLE REST receives four full counts (one and, two and, three and, four and.) “G” IN WHOLE NOTES (4 FULL COUNTS) Play Rest ————— Count: 1&2& 3848 18283846 HALF NOTES ( J ) AND HALF RESTS ( = ) HALF NOTES and HALF RESTS receive two full counts (one and, two and.) A HALF NOTE lookslike this ( J ). And a HALF REST looks like this ( = ). Notice the difference between a WHOLE NOTE o anda HALF NOTE J. Also, look at the difference between a WHOLE REST = and a HALF REST = . A WHOLE REST hangs down from the line above.A HALF REST sits on top of the line below. “G” IN HALF NOTES (2 FULL COUNTS) Play "Tah" "Yah" "Tah" Rest Count: 1&2&3& 418283848 “G” IN WHOLE AND HALF NOTES wh P “MIXUP”LOW “Cc” Low "C" sounds lower than "G." To play low "C," relax your embouchure (positioning of the lips ) slightly. Don't play to hard! LOW “C” IN WHOLE NOTES = = LOW “C” IN HALF NOTES “JUMPING SONG” “DOWN-UP” “SLIDING” PAGE 11Push Ist Push Ist and 2nd valves down 2 =Fah™ Push Ist and 3rd 5 valves down 8 a breath “DOWN THE HILL” 2 — e PAGE 12QUARTER NOTES (J) AND QUARTER RESTS ( ? ) ‘A QUARTER NOTE looks like this(_J_) and it gets one full beat ("one and".) A QUARTER REST looks like this ( } ) and it gets one full beat ( "one and”. ) Oo oe © Whole note Half note Quarter note (4 Counts) (2 Counts) (1 Count) land2and3and4and land 2and land «“ ” ‘SCRAMBLE 4__"Tah" Rest "Tah" Rest "Tah" Rest 1 2 = S| Te2e3R4E TE2ESRTE 12E FR4E 1T&2& 3848 "Tah" "Tah" "Tah" Rest "Tah" "Tah" "Tah" Rest "Tah" | "Tah" "Tah" "Tah" Rest and 2and 3and 4and land 2and 3and 4and 1and2and3 and 4and land 2and 3and4 and “MARY HAD A LITTLE LAMB” “LIGHTLY ROW” 2 2 “AU CLAIR DE LA LUNE” PAGE 13“4” "A" is played with the Ist and 2nd valves pressed down, It sounds one note higher than "G" : “SPARKLING STELLA” PAGE 143/4 TIME Up until now we have been playing in "C" or common time. This time signature is sometimes written as $ time. In common time we have four full beats to the measure. (one and, two and, three and, four and). Inj time we have three beats to the measure (one and, two and, ‘three and). A quarter note gets one full beat in 3 time just as it does in f time. DOTTED HALF NOTE $et SSS land 2and 3and 4and Count: Land 2 and 3 and A Dotted half note gets 3 full counts! 1& 28 3& 162838 “BLOW THE MAN DOWN” “ “TELL ME WHY” 2 PAGE 15MORE SONGS “YELLOW RIBBON” “RHODY’S GOOSE” > ’ s “JINGLE BELLS” 2 PAGE 16“B” AND MIDDLE “C” "B" is played by pressing the second valve down. It sounds one full step higher than "A". "C" is the next note higher than "B" and it is played ‘open (no valves down ). When a tie occurs, you hold the note for the combined value of the two notes tied together. You will tongue only the first note. The second note is merely held and not tongued. Notice the use of the tie in the "Marines Hymn." “MARINES’ HYMN” Pick-up notes are introductory notes at the beginning of a song. (Pick up notes) > x The tie is a curved line that connects one or more notes. THE TIE | ~_E PAGE 17MORE SONGS “OLD SMOKEY” $e x Se 4 = E ——= “SWEET BETSY” PAGE 18THE SLU A slur is a curved line that connects two or more notes of differing pitch. When a slur occurs, only tongue the first note. The remaining notes are fingered and played but they are not tongued. “SLUR SONG” “BILLY BOY” : PAGE 19B: (FLAT) Push Ist valve doyn "“B FLAT" is played by pressing down the first valve. It sounds just slightly higher than "A" and lower than "BY The sign for flat is ( b.) A flat( b ) makes a note lower in pitch. (For example, Bbsounds lower than B). CLIMBING . “OLD JOE CLARK” : SS SS “YANKEE DOODLE” — PAGE 20“FAITH OF OUR FATHERS” . PAGE 21F# (SHARP) A sharp( $ ) raises the pitch of a note. F sounds just slightly higher than F natural. Ff is played by pressing the second valve down. It's the note that sounds in between F naturalaG. KEY SIGNATURES A key signature shows how many sharps or flats are to be played in a song. Ii an F# is shown in the key signature, all F's in the piece should be played as Ff's, unless they have a natural sign ( before the note. “WHEN I SURVEY THE WONDEROUS CROSS” (Notice that F sharp is in the key signature so remember to play all F's in this song as F sharp.) eo PAGE 228th NOTES An eighth note gets one half of the time value given to a quarter note. Thus, there are two eighth notes for each quarter note. Quarter note Eighth notes Compare the following : g Count: T and 1 and f Eighth notes will either look like this( J) ) or, when several appear, like this( JJ ). Eighth rests will look like this ( 7 ). “POLLY WOLLY DOODLE” [B is in the key signature so remember to flat all B's unless a natural sign § appear: ’ <" DOTTED QUARTER NOTES A dot after a note increases it's value by one half. A dotted quarter note ( J.) is equal to (4 ) “NOW THE DAY IS OVER” Count: tand 2 and 3and 4and Count: 1and2 and 3and 4and THE COUNT! ’ PAGE 23FIG. 14 FIG. 15 FIG. 16 FIG. 17 (CARE OF THE TRUMPET Ciling the valves. The valves on the Trumpet should be oiled frequently in order to make certain that they function properly. They should be oiled once a week; and if you play your instrument an hour or more a day, it is a good idea to put a little oil on the valves each day. Valve oil may be purchased at your local music store. Use it sparingly. You must make certain that the valves are put back in the proper chamber and that they are facing the right direction or your trumpet will not play properly. Figure 12 shows the valves being oiled. Most trumpets have a guide which helps you position the valve properly back into the chamber after oiling. Figure 13 shows the valve guide. Lubricating the slides. About once a month the tun- ing slides and other moveable slides on the trumpet should be lubricated lightly with vasoline, mineral oil, or slide lubricant, which can be purchased at your local music store. Figure 14 shows the procedure for lubricating the tuning slide. Placement of the mouth piece. Make certain that you place the mouthpiece into the horn gently. (Figure 15) Do not tap the end of the mouthpiece with the flat of your hand. (Figure 16) This will frequently jam the mouthpiece into the horn. IMPORTANT: If your mouthpiece gets stuck in the horn, do not try to force it loose. You will damage your instrument by doing so. Take it to your local music store, they have machines which can remove the mouthpiece without damage to your horn. Care of your instrument_when not playing. Try to avoid leaving your instrument rest on folding chairs and on the floor. This is a good way for your instru- ment to fall and get damaged. When you are not play- ing your instrument, put it properly into the case and store it safely. Cleaning of the instrument. Every several months it is a good idea to take apart your trumpet and clean it. You may purchase a mouthpiece brush (Figure 17) for cleaning your mouthpiece and a trumpet brush for cleaning the slides at your local music store. When cleaning your horn, run luke warm water through it and swab it with the appropriate brushes. When you put the instrument back together, make certain that your slides are greased and your valves are oiled and that you put the proper valves in the proper chambers. 24CERTIFICATE OF COMPLETION THIS IS TO CERTIFY THAT HAS SUCCESSFULLY COMPLETED MEL BAY'S TRUMPET PRIMER AND IS ENTITLED TO ADVANCE TO MEL BAY'S TRUMPET METHOD VOL. 1 TEACHERS SIGNATURE