) 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 2 23 Oakwood Road ¢) Candler, NC 28715 boptism.comzy Pivor PUBLISHING sli of Bop Masi Publishing 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 wow-bopeism.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 Rive’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 4 3 2 1zy Pivor PUBLISHING sli of Bop Masi Publishing 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 wow-bopeism.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 Rive’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 4 3 2 1Forward! Ren Esacely what i yout fol pa ders What Will Help Me Get The Most From This Book? ws Section [IJ Warm Ups Section EJ Embouchure Stabilizers... Section EJ Single, Triple & Double Tonguing Section EJ Cantabile/Performance Studies Section E Technical Studie 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 letermination, 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 firs start!) Tes okay to set high youl for ourselves, bur unrealisie ‘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 oF practice day is what is specifically addressed in this book, Iti our foc point (the first notes of each playing session) that decides how our embouchure is going to develop over « ¢ play a low C, then over a long period of time, chat is yoing 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 craining on cruinpet is muh like mosc any athlete’ strength training (there van athletic aspeetof playing. trumpet ater all). Weight lifters go at it hard the frst day, chill ut the second day: They hit it hard agein the third day, and take the fourth day off, ete, ad infinitum, When they get really strong, they're good for hemyy lifting every day ofthe week, every dhy 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 1. IF, every time we pick up our horn, more than a couple years, we are probably good to go for “heavy lifting” every day. As stated on page 17 ofthis book, some of us will fel a “jolt the first time we phy out of this hook, For those who do, the second day we will do wel to chill out and take it caxy, maybe do our usual practice routine, ‘Then the thin day we can go at it again out of this book, and alternate “hard days" and “easy days” until the strength required to works out ofthis book permits us to start our day with i every day Here's something based on what a Freneh physician used to preseribe to all his patients back in the early nineteenth century: its an affirmation thar is said out loud, Bach time you take the hors off your fae, especially if you're having less-than-perfect playing day, you say, “Every day in every way I'm getting better and better and bette.” Affirmations are a way of being your own cheerleader, and saying them out loud really does change your “self talk” over along period oft Yés, say itout loud, even if you just whisper ic so you can hear yourselE, Trase me, i’ far beter than kicking trash cans and shouting the negative affirmation “I suck!" I've done both, and the positive affirmations definitely help me stay calm and leet s4 00 [did che eegative affinnations, Acs Tread The Taelftb Angel by Og Mandino, Ihave been using the positive afirmation, and I recommend it wholeheartedly The principles inthis book have been around a long time, they have just never been put together all in one place quite like they are now in this book. This book won't make you a better pkyer: Your time spent uiligendly working out of it the firse thing every possible playing day is what will make you a better player. Happy trumpeting and good luck! Out of the 4o years I've played trumpet, up until che — Rich WilleySpecial thanks ws ataays to abnighty God, my Heavenly Puther, an’ foal tbe grea people He sends ina my bie induding (bueno insted 1) Dr. Danatd 8. Reibart sey incredible wife Janes, my parenss Cardin & Leonard, ‘ny extremely maieal uncle Richard M. Gilhrst, my first band direcior and musi teacher Donald W: Hacer ‘my firs trnmpet teacher Jobm Baker my friend, flloesranapetor and marreting consultant Nice Mondello and prety mach anyone aie everyone tha has tuched my life and saped my musicianship Ob, yes, aed anatverthank-yon Chris Rattstoe obo ele me cme up with a ner for this book “I've always been open to different schools of thought regarding methods with which to develop asa trumpet player and brass instrumentalist. With this philosophy as a bass, I've always encouraged my students to explore as many methods and ideologies as possible, but not ‘put all their eggs into one basket.” T personally have developed my own approach to playing by assimilating pieces of many methoxiologies: Iceping 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 2s 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 wo my philosophies through a personalized avenue. In doing this, Lof course do a certain amount of experimentation with chese different methods, ‘This gives me an edueated reference point for my approach to weaching each individual student. “have been aware of the teachings of Dr Donald S Reinhardt for years. I even own a copy of Reinhardt’s tome, The Eneyclopedaa of the Pivot Systers, which Ihave read in its entirety. I even had David Sheet ‘type’ me a number of years ago, Lama IIA. ® “A year ago, ome of my students gave me a copy of Rich Willey’s book, Focal Point, «centered approach to emboucbure development, and I started working out of it, coupled with the guidelines Reinhardt suggested for & typical ILIA player. “L vas very impressed with my resolts From working our of Rich Wille sugested exercises from the book two or three times a week when I start my playing sessions. [chas made ime an even more efficient player than [ was. As I said in my book, Clinical Notes on Truonpet Playing, a student ‘must understand there are other viewpoints to consider. With regard to gathering information, “ts all good.” hook. Ido a couple of his “Lhighly recommend Rich Willey’s book, Poca! Pout. IF a stadent reads and understands all the text in Rich’ book, then the application of the exereises should prove to be very beneticial.” Roger Ingram, Jupiter Music Performing Artist, brtpe/hewa.rogeringrana 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 all time, the late Dr, Donald S. Reinhardt. 'm confident that by buying this book you have made the frst of two important choices: the First is to become a better, more efficient crampeter. 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 isa shortcut or 3 panacea, and even the hest hook is uscles if the student deesn'r make the commitment to practice our of it iligently: “There are very few embouchure problems or hurdles that I haven't encountered in my 4o years playing a brass instrument. In fet, 'm a guy whose journey as a trumpet player has been bumpy, 2 veritable crusade to overcome difficulties including faulty embouchure, injury, impaired technique, Bell’ 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 ineredibly 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 concent with delayed gratification ‘This book is not intended to replace any other book or even ‘0 improve on any other book, ‘Writing this book was motivated liy my experiences teaching trumpet and trombone students after ‘years of studying and practicing things I learned from Dr. Donald S, Reinhardt, “Doe” 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 nced 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 I teach in college and classroom settings do not come to me specifieally to study embouchures. Ics my job to meet them where they are and give them materials chat will help them improve with a minimum of practice time, What they need is a plan to get them practicing smart. 1 devised routines to start out your practice day at one of four foal points—you choose which ‘one you think will comfortably help raise the “bub” (or center) of your range. These routines will positively impact the way your embouchure develops, and they also cover the basic clements of brass playing Doc told me needed to be worked out during every practice day: something hi something low, something tongued, something slurred, something loud sustained (eantabile playing, some multiple tonguing and some compression drills. All these areas are presented in this book, and at a pace and at the foval 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 of all six sections of this book at the beginning of your playing day, you will begin to notice that your chops are performing hetter and beter for you later in the day when you do your “normal” playing (gigs or rehearsals). ‘You are nor “on your own” now that you have this book. Anytime you need some assistanee or ‘encouragement, please click on the Pivot Publishing FAQ link at wws:boptism.net and you can post questions or send me a private email, Ill 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 t Rich Willey April 2008 (vised June 2012) per student,Reminders 1. This book is not intended to be your tou practice regimen, however, i intended to be che first thing you play on a playing or practicing day. 2. The earlier in your practice day you ean get through this material, the better. Even if you only have time to do a few lines out of each section, it will hhelp you reach the eventual goal of Focal PoryT— that i, another day further along in raising the “hub? of your range (ee pg. 3). 3. Whatever pitch you use as your focal point in this hook isthe 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 foeal 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. Ifyou find that working out of this book is a jolt” on your chops, you may want co do these routines every other day at first. The first day, work ‘out of this book. Then, the nest day do your “usual” routines and ease into working out of this book daily ater a soup of weet or once your chops ave 6. When you are comfortably getting through this hook with favorable results, then you might ‘vant to start eying to raise yout focal point ta the next higher one. Use eaze when taking this steps avoid the Superman Syndrome (3° pg 17). You ‘might want to ease into the next foeal point inthe manner described in point #5 (above). 7. The low chromaties at the bottom of pg.2 are something Reinhardt recommended for trampeters to relax their chops (rather than pedal tones), Another thing that is very effective at keeping your chops from getting too tired is simply puting the horn down and resting, Don’t overlook this point. 8, When resting between sevtions you might want 1 read (and reread) the text eewhere in this book, specifically pages i, of (this page), x, 2, sand 17. 9, Remember, you can ask any questions you may hhave about this and other Pivot Publishing Edigions by going to the Pivot Publishing FAQ link at ‘wwrw-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.What Will Help Me Get The Most From This Book? aL Hewexnios & Fer 4«— Before your daily practicing, drink ax least rwo 8 07. glasses of water. Also, wash your lips with Ivory soap (or some ocher brand that contains no skin softeners) and ‘wash out your mouthpiece with soap and a mouthpiece beush, Starting every practice day with all the same clean surfaces and with your body hydrated promotes consistent progress. #2 CCuors & Mocrumtece PLacrstess — Dr: Donald §. Reinhardt ‘ught us to place, inhale, and play. Additionally he taught us 10 hhuzz the lips with no mouthpiece, and to place the mouthpiece on an embouchure formed with Fusing firmmess(@ wet embouchure is preferred over adry embouchure). He alo instructed us not 19 cliscurh our mouthpiece placement when inhaling, and he always recommended moutheorner inbslations of nose breathing. #8 Privany PLawise Fierons — Reinhardt nsed total about two primary playing fictors; vou cant get a trumpet sound (notes) without 1) air, and you can't get a trumpet sound without che 2) vibration ofthe lips, but you am yet a sound without using your tongue (scolar playing furor). So he hadl us play the first notes of the day using breath attacks (HOO no tongue “attacks”) a tieraruve— There are many players (and teachers) who swear thot air and breathing are the keys to suecessfal brass playing. Fig When, on a given day, your chops are feeling great it's because the response faetoris particularly good that day. For instance, ‘one day you notice thar your single ronguing is especially agile and quick — Reinhardt would say that it's 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, Avery basie response-oriented warta up is as follows: play the notes in Fig. using all breath attacks (HOO) and insert a whole rest between each note. #6 Rist Penions — The importance of intelligent rest periods ‘cannot he overemphasized. Most of these studies give you rests ‘equal to the amount of time you just played, and this # a good guideline, In fact, Tencourage my students ro do “buddy system” practicing so they con take turns and essencally rest as ‘much as they play. Depending on the difficulty ofthe material being practiced, this is a good rule of thomb, Building ‘endurance is accomplished this way rather than by constantly playing until the chops are totaly *shos” before resting. Think about it this way? if you play until you've beaten your chops to a pulp and then pur the horn down, you'l pick: the horn back up later and your chops “rerneanber" that erashed feeling. If you always rest when your chops are till feeling. ‘good, when you pick the horn back up after a litle while your = a = pot Most of them never encountered great difficulties in learning to play the tramper, so they never had to work on much else For the rest of us (the vast majority of player) all the correct breathing in the world never got us the range a playing we've seen in truly oustanding players Here are a few breathing points to bear in minds 1) don’e lift your shoulders when inhaling, 2) inbale as slowly as possible to avoid tension, 3) take in only the amount of air you need to play the phrase at hand (do you really need full breath to play a one measure phrase?), 4) avoid excessive mouthpiece movernent during quick, mid-phrase inbalations, Additionally, Reinharde told ws to start playing at the peak of the inhalation without delaying the attack, When you say “Hello” ro somebody, you don' inhale, waic a bit and then blurt ‘out “Hello.” At the peak of your inhalation you speak without delay, and trumpet playing is no different. #5 Response (Vimnarion or rite Live) — This primary ploying factor is the key to progress in all departments of trumpet playing. cease of ‘chops “remember" thar fresh feeling. When practicing, ger in the habit of resting ire you're tre #7 canine Pan Toss 10 "Rexx" De, Donald §, Reinhard wed to instruct tumpet players “Pasty no pel roe ile inden tesla” Grant there ore playrs who have played thet foe years with no bad side effets and even claim benefits and theresa reason for that. In Reinhardt ive San, he embouchure eyes, and ofthe four types and fie subtypes of ‘embouchures he eatalogued, there is ony one subtype that seems to getaway with pedal tones For the ether types, the majority of players, pedal tones car interfere with emboachure development and caise eobouchare distortion difficulties Using pedal tones is yur choice, (I played them for yenrs and my chops were only getting worse every year. I haven't dome them since 1978, when L first sw Reinhardt. For pedal tone players who dow seen wo be able wo develop a powerful high register, uy tis instead: when you fee! a need to relax and loosen up, play some iow chromates Fig.2 below). Rapid slurring, many times in one breath FigFigs Note namos and subsequent octaves in this book are based on this diagram: cs <— Gi cl a e2 ED gp ait efe a ofe ate 2 ste = sop wh heb en oe F Pe een Gis G tkelonen Clik end Gone en 92 #8 Youn feat Pow — Dr, Donald $, Reinharde used to instruet his students to rase the “hub” or center of their range. Think about it—if you want your comfortable range to be from PE] to PH Gee Fig.3), then logic would suggest rhat you would want to make the “hub” of your range C2 (eoncert By ning not). (C2 is in the exace center berween Fl and Fis ‘Now, if you always pick up your eold horn and play C2 as ‘your Fist note of the day/lirst note ofa practice session first ‘note of your warm up, you eventually make that the most comfortable note top ‘your faca/ point, and eventually it will be the “hub” of your range. For those players whose embouchares are not developed to the point where they ean easily make C2 the focal point of the Spiderwebs presented, each study has the option of using G2 as its focal poin. [The G2 drills can occasionally be useful for advanced players om days when ie necessary to “tale it easy” after lay on your trumpet: You've chosen C2 as 2 grucling playing schedule, but generally speaking, i best for them to start no lower chan the C2 drills “The drills in this book are divided into sections as follows: Section I] Warm Ups. Section EI Embouchure Stabilizers Section I Single, Triple & Double’ longuing Section EY Cantabile/Performance Stes Section I Technics! Section I] Compression Studies Each section has drills centered around four” focal point rils, the Spiderweb approach is an escellent way to build various aspects of brass playing while developing range and endurance in the process as this book demonstrates. In Fig. 4, notice thar ascencling chromatic Seales use sharps and descending chromatic scales use las, ‘This is musically and rotationally correct; hovrever, this hook does not always “think” that way. Many choices of accidentals are to asist in the player’ case of reading and thinking, Isn't this just a Reinhard book in disguise? Many elements of this hook are right out of the teachings of Dr, Donald S. Reinhardt. ‘The underlying Reinharde princi lf this book is thac itis enmbouetnre compresion and aoe the low rogistor that i the Foundation of alf registers. Breath attacks for enhancing the response factor, tonguing before slurring (when working on rongued! andl shirred drills together), Spidcrwebs, the deb-geb syllables for mulciple wanguing, and che concept “crescentlo-while-ascending/decrescenddo-while-descending” ave just afew examples of Reinhardt “embedded” herein. Make no tnistake, this book was aot written by Reinhard, only influenced by Reinhard. “Doe” told me that he grew to regret using the term “system” when he named his brand of teaching The Picvs Sytor as he discovered that there areas ‘many *systems” as there are students, This book isn't a “system” — ian approach to warming up and practicing that, over a ong period of time, will rebuild your chops “from the middle out" rather than “from che bottom up.” 2,C2, Ex and G3-ve nthe Spuerecddagrmeln gg. vey wosetfyou poem the tne ond toe Fetcy ascending cbrannatis scale (erescende as you ge higher; se text om ps 13) = t = z ete z é bt j - =—s = S a a a r at te — =] "Tue “SPIDERWEB"— As shown in Fig.g (above), the "Spicerweb? (a erm coined by Dr. Donald S. Reinhard ennsists of two chromatic seales starting at che same center point and moving alternately in different directions (up and down simultaneously). ‘When used ssa series of starting points for various types of “Five focal points in Secon EY—the Canaile/Pesformance Sti 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 hetcer in all departments, Keep chugging away — you'l be glad you did. Good luck! hh ‘idly+ Section BJ Warm Ups suryourday with any ane ofthese warn ups then mene onto Seetion 2 For your initial attack, use a HOO "po tongue” attack, then two legato notes (DOO), softer as you descend and louder as you ascend. Stoaly (160) G2. ,1190 DEO __poo 2 Hoo o_O 2 la. EE SSF t —_E mp . 7 os $ far simile 2 2 2 7 5 io 7 * ha 7 = tia ¢ ri 2 2 to F E 5 PE 7 5, = isa w¥e eat 7 inal 7 7S ome wr 7 cr ra > nal ae ® a = al thd dhe mt 7 ia 5; =a + z oa = Sa mayo Ao ine P 7 a 1 = er Storaly (60) 2 |g, 100_p00__poo 2 tioo__poo__poo 2 § SSF SS fe 5 m a tie * = thal = 2 loa 7 9 Ply ee oe SSS rete on 7 tar 7 = = Te F962) and Rest‘If embouchure development permits, make your focal point no lower than C2, De not tolerate strain! 12 p_,100__00__poo 2 ‘Ngo _090__ go 1c. —————: SS E : = 7 te 7 = ion 7 e ina ba 2 i 7 Too i 7 iar is aT = = 2 i Play ome § J ee ton sss es Al * bowed CA as, Slowly (4-60) G3, 100 p90 aD. 2 00 p00 poo Id. —e s er sinpile 2 2 = = = ——— — 5 = a = = om 2. 2 i ——== er a ia ae 2 2 2 & ee eee E —— ar = = tral Pl mie synthe ned end et© Blryonrin al attack, use a HOO “no tongue” attack, then three legay nowes (BOO) andl then slur the remaining notes. T\__ 100 p00 poe poo cS a ss a zy ‘ Pep noebw chemats a —_ ne ‘loa SandReminder: Make your focal point (starting note) as high as possible for your stage of clevelopment 7 Slowly (1=60) a go Doe poe pee, F)_Hge noe veeD90 a a lays comes eS (mr 9f ond Reme Spiderweb Warm Up.” 00 POO OO POO. a oy 5 e 7 FP aoe doers a (iro 2) oa KeSlowly (J=60) n° HOO DOO DOO OO Gs Payne be cree: (eo pg 2) od Raeom his isa “quick” warm up for days when you are pressed for time. Start with a HOO breath attack, creseendo as you ascend andl 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 still as possible. Bobbing your head up and down when, sturring 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 intervals Storly (e72-96) @ froma oad Rea = re (hana on osThis drill is meant to be played very slowly (160 oF 50). Your focel point nceds to be played at a fairly constant moderate *! 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 isn 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 upsa day. IF you're able to ‘comfortably make C2 your focal point and skip past the G2 drills together you are encouraged to do so. As discussed on the provious page, when slurring (or tonguing) wide intervals, strive to keep your head as stil as possible. Story (J=60-96) G2 4a. 5 3 J ay re trims _- ae (ito of pg) ond hee Slouly (1-60-06) for a — ys (hb af pg) ond etAperture size is not something we ean control using sheer willpower: We can train our embouchure to contsol apecture by Keeping in mind the following fue: when you play (on a eransparent mouthpiece) C1 at pp, C2 at mf; and C3 af, an ‘observer can plainly see that the apercure sie is approximately the same size for all three nores. Therefore, during oar practice time, when we decreweendo when descending and erescendo 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, Story (160-96) E2 = aye a cromies (tenn) Re Slory (J=60-96) G a Pay sm conic. (tens pe ond Res3 Breath attacks throughout this warmup. ba. GY agian dy ieaies do Mapas agE ete Play just fist enough to accomplish each line in one breath, Iacono, lar dries peti a = 4 Sa. ES s-o= — “be ae Play some lew chromates (bottom of pg.2), and Restao Breath attacks throughout this warmup. Play just fast enough to aceonplish each line in one breath, Q 5b. § bebe op olf phe 7 SESS Play some dea» chromatics (bottom af pg.2), and RestBreath attacks throughout this warmup. Play just fast enough to accomplish each line in one breath. rs = 4 F2 Se. Play sonte lowe chromatic (bottore of pg.2), and Rest.on Breath attacks throughout this warmup. Play just fast enough to aceomplish each line in one breath, i el Play some ew chramatics (bottom af pg.2), and RestFocal Pointers—Onward and Upward! " this jase bunch of sa that had trouble ting elsewhere into this book. Her in mid Tove devon; lomgsinve snuent ofthe lae De. Don’. “Daxc™ Reinhard, and prey uch evrything you fin in here oul fn in his teaching ‘witngsand publications For mstanoe, vibrato. Vibrato is great con the gig but eave tou of the practice room. And when you do ue it develop a hand vibrato, The lst thing you want 0 bene of those elderly mumperers oh has Ihe ning so Tong tha he cai shut off This page is abo a place to deve home poincs ade chewier in this boo, ike fhermater of evung as much ae you pay shen practicing For intanc, set your metronome a6 forthe Conzabile section of hiebook. When yorre done playing Fndanda, sng ie yourself (or fot loud iyo ike) a be se tmp a mount of time you js ployed an then dtovein the nex key Sustained work can be ‘ery demanding onthe chon 50 rests xtreme important here "A practice lg isa huge help be those cofoy who don realy ace progres Wheo we rack our practicing Grchaling tread finish dimes, numberof practice sessions in dig cad sett playa, trootine ruling few Baro gor the vont technical sods, ete) we ar rls ky to get dscooraged Dental impressions! Doc Reinhardt recommended that ar our next des st, ‘ofl dental inpressons ofall or teeth operand ower Ie ever Laren cient resuting infos f eth, dentists Simply give us new toth that “lok good.” Bae they mighe not be so goo for ove planing the dentit has a moe 0 £0 by. Incan git urreplcement tei thet ll Wa claw 0s ts ee war er Inet th chances that we'l lore apa playing spin foun whieh wel never Tore Graal, destin wad Greié ‘rund having txt Ivocled out vill require ime ofthe hor, and for mos of sy conning back from along ays very difficult in itself, even fefore considering the ealing that would ove to take place eran aiden. Bot coming back tr all that ne af an Glen W spearcnly 2 gumble that Reinhanke knew was or word takings and thats why he sl his Soalenvat thie Orient ond pi Porat pt daa peasant Ht tol us odo shin exery 7 yes becewse we 0 through 3 complete dene eye every 7 eos, an eseily our teth are diferent Enogh ny yearsto make the kind of Aifference tot would sack the odds of thi seublc tpn us ‘Moutheorner inhalationss these ere very important to the well-being of our embevuchres, Reinhard found that most fof the chop difficulties his sudens had were due to the way they took a breath, especialy those quick, nid-phrase breaths. ‘Once you get your mouthpicce into playing pesition, breathe 2ithou disturbing the placement. The less you move your mouthpiece during a breath, the less work your chops have to do getting back into posicion co play: Payers who essentially take the mouthpiece off the lips for every Jnreath have to put i back again, and when that happens for many guick, mid-phrase inhalations the player is “hitting himself” {nthe mouth with his mowehpiece agsin and again. [f you keep it ight there when breathing (withonr changiag your horn angle, your endurance and range will improve. Ie Jnjghe noc happen immediately, and it may feel alte funny or restricting at first, but ‘once you have made that's normal pare of your plying, you will be glad you did. Embouchure compression is quite frequently misunderstood, Fes the “pinching power” necessary to hold the lips royether so they ean buzr at any frequency. ‘Ty provduce alow note ora very high nove, the lips mast be together so the ar can snake then vibrate, Reinhardt used squeakers, the Putty Ball Routine, the “pencil rick” and bung to strengehen and refine the ibrating points so they will develop the ability to vibrate st higher frequencies. "Babies grea up” is one way to think of sqaeakers. When you first start dling chem, tS hard eo imagine bow this will ever Teal roa bevter high range, bu ‘nhen done consistently over a long period of ime (months and years), you will definitely novice that you're able to “ehrow your gut” into some of those nates you fase eo only wih for. Stay with i [Buzzing the lips without the harm or mouthpieee is how Reinhardt had us doi When you pur the mouthpiece on your lips, you're sort of Spinning” the lips down against the teeth, and even a “fauly” embouchure can produce a buzz through ‘the mouthpicee. Hut when you buzz with ‘no mouthpiece, is up to your muscles to ‘maintain that strenueh necessary wo hold the lips cogether so the ar can make them vibrate, There’ no place te hide, and you really work out the muscles necessaty to develop and maintsin real chops ‘he Superman Syndrome afilicts many ‘rumpet players, and this book requires you to got honest with yourself. IFyou take on more than your stage of development ean handle and then start having trouble with this book, chances are you're fooling yourself You chink you're Superman but youre not, Take ie easy, do some of the “sis that are quite 3s demanding dhe, even [sare on the G2 drills sometimes) and restalicle more. Da those low chroonacies very sfily many times on one breath, and mye do chat more than once. You have my permission to be human, ‘This hook’ ttle, “Poca Pint” refers 0 the fist notes of your day. Raising the "hab of your eange requires time and patience, Iecau take months, especially if yout one of those who has abways picked up the horn and played Cl as the first note ‘of your day: If youve heen plaving tha way for years this book en be a shack ro your sgssemn, Sou may want to doa “hand daydany lay” schecle at tse with this books that is, play out of this book on Day Lsing G2 2s your foal poin, then on Day 2 start with CL ‘or whatever youe used to and do your “usual practice stat” Alternating days eves the ‘change We dart wane w joleonr ster we ‘want to gradually program ieso tha the comfortable center of aur range is higher. Excrcines j and 4 in Section 3 sre not ‘written out completely for a couple of seasons. First, i would have taken probabiy an additional twelve pages to corer all you are t0 do, and second, Fim nor sure how 1 ‘would've nosated any more notes on one Fine than what you see there. Please dont wuss out an chose dlls just hecause they leave something for you to figure out. Ws just adding notes chromatially for you to double and triple tongue. Also ies probubly better if you don’t always stare {your chromatic multiple tonguing on che “ame note, so taking those litle chunks throwzh the Spiderwtehs is god for that, art ofthis hook (che Tslnical Suis) ‘was really written for me, Por the past few years I've ha a terrible problem training the ring finger on my right hand, and although the Clarkes book is temic, I've played those so many times in my life that at 3 just had to have something else “The plus for everybody else is that you get to spend more ime inthe minor keys and mybe even learn the key signacures for them. Oh, yes, che point about this is that Reinhard: taught us to lay our fingers lat saeross our valves, but I've had trouble with making that my “normal” way of plying. Ifyour fingers are just sluggish, my suggestion i t9 not mess with their position, just spend more tine playing technical stules very slowly at Fist so that you develop good habits. Always use a metronome when doing technical stadies! For more scussion on this book, go to swornboprism.com (Provt Publabing FAQ Tink). Ask questions and get answers — Rich Wileypurpose of these i t play cngued, slurred, high, ow, loud and soft all on one embouchure setting. Do not pause co “switch gears” between tongui ‘8 Section EJ Embouchure Stabilizers pisy any ro» drils ou of this section then mone on. The and slurring. As these drills become more strenuous, fe! free to increase the duration of the rests. ‘The natu tendency whi playing these is to py the loser intervals ata 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, are descrescenda as you descent, Ales wai stan Also, do these: first time pp ———— 4-96-10 a ——— ff and on the repeats jf ———————__ pp. la. . 2 Phys lew rai (as of 3) ReAlways avoidstrin, "9 As these deills become more strenuous, feel free to increase the duration of the re Also, do these: first time pp and on the repeat: {| ————————— pp, » bail 3 A = 3 a (Se) Daren frwdromeis (itor ofp) ond en20 Bn the proctice room, when you crescendo as you ascend and decrescendo as you descend, you develop aperture control ff and on the repeat: Also, do these: firs time yp ———————As “Doc” Reinhard used to sy, “Be polite — get up from the table while youre still hung” Rest ere youre tres. 2 ” = is wets ys oe , af (soo 9f p42) ondepoint na lower than C2, Sat ph rt drone bron ‘Une 2and Ror Rayna fre cheesy ito ‘Sagan Ret a Phy se le srt (lta pe? and RetHere’ a quick version going up (and down) in whole tone increments. ind on the repeat: ff — Also, do these repeated: first time pp ——————— 296-20 FEcornosat: waver nent sores) J) Pe Ry re bees, 96-120 ‘ct hat 2 Bayne few cromato ema) eke sthehin pn Pee eee + ero 7 oo oo “ . ££ * 2 = ° ty 19 =f © Pl sev dovati Jeg6-n0 — i epee. “mie” Gy rirfrerertetrere cs # cheat le rahe 3d. ee peSeSse: sesteres co tates oo _ s F ee $ tee. ‘and Rehis dill was assigned to Donald S. Reinhardt hy Madre Longe Miguelle at Cats Tnsticate in Philadelphia in the early agcos Here an example of how w do this using 4a.—[1] do the minor second warting on G2 (ongued then shrred onthe repeat; [2 do the ‘minor second stating 09 G#2 (tongues and slurred on the repeat; [3] do the minor second starting on G2 (Congued and slurred on the repeat). Continue through the G2 Spiderweb (line a below) inthis manner with plenty of rest. Next time yon d this, do major seconds and do them ehrough the Spiderweb as explained above. One interval per day through yous focal point’ Spiderweb is sufciet Abo, when repeating: Erste ~ ff andom he sured ope: GQ 4 _ ¥ @ te = b. & fot + : = E fb = oa © fe 2 2 2& ee a f2 2 Oi pajvhs « of 2, 2 t, | #2 £ 2 8 2 d. i = ot @2 4a, Jenn 2 4b, Jaz uno second “Tong te fr timed slr the een cf ne sd a ape 252 Gere ceaeey =| whe 3 tent —_ $e2eS [text ripe e) phe tree ie eet rhe pe ry nino tae jeeS aa Ser ae ee ey “Tongue th fre tine and lar the ect 2S perf fifth See Seyi fete ly ninor sate gaara SF ce ft ruaor seven + Py ame le roma cof 20nd Reee be ws ger ep ie rhe pe el rt eet Piet re a eg se — epee ted eft eee te ar Rae Se od os— = f cs ei g % a co 4 % ° ” > tox go 4+ ot Sa ae = Tepay * Play some lowe ees Cone of wire co gh sense a. ae Sb. S mp-nf , 2 f = ee ee ee occas ee err rte Te1 aya) Play some tow brematis (bottore of 96.2), and Rest. Gen R8Mione J E2 Se. = mp-np . 5 4a» Pee pte et oboe te) oe e ——— SS = = 4 <3 — e SS SSS So So era Tal Play some low ebromatics (bottorn of pg.2), aad Rest.7B l ernst EACH MEasoRE 0. be pte « fae. Sd. OF oap-nf petsy some Hn matics (bettors of ‘pg 2), and Rest» Section Eq Single, Triple & Double Tonguing po wy 0 aril in this section and more on This sa very demanding rontine, both on the chops and the tongue. Lengthen rests as necessaty to stay fresh. Even if youe focal point is G2, start with the C2 dill co help shorten your tongue’ back stroke. Once your higher tonguing ix responding, ‘work on your lower tonguing keeping the tongue back strike 2s shore as possible. Use a clean, pointed deb for single ronguing. Go pdtv la. = =e Single Tongue Staccato (Ternary Form) Single Tongue Staceato (Binary Form) € senenas «SSSR Also do this triple tongue (debndeb-ge). Ako do this double tongued (deg). d= 100-132 Q 2 fe 2 1b. Single Tongue Staccato (Ernaiy Form) Single Tongue Staccato (inary Firm) a See: eee « Also do this tiple tongued (de-deh-ge. Ako do this double tongued (de-. pte fo _2 fe 2 fe 2 7 le. = st Single Tongue Staccato (Ternary Form) Single ‘Tongue Staccato (Binary Form) pespesenene ia « arte e Also do this triple tongued (deb-deh-geh). Also do this double tongued (deb-geb. @ oEt oa, 2 tf 2 ft 2£ 2 1d. Singhe Tonge Seccato (Braary iri) Single Tongue Staccato (Binary Firm) csvseese ceceees teeth). hue sisi 7 Also do this triple tongued (deb-deb-ge). Ako do this double tongued (dey. Here’ an abbreviated way of working through the above Spiderwebs (any of the four, not just C2 as shown): ripe ile Hee eal i a ie: = = == See ee 1. gp). Allegro Ghort, pointed note, with short length of tongue back stroke) To be applied | >. (nj) Mederuts Ghort, pointed note, with medium length of tongue back stroke} weer 3. ({))Adigin Short, pointed nore, with long length of tongue back stroke) rotate through ) * ?——— F shor poiou noes wi grated length of wngue back strke) these daily | © f———— P- hor, poimned noe, with pradvted length of tongue back stoke) 6. === f SP short, pointed note, with groduated length of tongue back stroke) ‘This page is « modified version of Day 9 in The Reinbarde Romtine:—a total plon for embouchure development. In the Reinhardt version, ths started on C2 and went up chromatically to C3 and baeks down chromatically to C2 again. ‘Then the next phase of it started on C2 and went down ehromavieally to Cl and chromatieally back up to G2 again, The version on this page permits you to start on your focal paint and work upward and downward in Spiderweb fashion Play same tex cbrematcs (bottom of pg.2) and Rest pon eoripeton of this workont,Gs the sylibles deb-gob db-geh for double tonguing. Make sure the deb is a pointed “” sound, Use of these syllables will give [i 33 you very clean double tonguing over time, will shorten your tongue’ back stroke, and will also prevent your tongue from moving. forward between the tech andor lips, Lengthen rests as necessary to ward off farigue. Ako, a the bottom of each Kx.2 page are ‘guides for using that page 28a model for adding single tonguing and triple wnguing (use deb-deh-geb syllables fr triple tonguing) A solid flow of air (consistent air speed) will foster cleaner tonguing, Let your multiple tonguings “float” on your airstream. Play sean le breaties (bast ofp: 2) and Ret ypom coapleson ofthis workout = 100-132 single and dnbletongve ose ‘You can also modify this drill co include single, double and triple tonguing in one phrase (below). Play quickly bur 2ecurately abet tee gee Meet dse een sese* A seedunede™ eed es Single Tongue ~~~ = Doble Tongue = Triple Tongue ~4 Ply some te cramaris (button ofp¢2) and Rest upon completion of this wore dew0-15 iad deable rogue o 2b. Rotate thrngh dynes at baton of page 2. You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately: eS ee ee Single Tange ~ Double Ten eS Triple TamguePlay seme lo chromates (bottom of pg.2) and Rest upon completion of this workout. 132 single nl double rrgne tracer 9 eeber. eee, 2 a F = 9 besbetessesetteee sa ge “Triple wangue using the deb-deh-geb syllables 28 below. You ean also modify this drill to include sing! Qe a Soe eo j double and tiple ronguing in one phase (below), Play quickly but accurately a es £. cttnstastonertetterests: eeoonnets: Single Tanger Deuble Tongue pS SS re aan a Triple Tongue Seeoe Play some to: crema (Bottom ofpg2) and Rest upan completion of this turkont BD 4-068 age nt toe Gs bee. = besheshe ees 2! = 1. See —fepterbeerepripcteres 2 Rovatechrough dynamics at dato of page 20 ° gettetinns E oe rigs a a ~ Double Tingue ‘Triple TongueThis drill has three lines shown; you are to continue adding notes in the same manner as notes were added to the first 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’ Spiderweb, or 2) che first line ean simply precede the second line (Followed by the third line, them acd notes to makea fourth line, ete). If you choose option 2, you will want to keep track of your starting note so thar on subsequent days, ‘you can use this procedure moving your starting note through the Spiderweb based on your focal point. Play some lowe chromates (ottom of pg.2) and Rest upon campletion ofthis workout To work some triple tonguing into this drill, also do the i as shown in this modified version of 3b (measure 2 below): d= 100-132 single and deuble tongue lay shroug the G2 Spiders er men tna ne aA A See diretons abe da100-132 single and double tongue ° 2 sing nat irstion: abuse a re a dtd “abe See dvetons abo Cosa rtd “ade hay theo the 3 Spiders or meson to next ln Ron See direction above. epbemepialivay. —_ o-eite ae ohne mle ohes-ete i a ———— ——— SS Conte as drcted “abe.og ‘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 call ita day early 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). a 4a. a 4b. 0 iF Ip iF ls 2 = fe 2 4c. G9 efabo © ofo 4d. Here are some double ronguing models J=100-138 singe and doable tng 3 te. — canine ang noes tis fasion Here are some triple tonguing models, These are presented in one key: play each through your focal point’s Spiderweb. 0-138 ingle aril oneus 5 etc — canted note thi fon — Phy ane omar orn fx 2a RetSection EJ Cantabile/Performance Studies Piy any three or four ofthese as musically 39 ss you can. Balance your you've played mostly inthe upper rexistertelay, then play some of these in the lower and middle register, and vice versa, Use as many breuth attacks (HOO) as possible, and make your legato tongue sound as smooth and gentle as possible, Do not underestimate the importance of including some canaife work in your daly practice. Record yourself often and see just how beautifully you ean play this melody. & good quality recording reveals much about how we sound that we cannot hear ourselves when were actually playing, so dont take this point lightly. Play sine le chrmatir (Gotan of p2) before frent ress daring bisection Finlandia Jean Sibelius 920 J=69 _ cr dolee, legato ‘ aes ao SSS veer as49 Bl Reatanaie was chosen because ic ean be played very beautifully abd nly epanis a miajor sith, Feel free to use Gchir rues wich about che same range span for your cantaile 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 lanitation, only the frst four keys of each Spiderweb are shown. Continue past those first four keys ifyou wish. This is the only section ofthe book using a CI Spiderweb, This is to help balance the high register drills some players may have overplayed (you know how trumpet players Finlandia Jean Sibelius d=69 caele Holce, leyato 900 = z er =Do not overestimate your endurance, Play it safe! Stop when your chops still feel good. The higher you play when doing BI 4" your cantabile work, the longer your rest perioxs must become. Over along period of time you'll notice that your endurance is ng and that your chops fee! good just about all the time. Ifyou are away beating your chops to a pulp when practicing, variably doing far more harm than good. You want trumpet playing to fecl good; stop and rest while it still does Jean Sitios Finlandia st NO rae ae ey dole, Tegata : = fp oe ¥ a8= dole, legato * jie fea sheeFinlandia Jem situs E43 he yes 26 — © be Get. gptep pee gee f seen ep Sth Siete peer tier ees Ade dole, legato 2 y 4 THY | gefiget ie pAt tee pepe ee §t# Section K] Technical Studies yy complete one full Spiderweb for one of these technical studies per practice day. These are minor key technical stadies—most players have mastered their major key technical studies. These ate presented using the G2 Spiderweb; on the second page of each are the other three Spiderwebs if you choose to use one of them for this work, Every key has been shown, so if a higher octave is nzded you can read from the one an octave lower Pla some hos ernmais (tenn ofpe.2) before frequen rests during eis workout. “These are Dr, Donald S. Reinhardt’ Tislve Standard -riculains, use them with these technical studies. On; FOAM ie s Ta Grew firm left-hand grip to keep your born from moving; ths keeps the neuter on the cbops and Beles clean up your tech nig. feao~a9p Pee EG Retard wed 1 9, “Became youre severe: vit” ‘Ta make yourlf do certain ting in a certain way at ‘erta tne spells CONTROL? soni oesites tte. steestte of teeter, ee eadtee ctdeaee F2 My iF Ib r II 2 le. ES G3 2 2 1d. ib ir Ib Fr IIb IIb ni“H ‘Use Dr. Donald S. Reinhardt's * Standard Articnlations = with these technical studies: J = 100-240 ——s eo —— eee dow eel peer et pete leePlay some to cronaics (atte ofp, 2) bare frequent rests daring this workam a” te. a going = : a # SSS Serre eS } Faget wgeeedesngerd geod yoede get = ace epterrfectiett te f f ¢ a om a pe a == oO ea = ets pert est Soetiert toete oto io a Pocrte F 2 + ef: fet! ‘a ——————— SS I AN oy Gian ded tavetee* sorte gat ogdvegas = & bg ft spiere teptiett teeteces fetftice ty 2 a Sprerrerereeer i= 4, fo _© je 2 = a al F a a 2 # 2 f2 =& os a a, 2 # 2 fe = 2 f 2fliltperptem cin et net ttet petlcnste te tpa os a seeped Hota ales SER EEE a —Play seme ke chromates (baton ofp2) before frequent vets daring this workont 49 an pla eae steteetiee cieieetete eather che 6 E te 0 ir b ip it Ib r i 6 i ib iF li lib iF llPlay seme le chromates (boom of pg.2) before frequent vats daring this workeut 6 I ie te 0 re b ip iF Ib r 6 i ib iF li lib iF ll°a .00+«m 7M Use Dr. Donald S, Reinharde’s , Tielve Standard Arianlatins = OFT) 5. CITT 9, TTT with these technical studies: 270. 9 ARID IT AT owe» TT) J= 100-240Play seme le chromates (bottom of pg.2) before frequent vets daring this workeut b 6 I ie te 0 re b ip iF Ib r lilt 6 i ib iF li lib iF“8 .00+«m 7M Use Dr. Donald S, Reinharde’s foclve Standard Artintations = ITT). STASTIA Ms 8 with these technical studies: 7BITD 9 FATT TA to 37060 a 6a. simile 9 J, ootPlay seme le chromates (bottom of pg.2) before frequent vets daring this workeut 55 2 Pa SaaS goourecteet5° Section “nolses? Use aba your playing da word for compr pol devdop Sims” for dag cones {uive some time (ce embouchure compression on p.17)-In fac, if you have trouble getting sareed wich sq jon dlls), spend a few weeks just doing the “Patey Ball” routine: abou making tiny litle squeaker fs berier to do these early in y, for othe y some people “ger it” righ c is no sound lef, just a “popping” sound. Cerone eget eee te oie tren peste Play same les chromatic (baton ofp,2), then Rest“This “Buzzing Routine” is not a warm-up; it is extremely strenuous so rest frequently. Do not buzz. on fatigued chops. Always buzz. on a wet cmbouchure, never tongue a buze (all breath attacks when buzzing), ancl co not buzz too loudly mp to mf is sufficient. (See buzzing on p.17.) Nore: This isa long-hand version of what Dr. Donakd 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. Reinharcts Tio of Daily Calistbencs (see The Reinhardt Rotaines, Pivot Publishing) is also recommended for improving compression, Use Breath Attacks whem buzzing! a a a 4 play 1100 breath arack) § Rest 33 Fart a lng as is app. 20 se) * bu bis in just took do. a 3 buss a $a Te a es 6 ince 6 Iie ply From this point on, continue upward in the same manner: If notes get too high for you to bury, you ean buzz them down an ‘oceave anc! still play the note in the higher octave although Reinhardt recommnencled chat trumpeters buzz no lower than G2). Again, this is extremely strenuous so rest frequently,