COMPLETE INCLUDING VOL. 1, VOL. 2 and VOL. 3 by Dr. Charles Colin Ig XL r a eee oe ee6c reer Cee ee I TOA ceo see or TOR Geren eens +++ fo, sonMapera dr ccc dpuney oy moqy. ne sopoeig pue BupUYyL webyewy] Qtr e eee e een ees aoueisisoy dopeaod Grice eee eee anBuo] 943 jo souepoduy ports e sees e teense Buppreng pue BumL dr egrets ee eee sis 5 Gdns ‘sannayets dry SUSJUOD JO FIGeLLip Flexibilities Eclentitic trumpet playing depands largely upon integer concentration, Alteniion should be placad on every minute sore. The maler and important subjects that wilt be delved vaio ave the protiuding tense dlaphragm apniiod in dlapnreg matic branthing. ond the Nextble arching tongue. Hampet players who ara diaillustoned have takon the Woe cot lenet veslstence in bo'laving that Driignt perfersrance car tee atiained only according to one’s nature, of hia physics! prowess Thie (ality is used ospectellyin sigewacking ree coo merlon seekers, one reelly has It,ha/s not golng to give sovie secrets. There area few who Krow ite value, and they feat that it le nol to be glvon away. Wontoally, some neve ree: Ganize of evan appreciate 6 good, progressivo suggestion, foven though |1 19 freeiy quan to them. Fear Unnecessary performing 19 a brliant teahlon can be developed. Not through, "noeus poous” methods, but by anclying enaselt Sitigemtty with inteligant Instruction. 1 shalt unfold all ihe senlenirg problems that siew students have provious!y ceimloped before coming te me. Te soma, this lalk spout SSlapivaghm” may appear to be far fetched and someting to canid, They feat tnat What progress they have ettalned will be ceyeinover to be regainad~if they experiment with inie teeon discussed subject. Lite do they know how many time they hve waconscious'y attained a dacree of parfest coor sHeotlon of all the'r faauitlog, ars rot recoarizing thalr value thay discardad I wie beretit of diaphragmatic doys.oument is: prosoure that is tanen away from the mouthpiece 13 transferred fo the Glepragm muscies. Thase muscles, developed, wll glve cake snd relaation iv avery agiste’, and lead te added endurance, eave power wath a alzzitng britiance, which all go 10 Build up fan age cf much neeced contidencs. ‘trove are eifferent types of cones for diffarent types of snork, Tones are aaid to be natwal, but | believe any type of Tort gan ba soitvated according to type of work required tba taney in partormance 18 most in demand. Those tacking in fila quality should take time out to analyze wry they haven’ {or Ih, When coneantiating on thie It wil be alacovared jerough intelligent observation tha! @ co-ordination of earsain funations must be empicyed. Lipe vibrating freoly t= the first caearat. In erder to make tho lips vibrate with & minimum seen of proaauio, itis necessary 10 use. full steady streart sreirun tbrecah the throat. The sharp siream ef air which ceatrois velocity hits the roo! ef the mouth. This bore strus- ura of the inner mouth acts as a sounding board Tongue Plays Vital Part ‘The tongue, acting at a valve, plays the most impertant part rn controling tna alr passage. Low notes consisting of wider © caoyrigh t0ao vy Chas, Goin. 315 West 8838 Inversion vibrations call lo lese tensity in the diannragm. The opposi(e re tor tho high tones. The arcting ol the tongue cor act mat stream of el which becomes most forceful. The ti rane tongue, t releasing the air, makes the lips Worote Vary ach fester, This automatically pushes the range Upward Kesonence ie ferred by vowel singing. This narcows down to ine alfforant syliabias which are formed inside the mouth ime distinct anges aro created by employing these Tplebies “AA’="OO"-"CE" put in two word fom. We Use saiitay' tor "AA" an "Two" for "OO" and "Teo" for "EE 19 pearing the word “Array” aotice tho position of the tonuve aocriast fiat on the bottem cl ihe mouth. Doing this opens the tnroat. In speaking the word “Tara!” Actien the oar oF Ie Tongue ta tteved, This does not close the throat, but wore atically esntracts the stream of afr thus makiag it feenibie for the Ane to vibrate taster than the previous Siilable in apoaking the syNae “Tos” the rear oi the tongue aivgad ne inat the back toot fae! the spraacieg of Ihe Chagu. Thx contracts the eolmn of aso fie shat tho drive oie torsatul Trerefora the tips viorate with extrore solaity. neve sositione, there Is amole room for {he a4 ‘abrem to pass over the arched tongue unhamnerod: Noliee aeeiculaiy the ar stream when raiged trom protruding tans. Graphragm ascends in a stiatght tine, Ax It gats betind the Tongue t does not curve and pasa ira round-llke manner O¥or Weorcue, The force of the alr stream shoots up froin a nae Slephragin Aigstly evraight through the shroat unt ally file the roof of the mouth, wirich acta ae 2 sound srambr Disproving Theori s ‘run your fingee up agalnat tha watls of the reat of your maun and notes now much space the air has to circulate sures tharafore, tha theory of the archad Teague disam vrowee what 9 2acd about tnis aystem.closing tno throat crovsat breathing, L6..breathing Wom the chest and ot taking soTpougtr alt, wil surly choke the tone and lighten the throat soetes, not the arching tongue. The scund chamber jor rot roy mouth) Tikaned to tat o! G violin scunding bese, The ci tneam with its pressure when tt eccends to the roof of the aaa writ the desired amount of vetcclty (speed) is Nets Te by placing the tp of the tongue against the too ta0thy pois stores up added intense powar and #s 2000 as the tin Of Tee tongue (valve) is Invaediataly released In a genie reptom the ate airaem shoots up Ina flery spirit forcing the orto urate at any eortrolled speed. When relaesed Ne US Reine tongue descends to a stationary position behind the Cotton tenin to make room for the alrpreasure pasting Tercugh the tips. this rasvils In the fips vibrating automat eanyvand creates a sizzling brilliance with bigness of fone in covery range.1P Uilting” has been the most misnamnd action In the trumpet vocabulary. This adopted tits carries tha general ‘consensus of opinion that ilp stistoiiing is the medium to ob taln the trl, Stretching the Hips and wigging the comars of ‘the mouth {6 not a progransiva mathad. Ithias nevor reached Permanent certection because I! must be execcised painstak: ingly. Whatever fexibiliy Is attalned by thie method will be Jost; ong kecomas a alava to a ip til Controlling the alr stream resvite In a natural and pore: nent development whoraas tho alr stroam is governed by flexible arched tongue. This knack of “Up Irlliing” la not forced; therefore It Is consistent. It Ie necossary for vowal syllable to he shaped Into unobetvueted rir-streams penetrating trom well-controlled dlaphragmatic breathing, ‘Tongue Position The position of the torgua In whistling ba the correct tongue formation. Vieuailzo the rear of tha tongue being edges close to the upper molars, This condenses the alr col Lunn and controls the velocity of alr. Unostruction in iho air stream (8 yitelly important, Tharafora the t1p of the tongue must descend bahind the bottom teatn, For correct liprliing development, the tirst objective Is to become conscious of tha working mechanisms Inskie tha ‘mouth, Sense the acllvity of tho alr stream simultaneously with the placement of the raer, canter, and forward sections, of thw tongue. For control, the tongue Is moved In arcned- form so the alr column can produce vowal syllaciag tn the form of “nlgsing,” “hooing,” cr “narring,” Since tha tongue is connactad with the jaw, a8 scons as the raar tongue ta prees- fed up against tho top molars the Jaw aacands with It: conse. quently thle drawing together of the amboushuro sanstructa tha necessery resistance. The tenseness of the rear longue against the top molars is i9 proportion wills the rising law, thus the embouchure is either compressed or relaxed accor ding to the intended regietore. A simple test in sensing the correct tongue position is whistling thirds repeatedly at the same time, leeling the post ton of the tongve as It ruta In an up ang down mation against the top molars, Coordinataly sanse the condensed alr 2s il passes ovar the tongue. Thus both a fast meving tongue and Jew supply the embouchura with an open-siosad resiatance, Lip Trilling and Stretching Lip stretching le the backward method handac down fre the old school. Such teaching requires from aix months tc year Delore @ stusent Is abla to show any signe ef ifp tri Slurring by way of stretching the lip tlasues across tha tee weakens the lips and thins out the tona, Increased dovoiopment car be obtained by the arching tongui Range can be developed by alr control The tong: controlled air stream will Inaraane range In evary form cf al ‘ing. Corract'y applied, glagandos up to G above high Cz posalble without employing any freak methods. Add pucker Hips and noth resistance and sowar wlll ba surprising. With reailzing, addled strength willbe gathered from the eye. chat and lip muscles, ail dlracled toward zhe amboushure. Shai fone Le mora conactous af thia fact, muscles not 4 developed will be put Into use for strengthening rosults. The mastery of Ip tilling Is tha completa mental viewali:, ton ot the position of the tongue. Re'rain from lip-atretchi ancl use a closed suckered lip, Tongue ering the tooth 9 the air stroary, Pract! co G below middle G taive ting Ing (iat & 3rd). Flalso tha alr stream to "8" (tet & Grd) a lower the o\rstraam back to "G" by slightly eaaing the te sion of the tongue against the top motars, Nota the resistan ccreatad by the puckered embouchura. It fa ways best to st slowly and soitly in an easy register; yraduatly ascend. Lp ulliing by Hlexible arched tongue develops a! stabilizes the embouchure. The basa of the tongue rivsted the top molars raisas the Jaw enough to make a natural co ‘tect In Ino embouchvre, tharsby forming the acrract amou 0 resistance for the vibrating embouchure. All these tors ‘brought together Incroase range. An extended ful dlaphrag reales vacuum proaaure by locking the alr behind the tip the tongue placed flemly against the top tooth. Tr stimulates an unitmited ale pressure as It prapatee to | released. Upon release a deflnize contact of the top molars again the fla! surface of {iy soar tongue maids a tubs ike aandite effect thru which tho sir paages. Thie originates a contralllr Sovice tor ma alr sisaam by means of elther Lightenlag, relaxing the tongue against the upper molars. Simullansous the tongs In an up and down motion makes the resistancs the ombouch ura extra Hlexibie. AR the air passes freely ov tre tongue. the enead In which one wags the lorcus unisties determines how ‘asi and clean the tli wll move.vbr uM Importance of the Tongue 7 TT RuMeerEns bao mova vaiea“naoien apt tne work Ing embouchure and lip placement than about any other single chasa of their playing. Among the many formulas used to get more or less Jip into the moutholace vaguely aro: (1) Rad part of top lip on rim, not in mouthpiece: (2) Twosthirds ‘of mouthplace on top tip; (8) Halt top Ilo, hslf bottom lip: (4) Red of both lips rounding eround moutnplece: (6) Top and bottom lips curied in mouthpiece. The most sensible group, nowever, advocates thal wherever the mouthpiece feels most comfertabla and the lips ‘moat frooly, that Is the correct placement. Lip forma: tions of every pleyer aro ae ditfarent as the Inuiidval Itvelf ‘Tharetore it Is obviously foolish to aay that the bast piace ment is "half anc hall.” Embouchure Security A commend oftan heard by beglaners Is “amlle slightly ‘This can ba magnified too grantiy.Instoad of unnacaesary lip stretching, ¥ the lps ure puckered and pressed more firmly together, more of the meaty substance of the lips Is Instinc: ‘Wvoly ebsorbed inside the mouthplecs resulting in much mors seourity Is the embouchure. The vibrating tissues should be used solely for the purpose of vibrating: net for vibrate or tor prossure, or for anifting registers. Puckored tips have a strengihaning effect, but Hp streteiy Ing spraada the muscles in apposite directions and in so do- ing tends to weaken the lipe, To Ineure strangth In the lips they anould at all times be clooed and puckarad. By Kooping the chin firmly set the nended vitality for a healthy em bouchure can be drawn from all the faciat muscles. These are tha oy, chip, upper Mie, and muscles in ihe comers of the mouth, In ascending from the iow to the high ragister, tha ipa should be drawn together, This 1s done by ralsing ths botlom lip slightly, thus tightening the muscles in tha corners of the moutn. It also haa a dircet baaring in controlling tha air stream. She process Is In raising and lowering the air stream, fand thus controlled resistance reverts back to the tightness of the embouchure. The technique is to lower the bottom Ip for @ slight opening, which lve po:h wider vibrations and a resonant bottom register. Tha compression of the lips results In-a smatler opening and thus higher rangs. Vital Body Resistance ‘The tightness of compraséed lps contrcls body raeistance, Such resistance is vital n playing a cup mouthpiece, Lot's dlecuss ways and means of obtaining It. Here are but a few methods: by creating © sensation from the prassureagalnst the back of the chair, wher the muscles In the back of the Gisphragm ara functioning normaliy; ané by placing a thick elt around the diaphragm araa In ordar to sante the correct pressure while pectorming. Still ansther 's gripping the horn orcalully enough to simulate encugh tension through one's fontira body. Soma kaep the body tense, rarely rolaxad. They Ha99 from crossing thelr loge, of eltting In e skovehed post ‘on; but always siting up straignt so that the lungs will have ample room to function tresiy The tongue placement playa a vitally Important pen In the bullding of a strong ambotichura. The azceptad conception o! the tongue placement has a direc relation to the apaning of the vibrating 18. A large opening botwoon the tive Jocpard: lees security [9 the upper rergo. Those having thie difficulty should tongue denins the top teeth starting thelr attack close to the roof of tha mouth, This slight change has the affect of (Gradually foeding tha mouthpiece with more top and bottom Tip which delinitely remedies thie fault. Tosa using ito top lip aod tonguing setween the lips sine very Ite lip tlesue tr the mouthpiece, so much go that literally speaklag they ate “playing on thair saatn,” Tals discomfor calls fora mora pro- tective grip in the mouthpiece. Eventual'y It leads to ex: ‘cascivo tio pressure and stoppage of the blood circulation, To Insure against any such proseure we suggest tonguing bbahind and agains! the top teath, If poasibie highar vp towarc the root of the mouth. This automatically aushee the jaws and tips closer iogother. Tha In Itsel! counteracts any oxcossive presaure. Wo dotinitety acvoeate more lip in the mouthplecs for freer bp vibration. I Ia Intarasting to observe. sche of the great colored (rurpatars whip naturally ace endowed wit! thick lips. ‘Without coubt they have mastered the ant of endursnce, slamina, and range. It was always a source cf consolation to listen to Louls Kigopfe! (the fete great ttumpet teacher al the New England Consanetory) ae he took auch pleasure In relating to students nis oxperierces teaching tho biglinned colored Irumpetars, and espectaly how ha rajolced In shattar- Ing the stupid theories of kinds of lip textures best lor vibra. flons. He proved that the thicker the lp substance the more ‘one ha to work with,Develop Resistance ETS compare the trumpet studont’s present way of think Jing, and then gaze Into a crystel ball to observe the change, uunfeld In nia futura prograns, One ehould consider life & magnetic Joree thal draws him toward the line of least resistance. However, by gracually emerging from this adoles: cant stage, a new-born world of fnloltigent Usought gradually invoals itself In observing an outsiandlag performer, try no! to become: envious but, rathar, De gratified to Glacover somenne wlio nol only Nes become accomplished, but who haa pertectad something we have fony sivuggled for Disregard gullible otseasions such as: the kind of metal that Insituments should contain; certainfergted mouths pieces; thinner lips, mora neigh, playing two-hiids en the {op lip, visa verae, ate...Give na thaught that :nls holda the kay to the secret of one’s success. Don't be obsessed with the idea that a radicat change will bring about immediate suc ess ani solve all your troubfes. Let's focus our attention on RESISTANGE, and discuss It thoroughly. Resistance Has any thought baen given to why trained singers in ection keep thelr tensity on tne necessary paris of thelr body, o¢ trumpetere blow out (nals chooks? A colld grip on the instru: mart? High note, shallow mouthpieces? Up proseure? Dit arene in bores jn Insteuments? Edging agains the back of,or arapping thelr legs arcund a chair? Tensing the rwseles ln and around the dlaphragm area? Tha sa of belt lor support? Puckered lips? Cr, the prctrusirg jaw? Buzz system? Nox preseure system? Alr pockets In the Tips? Why eat nourishing food for health? Then, why bo hoalthy? This bows down to the fact that averyans consciously, 0° ctherwiae, 's either permitting nature to build resistance within himsalt, or consciously preparing for It, Therefore, witty Natural facilities everyone develops nis own resistance, and 1 applied intelligertiy along correct chennets, this procedure wll wvake the ott between the average and ihe great. Let ue Lake the unecessary pressure away from the lips, ard In 30 doing simultaneously, we cut down on the Irovfiet ard ironarm that habituaily grips the instrament, Placa thls necessary resistance In and around the entire undeveloped arge in the diaphiage muscles. The dlaphrag™ muscles Is thal layer cf muscles (so seldor exurcised} thal spraad over the lower part of the lungs lust betoa the ribs of the chast, enciraling the entira body. Ragulaiad diaphragm tensity pushing ageinst the lower lungs sends up the co! emount of wind pressure. This can ba adjusted and contre by the use of the tongue. The sirsiream must fet pass the entire tongue hetore passing throught the vibrating ouchu'e. tn ordar te creste such resistance le the al-str apply the midgleceniered fialness of the tongue in « frm, similar fo the ecsitlan of an over laopirg leat ar Det a flower. Raise this position of the tengue high and spre e089 tho roof af the mouth agalnst both walls of the u teeth. Use the tip of the Lengua Ir. vaivedtke fashien tn ei Ing the aiestraary, In get! ing reaily lo" the atrack the tip o tongue shoud he presse against and pointed direstly he the top loath, The atlack is demonstrated when the tip 0 tongue |s lowered and relevses tho str pressure with hreig Hgnining,” benind the eottom taath and kept there tlonary welll ready for the next attack. This procedirm requlaie and condense the velocity of the air straan fron fullness of tha fungs. Thus, the range dagived will ba eal! tained due t of the tacilltise, working harmonic together. nether very Impertant requisite is ihe closed embour without aay unnecessary tlde spread In the lips hetcr ing the mouthpiece, Flagardiess of how tighlensd the 26 s0cn as {ho mouthpiece Is sol, thera bocomes a na sprena sufficient enougn for tho alr to make the tiga wt treely. The tongue passing between tha lics always cous dangerous wide eproad cepeciaily in attempting the w rfenge with the position of the lize aot only for tho m register. This aceaslons excess've prossura, evan the bleathing and tengue position are correctly cooidinaled Reducing Pressure ‘he tallney Io ip sitetening far range weakens and pull muscles away to all forsign direct ona. Tha great revaiatic displayed by bunching together all the muscles surroun tha emboushurs in a tenes puckerad-manner, eo a3 to fo lightened empoushure, Subscauentiy, the praasurs of mouthpiece on the lips will be cut down fo @ aminin Dovbriess, tho fips drawn more closely together wil! disturb the present e-mDouchere, but wil! produce moro | bie vibrations, thereby fertitying with more security by ¢ Ing In more lip to nork with, resulting in an enlarged enriched tonal quality. Thig Is the ono echgal of thovght that has been isha used etfectiva y by the better artists who cennot allard t tangle themselves ‘ith unautharitative thearies. Trere by going aiong the corset channels, thelr work is un! tuptad year after year with greater success,“Intelligent Thinking and Practice & NFORESEEN complications whlch result In “lip re actions” are a dreaded mance to trumpeters. Such con Gitona are the result of negitgenas, untimely contentment, 1 being guillbia, Thase evils when leas} expected blossom “a dofinite erlela, “Reactions” aré appreciated moat mien ne damage nee finally taken sertove eifect. Ironically, mise mdged situations cue to igroranss resuit in unnecessary set- Sacks. Naturally, no one can afford a relapse to a healthy om sougnure. (The serious student who practices dliigentty might fli hia o golng from worse to Impossible, Such a distorting ex: sactence affects cleer thinking, usually resulting In @ stlght ‘Case of nervous srostration. Where the more one tries and the 39 ie playing Bocores (untll embarrassment causes hin To give up dactaring It n"otenlght") situetions such as these ‘an bo timely checked. Lip reactlons cause e feariul sete of China nampeting confidence ond necessary eco. \ Effect of Phobias Those herbaring @ pat dllike of their mouthpiece got but a temporary sellslaction when the sacrifice of changing \snauthpleces cecurs; the next step Is to blame the Ineiru 1ent. Tha enanging of bores an varied tempermonts of metal “lther encompasses rove or ‘eas lip In the mouthpiece. This mouthplece and Instrument phobla “unstabilizes Iip and Inter Cat muscles” that for years hava been developed ard become ‘sed to resisting any complioations. It also “unstabilizes free open throat playing.” The comet atyia using tha throat to ar- ‘Ciculate may find just the opposite affect, unbalancing a dif “arent typ9 of fteenass. Health playa an Important role. The tip le part of tha body, \and should be trealed as such. It Is not a man made < nochanism that can be wound and stopped at any given time. Inflated egos lead many to bolloxe that thay are lord and master of thar lp and can abuse it a3 they ase fit. Whien feast (Capested auch empty vanity Is caught up ith, and the abused ‘ip causes untold uncomtortabieness. ‘The miraculous phenomenon about the human stractura is she amount of punishment the body can take before 4 actually Sreeka down. The lip boing part of the body Is giften with aimilor qualities. Weer and tear on the physleal ntructure “rakes In the help of the entire body, wherees the lip dram its | Melina only from the faclel muscles which directly cepend sipon the rast of the body. Lack of sleep, clesipation, and a nervous stomach also teke Its toll. The exhaustion of normat \Ganeray gradually oats up one’s reserva energy. When one's “eetatance Ie lowered, M1 haa s retarding effect on both the ‘ming and bocy and directly effocte @ healthy embouchure. Evil of Brute Force Brute force has no place In trumpet playing. This exit im- \Conire many onitant careers. It e9eme a ply thal those nted do not centar thelr Intelligence on their emboucnure. ‘Causes for brute force emanate from simple fundamentals \.gered and forgotten or probably never teamed. Since imzor- ‘sant work calls for accuracy, no one can alford tastabllity In Ihls embouchure. Unwiae and untimely tension leans toward ‘Comte torce, Other unforeseen situations leading to lip reactions a! subcorsclovs exnerimentations. Theee exparimentations are tha direct refinction of observing others whd demonstrate a phase In playing that is sectetly admiead; subsaauen'ly, ‘althous thought of Hts conseavencas, one fnds hima ire Hating. This lays the groundwork for those who take the al- tituce, “He ean co It, why can’t T° and wlihout realizing I er tries to foren morallipints thameuthplace, or imitates a puffad-chees jeumpetar, Such insiability eventually creates a state of mind in which one raroly finds a heppy madium io developing @ eet ariounnere. The lrony ol fate is whon one ls Influenced By those who tharmae'van ara in a-umuitt from sn stantly soeking the services of mouthpiece makars io solve thelr problems. This mental adjustment Ie selconsotation trying te sountaract and ra lave tne agony of their uncelistied performances. Those tending an ear also may fail In ling as victims of ‘ha mouwipiege tallor who vaners them imo thale new world, but thie time from the “outsice footing In.” Misguided second. hand, misinformed pointers, or free instructions on now to broathe alse take Inoir toll, such a8 statements like "pushing {in or out or squeezing the museles around the diephregm’ After absorbing much miagulded information, tha playing at fase one has baer accusiomed 19 now becomes a cifficult land tring burden, The aflere!fects woud mot be $0 In]urlous It these nen-formad bad habits would vanish quickly. But Usually such bed habits gat so out-ot-hand snd deeptooted that the internal muscles arn tied into knats, and ultimately struggle against Iwo evils, first overcoming # “llpreaction” land s9cond, ralaxing ar “overtlgged” physical status, Unbalanced Practice In quoting Hartert L. lark on intelligent practica, "2 ‘ew drops of medicine will cure, wharaas a leaspoon will Kil, ‘hla can be sald of unbalanced practice wha’e no thought la ‘Glvan to dividing one's practica routing, Naglacting all Tegleters for the upper register texes and retacce the lip by becoming cvor-ghtoned Charley-horee). To eountoraet this bes! Is to relax the lip with low ragister practice. Too slraruous practice is works than none at all, Then again neglecting practice Is, a8 the great lsacher Max Schlossberg, Used to say, “migeing a day's practice Ia lke committing sutolde.” Schlossbera's statement, of course, Ie grossly oxag, {gorcied. On tho other hand, t ona cay's lose of practiog brings about injurious results, what should be axpected it one neglects practica for an unilmitad period of tIma? All these Jactere could be easily ferescen and counterasted bofors any Hous effects lake place by Intelligent thinking. Reactions can be checked by retracting and retracing, step by step, cur Innenmos gelves. In the final analysis, li Is not the moutholece, Instrument, or the teacher, but the Individual himaeltHowto Warm Up HE trun algnifieanee of “warming-up” eontisas ard mia, leads many brass “ven. Some are under the Ingressice that by tearing eff a couple of hot Jazz licks, of by blowing warm alr through a cold horn, they aro “warmed-up.” Correct dally workeute, routines. and ¢ozting up oxarcleas. all have their dofinite purpese. Whon achering consistently to a set formula, the lips will reecl In strength and surity of confidence. Lp reactions aro a dollcate eubjact, Those who do not slick to eouné procedures Inva‘iebly bosome subject! to mouthziece and horn phobias. Then there are those whe ara gullible enough to swallow everybody's advice on varlous ‘commercial and epood-up eystons in ordor to bosoms a vr tucso, ang eventually bacome eubject to bad ilo reactions. in (his whilpagl they gat so betucalec that natural talents become silfled, laszening the chance for proper developinent ong realizes the maaning of ip rasctlons, the gencitiveness ‘ofthe ipa sll navar vnar om their nerves, and In the c6ur8s of tne give peace of mind. Paying Harmonics Important Al the beginning of @ practice ansaicn it ia impartant to make the lips vibrate with the mouthpiece as they de In piey- Ing the Instrerrent. Practicing "PP" with the instrument should be stressed in both middle anc low register unili the fips raaz0nd aesily. Gencontration should then be enntered con ali the essential factors: (2) correct intens ty of the dlaphragm, (a fee blowing alr stream; {3} correct tongue poaitioes: (4) minimum Hip proseu'e. Bue to the average brassman’s limited lp flaxibilly and ragister, Ine Importance of playing nermonics shoud be stressed. This, | fing, orlngs exceptional results, Hermonics for tha srumpat and trombone ara tho close inte-va's. which begin on the aame space about the staff: G for trumpet. F for trombone. They ara the close delicate Intervats ascending up: ward. The fingering and the slide position that are used ae the sevan position combinetlons descending chromatically Irom any opan tone on ihe trumpet oF frst slide position on the trombene. On trumpst the fingerings are (ascending chromaiicaily) open. 2nd; tei; tet ard 2nd; nd and 3rd; 11 ‘and 3rd; 1at, 2nd and 3rd. On trombone the same combine thors sesconcing ehromatically are 1st, 2nd, aed, ath, Sth, 5th, and 7th Exercising harmonics In the upper ragisier devetops ea trolled flexibility, and creates @ sureness of feeling for the close Intervals In the upper register. It should be noted that talse’ fingering for harmonies Is Important, and simtier t the “false” slide positions on trombone. The use othe saver positions (valve combinations} encompasses the entire range for both trumpet and trombone, Harmonie practice provides tor excellent ear training. Protesstonai pertormancas will bo gained from the mastery of these critical Intervals In the up- por register. Students net realizing the Importance of a good foundatl often get dlacouraged with what they call "dry" scate anc tarval practice. Lltile do they realize or appreciate the Imp tarea of Intoliigent “warming up" ang how vital it Ie evelopment and luture progress. A poor way of tring to develop lip muscles Is to abu them so thal they davalop callouses and scarred tissue, | cess preseure and Improper drosthing produces totb att (Charley-norse) and an unbending siyla of exacctlon. TI tyoe of pleying usually etaatas its own system of falas al ring by using haif-valve glisses, even for slurs of asimpte $ Certain mathods acwacate lip stretching, for range and tl witty. 1 stress vowel singing, Le,, evtlables converted Inia streams by € flexible arched tongue with softness of Ips, likeness toa fas! vibrating raed. Tha start of each day's atu should begin with & simple restrained exercise. One shor magn fy ovary minute sensation that oocure within onest vihlle sanomoling all the dollonta mechaniss that muat bay together te nediave tha ultimata in roaults Build With Natural Gilts A student endowed with tha nalucal gilts far both hl rarge and lip formation ehould bulld around that with whi hres already gifted. If his rdella C or above comes with ea a series cf exercises should be created which gredus enlarges tho range In both clrectione from hie natural rot My “trouble-shooting” starts when contronted with the | fortunate student who struggles fora middle C and is about Give up hope. In analyzing, { delve to the root of the evil finding out why W's tips reuse to tunction—whethar It ia d to a stubborn tongue that Insists on getting In the w thereby obstructing the air passage, or whether the tang Keeps snoving towards the Ilys evar alter tha attack and t consciously presans against the tips, Wy book 109 Original Warm-Upe" for trumpet prasents serios of exercises which provice # loglcat working baals senting up guickly, couecliy, and professlonally. Tha resu of these oxerclses will give eli bressmen a suverlor cornma cof tha Instrumas We "160 Original Warm-Ups" the Interval slurs progr imply, thet a middie G to 6 to Ele attainad by a flexible an Ing tengua. The seme articulation con be used for all wider Aarvals by using the same procecure with varying power in {lr atcoam, whather a 3rd,6th cetave or two octaves.ST ss hpi © copyright 1915 by CHARLES COLIN, 3 i cupyilan Seed Sa a se Mew York, 11¥, 10019Ist position st position oN bth pesition ms nn ar PERE gee __ Str Th> ia +.ETUDE NO.a4 > rs eT tH il 4l le ul « pat Ful <4! a “Hy au * i ‘ ‘ * (1 fag! all « ae | A tl fe Cerne Rd ea : a4 J iF ffere =cere rere r ere. er Er OL. 2 Descending from first position 25 RANGE TOD Descending from first position Ie ages eee EXPANDING RANGE TO D ascending from seventh position LIP TRILLING TO D Descending from first position = ee 2 lent 975 by CHARLES CoM a comm W808 St. Mew Yor, ¥. 100k rvernatnal Copgaighe Secure usa ASTI eer26 Pipve 7 EXPANDING RANGE TO D So beet a Arppeeeentcm as ascending from seventh position Sheen fi permenant 1 yigeeseneeenicty “SPREADING INTERVALS TO D Descending from first position RANGE TOF ascending from seventh position Pex seseseete i‘ ‘Cee Oe Ou fk rf? ee LIP TRILLING TO F Descending from first position EXPANDING RANGE TO F ascending from seventh position28 SPREADING INTERVALS TO F Descending from first position RANGE TO Ab ascending from seventh pasitioncorer fr Carey 29 LIP TRILLING TO Ab Descending from first position Fe! a zt EXPANDING RANGE'TO Ab ascending from seventh position = TD ee ppt ee SE ¥SPREADING INTERVALS TO Ab Descending from first position myeee Ce Oe Les Fe LIP TRILLING TO Bb Descending from first positionEXPANDING RANGE TO Bb ascending from seventh positionofr te Px CFs Fu PEs + 33 EXPANDING INTERVALS TO Bb Descending from first positionRANGE TO C ascending from seventh position i=Peale ls KF; LIP TRILLING TO C 2 preter etD ere. of36 EXPANDING RANGE TOC ascending from seventh position' oe se Pe Piva Fa é EXPANDING RANGE TO C Descending from first position eee eeeRANGE TOD ding from seventh position LIP TRILLING TO D Descending from first position siete, .eSPreetere‘Cire ed re erect en #4 7 We md i ite qe itt Hd TT ath itt Wy : feel sft si tear tEEPceeete. spo pecset Ete Chey ED Tere Pree?40CECE FEOCR COE EXPANDING RANGE TO D ascending from seventh position 4142 SPREADING INTERVALS TO D Descending fram first positionore rere RANGE TO E ascending from seventh position 43LIP TRILLING TO E Descending from first position (2feEe tek) Speer nEEePeCere pgp SEREREEE Etch et 250 Pepteetets peat spe SePRECRT Er EC ECE S CEE Co TC: ae sepeeliefetes46 EXPANDING RANGE TO F+ ascending from seventh position Th tf nfrt rE CECE CE KE: a7 RANGE TO F+ ABOVE B> g from seventh position48rrr Pee? cePrrEerr 49 VOL. 3 Lip Flexibilities SECTION 1 A =, Lento Very Slows Res @ Slowly Res @ eS a ‘4 yee : accel Copyright © 1972 by CHARLES COLIN -- 415 West 68rd SL, New York, N.Y. 10019 AIL Rights Reserved International Copyright Secured Mode in U.S.A,oreeerercere re ceeeeceri SECTION 1 B 51SECTION 3C to APSECTION 3A to HIGH 3b Cee Ce Cr ces56 Rest = SECTION 3 B to HIGH BbfPFPerererer rt re ee ie 2.PPR TE COPEL FETE 4 SECTION 4A to HIGH € eiefetetettte a Eee ee = —— ee feeep ite soe sefetetete aA. Rest = 3 SS SS SS: ~ - istetetc fitSECTION 4B to HIGH C le ageithbetep tee Rest mn BateCLIPPER EL EEC ER ee64 SECTION 5A to HIGH D BA Reig: she es gprferereste ote te Ee 3S = mite p beta fafete fess tvteteteter pe ee bebe s £420. ie eect PESEEE EER! aes” |, oo = = ta ee gx te ie gp «ft. = La tt 5 = ete ee fie pietatet ett? efe8 Esfeet Seek oT ext ELtsttetert ects ise esre we bytoerrrrerr er ertr f be @ b: =. Sa bE 3 SD yg - Pete e eGift? fcirtsectieretecer eter. 5 by68 SECTION 6A io E a, ST oe 1 bee ee eee fete eM aca. eietetet ete ff beter E etaterltee 6B 6S t * ater 2 wot siete sigteete? neerepeser er =erereceeeetec 69 ehetetraesteeeae titer seerents settee = oe a Rest oA a a = ve a bee bee lee he ep fr be chee Ee Ee iecleee =e EpicSECTION 6C to HIGH E above HIGH B? ef, fefetetese t tefet cert EeFceer Lett nD abeappens atete rere —S=— SSS bebe, # == = a 1p epee Eeteter12 18F 9 ~ a Jp befiptefetetteteters sites fepeteersibetet et P 2 lp SECTION 7A to F above HIGH BP 19 a bb pie bebe ee copier? be teten eS = = = = BBG. a = ee jev=SEe* Geet er ee Ste ee a id Soe tee ae SS 0G. By a " b = ° beh, f fepestes betetpater fea Jeite: Cee =~ eft. Pall = ft sere RestWE yg Secieret f Bie bebe ee? f Ag £ t Aba be. Rest m Fee 19F dps ee Wiepeee eee eo islere efes mez 4 fi = (SSS Se a = 4 fe cae fhe Rest Phe ys SS&. ~ yp fete tere titers Estee ltr en, _— ok = = 2 Sees SS = me F bee tae Rete ft» Seer ern , Rey Saree eee ee ae fEsF (eb Georhle Oo a# oe -! a ~~ Ret Pasi aly = ies sreierezer sees? F, fret une igre othlf? eeegerce tererets Escsistre tepeteeeePecce: ee SECTION 8 to G above HIGH BD tbe pyrtereter etches? 3 betete eptegite a bebe, = See == =j& 7 = odin tapeale ale fEsteteheee Ee= areerecerc C ‘ . ii be Be Q - L 24A te ‘ & S —_— " eigen oe x SEER ap he : = q ia ~ a - + 24B gma ——— a = pb tae eee Pete eee tee nitge Feets« E pei SS See te ee piteberete teites-s r= a = Ne HAIG peeeS SS pcs 24F 4 4 es deep eeterer ee £4 EsPeeekePe peLinea’ and Structural Improv'sation Waid: Guido 10 Creative Modal Jaze interpretation Yel: 1/222 Saxophone, Vols. 1, 2,9 Write for catalogue Sol IO De fy< COMPLETE : INCLUDING ‘VOL. 1, VOL. 2 and VOL. 3 . by Dr. Charles Colin ye