Modern Flexibilities for iirass es _ BELEK Scanned with CamScannerIntroduction “Having given thousands of lessons to all kinds of students, out of that number, there has not been ONE who have eyer read the TEXT of any Method!” ~ Herbert L. Clarke in his 1943 letter to Donald Reinhardt (his emphasis) Clarke wrote this after a distinguished performing and conducting career, more than 50 years of teaching and some 30 years after publishing his landmark “Technical Studies", a method book that remains a cornerstone of the trumpet/cornet repertoire. If the author of one of the greatest cornet books ever written felt this way, what possible chance does this author have of a different result? My guess - absolutely none! Its with this humble perspective in mind, that all of the commentary herein is composed. Since the directions will likely be, for the most part, unheeded, why not have some fun? In that spirit, please take the remarks with a large grain of salt. On the other hand, the exercises presented within these pages are quite serious. It has been my experience that while there are many brass players with different strengths and weaknesses, some with a beautiful tone but no high register or endurance, others with a solld high register but poor sound quality, others with great power and little finesse etc, I have yet to encounter a brass player with outstanding flexibility that wasn't also an excellent all-around player. In my opinion, technical flexibility, musically applied, is the central technique upon which all others must be founded. How.to Practice this Book, + Rest BEFORE you need it. By the time you need rest, it’s too late! take. ime....where’s....the. + Allrepeats are ad ltbicum (in other words, until they are right). * Itis not necessary to play any of these exercises from start to finish, they were written as Improvisations, keep that in mind. Younger players may wish to play only the first line or two of some (or measure or two sometimes) -that's totally cool. + This book is non-linear, start on any page, or any measure. + Find the groove - most of these are cyclical and the based on a motor rhythm. «Take a moment to study and understand the fingering patterns, many are very Idiomatic and easy once you figure out their logic. + Don't practice this stuff for 30 years in exactly the same way - go off the page + Speedis a by-product of accuracy. This is true. You will ignore this one. + Repetitions should be Refining. That means: © Always beautiful. Stop on any note at any time ~ still beautiful. © The distance between notes (mental and physical) should become smaller, no sudden movements or pushes. Physically qulet. ‘© Constant, consistent air flow-always! Don’t chase the line with the air. + You are doing it right when the musical line becomes easier to play. Enjoy! Scott Belck - from Lip Slur World Headquarters in Cincinnati, Ohio (2013) Scanned with CamScannerFLEXIBILITY 1-A: THE CINCINNATI FACIAL ‘THE ALTERNATE FINGERINGS APPLY ‘PRACTICE AT OWN RISK ‘TO ALL NOTES BEAMED TOGETHER COMPOSED BY PROFESSIONAL . ‘TRUMPET PLAYER IN LOCKED SCOTTRELCK PRACTICE ROOM, 7] (AL RePeAtE: 4x) Scanned with CamScanner(ALL REPEATE: 4x4) 18-3} By) ey Scanned with CamScannerWAS) (ALL REPEATS: 4x1) ) (as) 03) G23) 28, 9) ony Scanned with CamScannerFLEXIBILITY 1-B: THE WORM BURNER ‘THE ALTERNATE FINGERINGS APPLY peNaNioN MoT NOTEON TO ALL NOTES BEAMED TOGETHER BREAKFAST ANYMORE, arr eH (ALL REPEATS: 4X5 MINMUM) a + Ba) 0a) Scanned with CamScannerScanned with CamScanner—_- sg ‘¢ j_— oo oS — a 2) 02 1 oD ——— = > > =—S SSS [15-6] 4 mm oy OD or, rs SS SSS] oe ZF $ aye oo ad SE SSS =: 7 = ° aD ot =e z a ion) oo = oe 3) 0-2) os) , = oa = 5 tee d FLEXIBILITY 1-C: THE SLURVIVOR (WITH TENDERNESS, BITTER LONGING AND COFFEE) Req] REPEATS 48) a ae ee a i eee of - FA SSeS oe 63) 3) 3) 2-3) 92.8) (2-8) (3) 0.2.3) na a ; 2 3 oS a al] Scanned with CamScannerFLEXIBILITY 1-D: ORBICULARIS REDEMPTOR "ALTERNATE FINGERNGS APPLY TO ALL NOTES BEAMED TOGETHER VENI, ViD1, DUBBA C fl she on co) Scanned with CamScannerv 923) “ALTERNATE FNGERINGS IN TH9 MEAGURE ONLY APPLY TO NOTES THAT CAN ACTUALLY BE PNSERED TH1S WAY, IF YOU PGURE CUT HOW TO DEFY THE LAWS CF PHYSICS, GREAT DPPRWSE, DONT BE “00 LTERAL - THAT PARTIS REALLY HOLDNG YOU BACK. 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Scanned with CamScannerScanned with CamScanner== I o FLEXIBILITY 1-5: ROCKET SURGERY TRUYPET PLATING IS ALOTLIKE ROCKET SCENCE, EXCEPT WITHOUT THE ROCKETS OR THE SCENCE. 8/8 ax Scanned with CamScanner(is-2] #/A oo) os) 29) 02) 3) Gt) ob es) Scanned with CamScannerFLEXI- CHUNK #1: GENESIS CHUNK rronuena re avenarzo (FOR BUSY PROFESSIONALS) Toucan tow OURO EEPORE EAM, ‘ faa] ee @ : v = =3 - FCi-3} _ ) aS SPREE Fg) ——— 0 te ec?) =~ — — — 5. Fc1-8]§__—____" — pay Scanned with CamScannerFLEXI-CHUNK #2: THE DUECE (FOR BUSY PROFESSIONALS) cao ull nen scor be nena seu. NO TIME TO FIX THE KIDS A NUTRTOUS HOT BREAKFAST? NO WORRIES, AS LONG AS YOU CAN POUND OUT HOSE LOW Ais AT TRPLE "FORTE. ALWAYS REMEBER, TO BLOW LDLCANEES RAND FLEXBLTES, _—__J————--"” SS _ sa Ppp was a Scanned with CamScannerFLEXIeCHUNK #3 papewcgons mao, ns (A CHUNGA-CHUNCA BURNIN LIP) Se eiaratereronaes ves Lymies By ELS PArNibO TD 88008 8S (aurartars axon SSS LAST RT, EBREATHE G3) = | LAST XRT, E BREATHE fe — ® a @) Oa) Scanned with CamScanneren a — I 0a) ed 7 a | a i x © oo = = = Scanned with CamScannerFLEXIBILITY 1-T: PIVOT, TWIST, WEEP IFYOU DONT FAO THESE RUN, Tar HEY ON N (ALL REPEATS 3x8) Scanned with CamScanneri moe 8) a == oar z a en © cH 3) £ 3 + a= o - F} ‘- 633) 928) Scanned with CamScannerFLEXIBILITY: 1-W: TRUMPET TIME OUT o Tey Scanned with CamScannered) 0) a ) 03) Scanned with CamScanner023) i) Coa) ae ss Er = =e va = jj o G8) O28) 023) 2) ass aS x 3 60s ey = SSS 2.9) 023) =) es. =. $e z FLEXIBILITY 1-X: RAGTIME MACHINE ee ae _———____ | ieee po poe : | a Scanned with CamScannerAbout the Author Dr. Scott Belck serves as the Director of Jazz Studies and Commercial Music, Associate Professor of Music at the University of Cincinnatt's College-Conservatory of Music (CCM) where he directs the CCM Jazz Ensemble and teaches applied Jazz Trumpet. He currently serves as the Artistic Director of the Cincinnati Contemporary Jazz Orchestra. He ts a founding member of the critically acclaimed Tromba Mundi contemporary trumpet ensemble. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He has formerly served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band. His playing credits include recordings as lead trumpet/featured soloist with the Cincinnati Pops featuring the Manhattan ‘Transfer and John Fl Pizzarelli, the Glenn Miller Orchestra, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs. He has performed as principal/lead trumpet with the St. Louts Symphony, Indianapolis Symphony, Cincinnatt Symphony, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth- Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, Linda Ronstadt, John Lithgow, Donna Summer, Michael Feinstein, Lalo Rodriguez, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Doc Severinsen, the Woody Herman Orchestra, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Four Freshmen, Little Anthony and the Imperials, and Frankie Valli, The Maritime Jazz. Orchestra of Canada as well as touring Broadway shows and regional and national recording sesstons, He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phi! Woods, Johin LaBarbera and Diane Schuur. He has received a Bachelor of Music in Trumpet Performance with a Concentration in Studio Music and Jazz. from the University of Tennessee Knoxville, a Master of Music In Applied Trumpet from the University of North Texas, and a Doctor of Musical Arts from the University of Cincinnatl's College-Conservatory of Music (CCM). Scanned with CamScanner