Documentos de Académico
Documentos de Profesional
Documentos de Cultura
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Rpido y suave 5
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Rpido
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3X's
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Pa'abajo: 2,1,12, 23,
13, 123
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Pa'abajo: 2,1,12, 23, 13, 123
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3X's
Pa'arriba: 123, 13, 23, 12, 1, 2, 0
1x
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2x 3x
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Repite tantas veces posible en una respiracin. Relajado, pero con las esquinas rmes.
DESCANSA 15-30 minutos
Sigue la rutina diaria.
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Lento
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A2
B1
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C1
C2
C3
D1
D2
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HAY QUE USAR UN METRONOMO! SIEMPRE!
HAY QUE USAR EL OIDO - ESCUCHA TODO!!!
(Boquilla)
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(descansa)
Para bajo en medio tonos.
1. Buzzing con la boquilla
CALENTAMIENTO PARA LA TROMPETA
James Ackley
Soloista y Profesor de Trompeta
Universidad de Carolina Sur
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(descansa)
Igual
Escoje un del grupo A, B, C, y D. Tal vez prefieres
une ejercicio sobre otro y eso esta bien. Tambien,
puedes empezar con una nota mas alto.
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(descansa)
Igual
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Igual
Conctrate en un sonido parejo, y fuerte.
No TAN fuerte, pero no suave tampoco.
Hay que recordar - solo estas soplano una linea,
no a notas separadas.
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(descansa)
Igual
Sea consistente! Mantienes la concentracion y
escuchas el sonido que sale de la campana.
Recuerdas de tomar pequeos descancos despues
de cada ejercicios.
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Igual
Mantienes el tiempo! Usas un metronomo!
Mantienes el mismo movimiento del aire -
para adelante.
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(descansa)
Igual
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Igual
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(a la Stamp)
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Continuar en la misma manera, para arriba.
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Lento
A1
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A2
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A3
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A4
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ah eh ah eh ah eh ah ii ah
Slowly
A1
A2 A3
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oh ah eh ah oh
B1
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eh ah oh ah eh
B2
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etc.
C1
p
etc.
C2
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(trompeta)
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(descansa)
Para bajo en medio tonos.
Start on a pitch that is comfortable - this may change
from day to day. Make sure you blow one note - don't
move your embouchure for the second pitch!
Concentrate on making a
pure and beautiful tone all the way through.
Listen for a beautiful tone - free, unrestricted and
focused. Connect each note (like 1 note).
The optional use of the flutter tongue during these
exercises will aid in smoothing-out the sound and
keeping the air stream consistent.
2. Notas Largas - con movimiento
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Igual
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Igual
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Para arriba en medio tonos.
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in tiempo)
Cada ejercicio se contina con la misma paterna y para abajo por medio tonos.
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3. La Flexibilidad
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D1
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E1
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(descansa)
Un soplo = una linea.
Una linea = un soplo.
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Flexibilidad con trino de "labio" (no con labio, sino a lengua!)
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Subiendo por 1/2 tono, lo ms alto puedes.
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Si el trino es dificil, no hay que hacerlo.
Trates de esperar de cambiar la nota hasta
el ltimo momento.
(descansa)
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mf etc.
q=48
A
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etc.
q=144
B1
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etc.
q=144
B2
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- - -
(lengua sencilla, SOLAMENTE!)
- - - - - - - - - - - - - - - - - - - - -
Hay que usar un metronomo!
3 3 3 3
4. La Articulacin
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6 6 6 6 6 6 6 6
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(descansa)
3 3 3 3
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- -
(cuando lo tienes bien, tocas lo ms rpido posible)
. . -
(doble)
- - - - - - - - . . -
Legato y todas las formas de estacado.
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(descansa)
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- -
(cuando lo tienes bien, tocas lo ms rpido posible)
. . . - ------------ . . . -
Legato y todas las formas de estacado.
3 6 6 3
3 6 6 3
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3 6 6 3
3 6 6 3
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3 6 6 3
3 6 6 3
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(descansa)
3 6 6 3
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Moderato q=96
p f p f
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p f p f
p f
p f
ppp!!!
Parejo (rpido lento)
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Empiezas aqui al reves. Tocas todo solo un poco.
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5. El Poder y La Resistencia
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EL SONIDO IMPORTA!
SIEMPRE TOCAS CON UN BUEN SONIDO.
ESCUCHA A OTROS BUENOS TROMPETISTAS.
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Por tu propio voluntad.
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EMULAR (COPIAR) LA GRANDEZA
Y TRATES DE SERLO PROPRIO.
LUCHAR POR LA CLARIDAD DEL
SONIDO Y EL BALANCE.
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(descansa)
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5. ESCALES
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Repite hasta te sientes cmodo/relajado, en una respiracin.
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El frludrato funciona muy bien con esto. Se
mantiene el flujo del aire haca adelante y a
los labios vibrando con mnimo esfuerzo.
6. Relaxation
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Descansas!!!!
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5
On the Mouthpiece
1.
Slowly
WARMING-UP
2.
3.
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STRETCHING & BREATHING
Very gently, stretch.
Hold arms above head, then bend left, then right.
Holding arms to the floor, moving left then right. Relax.
Move head in circular motion to the left, then to the right.
Move head in an up and down motion. Relax. Breathe.
While stretching, breathe.
Take in air gently and evenly four counts, hold for four and expell gently for four counts.
Repeat for eight counts each. Vary the counts to your liking.
I feel that a warm-up should be just that, a warm-up and not a practice session. Great care should go into your sound,
how you air is moving and supporting the sound, and your concentration of all these aspects. With this said, a warm-up
should not take more than 10-20 miutes. It should be effecient and it should not take too long. Beginning with basic
ideas that do not change is the best course of action. Then, after experience and time, variations of these basic steps can
be further explored.
BASIC RULES:
1. Use a metronome - ALWAYS!
2. Use a tuner - place each note down the middle. Get to know the tendencies of your horn.
Dynamic - comfortable, easy.
Choose from No. 1 or No. 2.
~~~~~~~~~ ~~~~~~~~~~
JAMES ACKLEY
Professor of Trumpet
University of South Carolina
~~~~~~~~ ~~~~~~~~~~
Start with a good sound.
Gliss from note to note.
Maintain a constant sonic connection.
Keep a deep, centered buzz.
Use a metronome. q=60
Move DOWN by 1/2 steps.
You can play along on the piano too.
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~~~~~~~~~~
~~~~~~~~~
~~~~~~~~~
~~~~~~~~~ Follow the same directions as in No. 1
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Start and pause (still sounding) on each pitch notated. Long glissando to low note and hold.
~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~
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A. Go UP by 1/2 steps.
Go as high as possible.
B. Go DOWN by 1/2 steps.
Go as low as possible.
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On the Trumpet
4.
5.
6.
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0 --------------------- 23 0
Controlled, good sound, good attacks, good airflow.
Use bending on 2nd & 4th pitches. 2nd pitch sounds 1/2 step down,
4th pitch should sound as the previous pitch.
Proceed DOWN by 1/2 steps.
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- OR -
Continue DOWN 1/2 step until low F#
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- OR -
Continue DOWN 1/2 step until low F#
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Continue DOWN 1/2 step until low F#
3 3 3 3 3 3 3 3
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"Fall down"
Keep the embouchure STILL, no adjusting.
Play as if you are playing a sustained low C.
"Fall down" is a long gliss with the lips only.
Allow the lower note to "snap" into place.
Continue DOWN 1/2 step until low F#.
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Continue UP by 1/2 steps using the 7 positions.
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For numbers 8-10 continue DOWN by 1/2 steps using the 7 spositions.
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* Lip trill over high note - mainly using your tongue, very little to no lip
movement involved. Remember to keep your air moving and the sound
centered.
123
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Continue UP by 1/2 steps.
Go as high as possible.
Don't force.
Concentrate on making a "rip"
from one note to the next.
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For relaxation.
Play as soft as possible.
No extraneous movement of the embouchure.
Play with a centered sound.
Repeat as much as wanted.
Take a break before you begin daily routine. RECOMMENDATION: 15-30 MINUTES.
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3
Warm-up & Maintanence
for Young Players
Prof. James Ackley
ackley@mailbox.sc.edu
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A good warm-up is essential for the growth and advancement of young brass players. You can learn a lot
from your daily warm-up - from how you feel from one day to the next, to what you need in order to
perform that day, to knowing what it takes to get back to performance form. Using this warm-up as a
comparison of your abilities, you can tell how you have improved through a particular span time.
PRE-WARM-UP:
Stretching is considered a pre-warm-up. Standing, simply stretch your arms out, above your head, etc.
Roll you head to each side, back and forward. Bend down, come back up, backwards, and return.
Bend to your side, return, the other side, and return.
ON THE MOUTHPIECE:
Begin with the mouthpiece. The Exercise below is to be played with a piano, if available.
If a piano is not available, you can still use this exercise or play exercise No. 2 on the trumpet, or play sirens
(going up as high as possible, going down as low as possible).
MPC. Warm-up: While playing these notes on the piano.
1. Continue this exercise, going down one half step (Do, Si, Sib, La, Sol#, Sol, Fa#).
2. Play at a comfortable dynamic level.
3. Play with a good sound - the buzz sound.
4. Play in tune with the piano! (if using the piano; if not, play in tune with self)
5. Play in time.
ON THE TRUMPET:
Once you have done the warm-up on the mouthpiece, you may begin to warm-up on the trumpet.
Notice the patterns and follow them (usually 0, 2, 1, 12, 23, 13, 123).
NO.1 - Bending
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0 12 0 2 0
Continue down 1/2 steps
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NO. 2 - Lip Flexibility
ORDER of DESCENT: (0, 2, 1, 12, 23, 13, 123)
0 2
Continue in same manner - down by steps.
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NO. 3 - Lip Flexibility
0
2
Continue down 1/2 steps
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NO. 4 - Lip Flexibility
0
Continue down 1/2 steps
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NO. 5 - Lip Flexibility
0
Continue down 1/2 steps
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NO. 6 - Lip Flexibility
0
Continue down 1/2 steps
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NO. 7 - Lip Flexibility
0 2 1
Continue down 1/2 steps
12
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Continue in same manner - down by step (or up, or both).
Go slowly - fast and sloppy = sloppier. Then, as you progress, add double and triple staccato.
Play long, normal, or detached.
All Exercises:
1. Continue this exercise, going down one half step (Do, Si, Sib, La, Sol#, Sol, Fa#).
2. Play at a comfortable dynamic level. Not too loud, not too soft.
3. Play with a good sound - the buzz sound.
4. Play in tune with yourself! Use a tuner.
5. Play in time. Use a metronome.
6. Doodle if necessary; to "cool down" or relax.
NO. 9 - Tonguing (single & multiple)
ta
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3 3
6 6
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DOODLING EXERCISE
8x - one breath
0 2 1 12 23 13 123 13 23 12 1 2 0
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Fingering Chart -
123 123 13 23 23
most common fingerings
12 1 1 2 2 0 123 123 13 23 23 12 12 1 2
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2 0 23 23 12 1 1 2 2 0 12 12 1 2 2 0 0
1 2 2
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0 23 23 12 1 1 2
2 0 2
2 0
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