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INTRODUCTION TO BOOK 1

HE PRIMARY G O A L of all trumpet p l a y e r s , regardless of proficiency, should be to play beautiful music

w i t h a n a p p r o p r i a t e l y beautiful s o u n d . This thought must b e foremost in one's mind w h e n practicing,

3r

forming or t e a c h i n g .
Undeniably, the trumpet is a difficult a n d u n p r e d i c t a b l e instrument to play, a n d it is technical proficie
that enables one to perform w i t h beauty, control, endurance a n d consistency. As a result, dedicated student ol
the trumpet often experience a " s y m p h o n y " of technical phobias. It is my intention in this method to systematically
d e a l w i t h these problems in a musical w a y t h r o u g h carefully o r g a n i z e d technical, harmonic a n d melodic s
ies a n d concise text.
The secret to constant a n d quick improvement o n the trumpet is consistent d a i l y practice w h i l e keeping

fundamentals of efficient breath control a n d musical artistry in m i n d at all times. I believe the wealth of stuc ss
in this method w i l l p r o v e useful for one's entire p l a y i n g career.

PRACTICING

i " y i

USIC H A S THE POWER to e n a b l e a n y o n e to feel g o o d . Trumpet is one of the most versatile of instru-

L k U

ments, a n instrument that is c a p a b l e of crossing a n y stylistic or cultural boundary. The gifts of studying

music include:

Creative p r o b l e m solving

C o n t r o l l e d concentration

D e v e l o p e d motor skills

G r e a t e r e m o t i o n a l expression

A c q u i r e d skills in the art of self-discipline

Raised social status

Creative interaction w i t h other p e o p l e

Raised awareness of art, b e a u t y a n d m o r e


These skills are as basic a n d useful as a n y other skills taught in school. The freedom a n d enjoyment avail-

able in music c a n be h a d through d a i l y p r a c t i c e .


The more o r g a n i z e d your p r a c t i c i n g is, the more fruitful it w i l l b e . Here, then, is a suggestion. Practice in
three 15- to 30-minute segments, resting w h e r e necessary. Segment one is the w a r m up, segment t w o is technical
study a n d segment three is p l a y i n g music material such as solos, etudes, orchestral literature, etc. Vary the material to a v o i d f o r m i n g b a d habits, b o r e d o m a n d to learn n e w things e a c h day. You must be your o w n best teacher. Listen w i t h honest ears. A l w a y s try to i m p r o v e . W h e n problems occur, refer b a c k to fundamental thoughts
on breathing a n d s o u n d . M o s t p r o b l e m s w i l l correct themselves. Best wishes a n d g o o d luck.

THE WARM UP

N ORDER T O ENSURE consistent i m p r o v e m e n t through practice, it is absolutely essential to w a r m i


Preparation is r e q u i r e d , not o n l y to meet the physical d e m a n d s of trumpet p l a y i n g , but also to initiate 13

mental focus a n d concentration necessary for m a k i n g music. The f o l l o w i n g is a w a r m - u p routine in four parts

w i t h variations for e a c h d a y of the w e e k . Remember to concentrate on the basic fundamentals from the fi t
note of e a c h n e w practice d a y (i.e., b e a u t y o f tone a n d utilizing large volumes of air w h e n inhaling a n d w h - j
b l o w i n g through the horn). Finally, p r e p a r e mentally to a p p r o a c h whatever exercise or piece of music you are
a b o u t to p l a y in the most musical a n d artistic w a y possible.

Buzz the mouthpiece in the a p p r o x i m a t e r a n g e i n d i c a t e d .

The sound should b e " f a t , " full a n d w i t h o u t g a p s as y o u slide


d o w n w a r d . Keep repeating until there are n o g a p s . Buzz anyw h e r e from a few seconds to a f e w minutes. Be aggressive a n d
d e m a n d i n g of yourself. It is possible to i m p r o v e y o u r trumpet
sound almost immediately b y w o r k i n g o n the m o u t h p i e c e .
For extended b u z z i n g , use the following triads. Check pitches at the piano while buzzing whenever possible.
Be sure y o u a r e p r o d u c i n g a fat, forte tone.

41 j T J

ir

TT j.

ij p i

ir P p i j .

A p p r o a c h the f o l l o w i n g exercises

mentally as if p l a y i n g o n e long note.


Articulate

heavily.

Make

the

legato

notes very l o n g a n d the m a r c a t o notes


fat a n d s p a c e d n o breathing a l l o w e d
in the m i d d l e of a line. This method is
a n excellent tool for r e l a x i n g the lips
a n d w a r m i n g d o w n as w e l l .
For

additional

repeat the

"loosening

preceding

exercise

up,"
8va,

resting w h e r e v e r necessary.

Play l o n g tone exercise # 1 , 3 or 4 w i t h as beautiful a sound as possible.


Start each playing d a y with the three steps a b o v e . Some days may require more w a r m i n g up than others due

to the playing demands of the previous d a y or your biorhythmic cycle, but w a r m i n g up well never hurts, it only helps.
Finally, p l a y the technical studies i n d i c a t e d for e a c h a p p r o p r i a t e day. In this w a y y o u can v a r y your w a r m
u p , m a i n t a i n interest a n d learn n e w scales a n d f i n g e r i n g patterns quickly. W o r k g r a d u a l l y d a y to d a y through
all of the keys until y o u c a n p l a y e a c h study w i t h a m i n i m u m of technical "hang-ups." It is not necessary to
p l a y the studies higher than third space " C " in y o u r w a r m u p , though a d v a n c e d players m a y wish to d o so.
Ideal w a r m - u p time should eventually b e 1 5 - 2 0 minutes.

Monday

Technical Study # 1

Tuesday

Technical Study # 2

Wednesday

Technical Study # 3

Thursday

Technical Study # 4

Friday

Technical Study # 6

Saturday

Technical Study # 7

Sunday

Technical Study # 8

In my o p i n i o n , lip slurs (except in the lowest seven partials) are not a particularly g o o d w a r m up. They are
physically d e m a n d i n g a n d , therefore, useful later in y o u r practice time. Lip strength (more accurately, the
strength of the muscle structure a r o u n d the lips) as a g o a l is greatly o v e r e m p h a s i z e d . A l t h o u g h strength is
i m p o r t a n t to a d e g r e e , r a n g e , e n d u r a n c e , a beautiful s o u n d a n d a d v a n c e d technique as a complete package
a r e b a s e d o n efficiency of breath control, not brute strength.

PERFORMANCE ANXIETY
E R F O R M A N C E ANXIETY (i.e., nervousness) is a c o m m o n a n d natural thing. Players at all levels of competency e x p e r i e n c e butterflies, dryness a n d other symptoms of nervousness before a performance. T
g o a l o n e should pursue is not to b e totally r e l a x e d , but to maintain sufficient mental a n d physical control,
o r d e r to e n j o y p l a y i n g music a n d p l a y w e l l . Experience is the real key. The more often one performs, the easier it gets. Take e v e r y possible o p p o r t u n i t y to p e r f o r m . Play for friends a n d family. Casual settings can be
g r e a t help w h e n d o n e frequently. As a useful by-product, the more one performs a n d is h e a r d , the more likw
o n e w i l l b e a s k e d to participate in other musical settings. That is the process through w h i c h one rises to the top
of the music c o m m u n i t y , n o matter h o w l a r g e or small the community.

Here a r e a c o u p l e of practical pointers to help y o u defeat performance anxiety:

W a r m u p w e l l several hours b e f o r e p e r f o r m a n c e time to ensure lip suppleness a n d g o o d response.

W h e n the butterflies c o m e , d o n ' t resist them. Resistence causes tension. Tension causes p l a y i n g problem

Let the w a v e pass t h r o u g h y o u r b o d y . O b s e r v e the feeling as it happens. Don't panic.

Scrape y o u r t o n g u e lightly across y o u r t o p teeth to cause saliva to flow. The less y o u concentrate on di

mouth, the sooner moisture w i l l return.

Let g o of the inevitable mistakes. D o not d w e l l o n t h e m . There is a l w a y s time to think a b o u t that later.

Think musically, not technically, e x c e p t for b r e a t h i n g . Breathe d e e p l y a n d project the air c o n f i d e n t ^

through the instrument. This is the o n e f u n d a m e n t a l y o u should a l w a y s fall back on w h e n you find your con
dence faltering.

Finally, stay in present time. D o n ' t w o r r y a b o u t w h a t has h a p p e n e d or w h a t is c o m i n g . Don't sacrifice o

entire piece for the sake of a high note or a tricky p a s s a g e . M a k e the note or phrase y o u are p l a y i n g as beautiful as possible. The rest w i l l fall into p l a c e . Present time is the key to performing from memory without slips a.*
well.

Long Tones

Long Tones

Long Tones

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Long Tones
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M a j o r 7 (|5) D e s c e n d i n g

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Lip Flexibilities
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Lip Flexibilities

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Lip Flexibilities

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Lip Flexibilities

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Lip Flexibilities

Play w i t h a n d w i t h o u t alternate f i n g e r i n g s ( N o s . 8 , 9 a n d 1 0 ) .
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Lip Flexibilities

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Lip Flexibilities

i i CD

5 *

3 *

5.

3 - *
Play w i t h a n d w i t h o u t alternate fingerings ( 1 2 a n d 1 3 ) .

J=

J_

168

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Lip Flexibilities

Lip F l e x i b i l i t i e s

27

U p Flexibilities

29

30

Lip Flexibilities

Lip F l e x i b i l i t i e s

31

32

Technical Studies

Technical Studies

The f o l l o w i n g studies should b e practiced t o n g u e d as w e l l a s slurred. Bang the valves down


promote a c c u r a c y a n d rhythmic clarity.

D o n o t b e p u t o f f b y difficult keys.

discipline to w o r k o n them. They w i l l g r a d u a l l y b e c o m e easier a n d easier.

hardl

This v

Have the self-confidence and


Tempos should range from ve v
r

slow to as fast as possible. Use a metronome t o p r o m o t e evenness a n d to document progress.


Major

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p-mf

IP!

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Technical Studies

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Technical Studies

Minor

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Technical Studies

35

36

Technical Studies

W h o l e Tone

/TN

/TN

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Technical Studies

37

38

Technical Studies

Diminished

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Technical Studies

39

40

Technical Studies

Technical Etude

(J = 120

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Technical Studies

Major

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41

42

Technical Studies

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Technical Studies

Minor

43

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ftp

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44

Technical Studies

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Technical Studies

W h o l e Tone

TN

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1
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JUL.

45

46

Technical Studies

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Technical Studies

47

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Technical Studies

49

50

Technical Studies

Minor

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Technical Studies

/TN

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II.

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f-^ 0
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T r i i r

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PR

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52

Technical Studies

W h o l e Tone

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1211111

*****

p-mf

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b*

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1 i JiiJJ

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m'

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BE

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Technical Studies

53

54

Technical Studies

Technical Etude

( J = 100]

mf

m) ~

4 =
4m

a "31

i1

at

m
-J
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a'

<P I

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J J

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mm

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mf

p(-

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m
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Technical Studies

55

Chromatic

14

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J)-TT]

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TT

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TN

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TN

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rTa&

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ar

T*

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a> *' |

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T" TT

1/

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TN

#1

MPi

mi

sa.^l

90-

- J

a=*

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| C )

i
TN

Mh

K W -

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56

Technical Studies

Major

-jHf

/,|

15 |

jrm

31

TI
J J

_ F f n
J
J J

gm

J E4r
JJJ|

/ TN

ii * T " .
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= - r

~ p

31

0
TN

0-m

ff

iJ
J

1
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F=0

W=0

m _

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ii-

-1

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0 f F 0

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0 F

P i

1 - .

/
u

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p F f

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F = = =fc===^

J J i f r

p P i

- t =

it
_ =

TN

=6

p
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... p

i
I

m.

p .

f - f Pr

P"

p p

Ffr

t
1-0-4

p "

l t -0-

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j

11

J = S - = I

Technical Studies

.
/

Minor
J

";

p-mf

l^i

M>i

HI,^

~
M

to

p . f

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M

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^ JJ
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57

p-

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yTN

$ to [JE/to J
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r r j* r r'r r
./TN

tin

TN
*

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/TN

p
/TN

2^=

/TN

L -

/TN

i.

i i

*~"P

1
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ft

f rrri
1

TN

p-

m
m .

58

Technical Studies

7#lg

Major

/TN

/TN
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J J *J J

J J

J J J J

/TN
.

- u
m

' J * J J

* J_ . J J J ^ J J J ^ J J
/TN

J J

Technical Studies

59

60

Technical Studies

Technical Studies

tot*
.,

18

Minor

p-mf
TV
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61

62

Technical Studies

\ - - \ - - \

1 J
j

. J

>

j j J j J J J j J J J J J J J1 j J
J

j JJ J J

g =

Technical Studies

63

64

Technical Studies

mm

rffrprrrrrrrrirrrrrfrrrrfr

rfrf

rrrrrfrrfrr

r r r r f r r irrrrrrrr rrfrrrrr
TV

Technical Studies

Technical Etude

65

( J = 120)

19

W=m
if
m;

*****

ii_p S I
1

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J8

- ^ 3 ^ 7

IP

_=i

dj-

66

Finger Flexibilities

Finger Flexibilities

Bang the valves d o w n firmly!

J . i 20

TN

[JbJJJJ JJJ

L_

arp

TN

1-\

.1

TN

5 J J

I
I

J J 3 | J J J J J J J* J* J ^ J "

'<

ll b J

TN

TN

TN

TN

TN

11:

IJ

~T7~

TN

i i

TN

TN

/TN

Finger Flexibilities

J. 120

TN

TN

TN

TN

TN

TN

JJJJJJJJJJJJ*
TN

TN

TN

TN

3_=
TN

TN

~n~

t f e

67

68

Finger

Flexibilities

J = 100 p |

a y

three times

simile

bJ

_:

3 * 3

"

/7s

ITS

i- J JJ j J i i j i

/7s

/TN

/TN

I
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/ ^

Play three times

simile
f

jjj 1j

l ^ g

/TN

Finger Flexibilities

/7s

/TN

3Z

m
/7s

J = 100 p |

a y

/7s

three times

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Play three times

simile

W^P

11

i
/TN

/TN

11

f
/TN

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1+

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. J = 126

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69

Finger Flexibilities

Finger Flexibilities

72

Finger Flexibilities

J = 100

7i

pK

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Finger Flexibilities

73

74

Finger Flexibilities

tij.iJjJJJjJJ'J^JJJJJJJiJJ'j

J. 116

Finger Flexibilities

j ^ j ^ j t e j

|
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= JiiJJJpJlJ1JJ_3J1_1fl

-o-

J =104

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=j

b i

b J

bd

b J

b i

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t J

b J

b J

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11

I U J J

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75

76

Finger Flexibilities

1111

11

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I

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man
p

1 B :||

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1

Finger Flexibilities

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77

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11

78

Tonguing

Tonguing

W o r k w i t h a metronome t o promote evenness a n d clarity.


means b y w h i c h to g a i n speed a n d c o o r d i n a t i o n .

Five to ten minutes w o r k every d a y is the best

Practice d o u b l e a n d triple tonguing very slowly as well as

very quickly.

Single a n d " K " Tonguing

1 1BE

3
T

T T T T T T T T

3_ _3

3_

TN

T T T T T T T T T T T T

_2

TN

simile

Jfc

VLV

4p

a a a a m

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m mm a a a a a a a a a

l~

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3^

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J J J i ' JJUiJiJU JJJJUJJ3JX1


1

TN

PI j j j m u m
3

TN

TT

3~

W w"

TN

TT

Tonguing

*^

TO/TTTTT

T T T T T T T

T T

T T T T T

79

simile

T T

1
TN

JP

J J J J jj

TN

J J . : .
TN

3
3

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i i i i i

TN

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1 rrflrm

r4iMiii

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3
rr-i
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TN

80

Tonguing

Tonguing

/7s

The " K " t o n g u e should be p r a c t i c e d a l o n e in o r d e r to p r o m o t e clarity a n d evenness in d o u b l e a n d triple


tonguing.

Try to make it as clean sounding as the " T " t o n g u e a n d b e patient as the " K " tongue m a y sound

bad at first.

mf

1 "

-j*9

al

tC

bo

,?

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mf

j j

,
J
K

LTT

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9

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F R

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*>

iJ

J
n

TN

II

82

Tonguing

Double Tonguing
Slowly

( J = 108;

j | * | M j * j M j j j MtfJ j J * | J * r J

'

simile
fr

'

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simile

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J

p}sT~
6
r. . A

f._

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1

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bJ

12

JT

00

00
T\

j j j J h J

JJJJI^J

83

JJJ3tiJ J J J J i p p f p ^ rrrr^r rrrrr

g l

J J J J J J-i^i*

TN

mf

84

Tonguing

oy cixrc
13

- -

"

'

nvf

mmm

0 0 00

mmm

0 0 00

# # # * =:

00 00

K M

E X

TT

0 0 0 0

0 00

Tonguing

85

86

Tonguing

Tonguing

>

ran

j^JJJJJJJJJJ J J
bJtJJJJJJJJJJJ J

9 * 9 *

b^J:kf:jb^ti fcfstfc^J:b^tb^ifc^tt^if^J:

wm

87

T5'

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'[JJJjJ JJJJJJJ

9+9*9

'b^bJJ J i^bi^bJ J

88

Tonguing

ff

20 j 1
m/

TN

mmmmm

rrrrr rrrrrrr rrirrrrr rrr^^^


TN

21 B

22

mmmm
mmmm

mf
"mmmm

'-mm

-m-mwi

Tonguing

23

li

Jfl

MZMZMMMX

mmmmia

mf

mmm

mmmmmmmm

m m

J J J J J J J J

Play three times

J J J j ji

24

mf
Play three times

3=2


simile

89

1
1 j-lj

Jit II-

aft

J H ^ J ^ T ]

||: J J J J J J J J J j J J J J J

f f " f f i P g r n. f r r r r f r r r r r r r r r r .n a

f**f*?fffn
rr^rfff rrr |

||, f f r r f f r r r r r r r r f
r

BuinBuoj.

06

Tonguing

91

Tonguing

93

Tonguing

94

Play three times

*m

28 P

mf

Play three times


3

simile

Play three times


2 9

I JJ-'i^jJjJJJJiJJJJ 1

Play three times

simile

Play three times

3 0 ^ ^

d ^ d f l '

-1

Play three times


3

B*

-J1

Play three times

A-41
V
4

4^J
B*

-BJ
BJ

-a !

II

1"

Play three times

IN

-*

BJ
B*

4R

m
[

Vm

-B*

B*

J
I_ ....

..

II

Tonguing

95

96

Tonguing

Triple Tonguing

35

T / T T K

Jsimile
. J i ' i -

a
T

' J J J ' J .

rrr r
1

* *
T

' J J J

J J J l-l
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36

m / " T T K T T K T T K

T T K T T K T T K

simile

JJJJ J
1

p
5

5
5

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-a

r frj*j*nf"p r

II

Jfff mrf CT F = P r i ^

J # *J

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mm

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f f f,
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1

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mm 9 9 1 m
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X 1 1 X 1 1 X 1 1

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mw~
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mw

t.
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J J Ji J I G 1 J

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err &.,.

f f f.fffTOf,

9 9 9

J- x l l
m

2-

mm-

N i l
1 P PP

Ji

mz

hr

11

LcrrcraTi r r T\

1 X

1 ^ - r r
* *

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f
X

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1

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98

Tonguing

39

J J:

mf
'tmmmm

_'

1, m j rfl :

~m m m

P i

J J J * JJiJ

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mmmMmMwM

mf

-3

4i p

jjj^jjj ^rircD-cj:irirTO 'j' 'i[p


, |

mf

3s

r4-n

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m m

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3
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1

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&

mf

4^

31

m m m

ITS w S

mmm

42

40

nrr

mmm

43
=1
i

J S

m- m-m-

3
*m

. *

"ft

< m

m
m

3-

mmm

J J []J J

m^T

IM 31^

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v f**WF

Tonguing

99

100

Tonguing

4=

-3
3

if

3-

3~

3
3

bi

/7s

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i
3

3-

t.<

f)

3~3

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3
w w w -w

JUS}}
3

W h o l e Step-Half Step Scale


JL.

46 S I

3
3^
3

ii^r

-3

47

to-

- -

1_

,?

bJ J J J J *
J J J I I J

J J

im^m
?

t 4 = y

urn

Tonguing

101

104

Tonguing

Tonguing

105

106

Tonguing

jjjjijjujjjjjijjjjji-

PPPiiPiiPPPi
TV

55

TN

T j T ^

JL.,

<J

-* 9-

*9

-t9- *J-

i9

TN

p.

-m

\mf

-m*

m'

- -
TV

^ JJJJ-JJJ JJ JJ JJ JJJJJ-J-

TN

i Jl^^ JJj|:
;

TN

MF *

36

56
;

71^

r=F3-FT3-F

32
3

57

mf

V mwJ - J

- - # 1

J <4

J ^J

HP

"

3?

.
it

*w"

mt

-#L:

Tonguing

107

108

Tonguing

60
/

JJ^J s m u
K T T K T

K T T K

jgjJ J JUJJJ i j j y
1

K T T K T

K T T K

simile

<U J " 1
:

1i

J>
5iJ *

1 3 J 3

XZJE

l>JXU JJ ,M
IM J>JT3J J)JT2\J

J)JT3J

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J J^,ry]J i ^ r i r p r r r r P r r r i r p r r r r
]

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s

0 0 0 0 0

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sbp

P L D T

PfT" IT I
0

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1* 1ff=] 00

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m
r

m
11

0"F

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ir

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50

m m m

:|1

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m> m> m

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m m m m

1m : \

0000

plis
mm

"I

Tonguing

6i l a

=*=fF

=T

~rk

,i

J J J J

H -H
J wJJJ

| | |f |
3

/TV

~=

mmm

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j
f , J^
J J J,J ,J ,JJJJ
J J J 1 0 0 0 J-.J..J* --J-J-J
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mjm

JJJJ J JJ JJ J JJ J

Triple Tongue Etude

62

ft\

n ^'

Tl

JL ASt
W-R

109

m m

- -m

===db
i

wzt

m-

>-j

Tl m i i r J

m ^ T

m m m mm

h jii

pi

( J = 200 ]

m> mbm 0

= JZB-#

m0

\rd

" m

P *" ri - BBBB

TT
c

^ CU;'

VP

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mf

i \

J
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J > J J

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- g ^ J ij|J JtH J j ^ j j j
1

mbJ J J ' Jl?Jt;Jk JbJtjJ fr*

!3

J J

0 0 0

1-

J -J 'dpi

m i

T~n

-iJi-

11

110

Tonguing

Odd Groupings

J i J i J J J J J J J J J i i i ' JJJJJJJJJJJ

~3
~

-3

#3
3

3
M

*t-

~m ~m ~a ~~m ~m a ~ a a a ~m

ar~

-T?

~a

3-

5-

m m m m m m m m m

3E

Tonguing

111

1 12

Tonguing

>

64

77yj

>

>

>

>

J J J S/^~J^^^-^~J"J~~a^J~a~~~]~j

>

TN

TN

~a~a~m~m~mm~MI

simile

TN

35

JJJJJJJJJ J

>

>

>

TN

>

>

65

>

T K T K T K T K T K T K T

K T K T

KT

simile

TN

-P

>

Li-i

%J

>

i
y

I 1 1
1

.
<

>

> m-m- 1*1*1

*> * >->^**^

3
-*>

''Be sure to play the quintuplets evenly; not in groups of 2 & 3 or 3 & 2 as in the previous section.

Tonguing

AA

kL

i i i ft
'

>
T

f l
K

m
T

- i

'

!
K

>
K

i
K

>
T

TN

J.

>

>

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"

- i i i i l -8
T

'J

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ir~%r

i = i

>

>

>
T

i=T

T
TN

1:H
K

T
TN

m
T

TN

EE

simile

| B H J~3 in

TN

TN
m

-m

TN

Ii r r r r If

TN

113

= 1

114

Tonguing

t! 4=r ^4

U-73
- ' m urn

f1
VJ

"

El

14

ft

'

1 Q_f ^ Iii
681 e g

Hi

>

TO/TKTK

>

6 c_/"LT iii
T

m
>

r'r in F"r r I

>

"

>

TV

i
TV

PP

IT

>

> i

a "u- iii
>

T\

>

T\

TN.

simile

T\

g jj J l j ] b ^ j . lij |J | b J |
1 I,J"iJ b^J. |)[ |J | b J :|| jj
TN

69^
"

K T K T

K T K

T K T

K T K T

K T

K T K

4=]

5
r

, T7

JbJtjJ

4*

11 L

T7B

1 i

P
K

5_

c
i

t/^

TN
#

2ac

5
5

Tonguing

70

J J J J
T

>
K

J J J J
>
K

>

>

>
K

IH i J i
T

TN

>

>
T

>

>

>
K

>

*w
>

>

>

>

>

E
>

J J J J J J

!>i

TN

>

>

115

>

a
simile
TN

5L
TN

TN

-H

4>

11

hi

TN

i i
c_r

CJ

1 LT CJ

LJI

TN

i l

Ii CJ CJ 1

TN

116

Tonguing

Tonguing

72

j i
^/

>
T

>
T

=#==1V*

>
K

>

>

117

TN

jj

i
- 4 - a

45J

>

>

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!j

!/

>

I i i

j=3=E

F 3 p
TN

r*

k v iJ
g - ti ->L
1

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TN

mf

tj

*V

m
K

mw

vm

\>m

5C
1
T

1
T

8=

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Lj

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v
4

m ^-m

If F . bJ J] '

=t=r=

+1

- -

r< '

i T

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v p
4
* *rbJ"-5

73

simile

118

Tonguing

Tonguing

--

ii

jjjjjjjjjji^j^jjj-j

JJJJJJJJJJJJJJJJJJJJ
Etude i n Q u i n t u p l e t s

76

>

119

120

Upper Register a n d

Endurance

Upper Register and Endurance


The essential elements of p l a y i n g in the u p p e r register a n d h a v i n g g o o d e n d u r a n c e are the same elements tha
insure a b e a u t i f u l tone a n d flawless t e c h n i q u e .

They a r e p r o p e r a i r s p e e d , l a r g e potential a i r volume

projected through the instrument a n d efficient use of the a i r c o l u m n , never over b l o w i n g , not under blowing.
In practicing ^he f o l l o w i n g studies b r e a t h i n g should b e d e e p , mouth a n d throat forming an " A h " syllable, as i
you w e r e a b o u t to step into the d e e p e n d of a s w i m m i n g p o o l . Take c a r e , however, not to constrict the throat;
but rather to hold the air in w i t h the throat o p e n .

D o n ' t breathe h i g h in the chest or a constricted throat wil

also result. Push from y o u r d i a p h r a g m a n d take g r e a t c a r e to a v o i d too much left-hand pressure or right-hanc
finger ring pressure. Too much pressure cuts b l o o d f l o w to the lips a n d w i l l reduce your range a n d endurance
without fail! A n y lip cuts or soreness i n d i c a t e too much pressure.
By the time a player is a d v a n c e d e n o u g h to w o r k in this m e t h o d , the e m b o u c h u r e is set a n d strong, i.e. firm
corners a n d relaxed in the m i d d l e .
p l a y i n g in the u p p e r register.

Embouchure strength, although certainly important, is over-emphasized ir

P r a c t i c i n g d a i l y out o f this m e t h o d w i l l g u a r a n t e e e m b o u c h u r e strength

Furthermore, one need not have a t e x t b o o k e m b o u c h u r e ( 5 0 / 5 0


W e all have different dental a n d f a c i a l constructions.

t o p / b o t t o m a n d in the center) to play well.

I k n o w fantastic professional players, some of w h o n

play upstream, some d o w n s t r e a m , h i g h , l o w , a n d off to o n e side.

Focus o n breathing in a n d increasing ai,,

speed through the instrument to i m p r o v e y o u r u p p e r register a n d e n d u r a n c e .

Please be patient a n d with

practice improvement w i l l c o m e .
Low notes a n d p e d a l tones should b e a p p r o a c h e d similarly.

Use r e l a x e d e m b o u c h u r e corners a n d large

amounts of air, p r o d u c e a full s o u n d , a n d take g r e a t c a r e to p l a y them in tune.


sharp) are not particularly pretty a n d a r e difficult to p r o d u c e .
the normal fingering for the a p p r o p r i a t e notes.

Pedal tones (below low F

Slide, slur or a r p e g g i a t e d o w n to them usinc^

Experiment until they b e c o m e familiar.

Play them loudly. The

value lies in i m p r o v e d physical a n d c o n c e p t u a l use of the air. A s w i t h a n y p l a y i n g p r o b l e m , seek the help o


a trumpet teacher w h e n e v e r possible.
In o r d e r to o b t a i n beneficial results w i t h o u t suffering unnecessary setbacks, please observe the following pre
requisites

for upper register study:

1) You must b e a b l e to p l a y a c o m f o r t a b l e h i g h C .
2) You must b e familiar w i t h a n d a b l e to p r o d u c e p e d a l tones ( b e l o w l o w F-sharp).
3) You must b e a b l e to p l a y the half-tone bends in Exercise 1 easily.

Slowly

il

'

Bend (lip) to notated pitch w i t h o u t c h a n g i n g valves.

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U p p e r Register a n d Endurance
Slowly

Rest wherever necessary. D o not force! N o t too much pressure!

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G l i s s a n d o or r i p smoothly, sounding all of the h a r m o n i c s in the octave, no half valve.

The glissando w i l

insure p r o p e r breath support of the upper note. D o not linger o n the t o p note. Stop wherever necessary.

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D o not g o o n until upper notes of exercise y o u are p l a y i n g are easily p l a y e d .

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finesse.
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IPET / SI 5.95 m U 5 A

"inely tuned w i n d , easy control, p o l y h a r m o n i c w i t , orchestral p e n m a n s h i p ,


Dunctuated spiritual w a r m t h . . . Rarely d o so many qualities find themselves in
Dne musician.

Chick Corea
Hitch your w a g o n to a star.

Doc Severinsen

W h i l e g r o w i n g up in M o n t a n a , Allen

People in G e r m a n y , Poland, E n g l a n d ,

His latest recording, High Class Brass, is

Vizzutti w a s g u i d e d by his father, a self-

Sweden, Brazil, C a n a d a , J a p a n a n d the

a unique classical/jazz mixture

taught musician a n d trumpet player, to

United States have all h e a r d his brilliant

c o p r o d u c e d , written a n d performed with

performances of virtuoso literature, such as

sound over the airwaves o f national

Jeff Tyzik a n d the 90-piece national

the H a y d n a n d Hummel concertos, the

television. Allen's g r o w i n g status as a n

repertoire orchestra of the Keystone Musi """"

C a r n i v a l of Venice a n d H u n g a r i a n Dance

artist has led to solo performances at the

Festival (available from Prophecy Record;

N o . 5 . By the a g e of 1 6 , Allen w o n the

Aspen Music Festival, Banff Center for the

102 Westiand Avenue, Rochester, N e w

Performing Arts, Israel Music Festival,

York, 1 4 6 1 8 ) .

first chair in the W o r l d Youth Symphony

Vancouver's EXPO ' 8 6 , M o n t r e a u x Jazz


Festival, "Live Under the Sky" in j a p a n ,

Allen's love of expression through c o m p o

Teton Music Festival, International Trumpet

tion has led to w o r l d premiers by the Los

Allen earned a B.A., M . M . a n d a

G u i l d , the H o l l y w o o d Bowl, C a r n e g i e Hall,

Angeles Philharmonic, Phoentx Symphon-*

Performer's Certificate from the f a m e d

N e w p o r t Jazz Festival, N a t i o n a l M E N C ,

Rochester Philharmonic, N e w York

Eastman School of Music in Rochester,

T B A a n d 1AJE.

N e w York.

Philharmonic a n d the Tonight Show


Orchestra, as well as recorded works by the

He w a s the only w i n d or

percussion player to have been a w a r d e d

W h i l e living in Los Angeles, he performed

Royal Philharmonic of London, the W o o d

the coveted "Artist's D i p l o m a " in the

on 1 0 0 motion picture soundtracks (such

Herman Bond, the Summit Brass a n d the

school's history. As first trumpet w i t h the

as Back to the Future, Star Trek, The Black

London Symphony Orchestra. In fact, the

Eastman Jazz Ensemble, he w a s chosen

Stallion,

Tonight Show Band album (featuring Doc

Rocky II, Poltergeist

II, Fire Fox,

10, Under the Cherry

Severinsen), coproduced by Allen a n d

"Best Trumpet Soloist" a t the N o t r e Dame

Sudden Impact,

Collegiate Jazz Festival. By his sophomore

Moon,

year, he w a s a regular member of the

Horseman

Rochester Philharmonic, the Rochester

television shows, commercials a n d record

C h a m b e r Orchestra, the Chuck M a n g i o n e

albums, with such stars as Frank Sinatra,

Orchestra a n d the only student in the

Barbra Streisand, Prince, N e i l D i a m o n d ,

Allen's continued interest in education an

Eastman Brass Quintet faculty touring

the Crusaders, the Tonight S h o w B a n d ,

the value of music in d a i l y life has led to an

ensemble.

four albums with W o o d y H e r m a n a n d

extensive schedule of concerts a n d clinics

three albums w i t h Chick C o r e o .

universities throughout the United Slates,

The Electric

fellow trumpet artist Jeff Tyzik, w o n the

a n d / 94 1), a n d countless

G r a m m y A w a r d for the "Best Big Band

Broadcast

News,

Recording" of 1 9 8 6

C a n a d a a n d Japan, in both jazz a n d

Equally at home in a multitude of musical


idioms, Allen has visited 3 0 countries to

Allen's solo jazz recordings include Allen

perform with a r a i n b o w of artists a n d

Vizzutti (K-Tel/Head First), Red Metal

classical idioms

ensembles, including Chuck M a n g i o n e ,

(available o n the B a i n b r i d g e label). Live in

Allen Vizzutti performs exclusively o n the

W o o d y H e r m a n , Chick C o r e a , the N B C

Montreaux

Yamaha B flat, C, D, E-flaf a n d piccolo

Tonight Show Band a n d N o r t h A m e r i c a n

Ensemble, Rainbow

orchestras in Phoenix, Rochester, Buffalo,

Sweden) a n d Double

with the Eastman Jazz


[released in Japan a n d

jazz mixture (released in Japan). His

Honolulu, to name a f e w

classical solo recordings include The


o( Allen

Vizzutti

Records) a n d Baroque

trumpets

Focus, a c l a s s i c a l /

St Louis, M i l w a u k e e , Edmonton a n d

Versatility

3808 1 0 1 0 5 7 " 1

concerto competition a n d w a s a w a r d e d
Orchestra at Interlochen, M i c h i g a n .

( G o l d e n Crest

and Beyond

Sony Records in Japan).

(CBS/

Alfred
Allied M J . - J I . I H I G J . In.
16380 Roitoe Blvd.. PO B<v 10003
VnnC-liiyv f A V M i 0 - 0 0 0 3

THE

TRUMPET METHOD
BO

O K

TECHNICAL

STUDIES

A n Intermediate/Advanced Method in Three Books


Allen Vizzutti

BOOK 3

BOOK 1
TECHNICAL

STUDIES

Practicing

The W a r m U p

Performance A n x i e t y . . . .

Long Tones

Lip F l e x i b i l i t i e l ^ ^ A . : ^ " . ' . -

15

Technical S t u d i e s ? . . . .

32

Finger Flexibilities

66

Tonguing:

/ , >x

Single a n d

"

"

D o u b l e Jk:.:::/.:

82

Triple.. ::::::..'.*

96

O d d G r o u p i n g s .1 !'.*.'...110
U p p e r Register a n d
Endurance.:...,.."....

1 20

Alfred has made every effort to make this book not only attractive but more useful and long-lasting as well. Usually, large
books do not lie flat or slay open on the music rack. In addiL A Y - F L A T
BINDING
tion, the pages (which are glued together) tend to break away
from the spine after repeated use.
In this edition, pages are sewn together in multiples of ) 6 . This special process prevents
pages from falling out of the book while allowing it to slay open for ease in playing.
We hope this unique binding will give you added pleasure and additional use.

Alfred

en
Copyright MCMXC by Alfred Publishing Co., Inc.
All rights reserved. Printed in USA.
Cover Design: Martin Ledyard
Art Direction Ted Engelbcrt