Está en la página 1de 130

2

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 e
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.
3

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 materi-
al 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 teach-
er. 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.
4

THE WARM UP

n 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 any-
w 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 J
TT j. ij p i ir P p i j . i
5

@ 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 "loosening up,"


repeat the preceding exercise 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.
6

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 com-


petency 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 easi-
er 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 beau-
tiful 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 7

Long Tones
8 Long Tones

h i , j - _j
Jiwvs
TT
TT

_
1 - 1

TT Z
J J 1
/7\ <7\

122 g S
TT 77

1 P W ^ % \4 P ^

* Major Chord (J = 84)


&3
/7\

i7\

j 2 l g

TT

i r i

J5L

TT pi p j^: P
Minor 7 Chord ( J = 84)
A mine

p-f

"TT"
f TT
Long Tones 9
10 Long Tones
Long Tones 11

Dominant 7 ( b ) Chord ( J = 84)


A t> ^ \ /CN 1 '

-\

p-f
ITS
23C
22

<7\ /7\
s
j9-

13 trrr
-s 1

/7\

s
P ZEE.

?T3 r
^
il-^-TT j4^ ,p rfr -rf , i , _X ,
i 4~ ,
1
r
# i J ffr
j

i 1 1 1 H] 1 1 "^f 1 1
1 1

m
l7\

TT"

9- V
s
te tei
TO ?
12 Long Tones
Long Tones 13
14 Long Tones

D o m i n a n t 7 (l>5) A s c e n d i n g
M a j o r 7 (|5) D e s c e n d i n g ( J = 84)

P ^

1 1 r r if r i 1 s t
E

22
TT

^ j g > fl)p j f

1 tt
r in

P
4Jp
5E
P tzz

f r f f a
9 9
1 = i
U 1 J
r" 1
r J

x 1
1
j j ; H
TT 1 F
Lip Flexibilities 15

Lip Flexibilities
132
Lip Flexibilities 17

3 3 3 3
3
4 1_|J J J J J - J _ -J -J - J -J - J _3 _ _ - J - 3 |

? 3 3 3
Ak J a a -a a - - J - a) T H T _ _ = = = = _ , r

l a IW a a ' ' a ' a a a 1

* a > V pia*#0 0000s<

. ; - - . ' * - -.mr ^0 jm 0mt 9


mr * m * m * a P / i
t r r r ' S = S - f t - = i = ^ 5 S i = ^ =

3 3 3 3

(to 1* 3 3 3 3
y J * ,^ W W * m" 0 J _ j J _ ^ L J _ 4 J _ ^ a b a y 1

3 3 3 3
fMn -*> . I . I J I J I J 1
fa a a a
J l J J I J
J'a a v
1
p -a Pa # af |?i iMf = il
1
F
5

- i-0 -0 ^0^0 0-^-0 ^ i * . l . l , P l


1*^1* f* 1* a>r
3 3 3 3

3 3 3
-fiKl
4 d af a a -mjaf-= ^ 3 = 3 = ~ T p rrp
J J J J b J J J J d
\>W V W W W '
3 3 3 3

& J 190 1 1 &0- J- J J W-a


a a a a a a m) a al a a a

-0 - 1 -.0^0 ^0^0..*^a_.i*l

3 ? 3 3

3 3 3 3
mr - - - 1
-
-0 0 0 -aLJ - a * 4 - 1

3 3 3
F = a = - = - = - = - = = - f e U f f l : - ? H i
:

> 1
* d d d 'dmlmldmld ldddd& 1
J *

* [ * p L ' ~ n f -
3 3 3
18 Lip Flexibilities
Lip Flexibilities 19

3 3 3 3
1 J IjfJ d J J -m-d J a a a - a -7=

3 3 3 \

r
r
J
r - n
J
r
J
m
. H i - i g S :
i ^
J--n^L J J^--J----J--,s
a a a a na a a a [ "

\\m m m mt(00 i'0000(9


J f e - - g
i g a H B = -

3 3
I a a a a " 1
~ a 'a 3 3 3
w~0 0-0 m a a ~m ~n

r * <1 rfi r h 11 m TFT]


-J? m r
1
f *t r r T r f r ^ f r? 3 3
~ _ ., ... 3 3 3 3
= 1J J J J 1 J V -t -al J 0 1 0 -0-0-0-&

3 3 3
i i - r afl ^a LiF
i xd- ma lr ra-l nal1 ,W C<!
1 1 1 aW , -MM ...
ala" 0'
a
-W
000 0 ,
aW a

_ 4---,

* ' T r r r r r r r ' T r r n"prrrrrr ^rrrrrrrrr -

r 3 3
3 3 a
~0-0-0-0 ' E l . -0-W-0-&
* t>at i0

/L i,J
J
. i
* 1
\,rjr\ rm&0 al al ali
Mfti
3 3

palm a l a l 0 a L - i
1
3

000 +/'

7 r r 1
rrrrrrrr rrrr 3 3 3
20 Lip Flexibilities
22 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 ) .

j 3

8 I* U t J J 1
I J 1J i
4 L
a l m + U
m- -mmma>m - m- o -
j p-mf "
* i

ftfa
1 d d d d m
33:

PHI
-Vwrk 1 -m ~ma i ~-m
1 -
'~

L-al a
4 ^ - a> f \-d ... m m

1
= = _ - = = 1

1 *'
l J
J J
J J J
J 1 ai J J J * J * 1 G
J
J J
J J J
J -

BE m m
mi* mf J I d J

1
"
M i l

4 J J J J r J i J nJ - t .44 _ =f
4
J J .J
m m m m m m ^ m 0 -

108

(jrh % J J J -J 1 y y a
aa J -Jmn a ' ^ai
1

M B a m 4 mI, i
) . ^ a
1

at

m
-m m-

1 1
i
nil
2
3 3 = = = n
l
'*j^a J b
a : J L
-
L J j j H
a al -a*- o-

J = 108 -av
/% - J f 4 ja
|a
- JK T* 1 ''^N -i

+^
: . _ _

1
21 k

10 j *i r' r
1 1
ft I J i j i
m;
Lip Flexibilities 23
24 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 ) .
i
J= 168 3 J_

iJ bJ BIJBV J-
J u J 1
IIIJ JnJ V 1U J

3 l i
1 _i 35 b
3 "2


L
< H r_
#
-l 3
L- I ^ J N = 5

3dZ

r f l -4-1 i-T-1

' i ' i L m j T Big


*> . a a i a

jp CJj
3 3J 3 1

p5E !

i
[ I ; 1 / m

m i
3
~s~'

i i
3
9- - *-
Lip Flexibilities 25

126

p-mf

i m ftpj

_^L_ L5 _. 1 H
*
* 1

4*4an
J. 30
13

J.i 44
26 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 hardl This v
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. Have the self-confidence and
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. 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

m
p-mf

IP! . JJJJJJJJJJJJJJJJ
1
=3
/TV

l|!
^IJJ3g3J33JJ^ J3J-IJtl.TO^ l

i '^JI^JJJJJJ73I^J^.IJ.I^M
S7\

PS
17s
Technical Studies 33

^ I - JJ J J J *l J J.- U_t_
JltAjj | i . H H 1 1 1 11 ====::
!"
. ^ f7\
. 1-i
JJJJ1 J J ^ J ^ J p f p p J ^^ 1
Oft" -t^-.- ^- --^-- - -
L
i
L
i
d L

u =

. _^ lG~mw,~ v~ .f-i
ffl-I J J , J*, J J t B
=U
-Jr ij'i b 1* -= mr-z. " MM 0 0 M M |9 J _ i f, j_ _ | _ J
| o

JPltf |. = = = = = = -4 0 0 r 0 AW ^ 0. i _ .1i
(rw ft ||- d g w > g w * g ^ pp^, "j* |

. jP IL^ _ m 1 m0 9
m 0 m 0* F 0 m i
m m
^ /7\

ftj* 1|: mmm 9


m rpp_~y7*_p r' p r P III J
: C
lli ^ =ti11
/r\
- / f l ! TI | . ^ ^ T . r * - m -m0 m 0 m0> mF1
c^ _ E.
m 9
m m ~ ' i >
-faJL^ ^4 i _ t ^ * J F _ t ,L_o


1 ^ m0rm>r0M>0\r0mri
----- m i n i p " n i r
JH _ ^ - ) G
|
1 :
1
34 Technical Studies

Minor

/7\

5^- J1 " --

/7\

WJ *
Technical Studies 35
36 Technical Studies

W h o l e Tone
/TN
3

/TN

/7\

jj-tjijyjjjjjjjjiMJjjjJi=

=j=paFFFl (TN
v
-J-* 4rJ J i t J *-
* **

CN

1
Technical Studies 37
38 Technical Studies

Diminished

/7\

CN

JJ J > J J i J i J J I Ji,JbJi,J J JbJ J


/TV

IT
TS

1
=5t
Technical Studies 39
40 Technical Studies

Technical Etude (J = 120

>
-

j ^ S i
h 1 j _aj
r
<0 0-m-
J J
J lJ- m -

^ =^ /i \ L, a - i -> m

_ mm
J -
r Par~

ffi*TFl m =ff=
i
J==; 1 :

mp

1
j J_j_rLJbJ J J J j J p i
J
Technical Studies 41

Major

/7\

m mm
/7\
# 1 y- J J, i J ^ J --
J

TP -

mm
S7\

^ I
42 Technical Studies

p i g i i - - jjfijnw^
TN

.TN

j , ^ 11= jj^^^tt}^
TN

T>

1=
TV

c r x r r r r r 'i
:
Technical Studies 43

Minor
/7\
i
T7

/T\

/TN

/TN

ftp

IK
/TN

f II'JgJJW m m
m
I
/TN
J?Au, ii.
y i n / i - , J * J 1 J
11 o U

/TN

JJJJ JJJ.
36
/TN
44 Technical Studies

Mi
# . r-a
4 * d m W* 0 m l l
- t - n
i
H

~"-Vv<T\
==+=" . 1i [
J ^ ^ JI -i - 1 - ^ 4

i | pf f f f f f f F-rpf^
r
m-Wg) _
11
1
" 1
y
~^/TN

1"
+ 0 0 .

IPS
Technical Studies 45

W h o l e Tone
TN

TN

TN

TN

1
TN

TN

0 ~m

* TN
-m =
i m W0
|\-5
^

1 -0U,0Lm 1
J # -* _ ~ vm-90

m
ITS

JUL.
46 Technical Studies

.TN

5W M
-w-

.TN

#1
3e

TN

| o.

TN

*1 gar

.TN

l a a.ftf F g 4s
TN

3CC

TN

TN

p i rrrrxrrrrn rrTTriDrrjif rr
Technical Studies 47
a u r c 0 r m
gm
I * ' r* r * - P
9
f m ' 1

0
^

-J 4 J
r = m f 0 0
1 1
0 -0
0w f-frTr f r m
0 r .ii. <5>
! l l ' l

00m*

rrrr r rir rrrrrr


O - P
r r r

TO-
r pf r f f f f f f f r r f - j y ^ ,
r
fl

11
iy

/iu.-d
Technical Studies 49
50 Technical Studies

Minor
TN

TN
i
W r \' b Y mi _ 3
w
0
9
TN

#> f

TN

TN
II-
1' 1 J 3 J. -

1
CP "

-0

9-

j ^ |
i i !
< r o j j j j t j j j 3 j m jjijj.i J]fVi J

1
TN

/AU ii. M=R=


i JJ., J 34 J 1 J * - i-=-jr - 1

I* |1- 1 J1 1
1 m m-a - m
- -ff 1
g:
m I* ~ \m>
m m
L 0
j J J

TN
a 1
n

1J 1
1
Wr
N J. V a
- 1
1

17
\^-m
J
- J
JJ
Technical Studies 5

/TN

0 J 0 3trm

^ 0
II. m ~ - a m _ 0 P P H

1 * f ri rr1 r1
p
|- J * * J 1* = * P f J ** J J J * J
J
IN
. /-V
r ^
p
p

/TN

g
/TN

^ l=

in
/TN

& E II. ---*-- *frp-


u
-m f-^ 0


y f " ' ' _ i

/TN

/TN
p p m
* 0 m 0 "~^~P T pi- r r r r f 0
T r i i r
- 1

M -
/TN

pp
> p.
m0 f
PR 5 p -0-0 6s*= r * 1

j"f
z r =

/TN

rp r c r f
0 m
-f- -P
m
-p
-0.
=1=
i = =

/TN
l p g1^ m 0 0 a?
I
~r~i
Tf#=|f 0
N
52 Technical Studies

W h o l e Tone
/TN

1211111
p-mf *****
/TN

b*

/TN

/TN

1 i JiiJJ
11
/TN

m'
/TN

i i P P i
/TN

/TN

i i BE -# *-

/IN

J
Technical Studies 53
54 Technical Studies

Technical Etude ( J = 100]

mf

m) ~ at

4 = a "31 m a'
4m a a * i1 -m-**m-J <P I -4: #1
J I

1
-fff
9

J J J JJJ

Ffrp P P 12

1 5 ^

zz

Tfc = a - W
-1 1/ W K _
- 1 mm
m * m m '1
1 _

2SZ
m
mf J W

* p(-
i n
Technical Studies 55

Chromatic

14 3 bJ^
J)-TT] q*
TN

H
J TT

TN

9-J JbJlj

TN
11
JfcJ K K-Z7
artpjk 1
-*
TN

JfcJ 1 rTa&

TN
T*

ar ar jbJtjj.aP ' bo 1
TN
^ t TJ -

4m JfeJ{fall* 1 1
- -

V a 0 0

TN

#i
"I
i -t t. - T" TT

1
-J a> *' |
-a^ar-
1/
1 f 1
* y 0

TN

#1 MPi
- J i i
I
*
I

a=* ara-^-aW
mi 90- | C )

1
i
TN
1
sa.^l Mh m
I I 1
K W -

56 Technical Studies

Major ^ jr- ' :N


-jHf /,| m
TI _ F f n _ ^^^^^^^1 gm - ,

15 | J E4r ^
m

J J J J
31 * f
J J
JJJ| J J

/ TN

ii * T " . I - ' - m - ^ 0-^ = - r ] 31


g y ^ f | m ~ p J *
0
TN

m _ iJ
0-m
| - =
ff=
p 1
' J 0
^ |
?

W=0 F=0

M t ii-
- = - - 5
P V
1
-1

T\

0 0 0 F 0 J

* - F 0 f F 0 m JJJ i f r P i
it
1 - . w
_ = 3

/
F m M p F f 0 |1J J J i f r p P i 0
u T r r n
F = = =fc===^
? F
- t =

TN

=6 p
-
i
I
6 1
* p p p "
Ffr 1-0-4
t
0
.

P>
j
11 J = S - = I
f

... p
m.
p p . f - f Pr P" J 0 m l t -0- p

d
Technical Studies 57

. Minor ~ ^ TN

^J ^ JJ
r m

'Lf "
/ J M I M M
M M A
A _ 1

"; to J i-
i
J J - <
r m :

-W
p-mf -
^/TN

r
- m p
m

y
l^i M>i * p . f <> ff flK am 1 .11
HI,^ T


p-
yTN

$ to [JE/to J
||:

r r j* r r'r r
./TN

tin
TN

P *

/TN

p 1

/TN

P 2^=

/TN

L - P P
p p

/TN

i
TN
ft p-
f rrri
p m
i i 1
*~"P l
* m .
i. i : 1 1
9
58 Technical Studies

Major

7#lg

/TN

/TN
-mt

/TN
J J *J J J
J J 1 J J J J

.
- u
m ' J * J J * J_ . J J J ^ J J J ^ J J J
J J

/TN
Technical Studies 59
60 Technical Studies
Technical Studies 61

tot*
., Minor

18
p-mf

TV

33=

5^
3*
jjjjjjjiJjjJ JJgjijjJJjJJJJJ
TN

^ iMi> ,
^ b-
IJ -
.m ^} I 1
a L m

TN

m - m *>*) m m
~ m

jJUjJJJjJJJJJJJJ IJJJJJJJJJ
62 Technical Studies

- \ - - \ - - \

1
1 J J * j * J J w
J [
>
J

j
. J J

^ j j J j J J J j J J J J J J J1 j J J
J j JJ J J p g =
Technical Studies 63
64 Technical Studies

mm

rffrprrrrrrrrirrrrrfrrrrfr rfrf

rrrrrfrrfrr

r r r r f r r irrrrrrrr rrfrrrrr
TV

I
Technical Studies 65

Technical Etude ( J = 120)

19
W=m

if
m;

1
*****
# n

ii_p S I 0 m 0

1 J8 _j__^r___rr__r

- ^ 3 ^ 7 - dj-

IP

3 *
_=i
66 Finger Flexibilities

Finger Flexibilities
Bang the valves d o w n firmly!

J . i 20 TN

[JbJJJJ JJJ

: L_ arp 1 1-\
TN

1 .1
TN

TN TN

1
M
5 J J
1 J J 3 | J J J J J J J* J* J ^ J "
1 1 1 :
'< o

I ll b J
TN TN
:

TN TN

I 11: IJ ~T7~

TN TN

/TN

i i I
n
Finger Flexibilities 67

J. 120
m
TN

1
f
TN

I
TN

TN TN

TN

JJJJJJJJJJJJ*

TN TN

TN TN

3_=

TN TN

~n~

# 4 t f e f

i 1 i
68 Finger Flexibilities

J = 100 p | a y three times

simile ITS /7s

1 bJ _:
3 * 3 " i
i
/7s

i- J JJ j J i i j i

/TN /TN

I
/TN
/T\

@ bJ '-ll !17 0

/^ / ^

ir i
J= 1 0 0
Play three times Play three times

A simile

/TN

jjj 1j l ^ g
Finger Flexibilities 69

/TN /7s

3Z

m
/7s /7s
i

J = 100 p | a y three times


/7s

W^P
Play three times

I
/TN

i 11 11
simile /TN

/TN

- C _ - r

17\ /T


\ 1 \V i l 1

1+
i - - 1 :
,
J a


*

cJ

/TN iTs
1 1 1 1
1
m-
1 *
*> ii J
1
1

I H J
1 I m a m IJ - l-^J
;- . m

/TN /TN

. J = 126

TT
Finger Flexibilities
Finger Flexibilities
72 Finger Flexibilities

J = 100

7i
TT

pK *-r K

^PL^

ffl 1. - I

jj ^
t ^ ,
1 1 J
i He

m ELS _LJ f
p i i l f ~ ^ _ r ~ > _ r ~ ~ > *

"01- LJ
s

Effl
96

" ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

IT "' bJ ^ JjJ bJ ^ J bJ J I bJ bJ J i J ""


Finger Flexibilities 73
74 Finger Flexibilities

tij.iJjJJJjJJ'J^JJJJJJJiJJ'j

J. 116
Finger Flexibilities 75

j ^ j ^ j t e j |
|
= JiiJJJpJlJ1JJ_3J1_1fl -o-

J =104
njgjjg
W =j b i P b J bd P p b i P ^ b ^

J t J b J ^ J J J J b J J i :

b J P 1 bJ P bJ bJ P P bJ ^ r - ^

" j^i bj >J 1 j J 1 bj ^ w TT

I 11
I U J J p

1
i

--
76 Finger Flexibilities

1111

11 H =

Mb 1

I J g j

g g b g g I.J g LJ :|| Im

man

p
bJ tjJ l,^= 1 B :||

3 3 3 3
Finger Flexibilities 77

3 3 X J

JbJ^iJiJjJJ jjjlt 1

m
3 3 3
JL.i 11*1
a 1
i i "i i i i i

3 3 3 j 3 5 3 1
fifK \-. i
. -\

HrTf 3 3 3 . 3- 3 3

3
'-. j
,

3 3 3 3 3 3 3
/L. 1 j-;- . .|
rrj 1J 1 l H :||, 1

3 3 3 3 3 3 . 3
-A* \'- TI

3 3 3 3 3 3 3
_ _ _ a-
\

3 3 3 3 3 3 3
|-i-ir-*=- r~~ - - h i

-/JL1 _
3
!Xj~J ^ J ^ Jfcjj J j
3 3 3
m
J m
3 3
rn 3
a ==i
"
, a J d J d J ^ , J d | e

jp . d
3 3 3 i 3 3 3 3

3 3 3 3 3 3 3

f " -an t 1i am 4W 9m
W amnmjf
4 am -fcam
99
4
W aw
\'S * \?4W
* am
qm
j * = 1

= 1 ^ 1 - -
" _ i _ \ Li^X 1

m
m f> m
~ m-
m
im 0 " imJi* [XT C-LfrLT 11 J

L
3 -? 4 3
78 Tonguing

Tonguing
W o r k w i t h a metronome t o promote evenness a n d clarity. Five to ten minutes w o r k every d a y is the best
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 . 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

3 3_ _3 3_ TN

1 1BE T T T T T T T T T T T T T T T T T T T T T T T T

_2 3 ? ? TN

simile

Jfc 1

VLV a
a a a a m m mm a a a a a a a a a n

C1 i l~ i

m
1
4p 1 m m m 9 m m m mi 1

TN
3 3 3 3^
J J J i ' JJUiJiJU JJJJUJJ3JX1 1

TN

PI j j j m u m
TN
3 3 3 3
i TT

TN
3~ 3 3 3

mi m W w" r TT
Tonguing 79

*^ TO/TTTTT T T T T T T T T T T T T T T T T simile

1
TN TN
JP

J J J J jj 1
J J . : .

TN TN

3 Z 4 - i H i i i i i f i ^
3 ^ 3 JJ

?
? i

~TI s
~ i f r4iMiii

I I I , 3 ? TN

1 f
3
3 . .

3 3 3
3

1 rrflrm .? TN

3 r
rr-i J TN 3

?' J
80 Tonguing
Tonguing 8

/7s

m
5

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.

/ 4 J
J o 4Y 7
4
* m a a a 1
fa a a a

mf

1 " K
-j*9
tC
J
K
J
K
al
K
1o
K
Lp-J
K K
1 J
K
J
K
L-b^
K
]

1 1 1 1 1
; i | |
J J J J o b J J J bo = i J J L =
K K K K K K K K K K K K K K K

3 ,? 3

*
5
5



i 4 F R I
-1J^~mf~* m-m
1 J J tw
4 ?

_2 3

i
r
4
J
,
J <- m
m-m
ml
3
m
<m
i m
n
m a
3
_. mm
" m 1
am am
[ J J
m-m-
i
m

mf K
9 *>

r j j
LTT j
'P
n 1 iJ n i ^
J
i
TN

II
82 Tonguing

Double Tonguing

Slowly ( J = 108;

8 j | * | M j * j M j j j MtfJ j J * | J * r J
T K T K T K
T K T K

' } r
r *r
~rLPJ1" > i i f'if~i p}sT~
.. < . . . .. ....<* & ^ f._ _ 6 r. . A
_ _ p . ..

simile

'J ' i *
J j i $ 1 It i J * *
J ft 1 r r
fr J j
'
-ft J

--
771/ T K T K T K T K T K T K

simile

i J JJ

J J J
Tonguing 83

v JT * 00 00
T\

bJ j j j J h J JJJJI^J JJJ3tiJ J J J J i p p f p ^ rrrr^r rrrrr I

12 g l

J J J J J J-i^i*

TN

mf
84 Tonguing

oy cixrc
B

* - - " '

13
nvf
i f
mmm
0 0 00

mmm
0 0 00 f
# # # * =: TT

0 0 0 0
K M 00 00

1 5
P J J J J

E X 0 00 0 0 0 0
f
Tonguing 85
86 Tonguing
Tonguing 87

1 r

> T5'
L 1

ran j^JJJJJJJJJJ J J ' JJJJJftJJj:

bJtJJJJJJJJJJJ J '[JJJjJ JJJJJJJ

9 * 9 * 9+9*9

b^J:kf:jb^ti fcfstfc^J:b^tb^ifc^tt^if^J: 'b^bJJ J i^bi^bJ J

wm
88 Tonguing

20 j 1
m/
ff
TN

mmmmm

rrrrr rrrrrrr rrirrrrr rrr^^^


TN

21 B

mmmm

22 mmmm

mf

"mmmm '-mm
-m-mwi
Tonguing 89

23 li Jfl
mf
mmmmia
MZMZMMMX
mmmmmmmm

J J J J J J J J
mmm m m
i

Play three times

24 J J J j ji
mf
Play three times

3=2
simile

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

rr^rfff rrr | r r r r r r r r r r r r n T T ^

BuinBuoj. 06
Tonguing 91
Tonguing 93
94 Tonguing

Play three times

28 P *m
mf
Play three times

A simile

Play three times

2 9
P I JJ-'i^jJjJJJJiJJJJ 1
Play three times

simile

Play three times

3 0 ^ ^
I J
d ^ d f l ' i * -1

Play three times

* -J1 -
m a
1
B*
-

Play three times


i I i II

4^J -BJ 1" U



A-41
V 4 1
1 B* -a ! BJ

Play three times

BJ -B*
IN
m -
J
T
= = i
-* 1 B* 1
4R [ Vm 1
B* I_ .... .. II
Tonguing 95
96 Tonguing

Triple Tonguing

35
T / T T K T
H
T
a
T K
I
T T T K T
* *
T T K T

Jsimile
. J i ' i - ' J J J ' J . ' J J J

rrr r 1 J J J l-l

* *

5 5 5 5 5 5

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

5 3 3

simile

JJJJ J 1

# -mt -a

T
5
p
5
5
5
5 5 5 5
r frj*j*nf"p r
e e
II |
-Vpfr*r r mz
mm-
r E
* hr
1

N i l J- x l l /it

Jfff mrf-
9]]W1S 1 X

J # *J err &.,.
11 1X11 1 P PP m

CT F = P r i ^
a J

i
El m- ' ' W
r e
9 9 9

1 ^ - r r LcrrcraTi r r T\
* * 4

* *
9*9 mm) _ _ _ _ _ _ _ 1
l*W mm mw mw mw~
mw~
mw"
mwmm-mw~
mm~-
ww-mw mm mw

^
1
f E i i fr~

s e e

S E E S E E
E E S
Ji J J Ji J I G 1 J -Ii J J J
2- P -

f f f.fffTOf, g g g-
f f f, f

n r r n g
rawer g
i r r r
*

^ - -
v
_ (
" H*>
1 tl \\
#
t. t. t M

3/lUllS 1 X 1 1 X11X11X11 X 1 .L

4 1
m-m-mH9i m- mm 9 9 1 m 9 I
*l I 9
ft

i
i
E I E f
1
E =4
X 1 1 X 1 1 X 1 1 X 1 1 X 1 i /

g g E

Lb 6u;n6uox
98 Tonguing

39 J J J: mmm
nrr P i
~m m m

mf

a
'tmmmm
^
- - _' 1, m j rfl :
r L
^ w
^
1
J J J * JJiJ
*~
1
1 3
mmmMmMwM
,

1
.

5
M
40
3
mf 3 3
3 3 3 T
-3
mmm &

3 3 3
mm-m

4i p jjj^jjj ^rircD-cj:irirTO 'j' 'i[p m


, | l

^ mf 3 3 3 3
3 3 3 3
3

3s 31

3 5
3 3 3

3 3

42 mf
m m m
mmm m m

3 r4-n
m 3 1 ^~
3 3 3 3

4^
ITS w S - bJ J
m m mmm
m m
m bJ J < *

, 3- 3 3 3 3 3 3

W W 1

43
3 3 3 3 .? .?
=1 5 3 3- 3


m- m-m- m
i
1
a J S a
mmm _ v f**WF

\ J J []J J
3 3 3
3
*m 0
m m
1 m . * m
"ft < m m
m
m
1
IM 31^
m^T
m m **

0 3 3
Tonguing 99
100 Tonguing

4= J if
1
{
1

-3 3- 3~ 3 3 3
3 3 bi
3 3 3 3
/7s
3 3- 3 3
3 3 3 3 f
t.< ? ?
f)

JUS}}
?
I r f T - r ^
- r l 5 3

3 i 3 4 ?

/7s
3 3- 3 3
~3 T w w w w w -w v

W h o l e Step-Half Step Scale


JL.

46 S I
3
-3
4
3 3 3 3 1_ 3 ,?

3^ 3
3 3 3 3

bJ J J J J *

47 ii^r to- 1
J J J I I J J J im^m

?
1 - - i
1 J
t 4 = y
_
m urn m

Tonguing 101
104 Tonguing
Tonguing 105
106 Tonguing

jjjjijjujjjjjijjjjji- 1
PPPiiPiiPPPi
TV

TN

55
T j T ^ 1

J <J
4 -* 9- -t9- *J- *9 i9 i

p. TN
JL.,
- -m -m* \mf m' m - - -

TV

TN

^ JJJJ-JJJ JJ JJ JJ JJJJJ-J- i Jl^^ JJj|: ;

TN

MF * P 3 3 * *

36
56 71^

; m r=F3-FT3-F J .

32
57 3
mf

V mwJ - J J <4
"
*
3? L
I
.
it
w
*w"
mt

-#L: 1

J ^J
1 1

5
- - # 1

J
m
m t
HP
Tonguing 107
108 Tonguing

60 JJ^J s m u jgjJ J JUJJJ i j j y


1

/ K T T K T K T T K T K T T K T K T T K simile

<U J " 1 :

4 1i J> m
5iJ * 1 3 J 3 ^ XZJE

l>JXU JJ ,M

IM J>JT3J J)JT2\J J)JT3J ^JTJJ |

J J^,ry]J i ^ r i r p r r r r P r r r i r p r r r r
] b b
PTU*

| r -p i i r r i i i r i r j cilr r p^r - :|1

prrrr P "

P L D T
m

PLJJ
m 0"F I

ir
i* * 0
KLLJ
m> m> m

r plis
0000

s 0 0 0 0 0
PfT" IT I
0 sbp =pk m m m
50
m m\ m \\) m m m m mm

1* 1ff=] 00 1m : \ 1

m m 1
r r
1 1 1
r
11 "I
Tonguing 109

6i l a
m
/ 3 3 3
3 3
3 /TV
=*=fF
? , | | |f |
3 3 3
3 3
3
~rk =T
H -H ~=
mmm 9 m m
m m * m
* m

P
JSJJJ J
i ,i d d
J wJJJ
9 m m

J J J J \-_
.? j
J J J,J ,J ,JJJJ
f , J^
3

J J J 1 0 0 0 J-.J..J* --J-J-J
ft\
3 9
r r r

3 ,?
rnnI 3

4^=='
P P

3 5
3
3 3
? ? 3 ^ ,
n ^'
9 0 0
J _ _ _ ^_ _ _ ^

h jii
m m mjm a m m m

JJJJ J JJ JJ J JJ J

pi
Triple Tongue Etude ( J = 200 ]

Tl
JL ASt - -m m> mbm 0 m- wzt >-j
62
m
m m

===db
W-R = JZB-#

i m
m m m mm
m ^ T Tl m i i r J \rd m0 " m

P *" ri - -
BBBB BBB

? -=*=-
TT
*
a 1
0>
>

- -r r r r M , frrh
m m m
m

c
^ CU;'
r
J
/
0 0 0

/L .,, J > J J J "~ ~~Tff TT-rTT !3 1 1-

VP }J * * " d * d - g ^ J ij|J JtH J j ^ j j j


1 J J
i J -J 'dpi
mf

i \ m mbJ J J ' Jl?Jt;Jk JbJtjJ fr*


m i m T~n 1
-iJi- 11
110 Tonguing

Odd Groupings

3 3 3 3 3 3 3 3
J i J i J J J J J J J J J i i i ' JJJJJJJJJJJ

~3 3 3 3

~ * V V V V ar~ ~m ~m ~a ~~m ~m a ~ a a a ~m ~a

-T? 5 3 3 3 3 3 3-

-3 5 5 5-

#3
3 3 3 3 3 3 3 3

3 3 3 3

M M m m m m *t- m m m m m m m m m

3 3 3 3 3 3 3 3

3E
Tonguing 111
1 12 Tonguing

> 5 > 5 > 5 > 5 > 5 > 5 TN

64 JJJJJJJJJ J 35
77yj T K T K T K T K T K T K T K T K T K T K T K T K T K T K T K T

5 5 5 5 5 5 TN
J J J S/^~J^^^-^~J"J~~a^J~a~~~]~j ~a~a~m~m~mm~MI
>
simile

1
5 TN

3
> >
TN

> > >


TN

65 T K T K T K T K T K T K T K T K T KT K simile

5 5 5 5 5 5 a g

-P >
Li-i
%J
b 5 >
5

1 5 5 5
5 5 s

i 3


.
<
> > m-m- 1*1*1 * *> * >->-
^**^ -*> 1
y I 1 1
1 1

''Be sure to play the quintuplets evenly; not in groups of 2 & 3 or 3 & 2 as in the previous section.
Tonguing 113

TN
AA kL 1 i i i ft i=T i = i 'J i 1 1 1 i

' i - i i ' " i i i J. = 1


> >
m
f T K T K > K T K T
>
T K T K T K T

ir~%r - i i i i l - TN

>
f l
>
4 -8 1 1 1:H 1
> > >
T K T K T K T K T
T K T K T K

! ^ 1-
TN

m - m
T K T K T K T K T K T K T K T

m
TN

I
EE

simile
TN

I 1
TN

| B H J~3 in m m -m

TN

TN

Ii r r r r If
114 Tonguing

4=r ^4
t! - U-73 f1 * t
El
T\

- ' m urn VJ " 14 =


ft ' 1

1
" v
r 1

1 Q_f ^ Iii
TV

Hi r i

m
> > i TV

681 e g r'r in F"r r I


> >
PP IT

TO/TKTK T K T K T K T K T K T

a "u- iii
> > > > > T\

6 c_/"LT iii
T K T K T K T
i K T K T K T K 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^
P
2ac
d
" 5
J J K T K T K T K T K T K T K T K T K T K S I M I K
5 5

5 5_ 5

4=]
5 c
TN
r
, T7 @ i L 1 11 L 1 i # 1
JbJtjJ 4*
T7B t/^ 1
Tonguing 115

70 W J J J J IH i J i J J J J
> >
!>i
J J J J J J
> > >
T K T K K T K T
T K T K T K T K

1
TN

* 9 W W
*w
> > > > > >
T K T K T K T
K T K T K T T K T K

E
> > > > > > > > >
K T K T
K T K T K T K T K T K T K T K T K
TN

a
simile
TN

5L

TN

TN

-H 4> 11

hi
TN

i i

c_r CJ 1 LT CJ
LJI
i
TN

1 I
TN

i l Ii CJ CJ 1
116 Tonguing
Tonguing 117

72 j i r
J
>
i > > >
>
^/ T K T K K T K T K T K T K T
T K T

=#==1V*
TN
1 jj i 2 1 -H-

!j
a m - 4 - a !/ -8-
* m

45J >
1

> 1

>
I i i F 3 p
j=3=E
TN

I n - -
*-
1
I

5
J _J a 1 r< ' - 4-
4

v

r*

k v iJ
g - ti ->L
1 J J
TN
1

>d 1 i T 1
+1 =t=r= If F . bJ J] '
a
-

Lj
T"\

4 * *rbJ"-5
v p f mw
v
4
r
vm
n
m

\>m
i
S

73
mf T K T K T K T K T K T K T K T K T

4
tj m m
*V
m ^-m
J ~~
I
K T K T K T K T K T K T T K T K T K

5C
1
T K T K T K T K T K T K T K

1 I
T K T K T K T K T simile

8= o
118 Tonguing
Tonguing 119

--

ii

jjjjjjjjjji^j^jjj-j

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

76

>
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 1

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 . Embouchure strength, although certainly important, is over-emphasized ir
p l a y i n g in the u p p e r register. 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 t o p / b o t t o m a n d in the center) to play well.
W e all have different dental a n d f a c i a l constructions. 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. Pedal tones (below low F
sharp) are not particularly pretty a n d a r e difficult to p r o d u c e . Slide, slur or a r p e g g i a t e d o w n to them usinc^
the normal fingering for the a p p r o p r i a t e notes. 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 Bend (lip) to notated pitch w i t h o u t c h a n g i n g valves.

X il ' rJ I I

2 I 0-
1 3" I 3
U p p e r Register a n d Endurance 121

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


7>
0 .
(k \ r
^
i
m
p9 TN

1
9
I
- 9 TN 9

-4.
: i
J

- 8v[ l
[
8vb^^ /
iI N i
it --7 K O

f i- 9
TN ?
4 9
TN ?


r
mw rr- i 1 i 4 A tr^
-tf 1

p
=] 1

/

/TN
TN

= 9 T \ 9
r^T f j = 9 TN 9

1 I_

TN / TN / -m

TN 9 TN

f PI

E
8vb 1

Slowly
^ N 9 TN )
.bp TN 9

ri 1 1
r Jjir
J

m;

4=^ M- -
:
p
T N *

4=

=M=s4=1
1

ffffFFfff
"I
C & m m
~i
TN

2 2 2
.TN

u ffTTffr
r r
TN

TN

rii itJj T J
wm
122 U p p e r Register a n d Endurance

TN
_TN_

r r 1
' r^J j T b
1

i i
r r Jli
I /7\

#=N= 1
" r J
j

:ffi!
TffT-?
TN
7^
f f TV

-1

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.

i-
1
mf~=zf simile

/ :- . _ / : E
:- 1

s
simile

0
ft F=fir ii
i m m 0
J
Ff -i!^
8
1
ft 9

ij/fffr F
p 1 1 1 1

>f f f f .A f f f .^f f J 4 ,
ft . ft .ft

; L W - r ~m
?9FI
* -m- .m .a p.

ft ft -m-
/ -
/ m

in*

K
>
T\ TN TV
rife-
#= simile
- J J- J 1
1
y JJ 1 i j
> ~ ff -
TN TN
0

#= -N:
\ j

t
1

6r -a r i1
y jjr
U p p e r Register a n d Endurance 123

Play three times Play three times


TN

Ufl 1 1 : ^ to :|| 1
p-mf

simile

. || r t.Sr
: L L J * : || i f Tf f

TN

|| f |
4N
*T
J 1
i *
J
1
TN
h?: fet Vft ^ 2 '

TN

e f te ? ff ^

Play the f o l l o w i n g at a n y time to relax a n d revitalize the lip

m
Play three times TN

iJ J J J 9
J ||
ff
Play three times
124 Upper Register a n d Endurance

Fast 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 .

8 4
& JiJJJiJJJiJiJJJi 'iiiJJJJiJ
m;

mf

\1 i i 1 WJ^m
TN TN

f f f f l"f^^
_T>_ TN

i'- j ! j ! %i i t I*

simile
TN TN

TN TN

I? i S = i
i i i- i'
3E ;e :t

/TN TN
-<S>-
It-

TN
TN
-ts-
j t i t

TN TN
J2_
y. f:=:l

IJ i i i |i..f j 1 j j j j 1 f
TN TN

i i i i r r r r i f ^ #
TN
TN
fr f f f =g=^
TN
TN
f f f j if-fH*-
31y ; f f 1;
U p p e r Register a n d Endurance 125

TN
f f f f ,f j j
f f f if

f f f 3f
TN
'f f f f ft =1
TN
TN
F f f f ,f f=i
m-
*>

Sh

-Mr -> i;
TN

! [
S 1 ' V
>
5 !: sL

TN
9-

LJ ...h- am 1 TN
^v 2 j * j >
WJmM *
mw. i mm mm w i t
: i 1
: .. i : 1

TN
2.
TN

TN TN
^ m m m m m m 1
f
r>
^J
A .

f f f-^-J f f J J J 'j J J
f f f f '/ f r 'j g j j 'j
771T
TN TN

I f f f 'f f r 'j j j i y j j
TN
TN
i i J
mf
TN
TN
i,l J J J
TN
wi j j i m T5<-

TN

#3 i! i *

^ mf
TN

r
H
: '
K
: : S
3B
m i; ' 1 * * 11
, . J~* i 2 E 1 1" i. . . -*e , u
4f*
t
a

mf - - 5 t5?
126 Upper Register a n d Endurance

Do not use left or right-hand finger ring pressure to p e r f o r m u p p e r register lip slurs. Use air a n d control, i.e.
finesse.
-\/7\
\>4

10 WM
mf

^ r r r r r r r r r r r r r r rf rfff rrr

f r f rf r f r m r m . r m
ITS

rf-i^u^

f f r f r f rf r f rf rf r f iff ff r f r f r f r f f

f. ^ f . f t t ^ Z r f * * * * * * * * ? - f: * r

Play the f o l l o w i n g at a n y time to relax a n d revitalize the lips.

_ iTs /Ts iT\

11
f Si>6 1 j p 8 v b I 8vb
8vb 1

ITs ITS ITS

' 8vb 1 8vb 1


U p p e r Register a n d Endurance 127

-fffFffffffffffffi^fffff

i
(to

2 *

Play the p e d a l tones w i t h regular fingerings.

13 I . .. , TV I , TV

r J
J j 1 1 ii r rnJ j j 1 1 ir f J j j p p b

i%=
-
"
I ..TV ^- TV
r

a bm f i , 1
|| '
|

ft*i u i J -
X MM
m 49 m -p9 m[ u

P '- 8v * 8v m 8vb 1

M e d i u m to Fast
0-r-
14

j r r f rtrh p-
# - | ; \

j p^p
1

I m-JlM^e
y=3
128 Upper Register a n d Endurance

mf
IIJ S r m
ite: ff : fct
r# kT f *r y r ^
r T rr = #=5

TN

T-r-r Tt ri r f t r r t r f f jlp A ^ lip h


Ff> f r -
T
! g

||J
r r 1 1

(k i . TN

1 '
fft-HJtftF*

i r r*r r f fee
1

T\

mm J J J JflJ J
1Jft : ft
J i i I I - . II. > I'p in- r ttr r tt r r J E = g =
vy * ft* i' | [ | 1 1 1

te

. r r . . , ... =
115 ' "ft
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
concerto competition a n d w a s a w a r d e d 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
Orchestra at Interlochen, M i c h i g a n . 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. Philharmonic a n d the Tonight Show
N e w York. He w a s the only w i n d or Orchestra, as well as recorded works by the
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, Rocky II, Poltergeist II, Fire Fox, Tonight Show Band album (featuring Doc

"Best Trumpet Soloist" a t the N o t r e Dame Sudden Impact, 10, Under the Cherry Severinsen), coproduced by Allen a n d

Collegiate Jazz Festival. By his sophomore Moon, Broadcast News, The Electric fellow trumpet artist Jeff Tyzik, w o n the

year, he w a s a regular member of the Horseman 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

Rochester Philharmonic, the Rochester television shows, commercials a n d record Recording" of 1 9 8 6

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,

Equally at home in a multitude of musical C a n a d a a n d Japan, in both jazz a n d

idioms, Allen has visited 3 0 countries to Allen's solo jazz recordings include Allen classical idioms ^

perform with a r a i n b o w of artists a n d Vizzutti (K-Tel/Head First), Red Metal

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 with the Eastman Jazz 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 [released in Japan a n d trumpets

orchestras in Phoenix, Rochester, Buffalo, Sweden) a n d Double 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 jazz mixture (released in Japan). His

Honolulu, to name a f e w classical solo recordings include The Alfred


Versatility o( Allen Vizzutti ( G o l d e n Crest
Allied M J . - J I . I H I G J . In.
Records) a n d Baroque and Beyond (CBS/
16380 Roitoe Blvd.. PO B<v 10003
3808 1 0 1 0 5 7 " 1 Sony Records in Japan). VnnC-liiyv f A V M i 0 - 0 0 0 3
THE

TRUMPET METHOD
BO O K 1
TECHNICAL STUDIES

A n Intermediate/Advanced Method in Three Books

Allen Vizzutti

BOOK 1 BOOK 3
TECHNICAL STUDIES

Practicing 3

The W a r m U p 4

Performance A n x i e t y . . . . 6

Long Tones 7

Lip F l e x i b i l i t i e l ^ ^ A . : ^ " . ' . - 15

Technical S t u d i e s ? . . . . c
32

Finger Flexibilities 66

Tonguing: / , >x

Single a n d " K " 7 8

D o u b l e Jk:.:::/.: 82
Triple.. ::::::..'.*
i
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 attrac- Alfred

L A Y - F L A T BINDING
tive but more useful and long-lasting as well. Usually, large
books do not lie flat or slay open on the music rack. In addi- en
tion, the pages (which are glued together) tend to break away Copyright MCMXC by Alfred Publishing Co., Inc.
from the spine after repeated use. All rights reserved. Printed in USA.
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. Cover Design: Martin Ledyard
Art Direction Ted Engelbcrt
We hope this unique binding will give you added pleasure and additional use.