• Author / Uploaded
• Miguel Alberdi Molina

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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,

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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 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.

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 1—3

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.

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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.

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 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.

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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

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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 . 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

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While growing up in Montana, Allen

People in Germany, Poland, England,

His latest recording. High Class Brass, is

Vizzutti was guided by his father, a self-

Sweden, Brazil, C a n a d a , Japan ond the

a unique classical/jazz mixture

taught musician and trumpet player, to

United States have all heard his brilliant

coproduced, written and performed with

performances of virtuoso literature, such os

sound over the airwaves of national

Jeff Tyzik and the 90-piece national

the Haydn and Hummel concertos, the

television. Allen's growing status as on

Carnival of Venice and Hungarian Dance

artist has led to solo performances at the

N o . 5.

Aspen Music Festivol, Banff Center for the

1 0 2 Westlond Avenue, Rochester, New

concerto competition and wos awarded

Performing Arts, Israel Music Festival,

York, 1 4 6 1 8 )

first chair in the World Youth Symphony

Vancouver's EXPO '86, Montreaux Jazz

By the age of 1 6, Allen won the

Orchestra at Interlochen, Michigan.

"

Festival, "Live Under the Sky" in japan, Teton Music Festival, International Trumpet

Allen earned a B.A., M . M

and a

Guild, the Hollywood Bowl, Carnegie Hall,

Performer's Certificate from the famed

Newport Jazz Festivol, Notional M F N C ,

Eastman School of Music in Rochester,

TBA and IAJE.

New York. He was the only wind or

Allen s love of expression through compc tion has led to world premiers by the Los Angeles Philharmonic, Phoenix Symphony. Rochester Philhaimonic, Now York Philharmonic and the Tonight Show Orchestra, as well as recorded works by the

While living in Los Angeles, he performed

Royal Philharmonic of London, the W o o d ^

the coveted "Artist's Diploma" in the

on 100 motion picture soundtracks (such

Herman Band, the Summit Brass and the

school's history. As first trumpet with the

as Back to the Future, Star Trek, The Black

London Symphony Orchestra. In foct, the

Eastman Jazz Ensemble, he was chosen

Stallion, Rocky II, Poltergeist II, Fire Fox,

Tonight Show Band album (featuring Doc

"Best Trumpet Soloist" at the Notre Dame

Sudden Impact, 10, Under the Cherry

Severinsen), coproduced by Allen and

Collegiate Jazz Festival. By his sophomore

Moon, Broadcast News, The Electric

fellow trumpet artist Jeff Tyzik, won the

year, he was a regular member of the

Horseman and 194 I), and countless

Grammy Award for the 'Best Big Band

television shows, commercials and record

Recording" of 1 9 8 6

Chamber Orchestra, the Chuck Mangione Orchestra ond the only student in the Eastman Brass Quintet faculty touring ensemble.

albums, with such stars as Frank Sinatra, Barbra Streisand, Prince, Neil Diamond, the Crusaders, the Tonight Show Band, four albums with W o o d y Herman and three albums with Chick C o r e a .

Allen's continued interest in education a n the value of music in daily life has led to an extensive schedule of concerts and c l m i c s _ universities throughout the United States, Canadn ond Japan in both j o z z ond

Equally at home in a multitude of musical idioms, Allen has visited 30 countries to

Allen's solo jazz recordings include Allen

perform with a rainbow of artists and

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

ensembles, including Chuck Mangione,

(available on the Bainbridge label), Live in

Allen Vizzutti performs exclusively on the

W o o d y Herman, Chick Coreo, the N B C

Montreaux with the Eastman Jazz

Yamaha В Hot, C , D. F Hot and piccolo

Ensemble, Rainbow (released in japan ond

trumpets

Tonight Show Band and North American orchestras in Phoenix, Rochester, Buffalo, St Louis, Milwaukee, Edmonton ond Honolulu, to name a few

classical idioms.

Sweden) and Double Focus, a classical/ jazz mixture (released in Japan). His classical solo recordings include The Versatility of Allen Vizzutti (Golden Crest Records) and Baroque and Beyond ( C B S /

1

Festival (available from Prophecy Record

percussion player to have been awarded

Rochester Philharmonic, the Rochester

'3808 1 0 1 0 5 7 "

repertoire orchestra of the Keystone Music

Sony Records in Japan).

A\hed\

ED

THE

TRUMPET

METHOD

BOOK MELODIC

з

STUDIES

An Intermediate/Advanced Method Allen Vizzutti

[dlfred

2

I N T R O D U C T I O N

T O

B O O K

3

П

НЕ MELODIC STUDIES contained herein represent most of the trumpet techniques and harmonic material developed in Books 1 and 2 of this method in a purely musical context. Many of the duets and etudes in Book 3 are intended for use as unaccompanied recital pieces as well.

For maximum benefit, Books 1 and 2 should be studied extensively. As always, trumpet players should warm up thoroughly as detailed on the next two pages before playing anything demanding. This is necessary in order to consistently improve one's playing rather than just maintain the status quo or possibly regress. Refer to Book 2 for text on expanding one's musical ammunition with systematic study of harmonic material.

P R A C T I C I N G

M

USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instruments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying music include: ®

Creative problem solving

©

Controlled concentration

©

Developed motor skills

©

Greater emotional expression

©

Acquired skills in the art of self-discipline

©

Raised social status

®

Creative interaction with other people

®

Raised awareness of art, beauty and more

These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment available in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice in three 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technical study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the material to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts on breathing and sound. Most problems will correct themselves. Best wishes and good luck.

4

THE

W A R M

UP

П

Ы ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm up. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the mental focus and concentration necessary for making music. The following is a warm-up routine in four parts with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when blowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you are about to play in the most musical and artistic way possible. (D Buzz the mouthpiece in the approximate range indicated. The sound should be "fat," full and without gaps as you slide downward. Keep repeating until there are no gaps. Buzz any­ where from a few seconds to a few minutes. Be aggressive and demanding of yourself. It is possible to improve your trumpet sound almost immediately by working on the mouthpiece. For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possible. Be sure you are producing a fat, forte tone.

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® Approach the following exercises mentally as if playing one long note. Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced—no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well. For additional "loosening up," repeat the preceding exercise 8va, resting wherever necessary. ®

Play long tone exercise # 1 , 3 or 4 with as beautiful a sound as possible.

Start each playing day with the three steps above. Some days may require more warming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps. Finally, play the technical studies found in Book 1 that are indicated for each appropriate day. In this way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study with a minimum of technical "hang-ups." It is not necessary to play the studies higher than third space "C" in your warm up, though advanced players may wish to do so. Ideal warm-up time should eventually be 15-20 minutes. ®

Monday Tuesday Wednesday Thursday

Friday Saturday

Sunday

Book Book Book Book Book Book Book

1, Technical Study #1 1, Technical Study #2 1, Technical Study #3 1, Technical Study #4 1, Technical Study #6 1, Technical Study #7 1, Technical Study #8

In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are physically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, the strength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is important to a degree, range, endurance, a beautiful sound and advanced technique as a complete package are based on efficiency of breath control, not brute strength.

6

P E R F O R M A N C E

A N X I E T Y

ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Players at all levels of com­ petency experience butterflies, dryness and other symptoms of nervousness before a performance. The goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical control in order to enjoy playing music and play well. Experience is the real key. The more often one performs, the easi­ er it gets. Take every possible opportunity to perform. Play for friends and family. Casual settings can be of great help when done frequently. As a useful by-product, the more one performs and is heard, the more likely one will be asked to participate in other musical settings. That is the process through which one rises to the top of the music community, no matter how large or small the community. Here are a couple of practical pointers to help you defeat performance anxiety: Ф

Warm up well several hours before performance time to ensure lip suppleness and good response.

© When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problems. Let the wave pass through your body. Observe the feeling as it happens. Don't panic. © Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on dry mouth, the sooner moisture will return. ©

Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about that later.

© Think musically, not technically, except for breathing. Breathe deeply and project the air confidently through the instrument. This is the one fundamental you should always fall back on when you find your confi­ dence faltering. © Finally, stay in present time. Don't worry about what has happened or what is coming. Don't sacrifice an entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beau­ tiful as possible. The rest will fall into place. Present time is the key to performing from memory without slips as well.

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