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2

INTRODUCTION TO BOOK 1

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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

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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. ThezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 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

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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-

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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.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQP 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 breathin g 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

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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.

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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

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exercise

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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 iszyxwvutsrqponmlkjihgfedc 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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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.

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