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CLAUDE GORDON

Systematic Approach to Daily Practice

CARL FISCHER

CLAUDE GORDON

Systematic Approach to Daily Practice FOR TRUMPET HOW TO PRACTICE WHAT TO PRACTICE WHEN TO PRACTICE

A fifty-two week trumpet course designed to develop a register from the Second C below Low C to C above High C, along with the power, endurance, sound and control necessary to meet the demands required of the professional trumpet player.

CARL FISCHER. Copyright C 1965 by Carl Fischer, Inc. All Rights Assigned to Cart Fischer, LLC. International Copyright Secured. All rights reserved including performing rights. WARNING! Th» publication ts protected by Copyright lew. To photocopy or reproduce by any method it an infringement of the Copyright lew. Anyone who reproduce« copyrighted matter it subject to substantial penalties and assessments for each Infringement. Printed in the U.S. A.

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T THESE GREAT AR ABOUT THIS BOOK

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During the years that Claude occupied the at f ir s t trumpet chair in the Columbia 0|*e Z * k h i Broadcasting System S taff Orchestra in Wio is S Hollywood, he distinguished himself for °n his superior musicianship. With his b r illia n t tone» his great fa c ilit y , and his extraordinary accuracy, Claude always turned in outstanding performances that contributed greatly to the success of our orchestra. As a musician and with much respect for Claude in our many years of professional work together, I highly acclaim anything he has to say about the trumpet. What Musical Conductor is even more wonderful is that in my CBS Television estimation, i t 's the f ir s t book on trumpet Hollywood, C a lif. WIL.BU« H A T C H written that teaches you how to practice.

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Trying to hit high notes over and over

14

LESSON TWO NOTE: THIS LESSON HAS THREE PARTS. PART I:

1.

2. 3. 4. 5. 6.

PART n:

1.

2. 3. 4. 5.

6. 7.

PART IH:

1.

2. 3.

Big breath - full sound - do not hold back. Practice slowly and meticulously. Hold the last note as long as you have any air, and then try to hold a little longer. As you run out of air, the note will shake or quaver - still try to hold it longer. The arpeggios are legato. However, if you need air, take a breath. Remember, get your horn off your mouth and rest as marked. Continue the exercise down as written as far as you can. Strive to go a little far­ ther each day, then rest 15 minutes. Big breath. The same arpeggios going up. Tongue instead of slur. Rest after each. Think "Teee" and blow stronger as you go up. Crescendo on last note. Keep going as far as you can. When you can't go any farther, make three attempts Then rest at least one hour. Practice legato many times. Contract lips going up; relax coming down. Top note should be the strongest - kick it with an accent.

Part I

Rest

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Remember: three attempts and that is all. Rest at least one hour. Part III For Lip Muscles - Lips contract toward mouthpiece as you ascend and relax comingback down. Watch tongue movement.

Repeat hundreds of times until lips form the habit of working correctly. Rest regularly.

16

LESSON THREE NOTE: THIS LESSON HAS FOUR PARTS. PART I:

Big breath - full sound. Practice legato. Hold last note as long as you have air and longer; try to crescendo Get horn off mouth and rest as marked. Continue as far as possible. Then rest 15 minutes.

1.

2. 3. 4. 5.

PART H:

Big breath. Tongue arpeggios. Step on the gas as you go higher. Think "Eee" as you go up. Breathe whenever necessary. Rest as marked as long as you play. Continue as far as possible. Then do Number III to relax your lip.

1.

2. 3. 4. 5.

6. 7. PART in: PART IV:

1.

2.

Very slowly, full long sounds, think "Taw” on lower notes. Repeat three times. Then rest one hour.

1. 2.

Practice with fingers as marked many, many times legato. Kick the top notes and think "E ee" at the same time.

Part I .

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17

Part HI To relax lip.

Continue up as far as possible. Remember:3 attempts and out. 3 times. REST ONE HOUR.

"Kick" the top note strong at the same time think "Eee". Repeat many times - always thinking of tongue movement.

LESSON FOUR

18

THIS LESSON HAS FIVE PART I:

Big breath - full sound. Hold the last note as long as you have air and longer. Crescendo. Take a breath if you need it. Keep full of air. Rest as marked. Go as far as possible. Then rest 15 minutes.

1.

2. 3. 4. 5.

PART H:

6.

Big breath. Take a breath when you need it. Always have plenty of air on high notes. Think "T ee" as you go up. Last two notes legato; crescendo. Continue as far as possible. Then rest at least one hour.

PART m:

1.

Continue in same manner as last week - kick the top note.

PART IV:

1.

To develop the back of the tongue. Practice as marked. Think "Kee" as you go up; think "Kaw" as you come down.

1.

2. 3. 4. 5.

2. 3.

PART V:

Part I

For this routine use Clarke's Technical Studies, second series for the cornet, by Herbert L. Clarke. Study One: For fingers. For contracting and relaxing lip: (a) Play slow and meticulous. (b) Lift fingers high and strike hard. (c) Rest between each exercise as you go up. (d) Contract lips toward mouthpiece as you go up and playlouder. (e) Relax lips as you come down and play softer. (f) The top note should be the strongest. (g) Don't stop at No. 25, but go a few steps higher.Stop when tired. (h) Skip the etude for now.

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Continue up Restât least one hour

For contracting and relaxing lip tighten going up- relax coming down. For tongue level-think ” Eee"goingup Part IV For the tongue think "Ah" coming down

KKKK KKKK KKKK KKKK Repeat each many times until the "K ” starts to sound as well as"T”

KKKK KKKK On higher notes think "Kee". On lower notes think "Kaw".

20

LESSON FIVE NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

2. 3. 4.

PART n:

1.

2. 3. 4. 5.

6. 7.

8. 1.

PART ni:

2. 3.

Big breath. Not too slow, very steady legato. Hold last note as usual until all air is gone and longer Rest 15 minutes. Big breath. Observe legato and tongue marks. Breathe where I have it marked. Crescendo last note as usual. Rest after each as marked. Continue as far as possible. Make three attempts to go farther. Rest one hour at least. Practice as usual. Start speeding up but keep accurate. Use a Metronome.

PART IV:

Clarke's Technical Studies, second study. 1. No. 36 use 3rd finger on all E's and A's. 2. No. 37 and No. 39 use 3rd finger on all A's.

PART V:

Clarke's 1. 2. 3.

Part I

Technical Studies, first study. Single tongue this study. Think "Tee" as you get higher and blow stronger. Think "Taw" as you descend and blow easier.

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Rest at least one hour. Part m For contracting and relaxing of lip. For tongue level.

Review Exercises in Lessons III & IV. As you improve speed these up.

Continue up as far as possible. Remember-Three attempts only

22

LESSON SIX NOTE: THIS LESSON HAS SIX PARTS.

PART I:

1. 2. 3. 4. 5.

Big breath. Breathe as necessary. Long last note as usual. Continue down as far as possible. Rest 15 minutes.

PART II:

1. 2. 3. 4. 5. 6.

Big breath. Breathe as marked. Observe legato and tongue as written. Step on the gas as you get higher. Crescendo last note. Rest at least one hour.

PART HI:

1. 2. 3.

Practice in same manner. Work for speed with accuracy. Kick top note as usual.

PART IV:

Clarke's Technical Studies, third study - observe slur marks. Lift fingers high and strike hard. Rest between each exercise. Use the following fingering on exercise: 1. No. 47, 3rd valve on all E's. 2. No. 49, bars 7 and 8 use 3rd on E's. 3. No. 52, 3rd on E's and A's. 4. No. 53, bars 3 and 4 - all 3 valves, harmonic fingering. 5. No. 54, bars 3 and 4 - 1 and 3 valves, harmonic fingering. 6. No. 55, bars 3 and 4 - 2 and 3 valves, harmonic fingering. 7. No. 56, bars 3 and 4 - 1 and 2 valves, harmonic fingering. 8. No. 57, use 3rd on all A's. 9. No. 58, bars 1 and 2 - use all three. Continue up using harmonic fingering wherever possible.

PART V:

Clarke's Technical Studies, second study. 1. Practice single tongue.

PART VI:

Clarke's Technical Studies, first study. 1. Practice with "K " tongue. 2. Think "Kee" when ascending. 3. Think "Kaw" when descending.

Part I

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Continue down as far as possible. Breathe whenever necessary - Keep full of air - Blow freely. Put air through your horn.

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Continue up as far as possible - Rest at least one hour.

Part HI For contracting and relaxing lip and tongue level.

Review No. in of Lessons in, IV, and V. Work for more speed.

24

LESSON SEVEN

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NOTE: THIS LESSON HAS SIX PARTS. 2. 3. 4. 5. 6. 7.

Big breath. If necessary, take a breath after the first five notes. All legato - kick top note stronger. Hold last note as long as you have air and longer. Rest after each. Continue down as far as possible. Rest 15 minutes.

PART II:

1. 2. 3. 4. 5.

Big breath. Legato - rest as marked. Think "Eee" as you go up and blow stronger; crescendo. Continue as far as possible and even beyond what I've written, if possible. Rest one hour at least.

PART III:

1. 2.

Practice as usual. Work for speed and smoothness.

PART IV:

Clarke's Technical Studies, fourth study. Lift fingers high and strike hard. No. 66, bar 2 - use 3rd finger on A's. 1. bar 6 - use 3rd finger on E's. 2. No. 69, bars 1, 2, and 3 - use 3rd finger on A's. bars 5, 6, and 7 - use 3rd finger on E's. No. 70, bar 8 - use 3rd on E's. 3. 4. No. 71, bar 6 - use 3rd on A's. 5. No. 72, bars 5, 6, 7, and 8 - use 3rd on A's. „bar 9 - use 3rd on first E, but use 1st and 2nd on last E. 6. No. 73, bar 2 - use 3rd on Fk 7. No. 74, bars 5, 6, and 7 - use 3rd on A's. No. 76, bars 1, 2, and 3 - use 3rd on E's. 8. 9. No. 77, bar 4 - use 3rd on A's. bar 9 - use 3rd on A's. 10. No. 78, bar 2 - use 3rd on B b . 11. No. 79, bars 1, 2, 3, and 4 - use 3rd on A's. 12. No. 81, bars 1, 2, and 3 - use 3rd on A's. No. 82, bar 8 - use 3rd on A's. 13. 14. No. 83, bar 6 - use 3rd on A's. 15. No. 84, bars 5, 6, 7, and 8 - use 3rd on A's. Never mind etudes - they come later.

PART I:

PART V:

PART VI:

1.

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Clarke's Technical Studies, third study. 1. Practice single tongue. 2. Think "T ee” as you ascend. 3. Think "Taw" as you descend. Clarke's 1. 2. 3.

Technical Studies, second study. Practice "K " tongue. Think "Kee" as you ascend. Think "Kaw" as you descend.

25

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Continue UP*

26

LESSON EIGHT NOTE: THIS LESSON HAS SIX PARTS.

PAR T I:

1.

2. 3. 4. 5.

6.

Big breath. Breathe when necessary. Top note is the strongest. Hold last note as long as you have air and longer as usual Continue down as far as possible. Rest 15 minutes.

3. 4. 5. 6.

Big breath. Blow stronger as you go up; softer when you come down. Remember, top note is the strongest. Rest between each. Go as high as possible and make three attempts to go on. Rest at least one hour.

PART m:

1.

Practice as marked.

PART IV:

Clarke's Technical Studies, fifth study. 1. Lift fingers high off the valves and Strike Hard. 2. By this time, you can start using your own judgment as to alternate (harmonic) fingering. 3. Try to continue this study at leasttwohalf-steps farther than it is written. 4. Hold the last note of each exercise long until all air is goneand longer.

PART V:

Clarke's Technical Studies, fourth study. 1. Practice single tongue.

PART VI:

Clarke's Technical Studies, third study. 1. Practice "K " tongue.

PART H:

Part I

1.

2.

27 Continue down as far as possible then Rest at least 15 minutes. ■» ? \>S t|9 Part H

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Continue up in Keys Bi> - B - C in same manner, as far as possible - Rest P a rtm

st one hour.

Review No. in of Lessons m, IV, V, VI, and VII. Now work for more speed. I advise using a metronome with these daily, so that your speed remains consistent. increase the speed every few days, one notch at a time.

Gradually

28

LESSON NINE NOTE: THIS LESSON HAS SIX PARTS.

PART I:

1.

2. 3. 4. 5.

6. 7.

PART II:

1.

2. 3. 4. 5.

6. 7.

8.

Big breath - full sound. Observe legato and tongue marks. Think "T ee" going up. Remember, that the top note is the strongest. Rest after each. Hold long last note as usual. By now, the student should have the manner of practice in mind so that it is not necessary to write out the entire routine. I have written the first two as a pattern, and the student should continue down by half-steps as usual. Rest 15 minutes. Big breath - big full sound. Do not play too slow (moderate tempo). Take a breath when needed. Think "T ee" on the high notes. Think "Taw" on the low notes. Rest as marked (as much as you play). Continue upward, if you can't make all five of the last notes, just do what you can and hold the last. Observe marks. Rest at least one hour.

PART III:

Review Part III of Lessons III, IV, V, VI, VII, and VIII

PART IV:

Clarke's 1. 2. 3. 4.

PART V:

Clarke's Technical Studies, fifth study. 1. Single tongue.

PART VI:

Clarke's Technical Studies, fourth study. 1. "K " tongue.

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Technical Studies, sixth study. Hold last note. Lift fingers high - strike hard. Work for accuracy - speed will come later. Rest between each exercise.

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44

LESSON FIFTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5. 6.

PART II:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Top note is the strongest. Hold long last note until all air is gone and longer. Rest as much as you play. Continue down as far as possible. Rest for 15 minutes.

.

Big breath. Good firm attack. Breathe when necessary. Pedal notes deliberate and sure. Crescendo last note. Rest as much as you play. Continue up as far as possible. Rest at least one hour before continuing.

PART m:

Lip Flexibilities. By Walter M. Smith. Exercises 1, 2, 3, and 4. 1. Watch slur marks and accents. 2. Use Metronome. 3. Practice many, many repetitions. 4. Speed up as you improve. 5. Use Metronome to keep an accurate record of your speed and progress.

PART IV:

Clarke's 1. 2. 3.

PART V:

Clarke's Technical Studies, third study. 1. Double tongue.

Technical Studies, fourth study and etude. For speed and repetitions in one breath. Hold last note until all air is gone and longer. Take a big breath and practice in a whisper.

Continue down as far as possible. Add octave again at 2nd Pedal "C". Rest 15 minutes.

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LESSON SIXTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

2. 3. 4. 5.

6. 7. PART H:

1.

2. 3. 4. 5.

6. 7.

Big breath. Breathe as needed. Continue down as usual. When you reach Pedal "C ", add an octave on top as usual. When you reach the second Pedal "C", add an octave on top again. Continue down as far as possible. Rest as marked as long as you play Rest 15 minutes before continuing. Big breath. Breathe when necessary - keep full. Good attack - strong - do not hold back on starting note. In order to establish the pitch in your mind, sound the octave lower than you start. Then start full without fear. Continue up as far as possible. Rest as marked. Make only three attempts when you stall. Rest an hour at least before continuing.

PART IE:

Lip Flexibilities. By Walter M. Smith 1. Exercises 1, 2, 3, 4, and 5 - practice numbers 1, 2, 3, and 4 two times each, and spend most of your time on number 5. 2. Work for speed on first four. 3. Remember, kick the top notes strongest.

PART IV:

Clarke's 1. 2. 3.

PART V:

Clarke’s Technical Studies, fourth study. 1. Double tongue.

Technical Studies, study five and etude. For speed and repetitions in one breath. Hold long last note until all air is gone and longer. Take a big breath and practice in a whisper.

49

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Continue down as before. When you reach Pedal "C", add one octave on top as follows:

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Continue down as far as possible. When you reach 2nd Pedal "C ", add one octave on the top. Rest Part II

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50

LESSON SEVENTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5. 6. 7.

Big breath. Take a breath when needed. Top notes are the strongest. Hold long last note as usual. Continue down as usual. Rest as much as you play. Play the pedals meticulously -slower if necessary. Rest 15 minutes before continuing on to Part II.

PART II:1.

Big 2. 3. 4. 5. 6. 7.

PART HI:

Lip Flexibilities. By Walter M. Smith 1. Exercises 1, 2, 3, and 4. 2. Practice each twice. 3. Exercise 6 - practice many repetitions - slowly at first, then for speed.

PART IV:

Clarke's Technical Studies, number six and etude. 1. Practice for speed and repetitions in one 2. Hold last note long until all air is gone. 3. Take a big breath and practice softly (in a whisper).

PART V:

breath. Step on the gas as you go up. Take a breath whenever needed. Make sure pedals are accurate - play slower if necessary. Rest as marked. Continue up as far as possible. Rest at least one hour before continuing.

Clarke's Technical Studies, number five. 1. Practice double tongue.

breath.

51 Continue down as before as far as possible. When you reach Pedal "C ", add one octave on top. When you reach 2nd Pedal "C ", add one octave on top again.

Continue up in half steps in this manner as high as possible. Rest at least one hour or more before continuing the lesson.

52

LESSON EIGHTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

2. 3. 4. 5.

6. 7. 8.

PART II:

1.

2. 3. 4. 5. 6. 7.

Big breath. Play accurately - slowly at first. Take a breath when you need it. Make your top notes the strongest. When you reach Pedal "C ", add one octave on the top as usual. When you reach the second Pedal "C", add an octave on top again. Continue down by half-steps as usual as far as you can. Rest between each one as usual. Rest at least a half-hour. Big breath. Single tongue with good attack. Think "T ee" as you go higher. Rest between each. Continue up as far as you can. When you cannot go any higher, make three attempts and do no more. NOTE: Never do just part of the scale . When you miss, try from the beginning of the scale every time.

PART ni:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3, and 4. Work for speed. 2. Exercise 7 - slowly at first with accuracy. 3. Top notes are the strongest. 4. Think "Eee" as you go higher and "Aw" as you go lower. 5. Speed up as you progress. 6. Use the Metronome to keep accurate progress.

PART IV:

Clarke's 1. 2. 3. 4. 5.

PART V:

Clarke's Technical Studies, number six. 1. Practice double tongue.

Technical Studies, number seven and etude. Practice softly (in a whisper). Work for speed and repetitions in one breath. Hold last note until all air is gone. The softer your practice, the stronger the lips become. Remember, blow stronger when going uphill.

Part I

Continue down by half steps as usual, when you reach Pedal "C", add one octave on top as follows:

53 8 lower

Continue down in the same manner by half steps as far as possible. Rest for one half hour. Part n

Continue up as far as possible.

54

LESSON NINETEEN

1*

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

l. 2. 3. 4. 5. 6. 7.

Big breath. Blow freely - full sound. Kick the top notes stronger. Hold the last note long until all air is gone andlonger. Add an octave on top when you reach Pedal "C ", and again at the second Pedal "C " as usual. Continue down as far as possible observing rests and breathing when necessary. Rest at least 15 minutes.

PART n:

1. Big breath. 2. Play with full sound. 3. Think "T ee" on upper notes. 4. As you go higher, play stronger with slight crescendo on the last note. 5. Rest between each. 6. Continue up as far as possible. Make three attempts, and then rest at least one hour before continuing on to Part HI.

PART HI:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3 and 4. 2. Exercise 8 - slowly and accurately at first with many, many repetitions. Then speed up. 3. Rest 15 minutes.

PART IV:

Clarke's 1. 2. 3. 4.

PART V:

Technical Studies, number eight and etude. Take a big breath. Practice softly. Work for speed and repetitions in one breath. Hold the last note until all the air is gone and longer.

Clarke's Technical Studies, number seven. 1. Practice triple tongue.

~6 -3 l>3 Part II

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Continue down. When you reach 2nd Pedal "C ", add one octave on top.

56

Continue up as far as possible. Rest at least one hour before continuing.

57

LESSON TWENTY NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5.

6.

7. 8. 9. PART n:

1. 2. 3. 4. 5.

.

6

7.

Big breath. Play with relaxed, full sound. First five notes legato. Then tongue arpeggio. Top notes are the strongest. Hold the last note until all air is gone and longer. Continue down as far as possible. Add an octave on top at Pedal "C", and again at second Pedal "C " as usual If you are reaching your third Pedal ” C” , add an octave on top again. Rest at least 15 minutes. Big breath. Crescendo as you go up. Top note should be the strongest with a little crescendo. Take a breath as you need it. Always reach the top boldly and fearlessly even if you should miss Continue as far as possible. Rest at least one hour.

PART HI:

Lip Flexibilities By Walter M. Smith Exercises 1, 2, 3 and 4. 1. 2 . Exercise 9 - practice slowly and accurately at first. Then work for speed gradually with the help of a Metronome.

PART IV:

Clarke's 1. 2. 3. 4.

PART V:

Clarke's Technical Studies, number eight. 1. Practice triple tongue.

Technical Studies, number nine. Exercises 178 - 186. Lift fingers high and strike hard. Practice slowly at first with steady tempo. Practice single and triple tongue also.

Part I

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59

LESSON TWENTY-ONE NOTE: THIS LESSON HAS THREE PARTS. 1.

PART I:

2. 3. 4. 5. 6

.

7.

1.

PART II:

2. 3. 4. 5.

.

6

PART m:

Big breath. First five notes slow and full. Breathe whenever you need to. Make the top note the strongest. Hold last note until all air is gone and longer. Continue down as far as possible resting after each one. Add octave on top when you reach the Pedal "C " as usual This is the longest series of endurance so far. Big breath. Blow full and free, and take a breath when you need it. If you observe the rests, you will not tire. Rest as much as you play. Push the top notes a little stronger. Continue as far as possible. Rest at least two hours before continuing.

Smith Studies 1, 2, 3, 4 and 10.

Part I

Continue down as far as possible. Add octave at Pedal "C " as usual.

Part II

Big breath.

Watch key!

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Rest often and long - Do not overdo. Go only as high as you can and only three attempts on any high note. When you are tired, STOP. Rest for two hours.

62

LESSON TWENTY-TWO NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1.

2. 3. 4. 5. 6

.

7. PART II:

1.

2. 3. 4. 5.

Big breath. Blow freely - do not hold back. If you are holding back, it is too soft. If you are forcing, it is too loud Play the first five legato and tongue the rest. Play top notes stronger and think "Tee". Hold last note until all air is gone and longer. Add octave on top at Pedal "C " as usual. Big breath. Do not hold back. Breathe as needed. Rest as much as you play. Continue as far as possible. Then rest at least two hours before continuing with Part HI.

PART HI:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3 and 4.

PART IV:

Saint-Jacome's Grand Method for Trumpet or Cornet Page 157, first exercise and models. 1. Practice with good attack - full note not staccato (do not peck). 2. Full sound. 3. It is absolutely essential to practice all models thoroughly. 4. Rest’between each model. 5. Notice that each model may be written with different articulations 6. Practice the exercise also with the "K " tongue. 7. Use the Metronome to control your progress.

Part I

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Part II Play freely with big full sound.

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80

LESSON TWENTY-NINE NOTE: THIS LESSON HAS FIVE PARTS.

«

PART I:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Practice all legato. Accent the first note of each triplet. The top note should be the strongest. Blow stronger as you go up. Hold the last note as long as you have air left and longer. Continue down as far as possible. From Pedal "C " down, add one octave on top as usual. Rest 15 minutes.

PART H:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Start on second Pedal "C ". Rest as marked. Be sure to take horn off your mouth on each rest. Continue up as far as possible. Repeat the entire exercise starting on B natural. Repeat the entire exercise starting on B flat, etc. Rest at least one hour before starting on Part IH.

PART ni:

Lip Flexibilities By Charles Colin 1. Pages 15, 16 and 17; exercises 18, 19,20 and 21. 2. Practice slowly at first. 3. Work for accuracy and control (very eventempo). 4. Study all of the printed material.

PART IV:

Saint-Jacome's Grand Method Page 160, third exercise and models. 1. Practice for accuracy, then speed. 2. Use the Metronome. 3. Practice "K " tongue also.

PART V:

Clarke’s Characteristic Studies, number one. 1. Practice this one measure at a time starting at the end and work toward the beginning. 2. Practice each measure slowly four times. 3. When you have finished one phrase, practice that entire phrase four times. 4. Remember, practice slowly and accurately. 5. By the time you get to the beginning of the study, you will beready to start from the top and work for the tempo that is marked.

81 Part I

Continue down by half-steps as usual as far as possible.

Part II

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?

IP

LESSON THIRTY

&

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5.

Big breath. First five notes legato - tongue the rest. Accent the first note of each triplet. Blow stronger as you go up. Continue as usual with the long last note.

PART n:

1. 2. 3. 4. 5.

Big breath. Take a breath as you need to. Blow stronger as you go up. Continue as high as possible. Rest at least one hour before continuing on to Part

PART m:

1. 2. 3.

Big breath, and breathe when you need to. Follow strict tempo - slow at first. Practice this model up by half-steps through all seven valve positions 1. All Three. 2. First and third. 3. Second and third. 4. First and second. 5. First. 6. Second 7. Open.

PART IV:

Saint-Jacome's Grand Method Page 161, fourth exercise and models. 1. Slow and accurate at first, and then speed up. 2. Practice "K ” tongue also.

PART V:

Clarke's Characteristic Studies, number two. 1. Practice in same manner as last lesson. 2. Slow with accuracy at first.

Part I

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continually

Continue up through 7 valve positions. Practice slowly at first with Metronome. As you progress, speed up the tempo a little at a time. Start at J = 72 or slower.

85

LESSON THIRTY-ONE NOTE: THIS LESSON HAS FIVE PARTS.

By this time, the student will realize that these routines have been designed to develop habits of correct procedure of practice. The student should, therefore, strive to adhere to this method of practice in all lessons to follow. PART I:

Big breath and continue down as usual. Rest.

PART n:

Big breath and continue up as usual as far as possible Rest.

PART III:

Practice in same manner as last lesson. Rest.

PART IV:

Saint-Jacome's Grand Method Page 161, variante and models. 1.Practice in same manner as usual. 2. Practice "K " tongue also.

PART V:

Clarke's Characteristic Studies, number three. 1. Practice as before - one measure at a time

Part I

Continue down in same manner as far as possible. O Part II

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continually

Continue up through 7 valve positions. Use Metronome. Slow at first then faster as exercise gets easier.

86

LESSON THIRTY-TWO NOTE: THIS LESSON HAS FIVE PARTS

PART I:

1. 2.

Big breath. Continue down as usual - good attack.

PART n:

1. 2. 3. 4.

Big breath. Breathe when you need to. Strive for all five notes on the end, but don't worry when you reach the extreme high notes if you are unable to play all five. Continue up as usual. Rest one hour.

1. 2. 3.

Practice strict tempo. Think "Ah", "Eee", etc. Continue up through seven valve positions as usual.

PART III:

PART IV:

Saint-Jacome's Grand Method Page 162, fifth exercise and models. 1. Practice slowly and accurately. 2. Practice with "K " tongue also.

PART V:

Clarke's Characteristic Studies, number four. 1. Practice one bar at a time slowly.

Part I

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6 Continue up through 7 valve positions

LESSON THIRTY-THREE

87

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5. 6.

Big breath. First five notes legato. Then double tongue. Think "T ee", "Kee" as you go up. Think Taw", "Kaw" on the low notes. Make sure the "Kee" is as clear as the "Tee". Continue down as usual.

PART II:

1. 2. 3. 4. 5.

Big breath. Practice as usual observing rests. Breathe when you need to. Speed up as you progress. You must discipline yourself to observe the rest periods because as you get stronger, you do not feel tired.

PART III:

1.

Practice accurate, steady tempo. Use a Metronome. Breathe when you need to. Speed up as you progress.

2. 3. 4.

PART IV:

Saint-Jacome's Grand Method Page 162, first variante and models. 1. Be sure that you are practicing all models. 2. Practice "K " tongue also.

PART V:

Clarke's Characteristic Studies, number five. 1. Practice in same manner. 2. Observe breathing marks.

Part I

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Continue up as far as possible. Rest at least one hour.

88

LESSON THIRTY-FOUR NOTE: THIS LESSON HAS FIVE PARTS. PART I:

.

1.

2

3. 4. 5. 6.

Big breath. First five notes legato. Triple tongue the rest. As you go up think "Tee", "T ee” , Blow stronger as you go up. Long last note.

ft

Kee ??

2.

3. 4. 5.

Big breath. Practice evenly and not too slowly. Blow stronger as you go up. Continue up as usual. Rest at least one hour.

PART ni:

1. 2. 3.

Practice as usual with a Metronome. Speed up. Practice in all seven valve positions.

PART IV:

Saint-Jacome's Grand Method Page 163, second variante and models. 1. Use a Metronome. 2. Practice "K " tongue also.

PART V:

Clarke’s Characteristic Studies, number six. 1. Practice one measure at a time as before. 2. When practicing at the proper tempos, observe breathing marks strictly.

PART II:

1.

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120

LESSON FORTY-NINE

NOTE: TfflS LESSON HAS FOUR PARTS.

PART I:

1. 2. 3.

Big breath. Practice in the usual manner. Note: Add the octave on top when you reach Pedal "E " and continue down in the same manner.

PART n:

1. 2. 3. 4. 5. 6.

Big breath. Start on the second Pedal "C". Blow stronger on the higher octaves. Hold the notes with hold marks with a crescendo. Continue up as far as possible. Rest as usual.

PART m : Saint-Jaco me's Grand Method Page 197, exercise seventeen and models. 1. Practice slowly and accurately. 2. Practice with "K " tongue also. PART IV:

Clarke's Characteristic Studies, number twenty-one. 1. Practice in same manner.

DO NOT HOLD BACK.

YOU MUST DEVELOP A STRONG, CONSTANT FLOW OF AIR FIRST

THE SOFT CONTROL IS DEVELOPED AFTER THIS.

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Add octave when you reach Pedal "E".

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122

LESSON FIFTY

NOTE: THIS LESSON HAS

PART I:

1. 2. 3. 4.

PART

n:

1. 2. 3. 4. 5.

FOUR PARTS.

Big breath. Continue down as usual. Note: Add an octave on top when you reach Pedal "F " and continue in the same manner. Rest. Big breath. Blow freely (not too loud). When you start back up, step on the gas gradually so that you blow stronger on the higher notes. Do not hold back. Rest as marked and continue up in this manner as high as possible. Rest one hour, at least .before continuing on to Part HI.

PART m :

Saint-Jacome's Grand Method Page 198, exercise eighteen and models 1. Practice slowly and accurately. Then speed up. 2. Practice "K " tongue also.

PART IV:

Clarke's Characteristic Studies, number twenty-two 1. Practice in the same manner.

Part I

1.

Continue down as far as possible.

2.

Add octave on top when you reach Pedal "F ".

Part n

8 lower

in n I

■a 8 lower

IS US US

IS S

7S

■o ^ -é S -a 7S

73

T9 S

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8 lower

3 9 9 8 lower

• • :. « « «

1.

Continue up as far as possible.

2.

Rest at least one hour.

LESSON FIFTY-ONE

124

NOTE: THIS LESSON HAS FOUR PARTS. 1.

PART I:

Big breath. Remember, accent the top note. Remember, blow stronger as you go higher. Note: Add the octave on top when you reach low F sharp Continue down in this manner as far as possible. Rest.

2. 3. 4. 5. 6. 1. 2. 3. 4. 5.

PART II:

Big breath. Start on second Pedal "C". The third note of each group should be the strongest,with a hold Blow stronger as you blow higher. Continue up in this manner as far as possible. Rest.

6.

PART III:

Saint-Jacome's Grand Method Page 199, exercise nineteen and models. 1. Practice slowly and accurately. 2. Practice ” K" tongue also.

PART IV:

Clarke's Characteristic Studies, number twenty-three. 1. Practice one bar at a time,as usual.

Part I

73 W

Part II

8 low er - :

~6

1.

Continue down as far as possible.

2.

Add octave on top when you reach low "F#".

toc(,

is O

"3 8 lower • A

• • •

125

8 lower • • • •

, loco

L

8 lower •

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’

J ¿ - T - .....

n HL "3

TS

_ 5 72

9

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r

............... ................... .

'j n

~l

' "

.....................

»• •

1.

Continue up in same manner as far as possible

2.

Rest at least one hour.

Models for practicing Part I Model I

é r_r.r. LiJ Model II

Continue down Modél IV

2

r n

m

m

m

rs

w ¥ 7 5- j s m

long

Continue down

126

LESSON FIFTY-TWO

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4.

Big breath. Note: Add the octave on top when you reach low "G". Continue down in the same manner as far as possible Rest.

PART n:

1. 2. 3. 4. 5. 6. 7.

Big breath. Start on Pedal "C". Good, full attack on each note. Blow stronger as you go up. Rest as much as you play. Breathe whenever you need to. Continue up as far as possible.

PART ni:

1.

The reverse of Part n. Continue down as far as possible.

2. PART IV:

Saint-Jacome's Grand Method Page 200, exercise twenty and models. 1. Pratice slowly and accurately. 2. Then work for tempos as marked. 3. Practice "K " tongue also.

PART V:

Clarke's Characteristic Studies, number twenty-four. 1. Practice each measure slow and accurate. 2. Work to tempos marked. Breathe as marked

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To Whom I t May Concern: I'v e known Claude Gordon and have admired his playing for many years, I think he's among the best and feel he has a lot to o ffer in his new book. He haa students a ll over the country, and I assure you no time is wasted in seeking t^improve along the linea he recomm

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•UCC/ V «* Let me say there is no short cut to suc­ cessful trumpet playing, but I have found the method that assures success with conscientious practice*-the Claude Gordon method. After years of "h it and miss" studies which led to fears and s e lf doubt» 1 began studyla with Mr. Gordon; and within the year my con* fidence waa restored. Deily practice once again became a pleasure, professional pleyi a %t h r ill. Speaking as both a student and profession/ I would like to thank Mr. Gordon for his years of reseerch in the fie ld of trumpet study and teach

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UDE GORDON

THE GENIUS OF

FOR TREBLE CLEF INSTRUMENTS Daily Trumpet Routines (04945) Physical Approach to Elementary Brass Playing (05017) Systematic Approach to Daily Practice for Trumpet (04702) * Thirty Velocity Studies (05092) * Tongue Level Exercises (05089)

FOR BASS CLEF INSTRUMENTS Physical Approach to Elementary Brass Playing (05039) Systematic Approach to Daily Practice (04959) Technical Studies (Clarke) (04968) * Thirty Velocity Studies (05093) * Tongue Level Exercises (05090)

In English/Auf deutsch/En français/En español

Read What These Great Artists Say About CLAUDE GORDON'S Books.

Every student o f trumpet should have and use this method written by Claude Gordon. This is the one method that truly prepares the student as well as the aspiring professional for the demands in the high register, en­ durance and facility that confront the modem business trumpet player.

John Clyman, Former 1st Trumpet, Los Angeles Philharmonic and H ollywood Bowl Symphony Orchestras. Claude Gordon’s SYSTEMATIC APPROACH TO DAILY PRACTICE has one o f the most sound approaches to developing a tremendous range. His explanation o f the pedal register is excellent. In no other book has the practice o f “ k ’s” been given its proper importance.

Robert DiVall, Former Principal Trumpet, Los Angeles Philharmonic and Hollywood Bow l Pops Orchestras. I have been associated with Claude Gordon for many years. I have played alongside o f Claude when he played first trumpet for the Columbia Broadcasting System. I have examined Claude’s SYSTEMATIC APPROACH and find it very valuable for complete development to meet modem demands.

Ziggy Elman, Great Trumpet Star o f Television and Recording. It has been my pleasure to have been associated with many o f Claude Gordon’s students, especially Stan Mark, my present lead trumpet. This speaks for itself.

Maynard Ferguson I have known Claude for a number o f years. I knew him as a great trumpet player and also a great teacher. I think his new book should help everyone who is interested in being a good, strong trumpet player. Conrad Gozzo, Former 1st Trumpet, N B C Studios Television & Recording, H ollyw ood, C A I started studying with Paul Witt (14 year Claude Gordon student) in 1991. Claude's method has made a 200% improvement in my playing. I found that the saying BRASS PLAYING IS NO HARDER THAN DEEP BREATHING is fact, not theory. I f you put the time and effort into practicing Claude's routines correctly and consistently, it's impossible for your playing not to improve. I guarantee it!

Lee Loughnane Trumpeter & founding member of Chicago UPC

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