For trumpet

CCM Trumpet Studio Trumpet Fundamentals Book

2010-2011

Table of Contents

Foreword 1

Daily Practice Routine 2

Preparatory Embouchure Studies (Walter Smith) 7

Cichowicz Expansion Slurs 10

Flow and Expansion Studies (James Stamp) 17

Articulation Studies (Chris Gekker) 20

Pitch Bending Exercises (James Stamp) 23

30 Expansion Studies (Harry Glantz) 24

Interval Studies (Jean-Baptiste Arban) 28

Singing/Fingering Patterns (John Schlabach) 30

Technical Studies - Three Day Rotation (Herbert L. Clarke) 32

Foreword

The following daily routine is a resource which will gUide the player through a structured regimen of studies which is designed to prepare the player for a full day of playing, as well as continuously hone and improve fundamental skills. Avoid trying to play everything contained in this volume every day. In fact for moststudents, it will take some time to learn most of the studies contained within this collection. Strive at all times to produce the best possible sound. Each study should be worked with a metronome at all times. Turn the metronome on when entering the practice room, and leave it on until leaving. set the metronome to a tempo at which each study may be played with the fewest errors possible, even if that means the quarter note =40 or slower. Please note the following goals for performance.

Goals for Performance

Good / Characteristic Tone Quality Clean Attack / Note Starts

o Avoid Wah-Wah's Smooth Slurs Move from center of pitch to center of pitch

o Avoid anyextra sound between the notes caused by valve issues or the lips moving at a different time than the fingers. (Think of the piano)

Strive for a homogenous tone in all registers Good Intonation Play exactly the right note at exactly the right time.

1

Daily Practice Routine Part 1- Warm up off the trumpet (3-5 mln.) 1. Stretching

Take a few seconds to stretch armsand upper body to limberup and wake up.Thls should rea simplestretch that is accomplished within about a minute.

2. Breathing Exercises Use a piece of paper, breathing tube the Breathing Gym, Stamp exercises, etc. Breathing exercises are mosteffective when they are simple, natural anddirectly related to a musical context. If the inhale is relaxed, naturaland with musical intent, the result be a relaxed sound, with musical expression. Breathing is fundamental, but breathing without musical thought or content is simplyan exercise.

3. Loose Lip Warm-up loosens up the muscles, increases blood-flow, warms up all ranges

4. Free Buzz Numbers 2-4 should happen quite fast and serve asa warm-up and reminder beforeapplying the instrument. A few minutes in the beginning of Stamp will suffice.

5. Ear Training - Schlabach Studies (Ohio University TrumpetStudio Patterns) Spend a few minutes at the piano with these studies. Doing this early will help honethe player's ear before continuing to more advanced studies.

Part 2 - Warm up on the trumpet Remember that even though this section is a "warm up," the player should constantly strive for the best possible sound and to achieve the fundamental goals.

1. Mouthpiece work (five note scales/Stamp) Takea minuteon the mouthpiece to do check pitchand properair flow. Strive for a good mouthpiece sound and intonation at all times. It may be a good ideal to play thesestudies while seated at the piano in order to check the notesoften.

2. Flow studies (Stamp 3, 4a, 4b, 5/Cichowicz flow) Use these to enhance tone, smoothness of slursand overall ease of performance. You must develop an ear for this easy styleof performance. Demand of yourselfa beautiful sound at all times.

3. Slow simple slurs (Schlossberg 1-20, Irons group 1-12,etc.) Read Irons notes. Slow practice at a variety of dynamics and ALWAYS with the metronome is critical. Doshorter Irons 3X, 4X.

2

Part 3 Maintenance STILL WITH THEMETRONOMEand TUNER

1. Scales and Arpeggios -Workout a three day rotation, so you cover all scales twice a week

Major (by step and by third) Minor - Natural; Harmonic; Merodic Whole Tone Pentatonic Arpeggios - major, minor, diminished, augmented. You can use patterns by Arban, MacGregor, Pares, etc.

2. Articulation These articulation pattern exercises, used for years at Eastman, are a greatway to strive for excellence through simplicity.

Articulation Study

Always play extremely tenuto using the vocalsyllable "du"or "de" - totally connected

1. ppp with appropriate emotion and your best sound 2. flfwith appropriate emotion and best sound - don't go flat 3. each day, perform several in all ranges, keys, and dynamics

333 3

After first 2 sustainedmeasures, extreme staccato without changing the air support, tone, or going flat Playas if using the vocalsyllable "teb."

1. pppwith appropriate emotion and your best sound 2. flfwith appropriate emotion and best sound - don't go flat 3. each day, perform several in all ranges, keys, and dynamics

For DTand IT work, Clarke and Arban are very useful. Try creating exercises to suit your own needs. Multiple tongue every day.

1. use all dynamic ranges 2. use extreme upper and lower reqlsters,

(Articulation, continued)

3

(Articulation, continued)

- Legato - very connected, vocal sound, full, rich and with vibrato.

These tonguing styles should be practiced in degrees of strength and length.

- Staccato - very detached, moderate and almost none - Marcato - Very heavy, moderate and minimal

Dynamics - Try never to practice at mf. Strive to expand your dynamic range, over time gaining control of ppp, fffand everything in between.

Additional Printed Articulation Studies

A few examples for further articulation work: - Arban pg 28 - 35 and rhythm pattern from pg 44 - Gekker Articulation Studies (any) - Stamp Staccato Control

3. Clarke studies The Three Day format, found at the end of this booklet, should provide an interesting and efficient way to practice your Clarke studies. Now you can cover all the Clarke Technical Studies 2 times a week.

Always try varying articulation patterns when practicing Clarkes. - Tongue two and slur two - Repeat each slurred sequence articulating each note

~~u~ ~ ... '-..-/ ... Be..

4. Lip Slurs - Irons - Arban pg. 44 #22 aswritten, #23 in same rhythm as #22

4

6. Multiple Tonguing Before delving into a "multiple tongue study, try working away from the trumpet with wind patterns. Strive for evenness of rhythm, and strong air on all syllables. Focus on the fundamentals of the multiple tongue, namely making the "K" sound like a "T' C'Ga" sound like a "Da''). Pick one note and, at a slow tempo, work to play both kinds of attacks and get them to sound the same. For example: Quarter note =60 TRest TRest K Rest K Rest etc. TRest K Rest TRest K Rest etc. K Rest K Rest K Rest K Rest etc. Alternating the "T's" and "K's" in this fashion at a slow tempo will allow the player to listen and check to see if both articulations are sounding the same. After achieving some uniformity in articulation, the player should move to some advanced studies in:

Scales Arban Clarke nos. 2 for double tongue and 7 for triple tongue Gekker

7. Lyrical Studies The goal in working any lyrical study is to play it as it would be sung by a great singer. Use singers as models to emulate in your practice. Arban, The Art of the Phrasing Concone - various versions, including LyricalStudies - Concone/Sawyer (Brass Press, Complete Solfeggio - Concone/Korak (Balquidder) and Concone vocal editions.

8. Power/Range Slow, steady work is essential. Excess tension is your enemy Below is a simple exercise attributed to Phil Smith. Make sure you practice this exercise with the metronome and tuner!!

Philip Smith

p =.tr " Transpose upwards Y2 step at a time

5

Everyday thoughts

Everyday, cover the following:

- Extremes of dynamics - Extremes of registers - Lip slurs and lip trills - Beauty of sound - Power of sound - Single tongue - fast - Multiple tongue - slow and fast - Slow (breath control) and fast tempi (almost out of control) - Sight Reading (duets with a buddy?) - Transposition - Initial soft attacks - Initial hard attacks - Ornaments (trills, turns, mordents, etc.) Arban pg. 100 - good place to start - Othertrumpets (e, E-flat, piccolo) - Lyrical work - Technical - Intonation (tuner on?)

Some questions to ask about your Daily Routine

- Is my sound fully open and resonant? - Are the lips responding easily? - Are my highs and lows freely working? - Are all aspects of articulation clear centered and with ease of execution?

6

Preparatory Embouchure Studies Walter Smith

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9

Cichowicz Expansion Slurs series 1

10

10

16

22

29

Cichowicz Expansion Slurs J=50 series 2 Vincent Cicbowicz

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11

Cichowicz Expansion Slurs I series 31'1=50 Vincent Cichowicz

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12

Cichowicz Expansion Slurs I series 4 rJ= 50 Vincent Cichowicz

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Cichowicz Expansion Slurs I series 5 ~=50 Vincent Cichowicz

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Cichowicz Expansion Slurs series 6 Vincent Cichowicz

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15

Cichowicz Expansion Slurs d= 50 series 7 Vincent Cichowicz

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10

22

16

Selected Stamp Excercises James Stamp

1 Play the following excercises by buzzing the lips alone , ":" ":" . ":'" transpos~

.

2 Play the following excercises on the mouthpiece alone 7 1:\ 1":\ 1":\ 1:\

3 Play 0 t 14

17

28

29

31

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38

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18

41

Gekker Articulation Studies Play these exercises in all keys, within your personal range Chris Gekker

1. Major

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22

Stamp Pitch Bending James Stamp

Bend the notes a half step with lips, starting from a centered tone

0--------------------2 0------------------12 0------------------13

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23

II

30 Expansion Studies Transpose theseto other keyswithin your range H. Glantz

5 ~ 6 ~ 7

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30. Ala breve in one breath 1':\ 1':\

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27

Intervals J.D. Arban

Practice slurred and tongued in each key

28

Intervals

29

Ohio University Trumpet Studio - John Schlabach Singing/Fingering Patterns

Sing these scale degree patterns as assigned during lessons. Use the syllable "la" (or solfege) while fingering correctly in both major and minor. Start with easier keys, but progress as soon as possible to all keys for each pattern. These exercises will develop your ear and "connect" it to the trumpet, so that it will actively control your playing more quickly. It is critical to practice these daily both in your trumpet practice session, and separately. Use pitch reference ifnecessary, but don't play them on the trumpet. Part of your applied trumpet grade will depend upon your improvement on these patterns.

1st set: Ascending and Descending. The arrows indicate up or down direction for the next interval. The 7th scale degree often goes underneath tonic.

1. 1 2 3 4 5 3 4 2 1 2. 1 2 3 5 4 6 5 3 1 3. 1 2 3 4 5 6 4 5 3 2 1 (!)7 1 4. 1 2 3 5 4 3 2 (!)7 1 5. 1 2 3 4 5 6 4 5 3 2 7 2 1 6. 1 3 2 4 3 5 4 2 3 1 2 7 1 7. 123 4 5 6 5 435 4 2 1 8. 12345678978654231 9. 1 2 3 5 6 4 5 7 8 5 4 2 1 10. 1 2 3 4 5 6 7 8 9 7 8 6 5 4 (!)7 2 1 11. 123 5 6 5 9 8 642 1 12. 1 3 2 4 3 5 7 9 8 5 4 2 1 13. 1 3 2 4 3 5 7 9 8 5 4 2 1 14. 1 2 3 5 4 7 9 7 8 6 4 2 1 15. 1 2 3 4 5 6 7 8 9 7 8 4 3 (!)7 1 16. 1 3 2 4 5 3 4 7 8 9 7 8 6 4 (!)7 2 1 17. 1 3 6 5 4 7 9 10 8 5 2 3 1 18. 3 1 2 4 5 3 4 6 7 8 6 4 2 7 1 19. 3 1 2 4 5 3 4 7 8 6 4 7 1 20. 5 3 1 5 6 4 2 (j)7 8 3 4 5 1 21. 1 3 5 3 4 7 9 7 8 #4 5 3 1 22. 3 4 2 7 5 6 4 2 7 8 2 3 1 23. 5 3 2 4 9 5 7 8 3 5 4 2 1 24. 1 6 5 9 8 4 (!)7 2 1 25. 1 (j)7 8 2 3 9 7 (!)7 8

30

2nd set: Descending patterns (up or down arrows indicate ascending or descending interval for the next scale degree)

1. 8 7 6 4 5 3 4 2 1 2. 8 7 6 5 3 4 5 2 1 3. 8 5 4 5 3 5 4 2 1 4. 8 67 5 4 3 (!)7 2 1 5. 8 6 5 3 2 4 5 7 1 6. 8 7 6 9 7 6 5 3 4 5 2 3 1 7. 857 4 3 542 1 372 1 8. 8 7 9 8 5 4 3 5 6 4 2 7 1 9. 8 6 4 3 (i)7 5 2 (!)7 1 10. 8 7 6 5 7 6 5 3 4 6 (!)7 5 1 11. 857 4 6 3 5 2 4 (!)7 1 2 1 12. 8 4 6 2 (i)7 3 5 (!)7 1 13. 8 5 9 4 (i)7 3 (!)7 3 1 14. 8 3 6 2 (i)7 4 3 5 1 15. 823 (i)7 5 (!)7 2 4 3

31

Clarke Technical Studies - Three Day Rotation Day One

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37

Clarke Technical Studies - Three Day Rotation Day Two

Third Study

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Fourth Study

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Seventh Study

42

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43

Clarke Technical Studies - Three Day Rotation Day Three

Second Study

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Third Study

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Fourth Study

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46

Seventh Study

48

------

49

Fundiespage 13

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