Fundies Book

5/21/2018 Fundies Book

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CCM Trumpet StudioTrumpet Fundamentals Book

2010-2011


2/51

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


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oreword

Thefollowingdailyroutine isaresource which willgUide the

player

througha

structured regimen of

studies which

isdesigned to

prepare

the

player

forafulldayof

playing, aswellascontinuously hone and

improve

fundamental skills. Avoid tryingto

play

everything

contained

in thisvolume

every day.

In fact for most

students,

it will

take

some timetolearn most ofthe

studies

contained withinthiscollection. Strive at

all timestoproduce the best possible sound. Each study should be

worked

with a

metronome atalltimes. Turn the

metronome

on

when

entering the

practice room, and

leave

itonuntil

leaving.

setthe

metronome

toatempo at

which

each

study

may be

played

withthefewest

errors possible, even

ifthat

means

thequarternote

40or

slower. Please notethefollowing goals forperformance.

Goals for Performance

Good /

Characteristic

Tone Quality

Clean Attack / Note

Starts

o Avoid

Wah-Wah s

Smooth

Slurs

Move

fromcenter of

pitch

tocenterofpitch

o

Avoid any

extra

sound between the

notes

caused by valve issues or

thelips moving atadifferenttimethanthefingers. (Thinkofthe

piano)

Strivefora

homogenous

toneinallregisters

Good Intonation

Play exactly therightnote atexactly therighttime.

1


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Daily Practice Routine

Part

1- Warm up

off the trumpet 3-5 mln.)

1. Stretching

Takea few

seconds

to stretch armsand upper

body

to limberup andwake

up Thls should re simplestretchthat is accomplished withinabouta 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 resultbe a

relaxed sound,

with musical

expression.

Breathing is fundamental, but breathing without

musical

thought or

content issimplyan 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 andserve 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

Trumpet

Studio Patterns)

Spend

a few minutes at the

piano

with these

studies. Doing

this earlywill help honethe player's

ear before continuing to moreadvanced 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 pitchandproperair flow.

Strive

for a good

mouthpiece sound and intonation at all times. I t maybea good

ideal

to playthesestudies 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 anear 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. DoshorterIrons 3X, 4X.

2


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Part 3 Maintenance

STILL WITH TH M TRONOM and TUN R

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

3

After first

2

sustainedmeasures extreme staccato without changing

the

ai rsupport tone

or

going

flat

Playas

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

DT

and

work,

Clarke

and Arban arevery

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


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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 slurtwo

-

Repeat

each slurred sequence articulating

each

note

-..-/

e

4. Lip Slurs

- Irons

- Arban

pg.

44 #22 aswritten, #23 in same

rhythm

as #22

4


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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

yrical

Studies

-

Concone/Sawyer

(Brass

Press,

omplete 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

= t r

ranspose upwards Y

step

at

a time

5


8/51

Everyday thoughts

Everyday cover th 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 (duetswith 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


9/51

reparatory

Embouchure Studies

Walter Smith

>

>

> > >

9

>

>

>

4 times in one

r e t h ~ =

.

>

>

>

2

>

7


10/51

reparatoryEmbouchure Studies

Walter Smith

.

>=---================

9

3 times in one breath

> >

4 times in one breath

~ _ > : : : : : > : : : : : : > : >

>

28 -

8


11/51

reparatory

Embouchure Studies

Walter Smith

~ ~ ~ k e ~ o n e b r e ~ h ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ _

>

> >

>

>

9

>

4

times

inone

bre th

>

>

9


12/51

ichowicz Expansion Slurs

s ri s 1

10


13/51

1

6

22

29


J

=5

series

Vincent Cicbowicz

~ s t ~

-------Ig

J=5

~ ~

J ij J 0023]5; :-

--0

J=56

65

11


14/51


I

series

3

1 1=50

Vincent Cichowicz

=5

~ ~ ~ ?tJ s

5

1

I

J= 6

22

10

16

29

37

65

12


15/51


I series 4

rJ 5

Vincent Cichowicz

0

9

t \

37

t \

46

t \

n

13


16/51

1


I

series 5

~ =

incent Cichowicz

~

]

J=5

j ~ ~ J t

J=

J= 6

1 :\

J=6

t : \

1 :\

-

t : \

-

1 :\

-

16

22

29

37

46

14

9


17/51


series

Vincent Cichowicz

- i j ij g s 54 : I

U

1 :\

- I

15


18/51


d= 5 s ri s 7

Vincent Cichowicz

j

ij:=> ~ : s : 5 -

1

1

-

1 ':\

~

j j

J I I

-

-

~

i ~ F ==_1

-

1

22

16


19/51

Selected Stamp Excercises

ames Stamp

1

Play the following excercises by buzzing the lips alone

, : : .

:'

t r s p o s ~

2

Play the following excercises on the mouthpiece alone

7 :\ 1 :\ 1 :\ : \

3 Play 0 t

14

17


20/51

28

29

31

a

u 1 qe -

5

38

u- ~ q e ~

18

41


21/51

19


22/51

Gekker Articulation Studies

Play these exercises in all keys, within your personal range

hris

Gekker

1. Major

2. Whole Tone

o .

" I

20


23/51

19 2

l j j j W ~ ~

2

23

4

5

5 -

29

31 6

21


24/51

7

43 7

M

22


25/51

Stamp Pitch Bending

James Stamp

Bend the notes a

h l

step with lips starting from a centered tone

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

~ J ~ J

~

23

II


26/51

30 Expansion Studies

ranspose theseto

other

keyswithin

your

range

H Glantz

5 6 7

u

3

~

4 7

38 9


27/51

65

7

~

o

~

86

2

A A 3 3

3 3 5


28/51

98

2

A

A

A

A A

I \A A A A A A A

129 27

26


29/51

9

30 la

breve in one breath

1 :\ 1 :\

27


30/51

Intervals

J.D. rban

Practice slurred and tongued in each key

28


31/51

Intervals

29


32/51

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 7

t

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. 234567897865423

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


33/51

2

n

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


34/51

Clarke Technical Studies - Three Day Rotation

Day One

f ~ ~ ~

~ I

32


35/51

33


36/51

34


37/51

35


38/51

~

36


39/51

J _

~

t ~ ~ J ~ :

- - - j - I

37


40/51


Day Two

Third Study

u

, U ~ ~ l z

38


41/51

39


42/51

ourth

Study

tUU

40


43/51

M

41


44/51

eventh

tudy

42


45/51

~ ~

43


46/51


ay Three

Second Study

4 e . . . . .

Third Study

~ ~ ~

g

44


47/51

45


48/51

ourthStudy

46


49/51

47


50/51

Seventh Study

48


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49

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