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Transcript of Trumpet
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CCM Trumpet StudioTrumpet Fundamentals Book
2010-2011
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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.
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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.
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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)
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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
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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
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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
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reparatory
Embouchure Studies
Walter Smith
>
>
> > >
9
>
>
>
4 times in one
r e t h ~ =
.
>
>
>
2
>
7
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reparatoryEmbouchure Studies
Walter Smith
.
>=---================
9
3 times in one breath
> >
4 times in one breath
~ _ > : : : : : > : : : : : : > : >
>
28 -
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reparatory
Embouchure Studies
Walter Smith
~ ~ ~ k e ~ o n e b r e ~ h ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ _
>
> >
>
>
9
>
4
times
inone
bre th
>
>
9
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ichowicz Expansion Slurs
s ri s 1
10
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1
6
22
29
Cichowicz Expansion Slurs
J
=5
series
Vincent Cicbowicz
~ s t ~
-------Ig
J=5
~ ~
J ij J 0023]5; :-
--0
J=56
65
11
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Cichowicz Expansion Slurs
I
series
3
1 1=50
Vincent Cichowicz
=5
~ ~ ~ ?tJ s
5
1
I
J= 6
22
10
16
29
37
65
12
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Cichowicz Expansion Slurs
I series 4
rJ 5
Vincent Cichowicz
0
9
t \
37
t \
46
t \
n
13
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1
Cichowicz Expansion Slurs
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
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Cichowicz Expansion Slurs
series
Vincent Cichowicz
- i j ij g s 54 : I
U
1 :\
- I
15
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Cichowicz Expansion Slurs
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
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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
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28
29
31
a
u 1 qe -
5
38
u- ~ q e ~
18
41
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19
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Gekker Articulation Studies
Play these exercises in all keys, within your personal range
hris
Gekker
1. Major
2. Whole Tone
o .
" I
20
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19 2
l j j j W ~ ~
2
23
4
5
5 -
29
31 6
21
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7
43 7
M
22
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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
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30 Expansion Studies
ranspose theseto
other
keyswithin
your
range
H Glantz
5 6 7
u
3
~
4 7
38 9
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65
7
~
o
~
86
2
A A 3 3
3 3 5
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98
2
A
A
A
A A
I \A A A A A A A
129 27
26
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9
30 la
breve in one breath
1 :\ 1 :\
27
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Intervals
J.D. rban
Practice slurred and tongued in each key
28
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Intervals
29
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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
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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
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Clarke Technical Studies - Three Day Rotation
Day One
f ~ ~ ~
~ I
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33
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34
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35
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~
36
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J _
~
t ~ ~ J ~ :
- - - j - I
37
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Clarke Technical Studies - Three Day Rotation
Day Two
Third Study
u
, U ~ ~ l z
38
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39
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ourth
Study
tUU
40
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M
41
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eventh
tudy
42
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~ ~
43
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Clarke Technical Studies - Three Day Rotation
ay Three
Second Study
4 e . . . . .
Third Study
~ ~ ~
g
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45
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ourthStudy
46
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47
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Seventh Study
48
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49