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Laurie Frink & John McNeil

O m niToneFress

500 2nd Street Suite 2 Brooklyn, New York 11215-2503

www.OainiTonePres5.com [email protected]

Copyright © 2003 by Laurie Frink & John McNeil

Cover Design: Frank Tafuri Interior Design: Andrew Green

Notice of Rights Ail rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without rhe prior written permission of the publisher. ISDN 0-9748544-0-9

A bout th e A uthors

L a u rie Frink Laurie Frink lias been a freelance trumpet player in New York City since the 1970’s, In add i Lion to extensive recording work, die has played trum­ pet with Benny Goodman, Gerry Mulligan, Mel Lewis, Maria Schneider, Andrew Hill, Dave Liebman and Kenny Wheeler She is a member of the faculties of New York iJniversity.Thc New School and the Manhattan SchoaJ of Music.

J o h n M cN eil Jolin McNeil is a j a z z trumpet player living iis Brooklyn, New York. He has played with Horace Silver, Gerry Mulligsn,The Thad Jones/Mel Lewis Orchestra and many others.John lias led his own groups since Lite late 1970's and his recorded many critically acclaimcd CD’s. He is also an active writer/p rod uce r on the New iftwkJazz scene.

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CONTENTS

135

As an improvising trumpet player,you face unique physical challenges: * You are none often than not operating at the limits of your technical ability. * The mouthpiece is on die lips for long periods of time, creating endurance problems. * Emotion can take over, making you play louder and with more intensity. * in an improvised solo there is often a dizzying array of articulations, dynamics, register changes and tone variation!;. Ail of these conditions are difficult to duplicate when practicing, In preparing a written piece, even a very difficult one, your body learns to accomplish the consecutive muscular demands of the piccc di rough repeti­ tion. The improvising musician doesn't have this luxury- By definition, improvisation is spontaneous and unrehearsed. Such unrehearsed,unplanned movements tan icave the body scrambling to coordinate itself, which invites extraneous motion and can exacerbate existing bad habits. It’s a tact that the content of your improvisation Is determined in large part by your technique. Yuu tend no I to conceive ideas that are physical ly beyond you, Therefore, to expand your vocabulary, you must improve your instru­ mental skill. Although you can ’t practice inspiration, you can prepare your b»dy w execute what you are inspired to play. Therefore, to improvise music with a wide variety of elements, you have to practice a wide variety of techniques. As in all things, musical, consistent practice is necessary for consistent performance. FLEXUS contains a wide range of technique- and endurancc-building exercises that address all of the fundamental elements necessary to play the trumpet freely and easily.It is designed to help improvisors in ail musical idioms— jazz, classical and any others. FLEXUS synthesizes the teaching techniques of Laurie Frink,John McNeil and Carmine Caruso, and represents an evolution in trumpet practice that combines time-honored exercises with new and unique concepts to create a technical approach for the 21st century.

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Lemming comes through exposure and repetition—you expose yourself to what you w ant to learn and then repeat the exposure- The great brass teacher Carmine Caruso used the analogy of a baby learning to w ilt; the baby expt> riences nothing but failure in its attempts until the first successful step It does not judge itself for its failures, but simply tries again. It is the repetition of an action with judgem ent attached that achieves the desired result. No schedule or time frame is necessary. With enough repetition, any movement becomes a conditioned reflex Timing and coordination are 100% of trumpet playing. Vi'hat wc call coordi­ nation is just the synchronized movement of muscles in time. When given a consistent tempo, musclcs coordinate much more easily. This results in muscular balance, which leads to greater facility and endurance. To put it another way, a balanced embouchure functions effortlessly and allows you to move freely and easily, whereas muscles tliat are our of balancc work harder than they need to and thus get tired Sister. Playing or practicing with inconsiscent time also greatly reduces your accuracy— it's like trying to hit a moving target while you yourself are moving.

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To improvise effectively, the physical act of playing needs to be a conditioned reflex—freedom of expression is only possible when the physical demands of playing arc tinder control. To this end, FLEXUS asks the student to momen­ tarily put aside the study of music itself and instead practice the muscular movements involved in playing the instrument.

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It is also of utmost importance to feed a steady stream of air to the lips. No matter what the physical demands— wide leaps, accents, quick movements, etc,— the air stream needs lo be consistent and constantly' moving to main­ tain good intonation and flexibility. If you don’t concentrate enough on keeping steady air, the muscular movements of the emhouchure and tongue can interrupt the air stream, resulting in an unfocused sound and inconsistent performance. When undertaking a new course of study, the temptation is to abandon one’s existing trumpet routine. We advise instead that new exercises be worked into a practice routine over a period of several weeks. Throu&h performing the right exercises daily, poor habits will gradually be replaced as the muscles naturally^ find their most efficient balance.

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PRACTICING The studies in PLEXUS should be viewed as calisthenics and played with abandon. Because the demand* are muscular rather than musical, no musical value judgements need apply. Fven the etudes, though compo­ sitional in nature, should he approached as physical skill builders. This book will often push you to the limit of your abilities or beyond. As a result, tone quality may suffer while exercises are being performed. Don’t ier the sound or feel of an exercise affect how it is practiced. T h e Flight M e s s a g e To practice efficiently, it is necessary to maintain a consistent approach and insist that the body conform to it. It's better to practice at a very sIgt* tempo that petmits playing everything in time than to attempt a faster tempo that necessitates slowing down for difficult passages. To intermittently slow down sends the message that slowing down is acceptable and tliat it's not necessary to acquire the shill to perform the passage in time. Conversely, if a steady tempt) is maintained, the body and the subconscious are given the message that slowing down is not per­ mitted and they need to acquire the accessary skills to perform the pas­ sage at that tempo.

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Similarly. Long Setting exercises (sec page 12). by not allowing multiple readjustments, give the message that the entire range of the trumpet can be played with a single embouchure set. -

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Timing is the most basic element of trumpet playing, and to develop con­ sistent timing, the body needs to be involved in the timekeeping process. For all exercises in this book, tap quarter notes with one foot and use the up/down motion to mark off upbeats and downbeats. Starting each exercise with four preparatory foot taps will help ensure secure attacks. In addition to foot tapping, the focus of the conscious attention should be on mentally subdividing each beat into sixteenth notes to help guar­ antee steadiness of pulse. Subdivision narrows the window in which muscular movements can take place, and makes it more likely that the proper muscles will move together. This makes everything from wide leaps to lip trills easier to execute. Practicing studies while consciously subdividing eventually results in subdivision becoming a subconscious habit. Subdivision can even help with performance anxiety by taking the focus off of execution and putting it on timing.

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Learn to sing any exercise that is difficult to hear or has complex motion. This is especially advisable with octave displacement exercises. Accurately singing an exercise dramatically increases the odds of play­ ing it correctly. In addition, material that you can sing shows up in your improvisations more easily. PLEXUS is meant to be used as a supplement to other kinds of practice. Many of the exercises in this book are physically’ strenuous and arc designed for practice days, not performance days. Also, play these studies at or near the beginning of a practice session when the embouchure is fresh. NEVER play these exercises when fatigued Practicing on a tired embouchure invites manipulation and forms bad habits very quickly.

PRACTICING

H OW TO U SE TH IS BO O K In a typical practice (Jay, play at least one cxcrcisc from cach scction in the order presented, although the first exercises in one sec Lion can often he paired with the first exercises in other sections. Personal ex|jerience should JieJp dictate the exact" course followed in a given day. Preliminary Stu d ie s The exercises in this chapter are meant to be played in order. When Exercise One can be played comfortably, replace it with Exercise Two, then Exercise Three, etc. Only one of these exercises should be played in a single day. F le x ib ility

Section One * Basic Flexibilities, pages 18 through 25 These exercises move quickly from one harmonic series to the next.Tlirec or four daily. Section Two * Flexando, pages 24 through 21 These exercises require a Consistent,ever-moving air stream from low to high and vice versa. One or two daily. Section Three 'Advanced Flexibi lilies, pages 28 thru ugh 43 An assortment of more challenging flexibilities that require and develop a variety of skills. With the possible: reception of The studies on pages 40 through 43, the exercises in this section should be attempted only after Sections One and Two can be played comfortably Depending on your still level, play sev­ eral of these exercises daily. Section Four * Interval Studies,pages 44 through 48 These exercises require slurring over consecutive fourths and fifths moving in the same direction. One or two daily A r t ic u la t io n

Section One * Shirring/ Tonguing, pages 54 through 5ft Maintaining the same tongue position whether slurring or tonguing over the entire harmonic scries. Play every exercise in this section daily. Seal on Two * Developed Scale, pages 60 through 70 Starring and then tonguitig scale fragments and/or diamnic internals. These gradual iy lengthen and widen in scope,while the time in wrhtch they must be executed stays the same. Exercise Eleven is a different format, but is a useful compliment to Developed Scale exercises. Only one Developed Scale should be played in it single day, and can be combined with Exercise Eleven.

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Section Three • Arpeggios/Direction Changes, pages 74 through 81 A scries of arpeggiated chords which begin and end with a common tone. The exercises on page 81 teach repeated rapid change in direction. Depending on your skill level, play up to six a day. Pedal Tones Pages 84 through 89 In addition to the preparatory exercise on page 84. play only one other study from this section in a given day. Quick R e g i s t e r C h a n g e s Section One * Consistent Intervals, pages 90 through 97 Exercises that gradually accustom the embouchure to rapid changes in regis­ ter through the use of consistent intervals. Three or four daily. Section Two • Spiders, pages 98 through 103 Expanding interval exercises built around a central tone. One or two daily. Section Three • Chromatic Displacement, pages 106 through 117 Descending chromatics within a standing pattern. Four or five daily. Section Four •Target Practice, pages 118 through 121 Connecting the registers by playing the same thrcc-note figure across four octaves.Three or four daily. Section Five • Octave Displacement, pages 122 through 129 Displacement of one note, up or down,within a mclodic line in both tonal and atonal exercises. These are the most challenging studies within Quick Register Changes. Your skill level will determine the number of exercises practiced.

T H I N G 3 TO R E M E M B E R : • A b a l a n c e d e m b o u c h u r e is t h e r es u l t o f b a l a n c e d p r a ct i c e. T h e r e f o r e , d o n ' t play t h e e x e r c i s e s f r o m a n y o n e c h a p t e r t o t h e exclusion o f other chapters. • T h e i n s t r u c t i o n s f or o n e c h a p t e r d o n ’t n e c e s s a r i l y appl y t o a n y O ther c h a p te r. • B e c a u s e e v e r y o n e l e arns at their o w n p a c e , t h e d e c i s i o n t o m o v e o n t o t h e n e x t e x e r c i s e h a s t o b e a n individual o n e . It's n ot unusual t o spend a couple of m o n t h s on o n e exercise. • W h e n d o i n g s t r e n u o u s e x e r c i s e s , r e s t a s m u c h a s you play. • l o n g S e t t i n g is on ly t o b e u s e d w h e r e i nd ic a t ed . FLEXUS

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'l'hc preliminary studies on pages 13 through 17 are used to stabilize the cmbOUchurc and allow it to conic into focus before adding motion or other challenges. They are adapted from Carmine Caruso’s original sixnote exercises. These exercises are played without removing the mouthpiece from the lips and are referred to as "Long Setting" exercises. All hreadis are taken through the nose, leaving the embouchure unbroken. These exercises resell the lips to move from one note to the next inside the mouthpiece, and to maintain the same setting throughout the full range of the instrument. Ijong setting practice reduces extraneous motion when moving between registers, and automatically increases endurance and accuracy. By practicing this way, the body learns the relative position of each note. In Exercise One, whatever adjustments are made to get from G to C have to be undone to get hack down to ti on the repeat, thus making the notes feel closer togeiher. Exercise Two extends this relationship to low C, and so on. Note: Long setting cxerciscs arc not isometric. Mouthpiece pressure ant] tension in the corners should be relaxed during the measure rest. Exorcise One should be played once daily for approximately two weeks before replacing it with Variation I. Likewise, continue writh Variation 1 for two weeks before replacing it with Variation 11. When you replace Exercise One with EixcrciseTwo, foilow the same timetable before moving on to the variations. As stated on page 1 1, the number of weeks devoted to each exercisc and its variations will vary with each individual. Move on only when you can play a study easily. Oner of these exercises .should he a part of your daily routine as long as you continue to play the trumper,

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FLEXIBILITY O N E * B A S IC FLE X tB JLITIE S Flexibility is the most fundamental trumpet skill. Maintaining a steady aitsfteajin is necessary fur good flexibility; and flexibility studies in turn develop a consistem airstream. Hie flexibility studies in this boyk begin at a fairly advanced level. If you have nut worked out the basic mechanics of lip slurs and trills, you need to do so before attempting these exercises. Leave The mouthpiece on for the duration of each two-line segment. One

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r ^ e -P —i-

^ f

-l

>^. _ ■ >

] f — u ftU J > > _.__ -J- -* i-H 5“ f r f r r ------------------- : ^ ' 1 >2 > > -!_* ----- ---f _ _V

h id -j 2

o— -----• r ' ■'1 1— — —--------> ■- r. r ir ■ -# -1— 1 > I \— u-------- *ip

_ > ---____------ -\ ■*■1 r * '-r^---f p — r >■L1-^-°-----¿ B lP ijl- i f * i >__^ j ~\ -1»: --- f — .'. * -f : 1--o-----=2= L 1 3

>

2

3

>

>

R e s e t a f t e r e a c h li ne.

u

---- ^ __^ i e ^ '^J>Mff " j f j i - S r j Efi-J----r - J - T f r S r f f f i i ■■■ ji -------- ---------- i = - ■ > ^ >_^ >^-— a r, ^ ■ f f ,Ti ri rr Jfffr Hi*— i — LJ — L-L EJ---- —i --------g i ^ - - r 3

Two

4

D

□

n c G

4

1

D O

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n □ D

■ i J fJ r

■ v^ >___ _ > * * * ■ *■a -T u r r #

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1— -u— v---------

a u o u

□ p

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u u □ O

U □ U

Cj Sr\

F .FXUS

29

THREE * FLEXIEELITY

R e s e t a f t e r e a c h l i n e.

T u i u m i m i

FLEXIBILITY

* THREE

The following exercises are a cominuuiiun Of thust (in pages IS through 22.

V

L e a v e t h e m o u th p i e c e on fo r th e duration of e a c h tw o-line se g m e n t.

a -A i.

H ~= m -

3 ------------—7'a--------^¿M---*-- -

~ j---m j ---■ —P;-# v bw

' j

3

3

\t ^ IP

--- *--m

THREE

* FLEXIBILITY

Leave the m o u th p ie c e on fo r th e duration of e a c h tw o -lin e s e g m e n t .

2 1 3

Three

3

1

ip=B3

~ t\

ip -

-9—

—

>

*

m—

m

-

a * _

J

- ||— — L _ ^

------------- \

■

-------------------------- \

------------

3

— j 1 — r r —tw , b — / f H ■ Y 1*L— ---- •- V a«-+■t > S J E B X - J ---- 1

yf

~~

n —|a h i ---- H r-» ts p j

>

>

f=

H

—

i

ii

L—

w p— ^■^-.0

- -jl

3 — i — ■— ■ 4#

—

- ¿ T fP f *----

T------- J

d

i■

P H P . W ' : . V ' 1 ” 1'. '.iT - r r r - % - -l.

-----— N-

j

4 «

'Siu J g j

M -

~ tfc\ r -t - ■ a — 4H -

32

F S

F P = ^ —

"i

-

n

FLEXIBILITY

* THREE

n Leave th e m o u th p ie c e on for the duration of each tw o-line se g m e n t.

F iv e P

iiJL

□ n

■

D

Li

2 ■~LV"" ’Si"— --- P*---

-- B? —i— ■ - ■1— F---

i)

T

□

pit

!—

G □ E3

a

e

* e *

Six

*

□

□

c o

£ 3

1

3

Vf ^ rs

P S

t i- ^ — 3

iS

Q G C

G

a ¡J □

*>. | 1'/Tp * -II r ~ —LSf ^ L._ £J - s s b~ ^ S even

2 3

1— L

ii

T 3

ii r

"3

□

3

~& — =W— *

^

j ------- -] " !|*

■ wc^ h

|: W

k n

"

j ---y

* ‘p. -------._ „-r. _L--------- -i

FLEXUS

33

THREE

* FLEXiBIUTY Leav e the m o u t h p i e c e on for th e duration of e a c h t w o - l i n e s e g m o n t .

am f =

------- ^

¿J

—

—j / t r iH

*

•-----, -----------

— ^H

ttJ

■

-

----------- * -

n

J

n U

—

r

t!

2

i

3

3

,-h I - J -

i 3

j j

—

* — i-

.—

m'

j

3

“ I ---* —

jH

' O’

H Ed

J— u u - } — r M ----- _w -'■ 1 b “m.---______________

—

\f-rn

Ten

i ¡ M 3^

i 11

= E

P if

£

i i u u u u u u

FLEXIBILITY

• THREE

m

Leave the m o u th p i e c e on for th e duration of e a c h tw o-line s e g m e n t.

T w e lv e

m

¡m

Fi

* -------

W

2 —

T.

3-

3

-------------

lirteen p.

4

J

id

J

+

»

b# 3

= * =

L

■

¡p

-* T T T S tf-\

b*

[V

b*

*J b? L_j

r

*

b0 ---- !

9

- — k— — f ------- -------jj C J FLtXUS

35

THREE

* FLEXIBILITY

One f>f the problems faced by brass players is maintaining flexibility ül loud volumes. Hie fOUuwin^ exercises address tills problem. First, play an entire scries softly, WtlCü tliis tan he accomplished easily, add a very pcopüunced crescendo/decrescendo as marked. These exercises will tench the lips to remain focused ;md flexible at all volumes.

FLEXJBiLlTY

* THREE

Two U_ $

*

*

/yv*

PP

JJJ fe g * ; _

a

Z

Z

Z

E

jÖ 7

/W JÖ7

■ ----- /W — JR 7

J 3P

s

1

j fe'

3

3?=

JÖT =

:

fj

/W JJJ

-

-.e p

*7 m

^y~/i------ m.

$

PP

x r PPP JJJ

T L t X US

37

THREE

+ FLEXIBILITY

&

U U U U U L W lU U i

FLEXIBILITY

• THREE

Four jc l

fefeggf-

___ jW ----- JJT

*> jfe

*

-w>—

* ~

/J * /i f /J * \j

*/ «

■/

---- jo __ =__ ::

> mvi .

*

" *

/w * /Z /

*

*

'

X

/

Xi

—“ —

yW J7J

FLEXUS

39

THREE

* FLEXIBILITY

These exercises involve iivu complimentary skills: 1) maintaining ¡t pircii while moving the Stives and Z) moving the pitch without ¡using the valve«. Practicing the materia} in this section will dramatically increase your flex­ ibility in a very short time. Begin by playing Exercises One and Seven several times each. When these can be played comfortably, add rixcreises Two and Light, then Three and Nines etc. Eventually, exercises 14 through 23 should form a daily routine, with earlier exercises reviewed from time to time.

t r

i>[> ■ — — -----------J — V — — ------------------------ i------------------------------------------- 1 ---------------------------------------------

Five

4 S ix

f~

[

^p^*p—

o

" ^ F - --p—

L ip B e n d _t>.

ii

FLEXIBILITY * THREE Eight

I N in e

Ten

ft* r*------------- 0f — ------------------------------- i-------- - L 1- .............. -

-r—

- 1

Tw elve

(1

1 —

...........

o

g=itr ir—

r ttr

tt"

Thirteen

i¥

r*— v

jfJC

The fo][owing exercises are more advanced and require you to have mastered One through Thirteen, Fourteen

0

*— r

—

- f—

r

r

ft—

^

F ifte e n

#

=

m------ * — —

*------

0

r

. -----

i

*

t»

-F-------- --------

1

1

1

hi------- ----------------H

As soon as Fuurtecn anil fifteen tan be attempted, they should be flayed every day PL=XUS

41

T H RE E * F L E X I B I L I T Y

Seventeen

—5---------- *— g*— h- - i * & — i — " ...I— T Eighteen

-m

-ï *- j- - V - -

J: *.----- Q--------------- -

o _o_

C o m b in e 1 9 thro u g h 2 3 with 1 4 and 15 N ineteen

4=~r T T T r r r r Twenty

o

\----J----|---■-

- t t

* --*m

U 1

[M Tw enty!

* ------g

\-----

Mi

*— •— —

0 *

»

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»

ff- Tw enty3

42

Î

*»----------* —B

**

Ji.

FLEXIBILITY

■ THREE

F i n g e r Eb m a j o r , b u t p l a y D m a j o r

O ne

i

■ ai*-

v r .T r

#

F -f^

Three

fee fy—3ifr-==|

I X

-11-------U----- ljj—

j

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s

1

2 3

. #

0 m

4f

E

3 3

'

t

i-

.

a. ^r~Tr f. ;• * br = F Y ^ 3

Mr r

i — ° ------------------- n ------------ 1— - 4 ! plexu s

43

FOUR * FLEXIBILITY

F O U R * IN T E R V A L S T U D IE S

T ile following exercises accustom you tu slurring over consecutive fourths and fifths. Play each line sevenii times without stopping. T ry to maintain a steady airflow throughout.

O ne

0 ----C-*

_ 3

i # 1 -9tH

#

I _—-. i,J — -------- ---------------

#T^L=V

44

rV Li

r - tt*

, K Li * ji... ■ - ■ ;I 5. — - - — w— i—

____ ... —

o-

M KXU'-i

!"■ L

FLEXIBILITY

p

m

,

f

=#1 1*— — ----*---# * m

- fr ■ -jJ

----- ---------

W

-----m— am * --------- ---- ? *— r

-■ ¡t------------------

—

r

*

*p-j>

L=?t*=^—

>»^

■— —

_ _ f .......... ...........

— i

1

jJ

p *j

¡ft

—

l?jr: ‘ ' - ’ e

• ~---

• FOUR

■ ^

F =, |

•

i--------■ [ -41 i---- r,----------- 1

FLEXUS

4-5

r

FOUR

» FLEXIBILITY

Three

--/H ----------- ~ 4 J ■»

' -■

|---------— --™J- — ¥T \— ----------XT .F

'

t

7&1

- r -

Jw bi*

p— y J V

= fk

-J \

L

b F -*

J

IT"

■■ ■—“I LJ L,d”

*---^T ------ - f------------------ —■1----------------- ^ IR **^ PS*'

«* ’ :* - . s - I ------------u j

*

f

*

------ . 1----- -----------— - T 1------------------+ M O JP ~—

==_1 *

w

= fc I— f

k.

P-

= m ± r

*■

N

46

.*. b f» r. |. _-- 1------------

• --- p -& f — r— i_L — !---- —1£M— ■ J

-----

—r ■ b- W

,t

----------- j Ipr.

1------- ' 1 I '“ '. ■■ g^'IJ o

i t

* FOUR

u m

m

FLEXIBILITY

Four

— *—

r—

jn

r

P

c

m

n

O’

L -J 3

&

n

, j

m

□

'

i

j

iP

c

n m

□

cj o

m

r: r

.

f e jf e z k

P

□

r c m u i r m m n n T u m

r

* • » H f -h

c Q

¿; L:

i

tJ

5=1

4

^ TT

C

Ej L

t: c

FLEX US

47

FOUR * F L E X I B I L I T Y

*

¥

ÍÑp _ ^

-^ -1

--------- V

= É - ïf J

b -

i..

—

----------------------

flr

U

-------- p — b*

V

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^

------- ¡i---- ^* - 4 . ÜH T v If— -Ptyl .-4 #-—L— tJ

—

I

=

^

r

^

£ #

. <

=

;t

b<>

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•

j

SJ

ï ~i>s -4>J ~ k^

M f= i

‘

■1 ------------------------------- 1 Á ---- 1 --m \ra

:

0

-

---------

-

-+*1 cJ

*11—

----------

ETUDE ETUDE

eJ

* FLEXIBILÎTY

ONE

— ^ w 1*: # -- ------ Jri — -----«

--v» 1 i d -14-J ■ J—------------------- *fT*

i r - ^ - f i — : } : j " \- * - £ # — t -----------L I T

'

~i « - * » —

----------4 * --» --4 >

*

J J

= F?: L_r r r ^ -*-1----------

—^

^

¡ à

m

-

—i------------------------ ■------- W--------- ;■ —m

H

t j 1

L -U 3

- i -»5 t

— = •

---------------- , i *1 _ |_ m _ »-*-------—J ---------— #■— [^ J ‘ = H

'

f e §

-1__ Il

J]

*

-

&

n , w ------ -m — i--------é"

!.^T

~ÿ

b*

----

i*

?w

!±

n^] * J

.

¡l

» -»

ê - - ^ r k ■ f- U j

3

iü = p

I ■

*

___

ï::: ---- O------- ------- } t| FI.E’/ U S

^9

E T U D E • FLEXSBI Li TY ETUDE TW O

ür

t

1

'

1 '

r

1

V(TV -■

i

¿ ij i l » -----

B

Æ

■ T

c p | il ------- ü »

a w ■—‘-^•l

3

3 _

0

T f f h *r

^ - j

-

1— 1—

9

■» - *

I K

|

------------i» »

Æ "

- v w

va*

- 3 ------ ------------~3 '

l, -7

ETUDE

• FLEXIBILITY

-------- I — :

-¡L -Il

-ft?

$

w p

y i t

* -------------------------f t ----------* --------■h

u

r

-■ j -------- n --------'

S i

1» h i

^ T*

.

I

%

/

'b i ™ /

u ---------rf= |

-------------------- -----------

. 7

ir ~

/

*— *— = ¿3 : f “ F- "I -----1 -----1 ---- !

f

ARTICULATION O NE * S L U R R IN G /T O N G U IN G

[ÿij

Trumpet players usilally play more efficiently when shitting—the airstneam is uninterrupted and therct are fewer moving pans iu coordinate, The ten­ dency of many players is to have one tongue position and iilrstream for slurring and another for tonguing—in effect two fcompîetdy different appreaches to playing the trumpet. The exercises in tins Section are designed to develop a unified approach by juxtaposing slurring and tonguing. Hie slurred roles coordinate the action (j!1lips and air.Then, while thé pi tcft-prod udng motion tontln ues, the longue is lidded¿'fate gya! is to keep the identical setup anil feel when ilurriny or tongLilng.

p z

Q

Leave the m ou th p iece on throughout. B reathe -through the nose, aefding a s m any b eats re s t a s n ecessary , S o m e t i m e s u s e l e g a t o t o n g u in g . s o m e t i m e s s t a c c a t o . O ne

y

VO

m

W

.

- >

m

—* :Ê =

^

□

BTM i

.

,

-S * --------^

d

=

f p_

'

w

- l i s b

----- — H

Ü

m

W ~ \ --------------------------------( L L J ------------------------J

Ï

2

'

f

»

.

F

-

9

*

-

-■ BTN

*

U

E4

i i I.,,-

ü

« —r - ■ V m

m

ü

i J

r

U J= â -Ç É £

—m

3

t

iH — ■ —. — —

U

i

i

i

u

u

u

i

w

u

u

u

u

i

v

i

1

OME - A R T I C U L A T I O N Leave th e m o u th p ie c e on throu gh o u t, E rea th e th ro u g h t h e n o s e , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . S o m e t i m e s u s e le g a t o t o n g u i n g , s o m e t i m e s s t a c c e t o .

ARTICULATION

* ONE

Leave th e m o u th p ie c e on through o ut. B rea th e th ro u g h t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . S o m e t im e s u s e le g a to to n g u in g , s o m e tim e s s t a c c a to .

F LEXU S

ONE

* ARTICULATION

R e s e t a f t e r ev ô ry line. S o m e tim e s u s e le g a to to n g u in g , s o m e tim e s s ta c c a to . {

F iv e

* ’ ) - sim. ~ *L m

*S | g g p

Ü

P

i —

W

p Nï

»

- J f - t

j r " * t—

*

!* '#'

n

—

- •

—

*

■ # —

—

•

r f

r

f

r

f

i-M

p <

0

-

r

--------------- tM

*

i 3 —J r —" ,-XiLT—j_ J .

-----

- i»

t= M

L— ' H

--- 9 --d>

-* f * r * r ^ «

± t

Û 50

"

LEXU S

------*

— —m— _.---------a i

ETUDE

ARTICULATION

FOUR

* ETUDE

.* _

fs

J

'

fr f1

" ïf

jF

f - n

j

j j J 4

3

ha v

m f

3

3

..

m

j ■~T",

l

T | L *— «p —î ~ i r - V

.

i

\ 'jm

T 7 ----- *

m

b » : m

m

T WO - A iRTi C U L A T EO N T W O * DEVELOPED SCALE The following exercises are written with a C Dorian mode but should be applied to as many stale types as possible. If these exercises ure too strenuous as written, reverse direction at G on top of Ehc staff or play the entire exercise in a lower fccy. fcxcrciscs One through Ten extend the Developed Seale in the interval of a 5th. It should he further extended ihruuyh 6ths, 7ths ¡inti octavcs. Play only one exercise from this scction in any one day.

O ne

Leave th e m o u th p iec e on throu g h o u t. B rea th e through th& n o s s , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . U s e le g a t o t o n g u i n g u n l e s s o t h e r w i s e in d ica ted .

*

*J ., =fa L,Jh— *-J;==_== — 4

m m * +i

—»_W_ —— !—u=>= j rr - ,:v ¿s —t ----------------! *

"kfrfcrf¿;c£J££cf I S

ARTICULATION

• TWO

Pi:iy the previous exercise with each of the following vïtriittiorla: 1 A

'à W

2

i t

3

»

i

= p

m

* s r

]n Che following variations, exaggerate the accents.

’W'lien playing four consecutive tongued notes, introduce this variation as well:

19

20

É

- ■j -■ j j *j

'^—à

21

22

jJ J ^ 5 FLEX US

61

TWO

* ARTICULATION

Leave tho m o u th p ie c e on th ro u g h o u t. B re a th e th rou gh t h e n o s e , a d d in g g s m a n y b e a t s r e s t eg n e c e s s a r y .

tw o

ARTICULATION

-Jf i* U

• TWO

— .----------— r ~ ------------ n J-J- ~~iy -— l = ------ -—-41

Piay the previous exercise with m ch of the fnJIiiTving variations:

h 'L ilx u S

63

T . VO * A R T I C U L A T I O W

Leave th e m o u th p ie ce on th ro u g h o u t. B re a th e throu g h t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . T hree

j — =

»

H

- t S ) —

J j - * — -» - 1—

... ■

»

F LEXU S

. K —L

—

i - p — i—

l

p

“

r . .. ■

H

S4

_

i

-j — ¡

d

ARTICULATION

* TWO

Play the previous wfercise with each of the fallowing variations:

f l Fy 1 jS

TWO - ARTICULATION T h e fo llo w in g e x e r c i s e a n d its v a r ia t io n s c o m b i n e E x e r c i s e s T w o a n d T h ree , L eav e t h e m o u t h p i e c e o n t h r o u g h o u t . B r e a t h e t h r o u g h t h e n o s e , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . Four

V a r iâ t ion 1

V a r i â t icin Ml

Five

C o n tin u e s e q u e n c e up to:

C e n t, s e q u e n c e d o w n t o : ee

V a ria tio n I I

ARTICULATION

* TWO

Play the p rev io u s excnd&c w ith each o f th e follow in g variiilions:

f l Ex

US

67

T WO • A R T I C U L A T I O N

g jx

Leave th e m o u th p ie c e on th ro u g h o u t. B rea th e through t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

'

0

-

ft.

ML

1

^

fl

.

.

_

C o n t i n u e s e q u e n c e up t o

iM l C o n t. s e q u e n c e d o w n to:

-

$ V

f

*

-H r

Play the previous exercise with each of the following variations:

-m

■#

.

^

ARTICULATION

• TWO

1 10 1

~ C 0 " 1

m-j

-

j *

*

>

-

0

.

i

.

#

J

■

*

♦

, H i >

12

Im

X

13

é"

15

14 rj

--------it

4

■j ■ -*

16

17

§Ê

■m

■m

— •

— 1— y «1

J_ i

18

H 41

1— 1— " r

4

19 ~

~

+

~

+ 7 -m~ -m-

T h e fo llo w in g e x e r c i s e a n d its v a ria tio n s c o m b i n e E x e r c i s e s Five and Siw, Leave t h e m o u th p ie c e on th r o u g h o u t. B r e a th e th r o u g h t h e n o s e , adding a s m a n y b e a t s re s t a s n e c e ss a ry . Seven

Etc.

V a ria tio n i

~3~ r

V a ria tio n ! I

- J .M

V a r i a i io n l I !

-à F LEXUS

63

TWO • A R T I C U L A T I O N

E ig h t

L eave th e m o u th p i e c e o n th r o u g h o u t. B r e a t h e th r o u g h n o s e , adding a s m a n y b e a t s r e s t a s n e c e s s a r y .

C o n tin u e s e q u e n c e up to:

C o n t. s e q u e n c e d o w n to:

Play the previous exercise with each of the following variations:

it n

ARTICULATION * TWO

N ine

a m— -

J

— jj

[■ J - L J" ( J | ■ — J

F

I p#

J' J»

■

^

~

F I* I I

■

# ' m E * -----^

I h

S

h

h

iz .

1 ¿2

G »6

:?

*

£

n

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Exercise Eleven should lie played in tandem widi a Developed Scale exercise. The goal is to product- an A above the staff efficiently and then maintain the same feel and sound while approaching the A from progressively lower degrees. A above the staff is significantly different in timbre from G a whole step below and generally feels like the beginning of the upper register. Ultimately this entire exercise should be played with one setting; however, begin by removing die mouthpiece from the lips and resting after every two or three lines.

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PEDAL TONES Pedal tones can be a useful addition to any trumpet routine. They aid in relaxation and reinforce the concept that the lips—not the instrument—form the notes. Because pedal tones increase the flow of blood to the lips, they also help to reduce swelling and relieve stiffness on the day following a strenuous performance. They can be used as a warm down immediately after a performance as well. Overuse of pedal tones can have negative effects. Symptoms such as a flabby, dead tone, poor intonation, and loss of range or flexibility are the cue to suspend pedal tone practice and seek the advice of a teacher, With the exception of the Preparatory Exercise, it is important to practice only one pedal tone exercise in a Uivcn day. Since pedal tones can change mouthpiece placement and jaw position, they should be immediately followed by a scale that covcrs most of the range of the instrument. This refocuscs die embouchure and leaches the body to maintain the relaxation of the pedal register when moving into the upper register, resulting in increased range and endurance. Pedal tones should be played in the middle of a practicc session, since playing them at the beginning can confuse the embouchure.

P r a c tic in g P e d a l T o n e s :

1. Play e a c h e x e r c i s e slowly. 2. U s e Long S e t t i n g . 3. Play a t a m e z z o - f o r te d y n a m ic. 4 . D e s c e n d a s lo w a s p o s s ib le , a llo w in g t h e m o u t h p i e c e t o m o v e w h e r e v e r it w a n t s . 5. F in g e rin g s a r e o p tio n a l—u s e w h a t e v e r fin g e r in g s are essiest.

The following pedal tone exercise can be used as a warm down at the end of a prac­ tice day or performance. This particular exercise can be used freely in conjunction with other pedal tone exercises. If you have trouble producing pitches in the pedal register, this exercise will help develop that skill.

34.

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O N E • C O N S I S T E N T IN T E R V A L S The prevalence of wide intervals and angular melodic lines in contemporary music makes it absolutely necessary to be able to shift registers quickly and efficiently. However,changing registers quickly is probably the hardest thing to do on the trumpet. Many factors such as air speed, tongue position, lip ten­ sion, ctc . must be coordinated in order to do this effectively and without embouchure distortion or extraneous motion. The initial exercises in this section gradually accustom the embouchure to rapid changes in register through the use of consistent intervals. Exercises One through Eleven, pages 90 through 93, are built around diminished seventh chords, which divide the octave evenly into minor thirds. The exer­ cises on pages 94 through 97 arc based on augmented triads, which divide the octave evenly into major thirds. Practicing these exercises will help you develop a fluid connection between registers.

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These exercises are Long Setting. Breathe through the nose, adding as many beats rest as necessary. Practice the first part of each exercise (up to the coda sign) until it can be played comfortably; then add the coda, resetting in between. Keep a continuous air stream through the center point of eadi line. Exercises Seven, Eight and Nine are based on Diminished Scalcs. Exercises Ten and Eleven arc based on Whole Tone Scales. Twelve is based on a C Major Pentatonic Scale.

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T H R E E * C H R O M A T IC D IS P L A C E M E N T These studies are designed 10 conncct the registers, resulting in frttr move­ ment throughout the entire mnye of the instrument. Exercise One should be practiced ibr at Jeast one week before adding Excrcise Two. Hoth exercises should be practiced for at least a week before adding Exercise Three, etc. As execution improves. additional exercises should be added. When pages 106 through 112 can be executed comfortably, make selected exercises part of a diiily routine. Do cadi exercise lliree limes: J^ 9 0

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These exercises should also be played with this tonguc/slur pattern:

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F O U R • T A R G E T P R A C T IC E When first doing these exercises, play a ylissando between registers as En the following:

The glissiiiKlo teaches the body to fccl the distance between registers accurately. Once the correct movements art established, liie glisses can be removed and the siurs played cleanly. Transpose each line to G#. A, D5\ D and C before moving oil to the next line. Reset between each transposition.

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FIV E • O C T A V E D I S P L A C E M E N T Octavc displacement is a common technique used to ercatc the angular melodic lines often found in contemporary music. However, considerable skill is neeeded in order to make it a part of your impruvisational reper­ toire. To develop this skill, begin with an exercise that is tonal and easily heard, such as the one below. Once you have developed the ability' to comfortably play Exercises One through Three, atonal exercises such as those on pages 128 and 129 will be easier to execute.

Exercises One through Three are based on the following line. The first four pitches are dien displaced whenever they occur—first up, then down.

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One device used to organize modern improvisation is die 12 tone row. When using this material, octave displacement is often employed to add variety and interest.Unlike the exercises on pages 122 through 125, octave displacement of atonal material presents challenges because of the diffi­ culty in anticipating the sound of the next pitch. When improvising, not knowing the sound of the next pitch can result in the embouchure using extraneous motion to coordinate itself, and often missing the pitch entirely. For this reason, it is essential to learn to sing the tone rows and as many of the exercises as your vocal range allows. These exercises use octave displacement of the following 12 tone row. Practice very slowly at first, and gradually work towards playing the exer­ cises as fast as possible.

O

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These first two exercises displace every other note up an octave. Use a variety of tongue/slur patterns. In general, try slurring any interval of a fifth or less. Tliis would mean that the second line would contain no slurs at all. You can and should try to slur an occasional wide interval such as a seventh or ninth. O ne

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This exercise displaces ihe first note of alternating groups o f two and Three notes. Another interesting possibility would be to arrange the octave displacement in groups of two, two and three notes. T hree

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i J v m u m t t i m

CO CONTENTS INTROD UCTIO N TRA CK

1 THOUGHTS ON PRACTICING 2 HOW TO USE THIS BOOK 3 WHEN TO MOVE ON 4 HOW TO APPLY CALISTHENICS TO MUSIC P R E L IM IN A R Y S T U D IE S fi THE LIP BEND F L E X t El L I T Y

M

C3 n

m

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Exercises 3 and 4, page 1 9

6 B A S IC FLEXIBILITY

Exercise 11, page 23

7

Exercise 3, page 26

S FLEXANDO g ADVANCED FLEXIBILITY

Exercises 6 and

m

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11 INTERVAL STUDIES

a

G

C

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13 SLURRING/TONGUING

Exercise 1, pages 54-55

14 DEVELOPED SCALE

Exercise 2, pages 62-63

15 ARPEGGIOS/DIRECTION CHANGES Exercise 1, pegs "?4 Exercises 1 and 5. page 81 PEDAL TONES

16 DISCUSSION/DEMONSTRATION Q U IC K

R E G IS TE R

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pages B5, 87-33

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CONSISTENT INTERVALS

IS 19 SFIDÈRS

Exercises'3 and 4, page 91 Exercises 2 end 3. page 94

20 CHROMATIC DISPLACEMENT

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A R T IC U L A T IO N

M L.J

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Exercises 1 and 2, pages 36, 37

10

Exercise 1, page193 Exercise 3, page 107

21 TARGET PRACTICE 22 OCTAVE DISPLACEMENT

pages 113-119

23 ETUDE 47, D iscussion

pages 126-1 27

24 TWELVE TONE STUDIES: Discussion

pages 128-131

pages 122-123

FLEXUS

136

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