A

Brass Clinic
Maurice Faulkner, Contributing Editor
Long Tones For the Trumpeter
Kenneth L. Laud
Long tones are an essential part
of the trumpet player's f oundation
exercises and should be practiced
daily. They develop the f ollowing:
Breath Control
The air stream never stops.
Diaphragm muscles "f irm-up"
during inhalation and "support"
during exhalation. The exact point
of transition is only theoretical
(as in the golfer's swing). Sound
must have direction. As the volume
of out-bound air decreases, dia-
phragmatic "support" may become
inef f ective if the momentum (in-
tensity) of the air stream is not
maintained.
Attacks and Releases
The tongue, pointed and arched
behind the tips of the upper teeth,
strikes and returns to its original
position in a split second (the
tongue must be withdrawn quickly
so that the momentum of the air
stream is not interrupted). Never
allow the tongue to grasp the pitch
by remaining against the upper
teeth in preparation for the attack
while air pressure builds behind it.
Dynamic Control
Develop the ability to sustain a
pitch at any given dynamic level.
Move smoothly f rom one dynamic
level to another without f luctuat-
ing in pitch or tone quality.
Endurance
Both the embouchure and dia-
phragm muscles are- developed by
exposing them to periods of ten-
sion followed by equal periods of
relaxation. Don't allow one muscle
to do the other one's work. Find
the right mixture of embouchure
control and diaphragm control
and guard it jealously.
Tone Quality
A good tone quality is the result
of good playing habits. Improve
your tone by improving all the fac-
tors involved in producing that
tone.
This outline is designed to give the student and teacher a logical
procedure in the study of long tones. It may be modif ied to meet the c
bilities of the beginner or adapted for the more advanced t rumpet stud
Elementary Long Tones
30 seconds
range
m f
Objectives
Duration. Increase the length of the long tones until the 30 second mark'
is reached. Fourth and f i f t h grade students are capable of playing these
long tones. Achievement charts in class lessons generate interest and com-
petitiveness.
Attack. Clean attacks result f rom good breathing habits and a minimum
amount of ^ tongue articulating over a well-supported (intensif ied) air
stream. The breath is part of the attack in that the air never stops between
inhalation and exhalation. Isolated attacks are often helpf ul in pinpointing
dif f iculties.
Dynamic. Sustain the dynamic level to the release. Don' t swell af ter the
attack.
Basic Procedures
The body needs time to replenish its supply of oxygen, so rest af ter each
long tone (a good rule of t hu mb is to rest as long as it took you to play the
long tone).
Extended periods of long tone practice may have a tendency to deaden
the response of the lips. Maintain f lexibility by interspersing slurs among
the long tones.
Example:
A Long Tone L. T. -
ft 0
rest

rest
F^
m
100-120
M=^
~n
Intermediate Long Tones
range
P~
=zf =~p
Objectives
Piano attack; move smoothly f rom one dynamic level to another with no
f luctuation in pitch or tone quality; the crescendo and diminuendo shoul
be of equal length; return to the original dynamic level as you reach the en
of the air stream.
Basic Procedures
The long tone should take the entire breath; begin the crescendo
mediately af ter the attack; know where the p and /levels lie; practice is
lated attacks at all levels.
48
neth Laudermilch is assistant pro-
of brass instruments at West
r (Pennsylvania) State College.
-holds a B.S. degree in music educa-
pj irorn Lebanon Valley College and
i M - degree in applied music f rom
England Conservatory of
on' t dwell on the f section;
once it has been achieved move
owar d the p and r elease.
* j[eep the air moving t owar d a
feint in the diminuendo as well
R in the cr escendo.
IIncorrect usage of air st r eam:
fir int ensit y follows dyn amic cur ve
.^Result: excess lip pr essur e; in-
itiation pr oblems (pit ch is not
Centered); tone qualit y changes
K Correct usage of air stream:
'air remains intense as it moves
^toward release.
.Objectives
* Achieve the extreme dynamic
levels of pp and f f and mo ve
Smoothly fr om one to the other;
:|p attack; develop stamina in sus-
taining pitches at the pp level wit h
plf or more of the air str eam spent.
|asic Pr ocedur es
sSV T he sust ained pp section of the
Htone should t ake at least one
half of the total air ; mor e advanced
Indents may check t heir flexibil-
W and contr ol at the ver y end of
le long t one by slur r ing to the
pxt highest har mo n ic befor e r e-
asing.
Dist r ibut ion
M onday-Thursday-Sunday
Tuesday-Friday
s te p p in g u p to a
TZEN
is a n a tu ra l p a rt
of be
ar ea
c o m in g
" p r o "
.. . m a ke t he m o s t o f yo u r t a l e n t . Do n 't s e l l
i t s ho r t wi t h a n i n s t r u m e n t t ha t ho l ds yo u
ba c k. Fo r a / / o f t he s o u n d, bi g a n d br a s s y,
o r r i c h a n d m e l l o w, Ge t ze n ho r n s a r e
de s i g n e d t o g ive i t t o yo u s m o o t hl y a n d wi t h
a " fe e l " a n d e a s e a p p r e c i a t e d by ha r d
wo r ki n g " p r o s ."
MEN LIKE " DOC" SEVERINSEN WHOHAVE TO
DELIVER FOR LONG HOURS ON THE JOB,
AND SERIOUS MUSIC STUDENTS, DON'T
TAKE CHANCES WITH ORDINARY HORNS.
Fo r a n e w ki n d o f t hr i l l , l i s t e n t o t he bi g
wo n de r fu l s o u n d o f a Ge t ze n . Ho l d i t i n
yo u r ha n ds a n d s e e ho w ha n ds o m e l y i t 's
m a de . The n t r y i t -yo u ' l l WANT IT yo u r s e l f!
p e t;
-e -
%'dnesday- ^==
Saturday ^ ^-
V " T "
eeP the entire r ange " in shape"
/Playing long tones in a differ -
r egister each day.
GETZEN CO., El kho r n , Wi s c o n s i n 5 3 1 2 1
Pl e a s e s e n d e du c a t i o n a l l i t e r a t u r e a n d c a t a l o g
NAME
ADDRESS
STATE
THE COMPLETE
AND ORIGINAL QETZEN FAMILY
OFFINE BRASSES
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