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CCM Trumpet Studio

Trumpet Fundamentals Book




2010-2011
Table ofContents
Foreword 1
DailyPracticeRoutine 2
PreparatoryEmbouchureStudies(WalterSmith) 7
CichowiczExpansionSlurs 10
Flowand ExpansionStudies(JamesStamp) 17
ArticulationStudies(Chris Gekker) 20
Pitch BendingExercises (JamesStamp) 23
30 ExpansionStudies(HarryGlantz) 24
IntervalStudies(Jean-BaptisteArban) 28
Singing/FingeringPatterns(JohnSchlabach) 30
TechnicalStudies- ThreeDay Rotation(HerbertL.Clarke) 32
Foreword
Thefollowing dailyroutine isaresource which willgUidetheplayerthrougha
structured regimen ofstudieswhich isdesignedtopreparetheplayerforafulldayof
playing, aswellascontinuouslyhoneand improvefundamental skills. Avoid tryingto
play everything contained in thisvolume every day. In fact for most students, it will
takesometimetolearn mostofthestudiescontained withinthiscollection. Striveat
all timestoproduce the best possible sound. Each studyshould beworked with a
metronomeatalltimes. Turn themetronomeonwhen enteringthepractice room, and
leave itonuntilleaving. setthemetronometoatempoatwhich each studymay be
played withthefewesterrorspossible, even ifthatmeansthequarternote=40or
slower. Please notethefollowing goalsforperformance.
Goals for Performance
Good / CharacteristicToneQuality
Clean Attack/ NoteStarts
o Avoid Wah-Wah's
Smooth Slurs
Movefromcenterofpitchtocenterofpitch
o Avoid anyextra sound between thenotescaused by valve issues or
thelipsmovingatadifferenttimethanthefingers. (Thinkofthe
piano)
Striveforahomogenoustoneinallregisters
Good Intonation
Playexactlytherightnoteatexactlytherighttime.
1
DailyPracticeRoutine
Part1- Warmupoffthetrumpet(3-5mln.)
1.Stretching
Takea fewsecondstostretcharmsand upperbody tolimber upandwake
up.Thls should rea simplestretchthatisaccomplishedwithin about a minute.
2.BreathingExercises
Useapieceofpaper, breathingtubetheBreathing Gym, Stampexercises, etc. Breathing
exercises are most effectivewhen they aresimple, natural anddirectlyrelated to amusical
context. If the inhale is relaxed, natural and withmusical intent, the result bearelaxed sound,
withmusical expression. Breathing isfundamental, butbreathingwithoutmusical thoughtor
content is simplyanexercise.
3. LooseLipWarm-up
loosens upthemuscles, increases blood-flow, warms upallranges
4. FreeBuzz
Numbers 2-4 should happen quite fast andserve asawarm-up and reminder beforeapplying the
instrument. Afewminutes inthebeginning ofStampwillsuffice.
5.Ear Training- Schlabach Studies(Ohio University Trumpet StudioPatterns)
Spend a fewminutes at thepiano with thesestudies. Doing this early will helphonetheplayer's
earbeforecontinuingtomoreadvanced studies.
Part2- Warmuponthetrumpet
Rememberthateven thoughthissection isa"warmup,"theplayershould constantlystrivefor
thebestpossiblesound andtoachievethefundamental goals.
1.Mouthpiecework(fivenotescales/Stamp)
Takea minuteon themouthpiece to docheck pitchand properair flow. Strive for a good
mouthpiecesound and intonation at all times. It may beagood ideal to playthesestudies while
seatedat thepiano in order tocheck thenotesoften.
2.Flowstudies(Stamp3,4a,4b, 5/Cichowiczflow)
Use these to enhance tone, smoothness of slursandoverall ease of performance. You must
develop an ear for thiseasy styleof performance. Demand of yourselfa beautifulsound at all
times.
3. Slow simple slurs(Schlossberg 1-20, Irons group 1-12, etc.)
Read Ironsnotes. Slow practiceatavarietyofdynamicsandALWAYS withthemetronomeis
critical. Doshorter Irons3X, 4X.
2
Part3Maintenance
STILL WITHTHEMETRONOMEand TUNER
1.ScalesandArpeggios-
Workout a three day rotation, so you cover all scales twicea week
Major(bystepand bythird)
Minor- Natural; Harmonic; Merodic
WholeTone
Pentatonic
Arpeggios- major, minor, diminished, augmented. You can use patternsby
Arban, MacGregor, Pares, etc.
2.Articulation
These articulation pattern exercises, used for years at Eastman, are a great way
tostriveforexcellencethrough simplicity.
ArticulationStudy
Always play extremely tenuto using the vocal syllable "du"or "de" - totally connected
1. ppp with appropriate emotion andyourbestsound
2. flfwithappropriate emotion andbestsound- don'tgoflat
3. eachday,perform severalinallranges,keys,anddynamics
333 3
After first 2sustainedmeasures, extreme staccato without changing the air support, tone, or
going flat Playas if using the vocal syllable "teb."
1. pppwith appropriate emotion andyourbestsound
2. flfwithappropriate emotion andbestsound- don'tgoflat
3. eachday,perform severalinallranges,keys,anddynamics
For DTand ITwork, Clarke and Arban areveryuseful. Try creating exercises to
suityourownneeds. Multipletongue everyday.
1. use alldynamicranges
2. useextreme upperand lowerreqlsters,
(Articulation,continued)
3
(Articulation,continued)
- Legato- veryconnected,vocal sound, full,rich and withvibrato.
Thesetonguing stylesshould bepracticed indegreesofstrength and length.
- Staccato- verydetached, moderateand almostnone
- Marcato- Veryheavy, moderateand minimal
Dynamics- Trynevertopracticeatmf. Strivetoexpandyourdynamicrange,
overtimegaining control ofppp, fffandeverything inbetween.
AdditionalPrintedArticulationStudies
Afewexamplesforfurtherarticulation work:
- Arban pg28- 35and rhythm patternfrompg44
- GekkerArticulationStudies(any)
- StampStaccatoControl
3.Clarkestudies
TheThree Dayformat, found attheend ofthisbooklet, should providean
interestingand efficientwaytopracticeyourClarke studies. Nowyoucan cover
alltheClarkeTechnical Studies 2timesaweek.
Alwaystryvarying articulation patternswhen practicing Clarkes.
- Tonguetwoand slur two
- Repeateach slurred sequencearticulatingeach note

...'-..-/ ...
Be..
4. LipSlurs
- Irons
- Arban pg. 44#22aswritten,#23insame rhythm as #22
4
6. MultipleTonguing
Before delving into a"multipletongue study, try working away fromthe trumpet
withwind patterns. Striveforevennessofrhythm, and strong aironall
syllables. Focusonthefundamentalsofthemultipletongue, namelymaking the
"K"sound likea"T' C'Ga"sound likea"Da''). Pickone noteand, ataslow
tempo, worktoplayboth kindsofattacksand getthem tosound thesame. For
example:
Quarternote=60
TRestTRestKRest KRestetc.
TRestKRestTRestKRestetc.
KRest KRest KRest KRestetc.
Alternatingthe"T's"and"K's"inthisfashion ataslowtempo willallowthe
playertolistenand checktosee ifbotharticulationsaresounding thesame.
Afterachieving some uniformityinarticulation,theplayershould movetosome
advanced studies in:
Scales
Arban
Clarke nos. 2fordoubletongueand 7fortripletongue
Gekker
7. LyricalStudies
Thegoal inworking anylyrical studyistoplayitas itwould besung byagreat
singer. Use singersas modelstoemulateinyourpractice.
Arban,TheArtofthePhrasing
Concone- variousversions, including LyricalStudies - Concone/Sawyer(Brass
Press, Complete Solfeggio - Concone/Korak(Balquidder)and Conconevocal
editions.
8. Power/RangeSlow, steadyworkisessential. Excesstension isyourenemy
BelowisasimpleexerciseattributedtoPhil Smith. Makesureyoupracticethis
exercisewiththemetronomeand tuner!!
PhilipSmith
p =.tr
"
Transpose upwards Y2 step at a time
5
Everyday thoughts
Everyday, cover the following:
- Extremesofdynamics
- Extremesofregisters
- Lip slursand liptrills
- Beautyofsound
- Powerofsound
- Singletongue- fast
- Multipletongue- slowand fast
- Slow(breath control)and fasttempi (almostoutofcontrol)
- Sight Reading (duetswith abuddy?)
- Transposition
- Initialsoftattacks
- Initialhard attacks
- Ornaments(trills,turns,mordents,etc.)Arban pg. 100- good placetostart
- Other trumpets(e, E-flat, piccolo)
- Lyrical work
- Technical
- Intonation(tuneron?)
Some questions to ask about your Daily Routine
- Ismysound fullyopen andresonant?
- Arethelipsresponding easily?
- Are myhighsand lowsfreelyworking?
- Are allaspectsofarticulationclearcentered and witheaseofexecution?
6
PreparatoryEmbouchureStudies
WalterSmith
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20
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7
PreparatoryEmbouchureStudies
WalterSmith
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3timesinone breath
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8
PreparatoryEmbouchureStudies
WalterSmith

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9
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4 timesinonebreath
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9
Cichowicz Expansion Slurs
series 1
10
10
16
22
29
CichowiczExpansionSlurs
J=50 series 2
VincentCicbowicz
~ z z ~ ~ ~ ~ iiJS s t ~ -------Ig
J=50
~ z z W ~ J ij J 0023]5;$:---0
J=56
65
11
CichowiczExpansionSlurs
I series 3
1'1=50
VincentCichowicz
=50
~ z ~ ~ ~ ~ ?tJ:s5 1-: -----I
J=56
22
10
16
29
37
65
12
CichowiczExpansionSlurs
I series4
rJ= 50 VincentCichowicz
--0
29
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t:\
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J=50

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t:\
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t:\
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16
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46
14
9
CichowiczExpansionSlurs
series6
VincentCichowicz
-ij ij===- g=s 54-:-I
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15
Cichowicz Expansion Slurs
d= 50 series 7
Vincent Cichowicz
-j ij:=>' 5-+--
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j ij J----+--I---I
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10
22
16
SelectedStampExcercises
JamesStamp
1 Playthe following excercisesbybuzzingthe lipsalone
, ":" ":" . ":'" t r s p o s ~
.
2 Play the following excercisesonthemouthpiecealone
7 1:\ 1":\ 1":\ 1:\
3Play0 t
14
17
28
29
31
4a
-&u-1-qe--
35
38
-qu- ~ u q e ~
18
41
19
GekkerArticulationStudies
Playtheseexercisesinallkeys,withinyourpersonal range
ChrisGekker
1.Major
"
2.WholeTone
o .
" I
20
19 2

21
23
4

25 5 -


29
-
31 6 -

21
----
37 3

43 7


M

-
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
~ J ~ J ~
~ ~ ~
23
II
30 Expansion Studies
Transpose theseto other keyswithin your range
H. Glantz
5 ~ 6 ~ 7
u II
30
~
34 7
1 1 -
38 9
65 17
~
o
~
86 20 A A 3 3
333 ~ ~ ~ ~
3 3 25 ~ ~ ~
98
2 A
A
A
A A
I:\AAAAAAA
l -
129 27

26
29 A A A

30. Ala breve in one breath 1':\ 1':\
'---- --
27
Intervals
J.D.Arban
Practiceslurredandtonguedineachkey
28
Intervals
29
OhioUniversity TrumpetStudio- JohnSchlabach
Singing/FingeringPatterns
Singthese scaledegree patternsasassigned during lessons. Usethesyllable "la"(or
solfege) while fingering correctly inbothmajorandminor. Startwitheasier keys, but
progress assoonaspossibletoallkeys foreachpattern. Theseexerciseswill develop
yourearand"connect"ittothetrumpet, sothat itwillactivelycontrolyourplayingmore
quickly. Itiscriticaltopracticethese dailybothinyourtrumpetpractice session, and
separately. Usepitchreference ifnecessary,butdon'tplaythemonthetrumpet. Part of
yourappliedtrumpetgradewilldepend uponyourimprovement onthese patterns.
1st set:AscendingandDescending. Thearrows indicateupordowndirectionforthenext
interval. The7
th
scaledegree oftengoes underneathtonic.
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 5435 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 8642 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
2
nd
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
ClarkeTechnicalStudies- Three DayRotation
Day One
= f ~ \ ~ ~
~ I
32
33

34
35
------
~
~
------ ~
36
---------------------
------------------

--
,
J._


,
. : .

'----
37
ClarkeTechnicalStudies- ThreeDayRotation
DayTwo
ThirdStudy
,u
, U ~ II~ ~ l z
38
39

Fourth Study
tUU

40
'M 9 a
---------------------
41
Seventh Study
42
-------- ------ ------ ------
~ ~
43
Clarke TechnicalStudies- ThreeDayRotation
DayThree
SecondStudy


ThirdStudy

II
e
gW
44
45
Fourth Study
-
46
47
SeventhStudy
48
-------
49