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 > > > > > 9 > > > 4timesinone r e t h ~ ---::-------=---__----. > > > > 20 > 7 PreparatoryEmbouchureStudies WalterSmith . >=---================ 9 3timesinone breath > > 4timesinonebreath ~ _ > : : : : : > : : : : : : > : > ~ > 28 __ - __ ~ 8 PreparatoryEmbouchureStudies WalterSmith
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:i -==_1 -& 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
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- 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