Download Ccm Trumpet Studio

CCM Trumpet Studio
Trumpet Fundamentals Book
2010-2011

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

Foreword
The following daily routine is a resource which will gUide the player through a
structured regimen of studies which is designed to prepare the player for a full day of
playing, as well as continuously hone and improve fundamental skills. Avoid trying to
play everything contained in this volume every day. In fact for moststudents, it will
take some time to learn most of the studies contained within this collection. Strive at
all times to produce the best possible sound. Each study should be worked with a
metronome at all times. Turn the metronome on when entering the practice room, and
leave it on until leaving. set the metronome to a tempo at which each study may be
played with the fewest errors possible, even if that means the quarter note =40 or
slower. Please note the following goals for performance.
Goals for Performance
• Good / Characteristic Tone Quality
• Clean Attack / Note Starts
o Avoid Wah-Wah's
• Smooth Slurs
• Move from center of pitch to center of pitch
o Avoid any extra sound between the notes caused by valve issues or
the lips moving at a different time than the fingers. (Think of the
piano)
• Strive for a homogenous tone in all registers
• Good Intonation
• Play exactly the right note at exactly the right time.
1

Daily Practice Routine
Part 1- Warm up off the trumpet (3-5 mln.)
1. Stretching
Take a few seconds to stretch armsand upper body to limberup and wake
up.Thls should rea simplestretch that is accomplished within about a minute.
2. Breathing Exercises
Use a piece of paper, breathing tube the Breathing Gym, Stamp exercises, etc. Breathing
exercises are most effective when they are simple, natural and directlyrelated to a musical
context. If the inhale is relaxed, naturaland with musical intent, the result be a relaxed sound,
with musical expression. Breathing is fundamental, but breathing without musical thought or
content is simplyan 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 and serve as a 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 early will help honethe player's
ear before continuing to more advanced 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 pitch and properair flow. Strive for a good
mouthpiece sound and intonation at all times. It may be a good ideal to play thesestudies 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 an ear for this easy style of 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.
2

Part 3 Maintenance
STILL WITH THE METRONOME and TUNER
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
333 3
Afterfirst 2 sustained measures, extreme staccato without changing the airsupport, tone, or
going flat Playas ifusing 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 DTand IT work, Clarke and Arban are very 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)
3

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 LyricalStudies - Concone/Sawyer (Brass
Press, Complete 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
" Transpose upwards Y2 step at a time
p =.tr
5

Everyday, cover the following:
Everyday thoughts
- 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 (duets with 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

Cichowicz Expansion Slurs
series 1
10

29
37
46
Cichowicz Expansion Slurs
I series 4
rJ= 50 Vincent Cichowicz
13
--0
t:\
e­
t:\
e­
t:\
e­
n

Intervals
Practice slurred and tongued in each key
28
J.D. Arban

Intervals
29

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 th 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. 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 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

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

Seventh Study
42

-
Fourth Study
46

Seventh Study
48

------­
49