Aa zil TRUMPET METHOD TECHNICAL STUDIES An Intermediate/Advanced Method Allen VizzuttiMalet TRUMPET METHOD BOOK. 1 TECHNICAL STUDIES An Intermediate/Advanced Method in Three Books Allen Vizzutti — Eel Se TECHNICAL STUDIES HARMONIC STUDIES MELODIC STUDIES ud icing 3 Practicing Practicing The Warm Up 4 The Warm Up The Warm Up Performance Anxiety 6 | Performance Anxiety Performance Anxiety Long Tones 7 Interval Studies | Intermediate Etudes | lip Flexibilities 15 Chordal Studies: Vocalise Studies Technical Studies 32 Scales Low-Note Etudes | Finger Flexibilit 66 Rhythmic Etudes | Tonguing: Concert Duets | Single ond "Kk" 78 Advonced Etudes Double 82 Triple. 96. Odd Groupings No | Upper Register and Endurance. 12s made every effort to make this book ne! only otroc: (fifa) os well Usa es ful ond longaINTRODUCTION TO BOOK 1 ul HE PRIMARY GOAL of all trumpet players, regardless of proficiency, should be to play beautiful music with an oppropriately beautiful sound. This thought must be foremost in one’s mind when practicing, per forming or teaching. Undeniably, the trumpet is @ difficult ond unpredictable instrument to play, and it is technical proficiency thot enables one to perform with beauty, control, endurance and consistency. As a result, dedicated students of the trumpet offen experience a “symphony” of technical phobias. It is my intention in this method to systematically deal with these problems in @ musical way through carefully organized technical, harmonic ond melodic stud- ies and concise text The secret to constant and quick improvement on the trumpet is consistent daily practice while keeping the fundomentals of efficient breath control and musical artistry in mind at all times. | believe the wealth of studies in this method will prove useful for one's entire playing career.PRACTICING im USIC HAS THE POWER to enable anyone fo feel good. Trumpet! is one of the most versatile of instru nts, an instrument that is capable of crossing any stylisic or cultural boundary. The gifts of studying music inch © Creative problem solving ® Controlled concentration ® Developed motor skills ® Greater emotional expression ® Acquired skills in the art of selfdiscipline ® Raised social status ® Creative interaction with other people @ Reise awareness of art, beouly and more “These skils are as basic and useful as any other skills tought in school. The frzedom ond enjoyment aval able in music can be had through daily praciice The more orgonized your practicing fs, the more fruitful it will be. Here, then, is a suggestion. Practice in three 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment fwo is technical sudy and segment three is playing music material such as solos, eludes, orchestral literature, etc. Vary the mater: allo. ovoid forming bad habits, boredom and to learn new things each day. You rust be your own bast teach er. Lislen with honest ears. Always iry to improve. When problems occur, refer back to fundamental though's onb reathing ond sound. Most problems will correct themselves. Best wishes ond good luckTHE WARM UP. oO N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm up. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiote the mentol focus and concentration necessary for making music. The following is a warmup routine in four ports with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (i.e, beavly of tone and utilizing large volumes of air when inhaling and when blowing threugh the horn). Finally, prepare mentally to approach whatever exercise or piece of music you are about to play in the most musical and artistic way possible. 1) Buzz the mouthpiece in the approximate range indicated. a The sound should be “fat,” full and without gaps as you slide Oe downward. Keep repeating unil there are no gops. Buzz any. where from a few seconds to a few minules. Be aggressive and nf bub demanding of yourself. lis possible fo improve your trumpet ——- sound almost immediately by working on the mouthpiece. For extended buzzing, use the following Wiads. Check pitches af the piano while buzzing whenever possible. Be sure you are producing a fal, forte tone.2 Approach the following exercises mentally os if playing one long note. Articulate heovily. Moke the legato noles very long and the marcato notes fot and spaced—no breathing allowed in the middle of a line. This method is ‘on excellent lool for relaxing the lips ‘and warming down as well. For additional “loosening up,” repeat the preceding exercise Bva, resting wherever necessary. Play long tone exercise #1, 3 or 4 with as beautiful a sound as possible. Start each playing day with the three sieps obove. Some days may require more worming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hur, it only helps Finally, play the technical studies indicated for each appropriate day. In this way you can vary your warm up, maintain interest and lecrn new scales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study with minimum of technical "hang.ups.” It is not necessary to play the studies higher than third space °C” in your warm up, though advanced players may wish to do ¢o Ideal warm-up time should eventually be 15-20 minutes ® Monday Technical Study #1 Tuesdoy Technicol Study #2 Wednesday Technicol Study #3 Thursday Technical Study #4 Friday Technical Study #6 Soturday Technical Study #7 Sunday Technical Study #8 In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are physically demanding ond, therefore, useful later in your practice time. lip strength (more accurately, the strength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is importont to a degree, range, enduronce, o beautiful sound and advanced technique as o complete package are based on efficiency of breath control, not brute strength,PERFORMANCE ANXIETY fi ERFORMANCE ANXIETY {i.e.,, nervousness) is a common and natural thing. Players at all levels of com. pelency experience butlerflies, dryness and other symptoms of nervousness belore a performance, The goal one should pursue is not to be totally relaxed, but fo maintain sufficient mental and physical control in order to enjoy playing music and play well. Experience is the real key. The more offen one performs, the easi- er it gets. Toke every possible opportunity to perform. Play for friends and family. Casual sellings can be of great help when done frequently. As o useful by-product, the more one performs and is heard, the more likely one will be asked to participate in other musical settings. Thot is the process through which one rises to the top of the music community, no matter how large or small the community. Here cre a couple of practical pointers to help you defeat performance anxiety: © Warm up well several hours before performance time to ensure lip suppleness and good response. 2 When the butterflies come, don't resist hem. Resistence causes tension. Tension causes ploying problems Let the wave pass through your body. Observe the feeling as it hoppens. Don't panic 3 Scrope your tongue lightly across your top teeth to cause soliva to flow. The less you concentrate on dry mauth, the sooner moisture will return. % Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about thet loter, G Think musically, not technically, except for breathing. Breathe deeply ond project the air confidently through the instrument. This is the one fundamental you should abways fall back on when you find your conf dence foltering ® Finally, stay in present time. Don't worry about what has hoppened or what is coming, Don't sacrifice on entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beav- lita! possible, The rest will fall into place. Present time is the key fo performing from memory without slips os welllong Tones 7 Long Tones8 Long Tones Minor 7 Chord (4 = 84) nf — aLong Tones 910 Long Tones Half Diminished 7 Chord (+ = 84)Long Tones 11 Dominant 75) Chord (J = 24) a —_12. Long Tones Diminished 7 Chordlong Tones 13 Major 7 ({5) Chord (J = 84) a14 Long Tones Dominant 7 (5) Ascending Major 7 (#5) Descending (+ = 84) és 94)Lip Flexibilities 15 Lip FlexibilitiesLip Flexibilities 1718 Lip FlexibilitiesLip Flexibilities 1920 Lip Flexibilities21 Play with ond without alternate fingerings. Sa an ee eee 2214422. Lip Flexibilities Flay with and without alternate fingerings (Nos. 8, 9 and 10}| lip Flexibilities 2324 Lip Flexibilitiesi Lip Flexibilities 25ey esa penfeeenamiepeiee eee i ee = = = = ee fe = =— =i w os errr e28 Lip Flexibilities = 100nese aL ea ata a gaat ie PH UAT a lautLip Flexibilities 31 Etude «= 108| 32 Technical Studies . | Technical Studies | The following siudies should be practiced tongued os well as slurred. Bang the valves down hord! This will promote accuracy and rhythmic clarity. Do not be put off by difficult keys. Have the selfconfidence and | disc#pline to work on them. They will gradually become easier and easier. Tempos should range from very | slow to as fast as possible, Use a metronome to promote evenness and to document progress | UNI lth! 4 aU al =U! ; i nasTechnical Studies 33 aaah pn gap ES a ee tee tg et tee te —E SS34 Technical Studies Minor ov. maf terre == sget Jeter rages AL pene ween ipsa hs crs AN UA AUN _ua a iTechnical Studies 3536 Technical Studies Whole Tone pnp Speeaetae Seed SPST S (anaTechnical Studies38 Technical Studies Diminished pong Hee, a zs |39 Technical Studies40 Technical Studies Technical Etude (J = 120)Technical Studies 4) Syttasttsyay Bytes et sryerts 7s" laa __— £ SSS SS SSE is Bette tet eege tee ee te Ie os eS 2 ease Fie42 Technical StudiesTechnical Studies 43 Minor aa es ysae%es > SS Sees see seyers Fyre ter Mey tee = —— : t Taps ey ae SSS SS SSE Se ——} vag test ege tee Fee Uggvesrveggvesy serene ts44 Technical Studies hag Papttee esTechnical Studies 45 Whele Tonefetter te,Technical Studies 47 Technical ftude (+ = 120)48 Technical StudiesTechnical Studies 1950 Technical Studi > Minor pont F at! aati nut hai haaTechnical Studies52 Technical Studies Whole Tone ar + je oe ti sve air eeeTechnical Studies54 Technical Studies Technical Etude (J = 100)Technical Studies 55 Chromatic me 14 OO pag OR56 Technical Studies Major = pontTechnical Studies 57 SF eee 164 = = — Benef58 Technical Studies Major SS SS gegsteguet yee + # pap det gerager terse59 Technical Studies > joss ¢ find opeecigg pres | dead boobed dosti was Ga ie rede60 Technical StudiesTechnics! Studies 61 = — 22. é Feeeeaaes eee fet et tt 5 Minor 139 Gy SSS SS SS SS SSS J pavtguvegevtse oe guvgsteset sere Pet tl ne a = — 5 sage gee62 Technical Studies i a¥ Je eeeTechnical Studies i o64 Technical Studies p= oTechnical Studies 65 Technical Hude (4 = 120)66 Finger Flexi Finger Flexibilities Bang the valves down firmly! +12068 Finger Flexibilities += 100 Play three times 3 z FPR = Play three times simite + = 100 Play three times Play three times 4 e simile beuw Finger Flexibilities <9 iF Play three times be simile s ce ere = os Jars 6 SSS fs a Fy ee ee oe Se = SSSRFinger FlexibilitiesFinger Flexibilities 7]72. Finger Flexibilities fe ape 2 i or = be 5; = ee = A eee se === os = = SEs i Wie vie “Te vie 41) beFinger Flexibilities 7374 Finger Flexil => == E i a ee ee ee ee SSS SS vosF 3 we See stsesesgeseFinger Flexibilities 75 =76 Finger Flexil ua aU Ua a HA) eHAI SiN alAN)Finger Flexibilities 77 ——— a ae a ee Ws vss et es ee Sse este ees oo Ut sess ssse eter ssys78 Tonguing Tonguing Work with a metronome to promote evenness and clarity. Five to ten minutes work every day is the best means by which fo gain speed and coordination. Praciice double and triple tonguing very slowly as well as very quickly. Single and “K” Tonguing # poe 1 eevee cece ssscssssseee Cet Tt Tt ttt tart orrrrrrrrrrre = ————— eee o + oe Pee eee ee Se eerersseee _ A & SSS SS SS SSS SS SSeS eS os 2 Ss SF Soessssss i & = 7 SS Ce F F fF FFF eee ee erred eeeree = = —————————— SS a au, al) 4 al 4 Pi a a al ai! ail 4! ail ai ail 4 4 a a 4! ai 4 a) qlFonguing 7° 2 oo Sy turin rrtrrtt tt trrtrtt sme80 TenguingTonguing 31 . 7 “The "K" tongue should be practiced alone in order to promole clarity and evenness in double and triple ~ fonguing. Try to make it as clean sounding as the “T” tongue and be patient as the “K” tongue may sound bad at first. af KK KERR OK RK KKKK Sime J. 3 2m82 Tonguing Double Tonguing Slowly (4 = 108)Tonguing84 TonguingTonguing (22144) Double Tongue Etude86 TenguingJonguing OF ccdivcese— vpvavavaveras Spee : SSS SS SSE Os eeeieras tigtsvsesesvse —WwavatarsvareeTonguing 39 : disses = Play three times eS SS ee . nf Play three times SS SS simile oa ae ge vie viele = oe90 Tonguing JS Sree Jai Deoevesesvevewvee she ase aie oTonguing 9! Double Tengue Hude {- = 160)92 TonguingTenguing 9294 Tonguing Play three times w of Play three times a SS == SS Wes oe ee simile Play three times 29 Ploy three times smite ee owe Ye eee shee se Play three times 30 v Se ti Play three times = Play three times © - = Play three times a eeTenguing 9596 Tenguing Triple Tonguing z TTKTTKTTKTonguing °7 —aneeeeeny T oT kK OTTKTTKTTK TOT KOT sinnite ql & 5 WW LL98 TonguingTonguing100 Tenguing *Tonguing Oesep wre wee _—_ oe a f seoicue — _ i 2 zd aoe Fe — Saas 3 as — = ve vee 9h102 Tonguing z 7Tonguing 102104 TenguingTonguing 105 54 Caf TTKTTKT TKITKT TKTTKT simileC Wetatav se se varers 6 0 Beeversptetetesesr=Tonguing 107Tonguing 108Tonguing 09 = = a a a aS 7 Triple Tongue Etude (J = 200) 62110 Tonguing Odd Groupings a —— eeeeseee SeesesseseosTonguing 11?112. Tenguing J TKTKTKTKTKTKTKTKTKTK Simile 5 5 3 JZ 5 5 & leaesese0 eee Se oe 382 AU UAT UN] NT ANI =U! 413 Tonguing TKTKTonguing 114 simileTonguing 116 pe nh rh tpen tre snare Eure breeTenguingTonguing 118 simile soomrn aa onli tead ot ap eae i bos snare mare = | Vaf TKTKTKTKTKTKTKTKTKTE 0 nN sageons mn nnantmeenmnn i tinea sate operand eater ct or nem gees = Tonguing 119 2 5 5. é 5 - SSS SS SS 3 Pe Etude in Quintuplets 7e@ Le tes SS SS eS120 Upper Register and Endurance Upper Register and Endurance The essential elements of playing in the upper register ond having good endurance are the same elements that insure o beoutifl tone and flawless technique, They are proper air speed, large potential air volume projected through the instrument and efficient use of the cir column, never over blowing, not under blowing. In practicing the following studies breathing should be deep, mouth ond throat forming an “Ah” syllable, os iF you were about to step into the deep end of a swimming pool. Take core, however, not to constrict the throot, but rather to hold the air in with the throat open. Don’t breathe high in the chest or a constricted throat will also result, Push from your diaphragm and take great care to avoid too much lefthand pressure or righthand finger ring pressure. Too much pressure cuts blood flow to the lips ond will reduce your range and endurance without faill Any lip cuts or soreness indicate too much pressure. By the time @ ployer is advanced enough to work in this method, the embouchure is set and sirong, i.e. firm corners and relaxed in the middle. Embouchure strength, although certainly important, is overemphasized in ploying in the upper register. Practicing daily out of this method will guarantee embouchure strength. Furthermore, one need not have a textbook embouchure (50/50 top/bottom and in the center) o play well, We all have different dental ond facial constructions. | know fantastic professional players, some of whom play upstream, some downstream, high, low, and off to one side. Focus on breathing in and increasing air speed through the instrument to improve your upper register and endurance. Please be patient ond with practice improvement will come. low notes and pedal tones should be approached similarly. Use reloxed embouchure corners and lorge mounts of air, produce a full sound, and take great care to play them in tune. Pedal tones (below low F- sharp) are not particularly pretty and are dificult to produce. Slide, slur or arpeggiate down to them using the normal fingering for the oppropriate notes. Experiment until they become familiar. Play them loudly. The value lies in improved physical and conceptual use of the air. As with any playing problem, seek the help of © trumpet teacher whenever possible in order to obtain beneficial results without suffering unnecessary setbacks, please observe the following pre- requisites for upper register study 1) You must be able to play @ comfortable high C 2), You must be familiar with and able to produce pedal tones (below low F-sharp). 3) You must be able to play the halftone bends in Exercise 1 easily. Slowly Bend (lip) lo nototed pitch without changing valves. o—,_ ———Upper Register and Endurance 121 Slowly Rest wherever necessary. Do not force! Not too much pressure! a “ i :122 Upper Register and Endurance Glissando or rip smoothly, sounding oll of the harmonics in the octave, no half valve. The glissando will insure proper breath support of the upper note, Do not linger on the top note, ‘Stop wherever necessary. ba he 2 2 2 ee 2 2 s& — i ov + te simile f= fe deme berg yaes snes ee: Te einige: ea AR aRUpper Register and Endurance | 23 Play three times Play three times = eee by Te Ti The je ptha Play the following at any time to relox and revitalize the lip, Play three times a 7 # Play three times a o teh th fe ee a simite eS124 Upper Register and Endurance Fast Do not go on until upper notes of exercise you are playing are easily played. - simileUpper Register and Endurance 125 > 2 2 2 +126 Upper Register and Endurance Do not use left or righthand finger ring pressure to perform upper regisler lip slurs. Use air and control, i.e, finesse "He mine cmnmuecace Jienenabanencke Ret etet Plcay the following at any time to relax and revitalize the lips. a a W = na; * f F gs # © isUpper Register and Endurance 127 [ | ¥ tte tie he pri tte ire jth tie rite pte ite tie tite Te Ploy the pedal tones with regular fingerings. a 13 f = whe 8yb>— HF sis Medium to Fast sole i Seca aches eabieseed ad Zz bate # pba be ' - abe shes128 Upper Register and Endurance uv +ide dais eer or = pth ote p te ete ee te fie SE = T$1895 in USA