Beruflich Dokumente
Kultur Dokumente
Drew Burke
07/24/2015
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Jacob Chafin
Dustin Voss
Derby Carter
Sam Foley
Jacob Volk
Luke Ernst
Jacob Caudill
Mary-Margot Ventura
Abraham Mendoza
Austin Banfield
Amanda Alger
Sam Scott
Maddie Baseheart
Royal Mayes
Megan Jones
Colin Banks
Table of Contents
Introduction..7
How to Use this Collection.8
The Sound..9
Exercises for the Air Speed vs Lip Tension Balance..10
Flow Studies & Long Tones..11
Exercises for Flow Studies..12
Exercises for Long Tones.13
Exercises for Finger Dexterity & Flow..14
Exercises for Lip Flexibilities.15
Exercises for Articulation and Accuracy.16
Exercises for Single Tonguing17
Exercises for Double Tonguing..18-19
Exercises for Triple Tonguing..20
Extended Technique...21
Scales..22
Etudes and Solo Literature..23-26
Closing Remarks..27
Introduction
First off, the value of any method book is not in its exercises we have plenty of those
in the trumpet world from Clarke to Arban, from Schlossberg to Shuebruk, and from Goldman
to Glantz. That being said, the value of any method book is the ideology, the teaching,
presented in that book. It is simply my goal to present the things I have learned in a way that is
accessible for other trumpeters in all levels of development. The main point here: READ the
accompanying material before you play the exercises, for it is only through a knowledge of what
we are doing that we can truly accomplish improvement.
Secondly, you must practice all of the materials within this collection every day in order
to make improvements; however, THAT IS NOT ENOUGH. You must practice them with a
complete self-awareness of what you are doing and WHY. Be disciplined! Read the materials
every time you practice them until you can say the paragraphs word for word. This is the most
efficient way to make improvement, both mentally and physically. A fundamentals routine is
crucial to your development. After you are used to these exercises, you should be able to get
through a routine with intense focus and discipline in no more than about an hour and a half.
Thirdly, these exercises are NOT a warmup. There should be a clear delineation
between your warmup (what you do to get yourself going for the day) and a routine of
fundamentals that improve your playing. The warmup is what you see the football team doing
on a field just before a game theyre getting their muscles going and blood flowing. The
fundamentals routine is the weight lifting done every day to prepare the football players for the
game far in advance without the weight lifting, they will get clobbered by the other team.
Dont get clobbered. Be prepared on game day, but dont do your entire fundamentals routine as
a warmup youll have no gas for whatever it was you were warming up for!
Fourth, remember WHY you are practicing. To get better? To do well so all your friends
know? The goal of music is so that we can reach another human being on a deep emotional
level. We practice so that we can achieve the means and technique to accomplish this goal.
Lastly, HAVE FUN! If youre not enjoying the music you are playing, everyone
knows. Yes, it is a very intense and practiced discipline, but sometimes we need to remind
ourselves why we do it in the first place put incredibly simply, because we enjoy it, we love it,
and we want to share it.
Warmup:
Daily Routine:
Breathing
The Sound
Your sound is your MOST IMPORTANT QUALITY as a musician. Never forget that.
It is that simple sound is the most important and should always be your number one
focus. EVERY exercise is an exercise in tone quality. Always. How do we accomplish a
beautiful trumpet sound? Breathing, air speed, and lip tension these are the
three most important factors in quality trumpet playing.
The Breath
First and foremost, the trumpet is a wind instrument. Without air, the trumpet can
produce no sound. That being said, the way that we breathe is the most important and
most fundamental part of everything we play as a trumpet player.
So how do we breathe? The ONLY way a breath should EVER be taken by a wind
musician is with an open throat, making an OH sound upon every breath. It is only
with this open throat that we can produce an open sound this part is essential. A
trumpet players sound should NEVER be pinched, tense, or lazy. The first and
foremost way to accomplish this is with an open throat on the inhalation. NEVER take
breaths that are quick, sharp, shallow, or loud. An open breath will almost always be
soft, or even silent!
Rather than produce an actual breathing exercise, I will refer you to quality products
such as The Breathing Gym, but more importantly remember EVERY exercise is a
breathing exercise. Every sound produced on your trumpet should be preceded by a
quality breath. PERIOD.
STOP: DID YOU READ THE ABOVE PARAGRAPH? IF I CALL YOU RIGHT NOW, CAN YOU
TELL ME HOW THIS EXERCISE IS HELPING YOU?
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Then, there is a set of modified flow studies developed by my teacher, Dr. Jason Dovel, at the University of
Kentucky. For these, be sure to think M and decrescendo while ascending and be sure to blow a
constant, horizontal, unchanging stream of air throughout, including coming back down (crescendo!).
Avoid the temptation to slot each note and be self-disciplined if you do, try it again and try to work out
the kinks.
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The exercise continues, starting from a different note each time in the pattern. For the entire exercise,
purchase the book from any distributor. With Mr. Wings modification, after reaching A on the second
space, the exercise can also become a range exercise remember, think M and think decrescendo as you
go up this teaches your air to do what it must do in order to play high at large volumes as well. Fast, but
not furious, air.
For the following exercise, think crescendo into the low note this will make it easier to come back up into the higher notes.
Remember, always think horizontally with the air. This is a long tone, like everything else you play. Use your tongue arch to
change partials to practice this, hiss. Yes, hiss. Hissing places the back of the tongue where it should be at the top of your range
for an exercise. Experiment with the arch of your tongue you use it to manipulate the air. The higher the arch, the faster the air
will move. Using this to accelerate the air allows the remainder of the body to remain relaxed this is essential to proper tone
production. Remember to transpose these: after reaching the end of the exercise, begin again on the next partial up (starting C-E-CG-C-E) and go down in half steps, as notated. Then start again the next partial up and so on until you can no longer produce a
beautiful quality of sound.
For the following exercise, you will always start on low C, adding a partial each time. For these, start strong mf, decrescendo into the
top notes, and crescendo back down into the low notes. This will teach you how to control your air among notes use the tongue.
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16
The Shuebruk exercises are a great way to develop a clear articulation on every note. The following
exercise is the first from the Goldman book. This exercise is a great way to build our tonguing endurance
being able to play the whole page down without getting tired and tonguing speed. Find a tempo at
which you can play comfortably. As you get tired (and you will! Its a whole page non-stop!), dont let the
articulation get fluffy. Keep a nice Too articulation.
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Once the Koo syllable is developed, we can begin to combine it with Too in an alternating Too-Koo
pattern: this is how we double tongue. Any trumpet player will tell you that Arbans pg. 175 is the best
place for double tonguing exercises. Take them slowly and really focus on the clarity of the articulations.
Gradually and I mean gradually speed it up, focusing on clarity, not speed.
When changing notes, nothing else changes, especially the air. Keep it flowing!
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For the following exercise, set the metronome, slur it and play it as eighth notes so you get the feel for how
the air should flow its still a long tone! Then play each one double tongued. Slur a phrase, double
tongue a phrase, slur the next phrase, tongue that phrase, etc.
For the following exercises, weve finally graduated to changing notes on every syllable. Keep thinking
long tone. Crescendo the air as you go up this will help counteract any resistance you might feel for
using the Koo syllable. Dont rush this play it slow and dont start this exercise until youve mastered
those before it. Be disciplined!
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Extended Technique
When it comes to extended technique, I like to choose one to focus on for about a week
in my fundamentals routine, work on it as diligently as anything else, then move on to
something else, occasionally revisiting the techniques I have practiced before.
The best location of any and all technique exercises you may need are online for free in
the Arbans book:
(http://imslp.org/wiki/Method_for_the_Cornet_%28Arban%2C_Jean-Baptiste%29)
Here is a list of the techniques that should be practiced at some point. However, please
keep in mind that every technique exercise is still an exercise in breathing, articulation,
and tone. Take OH breaths at all times. Think horizontally with the air blow a
steady stream always. Incorporate these characteristics into every exercise and train
yourself to be disciplined. If you think of these things every time you pick up the
trumpet, you will develop wonderful habits.
Turns pg. 99
Double Appoggiatura pg. 104
Simple/Long Appoggiatura pg. 106
Short Appoggiatura pg. 108
Portamento pg. 110
Trill pg. 111
Mordent pg. 120
Intervals (super important!) pg. 125
Broken Octaves pg. 131
Triplets pg. 132
Rhythmic Figures pg. 137
Arpeggios of all kinds pg. 142
Cadenzas pg. 152
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Scales
Its a scary thought for most of us, but scales can be one of the best means to improving
your playing. There are thousands of ways to practice scales. Yes, thousands.
A great first step is to simply learn all of your major scales. Keep it simple learn the
notes.
I really like the Trumpet Scale Workout used by the Cincinnati College Conservatory of
Music trumpet studio under the direction of Alan Siebert, which can be found here:
http://ccm.uc.edu/music/woodwinds_brass_perc/trumpet/studio_class/_jcr_content
/MainContent/download_3/file.res/Trumpet%20Scale%20Workout.pdf
This is not something you play through every day. I would recommend picking, at
minimum, two scales a week when first learning. After learned, I would do two a day
and review on the seventh day of the week!
After major scales, be sure to get chromatic, then natural minor, harmonic minor, and
melodic minor. Want more? There are plenty more scales to practice. It could be
beneficial to work on major scales in 3rds and 4ths. Whole tone, octatonic, hexatonic
the scales never end. Want to play jazz? Start working on the modes: dorian,
mixolydian, etc. After learning major and minor scales, seek out the advice of a teacher
as to where to go next.
REMEMBER, though scales may feel redundant and boring, they are crucial to your
playing. Everything is built on scales. The scale above, to me, looks like a great way to
practice (slurred or tongued) my ascending air patterns thinking M to close my
aperture and raising the tongue arch while keeping a big open throat thanks to my OH
breath. Scales can directly be used to test any of the skills learned so far throughout this
book.
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Concerto
Albinoni
Albrechtsberger
Concertino in Eb
Anonymous
Arban
Carnival of Venice
Arnold
Concerto
Arutunian
Concerto
Antheil
Sonata
Bach, J.C.
Sonata in Eb
Bach/Fitzgerald
Bach/Fitzgerald
Suite
Bach/Thilde
Concerto in G minor
Bach/Davidson
Barat
Bellini/Thilde
Concerto
Bentzon
Sonata
Bernstein
Bitsch
Bloch
Proclamation
Boehme
Konzert in F Minor
Russian Dance
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Bozza
Caprice
Concertino
Rustiques
Brandt
Caccini
Camphouse
Lied
Challan
Variations
Chance
Credo
Charlier
Solo de Concours
Chaynes
Concerto
Clarke, J.
Trumpet Voluntary
Clarke, H.L.
Copland
Quiet City
Corelli/Fitzgerald
Sonata VIII
Custer
Rondo
Davies
Sonata
Dello Joio
Sonata
Enesco
Legend
Fasch
Concerto
Fioco
Allegro
Fitzgerald
Ballad
Burlesca
Concerto in Ab Minor
Modern Suite
Frackenpohl
Sonatine
Francaix
Sonatine
Gabrielli, D.
Sonatas (6)
Genzmer
Sonatine
Concerto
Giannini
Concerto
Gibbons
Suite
Goedicke
Concert Etude
Concerto
Hamilton
5 Scenes
Hndel/Fitzgerald
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Hndel/Musser
Sonata
Hndel/Thilde
Concerto in G minor
Hndel/Tarr
Suite in D
Hartley
Sonatina
Haydn, Joseph
Concerto in Eb
Haydn, Michael
Concerto in C
Concerto in D
Hidas
Trumpet Fantasy
Hindemith
Sonate
Holmes
Sonata
Honegger
Intrada
Hovhaness
Hummel, Bertold
Sonatine
Hummel, J.N.
Concerto in E (Eb)
Ibert
Impromptu
Jolivet
Concertino
Concerto No. 2
Kennan
Sonata
Latham
Suite
Lovelock
Concerto
Martini
Toccata
Martinu
Sonatine
Mendez
Virgin de la Macarena
Scherzo in D Minor
Valse Suriano
Molter
Mozart, L.
Concerto in D
Nelhybel
Golden Concerto
Neruda
Concerto in Eb
Pakhumutova
Concerto
Peaslee
Night Songs
Peeters
Sonata
Persichetti
Hollow Men
Plog
Etude de Concert
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Purcell
Sonata
Querfurth
Concerto
Ravel
Pavane
Richter
Concerto in D
Riisager
Concertino
Robbins
Ropartz
Sachse
Concertino
Sapieyevski
Concerto Mercury
Scarlatti/Fitzgerald
Suite
Schubert
Ave Maria
Stevens
Sonata
Suderberg
Tartini
Concerto in D
Telemann
Concerto in D
Heroic Music
Thome
Fantasy
Tomasi
Concerto
Triptyque
Torelli
Concerto in D
Sinfonia G. 1
Tull
3 Bagatelles
Concerto No. 2
Sonata
Turrin
Caprice
Escapade
Vivaldi
Concerto in Ab
Concerto in Bb
Viviani
2 Sonatas
Welcher
Werner
Suite Concertante
White
Sonata
Wilder
Trumpet Suite
Sonata
Zaninelli
Autumn Music
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Closing Remarks
First and foremost, I hope you find this book useful. As a young trumpet
player, I wish I had had a compilation of resources at my disposal. I hope
that having all of these in one location is convenient for you and encourages
you.
Secondly, I hope you find this book helpful. Not only was it a project of
convenience, but also a project of efficiency. I have seen compilations of
exercises that contain just that, the exercises. However, I hope you find the
explanatory sections of this method helpful in practicing these exercises so
that your improvement will move along much more quickly than you had
ever thought possible.
Next, Id like to offer up my contact information: I can be reached at (606)
794-0720 via text message or dburke95@yahoo.com. I welcome both
modes equally and hope to hear from you with questions, concerns, and
comments.
Last, some thanks are in order. First to you. If youre reading this, wow,
you must really have some time on your hands. Just kidding. THANK YOU
for reading this entire book. I hope at this point you have gained something
from it and that you continue to use it as a resource.
Id like to thank, yet again, Ms. Teresa Elliott and the trumpets of the 2015
Paul Laurence Dunbar High School Marching Band for investing in me as a
teacher. I have already enjoyed my time with you more than I can say and
am so grateful for your attention every day and your willingness to learn.
You are pushing me to become the teacher I hope to, and know that I can,
be with the guidance of Ms. Elliott, whom is already becoming a trusted
mentor of mine. Every student I ever teach will succeed because of you and
the trust you put in me. For that, I will be forever grateful.
Thank you.
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