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B IOGRAPHY OF L UÍS M ARTELO

Former Army trumpet player in Portugal, Luis has played in the Symphonic
Conservatoi-
Army Band, The Military Band of Évora, studied trumpet at the Conservatoi
re of Music in Coimbra and at the University of Évora (Classical Music) with
the Teacher Pedro Monteiro, one of the best trumpet players in Portugal!

Luis has played in bands and orchestras all around Portugal, from north to
south, from big bands to classical orchestras and concert bands, as principal
Trumpet and soloist, including dozens of them as a guest artist.

Examples of Portuguese civil bands are Banda de Mourão, Banda de


S.João da Madeira, Banda de Portel, Banda de Nsa Sra de Machede, Big
Band da Vidigueira, The Magic Jazz Band (Co-founder), Banda Filármonica
Lyra Barcoucense, Banda da Pampilhosa do Botão, Banda da Pampilhosa
da Serra, Banda de Ançã, Orquestra clássica da Universidade de Évora
and
many more!

Luis has completed Masterclasses and courses, and has been taught by
great
musicians such as Fernando Vidal (Trumpet), Pedro Monteiro (Trumpet),
Sergio Carolino (Yamaha Tuba player), Luís Granjo (Trumpet), Martin Wills
(Trum-
(TCB conductor and Basson player - English), Daniel Tapadinhas (Trum
pet), Flavio Gabriel (Brazilian international soloist and founder of the
(Conductor/-
"Trompete online", Trumpet), Christopher Consitt Bochmann (Conductor/
Composer), Stephen Smith (Conductor) at the John Packer’s Masterclass
in England and many more...

Now based in England, Luis is the 1st trumpet and soloist with the
(Soul/-
Taunton Concert Band, lead trumpet with Groove-a-licious (Soul/
Funk band), solo cornet with the Phoenix Brass Band and trumpet
with the Big Noise Street Band. He also played 1st trumpet/soloist
with the Wednesday Classical Orchestra and 1st trumpet/soloist
with the Tone Big Band.

Luis is also working on his own solo projects and recordings in his
new studio.

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 2 OF 24
A BOUT THIS B OOK

This method came into being when I found myself being bored when
practicing, playing the same kind of exercises that sounded annoying, even
when I knew how important practice is.

Most of the time I stopped practicing properly and started playing melodies
that I enjoyed and in a few months I saw myself degrading as a player as I
was not practicing properly but just playing.

So I started creating my own studies, something enjoyable where I could play


beautiful melodies but I was still practicing and I wanted to make my practice
fun!

I had some melodies in my head that I used to sing during a hard time in my
life, so I've created a lot of variations and exercises that made me love
practicing again and I found that it was not boring anymore. These are all
based on my own difficulties when playing, these exercises helped me to
improve and stop the small problems that I was facing when playing.
The book is a diary routine. This is the first and there'll be more in the future!

*NOTE - For better results, you should play this book in all of the different
keys.

I hope you like this as much as I do, that you feel it helps you as much as it
helps me and that you have fun when practicing now as well.

Most of these melodies were created when I was living on the streets, on the
beach where I used to sleep, looking out to sea. So imagine that feeling, that
pain, that love, that will to win, the love of God, when you are playing it. Give it
the right feeling, dance with it, make the instrument cry, dance, smile as I do!
Imagine the place you love, the sunset, someone and play for that or them.

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 3 OF 24
S OME N OTES

Some notes about things that I've learned from different great musicians and I
think are really important that helped me play better. I use them every day and
you should think about the following:

1 - Always keep focussing on your airflow and keep it straight as a straight


line, always going forward. Your airflow is everything when you play a wind
instrument. No airflow, no sound or a bad sound, or embouchure problems
(James Stamp is a good method for this).

2 - Always keep your lips in the same place, what makes you move up and
down the notes is not moving your lips, if you do, it’s going to bring you
serious problems in the future. So use what you are supposed to use, your
tongue. When you blow your air, moving your tongue up and down will change
the speed of the air and that will give you what you need. If it doesn't, you’re
not breathing enough or efficiently. You can check this effect when you
whistle!

3 - Always play on top of the note (this one changed my life) if you want to
have a proper trumpet sound. What does that mean, on top of the note? If you
see a tuner, you have a space, between a note being flat, in tune or sharp. A
trumpet is never supposed to sound flat, flat is said to be melancholic. A
trumpet is a happy and powerful instrument, so should sound bright. If you
want to be heard in the middle of the band or when soloing, your trumpet
should be in that space between flat-tuned-sharp, it always needs to be
between the tuned and the sharp, on the limit. Play on that limit and, it will
sound much better and beautiful, more "alive" and more "out".

4 - Another similar thing with regards to point 3 above is how you place your
lip corners. If you push them down, you'll sound sad, flat and melancholic.
Push them up, as if you had a great smile and it will sound happy, bright and
beautiful. For example most of the tuba, trombone and euphonium players
push them down and the kind of sound they want to have is exactly the
opposite of a trumpet.

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 4 OF 24
*(This last point is subjective. In some people this works really well in different
ways, but the most popular thought is this!
But it's like the exact position of the mouthpiece.
Most of the teachers today want you to place it centred on your lips and I see
people struggling with that. Is that right? Yes and no! For everyone? Yes and
no! It isn't for me because of my teeth for example. Most of the great
musicians in the world play more to one side or more to the other, some other
great musicians follow the centred option. Each person has a different body,
different teeth, lips. So try to find out what is more effective and efficient,
not what others do, make it work the best way for you, but remember it really
has to be efficient whatever you choose).

5 - One of the most important things before playing is to check if everything is


working properly, so start with one or two breathing exercises. Fill up your
chest starting from your belly, fill it up from the bottom to top like a balloon,
then hold it for a while, expel it using pressure on your diaphragm (which is
the key to play well, use it properly). Do it slowly then faster. After warming up
your body, are you're breathing well? Take your mouthpiece and do some
buzzing, see if the air is flowing properly, if the lips are alright, vibrating freely,
if the sound is properly focused, if the air is expelled centred with no gaps
between intervals. That's really important when playing on the horn
(the B.E.R.P accessories help a lot on the mouthpiece buzzing, I use it and
recommend it). Is everything working properly with the buzzing? If so, put the
mouthpiece into the horn and start your warm up exercises. If you feel that
something is not working properly go back to the buzzing to find the problem.
The buzzing is working, but the problem is not from there? Go back to the
breathing to check what's not working. Do that until you find out what is not
working efficiently.

*Always remember, the horn is just the microphone and speaker, your lips are
your voice, it is from there that all the sound comes from and your airflow is
what makes your lips move to play. So the better you play with just with your
mouthpiece, the better you will play with the instrument and that should just
amplify that sound.

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6- Maybe the most important thing, don't use pressure on your lips when
trying to play high or to play for a longer time. That will kill your lips. You want
to play high? Use air control, more air pressure, faster, lift up your tongue, use
pressure on your diaphragm to send the air out faster. You don't need more
air to play high, you need it faster. High - less air, faster compression, low -
more air and slower! It's not magical to play high, but the secret is mostly in
your head, how you relax, how confidently you are playing, how much control
you have on yourself. It's not that difficult, it's easy, you just have to
understand it and stop trying to go uncertainly to the high notes and using
pressure trying to get them. When you start relaxing, they will come out.
Under pressure your lips don't vibrate, so they will not play the high notes that
need a fast vibration from your lips.
It's true that playing without pressure is a myth, that doesn't exist for a trum-
pet player, pressure is always there, but we need to work more and more to
reduce it as much as possible to play better, and that is absolutely possible!
To be a good musician you'll need to be patient, results may be faster for
some musicians, but it always takes time. So practice frequently and
PROPERLY and it will come and on that day you'll be the happiest man in the
world!

7 - For last, I've learned something really important from one of my teachers,
Flavio Gabriel, a Brazilian international soloist that changed the way I study.
When studying, you should rest as much as you play between exercises,
that's really important and it will make you stronger and better. That's why it’s
good to practice (if possible) with someone else. You play, then the other
person plays while you rest, and then you play next, etc. Resting is so
important, even more so than playing as it gives your lips the right amount of
time to recover, don't kill them, and sleeping well is also recommended to play
well!

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 6 OF 24
Secondly, and the most important in my opinion. This method is a very much
based by playing each exercise as a beautiful solo. Think of an orchestra
playing in the background for you and play your solo (exercise) beautifully and
as full, as if you were playing for hundreds of people! If you study like that, that
will make you play much better when you really need to play for the public.

+All of this probably looks like more of the same advice and you’re still
thinking that it's still impossible? Have a look through Maurice André’s
biography. See how old he was when he started playing and how he turned
very quickly into one of the best trumpet players in the world! No excuses! "Ah
but some people have more talent" you may say. Yes, but they work hard to
play as they play, no one gets to the level these Big Guys have if they don't
practice! There are no magical tricks for that! Stop thinking about what other
people have and you don't and think of what YOU have that can turn yourself
into one of them. Everything is down to you, do it right, believe in yourself and
it's never too late.

“BELIEVE IN
YOURSELF...
AND
IT’S NEVER TOO LATE”

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TRUMPET

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 8 OF 24
BASIC FINGERING CHART

Circles above the note represent the valves.


Red (filled) indicates the valves that are to be depressed.
These fingerings also apply to valve trombone, baritone horn and euphonium
when these instruments are written in treble clef.

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BOOK ENGLISH VERSION - “ALL YOU NEED TO IMPROVE, AROUND BEAUTIFUL MELODIES” BY LUÍS MARTELO 9 OF 24
R EVIEWS

"Luis, I played through your exercises and really liked them, the melody stuck with
me for quite a while!"
Ian Holmes - English Trumpet player, Plays with The Skaravan Club and was the Lead Trumpet of the
Groove-a-licious band for over a decade!

"To be honest, I found the buzzing warm ups really funny... The exercises are not
new concepts but is one thing that at least on my time we didn't have,
which are the written suggestions on the exercises"
Rui Pedro Silva - Portuguese Trumpet Player and Trumpet/Mouthpieces maker from RPS Mouthpieces

"...a well thought out process"


Martin Wills - English conductor and Ex Army Basson Player (TCB conductor)

"I had a look on your method, it's really good bro"


Thiago - Brazilian Jazz Trumpet player based in London

"Hey Brother, really nice your method, really didactic! Really good man, many con-
gratulations!"
Marcos Feitosa - Ex Tenor Sax Player from the Brazilian Marine Band and Composer/Arranger from the
Brazilian Navy Marine Corps Symphonic Band

"Hi Luis,my thoughts are these studies have easy to memorise patterns, and make
great exercises for developing phrasing. A recurring theme is descending lines into
the lower range that encourage the player to focus on maintaining a good quality
sound and sustained use of air- just what we need for melodic playing."
Brian Pearson - English Trombone/Euphonium Player (Plays with The Taunton Concert Band, The Skaravan
Club, The Big Noise Street Band and many more)

“My Dear Friend, very interesting your method! Your tips are very useful. Very com-
plete! Congratulations Luis”
Pedro Monteiro (Trumpet Teacher at the University of Évora, Plays with the Portuguese Symphony Orches-
tra, Gulbenkian Orchestra and the Big Band of the Hot Club Portugal, international soloist and far away
one of the best players in Portugal, regularly invited to play solo and to teach in Masterclasses)

“My good friend, I saw your method, I have to take out my hat for you! Fantastic! I
recommend! Good warm ups, good endurance! Thank you for sharing with me such
a good work! Many congratulations! I'll wait for the original!”
Sérgio Ramos - (Portuguese Trumpet Player and Portuguese Police Commander - PSP - Public Security
Police)

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“Hi Luis, I just saw your book. Congratulations on the initiative, sharing knowledge
is a noble act. The idea of making study a musical activity, though obvious, is often
forgotten by many trumpeters. Your exercises can help them wake up to this way of
practicing.”
Flávio Gabriel - One of the most prominent Brazilian trumpet players of his generation, won the 2nd prize
at the International Spring Music Competition in Prague in 2010.
Member of the Youth Orchestra of the Americas from 2005 to 2007 he toured Latin America, USA and
Europe and performed on the recordings of Verdi's "Legacy" and Messa DVDs, the latter directed by
Plácido Domingos. In 2007 he was the principal trumpet player of the "Simon Bolivar Youth Orchestra" at
the Villa-Lobos Festival in the city of Caracas, Venezuela, and was the first foreigner invited to join the
"Ensemble de Metales de Venezuela" working under the direction of the trumpet player of the Philharmo-
nic of Berlin, Thomas Clamor. In Brazil he was the principal trumpet player of the Porto Alegre Symphony
Orchestra from 2004 to 2009 and he joined the trumpet player of the São Paulo State Symphony Orches-
tra - OSESP between 2009 and 2015.
He is also the Founder of the "Trompete online" an amazing online platform to develope the trumpet
study, to all kind of students! A pioneering and innovative project!

“Luis's book is very inspiring and will motivate players of all ages to warm up and
practice effectively every day.”
Steve Herbert - English, Former Royal Marines Player as a cornet player, now he's a French Horn Player -
Was the Brass Specialist of John Packer, and is the owner of the online store "once loved musical items"
where you can find all the kind of instruments and accessories!

“My friend, I already read and reread everything you wrote! Your book is really cool!
I found your initiative super interesting!”
Dudu Quirino - Brazilian trumpet player, one of the greatest players from Brazil

“Luis, your method is really good, complete, funny, and has a lot of me and of what
I taught you long time ago doesn't it? How good is that and gratifying for me! Keep
working like that! Congratulations!”
Fernando Vidal - Portuguese trumpet player, Sergeant Major, Ex 1st trumpet of the Portuguese Army
Symphonic Band, plays with the Broadway Orchestra, and was the conductor of the Portuguese Army Big
Band and many Civil Bands, also a guest player and Soloist in many Bands and Orchestras. He is the
conductor who taught Luis at the Filármonica Lyra Barcoucense as he was the conductor of the band, and
he also prepared Luis to the Army and Conservatoire exams! Recently Fernando Vidal wrote an arrange-
ment of the Brazilian song "Rancho Fundo" for Luis to play as a solo piece in England with the TCB!

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Check out the best deals for musical instruments and
accessories, or even sell yours at:

https://www.oncelovedmusicalitems.co.uk

https://www.facebook.com/rpsmouthpieces/

https://www.trompeteonline.com.br

https://www.facebook.com/trumpetplayerportugal/

https://www.iguia.pt

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C OPYRIGHTS

COPYRIGHT © 2019 BY LUÍS MARTELO

ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRO-


DUCED, DISTRIBUTED, OR TRANSMITTED IN ANY FORM OR BY ANY MEANS,
INCLUDING PHOTOCOPYING, RECORDING, OR OTHER ELECTRONIC OR
MECHANICAL METHODS, WITHOUT THE PRIOR WRITTEN PERMISSION OF
THE PUBLISHER, EXCEPT IN THE CASE OF BRIEF QUOTATIONS EMBODIED
IN CRITICAL REVIEWS AND CERTAIN OTHER NONCOMMERCIAL USES PER-
MITTED BY COPYRIGHT LAW. FOR PERMISSION REQUESTS, WRITE TO THE
PUBLISHER, ADDRESSED “ATTENTION: PERMISSIONS COORDINATOR,” AT
THE ADDRESS BELOW.

AUTHOR: LUIS MARTELO


TITLE: “MELODICAL STUDIES :
ALL YOU NEED TO IMPROVE, AROUND”
BEAUTIFUL MELODIES
CATEGORY: MUSICAL BOOKS
EDITION: 1ST
TEXT REVISED BY: IAN HOLMES
RELEASE DATE: 21 APRIL 2019
DESIGN BY: FÁBIO GUIA

VISIT OUR OFFICIAL ON-LINE STORE:


WWW.LUKAEMMEMUSIC.COM
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