Allen_Vizzutti-Trumpet_metod-book_I-1991.pdf

INTRODUCTION TO BOOK 1

•HE PRIMARY G O A L of al l trumpet p layers, regardless of proficiency, should be to play beautiful music wi th an appropr ia te ly beauti ful sound. This thought must be foremost in one's mind when pract ic ing, 3r

forming or teaching.

Undeniably, the trumpet is a diff icult a n d unpredictable instrument to play, and it is technical proficie that enables one to perform wi th beauty, control , endurance and consistency. As a result, dedicated student ol the trumpet often experience a "symphony" of technical phobias. It is my intention in this method to systematically deal wi th these problems in a musical w a y through careful ly o rgan ized technical, harmonic and melodic s ies a n d concise text.

The secret to constant and quick improvement on the trumpet is consistent dai ly practice whi le keeping e fundamentals of eff icient breath control a n d musical art istry in mind at all times. I believe the wealth of stuc ss in this method w i l l prove useful for one's entire p lay ing career.

PRACTICING

i " y i USIC HAS THE POWER to enable anyone to feel g o o d . Trumpet is one of the most versatile of instru-L k U ments, an instrument that is capab le of crossing any stylistic or cultural boundary. The gifts of studying music include:

® Greater emot ional expression

® Creat ive interaction wi th other peop le

® Raised awareness of art , beauty a n d more

These skills are as basic a n d useful as any other skills taught in school. The freedom and enjoyment available in music can be had through da i ly pract ice.

The more o rgan i zed your pract ic ing is, the more fruitful it w i l l be. Here, then, is a suggestion. Practice in three 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technical study and segment three is p lay ing music material such as solos, etudes, orchestral literature, etc. Vary the material to avo id forming b a d habits, bo redom and to learn new things each day. You must be your o w n best teacher. Listen w i th honest ears. A lways try to improve. W h e n problems occur, refer back to fundamental thoughts on breathing and sound. Most problems w i l l correct themselves. Best wishes and good luck.

THE WARM UP

n N ORDER T O ENSURE consistent improvement through pract ice, it is absolutely essential to wa rm i Preparat ion is requi red, not only to meet the physical demands of trumpet p lay ing , but also to initiate 1—3

mental focus a n d concentrat ion necessary for mak ing music. The fo l lowing is a warm-up routine in four parts wi th var iat ions for each day of the week. Remember to concentrate on the basic fundamentals from the fi t note of each new pract ice d a y (i.e., beauty o f tone and uti l iz ing large volumes of air when inhal ing and w h - j b low ing through the horn). Finally, p repare mental ly to app roach whatever exercise or piece of music you are about to p lay in the most musical and artistic w a y possible.

© Buzz the mouthpiece in the approx imate range ind icated. The sound should be " fa t , " full and wi thout gaps as you slide d o w n w a r d . Keep repeating until there are no gaps. Buzz anywhere from a few seconds to a few minutes. Be aggressive and demand ing of yourself. It is possible to improve your trumpet sound almost immediately by work ing on the mouthpiece.

For extended buzz ing, use the fol lowing triads. Check pitches at the piano while buzzing whenever possible. Be sure you are p roduc ing a fat, forte tone.

4 1 j T J i r J T T j . i j p i i r P p i j . i

@ A p p r o a c h the fo l lowing exercises mentally as if p lay ing one long note. Art iculate heavily. M a k e the legato notes very long a n d the marcato notes fat and spaced—no breathing a l lowed in the middle of a l ine. This method is an excellent tool for re laxing the lips and w a r m i n g d o w n as we l l .

For add i t iona l " loosening up , " repeat the preceding exercise 8va , resting wherever necessary.

® Play long tone exercise # 1 , 3 or 4 w i th as beauti ful a sound as possible.

Start each playing day with the three steps above. Some days may require more warming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps.

Finally, p lay the technical studies ind icated for each appropr ia te day. In this w a y you can vary your warm up, mainta in interest a n d learn new scales a n d f inger ing patterns quickly. Work gradual ly d a y to d a y through al l of the keys until you can p lay each study w i th a min imum of technical "hang-ups." It is not necessary to p lay the studies higher than third space " C " in your w a r m up, though advanced players may wish to do so. Ideal warm-up time should eventually be 1 5 - 2 0 minutes.

® Monday Technical Study #1

Tuesday Technical Study # 2

Wednesday Technical Study # 3

Thursday Technical Study # 4

Friday Technical Study # 6

Saturday Technical Study # 7

Sunday Technical Study # 8

In my op in ion , l ip slurs (except in the lowest seven partials) are not a part icularly good warm up. They are physical ly demand ing a n d , therefore, useful later in your pract ice time. Lip strength (more accurately, the strength of the muscle structure around the lips) as a goa l is great ly overemphasized. Al though strength is impor tant to a degree , range, endurance, a beaut i ful sound a n d advanced technique as a complete package are based on eff iciency of breath control , not brute strength.

PERFORMANCE ANXIETY

ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Players at all levels of competency exper ience butterflies, dryness a n d other symptoms of nervousness before a performance. T

goa l one should pursue is not to be total ly re laxed , but to maintain sufficient mental and physical control, order to en joy p lay ing music and p lay we l l . Experience is the real key. The more often one performs, the easier it gets. Take every possible oppor tuni ty to pe r fo rm. Play for friends and family. Casual settings can be great help wh e n done frequently. As a useful by-product, the more one performs and is heard, the more l ikw one wi l l be asked to part ic ipate in other musical settings. That is the process through wh ich one rises to the top of the music community, no matter how large or small the community.

Here are a couple of pract ical pointers to help you defeat performance anxiety:

© W h e n the butterflies come, don ' t resist them. Resistence causes tension. Tension causes p lay ing problem Let the w a v e pass through your body. Observe the feel ing as it happens. Don't panic.

® Scrape your tongue l ightly across your top teeth to cause saliva to f low. The less you concentrate on di mouth, the sooner moisture w i l l return.

© Think musically, not technically, except for b reath ing. Breathe deeply and project the air conf ident^ through the instrument. This is the one fundamental you should a lways fall back on when you f ind your con dence fa l ter ing.

© Finally, stay in present t ime. Don' t w o r r y about w h a t has happened or what is coming. Don't sacrifice o entire piece for the sake of a high note or a tr icky passage. M a k e the note or phrase you are p lay ing as beautiful as possible. The rest w i l l fal l into p lace. Present t ime is the key to performing from memory without slips a.* we l l .

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32 T e c h n i c a l S t u d i e s

Technical Studies The fo l lowing studies should be pract iced tongued as we l l as slurred. Bang the valves down hardl This v promote accuracy and rhythmic clarity. Do not be put off by diff icult keys. Have the self-confidence and discipl ine to work on them. They wi l l g radual ly become easier and easier. Tempos should range from ve rv slow to as fast as possible. Use a metronome to promote evenness and to document progress.

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1 — • —m—-1 * —*> ii

——;-• —J 1

1 1 I H J I m • . m

a m I—J •- l - ^ J

/TN /TN

. J = 126

F i n g e r F l e x i b i l i t i e s

J = 100

7 i TT

p « K * - r « K •»

ffl 1. • - • I

j j 1 1 ^ J i He t ^ ,

p i i l f ~ ^ s _ r ~ > _ r ~ ~ > * f "01- m ELS E f f l £L£J _L£J

" ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

IT "' bJ ^ JjJ bJ ^ J § bJ J I bJ bJ J i J ""

t i j . i J j J J J j J J ' J ^ J J J J J J J i J J ' j

J. 116

F i n g e r F l e x i b i l i t i e s 75

j ^ j ^ j t e j ||= JiiJJJpJlJ1JJ_3J1_1fl - o -

J = 104

n j g j j g W = j b i P b J b d P p b i P ^

J t J b J ^ J J J J b J J i :

b J P 1 b J P b J b J P P b J ^ r - ^

"• j^i bj > J 1 j J 1 b j ^ w

I 11 I U J J p

• • 11 H =

•Mb 1

I J g j

g g b g g I .J g L J :|| I m

p 1 B :|| b J t j J l , ^ = £

3 3 3 3

JL.——i—

JbJ^iJiJjJJ 1 jjjlt a 3 3 1 3

i i "i i i i i 11*1 m

3 3 X J

•fifK \-. i 3 3 3 j 3 5 £ 3 „ 1

HrTf 3 3 3 . 3- 3 3 3 ™ , — '-. j

/L. 1 j - ; -3 3 3 3

.— .| 3 3 3

rrj 1J 1 l H :||, 1

-A* \'- TI

3 3 3 3 3 3 . 3

3 3 3 3 _ _ — _ a-

— — — — \

—|-i-ir-*=-

3 3 3 3 3 3 3 r~~ - - — h i

- / JL—1 • _

3 3 3 3

!Xj~J ^ J ^ Jfcjj J j J 3 3 3 m m rn a ==i

§ " jp . d 3 3 3 i 3

, a J d J d J ^ , J d | — e

3 3 3 3

—an ±i am —4W am —4W am -fc —am —4W aw \?4W —am

f " • -• t 1 • • 99 nmjf 9m — • •

= — 1 ^ 1 - -

\'S * * m » q j * — = 1 —

—" • _ • — i _ • • \ Li X 1

m m f> m •~m—m-im 0 " imJi*—»

L 3 -? 4 3

[XT C-LfrLT 11 J

78 T o n g u i n g

Tonguing Work wi th a metronome to promote evenness and clarity. Five to ten minutes work every day is the best means by which to ga in speed and coord inat ion . Practice doub le and triple tonguing very slowly as well as very quickly.

Single and " K " Tonguing

1 1BE 3 3_ _3 3_ TN

T T T T T T T T T T T T T T T T T T T T T T T T

_2 3 •? •? TN

simile

Jfc—1

VLV a • • • • • a a a a m m m m a a a a a a a a a n

C 1— i— l~ i—

• 4p • • 1 • • • • • • • • 1 • • m m m m 9 m m m m i 1

3 3 3 3^ TN

J J J i ' JJUiJiJU 1JJJJUJJ3JX1

P I TN

j j j m u m

i 3 3 3 3

3~ 3 3 3 TN

m i m W w" r T T

T o n g u i n g 7 9

* ^ TO/TTTTT T T T T T T T T T T T T T T T T simile

1 • J P

J J J J j j 1 J J . : .

3 Z 4 - i H i i i i i f i ^ 3 ^ 3 J J

« ? — ® — i — ? £

~ T I s — ~ — i f r 4 — i — M i i i

I I I , 3 ? TN

1 3 . .

1 rrf lrm .? TN

3 3 3 3

r—r- i J TN 3 —

8 0 T o n g u i n g

T o n g u i n g 8

m The "K " tongue should be pract iced a lone in order to promote clar i ty and evenness in double and triple tonguing. Try to make it as clean sounding as the "T" tongue and be patient as the "K" tongue may sound bad at first.

/ 4 J — J — • — * • — • —o 4

m a a a 1 4 Y 7 fa a a a

; i • | |

-j—* t 9 J J al C K K K

1—o Lp-J • K K K

1 J J L-b ] K K K

1 1 1 1 1

J J J J o b« » J J J bo = £ i J J L = «

K K K K K K K K K K K K K K K

i 4 F R — 5 3 ,? 3 5 *

• • I »

• • • -1—J ~mf~* m-m • 1 J J

4 tw ?

i 4 , 3 i n

3 _. mm am am m

r J • • J < - • 9

m m-m —ml m

<—m m m a " m 1 [ J J i

r j j L T T j 'P n 1 i J J TN

n i ^ i I I

82 T o n g u i n g

Double Tonguing

S l o w l y ( J = 108;

j | * | M j * j M j j j MtfJ j J * | J * r J 8 T K T K

T K T K T K

~rL—P—J—1" ' } r > ¥ i i f '—i—f~i p — } — s — T ~

r * r simile

.. « < . . . .. ....<*

— j — i — $ —

— & — ^ —

1 It i J

f._ £ _ _ _ p . .. 6 r. . A

fr J j ' J ft ' J ' i * 1 r r

7 7 1 / T

T K T K T K T K T K T K

simile

i J J J

T o n g u i n g 83

v JT * 00 00

bJ j j j J h J JJJJI^J JJJ3tiJ J J J J i p p f p ^ rrrr^r rrrrr I T \

12 g l

J J J J J J-i^i*

8 4 T o n g u i n g

• • B

oy cixrc * - - " — '

nvf 13 i f

0 0 0 0

mmm 0 0 0 0 f # # # * =:

K M 00 00 0 0 0 0

1 5 P J J J J

E X 0 0 0 0 0 0 0 f

T o n g u i n g 85

8 6 T o n g u i n g

T o n g u i n g 8 7

—1 r—

>• L T5 ' 1

ran j JJJJJJJJJJ J J ' JJJJJftJJj:

bJtJJJJJJJJJJJ J '[JJJjJ JJJJJJJ

9 * 9 * 9+9*9

bJ:kfj:bit fcfstfc^J:b^t bii fc^t t if J: 'b bJJ J i^bi^bJ » J »

88 T o n g u i n g

20 j 1 ff

• •mmmmm

TN r r r r r r r r r r r r r r i r r r r r r r r ^ ^ ^

mmmm mmmm

"mmmm '-mm -m-mwi

T o n g u i n g 89

23 li Jfl mf

mmmmia M Z M Z M M M X mmmmmmmm

i J J J J J J J J

mmm m m

24 Play three times

J J J j • j—i£ mf

Play three times

• • 3=2

simile

1 j- l j Jit II-

J H ^ J ^ T ] ||: J J J J J J J J J j J J J J J

f f " f f i P g r n. f r r r r f r r r r r r r r r r .n a

f**f*?fffn ||, f f r r f f r r r r r r r r r f „

rr^rfff rrr | r r r r r r r r r r r r n T T „ ^

B u i n B u o j . 0 6

T o n g u i n g 91

T o n g u i n g 9 3

94 T o n g u i n g

Play three times

P *m 28 mf

Play three times

A simile

Play three times

2 9 P I J J - ' i ^ j J j J J J J i J J J J 1 Play three times

simile

3 0 ^ ^ Play three times

I J d ^ d f l ' i * - 1

Play three times

• * • B* - J — 1 -• m a 1

Play three times

i I i I I

A-4—1 • — • • 4^J— • — -BJ— 1—" U V 4 1 1 B* -a ! BJ ••

Play three times

I N T —BJ— m - -B* J = = i -* 1 B* 1 4R» [ Vm 1 B* I_ .... ... II

T o n g u i n g 95

9 6 T o n g u i n g

Triple Tonguing

35 H « a I • — * — * — — T T K T T / T T K T T T K T T T K T

J . J i ' i - ' J J J ' J . ' J J J simile

J J J l-l r r r 1 r • • * — *

36 5 5 5 5 5 5

m / " T T K T T K T T K T

T T K T T K T T K T

simile

J J J J 1 J

•# -mt -a

p T 5 5 5 5 5 5 5 5

II r frj *j*n—f"p r • • • • |» -Vpf—r*r r m—z

J # * J

• — 1 r

a J » » »

9]]W1S 1 X

Jfff mrf-* hr

1 1 1 X 1 1 1

E l m-9'9'9 W

N i l J-P PP m

x l l /it

err »&.,«.

1 — ^ -

— JC£T

——F=

LcrrcraTi — * • — * • —

P r i ^ i r

r r T\

• • • * • * • • • • 9*9 mm) — — — — — — — _ _ _ _ _ _ _ — 1

• l*W mm mw mw— mw~ mw~ mw" mw mm-mw~ mm~-ww-mw— mm mw •

^ 1 — £ f E i i » fr~

S E E S E E

Ji J J J i J I G 1 J -Ii J J J £2- P -

f f f . f f f TO f , f f f, f g g g-

n r r n rawer i r r r g g —

• • • • • • • * • • • • • • • • ^ - - _ ( • • v " tl \\ 1 — H*>

— # t. t. t M

3/lUllS 1 X 1 1 X 1 1 X 1 1 X 1 1 X 1 .L » m-m-m H9i • m-*—l •— •— •—I • 4 1 • • • m m 9 9 • 1 • m

f t 9 9 I

i i— E I E f 1 E =4 X 1 1 X 1 1 X 1 1 X 1 1 X 1 i / »

Lb 6 u ; n 6 u o x

9 8 T o n g u i n g

39 J J J: mmm mf

n r r P i ~m m m

a 'tmmmm - - _' 1, mj rfl 1 * ~ 1 3 , —mmmMmMwM — — . ^ — r — • L ^ w — : ^ « « « J J J 1 * JJiJ 1

40 M 5

3 T -3—

mf 3 3

4i p j j j ^ j j j m ^ r i r c D - c j : i r i r T O , | ' j ' l ' i [ p ^ mf 3 3 3 3

3 3 3 3

m m m m m mmm mf

4^ 3 r 4 - n

ITS w S m m

—, 3-

mmm m m

m b J J <

- b J J *

43 =1 5 3

3 3 3- 3 3 3 .? .?

*—m 0 3 3

"ft < m m

±£ 3

m^T m m

_ v f**—W—F

J J »[]J » J

* * m m

m— 3 m IM« • 31^ 3

T o n g u i n g 9 9

100 T o n g u i n g

4= J if 1 — { • 1

-3 3- 3~ 3 3 3

3 3 bi

3 3 3 3

3 3 3 3-

f 3 3 3 3

f) t. < ? ?

I r f T - r ^ ? — - r l • 5 — 3—

3 i 3 4 ? JUS}}' /7s

3 3- 3 3

W h o l e S t e p - H a l f S t e p Sca le JL. 3

w w w w w -w v ~3 T

46 S I 4 - 3

3 3 3 3 1_ 3 ,?

3^ 3 3 3 3 3

bJ J J J » J * •

47 ii^r to-1 J J J I I J J J im^m

—1 - - i ?

1 • —J — • t 4 = y

_ m urn m « • • • « • •

T o n g u i n g 101

104 T o n g u i n g

T o n g u i n g 105

106 T o n g u i n g

j j j j i j j u j j j j j i j j j j j i - 1 P P P i i P i i P P P i TV

55 T j T ^ TN

J < J 4 • -* 9- -t 9- •* J- * 9 i 9 i

JL.—, ———— — — p . TN

- -m • -m * \m f m ' m • - • - -•

^ JJJJ-JJJ JJ JJ JJ JJJJJ-J- i J l ^ ^ ; J J j | : TN

MF * » P 3 3 * *

56 3 6

; m r =F3-F T3-F — — J — „ .

57 3 2 3

¥3? I

—V— •

mw • i

J - » J J —< • • " 4 * L

. w it *

mt w" « - # L : 1

— - - # 1 — m t J ^ J J HP • m 5 • • •

T o n g u i n g 107

108 T o n g u i n g

60 JJ^J s m u jgjJ1 J JUJJJ i j jy ™ / K T T K T K T T K T K T T K T K T T K simile

<U J :" 1

4 1 i J> m §5iJ * » 1 § 3 J 3 » ^ XZJE • •

l>JXU JJ ,M

IM J>JT3J J)JT2\J J)JT3J ^JTJJ |

J J^,ry]J i ] ^ r i b r p r r r r P r r r i b r p r r r r P T U *

| r -p i i r r i i i r i r j cilr r pr - : | 1

»—»—»—»"» m m 0"F I i * * 0 m> m> m 0000 P L D T P L J J i r K L L J r p l i s p r r r r P

s 0 0 0 0 0 0 s b p £ = p k PfT" IT I m m m m 0 m\ m \\) 5 m m m m mm

• • — • — 1* 1 ff=] 0— 0— • — • m— m 1 • 1 m : \ 1

r r 1 1 1 r 1 1 " I

T o n g u i n g 109

6i l a

= * = f F

m/ 3 3 3

3 3 3 /TV

~rk =T

3 3 3 •? , 3 | | | f |

i , i H -H ~—=

mmm 9 m m m m * m * m

J J J J J wJJJ J S J J J J \-_

3 , , , f , ^

d d 9 m m •—• P

3 .? j ft\

r r r J J J J J JJJJ J J J J 1 3 , ? rnn—I

0 0 0 9 • J-.J..J* » --J-J-J 3

4==' 3 3 3

n9^' 0 0 J m_m_mjm_a^_m_m_m^

• • P • P I 3 5

•? •? 3 ^ ,

JJJJ J JJ JJ J JJ J h j — i i T r i p l e T o n g u e E t u d e ( J • = 200 ]

JL ASt m m • • -m-m » m> mbm 0 m- wzt >-j»— pi •W-R— Tl ==£=db

=—• JZB-# 62 i — m m ^ T Tl m i i r J \rd m 0 " • m

• m m m m m

PBBBB*"BBBri - -

TT • • a • 1 0> >

? * — -=*=• -

— - -r— r r r M , £ £ f r r h m m m • m

c^ r C U ; ' —

/L .,, J •> J J J

" ~ ~ ~Tf f —TT- rTT !3 1 1-

0 0 0—

V P }J * * " d * d

i \ m m

-1 g J ij|J JtH J j ^ j j j i J J J -J 'dpi • »

m i m T~n 1 bJ J J ' Jl?Jt;Jk« JbJtjJ •fr* - iJ i - 11

110 T o n g u i n g

Odd Groupings

3 3 3 3 3 3 3 3 J i J i J J J J J J J J J i i i ' JJJJJJJJJJJ

~» * V V V V ar~

—~3 3 3 3

~m ~m ~a ~~m ~m —a ~ a —a —a ~m ~a

-T? 5 3 3 3 3 3 3-

# 3 - 3 5 5 5 -

3 3 3 3 3 3 3 3

M M m m m m *t-

3 3 3 3

m m m m m m m m m

3 3 3 3 3 3 3 3

T o n g u i n g 111

1 12 T o n g u i n g

> 5 > 5 > 5 > 5 > 5 > 5 TN

64 J J J J J J J J J J 3 5 77jy T K T K T K T K T K T K T K T K T K T K T K T K T K T K T K T

5 5 5 5 5 5 TN J J J S / ^ ~ J^^^ - ^~J "J~»~a^J~a~»~~» ]~ j • ~a~a~m~m~m—m~MI

> simile

1 3 > >

TN > > >

65 T K T K T K T K T K T K T K T K T K T K simile

5 5 5 5 5 5 a g

-P— > Li-i %J b 5 > 5

1 5 5 5

3 i • • — .

<—• • •> •> m-m- 1*1*1 * *> * • •>-•>-^ * * ^ • -*> 1 y I 1 1 1 1

''Be sure to play the quintuplets evenly; not in groups of 2 & 3 or 3 & 2 as in the previous section.

T o n g u i n g 113

A A kL 1 — i — i — • — i — ft ¥ i = T i = i — TN

' J i 1 1 • 1 i

mf T K T K

— — — — f l —

' i - i i ' > T K T

i — r ~ % — r

> > K T K T

- i — i — i — i l — -

" i i i J. = 1 > K T K T

1 1 1 — : H 1 T

> > K T K T K

-8 > >

T K T K

- — m

T K T K

m T K T K T K T

K T K T

I simile

I 1 | B H J~3 in

m m -m

Ii r r r r If

• •

114 T o n g u i n g

4=r • t! - U-—73— f 1 * ••— —t— El T\

1 v ^4— - ' m urn VJ " • 14 • ™ =

ft — ' 1 " r 1

1 Q_f ^ Iii TV

Hi r i

> > 681 e g r'r in F"r r I m > > i PP I T

TO/TKTK T K T K T K T K T K T

> > > > > T\

6 c_/"LT iii i a "u- iii T K T K T K T K T K T K T K T

simile

g jj J l j ] b ^ j . lij |J | b J |1 I,J"iJ b^J. |)[ |J | b J :|| jj T\

6 9 ^ P 2ac d " 5

J J K T K T K T K T K T K T K T K T K T K S I M I K

4=] 5 r , T7 @ i L 1

1 — 1 L 1—• i TN #» 1

J b J t j J • 4* T 7 B t / ^ — 1

T o n g u i n g 115

70 W£ J J J J IH i J i J J J J ! > i J J J J J J « T K T K >

> > K T K T

> > K T K T K

1 * 9 W W —*—w

> T K T

> > T K T K

T K T K T K T

> T K T

> > K T K T K T

> > K T K T >

K T K > > T K T K

simile T N

-H 4> 11

hi i i

1 LT CJ LJI c_r CJ i TN

i l Ii CJ CJ 1» T N

116 T o n g u i n g

T o n g u i n g 117

72 j i J i r > >

^ / T K T K > T K T

> > K T K T K T K T K T

=#=•=1 1 j j i 2 T N

—1 - H -—V* a

45—J >

- 4 - — a > 1 — * ! j 1

• ! / • m - 8 -

I i i j=3=E F 3 p

• 1 I _ J a» — I —

n - •- •*-r * — J — • 5 1 4 — • r< ' v - •— 4-

k v iJ— 1 TN

+1 =—t=r= If-F . bJ ] ' g 1 - J tiJ->L >—d 1 i • T 1 a L j J

v p * bJ"-5— v r n — i — T" \

4 * r f — mw 4 — • vm m \>m— S

73 mf T K T K T K T K T K T K T K T K T

4 —*V— J ~~ tj m m m ^-m I K T K T K T K T K T K T T K T K T K

T K T K T K T K T K T K T K

I 1 • T K T K T K T K T simile

118 T o n g u i n g

T o n g u i n g 119

j j j j j j j j j j i ^ j ^ j j j - j

J J J J J J J J J J J J J J J J J J J J E t u d e i n Q u i n t u p l e t s

1 2 0 U p p e r R e g i s t e r a n d E n d u r a n c e

Upper Register and Endurance The essential elements of p lay ing in the upper register and having g o o d endurance are the same elements tha insure a beaut i fu l tone a n d f lawless techn ique. They a re p roper a i r speed , large potent ial a i r volume projected through the instrument a n d efficient use of the a i r co lumn, never over b low ing , not under blowing. In pract ic ing ^he fo l lowing studies breath ing should be deep , mouth and throat forming an " A h " syllable, as i you were about to step into the deep end of a swimming poo l . Take care , however, not to constrict the throat; but rather to hold the air in wi th the throat open . Don' t breathe high in the chest or a constricted throat wi l 1

also result. Push from your d iaph ragm and take great care to avo id too much left-hand pressure or right-hanc finger r ing pressure. Too much pressure cuts b lood f low to the lips and wi l l reduce your range and endurance without fa i l ! A n y l ip cuts or soreness indicate too much pressure.

By the time a player is advanced enough to wo rk in this method, the embouchure is set and strong, i.e. firm corners and relaxed in the midd le . Embouchure strength, al though certainly important, is over-emphasized ir p lay ing in the upper register. Pract ic ing d a i l y out o f this method w i l l guaran tee embouchure strength Furthermore, one need not have a textbook embouchure ( 5 0 / 5 0 t o p / b o t t o m and in the center) to play wel l . W e all have different dental and facia l constructions. I know fantastic professional players, some of whon play upstream, some downst ream, h igh , low, and off to one side. Focus on breathing in and increasing ai,, speed through the instrument to improve your upper register and endurance. Please be patient and with practice improvement w i l l come.

Low notes a n d peda l tones should be a p p r o a c h e d similarly. Use re laxed embouchure corners and large amounts of air, produce a full sound, a n d take great care to p lay them in tune. Pedal tones (below low F sharp) are not part icular ly pretty and are diff icult to produce. Slide, slur or arpeggia te down to them usinc^ the normal f inger ing for the appropr ia te notes. Experiment until they become famil iar. Play them loudly. The value lies in improved physical and conceptual use of the air. As w i th any p lay ing problem, seek the help o a trumpet teacher whenever possible.

In order to obta in benef ic ial results wi thout suffering unnecessary setbacks, please observe the fol lowing pre requisites for upper register study:

1) You must be ab le to p lay a comfor tab le h igh C. 2) You must be famil iar wi th and ab le to produce peda l tones (below low F-sharp). 3) You must be able to p lay the half-tone bends in Exercise 1 easily.

S l o w l y Bend (lip) to notated pitch wi thout chang ing valves.

X i l ' I I rJ — • — • •

2 1 3 " I 3 I 0 -

U p p e r R e g i s t e r a n d E n d u r a n c e 121

Slowly Rest wherever necessary. Do not force! N o t too much pressure!

0 . ^ m 7>

p 9 T N 9 - 9 T N 9

(k \ r i 1 — I : J i

[ 8vb^^ / •

- 8v[ - 4 . l

r f i I N it - 9

T N ? 4 - - 7 K • i O

— 9 T N ?

mw rr-— i — 1 i 4 — A tr - t f — 1

• • /TN /

• = 9 T \ 9 r^T f j = 9 T N 9

1 — •

/ • I_

T N / -m

T N 9 T N

f P I Slowly

^ N 9 E T N )

.bp T N 9

r i 1 1 r J J j i r m;

4=^ M - • - 1 —p— • :

— T N *

4= =M=s 4=1

f f f fFFf f f " I C & m m ~ i T N

. T N 2 2 2

u r f f T T f f r r T N

riiJitJj T wm

122 U p p e r R e g i s t e r a n d E n d u r a n c e

TN _TN_

r r 1 ' r ^ J b j 1 T i r r » l i »—

I i /7\

#=N= 1 " r J J

r j • #=N= : ff i! T f f T - ? T N

7 f f T V

Glissando or r ip smoothly, sounding al l of the harmonics in the octave, no half valve. The glissando wi l insure proper breath support of the upper note. Do not l inger on the top note. Stop wherever necessary.

1 mf~=zf simile

/ : - . _ / : E : - 1

simile

0 ft • F=fir •—i m m 0—• • • • • Ff 8 ft 9 • • i j / f f f r F i — i — J - i ! ^ — 1 p 1 1 1 1

; L >f f f f • .A f f f • .^f f J 4 , W - r ~m ft . ft .ft

?9FI •

* -m-£ /

i n * —

.m .a p . • ft / -

m — ft -m-

T\ K r i f e - TN >

#= > ~ f f -

0 - N :

simile — - J J- J 1

1 y J J TN

1 i j TN

#= 6 r -a r i 1

y jjr t

Play three times Play three times

U f l 1 1 : ^ to :|| T N

1 p-mf

simile

. ||: r t.Sr L L J * :|| i f T f f

* T T N

|| f | i * 1 4N J 1 J

h ? : fet Vft T N ^ 2 '

e f te ? ff ^ T N

Play the fo l lowing at any time to relax and revi tal ize the l ip

Play three times m T N

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"inely tuned w ind , easy control, polyharmonic wi t , orchestral penmanship,

Dunctuated spiritual warmth. . . Rarely do so many qualit ies f ind themselves in

Dne musician. Chick Corea

Hitch your wagon to a star.

Doc Severinsen

W h i l e g row ing up in Mon tana , Al len

Vizzutti was gu ided by his father, a self-

taught musician and trumpet player, to

performances of virtuoso literature, such as

the Haydn and Hummel concertos, the

Carn iva l of Venice and Hungar ian Dance

N o . 5. By the age of 16, Al len w o n the

concerto competi t ion and was a w a r d e d

first chair in the W o r l d Youth Symphony

Orchestra at Interlochen, M i c h i g a n .

Al len earned a B.A., M . M . and a

Performer's Cert i f icate from the famed

Eastman School of Music in Rochester,

N e w York. He was the only w i n d or

percussion player to have been a w a r d e d

the coveted "Artist's D ip loma" in the

school's history. As first trumpet wi th the

Eastman Jazz Ensemble, he was chosen

"Best Trumpet Soloist" at the Not re Dame

Col legiate Jazz Festival. By his sophomore

year, he was a regular member of the

Rochester Philharmonic, the Rochester

Chamber Orchestra, the Chuck Mang ione

Orchestra and the only student in the

Eastman Brass Quintet faculty touring

ensemble.

Equally at home in a multitude of musical

id ioms, Allen has visited 3 0 countries to

perform with a ra inbow of artists and

ensembles, including Chuck Mang ione ,

W o o d y Herman, Chick Corea , the NBC

Tonight Show Band and Nor th Amer ican

orchestras in Phoenix, Rochester, Buffalo,

St Louis, M i lwaukee, Edmonton and

Honolulu, to name a few

3808 1 0 1 0 5 7 " 1

People in Germany, Poland, England,

Sweden, Brazi l , Canada , Japan and the

United States have all heard his bri l l iant

sound over the airwaves of nat ional

television. Allen's g row ing status as an

artist has led to solo performances at the

Aspen Music Festival, Banff Center for the

Performing Arts, Israel Music Festival,

Vancouver's EXPO ' 8 6 , Mont reaux Jazz

Festival, "Live Under the Sky" in j a p a n ,

Teton Music Festival, International Trumpet

Gui ld , the Ho l l ywood Bowl, Carneg ie Hal l ,

Newport Jazz Festival, Na t iona l M E N C ,

T B A a n d 1AJE.

Whi le l iving in Los Angeles, he performed

on 100 motion picture soundtracks (such

as Back to the Future, Star Trek, The Black

Stallion, Rocky II, Poltergeist II, Fire Fox,

Sudden Impact, 10, Under the Cherry

Moon, Broadcast News, The Electric

Horseman and / 94 1), and countless

television shows, commercials and record

albums, with such stars as Frank Sinatra,

Barbra Streisand, Prince, Ne i l D iamond ,

the Crusaders, the Tonight Show Band,

four albums with W o o d y Herman and

three albums wi th Chick Coreo .

Allen's solo jazz recordings include Allen

Vizzutti (K-Tel/Head First), Red Metal

(available on the Bainbr idge label) . Live in

Montreaux with the Eastman Jazz

Ensemble, Rainbow [released in Japan and

Sweden) and Double Focus, a c lass ica l /

jazz mixture (released in Japan). His

classical solo recordings include The

Versatility o( Allen Vizzutti (Golden Crest

Records) and Baroque and Beyond (CBS/

Sony Records in Japan).

His latest recording, High Class Brass, is _

a unique classical / jazz mixture

coproduced, written and performed with

Jeff Tyzik and the 90-piece national

repertoire orchestra of the Keystone Musi -""""

Festival (available from Prophecy Record;

102 West iand Avenue, Rochester, N e w

York, 14618) .

Allen's love of expression through compo

tion has led to wor ld premiers by the Los

Angeles Philharmonic, Phoentx Symphon«-»*

Rochester Philharmonic, N e w York

Philharmonic and the Tonight Show

Orchestra, as well as recorded works by the

Royal Philharmonic of London, the W o o d

Herman Bond, the Summit Brass and the

London Symphony Orchestra. In fact, the

Tonight Show Band album (featuring Doc

Severinsen), coproduced by Allen and

fellow trumpet artist Jeff Tyzik, won the

Grammy Award for the "Best Big Band

Recording" of 1986

Allen's continued interest in education an

the value of music in dai ly life has led to an

extensive schedule of concerts and clinics

universities throughout the United Slates,

Canada and Japan, in both jazz and

classical idioms ^

Allen Vizzutti performs exclusively on the

Yamaha B flat, C, D, E-flaf and piccolo

trumpets

Alfred Allied MJ . - J I . IH I G J . In. 16380 Roitoe Blvd.. PO B<v 10003 VnnC-liiyv f A VMi0 -0003

TRUMPET METHOD B O O K 1

T E C H N I C A L STUDIES

An Intermediate/Advanced Method in Three Books

Allen Vizzutti

BOOK 1 T E C H N I C A L STUDIES

Practicing 3

The W a r m Up 4

Performance Anxie ty . . . . 6

Long Tones 7

Lip F lex ib i l i t ie l^^A. :^" . ' . - 15

Technical S t u d i e s ? . . . c . 3 2

Finger Flexibilit ies 6 6

Tonguing: / , >x

Single a n d " K " 7 8

Double Jk:.:::/.: 8 2

Tr ip le.„ . „ i : : : : : : . . ' . * 9 6

O d d Group ings .1 !'.*.'...110

Upper Register and

Endurance.:.. . , . .". . . . 1 2 0

BOOK 3

L A Y - F L A T B I N D I N G

Alfred has made every effort to make this book not only attractive but more useful and long-lasting as well. Usually, large books do not lie flat or slay open on the music rack. In addition, the pages (which are glued together) tend to break away

from the spine after repeated use. In this edition, pages are sewn together in multiples of ) 6 . This special process prevents pages from falling out of the book while allowing it to slay open for ease in playing. We hope this unique binding will give you added pleasure and additional use.

Cover Design: Martin Ledyard Art Direction Ted Engelbcrt

Allen_Vizzutti-Trumpet_metod-book_I-1991.pdf

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