Trumpet Pedagogy - Hickman [PDF]

Zitiervorschau

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Music Editions

2006 All rights reserved. No part of Ihis publication may be reproduced (except for Beginner's Warm-Up by James West anllAc.lvullcnl Warm-Up hy David Hickman), stored in a retrieval system, or lranl)milll . d in any form or hy any means, electronic, mechanical, photocopied, recorded, or uthawise. without the express permission of the publisher.

HiCkman

Music

Editions

P. O. Box 11370 Chandler, Arizona 85248

USA ( www.HickmanMuSicEditions.com)

11,

ipied,

Trumpet Pedagogy A Compendium of Modern Teaching Techniques

David R. Hickman Arizona State University

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For those of us wrapped up In II • "v,ld "IIIUII I " "I'Utull'U' Trumpet Pedagogy i U snncd 10 become lit' III 1/1, .1 is the most cornplct . modern. "u' rv 1ll.lIlu.II I wealth of informari n pr ~ nt U ct ubI "

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While must books on trumpet 1(' IInnl" the author's point of view. I rotc 01 I II II",n h I lull different but widely accepted uppruach 'In Ih III ItUII and illustrations, Trumpet f'edollofl,\ I "" en 1(./ I opposed, ways of playing and rca'llIn~ me III trun nt 1 cannot think of anoth 'I II1dl\ IdUoIl more (IU hh compiling such a book than D:I\ IU IlIdll1.111 " I III" artist. but is recognized a, one of uic lin 'Ilium knowledge. incredible organi/uucnal ,kill, um In' h in the field, My congrarularionv 10 hun lur th " I pet community with the publication 1'1 '",m('(/ ,. Teaching Techniques,

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Teaching trumpet would be relauvcl "'.. If II Iu characteristics. musical background. m 'nl~1 ..p.. rhu • these differences that make trumpet peda '''8, lin "n\ successtul performer. I have often been amazed nl rh "aflc>\l m lin pet artists play the instrument. In man ~i1 •• pi In are perfect examples of h w wcll thc-, Incthl.lcl , I

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While studying trump I wllh r I r.m \ degree at the University of 01 rudo-Bould 1(1'17 work he did for his doci ral div- ertauon. 1\ 1I"flU for Trumpet and Camel, Frank and I had man til opposing playing methods. Till. rn lir-I rc I" may not be successful with nil p ople.

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Althouoh Ie . . . whenarticulat? ~ common. other methods of tonguing require the tongue to touch the top lip tonguecontact'~l~h uch methods are similar to dorsal-tonguing except that the dorsum of the numerousperfo' e upper lip rather than the roof of the mouth. This method IS preferred by forthis tessitun' me~slhat of ten play in the extreme upper register because the tongue arch needed thePOintof a" posiuon, the dorsum of the tonaue very hish and forward in the mouth, bringing "tWeet-1weet"bi If eompre . to the upper lip. ""The physical feeling is very similar .' to whistling . 'd . ssron I ~ronlteeth and hCflls as hl.gh as possible, anchoring the tip of the tongue to the back of the lower romthe tip. A I,g ~ Y touching the upper I ip with the area of the tongue approximately one inch rucu atlllg cleanly in the middle and low registers in this manner is difficult.

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Sf Another mel h d f . ' . o,perChops.This me 0 0 .tongulllg on the lip is advocated by Jerome Callet 111 his boo~, iflhe10l1gue ethod utilizes tip-tonguing but directs the point of contact to the lips. The up sp'lIllng., . ." .' IS exactIY I'" . N 1171IS1 ' strikI e IIte inner parr of the lips through the 0'Pel1teeth. The acnon I"e teei! [ , eve, longl b I ' I J 1. SIC] To . te e tind the lap teeth or higher on the inside palate above IIie lOp aif lIe ororne. ~'/lng behind Ihe lap leeth builds resistance and strains the throat area, (Callci. ~~ealeStIrum/~es. Jerome Catlel, 1987. p 8.) Callet 00es on to state that: Most of the 1V0rld's ..J!!.) I so OIS/S, bOlh classical and jazz, tongue through their leelh, slriking their hps.

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This manner of tonguing is not new. Several older cornet and trumpcl methods adv this method of articulation. Edna White (1892-1992), a lVell·kn'l\\ n Irumpet soloist and OCme . Corporauon, . nee o president of the H. N. White a dvocate d Ih'at .tongulng '\ and musical excerpts are good practice materials for pop tone praclice.

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MULTIPLE- TONGUING The ability to longue rapid passages is a requirement in today's professional trumpet world. Beginningwith the great Joseph Jean-Baptiste Laurent Arban (1825-1889), cornet Vil1UOSOS such asJack Mackintosh. Gc~rgc SWift, Matthew Arbuckle, Jules Levy,Herbert Clarke, Del Staigers, JamesBurke. Bohurnir KryJ. Oskar Bohme, Vasily Brandt, Frank Simon, Theodore Hoch Waller M.Smith, and Leonard B. Smith popularized and perfected the aJ1 of double- and triple-t~nouino. Morerecently. trumpet soloists such a Maurice Andre, Rafael Mendez, Harry James, Timof~i Dokshitzer,Sergei Nukarjnkov, Wynton Mar alis, and Allen Vizzutti have set the ultimate standard fortechnical virtuosity. Once students have acquired quick and precise single-tonguing, they can begin 10 develop ibeirmuhiple-ronguing ,J,.dls. Trumpeters generally use multiple-tonguing in passages thai are 100 fastto single-tongue. Dr. Keith Johnson advises: Before attempting 10 play double- or triple-tonguing, the playershould speak or .Iil/g the syllables slowly and resonantly, giving fulllength 10 vowel sounds and/Ising very steadv rhvthm. Only after these sounds can be properly verbalized should any Gl1ell1fJIbe made 10 produce them on the trumpet ... The articulations are more satisfactory when madein the very from oj the /l/OII/h. (Johnson. Keith. The Art of Trumpet Playing. Ames. IA: Iowa Stale UniversityPress. 1981. p 74 )

Double-Tonguing: Double-tonguing tS the alternation of articulated syllables "ta-ka" rather than the normal Single-tonguing "ta-ra" on two successive notes. With practice, players can double-tongue more qUicklythan II is physically I ossible to single-tongue. "The student should attempt to make the "ta-ka" syllables every bit as precise and articulate ~ the ta-ta" syllables used in single-tonguing. This is accomplished by forming the syllables III .e frontof the mouth. Ultimate speed of double-tonguing requIres a cont1JlUOUSflow of air and a hghlartieulation. Many performers prefer the syllable; "da-za"b or "di-gi" when playing as rapidlyas POSSI ,,'bl e because Ihey are less percussive. and allow th e".tone to smg "eas'ly '- I . By practicing the syllables in the following exercises, one should make certain that the percussivenessof attack is very similar when sino le- and double-rongumg. After the syllables. are ~astered, they should be played on the trumpet. At first, the "ka" syllable may sound less distinct anthe "ta' syllable. Movinc b the "ka"c syllable forward in the mouth makes ItS attack clearer than when '," , I ISpronounced in the back Of the 1110uth. .

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Speed evenly and in Semi-staccato staccato notes

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of articulation improves naturally and automatically once the ,yllablcs are played a consistent manner. When longer notes arc desired, tltl' ') llable-, "tu-ku' work best. notes are produced most easily when the syllable, "ta-k a arc used, Finally, rapid are attained using the syllables "ti-ki."

Students often learn the concept of doublc-tonguing as if they were immatating the rattling sound of a rattlesnake. word "kitty" as fast as possible.

by ,aY"'l! aloud Ihe "ti-ki' syllables Another idea i-, 10 repeatedly say the

Triple-Tonguing: The most common syllables used in triple-tonguing arc "tn-ru-k a or "tu-tu-ku." The syllables "ta-ka-ta" may also be used. When using thc latter in a scric-, of fa,t triplets, care must be taken to ensure that each triplet is not segmented from thc others, creating a choppy rhythmic flow. The follOWing examples of alternating single- and triple-tonguing should be pronou~:~ aloud until all syllables are equal in length and clarity. Alter ncqumng consistent pronounciations, the exercises should be played on the trumpet.

333

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Another method of triple-tonguing is described by Col. Earl Irons in his book, TwentySemi Groups 0/ E.rerCl.~e.\:- Irons advocates that the syllables "tu-ku-tu-ku-tu-ku" be used whenextended pauerns oJ triplets are played. A slight accent should be placed on the first note of eachtriplet so that Ih" double-tonguing pattern ,sounds like triplets rather than duplets. (Sec: Irons. Earl.Twenlv-Sevcn Group" oj I:Xl'(l'I\CS. San AnIOIlJO. I'X: Southern

MUSIC

Co., 1966.)

The main advantage of Irons' triple-tongue method is that no two "ts" Occur together, makingultimate speed la,ter than conventional tnple-tonguing. Another advantage is that doubleandtrilJle-tonguing arc learned sirnulraneou Iy, assisting the student in the early development of multiple-tonguing. Tim method" not only the easiest to learn, but has the best potential for velocity. It is advocated by the author and James Burke. (See: Hickman, David. "Articulations and Finger Dexterity." Trl/m I ·...... on' \~lib DilVjd Hjl"knlj,lll. Vol. 4. Denver: Trornba NewDirectiolls in Tonguuu.:. NY' Charles Colin Publications. 1956.) 1

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playersThe follOWing arc some general

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tips on multiple-tonguing

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from leading trumpet and cornet

Herbenl . CI'ark· e.

I'lIS adl'l.mble . 10 control the " Ke, ""K" a, or "KII" attack . Ttus form of arriculOlion is usuallv overlooked by a majority 0/ cornet players whose doublelonDIII'11 .' never correCI. (Clarke, Herbert L . CI ar ke Studies . Chandler, AZ: . 0 g. as a resnlt, IS Hickman Music Editions.

p 121.)

lOUisDaVids . W .: I . 0 should SOllndas On. hen performed correctly double and flip e-lollglIU1o. . T",~~' Sharp J' . I e-tongutng. . 0 (Davidson , LOlIIS. .u.ill!4= . ' c'1ear, and rhvthmicatty even as, very fast smg o< Itrhninu 81oomlngton. .' ---=!i.

" MuSIC. Inc., 1970, pl. tN: Wind

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. fi layer if he will Double-Ionguing call be brought into focus 01 any p ModemBrass T p l11elll by saying the word "Giddy." (Bellarnah, Joseph L. f.A"';S~u!.[rv~e:),YJ!olLrJY!lJ_"-"'""'"

leonard B S . h ex' en mit: ~ng

Philosophies.

San Antonio,

TX: Southern

Music Co., 1976, P 30.)

146

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Fay Hanson:

The factor that spe/~~ st~c;cess orfailure in either double or Iriple-Ionguing is the manner 111 which the ku sound IS produced ... MOil plover,l trv 10 lise the back portion 0/ their tongues for this sound and, as a resuh 111"'/'1" ocq;lire a IIni/orm sound between the "T" and the "K." (Hamon, Fay. 'M', "''', \1' """'n ;old

Technic. NY: Carl Fischer, Inc.. 1968, p 15.) Roger Sherman: first.

It makes no difference whether double or Iriple-llJlIg/lll1g is introduce) In/act, some teachers introduce and leach both .lilllllltOlll'owl\'. (Sherman.

Roger. The Trumpeter's Handbook. Athens. DH: Accura Muvic, 197'1. P X~ I Mixed-Tonguing: Sometimes, passages do not follow rhythmic patterns conduci \ c 10 regular double- or tripletonguing, yet are too fast 10 be played with single-tonguing. Such p"";lge, require a mixture of "ts" and "ks" that must be practiced in their own unique way" The following passages from the standard repertoire articulations are provided with each example.

require

mixed-tonguing.

Suggested

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In an attempt to make rapid articulations easier a "tr I . . . 1888 . A Iever, operated by a finger ' "of threrno 0 mouth " was patented by CharlesMeister In 1 f piece '1 . e e t hand rno . . thattemporan Y Interrupt, the sound waves passing throush th '. ves a tiny piston-valve copyof the patent drawings. '" e mouthpiece. The following is a

HISTORICAL ARTIFACT - TREMOLO MOUTHPIECE

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UNITED STATES PATENT OFFICE. CHARLES MEISTEn, OF PBlLA..DELPBlA. PEN1iSYLV ABU, ASSIGNOll TO FREDERICK 1. ANSPACH, OF SAME PLACE. 8J>D TREMOLO fOR CORNETS. OIPI04'nOJf

lonDJai put. of Letten ._'-llt AppllurlQn

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Scorial Jl/o.193.546.

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consistS in prov.id~ the ~iece .nth • ~Sv.lmt lnstrurencs. TIle use of this valLle ;fttaehrent capllble of bel", .1ttachrent 'Jill croble a pedonrer to prodtr.e reeipl'l)(:8tcd b)' the action of the lir@$B to lillible ard errpre tor~ ..dl"@ roees and also Il intermittently cut off the pilHII8'll or air, trcnolo, ittld the SIlld f'1fectE lilly btl prcdx.ed ard t.hos in (!fiect proiUll PJlutiont. Tnt IMtJlntlll'll!OJf,ly by ,) siltple ~I.t of OOP rapidity of cbese pul$lltlOOS .nil procka .. of Lhc fl~rt. preferably of the 1e[l hand. varied effet.t, as deJired. A .~I. In additlon LO ue 5boI.oe: effects it is 'oEll nciprocatioo of the ......IIII! in are dtrectfOll kn::J",n that LO play the notes In the high may be escsed to qxon in 5UOCt'sa:'~ tw or f"eglsters or above the surr tht! JD:IUth nust 11Dn~ports or paS5llgf$ lII1)' be. .11 of on: be cont;rllCLOO rigidl)' ~ld vith a SMi In di~ler 01:of dirtererc. diarrctt:fI. q)fminjJ. This c~ of the IlOUth arxl the In the drM9. figure 1 is • side 1'Il.'CcMoIrlly hcreased sir pl"essure is; a clevation of • correc. tDbody~ WIJ source of nore or less disconfort to the .inp~5, &how111l the IIOUlhplece in player ~ long IJn:I constant an:! high ~tiOfl; aM fig. 2 b • MlCtionll ell!\l,tl.tm n-glner pLsyi ... is tli!

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The final example of practicing in various rhythm" -. taken from Johann Nepomk Hummel's trumpet concerto (third movement). Here, scgmentll1g cuch difTiculi grouping c:n isolate any imprecise notes.

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LISTENING TO MUSI An important part of any musician's daily practice should be li"tcning to g~od musiC're~~ pure enJoyment of listening to performances by leading artists IS Inspiring and ICddsoto a !1fious motIvatIon to practice while providing a broadened musical apprcciauon. Listening to . h interpretations helps the player understand stylistic and creative ideas to incorporate mto his 01 er own perfOlmances. . '. '. Many of the sect tons within this. book refer to recordll1gs that ale ,-me ex. anlples~t~ . 0 and music or exercises discussed. Because music is a listening a11, the importance ~f heafl~';ool studying recordings cannot be overstated. For instance, hearing Armando Ghitalla s reco~v:d~Sa Molter's ConcerTo No.2 in D not only provides an excellent style to emulate. but also pr Amlando beautiful aural concept of light piccolo trumpet sound and articulation. (Ghiloll,: Ar m'll/do. ~fl'aPro: . . . Pl'I' S til. s rcnes Ghllalla Trumpet. Camas .. WAc Crystal Records nCD760). Likewise, . H ip . rrn w Oiile roviding Trumpet CD gives the listener excellent examples of orchestral audition passages I A~: summit an ideal orchestral tonal qualiry to strive for. {Srnirh Philip. OrcheslraPro: lUllnpet. Temp~.. J' List 01 Recordsnoco 144) (For a large listing of recordinos for trumpet, please refer to Appen IX . Recordings.) b . along WIth . recording, .. . a keen scnseo f0 tuning, balance, PlaYll1g IS an excellent way to acquire and emotional, blend, rhythm, and style. It can also make the practice more musically leWaJ~lI1e 0 music. Once ultImately building a more mustcal (as opposed to mechanical) approach to pldYlil rn of sel l the player develops a strong emotional connection with the printed nOles,. the ee dofor muSIC expression and enjoyment Soon becomes addictive. This often leads to an insatiable nee as a part of everyday life.

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STUDYING MUSIC A watifying musical performance can best be aC,hieved if the performer has a thorough undmtandlllg of the compos.non as well as the compose: s Intellectual and emolJonal ideas in the work, Many works arc '0 complex that generauons of musicians continue to study and uncover newcompositional techniques or influential events that affected the composer's creative processes andintentions, On the other hand, some works are relatively Simple and straightforward and can be easilyinterpreted. As an example, The 1/011011'Men for trumpet and strings (or piano) by Vincent Persichetti lakeson a new iuterprcuuion after the performer reads and studies T. S, Eliot's poem of the same title, on which Persichcui based hi, work. Likewise, an understanding of the sociological philosophiesembraced hy Andre Jolivct greatly a sists the performer in interpreting Jolivet's two concertosfor IrUmpCI. l-vcn Joseph Haydn's famous trumpet concerto can be better interpreted oncea person studies and understands the events and influences on Haydn in 1796. A portion of the player's day hould be devoted to research on the composer and the study ofmusicalform, style, and compositional techniques used in the work being prepared. Looking at thefull score helps determine how the trumpet part interacts with other musical voices so thai properbalance, color, and phrasing can be determined. This type of study is as important as playing theirsrrument and contributes greatly 10 overall musical performance.

SELECTED MATERIALS FOR EFFICIENT PRACTICE

Arban,J. B. L. Complele Conscrvato Bing,William, Fundamenta"

Method. NY: Carl Fischer, Inc., 1982.

for Brass, Bk. I. Montrose, CA: Balquhidder Music, 1998.

Cichowicz,Vincern. "Flow Studies" Contained in Orchestral Excerpts for Trumpet with 5ano Reduction Accompaniments. Montrose, CA: Balquhidder Music, 2005. ClarkeHbeL . Tee I'LSd ' er rt . Clarke Studies. (Contains Elementary Studies, uuca III tes, Characteristic Studies, and Selling-Up Drills). Chandler, AZ: Hickman MUSIC EditIons, 2005. COlinCh I ' ares. Advanced Li Flexibilities.

"

NY: Charles Colin Publications,

1972

.

HiCkman, . DaVid . "Embo ue IF' lure ormauon an d W annu . 1" e' Up ." Truml1et Lessons with David !:ilckman, Vol. II. Denver, CO: Trornba Publications, j 992. LiliYa,Clin ------.

~~iL

I oro Method for Trum

Trum

I or Comet. Montrose, CA: Balqui

t Technic. Montrose,

'.

FleXlbilltles. Montrose,

CA: Balquhidder

CA: Balquhidder

'h'dd I

er

M sic 2000. u ,

Music, 1995.

.

MUSIC, 1996.

MCGregor,R .. .. Orchestral L' ob Roy. AUditIon and Performance Pre aratlon for Trum t. ~, Vols, I·IV. Montrose, CA: Balquihidder Music, 1992·1996.

168

--- . Dail

Scale Builder. Montrose, CA: BaJquihidder

Music, 200 I.

Nagel, Robert. Speed Studies. Brookfield, CT: Mentor Music, Inc .. 1965. Pilafian, Samuel and Patrick Sheridan. The Brass Gym. [Chandler. ___

AZJ: Focus on Music, 2~

. The Breathing Gym. [Chandler, AZ]: Focus on Excellence.

Rosenfeld, Seymour. A Daily Routine for the Busy Trumpeter. Publishing. Co., 1991. achs, Michael. Daily Fundamentals for the Trumpet.

Westmont. NJ: Schaffner

Y: International

Saint-Jncome. Grand Method for the Trumpet or Cornet. NY:

2IX)2.

Music Co., 2002.

arl Fischer,

Inc .. In. d.].

Sandoval, Arturo. Pia ino Techni ues & Performance Studies, Bk. 3. Milwaukee: Leonard Publishing Co., J 995. Schlossberg, Max. Daily Drills and Technical Studies for Trumpet.

Hal

NY: M. Baron. Inc., 1965

Shubruk, Richard. Flexibility Studies and Technical Drills. NY: Carl Fischer, lnc., 1973. Staigers, Del. Daily Exercises. NY: Carl Fischer, Inc., 1960. Stamp, James. Warm-Ups + Studies. Bulle, Switzerland:

Editions BI M. 1982.

Thrower Daniel T S' k' 'F ' '. .: en till 111 un Perfonnance Etudes. Markham Onl. Canada: Eight Note PublicnllonS,2004. ' ,

Vizzutlii:~en. The Allen Vizzutti Trumpet Method, Bk. I. Van Nuys, CA: Alfred Publishing ( Voisin Roger Da'l E . , . IY xerclses. NY: Intemational Musie Co., 1963. laUder, David. Embouchu

re an

d T h'. . . ee nlque Studies. NY: Charles Col in Publications.

1974.

TRUMPETP~

169

CHAPTER VI

Psycfwfogy 2005.

)65.

• 1\0 IE Many thanks to Dr. Richard H. Cox PhD MD one of the world« .Ieading psychologists and clinicians ~n pe;fonn~nce anxiety, lor his help In editing and proofreading this chapter.

For a functional and successful relation hip, a student and his or her teacher must have a mulualtrust. The student needs to feel that the teacher wants to help him or her and that the teacher providesconsistent C'PC'I'''C and encouragement, even when performances are less than desired. Similarly, the teacher needs to feel that the student values the advice offered and that all recommendation, arc fully considered and practiced. This mutual trust forms a bond that has unlimitedstrength and cnablc-, the student's full potential to be realized. Honesty is an integral pan of trusr. Without it, the relationship is superficial, patronizing, andcannot withstand SlIcec"e, or disappointments. The student and teacher must find a common ground where honesty can be maintained without hurting egos. For this reason, a teacher's approach to guiding students should vary according to the intelligence, rnatunry, personality, ego, senseof humor, and confidence of each individual.

ite

19 Co.,

POSITIVE The teachcr rnuxt nffcr advice in a positive useful manner so that the student fecls encouraged and re'pccted cgative coml;lents ofte~ lead the student to become defensive an,d reSistantt· . and "don doth" 0 new idcux and muxicnl concepts. Negative phrases such as "d on 'r d 0 this" I 'I'k hi "t B t at. are generally less effective than "let's try this" and "let's make 'I even better,.' e t asa the teacher's comment is perceived ImmediatelyI I' neYelling the student //(I/ to do somcthinc gallvere mar,k tnc I' rcact,on to which is almost 0' en mild anser. t a so en~ always .less con rid J ence or ev o Orcesa menr I . a Image of the incorrect phrasing or action. . . teac hiII1g an d learninge- Although Slude The 1'011 OWing scenario is an example of neoatlve I I f I the nt and tea c Iier bo~th Want the lesson , .. 1 . harmful than ie p u . to go well, the end resu tIS more Teacher: OK, let's begin with etude number nine, StUdent:

OK.

Teacher' Have you been working on it? How is it coming along? Student: Teacher:

I have most oj it pretty well, but there are afew spots tI~~~~ tat VI 'k discllssed last week? l': 1, huh, .. I see. Did you practice those spots" ewe au mean you are still having problems?

170 tudent:

Yeah, but it's getting better ... I think.

Teacher:

I see. Well, go ahead and give it a !!:J!.

The student plays two or three measures. Teacher:

Wait! Stop! You missed the F-sh{//lJ there! Do it

(1110

in.

The student starts over, playing a bit more nervously. Teacher:

Whoa I Right there! Did yOll hear how out-of-tune that low f)-17m to trigger. Don't let it be sharp.

'I'as?

Be sllre

The student starts over, playing even more nervously. Teacher:

OK, stop I ... Stop' YOllstill oren 'I getting it! Whl' don 'I vou listrn say? I said to trigger that U-flat!

Student:

Sony. I'll fly again.

Teacher:

OK. From the top.

TO

what I

The student now plays mechanically but manages to trigger the D-fIal. Teacher:

Hey! Stop I Why aren't you getting a fult tone? /sren; you breathing correctly?

Student:

I don't know. I thought I \lias.

Teacher:

m

Well, you obviously weren' I. Don't you remember our le.I.II!II U jell' week~ ago ;,:henwe talked about breathing? Come on ... gel with it, Trv it again, This Ime, take a big breath and remember to trigger the D-j7m.

The student plays with great trepidation, playing extremely easures, and then misses a high note. ~

Teacher:

mechanically

Yikesl'. 01lcll1. D on 't II1ISSth{// ' note. OJ all oj the limes most tmportam one. Now, do it again.

Oil

for about ten thr page, tI1CII is the

The student seems to t thinos to remember and too m h no want to try to play now because there arc too many Opt10 play ensue's butth stU~ emotional pressure. The student begins to give up. A feeble anem , e u em stops Just before the high note. Thoche~. WI'lat s the matt ? A lifjicull fior you? I' I I er. re you afraid of the high note? Is this ell/de roo II 'I ' . on? ve tac many .1I1Id liJfi'1(//II'). W iat s going , ems your age play this.. without anv l'. tudem

I don't know. It wen

I . t muc 1 better /11 the practice

mom.

Thene~ative teaehin e . . ce for the s~udent. It IS likely that the g xample above turned the lesson into a negative expenen betWeen : e Student and teacher is er~~xtllesson will be even more disastrous because the res~ct bond of f~~t;heauslng the teacher to th~~k ~~ntmued negative criticism will eventually brea\~ ~tudenl to all he teacher does not, at the student IS not work III0 hard enough, and t A~ teaching a;espec~ the talent and hard work the ~tudent provides.. enario. proac would turn out differently, such as in the followmg sc

Tencher:

OK. I ',." had etude number nine in my head all day. I love that etude, Please 1'101' itfor me.

Student

0". 1\

The student pluy-, the fir,t large section of about thirty-two measures. Teacher:

Verr

Student Teacher:

1.l'1'.1 take a look at this first section 11'11that you elljoy playing this elude.

11/(/'

and I

1'1111

True, 1>111\/JII made il sound easy. Let's do il again. Sing our even more this lime, It ,lightly

Teacher:

Grea:

Student:

Oh. I/"rgm

bcncr, but still has an intonation problem on the low D-flat.

brtter tluu lillie!

"""11

What do you think about that low D-flat?

to trigger.

That ',I 0/\ 1'011 'II ge! il this lime. Please play it all again and sing through that D-jlol.I'It/(lIlg it rvactlv where .1'011 want it 10 be,

The student pia), TeaCher:

now. I like your musicianship,

Yeah. I>uI "'.1 difficutt ill places.

The student pia),

Teacher:

/01'

again and with much improved intonation.

Vel'\' nir», Thill lillie, all oj the notes sang beautifully. Now, let's go on.

The student play, the next section but has difficulties with breath control. TeaCher: lt reallv takes some deep, relaxed breathing 10get through all of that ', Do .1'011 \'IJII could sillg the ends ofphases as well as you do the beginnings?

thinl; lito I

StUdent Well, 11/(1\'1",I .I/IOUld mark all extra breath here (pointing to a place on the page).

Tencher:

Sure. "1I1l11 would work, Personally, I III k e a bi19 b rea tlI IIere (pointing)b and also a carch·!Jreath here (pointing). LeI me demonstrate.

The teacher play, the passage. Teacher: Do

Wilt

like that?

Let's play it together that way.

The teacher and ~tudcnt play th pas age in unison. Teacher: . Good.

You sound just like me. Now play

This p '. . OSillve teaching approach

incorporated

II by

yourself

. I nrs: the following e erne .

: ~~ggestions were not in the form of criticisms. . • Th~ student was a~ked to identify what the problems were. ins musicality the priority stUdent. was allowed to play large sections at a arne, rnak ct~ the student's oVer "tile mistakes. It also shows that the teacher respe musicality and efforts to learn the piece.

172 • When the student had a problem with breath support, the teacher encouraged the student, making the student focus subconsciously on taking fuller breath, and singing through the phrases. . • The teacher suggested breathing places rather than slating where thc) -hould be. • The teacher made the student think about different ways to phrase the music. • The teacher demonstrated the passage, showing a high level of personal involvement. • The teacher and student played together, making the student feel more confident. and providing a clear tonal image to emulate. • The teacher complimented the student by saying that the student -oundcd just like the teacher. This gave the student even more confidence and a highcr standard to attain.

• The teacher did 1101 mentalJy reinforce negative aspects of the performance. Positive comments provide positive mental images that create worthwhile goals. On the other hand, negative comments place undesirable images in the mind of the student. As an example, if a teacher tells a student 1101 to miss a certain high note, the student cannot help but form a mental image of the note being missed. This is the exact opposite of the irnacc the teacher wants to instill in the mind of the student. s»

I,

I I

Here are some common phrases that can be changed easily from negative to positive: NegativeComment Don't miss that note. Don't run out of breath.

f Positive

ommcnt

I

Play that note beautifully. Fill your lungs and kccp that beautiful tone all the way through the phrase.

TIlis is difficult. You can do it. Make it sound eff0I1less. You always have trouble here. It's getting better. Try it again. Play it even better. It's challenging.

but you can do it.

It will take time, but you can do it. . In some instances mi bl .. ... Drawing altentlon to a probl . ' nor pro ems Can be Corrected throush indirect Criticism. 01) em IS sometim " . de throuc comments that help th d . es necessary, but many corrections can be rna e stu ent listen more carefully. . For instance, telling a st d . . I adjusts IntonatIonwell is likely t h I u ent that It IS fun to play with him or her because he or s ie dent t~at he Ors~e plays Out-o~-t~n~t:~l1student focus on intonation. On the other hand,. tellmf~ss~raws t e Student s focus aWay fro h only cause the student to worry about IIltonation. m t e act of IJstening to the music. trum

II ,

This is too difficult for you. You can': do it.

!

The teaCher's role is to guid h . .. .. . f hoW the pet ISto be played and ho w e t e student by mstllllllg positive mental Images 0 ch brief ~~~SIStlvefollowed by clear and ~e mUSICIS to SOund. Problems should be addressed thrOU~chlesS SOluti than Offering insPirino~lJ~~live.Images of new goals. Pointing out mistakes IS;;echnicaJ Slud o~ to difficult passages 'M'. rOsltlve musical concepts or creative and systemaU that the em OCsnot realize errors· ista es should only be pointed out if the teacher suspectS are OCCUITlng.

r f

(

I

II ,

(

!

173

SUBLIMINAL SUGGESTIONS Incorporating a new habit requires many repetitions, especially if it replaces an old habit. The student needs to be constantly reminded of a new habit until it is ingrained. Because the teacher is not always wrth the student. a mechanism needs to be in place to help remind the student of the new habit. The student can place key words or phrases written on small neon-colored cardboard signs on the music stand when practicing. The signs provide a subconscious suggestion that the student's brain perceives even when it is not read consciously. A black marker can be used to write key words or phrases that trigger a mental reminder to incorporate the new habit. Signs may read "Trigger," "Breathe," "Air upport.' "Sing th orcs,' or many other phrases. Signs are usually about three by eight inches In 51/C and can be kept in the student's trumpet case until it is placed on the music stand during practice. With consistent use of the signs, the author has found that new habits areusually formed II ithin one week. c

I,

I I

DEVELOPING MUSICAL CONCEPTS

f

I !

I

I

I f

(

i

StUdying musical scores and r ading information about composers and musical styles are veryhelpful for apprccuuing and understanding how music is to be properly interpreted. However, ItISonly through the listening process that fuJI musical concepts of timbre, Vibrato, articulation, rhythm, melody, and harmony are learned on an emotional level. It IS this emotional sense that SUbconscIouslyguides the performer when translating written notes to musical sounds. Playing music is the best means of developing musical concepts. Listening to .live ~rformanees and recordings is also important for acquiring various interpretations of a given piece f mUSIC. Through the process of iistenins studying and playing music, a student gradually develops a keen sense ~ '" expressIon. '"'' This process s h OUId begin of musical. awareness '"and personal asSOonas the st ud em IS . capable of playing .. a lew notes. Listen: . .' hearing pitc . h es. K erith Johnson states: ISenll1g .Involves considerably more than Just I" Pilch I merely 0/1 if I I I I are 011hese qua uies I ie eo 11e 111(//1\'characteristics Of a viven souna, anc tne m .' I l Payer CClI1I I' ~ 111L/Slcal o. . I . .he vill have 111their ) menta r lear, I le greater the number of Ideas ie 01 5 Je \ eperrory . [Johns '.. . . '1 . S'I Univ . Press, 198t, P 27, 11lS0n. Keith. fhe An of 1 rumpet PlaYIIlC. Ames. .lA: own ta e .

IS

r

Rec di . . d can therefore assist the stUdent i mgs provide the opportunity for repeated hearings an. I" n relea~e, volume, intensity n edlrnmg how to listen carefully to changes of timbre, artl~u n~tl~e;ns of ingraining mUsical~ an tone quality Playing along With recordings IS an exce e oneepts. (Refer to Appendix I: List of Recordlllgs.)

f (, (

!I

I

THINKING MUSIC WHILE PLAYING Perfon . , 1 crobats, or race car drivers, refer to be' ners of all types, whether they are mUSICJans, ath eres, a f consciousnes that lllg allows the the "zone" during peak performance. The zone ISd~ sta~f ~he amount of time a musician h~~r ormer to focus and visualize the task at hand. Regar ~~ achieved only when the performer rne~raetlced to do a specific task, consistent accuracy can e rforrned. tally hears the sounds and feels the actions before they ar pc

t

174

Several terms are used to describe the mental focus that places the performer in Ihe Zone. A person is so~etimes said to be "hot," "on fire,' "out of his head:' or "in the now." These phrases mean that the person is in an "alpha' state, a state of conscrousn-, that has 9-14 brain waves per second. Brain waves aremeasured by the number of electrical cycle, pcr second emitted from the brain. At this level the mind IS relaxed, allowing Image rccal I to be VIVid. (Refer 10: http://

brai II. web-us.convbra in wa Yes fUHe I ion. him. )

When the adult mind is fulJy conscious, the brain is said to be in the "beta" Marc, meaning that the brain waves are at the rate of 15-40 per second. (llill.) Whi Ie th beta stare allows the brain 10 reason and function with alertness, it is not in the best m de for recall. Persons needing 10 perform difficult physical tasks with precision must learn to quiet the brain '0 that the alpha stale can be utilized. This process is rather difficult to do quickly but it can be ach icvcd through training. Musicians that wish 10 perform difficult technical pa sages while fceling specific emotions must master this ability, A fourth state of consciousness is the "theta" state, a drearn-l ike condit ion where 5-8 brain waves are produced each second. (Ibid.) During this state, a person i, apt to make remarkable deCISions,create new ideas or inventions, or clearly understand complicated issues. This occurs most often when day-dreaming. The theta stare may well be Ibe Slate in which genius is manifested. (Se~:Severson.Paul and McDunn.Mark. Brass Wind Arlislry. Athens. 0/-1: Accura Music, 1983. p 12.) Ii IS dunn& this state that musicians become inspired with new and creative ideas for cornposmg, arrangmg, and Improvising. . When perfonning in concert, the musician must be able to fall in and (lui of the alpha slate WI/l-bemgfully conscious at times, and being in the zone when the instrument is being played. A g~od muslcmn will be in the alpha state throughout the entire musical selection, even when not actudlly playmo the mst u t B '. . . . I d beinz roduced b b r men. . Y qUlelm~ the mind, the musicran focuses on t ie soun s b ~ I r orber players, mstmctJVely reacting to these sounds and allowing creative thoughts 10 perfP ayed; Tboomany conscious thoughts entering the min'd durins performance block the orrner sa lilty to conr I th . . "d . d (See' C R' h d . You ro C eBpreCISion of execution and the emotional character eSJIe. . ox. ICar H.. PhD.MD . . C sultarusInc .. 2006.) . an ccomeA Good MUSICian.Colorado Springs. CO: Cox & Cox on ill

Ii should be noted that ". .. h beta state when playinobth . practice seSSions sometllnes require the mind to be In t e hani s are ingmined theemst:ument, Such as when wOodshedding passaoes. However. after the mec antC , perlorrner must 11'1' h " ,.. u Ize t e alpha stale when practici ng musical rene Itlons. A person with normal h . I . I' trumen/, but playing with ex . P YSlca and menta] health can leam to play any muslca II1S t the mechanics of PlaYit:e~on and extreme technical facility requires much more than J~~d to cOmmunicate to an a(U d-:lence.en tally focusll1g on the SOund and feel of the musIc IS nee

D R' r. Ichard H. Cox state' M . . I n played, nOlesarejuslnoise I < S. USICIS notes. Black marks on paper. Even >VIe h . ally carrect. It has a 'ho/lOl Uness.' comrolled M . ., I d , . . IISICcan SOlll1C1empty even when It IS P aye tec mc den . 8 a/lows ItSto lift Ihe mus~ I;n ;0 II unless it communicates a message with Jeeling. Transcen II ce is also observable 10Ihe pC.% a lelgln oj spiritual quality which is discernible by the audlendce.ce il/ the al d' elJOImer Whe .r. . I . lscen en I lence andille au d'lence ca. . n" peljOrmlng , the perFormer can see l1e 110/d ,F. le II. 0riO if! ify' J'. em, exactly IVharyol.1a' nsee /lIn the pel/ormer. You may not be able 10 eJIIMD YoU Co Be,. Ie expene . b PhD . ~ o ~mt' A GOOd MuSICl!W.. . . Colorndo SnC/I1g, UIyou know it is there (Cox Richard /-I. • ri "') p ogs, CO: Cox & Cox ConslihanlS .. Inc.. 2006. p 30. f th Before Outlining severa! . . '. . and out o e alpha state, the next pa e~elclses that develop a musician's ability to go qUickly 111 ge 0 ers a lew Interesting ideas, thoughts, and concepts.

175

COl1.\ciolls self-criticism makes one do worse .. This has been proven by Dr. G. Callan Chern- of London, England.. W~·t/lI1g 111 The BI"I/Ish scientific journal, NaTure, Dr. Cherry stated Ills belief that stuttertng IS caused by "excessive monitoring." To test his Theory, he elillipped twenty-five severe stutterers with earphones through which a loud tone drowned alit the sound of their own voices ', When asked to read aloud from a prepared TeXTunder these conditions, which eliminated self-criticism, the improvement was

Stuart Dunkel:

"remarkable. Strntegics.

SIll)

" (Dunkel. \ C ....l 11I.

Stuart Edward. The Audition NY: Pendragon Press. 1989. p 88.)

Process:

Anxiety

Management

and Copino

IIII1Iges are better than words, showing better Than Telling, 100 much instruction worse than none, and conscious Trying often produces negative reS/lIIS. (Gallwey, W.

Timothy Gallwey:

Timothy. I!lJ;Jnner (jame of Tenn;s. NY: Random House. 1974. p 19.) William Glasser: Self-criticism and low confidence block us from our minds. (Glasser,William, MD. Posilive Addiclton Y: Harper & Row Publications. 1976. p 64.)

The skills 1II0St critical to the success of any performer are The ability 10 accurately and artistically conceive the sound before it is played and The ability to listen and judge objc ctively whether that goal was achieved during peljormance, Unfortunately, Theseemlnglv abstract idea of hearing and thinking entirely in Terms of sound rather than verbal self-instruction is often difficult for musicians whose playing has been technically and inechanicallv oriented. (Johnson. Keith. The Art of Trumpet Playing. Ames, IA: Iowa State

Keith Johnson:

Universily Prc".

1981, p 52,)

Richard Cox: It is absotutely PhD, MD. ou a' 2006. p 58.)

necessary

to "hear"

the note before it is produced. (Cox, RichardH" u i iii . Colorado Springs, CO: Cox & Cox Consultants, Inc..

t:

David Hickman: Develop a "ritual" . .ltriggerin~ action which is used to shift the mind aleltness to fOCUSIng on a specific mental Image] before playing. In general, lIy to relux, clear all thoughts, and "hear" your entrance (or entire passage) before playing. .(Hickman, DaVid. "PSYChOlogy." I!J.!.mpcl Lessons with pavid Hickman. Vol. 5. Denver: Tromba publications, 199 J. p

8.)

Fla. St e: 1'1 . ' I bsolllie absorption in The . Oil' IS a state OF concentratton thai amounTs a a ' I' d act " ~, I I fieel slrong a ell an IViI». Inthll' Itel1e actionj1ows' e'fjorTleSlI)'fi-om thoug 11anc you, ' . ", jj' . I 01 ThepresenT unself-conscious. Flow is thaI marvelous feeling thaI you are 111 commanc .. .. and .+ . ,. . d '"Th P er of Concenllallon. I!l' peljOrmlJlg {[/ the peak of your ablhTy, (Flasle, R,chilr . e ow Qood HeahhMagaLine. OCI. 1989. pp 26-27; 94; 99-100.)

Richard

TI -+. - are able 10 control or I . Ie beST, most consistent, and most confIdent peljOlmelS I kfi' 1 selbacks in c lannel Their emotions to fiocus their concentration, and 10 bounce ?ac on . U'I d an e, . . . . T I P rsuII of Excellence. nI e . notionally mature or consTrucllve way, (Orlick, erry. n u'

Terry Orlick'

Kingdom'. H Uman K"1I1eliCS Publishers.

Inc .. 1975. P 26).

. ,_ lima ery allows oneself 10 kinds of imagery are avarlable, IntellW' g. Iimagery allows a 1 e exdtelna InesThetically experience The correct execution of a skill. will in internal l s k'il person T . I ' , '[M .' s] should eve 01' I a .lee tlel1lSelj peljornung the skIll. USlclan . d" Madison,WI: aneI eXfe, I' S P vcholOoy TIllfd e Ilion. B -no Imagery, (Cox. Richard H.. PhD. MD. poriS s ' '

Richard Co ' k' x, Two

rOlVn& Benchll1ark PUblications. 1994. p 180.)

Some .". . . th . bodies fearing that "analysis leadsto pa' II11USICldns aVOid learning about the mechamcs of elf h ','csof playing dunng a . p ~H.)

Bross Teaching Philosophies. San Antonio, TX:

The importance of efficient breathing and air control cannot be stressed enough. following authors note the importance of correct breathing:

The

Philip Farkas: The breath is 10 brass playing what the bow is to string playing. (Farkas,Philip. The Art of Br"" I'layin~. Bloomington, tN: Wind Music, tnc., t962, p 57.) A. A. "Sandy" Adam: Creal lip is only part of the answer to super high range and tremendous volume, the rest of the answer is super lung power and breath control. (Adam. A. A. "Sandy." Super I till\; Power & Breath Control

in Five Minutes a Day_ Vancouver, BC: Bold Brass

Studios. 1978. P 5.) Fay Hanson: One's success depends to a large degree upon the manner of breathing and the control exerted over the muscles involved. (Hanson, Fay. BrassPlaying: Mechanism anciTechnic.NY: Carl Fischer. tnc.. 1968. p 67.) Natural, full inhalation requires the intercostal muscles to contract, lifting the ribca~e and expandmg Its diameter. At the same time, the diaphragm contracts downward to draw air In and ~lIow room for vertical lung expansion. The following illustrations depict the actions of these nuscular movements. (To view an excellent animation of the breathing process, refer to. IVWW .yorku .cal , earmstro I"journey/intercostals.htm I an d c I'IC k on "ditap hra"om"). EXHALATION

INHALATION

CHEST EXPANDS

CHEST

RELAXES

DIAPHRAGM RELAXES

DIAPHRAGM CONTRACTS

'b.I, chest, and diaphragm pOSitIOnS .. hen breathing IV

n

184

COSTAL CARTILAGE

ribs and intercostal muscles in exhaled position

(1011)

LIGAMENT TENDON

!

VERTEBRAE

RIB BONE

COSTAL CARTI LAGE

ribs and intercostal muscles in inhaled position

(high)

EXhalation is ach'e d b les allo\ the muscles to retun t0 ~ ve Y merely relaxing the diaphragm and intercostal muse th~n ha the air from the lunlgs e elfl normal POSItIOns. This is like "sighing," moving mOl~ abdolT muscles musi be used t on essly. If very loud or high passases are to be played, t e e o compress the air. b

if

DON

IN

185

Many "system," of breathing have been devised to instruct wind players on how to breathe efficiently. Some of these systems present step-by-step procedures for inhalation and exhalation. Unfortunately. manyolthese methods confuse students by complicating processes the students lise naturally. There/ore. It might be prudent to quote some 01 the most valuable points given by expert pedagogues.

Arnold

Jacob, provide,

the following advice concerning posture:

POSIWl' is I'ery important. We are structured so that the maximal use of air comes ill the standing position. Standing offers the greatest ability to move large volumes of air in and out of the lungs. The closer vou get to the supine [lying flat on the back], the poorer if becomes.

lf vou think of the respiratory system, it should be thought of not as one bellows, but a series of segmented bellows, depending 01/ your posture. When lying on your back on the floor, you will find there is lillie ability to lise chest breathing, but you will have a marvelous use of diaphragmatic breathing, which is more than enough to sustain life. However, the diaphragm isolated from the rest of the rib cage provides a rather small breath. There is I/O such thing as a full breath without the use of the sternum (the breast bone and cartilage that supports the ribs). If I lean back on the chair and reach over my head. the motion pulls the rib cage up, which is already in the expanded postnon. That means I cannot use it for breathing in or out. If I bend forward, pressure in the abdominal region under the diaphragm is such that I have great difficulty using diaphragnun ic function.

When sitting, Jacobs tells students

to "stand while seated." [Think that] there is a string on a string. (Frederiksen, Brian. Amold Jacobs: Song and Wind. Chicago: mdsong Press. Lid .. 1996. P 130.) There is a curvature ofthe spine 117 the lower lumbai region Just above the bell. When the student sits the curvature is retained so that the lower back does nOI touch 1111' cl 101/.'. 'TIIe upper bod" posttton ' .. ..' . . tl like it 1'.1 when standing. when snttng 1.\ exact y I . (paraphrased) (Ibid .. p 13 I.) .

~dlil1g you up-lik~

a puppet

c!es, allowing 'e than haJf of he abdominnl CorreC/ standing posture

correct sil/ing posture

186 Inhalation Philip Farkas states: HI/mans have two fundamental ways of e.\IJlInding the chest caviN: the diaphragm can contract downward, effectively lowering the bottom IIf II1Is cavnv, cuul the rib! can expand ollMard increasing the diameter of the cavity. BOIh processes are I/l/pOl'lal1l and both are used simuhaneouslv, (Farkas, Philip. The An of Brass Play inc. Blo()min~\On. IN: Wind Music. Inc.. 1962. p 57.)

Calvin Price provides three sequential actions that constitute I. 2.

proper inhalation:

Take a deep breath startingfrOI7l the hips. A110IV your inhalarion to continue traveling lip through the rib cage, just like inflating a balloon. Complete the inhalation by allowing the shoulders 10 raise slight!» onlv as a natural consequence. (Price, Calvin. ) lr Wa ~r~alcrArtistrv. San Diego, CA: Ist Call Entertuinmenr 2005, p 9.)

J.

hest Position _ Nearly all authors agree with the follOWing advice from Fay Hanson: The head must be ~'P, the horn held 11Ighand the chest, or rib cage, must be high at all timess-both during inhalatio« and e~11CIIa/lon-10penn itfree and vnhomoered use of the breathing apparatus. Whenever the rib cage IS dropped, tension or support is transferred 10 the throat, causing the constriction of 'he tone. (Hanson,Fay.BrassPlaying: Mechanism andTechnic NY: Carl Fischer, Inc.. 1968. P 68.) e I ,.' Thl great comet soloist Herbert 1. Clarke states: When inhaling for a filII breath, the p ayei s c lestmllst be expo d. d d I' .. . I II I lillie 1 I' Practicin . k n e ,an t 11.1' POSIlIOI1.kept throughout the exercise one a tne .. , IV II'1e the ., 2005, P 164.) I g IS ept lip. (Clarke, Herben L. Clarke Studies. Chandler, AZ: Hickman Music Edilions.

Exhalation _ A paradox exists whe I' '. . . hieved by relaxino the abd . I n p aytng a wind Instrument. Normal relaxed exhalation IS ac its o omlila muscles d h '. ' rds to I neutral dome shape a d he i an c est area-allOWing the diaphragm to move upwa h the chest becomes smalie n ~e Intercostal mUScles controlling the ribs to release tension so t at eh as the trumpel, forcedre~ha;:t~eter. However, When playing high or loudly on an instrull1enl~s~\la maneuver-slightly closi hon requires the lungs to be pressurized by executing a slight Vo roht bearing dOwn increase~~~~g t e throat (larynx) and tightening of the abdominal muscles. ThIS Js I.h Sooc andWind.Chic.g . W· emal air preSSure but resists air flow. (See: Frederiksen, Bri.n. Arnold ac o. Indsong Press, Lid.. 1996, P 107.) . Two schools of exh I . . ed on keeping the body as relaxed ;: atIOn seem to prevail. The "symphonic" approach IS ba: With ~hlnapproach, eXhaling into thttosslble so that tone quality is pure and effortless-SOund;'bal!oc n to e attng. The other a roac rumpet IS like yawning-the lungs collapse like a roun . am capactly so that highei~itcheh, Whlc~ may be termed "lead player," is to pressurize the jlJrslle Sand blighter SOunds are produced.

The

d .

a Viceon the next page'

'. h choo!' JSgIven by profeSSional players and teachers of eac s

187 "Symphonic"

approach

Rafael Mendez: The air in trumpet playing is no different than is used in normal conversation. (Mendez. Rafael. "Concerts on Film: The Trumpet." Mills Picture Corp., 1956.) Herbert L. Clarke:

He careful to breathe regularly, inhale with freedom and exhale carefuliy, never forcing the tone, but producing It naturallv, (Clarke. Herbert L. Clarke Studies. Chandler. AZ: Hickman Muvrc Fditions. 2005. p I I.) It i.1also important IU note that the thoracic lchest] cavity does not compress and push the air out, Thinking compression only results in a forced tone. (Sherman, Roger W. The Tflimpeicrs Ilandlxxlk. Athens. OH: Aecura Music. 1979. p 10.)

Roger Sherman:

Samuel Pilafian: Keel' the air in constantmotion. Air is either moving in or au! of yo III'body. (Pil"f1an.Samuel and Patrick Sheridan. The Brass Gym. [Chandler, AZ]: Focus on Music. 2005, p 18.)

"Lead playcr"

approach

-

Jerome Callet: Your air streammust be graduated from a gentle breeze to a tornado. (Callet. Jerome. Trumpet YQ~a. NY: Charles Colin Publications. 1973, p 9.) A. A. "Sandy" Adam: To get extra diaphragm tension while blowing out the air feel as though y?" are pushing alit your belly billion from the inside out ... To get even more extra diaphragm tension while blowing you can bear down as if yOIl were lifting' a heavy weight above your head. To get even more diaphragm tension than this while blowing alit, arch your back backwards. This raises your diaphragm further into your lungs for extra support. (Adam. A. 1\. "Sandy", Super LUll!; Power & Brenlh Control ill Five Minutes a Day.

Vancouver. BC: Bold Brass

Studios, 1977, p 20.)

Roger W. SpaUlding:

Give SIlPPOrt to your over~filled lungs, and more power 10 your tone, by compressing the air alit of your IlIl1gS with a strongly flexed diopbrogm, gradually liftmg your diaphragm clear lip into your chest, especially in high register playing. (Spauldlllg,

Roger W. Double Hi~h C in 37 Weeks. Hollywood. CA: High Note Studios. 1963. P 10.) t These sometimes contradictory comments are found in various breathing methods used by rdumpeters. Each player must select his or her exhalation method through trial-and-error practtce, a JustIng as nee d e d lor . the music . to be played. b k

Ph'!' F I ip arkas addresses

/.1 etball and

both schools

.

.

of ex hal at ton by stating,

F -lg

01 71

IlaHages .

'I'

inhale a I

exhale a rope' for soft passages inhale a tennis ball and exhale ~ tllefe. IVr~al'dlessof how we phrase i/ the fact remains II;at lVe inhale as quickly as pos,lIb>jle111'0118 ~: (F. e'Open, unrestricted throat ~nd exhale against optiancd or IInavoidable pOints a leSISIWI .

arkas,Phil'rp, Th eArl of Brass Playing. Bloomington. IN:

-

Wind

.,

MUSIC.

nc..

1962, P 61 .)

Ag . b J ying softly. While it is true that eneral misunderstanding of air now and support exists a out P a I" 'S reduce air now prOPDl1iOsOflllPlaymgutilizes slightly less air flow than loud playing, mahny p a~e}UZzy because the move na y to the reduction of dynamics This makes the tone weak, t lI1? an . l1lenl or ,II' 'I' th rough the Itp . apet1ure is '.insuffiCIent to create pI'opel' lip vlbralJons. It is th . oiven pitch requires lesS air COtnpressio . e present author's opinion that soft playmg on a ? h When playing softly, the all' now n tntheoral cavity than does loud playll1g on thesamepltc 'h r l1lallltatns tts full level by spreading the flow over a Wider aJea at t e IpS.

188 As an analogy, consider a wide river that appears to have gentle waves. The river might be flowing at one thousand gallons per second. However, as the nvcr enter, a narrow canyon, the flow remains constant but the speed of the water Increases. The now rate ,tay, at one thousand gallons per second but the speed increases. Playing loudly and softly require maximum air now. Soft playing requires a broader, but less intense, airstream. As the embouchure relaxes during soft low notcv, air sometimes leaks quietly from the sides of the mouth. This ensures that the air flow i, full and wide, making tone production easy and consistent.

The follow' respiration and lun] "Lung Function Te Thoracic Society, I

Another analogy can be made by observing a violini t playing loudly and softly. Much of the volume is produced by the downward pressure on the string, by the bow. As volume is decreased, the pressure is lessened, but the speed of the bow remain, the same. In trumpet playing, air flow equals the speed of the bow. Loudness or softne s equals thc relative compression of the airstream.

20 Height

To ensure that breathing and musical phrasing work together, respected authors are of great value to the trumpeter:

thc following

statements by

5' Samuel Piiafian: The air should be moving at all times (in or out r-never holding). and Patrick Sheridan. The Breathing Gym. IChandler,

A2J: Focus On Excellence.

(Pilafian. Samuel c002. p 20.)

Calvin Price: Taking into consideration the speed of the work to be played. trv ,Iuee bears before your el1lrance with a barely audible Breathing Your Wav

10

Gre t A' aer

S

J1lstry. an

D'

round

10

breathe two or

"ali" sound.

(Price, Calvin. 19) .

'. iego, CA: lSI C.III Entertainment.

~004.p

I I . .I . I /I1gthe ungs 117 a normal person may take oulv [our seconds. Eig ny ~ercel11of the OIrshould be discharged within one second {fnc/Tlie remainder in the next (tF"eeseconds: .. The best advice is to take in a jllil breath' I after SUlk is exhaled].

Jacobs Arnold: Em7ty' '

redenksen. 8nan Arnold J .

bs: S

aco soon!;

'.

and Wmd. C1l1cngo: Windsong

Press, Ltd. /996. P

108 ) .

5' I" 5' T' 5' 3" 5'4" 5' 51' 5' 61' 5' T' 5' 8" 5' 9"

5' 10" 5' I I"

6' 6' I" 6' 2" 6' 3" 6' 4" 6' 5" 6' 6" 6' 7" 6' 8" 6' 9"

6' 10" 6' II"

7'

3.3 3.4

3.6 3.7 3.8 3.9 4.0 4.2 4.3 4.4 4.5 4.7 4.8 4.9 5.1 5.2 5.3 5.5 5.6 5.8 5.9 6.1 6.2 6.4 6.5

189 ESTIMATED VITAL CAPACITIES [be following charts provide estimated vital capacities (in liters)for adults with normal on and lungs, and with average weights and heights. (Calculated by using a formula from 'unction Testing: Selection of Reference Values and InterpretativeStrategies,"American ; Society, 1991.) Age (in years): MA LES

20

25

30

35

40

45

50

55

60

65

3.3 3.4 3.6 3.7 3.8 3.9 4.0 4.2 4.3 4.4 4.5 4.7 4.8 4.9 5.1 5.2 5.3 5.5 5.6 5.8 5.9 6.1 6.2 6.4 6.5

3.3 3.4 3.5 36 3.7 38 3.9 4.1 4.2 4.3 4.4 4.6 4.7 4.8 5.0 5.1 5.2 5.4 5.5 5.6 58 5.9 6.1 6.2 6.4

3.2 3.3 3.4 3.5 36 3.7 3.8 4.0 4.1 4.2 4.3 4.4 4.6 4.7 4.8 4.9 5.1 5.2 5.4 5.5 5.6 5.8 5.9 6.1 6.2

3.1 3.2 3.3 3.4 3.5 36 3.7 38 3.9 4.1 4.2 4.3 4.4 4.6 4.7 4.8 4.9 5.1 5.2 5.3 5.5 5.6 5.7 5.9 6.0

3.0 3.1 3.2 3.3

2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 4.4 4.5 4.6 4.7 4.8 5.0 5.1 5.2 5.4 5.5 5.6

2.8 2.8 2.9 3.0 31 3.2 3.3 3.4 3.5 3.6 3.7 3.9 40 41 4.2 4.3 4.4 4.5 4.6 4.8 4.9 5.0 5.1 5.3 5.4

2.6 2.7 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 39 4.0 4.1 4.2 4.3 4.4 4.6 4.7 4.8 4.9 5.0 5.2

2.5 2.6 2.7 2.8 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 4.3 4.4 4.6 4.7 48 4.9

2.4 2.4 2.5 2.6 2.7 2.8 2.9 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.0 4.3

3.4

3.5 3.6 3.7 3.8 3.9 4.0 4.2 4.3 4.4 4.5 4.6 48 4.9 5.0 5.2 5.3 5.4 5.6 5.7 5.8

4.3

4.4 4.5 4.6

190 Age (in years): FEMALE

20

25

30

35

40

45

50

55

(,0

65

2.7 2.6 2.8 2.7 2.9 2.8 3.0 2.9 3.J 2.9 3.I 3.0 3.2 3.1 3.3 3.2 3.4 3.3 3.5 3.4 3.7 3.5 3.8 3.6 3.9 3.7 4.0 3.8 4.1 3.9 4.2 4.0 4.3 4.2 4.4 4.3 4.5 4.4 4.7 4.5 48 4.6 49 4.7 5.0 4.8 5.1 5.0 5.3 5.1

2.5 2.6 2.7 2.7 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 38 3.9 4.0 4.1 42 4.3 4.4 4.5 4.6 4.8 4.9

2.4 2.5 2.5 2.6 2.7 2.8 2.9 3.0 3. I 3. I 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 43 4.4 4.6 4.7

2.3 2.4 2.4 2. 2.6 2.7 2.7 2.8 2.9 .0 3.1 3.2 3.3 3.4 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 4.3 4.4

2. I 23

20 2 1

2.3

1 1

1.9 1.9 2.0 2.0 21 2.2 2.3 2.3 2.4 2.5 2.6 2.6 2.7 28 29 3.0 3.I 3.1 3.2 33 33

Height

5' 5' I" 5'

2"

5' 3"

5'4" 5' 5" 5'6" 5' 7" 5'

8"

5' 9"

5' 10" 5' II"

6' 6' I" 6' 2"

6'3" 6' 4" 6' 5"

6' 6" 6' 7"

6' 8" 6' 9"

6' 10" 6' II" 7'

2.8 2.9 3.0

2.8 2.9 3.0 3.j 3.1 3.2 3.2 3.3 3.2 3.4 3.4 3.6 3.5 3.7 3.6 3.8 3.7 3.9 3.8 4.0 3.9 4.1 4.0 42 4.1 4.3 4.2 4.5 4.3 46 4.4 4.7 4.6 4.8 4.7 4.9 4.8 5.1 4.9 5.2 5.0 5.3 5.2 5.5 5.3 5.6 5.4

2.-1 2.-1 2.5 2.6

2.(, 2.8 2.8 2.9 3.0 3.1 3.2 3.3 3.3 3.4 3.5 36 3.7 38 3.9 4.0 4. I 4.2

2.1 2., 2-1 2.4 2.5 2.6 2.7 2.7 2.8 2.9 3.0 3.1 .1.2

3.2 33 3.4 3.5 3.6 3.7 3.8 3.9 3.9

3.4

3.5 3.6 37

BREATHING AIDS AND DEVICES

. During the J 995 J . ubist hlcago Symphony 0 rc ~ternallonal Brassfest at Indiana University, the great t vin embouchure for a' I estra-Arnold Jacobs-commented' When vou are Slar ~ . J' tr Voume givin '1 II . . . -. il connOI elY qlllckly you will be SIn: . g I a Saris oj air pressure bUI not quantity. of oil' ' lVll1g blo hard bUIb bl . gglll1g 10 produce your lone JUSI increase your volume. I 1 I I. , Y OWll1ga 11UC 1 h IhiICeI' k quality.' of air. Very frequently . he ai CoUl11112 00 I 1111. (Fredcriksc B' I e air n,

nan. Arnold Jacob . S·

Song

. L d 1996, P and WlIld. Chicago: Windsong Press, to.,

191

65

Understanding thc relationship of air flow quantity and air pressure is essential for successful brass reaching. Many times, students grasp proper breathing concepts and ways to control the airstream through graphic demonstrations utilizing specialized breathing aids and devices. The following arc some of the more commonly used tools.

AIR BAGS:

1.9 1.9

Air bags of various sizes can be used to determine the approximate lung capacity of an individual. Thcy also serve as a visual aid in repeating inhalation and exhalation exercises. Since the same air is being transferred, hyperventilation is avoided.

2.0 20 2.1

2.2 2.3 2.3 2.4 25 2.6 2.6 2.7

2.8 29 3.0 31 3.1

3.2 3.3 3.3

3.4 3.5 3.6 37

POWERLUNG: . Thisdevice is available in different degrees of resistance and is used to exercise the muscleJ used dunng inhaiation by resrrictins the air. Each of the available resistance devices can be addJuste ."' needed to operate 11. . For more mrorma . < tion on PowerLung evices, cto vary th e d cgree of exercise J onsuh www.POwcrlung.com.

It tubist of t~e e starving tf it cannot wOl · ne o{air not b'Y{ . . JIIS , column IS 1996, P 122)

Powerlung breathing aid

192 BREATH BUILDER:

Used for breath control, this device require constant air pressure II hen inhalin keep the ping-pong ball at the top of the plastic tube. The air rc,i,tance can be Hi device was first developed by the late bassoonist Harold Hansen of La, Vcua-, and intr brass world by Arnold Jacobs in 1982. ' 10

INSPIRON: . The Inspiron is a ty e f . . air can be inhaled or cxhal o. Spirometer that provides e . ReSistance can be adjusted.

l

. a visual demonstration

of

. The device may be used . h . with a short tube of a f . h Wit a mouthpiece by removing the long tube and that the ball is kept ate~~n~o es III length. When exhaling, the device must be upsic Constant. p. As vaflous dynamiCs are played, the air flow 111

193 TRIFLO: haling or exhaling be adjusted. Thi~ J introduced 10 the

)11

The Trifle is a typc of spirometer with three chambers, each containinsb a ball that is to be .. lined from inhalation pressure. When turned upside-down, the device can be used for exhalation. This device creates a visual example of the relationship between air flow and air pressure.

VOLDYNE:

r:

of how much

and replacing it upside-down so w must remaJll

The Voldync is used to measure the amount of air inhaled (up to five liters) .. There are o chambers: the laraer (right) measures air volume and the smaller (left) measures air pressure, Y c' b c» ' . , . . b d and heizht (see ompanng the amount of air inhaled with the estimated vita] capacity ase on a~e c " b be EstImated Vital Capacity charts earlier in this chapter), a person's breathing efficiency rano can f determmed. For example, a person with a vital capacity of two liters and an estimated capacuy a four Itters would have an efficiency of fifty percent.

NOTE' Th h WindSono Press, Limited at P, 0, Box ese and other breathing devices may be purchased throug b 146, Gurnee, Illinois 60031 (www.wllldsongpress.com).

194

CIRCULAR BREA THI IG Circular breathing in trumpet playing was made famous by Rafacl Mendez. Mendez learned circular breathing from a snake charmer. [I n 1934,] Rafael spent 0 good dca! of lillie writingand arranging music. He also accepred many solo .e1l$agemel1l.1 rnclndlllg one at the Chicago World's Fair with the Chicago Symphony. Whrle visuing the displuvs III thr [air, he learned about circular breathing. In the Indian Pavilion he saw a Hindu .II/"k" churmer playing a wooden Hindufliue to mesmerize a snake. Rafael was intrigued by the churnu-r' I abilitv 10 breatne in through the nose at the same lime he blew out through his mouth. lmmrtliatrlv convinced tlun rhis lVasa concept that he could apply ro his own playing, he had the snake charmer reach him rhe unusual technique. (Hickman. Jane.and Del Lyren. a' '\. u . Second edmon. Tempe. AZ: Summit Records, Inc.. 2005, p 29.)

The art of circular breathing is quite old. Players of the Austral ian dulgeridoo have utilized circular breathing for centuries, as have glass blowers. In reccnt timc-, many musicians have become well known for incorporating circular breathing into their performances. In addition to Mendez, trumpet players Wynton Mar alis, Clark Tell)', Maynard Ferguson, Sergei Nakarjakov, and Joe Burgstaller use it frequently. Other instrumentalists including Urbic Green, Bill Watrous, Grover Washington Jr., Sonny Rollins, Don Menza, Jamc Moody. RObcrt Spring, and KennyG are skilled performers of circular breathing. The following steps can be used to learn the basic

or circular

J. 2.

01/1

3.

Fill the cheeks with air and breathe in and

breathing:

through the nose.

W/ule the cheeks are still filled, slowly squeeze 0/1/ the air In' pushing the . Cheeks with the fingers [while breathing in], ..' In II similar fashion, try 10 slowly squeeze aI/I the air without the fingers, U5l11g.' the cheek muscles only [while breathiru; in I. (hllp:l/CI1.wikipedia.org/wlkll Circular_brealhing)

~

It is possible to sustai t f . . . G h Id the world record fo hid' . am a one or several minutes. Pop mUSICian Kenny 0 s .) r 0 mg a smgle note for 45 minutes and 47 seconds on his soprano saxophone. (Ibid.

The most dirficult part f' I . breath to anoth CI' . 0 CLrcuarbreathmg while plnying an instrumcnt lungs ro air in ~~~ Ian~ellst Robert Spflng states: The I race"" of ".nl'ilching" Succeeding r . C l,ee s and back again is Ihe single faclor Ihal keeps lIlan)' II C1/ C1/ ar brearhing (5 . .

Sludy/CircularBreathinu ht I)

7

.

'.

prmg.

Roben.

"Circular

Breathing:'

www.w

. ectinOone IS conn ";> rlre from al/ l ll 0111 jr indmdrlll ls . U

ood ,. d Drg/clann< \\10· ujckly

so that the cheeks do"' w Ith practice, the player learns to brcathe in through the nose ~r no nee dto be fUlly innated. This makes the transfer process much easl .

Arter mastering circul b h' . d the range or notes Ihat can be h Id d ar reat mg m the middle reoister the player should ex pan fifl1lness Ufing or the mouth's come e d Circular breaths. PUffing" the ~hceks usually dislLJrbs thf I r musl develop as much ran:~:; caubses inaccurate pitches and intonation. Nonetheless, the p afnehaJe. b , POSSI Ie so that all phrases of music allow comfol1able places to G

When a reasonable ran e f . . ally loWC to on the top space or the staff~ nO Pitches can be played with circular bre~thlng - usu/ S/lldies, and arpeggiOS can be played I' eXlblhty exercises such as scales, Clarke s TechlJ/ca b practiced once the player is adept at' urrng Circular breaths. Melodic etudes and solos should e l breathi CIICUar . successive.' pitches. ng w h'lI e p Iayrng vib The use of vibrato whil . uickly. II' th ratomust be used hand vib e ~Ircular breathing is of little concern if breaths are tak~n diaphragm, roat, Jaw, tongue, o'rembo ~a 0 IS Usually best because it does not inteJfere with I e uc ure settmg.

The most' uooests: Workin S 00 legulO·lOngl/ed q: into, during, and dijferenr articulo 1978.p

19.)

An excel! Spring. This met. trumpet chapter I Malibu. CA: Windpl

195

110stdifficult aspect of playing during circular breaths is articulation. Trent Kynaston irking on tonguing during the [circular breathing] cycle should begin slowly. Use ed quarter notes [M.M.=60] and attempt to achieve consistency a/attack and sound and out of the cycle. Once this is accomplished, increase the speed and attempt 'culations. (Kynaston. Trent P. Circular Bre"thin~ for Wind Players. Lebanon. IN: Studio 224.

method book for circular breathing is Circular Breathing by Dr. Robert S. method has short chapters concerning each brass and woodwind instrument. The ner is written by Josef Burgstaller. (See: Spring, Robert. Circular Breathin" A Method. ccellent

'indplayer Publications, 2006.)

TRUMPET

PEDAGOGY

HIS IORIC

.\RTIf.

cr _,,

GPHA

I

HI ATRUMPET

RD 9 7: agphani

· e;;ke . ht hi a tnHllpcl; India 20lh century; E hannonic series. Serpent 10 se Ii n With I'le de drag nand illlegral mouhpie e. ( a1alog number and descnp~onRalph 1":OI\\,e cr FoundDllon DIDlogue IhDI WD sloned by l lcrbcn lIeyde (BB) and late, extended Y the Dud eon (RO). Photo by RenDle attcncdcr, K,emsmuenste, in Upper Austria. Instrument I n 1uslkin trumcntcnmuscum chloss Krcmscgg.)

CH PT R

III

jldvanced 1(ange) Po er an cf

11 U"fI 11

Before a trumpeter can achieve a professional level of ron c. p< \\ 'r. nd cnd"",."" .. her embouchure must be well-formed and comrollcd. (See haplcr III Em lour IOnINlI •• " and Control.) Generally, only after a student can comf nabl pl., fr m Itm r I I hI moderately loud volume, even after playing for ninet rnmutev, .10 a t nl I ... ~,__ .I embouchure exercises and techniques igor u..1 enough 1(1 bUIld mu !>ul high, loud, and long on a weak or improper embou .hure almo 1 illI". In., 1'1 than better. It also often forms bad playing habit .. lind auo,c, ph ". IlnJune Trumpet playing requires muscle strength and cnduran . I 1 I qu each other and require separate training a rivitie .... trength ,.. ·,'II~d III 1II It II r whereas endurance is enhan ed by better blood rirculau n flo It I ••1 dIll muscle bulk and endurance arc seen easily b obse in' bud,C' (If "Ihl I h and long distance runners. Trainers of athletes have debated' herhcr d vel 1'111' p(l\\cr training is possible or beneficial. The phy.li%i:ica/I/lIIIIII, thrr« trd to • rlrta "'" I strength training and endurance training are tliI't'rIWIII /II naturr \. III III • 111k" , that they even be antagonist to gains ill strength, (1I11 k"",n. K ,alf11( I/(OJ/( III al'erc/(lIIe III \' CO/lbe 110 •• I' I I I' ' 0 " my II III and rigidity af Ihe ". 1·/ till 'H1lI{ ll,r~. (Di.1\'ld"On Lou" '. 1101 I ,ey lene 10 mdllce a Sllifjf.f.,ess 'JI '. '. 8100111111g1011. IN: Wil1dMusic. Inc.. 1970. p 16.) -Ill greUl c metiM Herben L embou4:hurc ,I,f ncs~ could be ov . . pia c during Ion. I nes ever h 7~dId ho dler II' k 0 G I,.e 11 , ., mOnMu'lc

Z·

J- k bel' . . or c leved In the benefilS of long tones but felt that ~~ m~n contractIons and relaxations of the muscles look Ip~rrg/{I, blll keep Ihem soft (lIld pliable. (Clarke. Herben L. &JII,on5, 2005. p 10.)

? lof larke' e erei es in 0 . . . . ur;: ~omel,me~ referred to as "mo in 'ronrate om~ degree of Oexlb,hty. These types of exerCISes B,lg'r,IUle : Play sllSloilled /loles/< g g lone. In recommendIng long tone practice, DaVId .llIre lOne i./n: II n r t nm u can cause stiffness and problems,

"pellcil exerci.\l''' flir hltllt/IJI'1 clIIJ>mt I"", If

IIr

lid. arc !>lainles!> steel "pencils" of various weight that ,Ircnglh b) increasing the weights placed between the center of Liernar Technologies makers of Chop-Sticks, the benefits are:

Anorber de "c. (Iwpall build cmbouchure

10:=11 lhe

I,p' Acconhng

III

I. ,

.I. ., ~ {)

7

IlIue(J\('{1 endurance Inc rea vcd range lrurrasrd control Reduced plavtsn; press lire btl", /(I nnrease strength without damaging RNJ'Kl'd (III' /t'l/kage improved I'lI/bOUc/lllrl' formation and pucker

\ I r1l11xl rcn \lcd. 1r.IIJllng pro rrum " mcludcd

the lips (www.Jiemartech.com)

with a purchase of Chop-Slicks.

vmular de .cc."1 I' Lrppcn-hantel." i made in ermany. It is comprised of a metal post \\ IIh ,m.,11 mcl,,' \\ " 'hI' Ihlll can . added 10 mcrcasc the load ustained again I the lip. (Referto: "'" hr. ItU,d\ IIV" dl;;-)

Die Lip! en-hamel (embouchure strengthening

device)

added lVeigJlIsjor addilionallVorkload

While these and similar devices d h hi f . .' understan. t at pus mg 0 the lips agam I and beautlfu!, tonCehquaiJtYIJ'lespecially at CompressIon In apter : Embouchure

may build embou h ure tren Ih • lrum ea h other ma nO\ be.. I I soft d narmc-, (Plea ..... reter III the II Formation anti COni",' I

upn

it",it

I

I

ZZI C

Vibrating the lips in the normal playing range of the lrumpel \III commonly referred to as "free-buzzing:' Tradiuonalt • Ire bUf.lln e c, recommended only in moderation bccau c of the c Iruordin.r lren'lli nd perform them without embouchure contri ancc-,or undue 1.111 'ue I.,n Ie I buzzing does not use the muscle in the same munncr i" pl.'~ln 1>11 I" If" embouchure ISmuch more firm than when pia ing \\ uh a muulhplC \ htlc till II be true, numerous teacher advocate the UM: of Irec-buzvm •

Lip buzzing exercises are good far lI'arAIJI)/lJII ..,,,1'(11/1 hurr "'0' ,II I u concentrateon developing fast (frequent I vibrutum (,. II/llh PI/. h, ,j ,,,I mouthpiece to maintain proper lip [ormanon «;,,11 Ilrjon I'r llUllift Iru

.",1"""

In

•

http://maileLfsu.edu/-bgoff/tpt-tip3t.hun) Clint McLaughlin writes: The mouthpiece " a, rut«h " rutv th "bm'III ill half [sic]. .. when buzzing we want to reallywin A ,I,,· (Im," ",,,I "trIlK,I, .." ,) • (" the mouthpiece adds some back pressure from tilt' I"" AI",,, {/1II1 ,I"" ••, 1',""

increaseresistance so you can play higher. (Mel .lul'hl,n (hnl!tu

1

McLaughlin,1998, p 13.) He also states trumpet. (!llli!.)

h

that frec-bul/in'

I' lour um

l

I ..

r II n pI

,,,1

According to Michael Sachs: The nlO/l1hll/l'U'b":.,,,~ " 'he 1..."lmllo I,~"'" yourtone. II musr be cOlnpacr alld celllereli. wt 1/(0,,1>/,. Il,,. "'II 'III ," "'" r, mouthpiecesrrips rhe produ 'Iioll cOllcept; w their i,. , "'/, II"" ,.. "'. ,/ ... r"l. rr.N I applied.b/lzzing has rhe potential to prod"ee ."ijft"." "",1 h... "m,' , ,.,"'", I'" II/ \I properly.a little goes a long \\lay, (Such,. Mlchucl D luIKl.unn,,/mll

II", (fir ,1.1,,,,,,, fill withthe lip while being sure to give good air support, \ 1"'11ou« rrtnrnv '" /~ h soundshould have improved and the air speed vhoul«1 (fJlpt'lIr Itl hili r "' rr "rJ ,It.- f shouldbe a more colorfill sound with a better focus. (1',,1"'" K" 1I.II1),JL'vl:

~

~

~ ~

paS~3ge:

:,

:,

I

2 ..+

~

~

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2

J+

A fast paSSage' R I'. . . f and usually performed on C tnlmp I I~ ave S Daphms et Chloe, Suite No.2 IS wntren or pet pm1. e. ost performers pre-scI the third valve slide for this third trurn

231 Excerpt from Daphnis et Chloe, Suite 2 by Ravel Trumpet 3 in C sourdine ~

333

:1:1:1,

?id II

-or II/}

:

I

r

III/

1

:l+~+_\+

J+

.

Extending the third valve slide may also facilitate fingerings, such as in the following passage from Stravinsky's Histoire du Soldat.

Excerpl

from Marcile Triomphale du Diable from I'Histoire du Soldat by Stravinsky

(As played on C trumpet)

&2J /

J

E?

:J :J

j

§

3

~

J ~

~

/ 2 3+

TRUMPET PEOA(i06Y

232

HISTORI

L

RTIF 1f~1If) I PO..." /()/
,:n \1111 hell I.cc MOl r.'" Jilm,·, ;-"101 "" "' aughn 'ill ~ I'll!, il""'" Red Ilhol, Ichulil' l'iI\ ron I Pore 111\1 I 011" I'nl1lil l/;1Il RH'l'y •J 'orgc Ro, ~

h Jail, commercial,am

laudio Rodili hasc anbom rturo Sandoval Carl aunders Tony codwell Doe everinsen Bobby Shew Jay ollenberger I w oloff am 5010 Marvin Stamm Byron Stripling Lee 'nlOmburg JcffTyzik Mike Vax Allen Vizzuni Scoll Wendholi Mike Williams 5 n ooky Youn"e

m 1 01 I C mrn nl tI'ed Ofl'hc,lrill tnllnpcl '10 IIlC, United Kin£do It' I The 13"Oat tru mpel .IS tIe rcheslilJ Isa so used frequently in the nil d tat b tn'nl .....lcr-. ph"lI1c lhe "mCf parts In anbo°les A section becaus ' b' d ,'•) • I I Irom I ' Ie v A "e I.' n ges the 01 rs of tone belween Ihe fir'l ('J trtlI1lpet anr I ,Ie, Vacchiano, in ludin" I-hrry Ihnll 1\1',\ ' .. ;..

>

>

..

·if

sf

jf

JJ

3

sempre

:,.>

I

II --=:: JJ-_~-

3

f

Pesante

JJ===-

Excerptfrom Svmphonv Vo :! hy Srbclius

I:=-

Allegro mn{kmtu

>.llU11lpel in

C-

>

>

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[in 01

:J

PrinCipa~~gerVoisin played a Thibouville-Lamy C/O trumpet during most of his c:r~e~~i~i'~ inthe rllmpeter of the Boston Symphony Orchestra. Armando Ghitalla, who succee e 0, also performed on a C/O trumpet (shown on the previous page.)

BS

For rno . f trumpets I re In ormation on the Thibouville-Lamy , p ease refer to the sources on the following page.

company,

ascen"

dinu valves or C/O '

332 Bate, Philip. The Trumpet and Trombone. London: Ernest Benn. Ltd .. 1966, P 170. Cardoso, Wilfreda. Ascending Trumpets. Buenos Aires: Wi Ifredo Cardoso. Hickman, David. "Advantages of the Four-Valve C/(d) Trumpet.··JTG pp 20-21.

1971\.

cwslcucr, Feb. 1980,

Tarr, Edward. The Trumpet. Portland, OR: Amadeus Press, 1988. P 170. "Mini Liberty" Trumpet: The H. N. White (King) Company of Cleveland, Ohio produced one hundrcd miniature trumpets, several in A and several others in B-f1at. They are exact replicas of Whitcs regular B-flat and A trumpets but made to proportions half that of the originals. Mini Liberty trumpets are playable but are too small in bore and mouthpiece to be of any practical usc. Thus, their main functions are as novelties and presentation awards. (See: www.hnwhile.eom/Mini.*201r1lI11pelS.htm)

-

~

_ ....

"Mini Liberty" tmmper in B-jlat (courtesy of the Rafael Mendez Library)

ual1er-tone Trum

t:

. Trumpeter Don Ellis (1934-1978) of micrO-tones. At his request th H I was well known for his innovative jazz style and u~etl t trumpet with four valves Th' f e hOton Company built a Don Ellis model qum1er-tone - a trumpets had limited sale~ du~n o~~ ~~6Ivelowered any valve combination a quarter:step .. Th:~ye years. g Os and 1970s and have been out of production fOI m ~ Joseph Mareinkiewicz once a b da ou~valv~ qumer-tone trum~t I me~~ er of the Don Ellis Orchestra, recently manufa,cture k tunmg sitde. The qual1er-tone t t as a shepherd's crook" bell and optional shepherd s croo rumper IS often played by soloist Ibrahim Maalouf.

h

333

lour valve quarter-ton I' 8-flal trumpet built by the Marcinkiewicz Company

ED TRUMPETS h Bell-tuned irumpct-, and cornets date 10 the early twentieth century and became well known ~~a en;rneSI William, u'cd a 11)37 model nn 38A Victor comet. The tuning of this instrument sa justcd by turnmc a small wheel on a threaded rod that is attached to a vertical U-shaped t unmsslid s» e p I'accc I at thc• small end or the bell.

COlin 38A "Victor" cornel .' . The shorr lube at the base of the tj-shaped luning slide

(NOlI" -

'.,

IS

not an all \Va).)

334 William Tottle and Renold Schilke developed bell-tuned Today, many other manufacturers produce bell-tuned trumpets.

trumpet;

during thc late I960s.

Advantages of the bell-tuned trumpet are: I. 2. 3.

A large proportion of conical (tapered) tubing can be added to the lcadpipe section, providing ease in flexibility and intonation adju>tmen". Bell-tuning eliminates tuning slide gaps at the leadpipe that cause bore irregularities and can adversely affect intonation and blow re istancc. Smaller adjustments for tuning are needed at the bell as compared to thc main tuning slide.

Intonation tests done by Dr. Colin Bloch suggest that individual pitches arc better in tune and more easily centered (focused) on a bell-tuned trumpet as compared to a xlidc-tuned trumpet. His early findings (1978) indicate that the average deviation from correct tuning of all notes from low F-sharp to high F on a C trumpet was 5.73 cents, whereas the slide-tuned trumpet deviated by an average of 8.56 cents. (Referto:Bloch, Colin."The Bell-TunedTrumpet." Bmss Bulletin 26. 1979. pp 4550.)

Disadvantages of the bell-tuned trumpet are: I.

2. 3.

The bell is not solidly braced to the chassis of the trumpet and is held in place by two clamps-one at the second valve, and one where the bell connects to the first valve. This often allows the bell to vibrate freely, causing sound . . distortions during loud dynamics. Adjusting the bell takes longer than moving a slide because of the loosening and tightening of the two clamps. The bell is susceptible to damage because no braces exist past the valve section.

bell-tuned Yamaha Ellat trumpet (bell in)

335

(bell ex/ended)

IDE SHAPE rti I The diameter and curvature of the main tuning slide has a noticeable affect on the tone, ar~lI anon, and blow rcsivtancc of a trumpet or cornet. Generally, broad tuning slide bends P lice a smooth attack, mellow tone. and easy blow resistance. illust The most common types of luning slide shape are of three basic designs. rallons depict the three types.

"square"

"semi-round"

"round"

The following

a 336 Square tuning slide: Because of sharper angles, square tuning slides provide more air resistance and sound wave reflections than each of the other slides, resulting 111 distinct articulation. good ~lollll1g, and a bright tone. Semi-round tuning slide: This shape creates a stable, broad tone with solid articulation. very even air flow with moderate resistance.

Standard slides provide a

Round tuning slide: The round tuning slide offers the least blow resistance and sound reflect ions of the three tuning slides depicted. It produces a dark tone and smooth articulation. The "Wild Thing" trumpet by Flip Oakes comes with two tuning slides. One slide possesses a .470" bore throughout, producing what the manufacturer describes as the biggest and most open sound. (wlVlV.llipoakes.com/bllaurumpel.hlm) The other slide is conical, starting with a bore of .460" at the top, and tapering to a .470" bore at the bottom. which adds just the right amount of resistance 10 produce a warm.futt tone. (Thi!;[.) Some tuning slides are elliptical-shaped or designed in other non-symmetrical formations. These designs may be for aesthetic reasons or to alter the tone and blow resistance. Each player should test instruments with various tuning slides to determine the best configuration for his or her own manner and style of playing.

LIGHT VS. HEA VY TRUMPETS . Metal alloys used in the construction of trumpets have a sianificant affect on how the II1strumentsounds, feels, and responds. The metal's thickness and ha~dness, along with bore size and shape, provide the overall characteristics of timbre articulation and blow resistance of the II1strumenl. Before understa di h I' h ' . . ' I 'n and tone an II1g Ow rg ter and heavier materials affect trumpet p aYI o" .. • one must understand how different alloys and construction procedures govern certain qualines a f a tmmpel. zinc-a ~~t:::~Yt~enturies, trumpets have been made of brass. Brass is an alloy of copper an~ zinc ca . at IS strong but malleable enough to be shaped The proportions of copper ~o/< COPpe;I;4~:rii~~ ~7Pil~al~;umpet brass from 85% copper/J5% zinc ("red" brass) to 6 t~ change the hardne;s ~~t~~V brass). Many bells are heat-treated and cooled in various ways metal, affectll1g·the tone and response of the instrument. Annealing the bell Or lead . . . f B h atino brass to about 1100" Fad II' pipe I oneo the ways in which the metal is softened. Y e r:; Ilexible. This darkens ~heas~~v~~g~to air cool, the grains in the metal become fine an~:e~IY ImmerSll1gthe hot metal in cold w.· hen eoollllg IS done rapidly by quenching-rw See: WWw.SChOOlscicncccoUkiconlc USI h ater Orad, the metal becomes harder, causing a bnghter tone. ( ote that the sonne s 'or'hard n cf emlSlrylSlccl/steclch2pg3.hlml) Therefore it is very important to n a ness bra a IIoy, as determllled . mllJ. r factor in determining t a the ,ss by the' construction. me thad , IS , rum pet tImbre and response.

337 Renold chilkc. among others spent many years rc earching how various brass and nonbrassmaterials worked JI1 trumpet bells. Hc constructed bells made of brass, copper, lead, Lin, aluminum,nickel. silver, her) lhum, ~I,I!>",wood, and concrete. Schilke assembled instruments with bells made from dilk,l'nt m.ucriul-. played thcm, and often tested them for acoustical measurements. Mr. Schilke conducted an mrcrcsung experiment in the early I970s. He placed a solid lead bellon a C trumpet ""d ,,.,ked Adolph Herscth, principal trumpet of the Chicago Symphony Orchestra,to play the mvuumcnt dunng a rehearsal while chilke tape recorded the music from the balconyof the auduonum As the rehearsal hl'!,all, Mr I lcrvcth noticed a con id rable lack of brilliance in sound, and unresponsivcncx- of thl' II limpet lmmcdiurcly, the brass section began playing softer so as to betterhear the pnncrpal trumpet. The eondu tor motioned for Mr. Herseth to play louder and louderuntil eventually, the cvpcnrncnral trumpet was abandoned. Mr. Schilke returned to 1m ofliec and played the recording. He was surprised to hear the principaltrumpet playlll!, much louder than the rest of the orchestra' Yet, to the orchestra players' ears,the trumpet sounded voltcr because the higher vertones were not as strong as they were accustomed to hcarim; Srlulkc discovered that the weight and materials used in bells had a significantimpact on till' projccuon of sound, During thc pavt twcru -fivc cars. many manufacturers experimented with ways to prevent trumpetsfrom becoming l'\t'e""cl bright or crass at high volume levels in symphonic music. SCientificstudies have .,ho\\ n that light r wcight bra s trumpets and mouthpieces allow the tone to distortSooner as dynnnuc-, arc increased. The simple solution first appeared to be to make lI1strumentsandmouthpll'l'c, hca icr by increasing wall thickness, enlarging braces, and adding extemalweights. A flood of heavy trumpet" mouthpieces. and acces ories such as heavier valve bottom caps, ~p valve caps, and mouthpiece "tone ri ngs were marketed during the J 970s and early 1980s. un~~(of these products arc available today. However, the majority of these products proved , ' Isfaetory In concert performances bccau their primary purpose was merely to dampen higbe: ~\ertones In the xnund, cauvinu thc trumpet to sound "dull" or "dead," especJ3l1yat lower ynamlclevels. detennMore recently, trumpet makers have used science and many performance experiments to responlne how rnatcriab. heat-treating te hniques, and design can produce optimal results In tone, POllndse, 1I110natlon. and ca,e of blowinl!, In some cases, a trumpet \Velghlllg as httle Mast\Vlo .mclud's can. sou n d as I'u II and rich . . I'ling IlJne . p ounds or more, eta a, '1Ilother trumpet welO h s Ing tila' b' .' , . "d" bass '1lloys suc AmbrOnze(c',nlurn. crylhum ..,..".., ,tal nics, stecl IlIckcl bronze an V3l10US r th .eces , . . as d In vanous Ways. ontall1s a ,mall amount of tin) have IInproved trumpets an mou 1" Aecordino t h . It t Charles Macaluso: The Ir""'pe,,,, /I ,,0 t c noted metalurgist and trumpet deSIgn consu an , . if sound of Ihe 'vall a nCil/lraljreq/le/lC\' is raised whell The Thickness is Thinner and The velocaY 0 I II I Tle wa . IS h,oh,.· firequency .' IS lowered w Jen / '''ckll ' o. el. O/ll·ersely. The T/'IIII/peTIVall nall/ral Ch I Jk ess ~t~s:~,cker and veloci,.y oj SOIl/U/ of The wall maTerial is lower. (MacalUSO, ar es. c!Jon & PcUoUDance. Palm Cily, FL: Bmss Technotogy Press, t998, P 5.)

Macalu . I d'fferent speeds. (l!lil!., p .' . He also so polllts out that sound waves travel through pure meta s at I he following page indicatesre ftates that harder materials amplify higher frequency partIals. T su ts 1'1'0111 tests conducted using various metals. (Ibid., P 7.)

8)

338 Density (pounds per cubic inch) Platinum , Lead Gold Silver Tin Red Brass Yellow brass Copper Zinc Nickel Aluminum Iron Beryllium

.775 .410 .689 .380 .260 .316 .306 .323 .258 .322 .097 .285 .067

VClelClI} 0/ Sound (inches per second X 10(0)

35 -1 II 7(1 IO~ lOX 1-1 I 1-1~ 1-13 151

1'10 200 20::! -1'IX

A harder metal such as beryllium has a much quicker response an .' I tone nctal than doesallnot . , d briunrcr of the other metals tested. However, tone quality rocesses tu can . an d. responsivene . s s" 0/ a purucu I ,be used to always correspond With Its weight. In a Similar fashion, heal-tre,ltlng p soften or harden a metal without changing its weight. Molecular structures within . . i. frozen to low . . metals can also be allere. d t h rou".ch crvogenic treatment. Cryogenics was advanced dUring World War 1/ when cienusts found that meld ~, e commercial temperatures showed more resistance to wear. Based on this theory of hardenlll~. thl hardness of cryogenic processing industry was founded dunng the .1 960s, primarily to IIl1pr~C .~ually frozen tool steel. Using liquid nitrogen and computer-controlled systems, metals can .' grd ';sses from to temperatures of -300° F, a temperature where molecules even out and relieve S I . t bending, soldering, Or hammering. (Refer 10: hllp:llen.wikipedia.org/wikl/cryogcnlc,)

Recently, the idea of cryogenically freezing Irumpets has become popu Iar..dl~ oneIn a 2003, the relatively small number of trumpeters who claim that treated trumpets have Improved 10ne f University Selmer Company asked Professor Chris Rogers of the School of Engineeringat. ~r~~ new Bach to conduct expenments to see If trumpets could be Improved through cryog~nlcs. and fi ve to be Stradlvanus-model trumpets were prOVided 10 Rogers- five to be untreated. . t sted each cryogenically frozen. Six musicians of different skill levels from the Boston area plaY~/~neWS.lUrlS. of the ten IIlstruments wnhout knOWledge of which ones had been treated. (Sec. hup: edulsloriesll I t203FrozenTrumpels.hlm)

T

According rs also . 10 the researchers from Tufts the musicians involved cou Id not htell any I lerences between the treated and untreated trumpets. stu dvr y, re:searc e diff '. After compOSlllonal . reponed that no physical changes in structure were seen. (!llli!.) . . . nuclear .. A Similar expenment was undertaken in J 999 by trumpeter and NASA ic Company phYSlclstJengmeer John T. Lynch, with Wayne Tanabe, owner of The Brass Bow Musi ooenically In Arhngton Heights, lllinois. Three pnvately-owned trumpets were volunteered to be Cryb e to the frozcn and lesled. I was unable 10 delecl any differences [in playing] that I could al/nbul (reG/melli, Lynch concluded. (WWW.whc.nctlrjoneS/lynCh/Cryo) TIle Iargc vanety . '. of trumpets available to the modern performer IS '. staggering. Each player weight of sh ~Id lest vanou, makes and models 10 de~errnine the best choice for him or her. The t_treated, the mstrument ISonly part of the equation. 1he remainder depends on how the metal IS hea f the mouthpiece. bore S17;cand Shape, bell flair, bell diameter " type of metal used and the size and shape 0

339 Larger manufacllIn:r,u,uall offer several bore sizes and weights of trumpets. Custom makerswork directly \I rth Intil,\ idual play~" 10 determine the tone and response characteristics that areideal for each cu,toiller (Sec partinl lI,t Ing of trumpet makers 111 Appendix 7.)

LA('Q

EI{ED

S, PI. TED FINISHES

Brass, being an "lIoy Illo,tl of copper, lends to tarnish quickly. Playing can corrode raw brasstrumpets ,ignil,c'lIl1 lv , clII'lng puung to occur in Ihe areas most often contacted by hands and fingers. Oncc a trumpet I' poll'hed and cleaned I remove all acids and impurities, a clear layer of lacquercan be applied I" Piott't'l the metal. IIh ugh la quer provides an economical means of preservingthe mctal'v lu-uou-, III1"h, man times lacquer is sprayed on by hand and is not evenly distributed. In adduron. "Idt'l lucquerv were often f a hardness greater than brass, causing the tone andresponse of the m-truuwnt 10 change from it unfinished state. Fortunately. toda\', l.uqucnng technique and chemical make-up of lacquer have improved, makinginstrumcnt-, xuund and pia \cry mu h like they do before the finish is applied. Yamaha of Amenca, for instance. I

3 >

>

f unpertoso

I'

dim.

p

PI'

dim.

I'

PI'

As played on the C trumpet: >

p

f impcrioso

Example 3. Music wriItt en f'or thc D trumpet: Excerpl p

3 >

rrom

The Mess;"h

by l iacnde!

cmposo rna non llllcgro

r As played on the C t rurnpet:

>

348 Example 4. (please refer to page 350.) Music written for the (alto) trumpet in E-Oat: >

c-

>

:1

fJ As played on the trumpet in B-flat: >

fJ

Example 5.

Music as written for the cornet in A: Exccrpt from Soldier's Tale by Stravinsky

f As played by the trumpet in B-flat:

• f As played by the trumpet in C:

-!~

~_rt1I

Exnmple 6. (PJca,e refer to page 350.) Musicas written for the (alto) trumpet in E: Excerpt from

La Fo/= abo been abandone~, save for performances of works by Mahler and Strauss and certain dance band tunes where t e hand IS used for a "wah-wah" or "doo-wah" effect.

STRAIGHT MUTES '. " 10e most commonly used mute IS.. the straight mute (usually designated as ..mute, .. oren"sf. the ~llIte ). This mUle IS made of metal, fiberboard, wood, or plastic and can be uscd 10 les~ each olume of Sound or to create a different umbre. A large variety of straight mutes are avmlabl , with their Own color of sound and blOWing resistance. ~

(L to R:

TrlllnCor, SOlto Voce

. various straight mutes , Chicago, NCljoom, Humes & Berg, Leblanc,

)

.",l1CO

Crown, Tr

r

359 Gcncrall). melalll1u~c, produce.the I.oudest and mostbriJliant sounds. Popular mutes of thistype are made b) I rUIl1( or and Denis Wick and are effective In works such as: Ilanol.. Copland \1.lhler Ra\l:1 R' I 0 "d"by hung '-'''h,,"" the bell ,,,~," a dig,", and h'""""g sound. S, rruI round p'~" of handkerchief hung Over the bell, a cloth bag placed over the bell, or a felta stretched Over Or thecloth bell by elastic edges. th

,~""

•

g

•

.,",

G~'g, G'''hWi"',

-"'f

0'

'roW"

the

top

o

.

bl""."", as""m"" in the second movement ":" hi;~" Piano "d' does his"'0 An American in Paris. Charles J

f or onC~rto for a felt crown mute, It In his thecalls Unanswered Queslion.

369

Humes & Berg make' a "derb " mule shaped like a derby hat and made of metal. The mutecan be held 0\ cr the hell hy the left hand r can be placed on a floor stand, in which case the bellis placed sligllll) ,nhl the opcnlllg the mute, The tone produced is similar to that of a bucket mule,bUIthe advantage " thnt the mute ,\ not alta hed 10 the Instrument, making it possible for the playerto cover and uncov cr the bell quickl ,

or

laz: trumpeter

Bunny Berrigan (1906-1942) with derby mute

Derb b d band musicians during the 1920s '30 y mutes were originally derby hats often worn Y anc~~ . tl e music of Glenn Mille'T s, and '40s, Derbie were used for "doo-wah" sound e ects 111 1 r, Ornmy D . band leaders. orsey. and other big PIXIE MUTE A "pi . " . h bell of a trumpet, is almost lIushWith th xre mute is a very short mute, that when placed 111 tete 10 be used over it. e end of the bell making it possible for a plunger or wa-wa rnu

370

When used by itself, its tone is like a regular straight Humes & Berg.

mute.

PIXIC murc-, 'ire manufaclured

Pixie /11/(/e

Pixie /11Uleand sTandard straight mute . A newer style of Pixie . . prevIous mute and works well mu~e ~ aV~lJlablefrom Humes and Berg It is shorter Ihan Ihe t page.) Wit t e use of a wa-w., mute or plung~r. (See photos on the nex

by

371

d by

newer-stytePixirnuur

wtth ,IIII;X"r mute

Pixie mute used with plunger

II ZZ· . HUlTIe, and Ikl~manufacturc« the "Buzzwow" mute. It sounds like a "buzzy" kazoo, or like an electric guu.u w uh 101\ of distortion lidded 10 the lone. The author is not aware of any Instancewhere .1l:0IllPIN'1 ,,"blc 't e ngull1l! l bc ,\n ". \ nple Ie ngull1g "llI.,hll- J{cpeIlIlUI1'

( ·.. 1 III (h,uuller

( ,,,I !'I,eher \l'heNlld C.. 1Iu \\ unhlcdon ""ul hen! H"lquhldder \ knlllr

McGinnes

Carl Fischer Colin Filmore IntemationaJ Carl Fischer International Intemational \ \ ';IUlIIC' _.\ I .,,1 SlUell " (trun,po\ition) .. .) Hickman ( hilf.I(1 'rr,I,· 'lUdiC' (from lnrk« S/lId,e5 Brass Press Colin I ",.,1 Slud,c, Tromba I ·"Iup ',ghtrclldlll I\d\ ,111(;'d ~ulllpi T Ilguing \lIdes Fox Carl Fischer Odd icIer EludC\ Carl Fischer I /.1 ·lIe.,1 . IUd, ., Carl Fischer I ~ 'hlll1lCtel1'lI -\lIdc. Intemational 2K M .todi and Tcchnical tudes G. Schirmer 60 . clc ·\Cd \lIdi.. ks. 1-2 Editions BlM 1 t-uulcs Eiohth Note o.l8 I ri rudic - d " Rubank Ten-, linkin' Fun Performance E\lI es Sci' t d \lIdic.

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Dudgeon, Ralph and Franz Streitwieser. The FlO. elh m: The History of the Ilu"elhorn ~, Illustrated b the Streitwieser CollectIon III the Inst nncnt Museum 01 ,>, hill, Krem!.eoo. Bergkirchen, Germany: PPVMEDIE GmbH, Edition Boehm,"}, ~(nl ~ Dudgeon, Ralph Thomas. The Ke ed Bu Ie Its Histo it rnture, and I cchmque '>~n Diego, CA: University of California at San Diego, unpubli hcd I hl). dl\'Cnatl • Birkemeier R t I . IC \Ult P "I he I h'IO and u i Century." In; Jnllm,,1 01. 9. 0.3.19

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co, Eugcne. "Torelli's Trumpet Mu ic: The Primary Sources. ~ F 'k Vol 27,1938, Pp4-14. ranquin M . . . he Instrllmentaimusi. . , ern. "La TrompetlC 11pi tons." Schwelzensc pp 64-65,89-90, 113-114, 138. . S . I Joumal. Halrpenn . . ue Trumpel." The Gal In O.mRlcl.1) 1>.1111 ,I

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