THE MAGGIO EMBOUCHURE

O R I G I N A LL O U I S M A G G I O

S Y S T E M : M Ä B K A S S

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PLUS GROUP INSTRUCTION MANUAL

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BASIC COURSE

YABL5 OF CONTENTS

LOUIS MAGGIO

INTRODUCTION

TEACHING AIDS

1. THE PLAYING POSITION

2. THE EMBOUCHURE3. POSITION OF MOUTHPIECE

4 . HOW TO TAKE A BREATH5. RELAX

6. THE WARMUP

7. THE PEDAL TONES8. MIDDLE REGISTER

9. EXTREME HIGH REGISTER

10. SYLLABLES

11. THE SLUR

12. THE TONGUE13. FINGERINGS - SLIDE POSITIONS14. INTONATION15. ATTITUDE

16. SOUNDMAGGIO AND THE BRASS FAMILY

M AGGIO WARMUP A

M AGGIO V/ARMUP 3

LESSON I PRODUCTION Or SOUND LESSON II THE SLUR

LESSON III THE TONGUE

LESSON IV EXTREME REGISTERLESSON V ENDURANCE *

MAGGIO PHOTOGRAPHS

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"You DO WHAT I TELL YO U , SO N N Y, I'LL MAKE YOU PLAY BEAUTIFUL.“

THIS V/AS LOUIS MAGGIO'S OPENING STATEMENT TO ME IN 1947 AS A YOUNG

CONFUSED AND MISGUIDED TRUMPET PLAYER. HAVING NOTHING TO LOSE AND EVERYTHING TO G A IN , I PROCEEDED TO FOLLOW HIS ADVICE AND FOUND EVERY

SINGLE THING HE SAID TO COME TRUE.

LOUIE TOOK THE TOTAL BURDEN OF MY LEARNING HOW TO PLAY A TRUMPET

(PREVIOUSLY BY TRIAL AND ERROR, RUMORS AND HEARSAY) OUT OF MY HANDS.

HE BECAME THE MOST IMPORTANT INFLUENCE OF Av\Y LIFE, AS HE DID WITH SO MANY

OTHERS. HIS INGENIOUS SYSTEM FOR BRASS BOTH SHAPED AND EMPHASIZED MY

PLAYING AND TEACHING CAREER.

CONSEQUENTLY, IN THE HOPE THAT THE PROFOUND TEACHINGS OF THIS

GREAT MASTER SHOULD NOT REMAIN IN THE GRAVE WITH ITS CREATOR, I HAVE

DEDICATED MYSELF TO PASSING ON HIS PRINCIPLES TO NEW GENERATIONS.

LOUIS MAGGIO'S ORIGINAL SYSTEM FOR BRASS IS SIMPLE AND QUITE DIRECT.

HE LEFT NOTHING UP TO CHANCE. HIS INSTRUCTIONS COVERED THE ENTIRE

CONCEPT OF BRASS PLAYING.

I HAVE ATTEMPTED TO DOCUMENT THE BASIC MAGGIO FUNDAMENTALS AS

EXACTLY AS I REMEMBER LOUIE G IVIN G THEM TO ME. THE WARMUPS, LESSONS,

EXAMPLES (ILLUSTRATIONS) AND TEACHING AIDS ARE DESIGNED TO ANSWER ANY QUESTIONS YOU MIGHT HAVE ABOUT THE SYSTEM.

YOU WILL FIND THAT I REPEAT MYSELF ON OCCASION. THIS IS NOT MERELY

REDUNDANCY, BUT RATHER AN INTEGRAL PART OF MAGGIO'S METHOD. IT IS IN ORDER TO EMPHASIZE CERTAIN BASIC TEACHINGS. ALSO, TO KEEP THESE RULES

IN YOUR TH IN KIN G . FOR AN EXAMPLE - THE WARMUP, WHICH IS A MUST, IS

COUPLED WITH A SERIES OF PHOTOGRAPHS. THEIR PURPOSE IS TO INSTILL IN YOUR MIND THE IMPORTANCE OF PLAYING THE SAME WAY EVERY TIME. THIS WILL HELP

TO DEVELOP CONSISTENCY.

THESE EXERCISES ARE DESIGNED FOR THE BEGINNER TO THE PROFESSIONAL.

I HAVE STUDENTS FROM FOURTEEN TO OVER SIXTY PLAYING FROM DOUBLE PEDAL C

THE LOUIS M AGG IO LIP FORMATION Reproduced from on actual photograph in

Louis Maggio's studio, this picture proved

to be invaluable in assisting students to

grasp the idea of placing the lips in a

forward position.

THE LOUIS .IAGGIO ’ LIP FORMATION

THE U T I L E MAN WITH A B2G MESSAGE

N e v er b efo r e h a d th e brass w o r ld been a f f e c t e d s o s t r o n g l y b y a n y

ONE MAN THAN BY THE NOW LEGENDARY LOUIS M AG G IO . LIV ING IN THE DAYS

WHEN COMMUNICATIONS WERE SLOW AND THE DEVELOPMENT OF THE BRASS

INSTRUMENT WAS IN ITS FORMATIVE YEARS, THE ARRAY OF PROFESSIONAL RESULTS HE LEFT BEHIND ARE A GREAT TRIBUTE TO HIS GENIUS .

MAGGIO'S MASTER INSTRUCTIONS WERE NOT MERELY THE PRODUCT OF SOME

BRILLIANT SUPERBRAIN, BUT GREW OUT OF A TRAGIC ACCIDENT THAT CHANGED HIS ENTIRE LIFE. HAVING LEFT HIS NATIVE ITALY IN 1906, HE WAS APPEARING WITH THE ST. PAUL SYMPHONY WHEN DISASTER STRUCK IN 1919. IN SUBZERO WEATHER,

WHILE RUNNING TO CATCH A STREETCAR, LOUIE SLIPPED ON THE ICY PAVEMENT

AND FELL, STRIKING HIS MOUTH ON A SAFETY ZONE BUTTON. THE FORCE OF THE BLOW LITERALLY SHREDDED HIS LIPS AND KNOCKED OUT SEVERAL FRONT TEETH.

THE MEDICAL PROFESSION COULD NOT HELP AND HIS CAREER WAS OBVIOUSLY

AT AN END. ALTHOUGH DESPONDENT, LOUIE PURSUED THE CHALLENGE AND FOR THE NEXT YEAR COUNSELED HIMSELF, CONCEIVING AND DEVELOPING A TOTALLY NEW CONCEPT OF BRASS PLAYIN G . TO THE AMAZEMENT OF HIS COLLEAGUES,THE SYSTEM MAGGIO HAD CREATED NOT ONLY ENABLED HIM TO RETURN TO HIS CHAIR WITH THE SYMPHONY, BUT HE WAS PLAYING BETTER THAN EVER. HE HAD ACQUIRED A REGISTER UNHEARD OF IN THOSE DAYS (FIVE OCTAVES) AND HE NOW DISPLAYED A RICH, VELVET TONE THROUGHOUT ALL REGISTERS.

WORD OF MAGGIO'S ACCOMPLISHMENT GRADUALLY SPREAD THROUGHOUT

THE WORLD OF MUSIC, AND BELEAGUERED BRASS MUSICIANS BEGAN TO SEEK HIS HELP WITH THEIR INDIVIDUAL PROBLEMS. IN 1930, MAGGIO SETTLED IN LOS ANGELES TO SPEND HIS FULL TIME TEACHING, AND EVENTUALLY TO ESTABLISH AN INTERNATIONAL REPUTATION AS THE ACCLAIMED MASTER BRASS INSTRUCTOR.

AMONG THE MUSICIANS WHO SUFFERED INJURIES SIMILAR TO MAGGIO'S AND CONSEQUENTLY SOUGHT HIS HELP WERE RAFAEL MENDEZ AND CARLTON MACBETH.

MAGGIO WAS ABLE TO REBUILD EVERYONE THAT BROUGHT THEIR PROBLEMS TO HIM. IN ALL CASES THEY RETURNED TO THEIR PLAYING CAREER WITH EVEN GREATER

STRENGTH AND MORE FINESSE THAN PRIOR TO THEIR MISFORTUNE. SUCH WAS HIS SUCCESS THAT AT ONE TIME ALMOST EVERY TOP STUDIO BRASS PLAYER ON THE

WEST COAST WAS AN EXPONENT OF THE MAGGIO SYSTEM.

LOUIS M AG GIO , AS A RESULT OF HIS TOTAL DEDICATION TO MUSIC AND TO

HIS STUDENTS, WAS MORE THAN JUST A GREAT TEACHER. HE BECAME A WAY OF

LIFE FOR ALL WHO CAME HIS W AY.

AS YOU PROCEED THROUGH THESE PAGES INTO THE WORKS OF LOUIS M AG G IO , YOU MAY POSSIBLY SEE THIS "LITTLE MAN WITH A BIG MESSAGE" IN THE SAME LIGHT THAT HIS MANY GRATEFUL STUDENTS AND ADMIRERS SAW HIM.

ALTHOUGH THIS IS A BELATED TRIBUTE TO A GREAT MAN, MAY IT HELP TO BRING ABOUT SOME OF THE RECOGNITION AND ACCLAIM HE SO JUSTLY DESERVES.

}

THESE STUDIES ALSO BLOV/THE CONCEPT THAT IT TAKES A LIFETIME TO LEARN TO

PLAY A BRASS INSTRUMENT. IT DOESN'T WORK THAT V/AY. ALL THAT IS NECESSARY IS AN HOUR AND A HALF TO TWO HOURS A D A Y, SEVEN DAYS A WEEK FOR FIVE FULL WEEKS,„PLENTY OF REST AND A CONSTANT AWARENESS OF THESE BASIC PRINCIPLES.

I WOULD RECOMMEND THAT YOU DO NOT PLAY PRIOR TO THE WARMUPS AND THE LESSONS . IF YOU HAVE AN EARY CALL OR ARE UNABLE TO GO THROUGH THE LESSON OF THE WEEK BEFORE A PERFORMANCE, AT LEAST COMPLETE THE WARMUP. THEN,

LATER IN THE D A Y, MAKE UP THE LESSON.

"REMEMBER, OVER THE YEARS YOU HAVE DEVELOPED BAD HABITS TO PERFECTION,

SO AT LEAST G IVE THIS SYSTEM A GOOD FIVE W EEKS." — LOUIS M AGGIO

INCLUDED IN THIS COURSE ARE A SERIES OF TEACHING A ID S. REFER TO THEM O FTEN . THEY SHOULD ANSWER A N Y QUESTION YOU MIGHT HAVE. IF , BY AN Y

CHANCE 1 HAVE LEFT SOMETHING UNANSWERED OR V AG U E, DO NOT HESITATE TO WRITE AND G IVE ME THE OPPORTUNITY TO CORRECT AN Y LACK OF COM M UNICATION.

FOLLOW THE SYSTEM ATTEN TIVELY, CONCENTRATE-QN THE FUNDAMENTALS - AND THE RESULTS WILL CONTINUE TO AMAZE YOU FOR THE REST OF YOUR PLAYING

CAREER.

0 © I S © F S O U N D

WET LIPS . FOLLOW PHOTOGRAPHS FOR ALL WARMUPS AND LESSONS ,

PHOTO *1 TAKE A BREATH LIKE A DROWNING MAN G O IN G DOWN FOR THE THIRD TIME.

*2 PLACE MOUTHPIECE DIRECTLY UNDER NOSE.*3 RELAX AND MOVE MOUTHPIECE DOWN UNTIL THE BOTTOM LIP DROPS IN PLACE.#4 PUMP AIR IN AND UP (LIKE ROLLING A TUBE OF TOOTHPASTE FROM THE BOTTOM).

MOUTHPIECE PLACEMENT SHOULD BE:

1. 2/3 UPPER, 1/3 LOWER.2. CORNERS OF MOUTH IN TO EYE TEETH (AS IF TO WHISTLE).3 . LIPS TOGETHER.4 . BOTTOM LIP SLIGHTLY UNDER AND BEHIND TOP LIP .

5 . BUZZ DOWN.

(REFER TO TEACHING AIDS 2 THROUGH 7)

TEACHING AIDS

1. THE P [LAYING P O S IT IO N

THE PLAYING POSITION CAN BE EITHER SITTING OR STANDING. I WOULD USUALLY SIT IN LOUIE'S STUDIO, BUT ON OCCASION WOULD STAND IN ORDER TO LOOSEN UP.

THE INSTRUMENT SHOULD BE HELD FIRMLY WITH THE LEFT HAND. THE RIGHT HAND

(SLIDE OR VALVE HAND) SHOULD BE RELAXED, BUT STILL UNDER CONTROL. THE BELL OF

THE HORN SHOULD BE TILTED SLIGHTLY DOWN TO ALLOW THE MOUTHPIECE TO FIT THE

NATURAL CONTOUR OF THE LIPS.

2. THE EMBOUCHURE

"THE LIPS ARE LIKE REEDS. THEIR ONLY FUNCTION IS TO V IBRA TE."------ MAGGIO

THEY SHOULD ALWAYS BE:“WET"

2. "TOGETHER"3. "IN A FORWARD POSITION"

/ 4 . "CORNERS OF MOUTH IN TO EYE TEETH" (AS IF TO WHISTLE)

( 5 . "RELAXED AND SUPPLE"............LOUIS MAGGIO

3. P O S IT IO N OF M O U TH P IEC EREFER TO PHOTOGRAPHS

PHOTO n PLACE MOUTHPIECE DIRECTLY UNDER NOSE.

PHOTO #3 MOVE THE MOUTHPIECE DOWN UNTIL THE LOWER LIP FILLS ABOUT THE BOTTOM 1/3 OF THE CUP, LEAVING 2/3 ON THE TOP LIP. THERE IS ALV/AYS THE DANGER

OF THE MOUTHPIECE SLIPPING DOWN TOO FAR ON THE TOP LIP, THEREFORE THE STUDENT

MUST KEEP A CONSTANT V IG IL AGAINST THIS HAPPENING.

4 . HOW TO TAKE A SREATHREFER TO PHOTOGRAPHS

PHOTO n "TAKE A BREATH LIKE A DROWNING MAN GO IN G DOWN FOR THE THIRD

T IM E ." ------ LOUIS MAGGIO

LOUIE'S MEANING WAS TO GET AS MUCH AIR AS POSSIBLE INTO THE LUNGS IN THE SHORTEST AMOUNT OF TIME.

PHOTO #3 RETAIN THE AIR AND RELAX.

"SIT ON THE AIR WITH YOUR SHOULDERS, ALLOWING IT TO SHIFT TO THE BOTTOM PART OF THE LUNGS. " ------MAGGIO

I

TEACHING AIDS

PHOTO #4 PUMP AIR IN AND UP, LIKE:

1. ROLLING A TUBE OF TOOTHPASTE FROM THE BOTTOM.

2. A FORK LIFT.3 . A BOXER TAKING A BLOW IN THE STOMACH .

4 . IN AND UP.

IF THE STUDENT FEELS SHORT OF BREATH OR LACKING IN SUFFICIENT A IR , IT IS USUALLY DUE TO IMPROPER BREATHING OR EXCESSIVE LOSS OF AIR THROUGH DISTRIBUTION

(THE LIPS ARE TOO FAR APART).

TO SOLVE THIS PROBLEM, TAKE A SERIES OF SHORT BREATHS, AS FOLLOWS:

1. INHALE.2 . RELAX (RETAINING AIR).

3. TAKE SECOND BREATH.

4. RELAX (RETAINING AIR).

5 . TAKE THIRD BREATH.

6 . RELAX (SIT ON AIR WITH SHOULDERS).

7 . PUMP AIR (EXHALE).

BE SURE TO KEEP LIPS TOGETHER TO CHECK UNNECESSARY LOSS OF AIR .

~ ^ 5 . R E L A X

THE BULK OF THE MUSCLES OF THE BODY SHOULD REMAIN RELAXED AS POSSIBLE AT ALL TIMES. NATURALLY, THERE WILL BE TENSION IN CERTAIN AREAS OF THE BODY (THE DIAPHRAGM, THE STOMACH MUSCLES AND THE EMBOUCHURE), BUT ONLY ENOUGH

TENSION TO PERFORM THEIR FUNCTION .

"IF A STUDENT IS PLAYING RELAXED, YOU CAN HEAR IT IN THE SO UN D .“ ------M AGGIO

4

6. THE W A R M U P

THE WARMUP IS A MUST WITH THE MAGGiO APPROACH . THE AIR STREAM IS STARTED

AND THE POSITION OF THE EMBOUCHURE AND MOUTHPIECE ARE ATTAINED. THE LIPS ARE GRADUALLY INDUCED TO VIBRATE, AND GENERALLY BRING ABOUT A MORE RELAXED APPROACH TO PLAYIN G . THE TWO MAGGIO WARMUPS INCLUDED WITH THIS COURSE ARE DESIGNED TO ACCOMPLISH THESE FUNDAMENTALS . SWITCH THESE WARMUPS AS DIRECTED

AND KEEP WORKING YOUR WAY DOWN TO PEDAL C (Bb) UNTIL IT BECOMES PART OF YOUR

RANGE.

W T

< SPECiÂL INSTRUCTIONS

POSITION CHART FOR BASS TROMBONE WITH "F" ATTACHMENT AND "E" SLIDE

V= INDICATES VALVE IN USE

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SINCE THERE ARE ONLY SIX POSITIONS ON THE SLIDE, WHEN VALVE IS IN USE THE "E" SLIDE

MUST BE PULLED IN ORDER TO PLAY THE LOW "B" NATURAL. THIS WILL MAKE ALL VALVE NOTES

ONE POSITION HIGHER. STUDENT SHOULD BECOME FLUENT IN BOTH "F" ATTACHMENT AND "E" SLIDE.

FRENCH HORN

THE MIDDLE LINE IN F (FRENCH HORN) IS INCLUDED IN ORDER TO FACILITATE CLASSROOM

INSTRUCTION IN THE M AGGIO SYSTEM. WHEN PLAYING WITH TRUMPETS AND LOWER BRA.SS

INSTRUMENTS, THE FRENCH HORN (F) SHOULD APPLY SYLLABLE CHANGES AS DIAGRAMMFD BELOW (SEE LESSON ONE) THRO! IGHDI IT THF rn ilR Ç F

THE PüDÂL TONES

THE PEDAL TONE Bb CONCERT MAY BE ELUSIVE WHEN FIRST ATTEMPTED. IF EXERCISE ONE

PROVES TO BE TOO DIFFICULT, PROCEED TO EXERCISE TW O. KEEPING THE LIF3 TOGETHER,

PRONOUNCE THE SYLLABLE ‘‘TAH" AND PLAY THE VIBRATION THAT RESULTS BELOW PEDAL Bb

CONCERT. ONCE THIS NOTE IS ATTAINED THEN, WITHOUT TIGHTENING THE LIPS, INCREASE

THE AIRSTREAM VELO CITY UNTIL THE VIBRATION REACHES CONCERT Bb. THIS WILL G IVE THE

PROPER FEELING FOR THE NOTE SO THAT EVENTUALLY IT WILL BE MASTERED.

EXERCISE ONE EXERCISE TWO

TAH------ TAH

TAH - ■ TAH TAH TAH

/

EACH TIME THE ABOVE SYMBOL APPEARS IN THE COURSE THE STUDENT SHOULD PLAY THE

FULL PEDAL TONE EXERCISE.

1 = M Q S t i S R S ! A T EHi SEE TEACHING AIDS - ADVANCED STUDIES

TEACHING ASDS

7. THE P iD A l TONESANY NOTE BELOV/ THE NATURAL RANGE OF THE INSTRUMENT IS CALLED A PEDAL TO N E.

THEY WILL PROBABLY NEVER HAVE ANY MUSICAL VALUE, BUT PEDAL TONES ARE THE VERY

FOUNDATION OF THE MAGGIO SYSTEM.

WHEN PLAYED CORRECTLY, PEDAL TONES:1. FORCE THE STUDENT TO ADHERE TO THE CORRECT EMBOUCHURE AND

MOUTHPIECE PLACEMENT.2. SET THE STAGE FOR THE EXTREME HIGH REGISTER. ON LY THE SYLLABLE (TICH)

AND TENSION (CORNERS OF MOUTH IN TO EYE TEETH AS IF TO WHISTLE) ARE DIFFERENT.

3. EAR TRAIN IN G , BREATH CONTROL, ETC.

REMEMBER TO APPROACH THE PEDAL TONES FROM AN OCTAVE ABOVE TO RETAIN THE PLAYING EMBOUCHURE AND TO INSURE ACCURATE PITCH. USE CORRECT FINGERINGS AND

SLIDE POSITIONS AND ALLOW THE MOUTHPIECE TO CRAWL UP THE UPPER LIP . THE TONGUE

SHOULD BE KEPT FLAT ON THE FLOOR O r THE MOUTH WITHOUT ANY ARCH.

BE SATISFIED WITH ANY TYPE OF SOUND AT FIRST, AND CONCENTRATE UPON THE PRINCIPLES (AIR, RELAX, SYLLABLES, ET C .).

8. MIDDLE REGISTER“THINK OF BLOWIN G OUT O F THE BELL OF THE HORN INSTEAD OF INTO THE

✓Mo u t h p ie c e f o r a m o r e r e l a x e d a n d r ic h er s o u n d . " ------ l o u is m a g g io

THIS IS THE MOST IMPORTANT REGISTER OF A LL, MAINLY BECAUSE THE MAJORITY OF

PLAYING IS DONE IN THIS AREA. WE APPROACH THE MIDDLE REGISTER WITH THE SAME CLOSED EMBOUCHURE, THE PROPER SYLLABLE, AND A RICH, RELAXED AIR STREAM.

9. EX T R E M E H8GH R E G IS T E R

DURING THIS COURSE WE WILL APPROACH THE HIGH REGISTER WITH THE FOLLOWING PHILOSOPHY:

1. RETAIN PEDAL NOTE EMBOUCHURE IN THE HIGH REGISTER.2 . "AH" IN THROAT AT ALL TIMES.3 . PRONOUNCE SYLLABLE W ITHIHJLIQ .NgUE IN A HISSING FASHION (TICH).4 . f PLAY SMALL AT FIRST, THEN LET THEM GROW .]

------- ^-5. GO AS HIGH AS POSSIBLE EVERY DAY. PEDAL TONES BETWEEN EACH ATTEMPT.6 . LOOK FOR A THIRD BELOW YOUR VERY TOP NOTE TO EVENTUALLY BE YOUR

PRACTICAL RANGE.7. THIS IS A REGISTER THAT COMES SLOW FOR SO,ME AND FAST FOR OTHERS.

REMEMBER, IF ALL OF THE PRINCIPLES OF THE M AGGIO SYSTEM ARE CORRECTLY APPLIED, THE HIGH NOTES WILL ALL COME OUT.

TEACHING AIDS

10. S Y L LA B L E S

THE PRONOUNCING OF THE SYLLABLE, BY FORMATION OF THE TO N G UE, IS THE

HEART OF THE M AGGIO SYSTEM. “AH" IN THE THROAT AT ALL TIMES IS A CARDINAL RULE. THE SYLLABLES CREATE THE CORRECT AIR STREAMS FOR DIFFERENT REGISTERS. THEY SERVE

THE SAME PURPOSE AS THE OCTAVE KEY ON A CLARINET. THEY ALLOW YOU TO PLAY FIVE FULL OCTAVES (DOUBLE PEDAL C TO DOUBLE HIGH C) WITHOUT AN Y CHANGE OF

THE EMBOUCHURE.

NATURALLY, THEY MUST BE COORDINATED WITH ALL OF THE OTHER FUNDAMENTALS

OF LOUIS MAGGIO'S TEACHINGS. AFTER A WHILE YOU SHOULD BE ABLE TO HEAR THE SYLLABLE DISTINCTLY IN THE SOUND. AMONG THE BYPRODUCTS OF THE SYLLABLE ARE

A MORE CENTERED SOUND AND INCREASED CONTROL OF PITCH.

11. THE SLUE!

THE SLUR IS MOVING FROM ONE NOTE TO THE NEXT WITHOUT BREAKING THE AIR STREAM.

1. THE SLUR SHOULD BE PLAYED ENTIRELY BY SYLLABLE AND AIR.2. THERE SHOULD BE NO VISIBLE CHANGE IN THE FACIAL MUSCLES.

3. COORDINATE THE SYLLABLE CHANGE, FINGER CHANGE OR SLIDE POSITION

AND A SLIGHT KICK OF THE DIAPHRAGM.

4 . MAINTAIN A FORWARD POSITION OF THE EMBOUCHURE.5 . NEVER SMILE.

12. THE TONGUE

THE TONGUE HAS A MULTIPLE ROLE IN THE MAGGIO SYSTEM.

1. THE TONGUE CREATES THE SYLLABLE .2 . ON SINGLE ATTACKS FOLLOWED BY A SLURRED PASSAGE, THE TONGUEi

A . RESTS AT THE BASE OF THE TOP TEETH .B. DROPS TO RELEASE THE AIR TO THE FLOOR OF THE MOUTH AND THE

TIP RESTS AT THE BASE OF THE BOTTOM TEETH.C . BENDS IN THE MIDDLE TO FORM THE SYLLABLE.

3 . WHEN TCN GUIN G RAPIDLY, IT ACTS THE SAME AS A COBRA IN STRIKING POSITION ATTACKING THE BASE OF THE TOP TEETH.

“THINK OF SLURRING THE PASSAGE AND ADD THE TONGUE TO THE SLUR.“ ------ MAGGIO

TEACHING A3DS

13o F IN G E R IN G S ° SLIDE P O S IT IO N S

THESE EXERCISES SHOULD BE PLAYED WITH THE TRADITIONAL TRUMPET FINGERINGS

AS INDICATED.

1. CONCENTRATE ON CLEAN FIN G ERIN G .2 . THINK OF A FAST RELEASE AS WELL AS BANGING THE VALVES DOWN.

3 . MEMORIZE AS SOON AS POSSIBLE IN ALL REGISTERS.

INCLUDED IN THE BASS CLEF BOOK ARE SUGGESTED SLIDE POSITIONS. THESE ARE PLACED OVER THE NOTES TO ALLOW THE TROMBONE STUDENT THE FREEDOM NEEDED TO

CONCENTRATE ON THE BASIC PRINCIPLES WITHOUT 3EING CONCERNED WITH THE SLIDE POSITIONS.

(REFER TO "SPECIAL INSTRUCTION" PAGES REGARDING BASS TROMBONE AND FRENCH HORN)

14« I WTO W AT BON

(PLAYING IN TUNE)

"PLAY YOUR INTERVALS IN TUNE — AND YOU WILL PLAY YOUR INSTRUMENT IN TUNE." ------ — .......... ....... - ------ l o UIS MAGGIO

THINK OF THE PITCH YOU WANT, AND FOLLOW THE M AGGIO PRINCIPLES OF AIR, RELAX AND SYLLABLE. THIS WILL MAKE POSSIBLE THE PITCH YOU ARE TH IN KIN G .

15. A T m U B E

"EITHER YOU WILL PLAY THE HORN OR IT WILL PLAY Y O U ." ------ M AGGiO

THIS IS YOUR DECISION.

1. DON'T BE AFRAID TO MAKE A MISTAKE.

2 . ANALYZE YOUR PLAYIN G .3 . YOU MUST HAVE FAITH IN THESE TEACHINGS. THEY HAVE BEEN PROVEN.

THE MAGGIO SYSTEM HAS PRODUCED MORE GREAT BRASS INSTRUMENTALISTS THAN ANY OTHER APPROACH.

4 . IF YOU CAN PLAY BEYOND YOUR ABILITY ONCE IN A WHILE, THEN WITH

THIS COURSE BEAUTIFUL SOUNDS, CLEAN ARTICULATION AND SEEMINGLY EFFORTLESS

REGISTERS WILL BE AN EVERYDAY OCCURENCE.

TEACHING AIDS

1 6 . 5 © U fc 3 D

"ALL OTHER T.HINGS EQUAL, THE SOUND IS STILL THE DIFFERENCE BETWEEN A GOOD

WE ALL HAVE AN IDEA OF THE SOUND WE WOULD LIKE TO HAVE ON OUR INSTRUMENT. IT MAY DIFFER FROM STUDENT TO STUDENT, ACCORDING TO INDIVIDUAL TASTE.

YET , THERE IS THE NATURAL FREE SOUND OF THE INSTRUMENT THAT IS ALWAYS THERE. THIS IS WHAT LOUIS M AGGIO ATTEMPTED TO BRING OUT IN HIS STUDENTS. ONCE WE HAVE

THE RICH , CLEAR, RAW SOUND OF THE INSTRUMENT PLAYED 3Y THESE PRINCIPLES, THEN WE

CAN DEVELOP A PARTICULAR SOUND TO FIT THE TYPE OF MUSIC WE WANT TO PLAY.

ALTHOUGH LOUIS MAGGIO WAS ESSENTIALLY A TRUMPET PLAYER, HIS APPROACH

TO BRASS PLAYING ENCOMPASSED ALL THE VARIOUS INSTRUMENTS . HE CONSIDERED

THE TRUMPET, TROMBONE, TUBA, FRENCH HORN, BARITONE AND ALL OF THE OTHER BRASS INSTRUMENTS AS ONE BIG BRASS FAM ILY. HE TREATED EACH OF THEM IN THE

SAME WAY.

MAGGIO'S METHODS HAVE PRODUCED SOME OF THE WORLD'S MOST ACCOMPLISHED TROMBONE AND TUBA PLAYERS, AND HAVE BEEN THOROUGHLY PROVEN WITH THE

ENTIRE RANGE OF BRASS INSTRUMENTS.

“ IN ORDER TO PLAY TWO INSTRUMENTS EQUALLY WELL, YOU MUST PRACTICETWICE AS LONG EACH D A Y ." ------ LOUIS MAGGIO

THIS WAS LOUIE'S ANSWER TO THE DOUBLER ON BRASS, AND OBSERVATIONS OF

CURRENT INSTRUMENTALISTS ATTEST TO THE VALUE OF HIS THEORY.

AND A GREAT INSTRUMENTALIST LOUIS MAGGIO

2 . DENSE CORE.3 . CENTERED PITCH.

4 . RELAXED.

N A C G I O & ïïEdg B R A S S FA M ILY

C . M .

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MOUTHPIECE PLACEMENT SHOULD BE:

1. 2/3 UPPER, 1/3 LOWER.

2. CORNERS OF MOUTH IN TO EYE TEETH (AS IF TO WHISTLE).

3 . LIPS TOGETHER.

4 . BOTTOM LIP SLIGHTLY UNDER AND BEHIND TOP LIP .

5 . BUZZ DOWN.

(REFER TO TEACHING AIDS 2 THROUGH 7)

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SYLLABLES

CTHE PURPOSE OF USING SYLLABLES IS TO PLAY IN THE EXTREME REGISTERS WITHOUT MAKING A CHANGE OF EMBOUCHURE.)

1. PRECEDE THIS LESSON WITH WARMUP A .

2 . THE THROAT IS IN AN "AH" POSITION AT ALL TIMES.

3. PRONOUNCE THE SYLLABLES WITH THE TONGUE.

4 . IN THE HIGH REGISTER, A HISSING SOUND IS CREATED WITH THE TONGUE UP AND FORWARD.

5 . BE SURE AND RELAX.

(REFER TO TEACHING AIDS 8 AND 16)

S Y L L A B L E S

TRUMPET AI! Bb Instruments

F FRENCH HORN

TROMBONE A!! C Instruments

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LESSOR 5

LESSON I I

ÍE -3G S Ü L 3 R ,

41. PRECEDE THIS LESSON WITH WARMUP Bj.

2 . CONCENTRATE ON :A . PLENTY OF AIR .

B . KEEPING LIPS TOGETHER WHILE CHANGING OCTAVES .C . “AH" IN THROAT.

D . PRONOUNCE SYLLABLES WITH TONGUE.E . REST AS LONG AS YOU PLAY.F . RETAIN SAME EMBOUCHURE IN ALL REGISTERS.

(REFER TO TEACHING AID 12)

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1. PRECEDE THIS LESSON V/ITH WARMUP A .

2 . CONCENTRATE O N :

A . A STEADY STREAM OF AIR .

B. THINKING OF SLURRING EXERCISE AND ADD TONGUE.

C . RELAX.

(REFER TO TEACHING AID 11)

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1. PRECEDE THIS LESSON V/ITH WARMUP B.

2. ALTERNATE THE SLUR AND TONGUE FROM DAY TO DAY.3. THE SLUR IS USUALLY THE EASIER WAY TO PLAY THE TOP NOTES

AND PEDAL REGISTER.

— 5> 4 . MAKE A CONSTANT EFFORT TO INCREASE YOUR RANGE EACH DAY.— ~?5. DON'T BE DISCOURAGED ABOUT A SMALL SOUND IN THE UPPER REGISTER

AT FIRST. SEE MAGGIO QUOTE*

(REFER TO TEACHING AID 9)

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LESSON I V

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TAH TEE— ICH- TAH TEE— ICH-O

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LESSON I V

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L E S S O N V

1. PRECEDE THIS LESSON WITH WARMUP A .

2 . PLAY THIS EXERCISE IN A VERY AGGRESSIVE FASHION .3 . REST BRIEFLY.

4 . APPLY ALL OF THE PRINCIPLES USED IN THE PREVIOUS FOUR LESSONS,5 . DON'T OVER BLOW.6 . OBSERVE - AIR - RELAX - SYLLABLES.

(REFER TO TEACHING AIDS V/ITH AN Y QUESTIONS)

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LESSON V

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LESSON V

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LESSON V

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15

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LGSSON V

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LESSON V

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LESSON V

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TICH—EE— ICH TICH-EE-ICH TICH-EE-AH—EE-ICH

L ESSON V

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LESSON V

TAH TEE--------EE TEE-------ICH—EE----- TEE----- ICH—..................-EE-------

1 1

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LESSON V

TAH TEE-ICH—EE TEE-ICH---------------EE TEE-ICH—-----------------------EE

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L O U I S M A G G I O , honored by some of his grateful students at a banquet in 1950 at N icko d e ll's Reslauran l, Selm a and A rg y le , in Hollywood. Represented are tlie cream of the motion picture and studio brass players of the 1950's. At Maggio's right is Rafael M endez, considered by many the world's top trumpet virluoso . A lso included in the photo are Max Herman and Don Linder, now executives of Local 4 7 , A I: M , in Ho llyw ood. The author was not able to attend the ce lebration , being on tour as first trumpeter with the C harlie Barnet Orchestra at the tim e.

Bottom row , left to righ t: C h arlie G if fo rd , Gene LaFren ie re , Steady N e lso n , Ray Woods, Andy Secrest, G ene M organ, Paul G e i l , Paul W eigand , Phil C and reva , Louis M aggio , Rafael M endez, ( ? ) ,Harry Thomas, Zeke E l l is , Eddie E h le rt , Harold Pcpp ie , Al G o ld en , D ick C a th ca rt, Vern Rowe, Bobby Goodrich and (Jan Rasey.Top row , left lo rig h t: George F a ye , George Kennedy, Seymour Shek- lo w , Elmer Sm ithers, Don L inder, Curt Dosch, Dave W ad csch lcg e l, Je rry Rosen, Max Herm an, Don G reg o ry , Earl C o ll ie r , Dale N ic h o ls , C o lin C re itz , Ralph H ard in , Ted V e se ly , ( ? ) .