trumpet - atlantic festivals...trumpet playing the trumpet is lots of fun, but it can be a lot of...

TRUMPET� Playing the trumpet is lots of fun, but it can be a lot of hard work if you are not careful Here are some ideas and examples to make it easier and fun!

BREATHING Can you drive a car with out gas? NO! Can you play the trumpet with out air? NO! It has been said that your lungs are like a cars gas tank and the air you breathe in is the fuel. You need good air control to play the trumpet right. Here is an example to help you feel what it is like to have a full Gas Tank.

1. Breathe deep into the bottom of you lungs. 2. Hold that breath and raise you shoulders 3. Take in more air 4. Hold the breath in and relax your shoulders. 5. Do you feel that bubble of Air?

Try breathing through trumpet with out the mouth piece. How does it feel? Try breathing through trumpet with the mouth piece in the trumpet. Be aware of the difference.

BUZZING YOUR LIPS (Making and Embouchure) Buzzing your lips is one of the important things you can do. You should do this every day. Hold the corners of you mouth firm and make sure the middle of your lips is soft. Now move air from your lungs out of your mouth. You may not get a sound right away, but that is OK. Try it with a mirror and see how flat you can keep you chin. Once you get a buzzing sound try and see how long you can keep the buzz going.

BUZZING YOUR MOUTH PIECE Buzzing your mouth piece is very important to do every day. Why? It makes your embouchure stronger and that help your sound. I like to hold one note for about 5-10 seconds. I’ll do this 3 or 4 times. I also like to buzz songs like “Marry Had a Little Lamb” and “Row, Row, Row Your Boat”. This helps your ears and makes it not so boring.

Listening If some one told you a Bark like a dog, and you had never heard a dog bark, how would you make the barking sound? I guess you could make it up, but how close would you be? Making the trumpet sound like a trumpet has a lot to do with listening. It is a whole lot easier to make a trumpet sound if you know what a trumpet sounds like. Any time you are listening to music, with a trumpet in it, pay attention see if you like the sound you heard. Could you do it like that…or better. Here are the names of a few great trumpet players. See if you can find recording of them. (hint: check the internet) Jazz Classical Louis Armstrong Armando Ghitalla Miles Davis Adolph “Bud” Herseth Dizzy Gillespie Guy Touvron

Wynton Marsalis Wynton Marsalis Clifford Brown Maurice Andre Freddie Hubbard David Hickman

Cleaning and Maintaining the Trumpet The trumpet player should clean the instrument at least four times per year. It should be cleaned in a large sink or tub that is big enough to fully immerse the body of the trumpet. The following cleaning supplies are needed: • Mouthpiece brush • Valve Brush • Flexible snake brush • Cleaning rod and cheesecloth • Slide grease • Valve oil • Mild dishwashing detergent • Warm water To disassemble the trumpet for cleaning, remove the tuning slide, valve slides, and bottom valve caps and soak them in warm water. Remove the three valves and set them aside on a soft towel. Place the body of the trumpet into the warm water and let it soak. Never put the entire valve assembly under water when cleaning. Dip the valves in the water far enough to cover the valve itself, making sure that the pads or felts are kept dry. Rinse with clean water and carefully dry with a soft cloth. Put the valves aside while cleaning the rest of the trumpet.

Use the flexible snake to clean each valve slide and the main tuning slide. Take care not to force the snake around the tight bend in each of the valve slides or it may become stuck. Flush the slides with clean water and dry. Carefully run the flexible snake brush down each of the tubes and the bell of the trumpet, taking care not to scratch the inner wall of the valve casings. The leadpipe naturally collects the most debris, and extra time should be taken in cleaning it. Wrap a piece of cheesecloth around the cleaning rod and carefully swab out each of the valve casings. Remember that the slightest dent or scratch can cause a valve to stick. Reassemble the trumpet, starting with the valves. Be careful not to touch the valve itself; handle it by the valve stem or cap. Coat each valve with a liberal amount of valve oil and place it back in the proper valve casing, taking care to align the valve guide with the corresponding groove in the valve casing. Grease and reassemble the slides. To do this, place a small amount of slide grease on the slide and spread it on the slide with the fingers. Depress the appropriate valve so as not to build up any undue pressure, and put the slide into the trumpet. Wipe off any excess grease. The mouthpiece should be cleaned regularly with a mouthpiece brush. The exterior of a lacquer trumpet needs little maintenance Wipe off gently with warm (not hot) water. For silver of nickel-plated instruments, use a nonabrasive polish to shine the finish. Recommended cleaning and maintenance material: Valve Oil: Slide Grease: Silver polishing Cloth:

& wU0

// wU13

// wU12

// wU1

// wU0

//

&6 wU0

// wU1

// wU

12

// wU

13

// wU0

//

&11 ˙ ˙# w0 2 0

˙# ˙n w#2 1 2

˙ ˙ w1 12 1

˙b ˙ w23 13 23

&15

˙ ˙# w13 123 13

˙# ˙n w#123 0 123

LONG TONESTry and make the most beautiful sound you can. Remember do not force the tone out. Let the air carry your sound through the trumpet.

Play this very slowly. Again don't force the tone and make the most beautiful sound you can.

& ˙ ˙# wu ˙ ˙ wu ˙ ˙ wu ˙ ˙b wu

&5 ˙ ˙ wu ˙ ˙b wu ˙ ˙ wu

&8 œ œ œ œ w œ œ œ œ w

&12

œ œ œ œ w œ œb œ œ w

&16 œ œ œ œ w œ œ œ œ ˙ ˙

BASIC SLURINGKeep the air stream steady while changing notes. Do not attack the notes.

More Sluring.Try whistling a few notes. Feel how the tongue moves up and down. Try to make the tongue do this as you slur.

0 13

12 1

0 0

& c œ œ œ œ ˙ta ta ta ta ta

œ# œ œ œ ˙ta ta ta ta ta

œ œ œ œ ˙ta ta ta ta ta

œ œ œ œ ˙sim

œ œ œ œ ˙

&6 œ œ œ œ ˙ œ œ œ œ ˙ œb œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙

&11 œ œ œ œ ˙ œ# œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ w

TONGUE ATTACKS Try blowing air out of you mouth. Now try it while saying "Ta". Notice how the tongue interrupts the air. That is call articulation.

0 2 0 1 0

12 0 23 0 13

0 123 0 0 0

Play this very slowly. Make sure each attack sound even and clear

& wC

w# wbC# Db

wD

w# wbD# Eb

&5 wE

wF

w# wbF# Gb

wG

&9 w# wbG# Eb

wA

wbBb

wB

&13 wC

w# wbC# Db

wD

w# wbD# Eb

&17 wE

wF

w# wbF# Gb

wG

NOTES AND FINGERING (where are they??)

0 123 13 23

12 1 2 0

23 12 1 2

0 12 1 23

0 1 2 0

You may ask your-self how two notes have the same fingerings. That is called enharmonics. C# is the same note as Db.

~. ~~~~~~~~;~~~; ~~~~~~~

4.

_~jfJs; ,~~~~~..~ - &.

; .~~ U~~~~--~-~~•~---• -~f=si H~~~~~~~~I .1· ~ ~

• 'j+j1 ri~~ 1'1~(~ ~~II,I

I.

v.c. I·

© William Fielder 1988

& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U̇

&5

œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ U̇

&9

œ œb œ œb œ œ œ œ œ œb œ œb œ œ œ œ œ œb œ œb œ œ œ œ œ œb œ œb U̇

&13

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ u̇

&17

œb œb œ œb œ œ œ œ œb œb œ œb œ œ œ œ œb œb œ œb œ œ œ œ œb œb œ œb u̇

&21

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ u̇

&25

œb œb œ œb œ œ œ œ œb œb œ œb œ œ œ œ œb œb œ œb œ œ œ œ œb œb œ œb u̇

Lip Slurs 1.1

& c #####œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U̇

& ##### nnnnnbb5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U̇

& bb nn###9


& ### nnnbbbb13


& bbbb nnnn#17


& # nbbbbbb21


& bbbbbb25


Lip Slur 1.2

& 44 œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ U̇

&5

œ# . œ# . œ# . œ. œ# . œ# . œ# . œ. œ# œ# œ# œ œ# œ# ˙#U

&9

œ. œ. œ œ. œ. œ. œ. œ. œ œ œ œ œ œ U̇

&13

œb . œb . œb . œ. œb . œb . œb . œ. œb œb œb œ œb œb ˙bU

&17

œ œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ U̇

&21


&25

œ# . œ# . œ# . œ. œ# . œ# . œ# . œ. œ# œ# œ# œ œ# œ# ˙#U

&29


Tongue Slots

Slowly

& bb 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#& bb

9

œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#& bb

13

œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ

& bb17

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb21

œ œ œ œ œn œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb25


& bb29


& bb33


& bb37

œ œ œ œ œ œ œ œ œ œ œ œ œ

Earnest WilliamsErnie's Tongue Killer

& 44 w

01

w

1

w

0

w

1

w0

w

1

w

0

w

1

w

0

& ˙ ˙0

2

˙Ó

˙ ˙#2

˙Ó

˙b ˙n1

˙bÓ

˙ ˙#

12 continue using 23, 13, 123

˙Ó

&œ œ# œ œ

123

˙Ó

œb œ œ œ1

˙bÓ

œ œ# œ# œ2

˙Ó

œ œ œ œ0

˙Ó

& œ œ œ œŒ

4

œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ

&34

œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œœ œ œ œ

Œ

& œ œ œ œ œŒ

5

œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œŒ

& œ œ œ œ œ œ œ6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œU

&œ œ œ œ13

7

œ œ ˙ œb œ œb œb23

œb œ ˙b œ œ# œ œ12

œ œ# ˙

& b58

œb œ œ œb1

œ œ ˙b œ œ# œ# œ2

œ# œ# ˙ œ œ œ œ0

œ œ ˙

& b nœ œ œ œ œ œ œ8


& wp

9

wf

wp

wf

wp

wf

wp

wf

wp

wf

Horn WarmupBob Nicholson

[email protected]

Atlantic Festivals of Music May 2019 - Trombone Clinics

Page 1 of 4 footenotes©2019

Hello brothers and sisters of the slide! I am so glad that we have the chance to share our love of music and the trombone! This handout will point you to some resources that will help you develop your musicianship and remind you of the topics we covered in the clinic.

Song and Wind Arnold Jacobs asked his students to be expressive and interpretative or to become “story tellers of sound.” He asked his students to focus on “song and wind.” This requires a song in your head and wind at the lips when playing. Play it the way you would like to hear it played! Remember - nothing comes out of the instrument that hasn’t been formed in your head.

To transmit musical thought with a beautiful tone, you will have to do the work to get your technique to the level that allows you to communicate those thoughts. Ask yourself “is that the best note or phrase that I can play?” The way you do anything is the way you do everything - as you create sound, you and anyone else in your environment can hear your musical thoughts. Why create 10-cent sounds when you can produce 100-dollar music? Mouthpiece buzzing It can be difficult to find time to practice and it can be a problem to get your instrument home. This is where mouthpiece buzzing can be so helpful. If possible, try to have an extra mouthpiece - same make and model as the one with your instrument - at home for buzzing practice. Some players have trouble getting a good buzz sound on the mouthpiece. This will come with practice - remember, your instrument is an amplifier - if it doesn’t sound good on the mouthpiece, the trombone can’t bail you out. With practice, your tone and pitch will improve. Buzz along to your favourite music, buzz simple tunes, always working to be sure you are playing accurate pitches in tune. Technique We are musicians first and trombonists second - don’t let the trombone get in the way of your musicianship. We must have the ability to make the trombone tell our story in sound. Not knowing notes, slide positions, articulations, rhythms, etc. can get in the way of our musical communication. Put in the work required to develop the necessary skills. There are no shortcuts. Be patient but firm with your musical development. We can’t expect a first-year player to have the dynamic range, technical abilities, etc. of a fifth-year player. Musicians at all stages of development must constantly strive to improve their technique to improve their musicianship. Speed kills Practice so slowly that listeners can’t recognize what you are playing. If you play slow enough, you can play any piece of music. If there is a concert in eight weeks, you know that the difficult technical sections have time to be developed. Start slow and work towards having it at tempo two or three weeks before the concert. Use a metronome to track you progress. Then practice it a bit over temp so you have a comfort zone past the required tempo. Don’t expect to be at tempo in week one and don’t ignore the work required to make it happen. That section isn’t going away, and the concert needs that section!



Technology If you have access to technology, use it to improve your playing. There are many great (and not so great) videos of trombonists on the net. You can access online metronomes and there are free metronome apps for your smart phone and inexpensive tuner apps too. Use these resources and tools to improve your musicianship. Use recording technology to record and listen to yourself. Play duets or trios with yourself. Record a bass line and solo over your track - check out Paul the Trombonist and Christopher Bill online. Use your favourite search engine, or use these links, to check out these trombonists: • Alain Trudel - http://www.alaintrudel.com/trombone/ • Bill Watrous • Carl Fontana & Frank Rosolino - great jazz trombonists • Christopher Bill - http://www.classicaltrombone.com - facebook • Christian Lindberg - http://www.tarrodi.se/cl/ • Jack Teagarden - http://www.jackteagarden.info/ • J.J. Johnson and Kai Winding - both great players - and their duets… wow! • Joseph Alessi - http://alessimusicstudios.com/ • Paul The Trombonist - https://www.youtube.com/user/PaulTheTrombonist/videos - facebook • Tom “Bones” Malone • Trombone Shorty - http://www.tromboneshorty.com/

Look for videos and audio tracks that allow you to hear the way great musicians use their instruments to tell their story - song and wind! Edward Lisk Use the circle of fourths as part of your warm-up routine and to develop scale knowledge and technique. There are many ways you can use this to improve your musicianship. Being a Musician teaches us… • To be disciplined • To work with others • To deal with disappointment as well as success • To make and accomplish goals • That success is not a one-time event, but rather a lifetime of personal development Thank-you for your interest in making music via the trombone - maintain the journey and as my friend Dom Famularo says - onward and upward! Further information If you have any questions or need some assistance, please contact Ken Foote at [email protected]

http://www.alaintrudel.com/trombone/

http://www.classicaltrombone.com/

http://www.tarrodi.se/cl/

http://www.jackteagarden.info/

http://alessimusicstudios.com/

https://www.youtube.com/user/PaulTheTrombonist/videos

http://www.tromboneshorty.com/

mailto:[email protected]



The exercises and explanations are taken from Gordon McGowan’s Chester Brass Studio materials. Warm Up Process The first practice period of the day is critical, in that it serves as a wake-up signal to the embouchure. As a runner needs to warm up before breaking into a sprint, so the brass player needs to do likewise. Play the following long notes for approximately eight slow beats, and then totally rest for the same number of beats before proceeding to the next note.

Tone Exercises Play these exercises very slowly, using the tongue to produce the first note of each sequence only. Listen to your tone intently and aim at a full pure sound, without wobble or vibrato. Each exercise is to be played OAP (on all positions: 1 -2 - 3 - 4 - 5 - 6 - 7 or 7 - 6 - 5 - 4 - 3 - 2 - 1), and do not progress to the succeeding exercise until confident, or as directed by your teacher.



Lip Flexibilities These exercises build flexibility and contribute to the building of a strong embouchure. Again, practice as softly as possible, with strong regular rhythm. The use of a metronome is recommended in the early stages.

Production Exercises These exercises should be played throughout scales and executed with great clarity at the lowest possible volume level. The tongue should be placed behind the teeth, withdrawing to permit the air to vibrate the lips, as in the syllable TU. The use of a metronome will greatly assist in regulating the rhythm and increasing speed.

? bb 44 w

111 0Play very slowly concentrating on a full relaxed breath

w13

w12

w1

w0

w12

w2

w0

w2

w12

w0

w1

w12

w13

w0

? bb ˙ ˙2

0Fast air, slow air, fast air

˙ Ó ˙n ˙2

˙n Ó ˙ ˙b1

˙ Ó ˙ ˙12 continue using 23, 13, 123

˙ Ó

? bb œ œ œ œ

312

Medium, fast, medium, slow air

œ œ œ Œ œ œb œ œ1

œ œb œ Œ œn œ œ œ2

œn œ œ Œ œ œ œ œ0 œ œ œ Œ

? bb œ œ œ œ Œ4 tah tah-tah tah on one column of air

œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ

? bb40 œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ

? bb œ œ œ œ œ Œ5 Play both slurred and tongued (tah) with the same air flow

œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ

? bb œ œ œ œ œ œ œ6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

U

? bb œ œ œ œ7

13Slow to fast to slow air stream

œ œ ˙ œb œb œb œ23 œb œb ˙b œ œ œ œb12 œ œ ˙

? bb bbb64

œb œ œb œ1 œb œ ˙b œ œn œ œb2 œ œn ˙ œ œ œ œ0 œ œ ˙

? bbb œ œ œ œ œ œ œ8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œU

? bbb w9

p

Maintain good sounds throughout swells

wf

wp

wf

wp

wf

wp

wf

wp

wf

Daily Routine for [email protected]

Euphonium

©2018

by Bob Nicholson

? bb 44w

111 0Play very slowly concentrating on a full relaxed breath

w

13

w

12

w

1

w

0

w

12

w

2

w0

w

2

w

12

w

0

w

1

w

12

w

13

w

0

? bb ˙ ˙

20

Fast air, slow air, fast air

˙ Ó˙n ˙

2

˙nÓ

˙ ˙b

1

˙Ó

˙ ˙

12 continue using 23, 13, 123

˙Ó

? bb œ œ œ œ

312

Medium, fast, medium, slow air

œ œ œŒ

œ œb œ œ

1

œ œb œŒ

œn œ œ œ

2

œn œ œŒ œ œ œ œ

0

œ œ œ Œ

? bbœ œ œ œ

Œ4 tah tah-tah tah on one column of air

œ œ œ œŒ

œ œ œ œŒ

œ œ œ œŒ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ

? bb40

œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œœ œ œ œ

Œœ œ œ œ

Œœ œ œ œ

Œœ œ œ œ

Œ

? bbœ œ œ œ œ

Œ5 Play both slurred and tongued (tah) with the same air flow

œ œ œ œ œŒ

œ œ œ œ œŒ

œ œ œ œ œŒ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ

Œ

? bbœ œ œ œ œ œ œ

6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

U

? bb

œ œ œ œ

713

Slow to fast to slow air stream

œ œ ˙ œb œb œb œ23

œb œb ˙b œ œ œ œb12

œ œ ˙

? bb bbb64

œb œ œb œ1

œb œ ˙b œ œn œ œb2

œ œn ˙ œ œ œ œ0

œ œ ˙

? bbb œ œ œ œ œ œ œ8


? bbb w

9

p

Maintain good sounds throughout swells

wf

wp

wf

wp

wf

wp

wf

wp wf

Daily Routine for [email protected]

Tuba

©2018

by Bob Nicholson

trumpet - atlantic festivals...trumpet playing the trumpet is lots of fun, but it can be a lot of...

Documents