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U p Flexibility Trumpet

41 Studies for Embouchure Development

on the

W alter M .Sm ith

U p Flexibility Trumpet 41 Studies for Embouchure Development o n t h e W alter

Lip Flexibility Trumpet

on the

41 Studies for Embouchure Development

02398

V

W alter M.Sm ith

CARL FISCHER®

65 Bleecker Street, New York, NY 10012

Copyright © 1935 by Carl Fischer, Inc. Copyright Renewed All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including performing rights.

WARNING! This publication is protected by Copyright law. To photocopy or reproduce by any method is an infringement of the Copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement. Printed in the U. S. A.

|S B N 978 - 0 - 8258 - 2912-3

2

Preface

he

will find there-in m a teria l, a rra n g e d in a concise and m ethodical form, that w ill be helpful in the developm ent of a smooth and effortless legato, as well asan unusual

degree

M any of the studies included in this book are b a s e d upon id e a s given tome

at various times by many of my former teachers-, ideas,which to my k n o w l e d g e

l e a s t, have n e v e r b een in c o r p o r a t e d in any available p rinted stu d ie s. W ith

In presenting

of lip

this

series

of studies

to

the

stu d e n t

it is my hope

t h a t

flexibility.

a t

this in mind I have simply tried to assemble under one cover a group of such mate­ rial as I have found to be of g reat v alu e in the development of this branch of tech­ nique, and possibly to carry on a few ste p s fu rth e r with some su bjects of which on­ ly a beginning has heretofore been written. This group has been of inestim able value to me in my own practise, a n d h a s proven a great help to many students. The n e c e ssity of the control of the back of the tongue in this type of playing has never, to my mind, been properly stressed, and if the stud ent will read carefully the explanations I have written, I am c o n fi­ dent that he will be well rewarded for every effort he expends in this d ir e c t io n . These studies are not intended for beginners or young players. Only the first few exercises in each group will be found to be of advantage to suchstudents. It has not been my intention to write exercises for the development of the upper

re g is te r, but

ficiently strong to p ro du ce, at least in a fair degree, most of the high notes found

therein.

ra th e r

to develop a higher degree

of flexibility in a lip a lr e a d y suf­

I

sincerely

tr u s t

that

the

them as they

h<»ve been to me.

s tu d e n t

will

find these studies to be as helpful to

Walter M. Smith

Forty-One

DEVELOPIN G

Studies

FOR

LIP

FLEXIBILITY

on the

C o rn e t, T ru m p e t

or B arito n e (in (£)

POSITIONS WALTER M.

b a c k

SMITH

of

tk «

I.

CHORD

S T U D I E S

IN

ALL

SEVEN

VALVE

The

following ten studies

until

the

utmost

fingering

marked

successive

are designed solely

to develop the action of the lips

members

is attained.

as

the

sole

object

the

letter

E,and

and the

tongue

The student should not attempt at first to practise all of these studies at onetime. I recommend rather flexibility that and he work endurance for a few are weeks gained. with the first four exerci ses, adding the others, one by one,asmore

of these

flexibility and control

should of course

The

be foil owed,

pronouncing

is to build a movement

the lower

lip should

be

of

lip s and tongue, not fingers. Observe also the crescendos, as it is necessary to swell the tone in ascending,

and to diminish in descending. The back of the tongue should rise slightly toward the roof of the mouth

at

the same time drawn upward and into the mouthpiece very slig h tly, while the wind force is also increased

to make

in descending.

throughout. The student should perform these exercises daily.

with each

step upward, as though

up for the narrowed

opening between the lips.

These muscles should of course be relaxed again

Do not a ttem p t to p la y

w ith ou t p ressu re, but try to play with a ligh t and uniform preMSUtt

not a ttem p t to p la y w ith ou t p ressu re,
not a ttem p t to p la y w ith ou t p ressu re,

C opyright

renewed

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II.

THE

G LISSANDO

11

the scale. The G lissando The chord (or glissando glide) as applied may be to used the cornet wherever or trumpet a major has arpeggio two forms, permitting the chord a uniform (or arpeggio) fin g e r and in g (Or nearly so) may be found, but the scale glissando is only practical in the extreme upper register as only ways In a complete that complete register and or are perfect correct, the harmonics scale but is with given. close sufficient enough practise together such to approximate a high rate a of scale. speed These may be scales attained are by that no the means effect al of -

The glissando is regarded by many as a trick, or “stunt’.’ While this maybe so, its proper use is high­ ly effective in solos, and particularly in cadenzas; moreover the degree of flexibility and control gained by this practise will never come amiss. The student should first master the preceding exercises, as the flexibility gained thereby will be very helpful, after which he should master the following studies one by one, taking care that each note responds clearly. Do not attempt Number 5 until sufficient speed has been attained to touch the notes in passing,as no of speed doing will this, be possible after which if a the stop chord is made glissando on each becomes note. The a simple student matter will soon of raising accustom the tongue, himself closing to the “knack the lower " up lip, and and down increasing a xylophone wind force,and or set of each bells. tone will respond much the same as when a hammer is drawn 1ightly only Number as high 8 as should may be be practised had w ith ou with t stra extreme in . caution, and no attempt made to force the high notes. P la y The scale g lissa n d os given in Number 9 and Number 10 are to be treated in the same manner,otherwise an injury to the lips may result. It is to be borne in mind that all the notes written in these scales do not ac­ tually respond, but when a sufficiently high rate of speed is attained, the effect will be as written.

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26938-18

III.

THE

LIP

TRILL

17

To a certain extent the name “lip trill” is a misnomer, inasmuch as this ornament,

the lip, is in reality produced

although

seemingly

m

performed with

the

movement of the back of the tongue to produce and carry the trill.

by the same movement of the back of the tongue described

chord studies.

foregoing instructions for practicing the seven-position

The student should strive to perform these studies without movement of lips or diaphragm, relying solely on the

The

motion is much the same as inic/ust-

The are

student should beware

those on F and G.

of attempting to force the

higher

notes.

have

The been

best m astered.

Do not attempt

combining

higher trills until

these

student an

Do not be discouraged if you cannot produce these e ffe c ts im m ediately. Remember,nothing worth

I have included

two cadenzas

the glissando and the lip trill in order to give

cannot produce

these

effects is that

the

they lack the per­

litig a trill, and a great deal o f painstaking practice is necessary to adapt this motion to the m outhpiece

instrument, nevertheless, when by perseverance and practice the “knack” of doing this is obtained, liptrill. ing becomes vastly ea sier and su rer than any other form of trill.

and easiest trills to pro­

duce

idea of the effectiveness of this type of playing.

easily.

The

reason

more

players

while is done

severance to try, and try, and continue trying until their g oa l is achieved.

and try, and continue trying until their g oa l is achieved. --- irfr 3 &
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THE GENIUS OF CLAUDEGORDON

THE GENIUS OF CLAUDEGORDON FOR TREBLE CLEF INSTRUMENTS Daily Trumpet Routines (04945) Physical Approach to Elementary

FOR TREBLE CLEF INSTRUMENTS

Daily Trumpet Routines (04945) Physical Approach to Elementary Brass Playing (05017) Systematic Approach to Daily Practice for Trumpet (04702)

* Thirty Velocity Studies (05092)

* Tongue Level Exercises (05089)

FOR BASS CLEF INSTRUMENTS

Physical Approach to Elementary Brass Playing (05039) Systematic Approach to Daily Practice (04959) Technical Studies (Clarke) (04968)

* Thirty Velocity Studies (05093)

* Tongue Level Exercises (05090)

* In English/A uf deutseh/En français/En español

Read What These Great Artists Say About CLAUDE GORDON'S Books.

Every student of trumpet should have and use this method written by Claude Gordon. This is the one method that truly prepares the student as well as the aspiring professional for the demands in the high register endurance and facility that confront the modem business trumpet player. Jonn Clyman, Former 1st Trumpet, Los Angeles Philharmonic and Hollywood Bowl Symphony Orches­ tras.

Claude Gordon’s SYSTEMATIC APPROACH TO DAILY PRACTICE has one of the most sound approaches to developing a tremendous range. His explanation of the pedal register is excellent. In no other book has the practice of “k ’s” been given its proper importance. Robert DiVall, Former Principal Trumpet, Los Angeles Philharmonic and Hollywood Bowl Pops Orches­ tras.

I have been associated with Claude Gordon for many years. I have played alongside of Claude when he

played first trumpet for the Columbia Broadcasting System. I have examined Claude’s SYSTEMATIC AP­

PROACH and find it very valuable for complete development to meet modem demands. Ziggy Elman, Great Trumpet Star of Television and Recording.

It has been my pleasure to have been associated with many of Claude Gordon’s students, especially Stan Mark, my present lead trumpet. This speaks for itself.

Maynard Ferguson

I have known Claude for a number o f years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player. Conrad Gozzo, Former 1st Trumpet, NBC Studios Television & Recording, Hollywood, CA

I started studying with Paul Witt (14 year Claude Gordon student) in 1991. Claude's method has made a

200% improvement in my playing. I found that the saying BRASS PLAYING IS NO HARDER THAN DEEP BREATHING is fact, not theory. If you put the time and effort into practicing Claude's routines correctly and consistently, it's impossible for your playing not to improve. I guarantee it!

Lee Loughnane Trumpeter & founding member of Chicago

g n e

g n e Note: The tides listed below can be used in conjunction with the Sigmund

Note: The tides listed below can be used in conjunction with the Sigmund Hering Trumpet Course. The level of difficulty is indicated by the number within parentheses following each title. Those titles without any book indication can be used after completing Book 4 of the course. Zur Beachtung: Die unten aufgeführten Werke können in Verbindung mit Signmund Herings Trompetenkursus benutzt werden. Der Schwierigkeitsgrad wird durch eine Zahl in Klammem hinter jedem Titel angezeigt Die Titel ohne Buchhinweis können nach Abschluß von Band 4 des Kurses benutzt werden. N.B.: Les titres énumérés ci-dessous peuvent être utilisés conjointement avec le Cours de trom pette de Sigmund Hering. Leur niveau de difficulté est indiqué par le numéro figurant entre parenthèses après chacun d’eux. Les titres non suivis de l’indication d’un livre peuvent être utilisés après avoir terminé le quatrième livre du Cours.

SIGMUND HERING TRUMPET COURSE A Melodic Method for Class, Private, or Supplementary Study SIGMUND HERINGS TROMPETENKURSUS Eine melodische Methode für Gruppen-, Privat- und Ergänzungsunterricht

RECREATIONAL STUDIES • ENTSPANNUNGSUBÜNGEN ETUDES RÉCRÉATIVES FIFTY RECREATIONAL STUDIES For the young trumpeter (2 ) SIXTY RAMBLES FOR TRUMPET

04745

 

COURS DE TROMPETTE DE SIGMUND HERING Une méthode mélodique pour études en classe,

Recreational studies by Leon Lester- adapted for trumpet by Sigmund Hering (4)

04526

études particulières ou études complémentaires.

THIRTY-EIGHT RECREATIONAL STUDIES (4)

04946

Book 1

THE

BEGINNING TRUMPETER

05136

   

TRUMPET DUETS • TROMPETENDUETTE • DUOS DE TROMPETTES

Book 2

THE

ADVANCING TRUMPETER

05137

Book 3

THE PROGRESSING TRUMPETER

05138

MINIATURE CLASSICS 32 Easy duets (

3 )

04207

 

MORE MINIATURE CLASSICS 32 Easy duets (4)

04209

Book 4

THE

ACHIEVING TRUMPETER

05139

 

TRUMPETS FOR TWO 25 Intermediate duets from the Early Classics (4)

04458

TECHNICAL STUDIES • TECHNISCHE ÜBUNGEN • ETUDES TECHNIQUES

BACH FOR TWO TRUMPETS 28

Short works

04856

FORTY PROGRESSIVE ETUDES ( 2 )

03309

THIRTY-TWO ETUDES (4)

03226

ENSEMBLE • ENSEMBLE • ENSEMBLE

 

TWENTY-EIGHT MELODIOUS AND TECHNICAL ETUDES

04024

EARLY CLASSICS FOR BRASS ENSEMBLES

 

6 easy transcriptions for two trumpets, horn and trombone (3)

W2357

THE ORCHESTRAL TRUMPETER A method for transposition

04747

COLLECTIONS • SAMMLUNGEN • COLLECTIONS

ETUDES IN ALL THE MAJOR AND MINOR KEYS ( 4 )

04967

THE CLASSICS Easy pieces for the young trumpeter (2)

04764

TWENTY-FOUR ADVANCED ETUDES

03442

CLASSIC PIECES For the advancing trumpeter—Piano P a r t

04740

FIFTEEN CHARACTERISTIC ETUDES

03568

Trumpet Part ( 2 )

04740A

TWENTY-THREE ORCHESTRAL ETUDES For the Advanced T runqjeter

05016

SOLOS • SO U • SOLOS

 

CONCERTINO Trumpet solo with piano accompaniment

W2215

MOON SHADOWS (Polka) Trumpet solo with piano accompaniment

W1865

1 Biography

BIOGRAPHY

Sigmund Hering was a graduate of the Royal Academy of Music, Vienna. Among his teachers were Rossbach (trumpet) and Schrecker (composi­ tion). In 1923, he became the first trum­

pet in the Cleveland Orchestra, and in 1925 accepted a sim ilar position with the Philadelphia Orchestra under the leadership of Leopold Stokowski. Mr. Hering remained a member of the Philadelphia Orchestra for forty years, retiring under the baton of Eugene Ormandv.

was

faculty

of the Settlem ent Music School in Philadelphia and taught privately. His

books of study have been published throughout the United States and Europe.

Mr.

Hering

on

the

throughout the United States and Europe. Mr. Hering on the LEBENSBESCHREIBUNG Sigmund Hering ist Absolvent der

LEBENSBESCHREIBUNG

Sigmund Hering ist Absolvent der K.K. Musikakademie Wien. Zu seinen Lehrern gehören Rossbach (Trompete) und Schrecker (Komposition). 1923 übernahm er die Erste Trompete im Cleveland Orchestra und 1925 eine ähnliche Position im Philadelphia Orchestra unter der Leitung von Leopold Stokowski. Mr. Hering gehörte dem Philadelphia Orchestra vierzig Jahre lang an. Er trat während der Amtszeit von Eugene Ormandy in den Ruhestand. Mr. H ering war Teil des L ehrkörpers der Settlem ent Music School in Philadelphia; darüber hinaus gab er Privat unterricht- Seine Lehrbücher sind in allen Teilen der Vereinigten Staaten und Europas erschienen.

BIOGRAPHIE

Sigmund Hering est dimplômé de l’Académie royale de m usique de Vienne. Parm i ses professeurs il a eu Rossbach (trompette) et Schrecker (composition). En 1923, il est devenu premier trom pette de l’Orchestre de Cleveland et un 1925 il a assum é les mêmes fonc­ tions dans l’Orchestre de Philadelphie, sous la direction de Leopold Stokowski. M. Hering est resté membre de cet orchestre pendant 40 ans et a pris sa retraite alors qu’il se trouvait sous la direction d’Eugène Ormandy.

M. H ering a été professeur

à la Settlem ent Music School de

Philadelphie e t a donné des leçons particulières. Ses livres d’etudes ont été publiés partout aux Etats-Unis et en Europe.

THE

RAFAEL MENDEZ

COLLECTION

Transcriptions, Arrangements and Original Works for BbTrumpet and Piano

Arrangements and Original Works for BbTrumpet and Piano superb collection. Dubbed the "Heifetz of the

superb collection.

Dubbed the "Heifetz of the Trumpet", celebrated Mexican trumpet player Rafael Méndez was a leg­ endary figure in the era of Hollywood and the Big Bands. Now 37 of his most popular contributions to

the trumpet repertoire have been assembled in this

Highlights include Mexican Hat

Dance, Habanera from Carmen, Zigeunerweisen, Ave Maria (Bach-Gounod), Jota, Danse Bohéme, and Scherzo in D minor. A Biographical intro­ duction by Ken Smith, a Discography and a per­ sonal note by "Doc" Severinson are also includ­ ed, making this book an essential purchase for every trumpet player.

Trumpet and Piano - 256 pp. Trumpet Solo Part 72 pp.

ATF126

02398

Lip

Flexibility

on

the

Trumpet / Smith

C arl

F is c h e r,

Lip Flexibility on the Trumpet / Smith C arl F is c h e r, Favorite

Favorite Solos with Piano Accompaniments on CD

F is c h e r, Favorite Solos with Piano Accompaniments on CD Arioso from Cantata

Arioso

from Cantata N o. 156

Johann Sebastian Bach

The Carl Fischer CD Solo Series is designed to help all levels of instru­ mental soloists improve their performances by making practice time more productive w ith the included "liv e " piano accompaniment.

The CD contains a beautifully recorded piano accompaniment performed

by

by a professional accomt

professional accompanist w ith years of experience accompanying

soloists of all ability level 2ls.

a

The C D Solo Series is an in valu ab le teaching tool and is

in 3 graded levels: Beginning (Gr. 2), Intermediate (Gr. 3) and Advanced

presented

(Gr. 4-5).

As an added bonus, the faster pieces in the Be ond track w ith the piano accompaniment at a re the preparation of the piece.

Level have a sec- tempo to assist in

Works

for Trumpet in Bt> and Piano

In the Carl Fischer CD Solo Series

Grade 2 Beginning Level

George Frideric Handel Herbert L. Clarke

W2592Arioso from Cantata No. 156 Johann Sebastian Bach

Largo from the Opera Xerxes

W2594 Supremacy of Right Grand March

W2593

Edited by Timothy Morrison

Grade 3 Intermediate Level

W2595

A Glad Tune

Arthur Olaf Andersen

W2596

Contest Piece (Morceau

cLe Concours)

Giulio Alary

W2597

Concerto for Trumpet

Leopold Mozart

Edited by Timothy Morrison

W2598

My Heart at Thy Sweet Voice

 

Cantabile from the Opera Samson et Dalila

Camille Saint-Saëns

W2599

Allegro (Allegro de Concours)

Auguste DeBoeck

Edited

by Timothy Morrison

ISBN 978-0-8258-2912-3

9 780825

829123

by Timothy Morrison ISBN 978-0-8258-2912-3 9 780825 829123 UPC CARL FISCHER® w w w .c a

UPC

CARL FISCHER®

02398 —

$11.95 USA

7

98408

02912

8