tsrass Ctrass

FåæKRdh0olc

second edition, .revised

r995

written and compiledby

Dr" James BucknerProfessor of Trumpet

F{enderscn StatelJniversity

@1995 Jannes tsuckner, Arkadelphia, Arkansasall rights reserved

Table of Contents

Supplementary Texts

A Listing of Some of the Most Excellent Brass players on Record

Breathing

Breathing .

Arnold Jacob's Breathing Exercises . .

Facial Characteristics

Brass Class Introductory Studies

Maintenance

The Importance of a Clean Instrument

The Care of a Schilke Instrument

Warmup

Breath and Range Expansion Studies

Warmup Routine

Warmup Materials

Tone Studies, Part I

Alterations to Clarke Technical Stud,ies

Range

Range Expansion Slurs

Jazz Trumpet: How High Is'High Enough?

Braces

Brace Relief Shields

Brace Guard

4

I

L2

....13

18

20

21,

23

24

25

26

27

29

34

35

36

1

2

Basic Lip Slurs

Multiple Tongue Practice Aids

Developing Intonation

Solos and Contest: How to Do Your Best

Recommended Methods

Mouthpieces

.37

..41

38

45

46

47

48

49

50

52

55

57

58

59

61,

64

65

66

Trumpet/Trombone Mouthpiece Comparison Chart

Yamaha Brass Mouthpiece System

Yamaha Brass Mouthpiece Comparison Chart

Holton Farkas French Horn Mouthpieces

Trumpet

Tuning and Valve Slides

Miscellaneous: Triple Tongue scale Pattem, Trumpet IntonationCommon Alternate Trill Fingerings

Fingerings and Alternate Fingerings and Overtone Series

Tuning the Holton Farkas Double French Horn

Removing water from the Holton Farkas Double French Horn . .

Care of the Valves

Valve Lubrication Procedure

Tendencies, and

54

Horn

Reference Books

Magnum Mouthpiece Puller @on't Use This!)

Topic Check Sheets

Brass Class Topic Check Sheet #1

Brass Class Topic Check Sheet #2

1

Supplernentary Texts

Psychological

Brass

The Inner Game of Tennis by V/. Timothy GallweyThe Inner Game of Music by Barry GreenI'm OK, You're OKby Thomas A. HarrisPscho- Clbernetics by Maxwell Maltz

The An of Brass Playing by Phillip Farkas

2

A Listing of Some of the Most Excellent Brass Players on Record

(Non-Jazz)

Trumpet

Maurice Andre - many recordingsDavid Baldwin - University of Minnesota - recorded Chariier EtudesTimofey Dokschitzer - Bolshoi Theater Orchestra, MoscowAdolph "Bud" Herseth - principal trumpet, Chicago Symphony OrchestraWynton Marsalis - quite a few recordings, "legit" and jazzAnthony Plog - also an excellent composer for brassGerard Schwarz - former principal trumpet, New York Philharmonic and American Brass

Quintet, now conducts Seattie Symphony Orchestra, recorded Cornet FavoritesPhilip Smith - principal trumpet, New York PhilharmonicDon Smithers - valveless "naturd" trumpet, recorded CBS Sunday Morning fanfareThomas Stevens - principal trumpet, Los Angeles PhilharmonicEdward Tarr - valveless "natural" trumpet, now trumpet historian

Horn

Hermann Baumann - valve and natural hand hornDennis Brain - one of the all time great brass players and musiciansJames ChambersDale Clevenger - principal horn, Chicago Symphony OrchestraJames StaglianoBarry Tuckwell - one of the only professional horn soloists

TromboneVinko GlobokarDonald Knaub - bass tromboneChristian Lindberg - superb soloistRalph Sauer - principal trombone, Los Angeles PhilharmonicHenry Charles Smith - former principal trombone, Philadelphia Orchestra, now conductorDenis Wick - principal trombone, London Symphony Orchestra

Euphonium

Fred DartLeonard Falcone - old school of playing, superb technique, fast vibratoHenry Charles Smith - former principal trombone, Philadeþhia Orchestra, now conductorRaymond Young

3

Tuba

William Rell - the first great trrha player of modern timesRoger Bobo - tuba, Los Angeles PhilharmonicJames Fletcher - deceased, London Symphony Orchestra, Philip Jones Brass EnsembleToby Hanks - New York Brass QuintetArnold "Jake" Jacobs - former tuba, Chicago Symphony OrchestraFritz Kaenzig - tuba teacher, University of MichiganMichael Lind - Danish tuba playerHarvey Phillips - founder of TubaChristmas in memory of William Bell

Brass Ensembles

American Brass Quintet - bass trombone, not tubaCanadian Brass - the most famous brass quintetDallas Brass - excellent brass quintetEastman Brass Quintet - one of the earlier brass quintetsEmpire Brass Quintet - one of the earlier brass quintetsNew York Brass Quintet - the eariiest American brass quintet, now disbanded, possibly the

finest brass quintet everPhilip Jones Brass Ensemble - the earliest English brass quintet, varies in size from 5 to 10,

now called the London Brass EnsembleRhythm and Brass - contains many former members of the Dallas Brass

recording of the antiphonal music of Giovanni Gabrieli by the Chicago, Cleveland, andPhiladelphia orchestral brass sections

Orchestras

Berlin Philharmonic OrchestraBoston Symphony OrchestraChicago Symphony OrchestraCleveland OrchestraLondon Symphony OrchestraLos Angeles Philharmonic OrchestraNew York Philharmonic OrchestraPhiiadelphia OrchestraSt. Louis Symphony OrchestraVienna Philharmonic Orchestra

especially recordings of:

Copland, Mahler, Respighi, Rimsþ-Korsakov, Shostakovitch, Sibelius, Strauss, Stravinsþ,Tchaikovsþ, Wagner

4

BREÀ:[HING

AJ-thottgh breathing is one of the most natural things we do, when weapply it to trurnpet playing we frequently distort certain aspects.with good breathing habits alr aspects of playing improve. - Thisnot onry incrudes tone quality/ rang:e, and endurance, but alsotonguing, slurring, and eveR fingering.

Correct fnhalation

The goal of proper breathing is inhaling and exhaling large amountsof air without friction. Professíonal trumpeters use largequantities of air, and this is one of the most important reasoñsthey play so well-. It is vital that younger trumpeters breatheIike professionals so that, they may beEin to develop to thèir fr¡Ilpotential

"

Frequently musicians argue whether it, is more inportant to breathfrom the diaphragrrn or the chest. Expansion of the ribs providesabout 6o percent of a personts total lung capacity, and movement ofthe diaphragrm produces about 40 percent. Obviously, a persondoesn't want to use 40 percent or 60 percent of their potential.ft is necessary to use all L0O percent.

Many rnethods exist for teaching breathing, and most require acertaj-n degree of conscious control of the breathing process.Fortunately, it is not necessary to make breathíng conplicated" Acorrect breath may be taken simply by inhaling as quietly aspossible. Any sound results from friction in the airway. Thisslows down the inhaLation and decreases the amount of air you caninhale quickly. fnagine a gentJ-e sunmer breeze blowing through thetrees aña imitate that sound as you inhale. Another easy way tobreathe correctry is to pretend to yawn through slightly openedlips" Strangely enough, opening the mouth too far makes a properbreath more difficult. Practíce breathing correctly with everybreath you take in practice, rehearsal or perfornance. yourpJ-aying will show definite improvernent.

It is also important to realize that the style of the breath goingin sets the style of the breath going out. rf you breathe in withtension, you wilr tend to brow out with tension. A reraxedinhal-ation greatly helps with relaxed blowing and contributes to agood, healthy sound that projects weIl. It also helps withintonation and range.

Size of the Breath

The next question is, how nruch do you inhale? In generalr youcannot take too rarge a breath, but there is a lirnit. rnhalequietly as l-ong as you can. At the very end of the breath, just,before you are totally fuIIr you will feel quite uncomfortable.This is call-ed the stretch point" I tried for several months totake breaths that l¡/ere as large as possible. I f ound that when youare this fuII it is difficult to start the air out smoothly. This

5

makes it. difficult to play quietly and to start a phrase withoutaccenting it.A furl breath shourd go right up to the stretch point, but not intoit. In this way you have taken in you maxirnum useable capacity.As a guiderine, this is approximatery 90 per cent of youi totãlcapacity "

Students who have not been breathing properly sometimes confuse themeaning of the stretch point. I^Iith a correct breath there is greatexpans ion in the ribs ,' hov/ever, r have observed studentJ whothought that when thej-r ribs began to move they had reached thestretch point. Thís point is not reached until almost the totalbreath capacity ís inhaled and the breath becomes quiteuncomfortable.

Students often ask me if they should take such a large breath whenthey need to play a soft phrase. rn general, r r¡ourd say that agood breath should be taken, probably about 70 per cent of yourtotal. A breath this size has momentum, but not so much that youhave to hold it back. Holding back leads to tension, and ttrismakes soft playing more difficult.

When you need to play loudly however, yoü should inhale the full 90percent" This makes it easy to produce the needed volume" Fullbreaths also help with the upper range. Think of a full breath ashelping your playing the same vray a baseball batter uses a fullswing to knock the ball out of the park. speed and momentumaccomplish what brute muscle strength cannot. The same holds truefor loud or high trumpet playing.

there is an easy way to determine if you are taking fu]l breaths.rnhale and exhare fully three times, pausing onry for about asecond between breaths. rf you are breathing properly you willexperience the beginnings of hyperventilation: slight, d,izziiess andthe rights seeming to din. rf you don't hypervenCilate, don't patyourself on the back for being in such great physicar shape" rtsimply means that you didn't take big enougñ breaths. Try itagain, but inhale much more fulIy. These are the size breathJ youneed to play your best.

The Importance of a Full Breath

A big, fult breath wants to come out. All you have to do iscontrol it,. A small breath often means you have to force. Take abig breath and hold it -- what d.oes the air want to do? It wants t,ogo out. No$/, let the air out and arrow your body to reach itsnormal state t ot resting point. From this resting point begin tobl-ow -- as long as you can. What does the body want to do? fnhate.The more you blow out from the resting point, the more effort íttakes. BIow until you are almost totally out of air. Notice howhard it is to inhale; the body almost locks up"

The most efficient part of your breath is the top part of the

6

breath, from nearry full untiL the resting point. [.Ihen you pray,start with a fulI breath. (Remember, don't inhale past the stretóhpoint! ) Take another breath when you get near the resting point.Exactly when you do this will be determined by the phrasing ót tnemusic. occasionally, yoü wirr need to pray past the restiñg pointand into the bottom part of the breath. This is okay, nut youshould onÌy use this part of the breath when absolutely necessary.fn this \å/ay you will maximize your endurance.

concentrate on taking rarge breaths in all of your praying: band,)azz, solo playing, and especially in your practice sãssions.During every rehearsal you take hundreds of breaths, giving youhundreds of opportunities to develop the art of correct breathing.

rt takes time to develop good breathing habits. A great'deal ofrepetition is necessary to strengthen muscles, buíId endurance, andestablish this as a habit. Large breaths are somewhatuncomfortable at first because the intercostal muscles (between theribs) need to develop, and, unless you are a runner, you are notused to expanding your rib cage to its capacity.

rn tine (six months or more) you will automatically take ]arge,full breaths without even thinking about it. V'rhen you see someoneelse pray who doesn't take a fulr breath, you will wonder why theydon't breathe properly it's so much easier to play the rightI¡tay.

The Inportance of Correct Breathing

one of the most important parts of trumpet praying is developing anev/, correct habit. rn spite of our best intentions, it is eásy-toJ-et.up. I would l-ike to share with you some of the reasons vrhytaking large breaths are criticar to playing extrenely welllPerhaps these reasons will give you additional incentive to learnto breathe properly.

Loud playing, low and high notes, slurs, and large íntervaLs areexpensive in that they all take a great dear of air. The rouderyou play, the more air you use. The most costly notes,surprisingly, are the lowest notes. pray a G berow the staff asloud as possi.bre, and see how rong you can hold it. Then try thesame thing with the G at the top of the staff. you can probablyhord the higher note at reast twice as long as the lower pitch. -

Higher pitches require a certain amount of air pressure. rt iseasiest to generat.e the needed compression when the lungs are fu11because the body is expanded and wants to contract, therebygenerating some air pressure and giving you a head start. Btcontrast, when you are getting low on air the body wants to expandand take air in, so you need not onry the effort to generate theneeded air pressure, but also to overcome the body's natural desireto expand to its rel-axed state.

Slurs use more aj-r than articulated notes. This only makes sense:

7

v/hen you slur the air never stops.momentarily interrupted, either bythe breath, depending on the tempo.

When you articul"ate the air isthe tongue or by separation of

Playing wide intervals is much easier vrhen you useThis is particularly true with ascending intervals,true when the notes are slurred"

a lot ofand even

a1r.more

A person has their greatest lung capacity at about the age ofeighteen. PriorEo that tirne, lung capacity increases, and ãfterthat age it decreases littIe by little. A young player who takesIarge, full breaths will not experience many problerns as they age.They will simply breathe a little more often than when they wereyounger.

A trumpeter who does not take good breaths as a young person may beable to get by for quite some time, but the inevitable decrease inIung capacity will eventually take its toll" By the time atrumpeter is in his or her forties playing nay become quitedifficuLt. Many excellent trumpeters have had to quit playing oncethey reached this point. This is several decades av/ay for most ofyou, but hrhy do anything to shorten your playing careerunnecessarily, especially when you have so much to gain in themeantime by breathing properly?

Many playing problerns are caused by a rack of air. one of thefirst things to show up is tension in the throat" This hurtsendurance and upper range. The diaphragm and ribs also stiffen andthere is a general decrease in flexibility. The tips often feelstiff and unresponsive when not enough air is used. The tonguedoes not function as weII, particularly in double- andtriple-tonguing. Even the fingers perform more poorry with aninadequate aír supply.

Many other problems are brought about by a lack of air. Frequentlyyou can cure what appears to be a totally unrelated problen simplyby using more air. Even if the problem does not go away, it willbe greatl-y rnininized.

rn teaching my students, r frequently make an analogy cornparingIarge breaths to being rich. lrfhen you are rich, yoü can doanything you want. You can fly to Paris for lunch and India forsupper" You can buy an new red Mercedes convertibl-e because thebl-ue one crashes with your outfit. what do you do if you run outof cash? Just go to the bank and get more. When yourre rich,therets always more money!

when you take large breaths, yoü can pray v¡hat you want. you cancrescendo as much as you wish or play the length of phrase thecomposer wants. You can play large intervals more easily or blowthrough a tongued passage so that the notes really project. Highnotes are easier and have a beautiful sound. What do you do whenyou run out? Just take another big breath. Therers always moreair !

I

ARNOLD ''ÀCOB ' SBREATHING EXERCISES

Itisveryhelpfulfor.brassplayerstopracticelargevolumemovements of air ah/ay frorn-ine- initrument and music' By doing

this, the body learns tn" correct processes rnuch faster'Eventuallytlreseprocesse.swillunconsciouslytransfertohisorher playing. -ïiËfri' a few weeks these exeicises will begin toproduce resutts f but th.ey rnust be practiced f or six months or

Ionger f or tne"nf !o-*o.r* into the subconscious ' At that point they

wiII replace äiA-Ltå^thíng habits. The player's breathing habitswiII be changed forever'

Thebod'ywillbelearningnewskílls.Itmustberememberedthatthe goal is f.tq. vorunä- *"*"¡tt= of air' ne! large body

movements. While äoinq these exercises it Ís helpful' however' to

exaggerate th;;;y;-t"á pn*r,o*"r,. to ensure that the body learns

proper *o.r"*"it:--'fi iu áf=o wise to estabtish motion independent

oftheair.Thishelpstrrebodylqllnfunctionandteachest,heprayer thar Ëä;- nåv"ment;- "r;;ä

will not guarantee proper air

flow.

Whentheplayergoest.ohisorherínstrument,theseexercisesmustbe forgotten. úfr" pfayer ;;=¿-;"¿ inlo art, not mechanics' It

will be herpful to the play;; t" äp""9. iwenty m.Ínutes per day with

increased ,r'.i"rr"=r of fünction. - During .nis tine the player

should observe that a t.rnã-¡ieatfr is ¡eiíg taken and that it' isf towing f reery f rom .!1" .

bJd; .-- i"-tilne_ these a\¡rarenesses should be

forgotten -- tfrey will navã entered the subconscious level of the

brainandwillhavebecomeanaturalpartoftheplaying.Exercise No- I

]..Filllungstothecountof5whileraisingarmsabovehead2- DroP arms on.count 5

3. Retain the air with an open throat4. GraduatlY exhale5. Do this èxercise in front of a mirror with 6 repetitions6- After a week, do this exercise in 3 counts7. After another ,""x1-á" this exercise in 1 count

Exercise No. 2

1. This exercise ís done while walking2.Inhalethroughthànosefor5stepiaslow,smooth

innãiation oi rarge quantitY-3. s"hãlã-irrrousrr t'hã nose for 5 =!:-q:-.^^ i-4.Afteraweek,perforrnthesameexercisein3steps

Bxercise No. 3

l.ThisexerciseshoutdnotbedoneuntilExercisesNo.landNo. 2 have been practiced fo5 three weeks

2. Take a breath in'-Lnir¿s (partial breaths, not Yoga

9

345

breaths )Pause between each partial breath and observe how it feelsExha1e in thirdsPause between each partial exhalation and observe how itfeels

Exercise No. 4

l_

23

45

This exercise may be done only after Exercise No.been masteredTake in 2/3's of a breath and PauseTake in last Ll3 of breath and PauseExhale 2/3ts of a breath and PauseExhale last L/3 of breath

3 has

t-

234

Exercise No. 5

This exercise may be done only after Exercise No. 4 hasbeen masteredInha1e full-y and PauseExhale fullyThis exercise must be done for three months

Exercise No. 6

After Exercise No. 5 has been completed, this exercise maybe doneInhale for l- count -- complete inhalationExha1e for 3 counts -- complete exhalation

Exercise No. 7This exercise may be done only after Exercise No. 6 hasbeen masteredInhale for,L/2 count -- complete inhalationExhale for 3 and I/2 counts -- complete exhalation

Exercise No. I

This exercise may be done only after Exercise No. 6 hasbeen masteredRepeat Exercise No. 7 with a faster tempo

Exercise No. 9

This exercise is for those who need help breathing fromthe diaphragm areaPut hands on stomach with the niddle finger tips on thenavelSpread fingers over stomachPush stomach out without breathingPuII stomach in until ttyou touch your backboneflRepeat steps 4 and 5 while breathing

1-

23

1

23

l_

2.

t_

2

3456

10

7<'

9

Try to establish a range of motionDo this quite a few times a daYThe use o? the hands is to ensure correct motions -- nerveimpulses alone from this region can be rnisleading

Exercise No. 10

1_

23456

This exercise is to help the player learn to develop airpressure without large muscle contractionsInhale fullyBegin to exhale rapidly through partia.Ily close_d llp=Coniinue to blow, but btock lips with finger held sidewaysDo not change anything ín btowing musclesrrPoprr finger a\day and continue to exhale

Theuse

following exercisesIarge quantities of

are designed to help the player learn toair while remaining relaxed:

Exercise No. Ll

the throat

Exercise No" L2

L2

3

Take a large breathCount out loud, pausing after each numberrnust remain open during PausesUse very little air whíIe sPeaking

1-

)345

InhaIeExhale in the most unrelaxed mannerInhaleExhale as relaxed as PossibleTransfer the quality of step 4 to the

Exercise No. l-3

possible

instrument

straw with a bean inside itroom

t2

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HoldBlow

a book atthe pages

arm's lengthapart

a drinkingacross the

Exercise No. 14

Hold a lit match at arm's lengthBlow it out

Exercise No" L5

1_

2Irnagine holdingBlow the ¡¡beanrl

1L

Ànything that improves the vitality of the brass player willimprove his or her playing and mentaL attitude. Exercises such asrunning, swimming, etc" are very good. It should be realized thatexercises tike these contribute to the player's general heal-th, butthey do not transfer directly to the breathing skills needed bybrass players. Only exercises of the type listed above will dothat. An excellent overall test to determine that breathing iscorrect and involves large volumes of air is to take three ful-Ibreaths in close succession. If everything is correct, this willproduce the first stage of hyperventil-ation"

If hyperventilation is encountered during these exercises, theplayer should breath into some type of bag, recycling his or herov/n air. This will enable the player to continue practicing themfor a longer period of tirne.

L2

Facial Characteristics

Good Features

Neutral Fe¿tures

small overbitesmall underbitecrooked teethdislocated front incisor

Bad Features

Teeth

Lips

Better on low brass

Teeth

protruding cornerextreme spacingoverbitesingle front toothvery crooked teethovercrowded teethinward slanting teethextremely protruding jaw

short upper lipvery stiff lipsexcessively hanging down fleshy part of upper liphidden flap on uppper lip

Lips

heavier, thickershort upperhidden layer of fleshsome response problems

open bite

Muscie Texture

Brass Class Introductory Stl¡Cies

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29

J¡,,ZZ TRU}.ÍPET: HOTV HIGTT TS IIIGH ENOUGH?

one of the most excitinE aspects of trumpet ptaying is hearingsomeone perform really well in the high range. There is nothingquite like hearing a high trumpet played in tune, with good tone,and nusical-ly expressive" Names like Doc Severinsen, MaynardFerguson, Cat Anderson, Bud Brisbois, Bill Chase, and. Jon Faddisimmediately corne to nind some of the greatest trumpeters whohave ever played"

In our desire to reach our potential it is easy to single out asingle aspect of playing and focus all of our attention and efforton just one area" There is probably no aspect of trumpet,'playingwhere this is more true than the upper ranqe.

High notes provides an easy comparison of playing abilitiesPlayer One is better than Player Two because Player one can hit Fabove high C while Player Two can hardly reach the D. No matterthat the first player can't play in tune, has limited technique andmusicianship, and can't play below low C. Too often Player One isconsidered better because of this one aspect of playing"Considered in this perspective it, is easy to see the lack of logicin such judgements.

Of all the instruments, the upper range is probably the greatestproblem on the trumpet. It takes physical strength, skilJ-,coordination, practice, and naturaÌ gifts to play in the extremeupper range. It is most easily produced by musicians who areblessed with a lip that vibrates easily at high frequencies, havethe abiJ-ity to move large amounts of air very fast, have a greatdeal of natural lip strength, and have lips that are not sensitiveto the abuse of pressure that frequently accompanies the upperrange. Such players are born, not made. For them to hit a doublehigh C is no more diffícult than it is for most trumpeters to playhigh c "

f don't expect you to accept this without proof. Maynard Fergusonstarted playing trumpet when he was thirteen. Within one year hewas pl-aying double hígh C's. Many consider him to be the greatestbrass player of the century because of the ease with which he playsin the upper range.

Cat Anderson, who performed with Duke Ellington, discovered only bychance that he could play extremely high" As a young man Cat wasonce in a jam session with a number of other trumpeters. They $/eretrading solos, and the other trumpeters began to get very angry athim. It wasn't until later that he discovered they were madbecause he was playing everything an octave higher than they r,rere.He didn't even know that he r¡/as playing high! I have seen highschool saxophone players pick up a trumpet for the first time andplay notes way above high C. This is obviously a gift,, notsomething that takes years to develop"

30

This is not to say that a trumpeter cannot develop a good range.Almost every trumpeter can learn to play high C and D with strengthand good tone quality. Wit,h proper development and practice, manycan learn to play even higher. The higher you play, however, themore critical it becomes to do everything correctly, bothphysically and mentally. This process just seems easj-er for somepeople than for others.

It is important to keep the high range in perspective. It is avery excit,ing, but narrow' aspect of trumpet playing. DocSeverinsen has said that over 9OZ of his playing is belotr high C,and he is one of the most gifted high trumpeters around" JonFaddis, who has tremendous upper range, has told me that it is ofprimary importance that a young trumpet player develop all of theèXiffs need.ed in pla.ying and not focus exclusively on high notes.

Work in the upper range is a necessary part of trurnpet playing,whether it ia classical or )azz. What must be avoided isemphasizing this to the detriment of all other aspects. A goodrule of thumb is that only ten percent (e.9", about six minutes perhour of practice) should be spent extending the hiqh range. Thisis suffièient to promote good muscle development without danger ofinjury to the muscÌes from e.xcessive mouthpiece pressure.

It is usually a good idea to work on high notes only every otherday. The principte is the same as in weight lifting" Muscles teardown when we work them hard. frlhen they rebuild, they build backstronger than before. Practicing the extreme range every other dayal-Iowå this normal devel-opment to occur" Daily practice in thevery high range frequently causes excessive tearing of the musclesand prevents tfrern from rebuilding properly. tte often get carrieda\^¡ay and use excessive mouthpiece pressure, forcing out notes thatwe ãrenrt quite ready to play. Alternating days of extreme highrange practice with normal practice also helps rníninize thelikelihood of damage to the liPs.

It rnight seem logical, then, to practice only on odd days of themonth and not practice at all on the even days. This night' helpbuild range, but only at the loss of flexibility (the ability tomove around the instrument freely). Daily practice is required tomaster all of the aspects of playing.

What do we practice to extend our range? The key to a good upperrange is a relaxed. middl-e range. Think of it this way: high C

takes twice as much effort as tuning C. If a tuning note takes toomuch effort, high C wil-I take twice too much effort. At a certainpoint a trumpet.àr is using all his or her strength to ptay a highnote, and there is sirnply no place left to go.

The upper range should be an extension of the middle range' ThegoaJ- is to move air wíth great speed, but not great pressure" Whenwe think of air pressure, or air¡rsupportril almost all of us tendto tighten the stomach muscles so much so that !'¡e lock thesemuscl-es. In reaction to this, the throat also tightens. In doing

31

this, wê tire more quickly; cause the high range to go sharp;the tone smaller, more forced, and brighter; and Eenera}lyhow high \â/e can PlaY.

High notes do require more air pressure than lower notes" IL isinfortant to know that air pressure is generated by a change in theboãyrs shape. The blowing muscles must be free to move so that wecan compress air" A simple analogy may be of help. Imagine abasketbãll full of air. If vre want to change the air pressureinside the basketball, we must squeeze it and make it smaller. Ifwe instead. surround it with six inches of concrete, the basketballdoesnrt change shape, and there is no air pressure ehange" Lockíngour stomach muscles is the same as putting concrete around thebasketball -- t,here is no change in air pressure"

When you play with great. tension in the stomach and then relax, Youfrequãntfy viiff EeÈ a 'rhead rush"r¡ A trumpeter playing with too*u"li tens-ion blocks the blood supply to the brain. When thetension is released, the blood flow suddenly increases, bringingmore oxygen to the brain. The effect is sinilar tohyperveniifating" (Trumpeters have been known to faint as a resultoi- this, somet-im"s. f aúing of f risers many f eet' in the air.Obviously, playing this rn/ay poses certain hazards that are bestavoided by proPer technique. )

Okay, so we aren't going to get too tiEht in the stomach -- how arev/e ioing to get the high notes to come out'? The player must thinkof áit !p""4. The higher the note is, the faster the air rnustmove" tfrinX of the air as having more momenturn when it. is fast"Í.Ihich has a greater irnpact, a car hitt.íng a wall at l nile per houror the same car hitting it at 100 miles per hour? Speed makes adifference. By thinking of air speed you will generate the neededair pressure wlthout excessive tension in the stomach muscles.

A tj-me-honored aid in the upper range is to think of high notes asfarther away" Try to blow out a candle t'hat is ten feet away" Youwill instinätively blow very fast. HoId your stomach really tight'and try to blow out the candle -- ít will not even flicker!

There are several types of musical exercises that are particularlygood for the proper development of the upper range" Lip slurs are.,i"ry helpful " They f orce the proper development of the embouchureand air flow and they prevent the use of too much roouthpiecepressure. The lips cannot move when they are pinned in place byexcessive pressure.

Slurred scales are quite good, províded they start from the middleregister. Remember, tfre upper range should be an extension of therniãAte range, and it snouid be as relaxed as possible. Start inthe rnid-r.ñg. (between second*Iine G and fourth-space E) and holdthe startiné note f or a second or two. Ask your.se.If , åf, I rel-axedand blowing freely, oF am T too tight' and anticipating !h" highnotes to fol1ow? -It is very important to descend back into theniddle range after playing the high note" This ensures that the

makelimit

32

embouchure is not distorted to play high and that it is possible todescend afterwards. Arpeggios, or broken chords' are also Verygood, but they ár" somew:nat more difficult than scales because ofÉn" åXips betri¡een notes. When slurred scales and arpeggios can beplayed ïery well, try tonguing them'

play melodies up an octave. This helps to keep playing musícal.inthe high range.- And remember, only-t"l percent of the practicesession shoulä ne spent extendinE the high r.ange' More t'han thatand the lips are Likãty to be bruj-sed from using too much pressure'The trumpeter can alsã get used to blowing t'oo hard-and forcing"If this *urrn""-ãi playiñq carries back into the middle register,the player wilt become too tight, making the upper range moredifficult

Be patient; do not be in a hrurry to build range' It will developonly as fast as it can it cañnot be rushed. Consistent, dailyprãåti"" is the key. Adding a half-step every two or three monthsis excellent Progress.

No\,{, to answer the question posed by the title of this article: how

hith is high .nougñ? There as many ans1nlers to this as there aretrumpeters. A t,ruñpeter can only experiment and see what he or sheis capable oi- pi.yinq. It is impoitant is to constantly monitoraII aãpects ot ttï*pät playing" By focusing excessively on th9high rãnge, a musician nay lole ground in the other aspects ofpiávi"g. - ior range is fre[uently 1?=! because it is ignored". (Agood low range is iot incornËatiblê ti.tq a good upper range --. it isa d.ifferent set of muscles-" Just listen to Doc Severinsen!) Lipslurs may nelãme sluggish because the lip muscles are strained"i;;¿ qrr.iity can becoñá tfrin and strident -- the sound \,/on't blendwith that of other trumpeters, eit'her' Frequently Èhe lips ?rebruised or ""C ¡V L*.ur""ive pressure. This only shortens ptayinglife and delays the development of range'

Und.erstanding is required of band directors as well, especialllrthose who .tä not tiurnpet players. You have to play trumpet toñ;;-tfre pain ana frustrat,iôn tf¡at come from trying to play notesthat are beyond your range or that are no longer possible becausethe lips urã-tirä6" rt is tempting to program pro_fessional )azz.rrangements, with all of the high notes in the lead trumpet part,;;¡;;í"ify if competitors are fortunate to have trumpet players who

can hit those niórr notes. It is very important to_ remember thatthis type of párt \^/as written for professional- players Yhospãci"f1z" in the upper range and have. Jpent years developing j-t.eütting a young *rr=i"i.t't up against.this type of music before they.r* r"ády is tñe equivalent oi putting a hígh school football teamagainst þrofessionãt players" There wílI be some who can holdtúeir owñ, but they wiff be in the minority. Young trumpetersshould not be held to professional standards of range until theyare ready.

Please remember that ease in the extreme upper range seems to be apñV=i""r qift" How do you turn an alto into a soprano or a bass

33

into a tenor? You can't. Trumpet players cannot be forced todevelop range that is not within their potent.iaJ-" If it irnportantto play a pièce with very high parts, frequently the trumpet chordscan be- reJtructured to place them in a more reasonable range"

A director musL not take undue advantage of someone with very goodupper range. It is the teacher's responsibifity to be sure thattñeir students aren/t pressing too hard and to listen to them playin the middle range. Be certain that they are not hurting otheraspects of their PlaYing"

It is wise to avoid the use of shallow cup mouthpieces" Thesernouthpieces are frequently employed by.professional- musicians whohave learned how to overcome the deficiencies inherent in them inorder to have an easier upper range and a bright.er sound. 'Shallowcup mouthpieces do not play as well- in tune as standard*oittnpi."eã, they make the low range very difficult (if lotirnposäiUfe¡ , ana ihey have a very b.right tone" I have heard highscñool trumpeters use these mouthpieces in concert band. To saythat they dó not btend well is something of an understatement.

A good, standard mouthpiece will enable a trumpet player who ispIãying properly to play a solid high C and higher when necessary.óncã a- Lrurnpetãr is aÈle to do this, it would be possible toconsid.er using a shallow cup mouthpiece, but its gse should berestricted to -)azz playing, not concert band. The rims of the t'womouthpieces should be as similar as possible to help thetrumpäterrs accuracy. Until the trumpeter can play well in theupper range on a regular mouthpiece, the shal1ow cup nouthpiecesÈoufd be regarded as a rrcheaterr¡ mouthpiece which gives notes thatarenrt reall-y tnere. They do not help everyone, either. rrCheaterrl

rnouthpieces ñave never ext,ended my range more than a half-step, andnot for any length of time, either.

I hope this article on the trumpet's high range in jazz is of somenenelit. Trying to write abouÈ developing the upper register isvery difficult a young trumpeter must find a good teacher,Iisten carefully, and practice intelligently. It is of utmostimportance to dêvelop all of the skills necessary, to be a goodmrrãi"iu.r. Vtho will hire a trumpeter with a double high C who can'tsightread, s1ur, tongue, or play in tune,? Be a well-rounded*uéiciun.' lVork on range and try to improve it, but don/t bedominated by it!

34

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An ÕfrhrcdontlcHmbç\lehrure .A"id

f or ïnstr':m.entslistswithr Brsees

I PRÕYKffiTS lips frorn eutssnd untstion ecused by

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hecling by eovering themcjor souree of initstion

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Basic l-ip SlursPlay E,ach Basic Fattem With the trndicated FinserinEs

On thc Indicated Pitchs

36

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37

Multiple Tongue Fractice Aids

Learning Process:

speak

whisper

blow

play

Aids

firm corners

long notes

continuous air

start at single tongue tempo

don't let the "T" go bad

tip of the tongue

practice

change ,ffi to JTGood uses for "K" in the middle (triple tongue):

TKTK

KTKTKKKK

and ffiffirarpegglosTKTT

3ffiìbefore restsTKT

ClIAPTER

DE'/ELOP iNG INTCNAT IOI!

One of the most important consíderations of any ¡rarching band is tcne'Gai.ning clarity and beauty of fone is impossible v¡ithout good inEonation'Good Eone and intonati-on are inseparable. Cne must be present for the other

to be there.

Another iinporlant consiCeration affected by poorpos,er. The overtcnes produce<i by ínsrrul¡ents playingcrease the volune and projection of fhe band.

38

inËcnation is vc l-ume and

in Lune vrill greatlY in-

have nc øffect on the enphasis cn tuning'students are n()t caused by a lack of hearingand crtncern rhe e'rPh¿s is on intcnaEionimpor t ant .

The deve lopment, cf go{.:'d intonation should start êt the botrorn ôf the

brass family with the tubas. The tubas set thc fundamental pitch of the band'

If the tubas are out of tune they can destroy the clarity of all of the in-struments playing above them. Båcause of the fev number of vibraËions per

second in che t.ubas micidle and low registers, a t,uba just slighti;r sharp or

fIat can be a q;arter-Lone oi.f.. For this reêson tubaã should be urged to take

all care possible to insure good intonation'

Þfany marching banci arrangements score the baritones in octaves with the

tuba section. This octave scoring demanrìs Ehe tubas and b¿ritcnes pay special

attention to one anothers pitch. Encouraging the bari'tones and tubes to Ineef

a few tirnes a week for a fer,¡ minutes just before or after rehearsals and

practice scales slowly in oceave, ot ptuy unÍson Passâges frcm the musíc willgreât1y help the intonation.of the botiom of the band'

The singte most inport¿ìnt devíse in developing excellenc-e of intonaEionis developing an awareiless and a concern among the students for intonationproblerns. Stating thaE a student is out of tune 1s not enough' The st:ldent must

experience the feeling or sound of playing in tune. He then must be guided by

his own ears and not the directors to develop his sense of hearing. Non-complex

slov moving mâterial in t.he form cf unison scales, chords and chorales are ex-

cellent devices tc develop intonation ar¡¡areness '

In the beginning, the students do not need to be aware which direction they

are sharp or fiat. The primary concern is thaÈ they become aI^'are of beats

creat,ed by poor intonaticn, and f-hat they must move one direction or the other"

If the bea¡s geg fastcr, the studenÈ has gone the wrong direction' If the beats

get slower, the studenu has gone thc rigbr di:ection'

To further increase intonstion a\^råfeness the use of the slrcboconn or

strobctuner should be encouraged tc help establish a basíc pitch' I^lhen the

band meer-s outside, section leaders should be encouraged to meet before the

rehearsal begins uod "rtablish a basic pitch" They should then rerurn to their

sections ênd tune individualty or es a grouP" !'urther intonation checks by the

secti':n leader shoul'J be encouraged thrrughout the rehearsal '

The outs ide l:emperâture shouldSince intDnation Probiernsabiliry but from a lack ofunder all circumstances is

with moste\rarenessextreme ly

39

2

4

Intonáticn D:.screpancies of Brass Instruncnts

The manufacluring of a brass inscrurnent is a compromise c;cating manybuilt in pitch problems. Most of the prcblems are slighc and are easÍly andnaturally adjusted. But, Èhere are four êrcas thet should be brought to Ëheâttention of bress players and will require ccnsiderable adjustment to beplayed in Eune. These four areas can be scen bracketed on Ehe intonarioncharE on Påge " The solutions to each of these four areas are listedbe lov¡:

Areas I and II - Alt 1-3 and L-2-3 fingering combinaËions âre very sharp"

A. Trumpets and cornets should extend their third valve slides. Ifthe lyrc interferes with che third valve slide moveraenr, the pitch should bepulled dor¡n with the first valve trigger or with rhe embouchure. (If thethird valve slide sticks a combination cf puma stone and vasoline should be puton Ehe slide" Work the slide in and out several huadred t,imes. Clean cheinstrument completely. The slide should now worit casily).

B. Four vaLve baritcnes and tubas should play all 1-3 combinationsand all l-2-3 ccnbinations 2-4"

C. Three valve baritones and tubas must pull the pitch down with theembouchure. If the beritone has a spring attachrnent on the tuning slide, itshould be extended to compensaEe for the pitch,

D. The french horn can lower the pitch by moving the palm ot hishand closer to the bell"

Area rrr - The notes in the fifth h¿rmonic are noÈicable frat.

A. These notes must be pulled up with the embouchure. If a studentcontinues to play flat he can try playing c l-3, c-sharo 2-3 and D l-2" Thesefingerings should, raise the pitch but are not as desirable as using the em-bouchure.

B. The trombone should shorten the slideand play D in shrrt fcurth whenever feasible.

position of C and C sharp

Area IV -- The high register tends to be forced sharp"

A. The high register due ¡r: pinching, forcÍng and generai lack ofscrength has a definite r-endency to be.þlaygd very sharp. As can be notedon the chart this is not so much the fault of the instrumenE as it is thefault of the player. The pitches F and G are the pÍtches that arc affectedthe worst" If the student cannot pulI the pitches dor"rn with his embouchure,F can be fingered 1-2 and G can be fingered 3"

40

J

Brass instrumenËs alsc have a tendency t) become sharp as Ehe volumeincreases. To correct this Ëendency the síze of the aperture must be in-creased, the throat kept open and relaxe<ì and the oral cavity opened up.

Some bands have develr:ped a habit of playing with a quiet, hushed soundeven in sections calling for FF" These bands have found that by playing witha soft non-suPPorEed scund instruments will not sound as badly out cf tune.In fact, pitch problems will actually be cuncealed. This is a critical err,rrin the development of fine brass players. It is an improper tone prcducticntechnique causing the student to learn irnproper playing habits and neverdevelop a solid, alive sound. The study of any fine professional symphonicbrass player will immcdiately reveal that such an approach tn brass playing isinccrrect.

0

4T

SOLOS AND CONTEST: TIOW TO DO YOUR BEST

Solo contests challenge us to do our very best. The criticalelement is preparation, or programming your mind so that you havethe greatest chance of success. If you are playing a solo forcontest, the time to start \,forking is NOW! Don't procrastinateif you have picked a solo which is truly challengitg, you need tineto learn the music, develop skills which you may not have, polishskil-ls which are weak, rehearse with your accompanist, and acquireconfidence in yourself and your abilities" On the other hand, donot underestimate how much you can accomplish in a short time. Ina single practice session you can frequently make good progress,and iñ a few days you can work wonders if you practice carefullyand inteIIigentIY

The first thing you should do with a neht piece is study it. Checkout the key signature, the time signature, look for accidentals,volume chañgesf neter changes, slurs, and any other details whichyou can fi;d. Study the form of the piecer or how it is puttogether. Look for sections that are repetitions of earlier partsof the piece. Check to be certain that the repetition is exact andthat there are no changes in rhythn, pitch, articulation, dynamics,etc.

You are now ready to start practicing the piece. It is okay to runthrough the piece once or twice to get a feel of what you are upagainãt -- sãe where the easy places are and where you will need tosþend a lot of time practicing. It is inporta,nt that you do notplay the dif f icult passages too often at this speed, horalever,becãuse it is very easy to get a false impression. If you havetrouble with a passage a number of times, Yoü begin to label it inyour mind: I'Herã comes the spot I can't play.rr Once you do this, itmakes the job twice as hard.

ff you are careful that your first impressions of a passage arecoriect, you build on that correctness, and it becomes verydifficult - to play it wrong. If you are haphazard in yourpreparation, you begin to practice mistakes. Now you must unlearnLne-mistakes Ëefore you can create the correct image in your mínd.With this in rnind, it is much better to go slowly when firsttearning a passage. Be especially careful that you play aII thearticuLãtioñs correctl-y and don/t miss any accidentals"

After you play a passage a few times, you begin to play more andmore by memory" The notes merely Serve as memory cues -- you areno longer watcning as intently as you did at first. A slur in thewrong ptace quickly sounds correct -- you no longer know that it iswrong,- and ii is quite a surprise when your teacher points out theerroi. Now you ñave to undo some of your work and replace it.This takes time. In the long run you wiII save a great deal oftime by learning a passage slowly, plus you avoid the confusion ofhaving practiceá it two different v/ays: the wrong way and the rightway "

4Z

Some passages are hard no matter how carefully you approach thern"These passages wiII usualJ-y succumb to one of two approaches. Thefirst of these invol-ves the use of the metronome" (Most of us havea good seRse of rhythm, but not as good as that of the metronome.It is a good idea to practi-ce frequently with them, particularlynov/ that they can be purchased quite cheaply and they are verysmalI and portable. )

The first step is to pl,ay the passage as slowly as necessary Sothat you can play it without a single rnistake" This is usuallyabout hatf of the clesired tempo, but sometimes even one-third tempois necessary" Most of us make a mistake by not starting out slowenough. Our egos get. in the waY, as if we are too good to have toplay this slowly

Once you have established your starting tempo, turn on themetronome. Practice the passage until you can play it three timesin a rohr without any mistakes" Move the metronome up one notch(about 52 faster, if you have a digital metronome) and againpractice until you can play three times in a rohr without error.óontinue this unt,il you reach fuII tempo. Sometimes this takesminutes, and sometimes it takes days, depend.ing on how hard thepassage is. Do not be surprised if you hit a dead end before youget to full speed. Simply slow the metronome down several notchesand begin again to work your way toward tempo.

So, no$¡ you've got it up to speed and your done, right? !{rong!Atthough you have learned the passage, Yoü have not over-learnedit.. Over-learning is necessary to ensure that you will be abLe toplay the passage under pressure and to give you the confidence inyourself so necessary to good playing. To over-learn the passaEe,go back to your st,arting tempo -- all the way back. After playingthe passage correctly three tímes in a row, advance the roetronometwo notches. Continue until you have reached full ternpo. Back tothe slow starting tempo again, and move the metronome up threenotches, etc. Do this until you are skipping about seven or eíghtnotches" At this point you shouldr¡ownrr the passage and never havetroubles again" If you do, simply go through the process again"I find it very helpfut to practice difficult passages slowly fromtime to time even after I know them. This is just insurance to becertain that I don't let them get sloppy.

Be careful that your rhythn is steady throughout the piece" Badrhythm is not musical, and it hurts your internal timing, whichfrãquently results in coordination problems. Many times a personhas trouble with a passage because of bad rhythm, not because ofinadequate technique.

The second approach to learníng an awkward passage invoLvesrewriting the rhythm of the music. If the passage is in eighthnotes or sixteenth notes, dot the first note of each pair" Thisresults in a long-short, J-ong-short, Iong-short rhythn. Nowreverse the rhythm and play short-longn short-Iong, short-Iong"After playing each pattern a number of tirneso try the passage as

43

written. Frequently the problen wil-I go away. Tf the passage istriplets, try the equivalent of: 1) an eighth and two sixteenths,2) two sixteenths and an eighth, and 3) sixteenth, eighth,sixteenth.

Endurance is critical when playing a trumpet- solo, and, you mustpractice this aspect of the piece as well" Susan Slaughter,principal trumpeter in the St," Lor¡is Symphony Orchestra, tauqht me

to start practicing the end of a soÌo first. fn this way youapproach the ending with strength and confidence, not tired out byatl the notes coming before" Once the end sounds rea1ly good, moveback to the section right before t.he end, and praetice a1l the wayto the end of the work" Be certain that you end with strength andwith confidence in your abil-ity to sound great" Now back yetanother section, and. play to the end, etc" By doing this, thefarther you get into the piece the more you have played it, and themore confidence you have"

Another technique for working on enduraRce is to double the numberof rests you have written. Play through the solo" If you havetrouble getting through the piece, then triple the number of rests.Once you have established what you need to gèt through your soloand sóund great all the way, begin cutting back on the number ofrests you have added. Perhaps just one or tLro at, a time"nventually you will get down to the number of rests indicated.Donrt stop -- keep cutting until you can play the piece really wellwith onì-y-have as many rests as you are allowed. !{hen you play itwith piano, it will seem easy! (If a rest is only a measure or twolongn don't cut it down" You need to practice the timing of yourtrreáttr. Just cut down on the longer rest, Iike three or morerneasures. )

It is wise to build your endurance to the point, that you can playa solo twice through with only a short pause before the repetition"This gives you confidence in your endurance. Under performancepressure a person frequently plays with more enthusiasm andexcitement than in practice, which requires more strength thannormal.

I have been performing for thirty-three years. During that tirne T

have come to realize that nervousness is a normal part ofperformance" It simpty means that you !{ant to do a good job. Theãmount of nervousness you experience is largely proportionate tohow wel-l you are prepared. Slow practice of difficult sections andgood endurance will do a lot, to diminish these feelings.Ñervousness also gives you an edge for concentration, if you use ifproperly. Focus on the music and how you want t,o sound, and beãurã you actually listen to the sound you are making. Avoidthinking about the audience and guessing what they are thinking.First of aI], you will probably guess v/rong; secondly, the only wayto get the results you have practiced for is to keep your mind onyoui business" The sounds that come out of the belI are a directreflectíon of your thoughts if the thoughts are different, Yoüwil-l not be likely to Eet what you want. Concentrate on the

44

smal-Ier details of the music, such as playing each note inprecisely the right place with good tone. You won't havethink about the audience!

tune intime to

Experience in performing is the best way to deal with performanceanxiety. I^Iith very little effort. you can come up with a number ofplaces to perform your solo: for your friends, for your farnily, foryour band, ât a retirement homen ât church, etc" If you canschedul.e a perf ormance about a week or ten days bef ore sol_ocontest, yoü wil-I get a chance to discover which parts of your soloyou really knov¡ and which parts you only think you really know.This gives you adequate time to work out the rough places" Simp1yby ptaying your solo before contest, yoü wíll ¡:robably be able tomake a fifty percent improvement in you contest performanqe.

Good luck (which you won't need if you practice properJ-y!), and tryto enjoy this experience which is helping you to become a better,more experienced, more competent and confident performer.

45

R.ecommended Methods

Trumpet/Euphonium treble clef

Arban Complete Conservatory Method -- pub. Carl FischerClarke Technical Stwlies -- pub. Carl FischerGower-Voxman Advanced Method, Volumes I and II -- pub. Rubank

Horn:

Clarke Technical StudíesGower-Voxman Advanced Ìufethod, Volumes I and IIKopprasch 60 Seleued Stwdies -- pub. Carl FischerPottag Preparatory Melodies -- pub" Belwin

TromboneiEuphonium bass clef:

Arban Complete Cowervatory Method (especially euphonium)Bordogni/Rochut Melodious Etudes, Volume I -- pub. Carl FischerClarke Technical Studies (especially euphonium)Gower-Voxman Advanced Method, Volumes I and II - pub. Rubank

Tuba:

Arban Complete Consewatory Method (use trombone down an octave)Bordogni/Rochut Melodious Etudes, Volume I (use trombone down an octave)Clarke Technical Studies (use trombone down an octave)Gower-Voxman Advanced Method, Volumes I and II - pub. Rubank

Selected Studies (Rubank) is available for all brass instruments - ßû+ Inu'rl |t'b^

Concert an^d Contest Selections (Rubank) is available for all brass instruments

there are good, representative solos at the end of the Rubank Advanced Methods (6 solo pervolume)

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Yamaha mouthpiece models *'ith only a numberin<licatc tlre following: "C" or srancla¡ci cup, "3",or sta¡dard rim, "c" standa¡d backbore.Example: A #11 mouthpiece is actuaìly an

i 1 C3c.

Special mouthpieces are numbered as follows:(example "14A4a").

1.4" - lst number - CUP DIAMETER

Cup diarneter is expressed by a figureranging ftom 5 to 68, with the largernumbers signifying the larger sizes.

Cuodiamäter Rim thickness

lnner edge ofrim (bite)

Rim contour

volume

Shoulder

Throat

Backbore

Shank

RIM TI-IICKNES9An essential consíde¡ation ier ftexibíNity aaldendurar¡ce,

RIñi CONTOURA key to blowing ease and c[ar!{y of attack.

CIJP DEPTHAn !mportant fac¡or ir¡ tonal brightness anddarkness.

1st letter - CUP DEPTH/VOLUMEA. SmallB. Mc<lium SmallC. Medium Standa¡dD. Medium LargeE. Latge

EACKtsORESizes and flares for different levels ofbrightness and blowing ¡esistance.

2nd number - RIM CONTOURi. Round2. Scmi-Rouncl3. Standard4. Semi-Flat5- Slightly Rounded

2nd letter (small print) - B.ACKBOREa. Tightb. Straightc. Standa¡dd. Slightly Curved Oute. Large

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YAMAHA CORPORAT'ION OF' IIMÐRICÄBand & Orchesrral Division3M5 East Paris Avenue, SE

P.O. Box 899Grand Rapids, MI 49512-0899

CUP DIAMETERA primary determinani of sound volurne andplaying endurance.

È\¡

r, r..rìi:!is:S=. æ:|¡€ÌÊ=t. iÈr+u.ajallJ*i+çiì:pÈi :#-.Êrrr'- :

Specifications subject to clnnge without notice

Flay the very best you can!1]4

ApproximateSize Equivalent

Bob Reeves OES 69

Schilke 6A4a I Bach .f 1c

Purviance 1 / Jet Tone 5,6,7,&BSchilkeTB4Bach 10 1/2C / Giardinelli 10C

tsach 7C wlth smaller cup diameterBach 81/2C i Schilke 1144Bach 7EW

Bach 7D

Schilke 11

Bach 7C / Giardinelli 7CSchilke 13A4a / Bach 7C

Bach 6C

Bach 68Bach 6

Schilke 14A4a / G!ardinelli 6SBach 3C / Schilke 158Bach 5C / Giardinelli 5C

Bach 58Bach 2C with shallower cup

Bach 2C

no equivalentBach 1 1/4C Schilke 16

Bach 1 1/2C I Giardinelli ST-2Bach 1 1/2C with deeper cup

Bach 1C / Giardinelli 3C

Bach 1C with deeper cup

Bach 1

Bach 10 1/2C i Giardinelli 10C

Schilke 1444a / Giardinelli 6SBach 3C Mega TonerNl

Bach 5C Meqa Tone / Giardinelli 5CBach 1 1/2C Meqa ToneBach 1C Meqa Tone / Giardinelli 3C

Wick S

no equivalent

YAMAHA

Model No

TR5A4TR6A4arR7 A4

TR784TRBC4

TR9C4

TF11A4TR11A5TR1 1 B4

TR-1 1

TRl 1C4-7CïA13A4aTR1 384TB 1 3D4TR1 3E4TR 1 4A4aTR1 484TR1 4C4TR 1 4D4TBl 584TRl 5C4TR1 5E4TR1 6

TRl 6C4TRl 6D

TR 1 7C4TR 1 7D4TR 1 8C4TRSC4GP

TR1 4A4aGPTR 1 4B4GP

TR1 4C4GP

TR1 6C4GP

TRI 7C4GP

cF7D4dCRBD2

VAfuTAå"üA EffiASS fuTÕUTþ{PIFCË ÇOfuTPAR8SON GHART

no equivalentBach 7C

Wick 48Bach 6C rim with V cupno equivalentBach 1 1/2C rim with deeper cupRþ¡Err Wlflf l-O[¿G SHn¡lf(., .,, ,- , , '

Bach 7C with smaller cup diameterBach 7C

Bach 6C

Bach 3C

Bach 2C

Bach 1 1i2CBach 1 C

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lno equivalentno equivalentGiardinelli 7

ll:, -gsyrynlsll,,..,,''..:fuiË[EoÞFnp5¡Ë, ' ""

,,',: : :: : : :: :::: :

',,. ','ALIS,ËJOHÍ$' '''.' ' " ,

standard

Schilke 27Bach 1 0

Alexander 5no equivalentGiardinelli S14no equivalentAlexander 8

Schilke 30E

Schilke 318Schilke 31D4Schilke 32C4Schilke 32D4Schilke 33C4Schilke 33D4

CRgE

cR1 1C4-7C

cR1 1 E4

cR1sE4CR 16E

CFì16E4

ce-cF9C4-cR1 1C4-7C.cR1384-CR 1484.cF15C4-cR16C4.cR 17C4

FH1 1 F4

FH12F4FH1 3F4

FH14F 4|._:'::]-:j:::'.',:,':':':'':',]:j:l

MP26C4

AH37C4

HR27

HR29C4HB29DHR29D4HR3OB

HF30C4HR3OD

HR3OE

HFì318

HR31 D4

HR32C4HR32D4HR33C4HF33D4

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Bach 1 2

Bach 12C I Giardir elli 5CBach 1 1 C rim with 12E cupBach 11C

Schilke 47Bach 6 1/2 AL

Bach 6 112 AL rim with 11C cup

Bach 6 1/2 AL with deeper cup

Bach 5G

Schilke 518Bach 5G with shallcwer cupSchilke 51DBetween Bach 5G and 3G

Schilke 47

Bach 6 1/2 ALBach 6 1/2 AL with deeper cup

Bach 5G

Schilke 51 B

Bach 5G with shall:wer cup

Schilke 51DBetween Bach 5G and 3G

',.,#4S9 'ïfl9.t¡jlBQNE'Bach 2G

Bach 3G

Bach 1 'll2 G

Bach 1G / Schilke 60

lno eouivalent

Schilke HellberoSchilke 66 with shallower cup

Bach 24AWBach 22

equivalentno

Miraphone C3

Schilke 69C4

SL45AsL45C2-1 2C

SL46BsL46C2S 147SL48SL48ASL4BD

SL51

SLs1 B

slsl c4

SL52

"SL48.S L48 D

"SL5i-SL5]

B

SL51 D

-S147

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òLC tt_,-SL52-S L53

B 158

BL59BL60BL6OB

BB65BB66BB66B

BB66D4BB67BB67B4BB67C4BB68B

Size approximations only. Specifications subject to change without not¡ce

HÖLTffiN F"&RKÅS ffiffigzuÇH þì ffiRþ-ü ffiffiUTHp3ffiçffiåNOW ,AVA¡LABLE tlN 5¡X DNFFERE¡\T CUP 5¡UË5Designec per'sonally c¡ the e¡¡inent Fhilip Far<as, they combine fine ser:F¿rkas French hcrn ^r:uthpieces prcvice the hcrnisi with unusuaí .rccirti:::c:rnrììêncl,

HOLTON FARKAS - MCÐEL 5C (shailow e up ) HATTON FÀRKÀS _* MODEL DC (deep cup)

49

¡ir-y,uifh excellent tcrìèl c:arâctelstics.::ayring ccwer, anC icrr:l c:ior is at his

HOLTON FARKAS - MODEL Me ( nredium e up )

AÁeclium-'¡¿ice com-jcrtable cushion rim ccn'ìbined,vith a mccerarel,T shallcr.v cup andrarro\^/ bcre give tlris ¡rOuihpieceôn extren ely Ecod hrgh register,¡¡ìth a r-irrging, 1¡riiliant, but not:lriclerrt, tone. ldeal for extrernelyhigh, rechnical oassages.

MeCium-'¡¡iCe cush-ion rim with r¡edium cup andr¡ediurn bcre. A rnost pcpuiar mod-el which has no extreÍìe Íeaturesand is well su ited for the profes-sional Íìrst and third hcrn players.Resonant, mellcw tone and excel-lent respcnse in all registers.

Medium nêrrow rim,sensitive but comfortabfe. FairlyCeep cup and medium bore resultin a rescnant, velvety tone and fineresponse in entire range.

HOITÕN FARKAS * M0ÞËt VDe (very deep eup)

HOTTON FÂRKAS-MODËL MDe (medium deep eup) ['{OLTON FARKÄ5-MÕDËt XÞe (extra deep eup)

Meci;nr cushion rinr,desicned for acc,.;rac.; as well ascomicrt. Cup is ceec and bore ismcc:rately larEe. Preouces largeheroic tone anC becavse of its fineresoonse in all rar:ges, can be useCwith equal succsss by both highani low horrr pla'.,er's.

Norrcw rim is com-fortable in spite cf irs excellent sen-siviry. Large bore and very deepcup produce ð large Tentonic, vel-vety tone. For the rcbust, meture

Mcierately narrowrim combines acc!rðcy with com"fort. Extremely deec cup ênd verylarge bore produc3 a rich, heroictone. For rhe player who wishes toplay in the granC manner and iswilling to work for the big style.

1IUNING A¡ID VALVE SI¡TDES

The purpose of the various slides on the trumpet- are to allow theinstrument to be tuned and to correct intonation problems builtinto the instrument. The tuning stide should be greãsed so that itmoves smoothly with only a minirnal- amount of ef f ort and willnormally be pulled about one-hal-f inch. The precise amount variesfrom player to player and depends on the tuning of the ensemble aswell.

Thírd Valve S1ide

The third valve slide needs to be extended about one-half inch tocorrect intonation for the valve combination 1--3 and about one inchfor the valve combinaticln L-2-3. The only notes norrnal-ly f ingered1-3 are low D and row G, and the only notes norrnally fingered L-z-3are row c-sharp and low F-sharp. on many instruments, however, thelow G and low F-sharp are too low, and end up being more in tunewith the third varve slide pulred art the vray in. on theseinstruments only D and C-sharp need to be corrected. you need tocheck with a tuner to find out which notes to correct. rt isimportant that you use your slide to play these notes in tune.Many trumpeters do not realize that they are playing these not,essharp, and they become brain-washed into hearing them out of tune.rn tíme they no longer realj-ze these notes are sharp. sometrumpeters choose to lip the notes in tune and not move Èhe valveslide. while this produces an in-tune pitch, the tone cororsuffers because the trumpet is still sharp and the player isbending the note down into tune, which results in a deteriorationof tone quarity. rf you are practicing lip srurs with either 1-3or 1-2-3, You should extend your third valve slide as well sinceall of the overtones of these combinatíons are also sharp. Theseintonation probrems are not design fraws, but the result ofacoustics combined with mechanics. All trurnpets have this problem.

First Va1ve Slide

The first valve slide can be used to lower notes played with thefirst valve or the L-2, r-3, or L-z-3 combinations. This isparticurarly helpful in lowering fifth-line F's, high A's and highB-flat's that are sharp. (Another v¡ay to help an A is tosubstitute third valve. This works for any 1--2 combination - justremember that rt1 and 2 makes 3rr and your11 know when you can trythis substitution. ) Many times the proper choice of lalve slidãcan sinply the t,echnique of a given passage. For exanple, a trilrfrom low D to low E-f1at: using the third valve to coriect the lowD would require that it be pulled in for the E-flats and pushed outfgr the D's, just as fast as the trirr. However, by using thefirst valve slide to correct for the Drs, the E-f1ats ãre stirr intune because no air goes t.hrough the first valve slide during theE-f1ats. (If you find this hard to believe, remove the first valveslide entirely you can stirr play the row E-frat, or any othernote that doesn/t require the first valve. )

51

At firsttime itslides

it may seem quite awkward to use your valve slides,becomes very natural. The great trurnpeters useso should you!

but intheir

Miscellaneous 52

T le To e Scale P T et Intonation Tendenciesand Common Alternate Trill F ermgs

3 3 3Jurues Buckner

3

{:J-is--P- d h-¡P ß t-áJ

3

Check with tuner -- oftensharp, but not on Bach Stradtrumpets; if sharp, correctwith lst or 3rd valve slides;

G often REALLY sharp onE-flat trumpets

Slightly sharp -- lip it,unless 3rd of majorchord, which mightrequire 3rd valve slide

3

Somewhat sharp -- lip itdown or use thumb triggeror 3rd valve

33

Trumpet Intonation Tendencles(But lJse Your Ears First!)

Corrections listed in general order of preferenoe '

Okay

Very Sharp!! -- Use 1" oflst or 3rd valve slides orcombination; correctwhenever possible!

Sharp! -- Use ll2" oflst or 3rd valve slides;

correct wheneverpossible

Slightly sharp -- lip it,unless 3rd of majorchord, which mightrequire 3rd valve slide

lcr rcr @

Somewhat sharp -. lip itdown or use thumbtrigger or 3rd valve

€>€DrctG}#

Slightly sharp -- lip it, unless

3rd of major chord, whichmight require 3rd valve slide

Somewhat sharp -- lip itdown or use thumb triggeror 3rd valve

Okay

May be sharp on the Ctrumpet -- lip it or use 23

Slightly sharp -- lip it,unless 3rd of major chord,

which might require 3rd

valve slide

Flat! -- Lip it or use 13

with 3rd valve slideextended about ll2"

Flat -- lip it or use 23,

especially on the Ctrumpet

Flat -- lip it or use 12,

especially on the C trumpet

Sharp -- use ist valveslide; may use 13 if no lstvalve slide

53

Sharp -- lip it or use 12 or 3

or use 13 with 3rd valve slideextendedSharp -- lip it

Sharp -- use 3rd valveslide or lst valve

Sharp -- lip it or use thumbtrigger or 3rd valve

@

Can be sharp -- lip it oruse thumb trigger

b*Okay, but may haveto lip down

.e. @

Generally okay if you are playing relaxed, but willbe sharp if you are tight -- mightneed to use alternate fingerings with slides extended

2

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Common Atrternate Triltr Fingerings

13-3 23-3 extend lst valve slide l"extend lst valveslide 1/2"

C}€Þ@-G #cl3-3, extend lst valveslide l/2" 23-3

123-23, extend lstvalve slide 1" 0-3

23-L23, extend lstvalve slide I "

13-3, extend lstvalve slide 1/2" 0-3

13-3, extend lstvalve slide l/2"

23-3

12-l

r2-2lip trill on 123, extend l stor 3rd valve slide 1" 0-1

0-3, or lip trill on 13

(extend lst or 3rd valveslide 1/2") or lip trill on12or3b* €D

23-3 lip trill on23

b* b*lip trill on 12 Ilip trill on

b* €Þ@ 6, -e.

V/hole-step trills starting above this are usually done as lip trills.

F and Alternate Fin S

Fingerings are listed in the approximate order of intonation. The first fingering given is the normalfingering. Some fingerings affect the pitch slightly, and others affect it severely. Anytime the 7th, 1lth,13th, or l4th partials are used there will be intonation problems.

erlne 54

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345678910111213141516

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7th partial is flat; 11th partial is sharp; l3th partial is flat; l4th parrial is sharp

-KFIPartial

€Þ2

By Philip Farkaslndiana UniversitySchocl of Music

â Start by tuning the open notes of the F hornf _ to a well-tuned piano, a tuning bar or fork, orÉE a strobe tuner. The ideal note would be the F

just above middle C on the piano. (This is the norewritten as the C in the third space to those of us whoplay "Horn in F".) When the pitch of this note agreesperfectly with the concert F of the band, orchestra orother instrument with which you will play you havemade the fìrst ímportant step. Of course while adjust-ing this intonation you will keep in mind that pullingthe maín tuning slide flattens the horn and pushingthe slíde in will sharpen the horn. All these adiust-ments must take place with the right hand in thebell of the horn exactly as it will be held while playing.

ffi Next tune the Bb open horn to the now_in_tune

Ê open F horn by matching the same F concertË¡8 (played as a C third space by the horn player)by slurring from the open F horn to the open Bb horn,simply putting the thumb valve up and down andcomparing the pitch of the same note as played onboth the F and Bb horns. Leave the main tuning slidealone and adjust the Bb horn to the F horn by pullingthe main Bb tuning slide if the Bb horn is sharp. lithe Bb horn is flat push in the main runing slide slight,ly but pull the main F tuninE slide out an equal dis-tançe to bring the F horn back. to where it was inpítch. The F horn and Bb horn should now be in tunetogether as well as in tune with the other musicians.But notice that we have only tuned the open notes.

¡ç Now comes the painstaking job of tuning theq lst,2nd and 3rd valve slides on both the F and

Qds Bb horns so that our scales and intervals are intune with our now well-adjusted open notes. This,too, can be accomplished by tuning to a good piano orstrobe, but tuning by ear while critically listening dur-ing the operation is the best way. After all, we aregoing to have to play in tune always by critical listen_ing and adiusting. What better wêy to start than intuning your own horn 'to itself I The instruction heregiven for tuning the lsi valve on the F horn should

Tuning the F{olton FarkasÐouble French Horn

55

There are two phases to tuning the Holton Dcuble French horn:fìrst to tune the general pitch to that of the organization orinstruments with which it will be played, and second, to tunethe various intervals of the horn so that the instrument is"in tune with itself".

serve as an example and once you have grasped theprinciple involved you can simply apply that principieto all six valve slides.

ffi You could tune the first valve by playing thegå open middle C on your. horn (sounding F con-

ã Ê cert below middle C on the piano) and thenplaying the D one step higher, which is played on thelst valve. But this interval of a major second is hardto hear, so instead we use the same principle as thatused by the piano tuner-we compare bigger intervals

-such as fourths and fìfths. So after playing yourmíddle C, which we must assume is in perfect pitch,play the F in the first space-a fourth above yourmiddle C, but also played on the lst valve. Now youcan readily hear whether the slide is too long or tooshort because that interval of a perfect fourth is mucheasier to judge critically than is the interval of a majorsecond. The same principle can be applied to the 2ndvalve. You could tune it by f udging if your 2nd valveB natural is exactly a half-step below the open C. Butthis interval is very difiìcult to ¡udge correctly. Thebetter way would be to play your middle E (fìrst line)on the open F horn, which again we must assume to beperfectly in tune, since the fìrst thing we did was totune the open notes. Next play the B natural ( thirdline) which is a perfect fifth above that E. Now wecanhear if the second valve needs shortening or lengthen-ing, because that interval of a fifth is a very good oneto iudge critically.

And so we proceed, through all the various slides, al_ways comparing fhe intonatión of the valve slides tothe well-adiusted open notes on both the F and theBb horns. But we compare them by playing large inter_vals,fìfths, fourths and even octaves, and not by smallintervals, half-steps, seconds, etc.

5w There are three things well worth remembering

5 in tuning your horn: first, the horn was designedWn ro that ideally it is in tune when all the slidesare pulled out a slight distance. This is ideal since wethen have the flexibility to shorten or lengthen the

I-,ocation of Slides

Main "Bb" TunineSlide

56

Main "F" TuningSlide

Maio Tuning Slide

slídes. Were the slídes designed to be pushed all theway in under perfect conditions the player would thenbe limited to only flattening the pitch and would haven-o wôy of sharpening the horn. So do not be dismayedif all the tuning slides are pulled out slightly whenthe horn is in tune. This result was intentionally de-signed into the horn.

Second, remember that tuning an insirument is a

matter of compromise. lf an ínierval is out of tuneperhaps one of the notes should be sharpened slightlyand the other note flattened slightly. This compromiseis often much rnore successful than tuníng one notedrastically and leaving the other note,,as-is,,. Thecompromise should be aimed at having all notes quitewell in tune as opposed to having one note perfect andanother very much out.of.tune. lf all the notes areclose to being in tune, our careful playing plus thegreat flexibility of the horn are going to permit us toplay very well in tune.

Third, please remember that great thought, experi_mentation and expense has gone into the productionof a Holton horn, which has superb intonation. There-fore, if you fìnd that your four main tuninq sliCes arepulled out to ôn extreme degree 7ou must a"ssume thatyou are not using enough "cover,,with your right

Auxiliary "F"Tuning Slide

hand. More covering of the bell with the hand willdefinitely flatten the pitch. And since dozens of theworld's fìnest professional horn players have agreedthat the horn is well-in-tune with their particular useof the right hand you must assume that you are notconforming to this hand usage if your intonatíon dif-fers widely from theirs. Conversely, if you seem tobe too flar, even wíth the slides all the way in, youmust assume that you are puttinþ your right hand toofar into the horn bell.

tr Finally, you must realize that there is no such

ffi* thing as perfect intonation, sínce the very samew I note must sometimes be played flatter in onechord and sharper in another. We must also play withother instruments which have the opposite tuningcharacteristícs, and finally we must play with singersand string players, who play or sing an ,,untempered,,

scale which is not the same intonation as used by ourso-called "tempered-intonation" instruments. The im-portônt thing in playing with good intonatíon is totune the instrument as well as possible, rememberingthat there is no such thing as "absolute,,intonation:and then play in tune using all your skill, your lip,your ear/ and your heart. While you play_LISTENI

"F" Valve Slideson Top

"Bb" Valve Slideson Uaderside

57

R,enrcving Water frcm thre l{olrcilDouble

FarkasFrench Horn

the fact that water always runs down-hill. Bearing thisin mind, logic will show you that it takes only a fewdeft twists of the horn tc run the water out of all sixvalve siides (valves .ì,2

and 3 of both the F and Bbhorns) and into two of the main tuning sliCes. Here itcan be eliminated quickly and easily along with theadditional water which has accumulated in these twomain tuning slides normally. Thus, instead of labori-ously renroving all ten slides individually, only fourslides need be removed, and these are the big, easilyaCjusted ones.

by Philip Forl<os

.i -'i riìe prcblerns io which I gave serious considera.

::'.;n ir.r the Cesign of the Holton Farkas nrodel Frenchhcrns was the one of removing the water from thecomplex maze of tubing quickly and effìciently.

This prcblem has been very well solved through theadCirion of the separate Bb tuning slide, which besides

being a mosi'¿aiuable tuning aid, makes possible thisf¡:t re,.ncval of weter from the entire horn.

The principle involved in remcving this water lies in

q Hold the horn on your lap, in the sðme manner you wourd hold it in

f, repose, that is, with the circfe of tubing in a vertical plane and the mouth-Éð pipe pointing toward the ceiling. one might say ro hold the horn with theleft hand as though the horn were the steering wheel of a car.

Þr'9 4i-

Slowly turn ths horn until valve slides ars pointing up.

ffi Turn this "steering wheel" fairly slowly to the right (crockwise as seen byg the player) three-quarters of a turn, until the varve srides are pointing totu6 ¡hq ceiling and the mouthpipe is almost horizontal and pointing to theplayer's left. The obiect of this turn is to "untwist" the water from the six valveslides, particularly the 3rd valve slides, and allow it to drain into the Ist,2ndand 3rd valves. Bear in mind, however, that the water will not drain into thesevalves yet, since the keys are not depressed and the valves therefore are ín"open" position but actually closed to the valve slides. Now depress all threevalves several times-"ripple" them, still, of course, holding the horn with theslides pointing upward. This is to turn the valve openings into the valve slidesand allow the water to enter the valves.

&åd

Then, with the valves "open" (the keys not depressed) turn the,,steeringwheel" of the horn back again to the left (counter-crockwise) a little more

s than half a turn, so that the mouthpipe is pointing over the right shoulder.

z2

@€ lhs Lûyr. tqrn ths horn back.

å{emcving îVater {contånued} 58

Æ Now remove the water from the smalle& Bb tuning slide which comes out of the

ü il thumb valve. Then, while holding thehorn in the same position, remove the waterfrom the main F horn slide on the undersideof the horn. You have now removed the waterfrom all síx valve slides. A little practice willenabfe you to make these two twists quicklyand deftly. However, don't make the move-ments too fast--don't "rush" the water; ittakes a little time even for water to flow. Theentire operation should take about tenseconds.

ffi To complete the job, remove the waterYb in the normal way from the main tuningSdE ,lidu and the little F runing slide whichcomes out of the thumb valve, and you willhave completely cfeared the horn of water.Once in a while it is also a good idea to twistthe horn to the right for several completerevolutions, which will remove ôny waterwhich might have gathered in the bell branch.

lake the wst€r out of srnall BbtuninE slido

, . a¡rd et¡t of tire maín Ftuning slíde.

I

/i

1

Don't forget that the Flolton horn has a wate, koy. Uso ¡t o6terx. Frequentuse of thjs water koy wíll prevent much of tha waeer from goinE faithÀi¡nto the interíor of the horn. If one plays ,,stoppod horn,, with íhe righthand held tight ín the bell of tho hàrn'just ás tne water is blown ãutthrough the open wator key, the water wili be ejected more forcefully aJcompletely and, surprisingly, more quietly.

Remernber to keep the horn cloar of water. Many, rnany cracked notês arethe result of water !n thE horn and not the fautt of'the player lexcepithat it is Ê¡ís fauft that there ¡s wâter in the horn)!

horn are the tightest valves on anyhorn produced today. Th is tight-ness of valves gives this French

orn some of its greatest characteristics. Because there

üare rf Èhæ VaåvesGround in with very few thou-sandths of an inch tolerance, thevaives of the Holton Double French

By Louis StoutUniversity of MichiganSchool of Music

piston valve, on the sides but rather at each end on thearea called the bearing shaft or "bearing surface,,.Some players attempt to lubricate their valies by pull-ing out the slides and squirting valve oil down thetubing with the assumption thai this will free a slowor sticky valve or provide proper lubrication. AII itreally does is coat the sides of the valve and allow veryiittle.if any oil to.get to the surface where it is vitallyrequired, on the bearing surfaces.The proper method of oiling is:t. Locate the large screw (swivel arm head screw),unscrew it and squirt key oil into the opening. (Note:DO NOT USE VALVE OtL FOR TH|S AREA). Roraiethe valve. Replace the screw.2. Remove the valve cap and place key oil in thesmall hole located in the center of the exposed shaft.Rotate valve again. Coat the threads of the casing aswell. Replace velve cap.

3. A small amount of vaive oil can then be placeddown each of the valve slides and in the mouthpipe.This will place a thin film of oil on the inside surfaceto prevent retarded oxidation.4. Depress the levers rapidly while turning the hornin all directions at the same time. This wíll cause theoil to flow to all surfaces.

; alr¡ost no air leakage around the rotors all the airgoes into prcducing the very purest horn tone. Alsohecause of this tightness, the intonation of the doubler-errch horn is the most perfect of any horn, with a

. rT ifo.rrnity o{ tone quality and intonatibn throughoutìts whole range.I Incared for, these tight valves could cause problems,ut when you follow these three simple steps in the,¡re of the valves, they will work eas'ily all ihe time.

Collection of moisture wìll cause the valves to becomeprobleln if not properly Iubricated. The broken valvering, which is the most common repair problem, is

usually caused because the valve has become stuck,due to condensaiion. The player usually attempts to",'rce it f ree by depressing the iever. DO NOT ÐEFRESS

iVER.'lhe fingers should grasp the valve by the sr,vivel armor stop arnr head, and rotate.

\e areô of friction on a rotary valve is not, as with a

NO?'E; 'Ahbougb it møy be raecessarg to oil. rke ualaes of yoaø d,oable Frencb born eaerg day,wlter¿ you d.a tbis, yoø tuill be reluørded. by bøaing one of tlte finest-soand,ing,

best-perf armi.rzg Frerzcb borns ån the xaorld,

e-;' 59

vALvE L'tlBRIcAqeN PRqg*qURE

Co llection of mo isture wil-l cause the vpro̡lem if noL PrcPerl-Y lubricated " The bro

wh ich is t']re mCIst col'ffno n repair Problemu1e

i:ecause the val-ve has become stuckn due to'cpraYer usuallY atfemo ts to force it free bY

Iever "DO t{oT DEPRES S T,EVER.

âdu

the vatr-ve bYdiaqram) "

CAUTTON

alves to become alçen valve string'usuallY causedoncie¡rsttion " The-depressing t'he

i r¡

the swivel arrn orThe

st,op armèì siroulcl qraçPand rotat.e (sge

theitDO

+hô

fihe

E*ÉtÀ

t-Theareaoffrict'j.ononarotaryvalveisnotoaswith-a

piston valve, ár, "n. sides--b"¿ rathei at each end on the area

called. the n**ri*õ'shaft.or robearing surfacem" some prayers

a*empr ro :-"ã"îäå.ã'""ir"ir-"tr"ài bv pr-r'ling out the slirles

and. squirr.ing-;;i;" oil- dow"-lnã-t'uniäg witkr the assurnptiorr

that this will ii*o a slow or Sticky váIve or provirle proper

Iubricarion. -Ai1-itl really ãoes is coat the sides oi the

varve and allovr very r-i6rå iã-ã"v-"it to 9e€ to the súrface

where ie is vital)-y ".qot"ãal-on -trre hearing súrfaces

- - -The ProPer rnethod aE oiling i's:.

1" -T"ocate-l.lflscrew(Not,e:

,Rota€e

a)6

large screw (swiveL arm heacl screw) t

ã"ãliq"irr. \gy oil- into Èhe ópening"NOT USE VET,VE-õ-POR, TiTTg ÃREA) 'valve" RePlace t'he :screw"

.l:l

...ti,l4

: :.1;¡z- I¡n J

.1

el,; é,,l:'l'-t,{,'1í'c'

't :.

:-j t., I'l

-Rer.rove the valve cap and place key -oii- in t'he

small hole foã.t"A in the- center. ôf tirg exposed

-shaft," not*tã-oãi"ã again' Coat the threads

;;-utå casi-ng as well"" Reprace valve caP"'/

A small .arnount of valve oil 'can then be placed tlown

eacir.of the ""1"á slides and .ín the mouthpipe-

.rhis wil_t p1;;;"; ¿ht; f ilrn of oí1 .on the.inside-surface

"" piã"tnt-retarded'oxidat'ion'

l: "'Ðepress tT¡e Ldvers rapidl-y r*hile t'rerning

-in al-L directions at' eixe sa¡Tìe 'tirne' Thís

ã'it**ãil eo f low -t,o -¿J-!':surfaces:' . '-.- ' :

the hornwill cause

,l

It

4.

60:t

¿ /.-

Swlvg L ARfú þiË4p 5e RËvl

ËÁ R/Ai6SWtvËL_Å'R

VALV E 8tL

Ë {,t atVALVE''ÇÃP,¡i, 'i

It

.tt

,lI

:t

jl

1i.n.-!:l_l,ri'ìi

.t!

tIt

!i

61

REFERENCE BOOKS FOR TEACHING BRASS INSTRUMENTS

General

APPLIED )fUSIC CURRICULA, Gale L. Sperry, University of South FloridaART 0F BRASS PLÀYIì{G, Philip Farkas, l^lind Music - not f or students - too

analytical and detailed in physical processesART 0F MUSICIANSHIP, Philip Farkas, Musical PublicationsBRASS ANTHOLOGY, Instrumentallst, 1984BRASS 800K, Moore, G. Lebianc CompanyBRASS ENSEI4BLE METHOD FOR TEACHER EDUCATION, Norman J. Hunt, hTilliarn C. Brown

Publishers, 1963BRASS ENSEMBLE MUSIC GUIDE, Paul- G. Anderson, InsLrumentalist, I978BRASS FACTS, Beilamah, Southern MusicTHE BRASS INSTRUMENTS, iames H. I{inter, Al1yn and Bacon, 1964BRASS INSTRUMENTS IN CHURCH SERVICES, Oden Augsburg PublishingBRASS IN Y0UR SCH00L, Lawrence, Oxford University PressBRASS MUSIC FOR THE CHURCH, John Devol, Harold Branch Publications, 197 4BRASS PERFORMANCE, Robert lleasÈ, McGinnis and Marx, 1965 - goodTHE BRASS PLAYER, Charles Colin, Charles ColinBRASS PLAYERS' GUIDE, Robert King Musj-c SalesBRASS S0L0 AND STUDY MA,TERIAL MUSIC GUIDE, Paul G. Anderson, fnstrumentalist,

L97 6BRASS \,{IND ARTISTRY, Severson and McDunn, Accura MusicCONTEMPORÄRY BRASS TECHNTQUE, Leidig, Highland MusicTHE EMBOUCHURE, lufaurice Porter, Boosey and Hawkes, 1967 - don'L recommendEMBOUCHURE AND MOUTHPIECE MANUAL, Vincent BachESSENTIALS 0F BRASS PLAYING, Fox, Colunbia Pi.ctures PublicationsGUIDE TC TEACHING BRASS, l'{orman J. Hunt, 3rd edition, William C. Brown

Publishers (care of instrumenE, enbouchure, breathing, tonguing'vibrato, methods and solo literature lists for all brass, fingeringcharts, intonation problems, mutes - rather physical approach tomethodology) basic reference source

INSTRUMENTAL MUSIC GUIDE, A. Harold Goodnan, Brighan Young University Press,L979

KEYS T0 NATURAL PERFORMANCE, Robert Weast, McGinnis and MarxMATERIALS FOR I',IISCELLANEOUS INSTRUMENTAL ENSEMBLES, Music Educators National

Conference,1960MUSIC FOR THREE BRASSES, Richard G. Decker, Swift-Dorr Publications, L976PLAYING AND TEACHING BRASS INSTRUMENTS, Robert Winslow and John Green,

Prentice-Hal1, \961 (for ensenble playing; assumes ¡nusical training)PRACTICE METHODS FOR BRASS PLAYERS, Belfrage, trrrilhelm Hansen MusikforlagPREVENTIVE MAINTAINANCE FOR PISTON INSTRUMENTS, I^Jeisshaar, Belwin-MillsSELECTED WIND AND PERCUSSI0N MATERIALS, University of Iowa (so1os, meLhods,

ensernbles : graded )SURVEY 0F MODERN BRASS TEACHING PHILOSOPHIES, Bellamah, Southern MusicA TEACHER'S GUIDE T0 THE LITERATURE 0F BRASS INSTRUMENTS, Mary Rasmussen,

Cabinet Press (Brass Quarterly), 1968 - goodTEACHING TÌlE SUCCESSFUL HIGH SCHOOL BRASS SECTION, Merrill Brov¡n, Parker

Publications, 1981VITAL BRASS NOTES, Charles Co1in, Charles ColinI.iIND AND PERCUSSION LITERATURE PERFORMED IN COI,LEGE STUDENT RECÏTALS

(L97L-72), Merrill E. Brown, Instrumentalist, I974

Reference Books (2) 62

Trumoet

ADVANCED }1ETHOD. Roger Grocock, Argee Music PressTHE ART 0F TRUì'ÍPET PLAYING, Vincent Bach, Vincent Bach Corporation, 1969THE ART 0F TRUI"IPET PLAYING, Keith Johnson, f or+a State University Press, 1981 -

very articulate, well thought out, trained in "Chicago" rnethodologyARTISTIC TRUMPET TECHNIQUE AND STUDY, Bush, Highland MusicBASIC GUIDE T0 TRLMPET PLAYII'IG, Autrey, M. M" Cole Publi-shingBRASS PLAYING, Fave Hanson, Carl Fischer - analyticalCOMPARATIVE MOUTHPIEE GUIDE, Gerald Endsley, Tromba PublicationsCORNET PLAYING, D'Äth, Boosey and HawkesEMBOUCHURE ENLIGäTENMENT, Young, Tromba PublicationsS0L0 LITERATURE F0R THE TRUMPET, Thcmas Hohstadt, F. E. 01ds Musi-c Education

Li b raryTEXTBOOK F0R TRUMPET, Daryl Gibson (repertoire list)THE TRUMPET, ülilfredo Cardoso, l/i1fredo Cardoso (Vo1" 1 & 2z High Trumpets,

Vol. 3 & 4: Ascending [valve] Trumpets, Vo1. 5-8: ilow To Play In Ä

Symphony Orchestra)A TRUIIPET PLAYER'S GUIDE T0 ORCHESTRAL EXCERPTS, Linda Anne Farr, The Brass

Press, 1978, revisedTRUMPET PROFILES, Louis Davidson, Louis Davídson - quesLionnairesTRUMPET TEACHER'S GUIDE, Gordon Mathie, Queen City Brass Publications

(indexes I44 trumpet nethod books by technical and musical problems) - goodTRUMPET TECHNIQUE, Delbert A" Da1e, Oxford Press (?), L965TRUMPETER'S HANDBOOK, Roger Sherman, Accura MusicTRUMPETER'S SUPPLEMENTAL GUIDE, William Pfund, William PfundTRUMPETER'S TREASURY 0F INFORMATION, Bellamah, Southern MusicTWENTIETH-CENTURY MUSIC FOR TRUMPET AND ORCHESTRA, Norbert Carnovale, The

Brass Press , I975T\^/ENTIETH-CENTURY MUSIC FOR TRUMPET AND ORGAN, Cansler, The Brass Press

Ho rn

ART 0F FRENCH HORN PLAYING, Philip Farkas, I,{ind Musíc, 1962 - goodA CREATIVE APPROACH T0 THE FRENCH H0RN, Harry Berv, L977THE FRENCH HORN, Bírchard Coar, Coar, 1947 (some pedagogy)THE FRENCH HORN, Morley-Pegge, ErnesL Benn LinitedTHE HORN, A Comprehensive Guide, Robin Gregory, Praeger, L969THE HORN, THE HORN,. Merewether, Paxman of CovenE GardenHORN BIBLIQGRAPHIE, Bernhard Bruechle, three volumes, I{einrichshofer

Wilhelmsharen, 1970 and I975 (in German)A HORN PLAYER'S GUIDE T0 ORCHESTRAL EXCERPTS, Linda Anne Farr, The Brass

Press, 1978HORN TECHNIQUE, Gunther Shu11er, 0xford University Press, 1962INDEX 0F FRENCH HORN MUSIC, !{ayne Wil-kins, The Music Register, I978PHOTOGRAPHIC STUDY 0F HORN PLAYERS' EMBOUCHURES, Philip Farkas, hrind MusicPLAYING THE HORN, Barry Tuckwe11, Oxford University Press, 1978A PRACTICAL GUIDE T0 FRENCH HORN PLAYING, Yancich, \{ind Music

Reference Books (3)

Trombone

Euphonium ând Tuba

THE ART 0F EUPHONTUM pLAyrNG, Arr Lehnan (wirh recordings)THE CONTEMPORARY TUBA, Cumnings, t{haling MusicENCYCLOPEDIA OF TUBA LITERATURE, I^/il1iañ Bel1EUPHONTUM MUSrc GUTDE, Earle L. Louder and David R. corbinInstrumentalist, IgTB

63

ANNOTATED GUIDE T0 BASS TROMBONE LITERATURE, Thonas G. Evererr, TheBrass Press , I97BANNOTATED GUrDE T0 TROMBONE SOLOS ''/rrH BAND AND ORCHESTRA, Verne Kagarice,Studio P/R, I974ART 0F TROMBONE PLÄYIllG, Edward Kleinhammer, Summy-Birchard, 1963 - very goodMODERN TR0MB0NE, Dempsrer, unÍversiry of caíifornia pressS0L0S FOR THE STUDENT TROMBONIST, An Annotated Bibliography, Verne Kagarice,et. â1., The Brass Press, IgTgTHE TROMBONE, Robin Gregory, praeger, Ig73TROMBONE CHAMBER MUSrc, An Annoraied Bibliography, Harry J. Arling, TheBrass Press, I978TROMBONE TEAclirNG TECHNTQUE, Donatd Knaub, Accura MusicTROMBONE TECHNTQUE, Denis I{ick, 0xford universiry press, rg7i-THE TROMBONIsfls HANDBOOK, Reginald H. Fink, Accura Music , rg77'

EUPHONIUM MUSIC GUIDE, t{inrer, l,íhalimg MusicTHE LOi'd BRASS GUTDE, John R. Grif f irhã, Jerona Music,sruDrO cLASS MANUAL For Tuba and Euphonium, Rose, roíaTHE TUBA FAMILY, Clifford Bevan, FaÈer and Faber, I97glyPA HANDBOOK, J. Kenr Mason (reperroire lisr)TUBA N{usrc GurDE, R" l{insron Moriis, rnsrrumenralisr,

Jr. ,

1 980Publications

t97 3

64

d#*IM

þffi UffiJMnÞ**4þ@d*þ

än\#XY&@

ffi)þd\4ø

MM\fuF&FdffiñIJffiÞ-w þ4&nffiKMPþ*F

4w&

hç

65

Bross Clqss Topic Check Sheet #1

Nome

'l . Bosic Approoches/Pedogogy2. Posture3. Breothing4. Embouchure5. Mouthpiece Plocement6. Mouthplece Buzzing7. Articulotion8. Motching Students to lnstruments9. l-{olding Posifions10. lnstrument Core1 1. Worm Up Routines12. Ronge -- l-ligl'r't3. Ronge -- Low14. Enduronce'!5. Pressure16. Broces17. Flexibility18. Vibroto19. Multiple Tonguing20. Flutter Tonguing21. Reloxotion22. lnner Tennis23. lnitiol Attocks24. lntonotion25. Problems

Comments:

Grode: (4o/" per topic)

Brsss Clsss Topic Check Sheet #zNome

1 . Mutes2. -['ronsposition

3. Mouthpiece Choice4. Mouthpiece Numbering Systems -- Bcch5. Mouthpiece NumberinE Systenrs -- Schilke6. lnstrument Selection7. Trurnpet8. Trumpet lntonotion9. Trumpet Trills10. Horn1 1 . Tuning the Horn12. ü-{orn Lip Trills't3. n'{orn: Boss Clef14. Flocement of Horns in Bond15. Stopped Horn16. Bross lnstrument Repoir

Comments:

Grode: (6% per topic)