ALLEN VIZZUTTI TRUMPET METHOD BOOK 2 PDF

File: PDF, 9. Undeniably, the trumpet is a difficult a n d u n p r e d i c t a b l e instrument to play, a n d it is technical proficie that enables one to perform w i t h beauty, control, endurance a n d consistency. As a result, dedicated student ol the trumpet often experience a " s y m p h o n y " of technical phobias. It is my intention in this method to systematically d e a l w i t h these problems in a musical w a y t h r o u g h carefully o r g a n i z e d technical, harmonic a n d melodic s ies a n d concise text. The secret to constant a n d quick improvement o n the trumpet is consistent d a i l y practice w h i l e keeping e fundamentals of efficient breath control a n d musical artistry in m i n d at all times.

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File: PDF, 9. Undeniably, the trumpet is a difficult a n d u n p r e d i c t a b l e instrument to play, a n d it is technical proficie that enables one to perform w i t h beauty, control, endurance a n d consistency. As a result, dedicated student ol the trumpet often experience a " s y m p h o n y " of technical phobias. It is my intention in this method to systematically d e a l w i t h these problems in a musical w a y t h r o u g h carefully o r g a n i z e d technical, harmonic a n d melodic s ies a n d concise text.

The secret to constant a n d quick improvement o n the trumpet is consistent d a i l y practice w h i l e keeping e fundamentals of efficient breath control a n d musical artistry in m i n d at all times.

Trumpet is one of the most versatile of instru- L k U ments, a n instrument that is c a p a b l e of crossing a n y stylistic or cultural boundary. Practice in three to minute segments, resting w h e r e necessary. Segment one is the w a r m up, segment t w o is technical study a n d segment three is p l a y i n g music material such as solos, etudes, orchestral literature, etc.

You must be your o w n best teacher. Listen w i t h honest ears. W h e n problems occur, refer b a c k to fundamental thoughts on breathing a n d s o u n d.

Best wishes a n d g o o d luck. Remember to concentrate on the basic fundamentals from the fi t note of e a c h n e w practice d a y i. Finally, p r e p a r e mentally to a p p r o a c h whatever exercise or piece of music you are a b o u t to p l a y in the most musical a n d artistic w a y possible.

Keep repeating until there are n o g a p s. Buzz anyw h e r e from a few seconds to a f e w minutes. For extended b u z z i n g , use the following triads. Check pitches at the piano while buzzing whenever possible. Articulate heavily. For additional repeat the "loosening preceding exercise up," 8va, resting w h e r e v e r necessary. Start each playing d a y with the three steps a b o v e. Some days may require more w a r m i n g up than others due to the playing demands of the previous d a y or your biorhythmic cycle, but w a r m i n g up well never hurts, it only helps.

Ideal w a r m - u p time should eventually b e 1 5 - 2 0 minutes. They are physically d e m a n d i n g a n d , therefore, useful later in y o u r practice time.

Lip strength more accurately, the strength of the muscle structure a r o u n d the lips as a g o a l is greatly o v e r e m p h a s i z e d. Players at all levels of competency e x p e r i e n c e butterflies, dryness a n d other symptoms of nervousness before a performance. Experience is the real key. The more often one performs, the easier it gets. Play for friends a n d family. Casual settings can be g r e a t help w h e n d o n e frequently. As a useful by-product, the more one performs a n d is h e a r d , the more likw o n e w i l l b e a s k e d to participate in other musical settings.

That is the process through w h i c h one rises to the top of the music c o m m u n i t y , n o matter h o w l a r g e or small the community. Resistence causes tension. O b s e r v e the feeling as it happens. The less y o u concentrate on di mouth, the sooner moisture w i l l return. M a k e the note or phrase y o u are p l a y i n g as beautiful as possible. Present time is the key to performing from memory without slips a.

Bang the valves down promote a c c u r a c y a n d rhythmic clarity. Use a metronome t o p r o m o t e evenness a n d to document progress. Major m p-mf IP! Five to ten minutes w o r k every d a y is the best Practice d o u b l e a n d triple tonguing very slowly as well as very quickly. Try to make it as clean sounding as the " T " t o n g u e a n d b e patient as the " K " tongue m a y sound bad at first. Take c a r e , however, not to constrict the throat; but rather to hold the air in w i t h the throat o p e n.

Push from y o u r d i a p h r a g m a n d take g r e a t c a r e to a v o i d too much left-hand pressure or right-hanc finger ring pressure. Too much pressure cuts b l o o d f l o w to the lips a n d w i l l reduce your range a n d endurance without fail! A n y lip cuts or soreness i n d i c a t e too much pressure.

Please be patient a n d with practice improvement w i l l c o m e. Play them loudly. In o r d e r to o b t a i n beneficial results w i t h o u t suffering unnecessary setbacks, please observe the following pre requisites for upper register study: 1 You must b e a b l e to p l a y a c o m f o r t a b l e h i g h C.

D o not force! N o t too much pressure! The glissando w i l insure p r o p e r breath support of the upper note. Stop wherever necessary. Use air a n d control, i. Rarely d o so many qualities find themselves in Dne musician. Chick Corea Hitch your w a g o n to a star. N e w York. Usually, large books do not lie flat or slay open on the music rack.

In this edition, pages are sewn together in multiples of 6. This special process prevents pages from falling out of the book while allowing it to slay open for ease in playing. We hope this unique binding will give you added pleasure and additional use. All rights reserved. Printed in USA.

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