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2
INTRODUCTION TO BOOK 1
HE P R IMA R Y G O A L of all trumpet pla yers , regardle ss of proficienc y, should be to play beautiful music
with an ap pro pri ate ly bea utiful so un d. This thoug ht must be foremost in one's mind wh en pra cticin g, 3r
forming or teaching.
Undeniably, the trumpet is a difficult and unpredictable instrument to play, and it is technical proficie
that ena bles on e to pe rfo rm wi th beau ty, co ntro l, en du ran ce a nd consistency. A s a result, de dic ated student ol
the trumpet often experience a "symphony" of technical phobias. It is my intention in this method to systematically
deal with these problems in a musical way through carefully organized technical, harmonic and melodic s
ies and concise text.
T he sec re t to cons tant a nd quic k improve men t on the trumpet is consistent da ily prac tice whi le keepin g e
fundamentals of efficient breath control and musical artistry in mind a t al l times. I be lieve the we al th of stuc ss
in this method will prove useful for one's entire playing career.
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3
PRACTICING
i " y i US IC H A S THE P O W E R to ena ble an yo ne to feel go o d. Trumpet is one of the most versatile of instru-
L k U ments, an instrument that is c ap a bl e of cros sing an y stylistic or cultural bou nda ry. The gifts of studying
music include:
C rea tive pro ble m so lving
C ontrolle d conc entration
D ev elo pe d motor skills
G rea ter emotion al express ion
A c qu ir e d skills in the art of se lf-dis cipli ne
R aise d so cia l status
C rea tive interac tion with other pe op le
R aised aw are ne ss of art, be au ty a nd more
These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment avail
able in music can be had through daily practice.
The more o rg an iz e d your pra ctic ing is, the more fruitful it wi ll be . Here , then, is a sugg estion. P ractice in
three 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technical
study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the materi
al to avoid forming bad habits, boredom and to learn new things each day. Y ou must be your own best teach
er. Listen wi th honest ea rs. Al wa ys try to imp rov e. W h e n prob lems occ ur, refer ba ck to funda mental thoughts
on breathing a nd s oun d. M os t prob lems will correc t themselves. Best wishes an d goo d luck.
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4
THE WARM UP
n
N OR DE R T O E NS UR E consistent improve ment through practice, it is absolutely essential to wa rm i
P re pa ratio n is re qu ire d, not on ly to meet the phys ic al d em an ds o f trumpet pl ay in g, but also to initiate 13
mental focus and concentration necessary for making music. The following is a warm-up routine in four parts
with variations for each day of the week. Remember to concentrate on the basic fundamentals from the fi t
note of each new practice day
(i.e.,
be auty of tone and util iz ing large volumes of air wh en inha ling an d w h - j
blowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you are
about to play in the most musical and artistic way possible.
Buz z the mouthpiec e in the ap pro xima te ran ge indic ated .
The so und should be "fat, " full an d with ou t ga ps as yo u s lide
downward. Keep repeating until there are no gaps. Buzz any
where from a few seconds to a few minutes. Be aggressive and
demanding of yourself. It is possible to improve your trumpet
sound almost immediately by working on the mouthpiece.
For extende d bu zz ing , use the follow ing triads. C hec k pitches at the piano while bu zz ing whenever possible.
Be sure you are producing a fat, forte tone.
4 1 j T J i r
J
T T j i j p i i r P p i j . i
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5
@ A pp roa ch the fo l lowing exercises
mentally as if playing one long note.
Articulate heavily. M a ke the legato
notes very long and the marcato notes
fat and sp ac ed no breathing a l lowed
in the middle of a line. This method is
an excellent tool for relaxing the lips
and warming down as
well .
For addit ional " loosening up,"
repeat the preceding exercise 8va,
resting wh er ev er nec ess ary.
P lay lon g tone exercis e #1 , 3 or 4 with as bea utiful a so und as poss ible.
Start each playing day with the three steps above. Some days may require more warming up than others due
to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps.
Finally, play the technical studies indicated for each appropriate day. In this way you can vary your warm
up,
ma inta in interest a nd lea rn new scales an d finge ring pa tterns quickly. W or k gra dua lly da y to da y through
all of the keys until you can play each study with a minimum of technical "hang-ups." It is n o t necessary to
pla y the studies highe r than third spa ce " C " in yo ur wa rm u p, though ad va nc ed players ma y wis h to do so.
Idea l wa rm-u p time sho uld eventually be 1 5 - 2 0 minutes.
Mon d a y Te chnical S tudy #1
Tuesda y
Te chnical S tudy #2
Wednesda y
Te chnical S tudy #3
Thu rsday Te chnica l S tudy #4
Fr iday
Te chnica l S tudy #6
Sa tu rday Te chnica l S tudy #7
Sunda y T echnica l S tudy #8
In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are
physically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, the
strength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is
important to a degree, range, endurance, a beautiful sound and advanced technique as a complete package
are based on efficiency of breath control, not brute strength.
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6
PERFORMANCE ANXIETY
E R F O R M A N C E A N X I E T Y (i.e., nervousness) is a common and natural thing. Players at all levels of com
petency experience butterflies, dryness and other symptoms of nervousness before a performance. T
goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical control,
order to enjoy playing music and play wel l . E xpe rie nc e is the real key. The more often one pe rforms , the
easi
er it gets. Take eve ry pos sible opp ortun ity to perfo rm. P lay for friends an d family. Cas ual settings ca n be
great help when done frequently. As a useful by-product, the more one performs and is heard, the more likw
one will be asked to participate in other musical settings. That is the process through which one rises to the top
of the music community, no matter how large or small the community.
Here are a couple of practical pointers to help you defeat performance anxiety:
W a r m up we ll several hours befo re pe rfor man ce time to ensure lip suppleness an d go od respo nse.
W h e n the butterflies co me , do n't resist them. R esistence caus es tension. Tension cause s pla yin g prob lem
Let the wa ve pa ss throug h your bo dy. O bs er ve the feelin g as it hap pen s. Don 't panic .
S cra pe your tongu e lightly acros s yo ur top teeth to cau se saliva to flow. The less yo u con cen trate on di
mouth,
the sooner moisture will return.
Let g o of the inevita ble mistakes . D o not dw el l on the m. T here is al wa ys time to think ab ou t that later.
Th ink musica lly, not technically, exc ept for bre athi ng . Breathe dee ply an d project the air c on fiden t^
through the instrument. This is the one fundamental you should always fall back on when you find your con
dence faltering.
F inally, stay in present time. D on't wo rr y abo ut wh at has ha pp en ed or wha t is co ming . Don't sacrifice o
entire piec e for the sa ke of a hig h note or a tricky pas s ag e. M a k e the note or phrase yo u are pla yin g as beau
tiful as poss ible . The rest wi ll fall into pla ce . P resent time is the key to pe rform ing from memo ry withou t slips a.*
well.
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L o n g T o n e s 7
Long Tones
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8 L o n g T o n e s
h i , j
- _j
J i w v s
T T
T T
_
1 -
1
T T Z
J J
1
/7 \
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L o n g T o n e s 9
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1 0 L o n g T o n e s
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L o ng T one s 11
D o m i n a n t 7 ( b ) C h o r d ( J = 8 4 )
A t> ^
\ /CN
1 '
- \
p - f
ITS
23C
2 2
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1 2 L o n g T o n e s
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L on g T one s 13
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1 4 L o n g T o n e s
D o mi n a nt 7 (l>5) A s ce nd in g
M a jo r 7 ( | 5 ) D es ce nd ing ( J = 84)
8
P ^
1
1
r
r i
f
r i
1
s t
E
2 2
T T
^ j g > fl)p j f
1
tt
r in
P
4 J p
P
5 E
t zz
f
9
rf f a
9
1
= i
U
1 J
r"
1
x 1
r
J
1
T T
1
F
j j ; H
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Lip Flexibilities
L ip F le x ib i l i t i e s 15
132
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L i p F l e x i b i l i t i e s 17
3
4
Ak
3
1_|J J J J J - J _
J
a a -a a- - J -
a)
3 3 3
- J - J - J -J - J _3 _ _ - J - 3 |
3 3 3
T H T _
r
_ = = = = _ ,
l a
IW a
1
a ' ' a ' a a a
*
a > V
. ; - - . ' * - -.
p i
a* #
0 0000 sr
3
3 3 3
3
3 3
=
^3=3=~ T p
rrp
& J 10 1
1
4 d af a a
-mj
af-
\> W
V W W
W '
3
&0-
J-
J J W -a
J J J J b J J J J d
3 3 3
-0 - 1
a a a a a
a m)a
al
a a a
- . 0^0 ^0^0
..* ^a _. i * l
m r
-
3
3
?
3 3
3 3 3
- - 1
-
F = a = - = - = - = - = = - f e
0 0 0-aLJ - a * 4 - 1
3 3 3
:
U f f l : - ? H i
J *
>
1
* d d d 'dmlmldmld ldddd& 1
* [ * p L ' ~ n f -
3 3 3
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1 8 L i p F l e x i b i l i t i e s
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Lip F lexibilities 19
3
1 J I j f J d J J
3 3 3
-m
-d
J a a a -a
-7=
r
r r - n r m i ^
J
J
J
. H i - i g S :
\\m m m mt
3
3 3 \
J
--n^L J J^--J----J--,s
a a a a n a a a a [ "
(00 i'0 0 0 0 (9
I
a a a a "
1
~ a
' a
J f e - -
g
i g
a
H
B
= -
3
3
3 3 3
w~0 0-0 m
a
a ~m ~n
-J?
m r
r *
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2 0 L i p F l e x i b i l i t i e s
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22 Lip F lexibi liti es
Play with and without alternate fingerings (Nos. 8, 9 and 10).
8
j 3
I*
1
U
tJ J IJ 1J
i
4
L
a l m +
U
m- -
p-m f
mmm
a>
m - m - o -
* i
ftfa
1
d d d d m
33:
-Vwrk
1
-m
~ma
i
P
i
~-m
L
-a
1 -
4 ^ -
a
>
~
f
\-d
...
m m
a
= = _ - = =
1
J
J
J
J J
J
J -
l
J
J
J
J J
J
J
1
*
ai
J J
J * J *
1
G
B E
mi*
mf
J I d J
m m
1
M i l
"
r i n - t .44 =
4
J J .J
J J J
J J J J _ 4
m m m m m m ^ m
0
-
108
(jrh
J J J
- J
1
y y
1
aa
a
aa J
-Jmn
a
1
a
) . ^
M B
m
4
m
i
at
m
-m m-
1
i
1
2
n i l
3
3 = ==n
l
' *j ^ a
J b
a
: J L
L
-
J
a
j
a -a*-
j
H
o-
J
=
108
/% -Jf
4 :
ja
| a
21
-av
- JK
. _ _
k
T* 1 ' ' ^ N -i
10 ft I J
^
1
i
1
j
*i
1
r ' r j i
m;
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L ip F lex ib i l i t i e s 23
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2 4 L i p F l e x i b i l i t i e s
i i C D
5 * 3 *
5.
3 - *
P lay with a nd witho ut alternate fingerin gs (1 2 a nd 13) .
i
J
= 1 6 8
3 J _
i J
J
b J
u
B I J B V
J
J -
1
I
II
J
J
nJ
V
J
1 U
< H r
_ i
3 5 L b
3
l
3
-l
i
" 2
3
1
_
a
L
I^ J
N=5
3dZ
' i' i L m j T B i g
r f l -4-1 i-T-1
*> .a a i a
3
3 J
3
1
p 5 E
jp
[ I ;
CJj
1 /
m
m
i
i i
3
9-
3
~s~'
- *-
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L i p F l e x i b i l i t i e s 2 5
1 2 6
p-m f
m ftp
i
_ L_ L
5
_.
1 H
J .
1 3
4*4
0
an
*
*
1
a
J .i
44
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2 6 L i p F l e x i b i l i t i e s
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L ip F lex i b i l i t i e s 27
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U p F l e x i b i l i t i e s 2 9
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3 0 L i p F l e x i b i l i t i e s
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L ip F lex ib i l i t i e s 31
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3 2 T e c h n i c a l S t u d i e s
Technical S tudies
The following studies shouldbepracticed tongue daswel lasslurred.
B a n g th va l v e s down ha rd l
Thisv
promote accuracy
and
rhythmic clarity.
o not be put off by
difficult keys. H ave
the
s elf-confidence
and
disciplinetowork onthem. They will grad ual ly be co me easier andeasier. Tempos should range from ve
r
v
slow
to
asfastasposs ible. Use
a
metronome
to
promo te evennessand
to
doc ument progress .
M a j o r
m
p-m f
=3
I P
.
1
JJJJJJJJJJJJJJJJ
/ T V
l |
^IJJ3g3J33JJ^
l
J3J-IJtl.TO^
i
'
I^JJJJJJ
73
I^J^.IJ.I^M
S7\
P S
17s
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T e c h n i c a l S t u d i e s 33
^ I -
J J
J
J
J *l J
J .-
J ltAjj |i. H H 1 1 1 11 ====::
U_t_
. f7\
" .1-i
Oft"
L
-t^-.-
i
-
L
i
- - - -
d
-
L
-
J J J J 1
J J J J pfppJ ^
._^ lG~ m w,~v~
^1 u =
.f-i
f f l - I
J J , J *, J J
-J r
ij'ib
1*
-= mr
-z.
M M
0 0 M M |9
J
_ if
j
t B
=U
, _ _ | _ J
JPltf
|.
= = == = =
-4
0 0
r 0AW 0 i
| o
._
.1i
(rw ft ||- d g w > g w* g pp
. jP IL^ _
m 1 m 0
9
m
m
0 m 0* F 0 m
m
i
"j*
|
^
/7\
iC 11ftj*
1|:
m m m
9
m
rpp_~y7
-/fl
T I
|.
^^T .
m
r *
m
*_p
r'
p r
P I I I
-
m
-m0
m
m
9
0
m0>
~ ' i >
m
F1
J
:
ll =ti
/r\
-faJL^ ^4
i _
t
c
^
* J F _ t
_E.
1
J H _ ^ - )
G
|
^
m0rm>r0M>0\r0mri
, L _ o
-----
mi n i p
1
" n i
r
:
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3 4 T e c h n i c a l S t u d i e s
M i n o r
/7\
5 ^-
1
"
--
/ 7\
W J *
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T e c h n i c a l S t u d i e s 3 5
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3 6 T e c h n i c a l S t u d i e s
W h o l e T o n e
3
/ T N
/ T N
/7\
j j - t j i j y j j j j j j j j i M J j j j J i =
=j=pa
FFFl
v
(TN
-J-*
4rJ
J i t
J *-
1
C N
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T e c h n i c a l S t u d i e s 3 7
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3 8 T e c h n i c a l S t u d i e s
D i m i n i s h e d
/7\
C N
J J J >J J iJ iJ J I Ji,JbJi,J J JbJ J
/ T V
1
I T
TS
=5t
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T e c h n i c a l S t u d i e s 3 9
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40 Te chnic al S tudie s
Technic al E tude (J =
120
>
-
h
1j
j ^
S i
h
1j
_ a j
J
J
J
^
^
l
J
/ i
\ L,
a
0 0 m
- i
r
m
m _ mm
i
ffi
* T F l
J -
r
m
=f f =
>
P
ar~
J = = ;
1
mp
1
j J_j_rLJbJ
J
J J J j J p i
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T e c h n i c a l S t u d i e s 4 1
M a j o r
/7\
m
m m
# 1
/ 7\
y-
J J ,
i
J
J
^ J
--
T P
-
m m
S7\
^ I
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4 2 T e c h n i c a l S t u d i e s
p i g
i i - -
jf i jnw^
j , 11=
jj^^^tt}^
T N
. T N
T N
T >
1 =
crxrrrrr
:
'i
T V
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T e c h n i c a l S t u d i e s 43
M i n o r
i
/7\
T7
/ T \
/ T N
ftp
/ T N
I K
/ T N
f I I 'J gJ J W
m
m
m
I
J ? A u , ii.
/ T N
y i n / i - ,
J * J
1
J
11 o U
36
J J J J J J J .
/ T N
/ T N
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44 Technical S tudies
#
. 4
r-a
* d
m
W
*
0
m
l l
i
Mi
==+="
- t - n H
~ -Vv
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T e c h n i c a l S t u d i e s 4 5
W h o l e T o n e
TN
TN
TN
TN
1
0 ~ m
*
TN
TN
^
-m=
TN
|
-0
U,0Lm
1
J #
-*
~vm-90
m
W 0
\ -5
m
ITS
JUL.
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4 6 T e c h n i c a l S t u d i e s
5 W
M
-w -
. T N
# 1
3e
* 1
. T N
T N
| o .
T N
gar
l a
a.ftf F g
4s
. T N
T N
3CC
TN
p i
rrrrxrrrrn
r r T T r i D r r j i f rr
T N
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T e c h n i c a l S t u d i e s 4 7
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a
u
r
c 0
r
0
m
gm
* '
r *
r
* - P
9
f
m
' 1
^
-J
4
r
= m
f
0 0 0
1
1
0
-0
w
f-frTr
f
r
m
0
r
.ii.
V
l l ' l
00m*
rrrr
r
r
r
ri r
r
rrrrrr
O
- P
TO-
r
r
pf
r f f f f f f f r r f - j y ^ ,
f l
11
i y
/iu.-d
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T e c h n i c a l S t u d i e s 4 9
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5 0 T e c h n i c a l S t u d i e s
M i n o r
T N
i
T N
W r \ b Y
0
w
mi _
9
3
TN
#> f
TN
II-
TN
CP "
1'
1
J 3 J .
1
-
-0
9 -
j ^
|
i i
0
a
1
TN
n
W r
17
\^-m
N J . V
1 J
J
-
a
1
J
J J
1
1
- 1
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T e c h n i c a l S t u d i e s 5
0
J
0
/ T N
3tr
m
II. m ~ -
^ 0
a
m
_
0
P P
H
|- J * * J
1
* = * P f J ** J J J *
J
J
p
1 IN* frirr1 r1
. /-V
p
p
r
/ T N
^ l=g
/ T N
i n
/TN
& E II.
- - - * - - * f r p -
u
-m f-^
0
y f " ' '
_ i
/ T N
p
* 0 m 0
" ~^~P T
-
p
pi- rrrrf
1
/ T N
0
m
T
r
i i r
M -
/ T N
m 0
f
P R
5
p
0-0
6 s * =
p p
r
> p.
* 1
z r =
j"f
/TN
rp
r
c
i =
r
=
f
0
m
m
-p
-0.
Tf#=|f
=1 =
/TN
Tf#=|f
l
p
g
1
m 0 0
a?
I
0
N
~r~i
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5 2 T e c h n i c a l S t u d i e s
W h o l e T o n e
1211111
/TN
p-m f
*****
/TN
b*
/TN
i i
P
i i
J
1 i J iiJ J
P i
11
m '
/ T N
/TN
/TN
/TN
1
/TN
B E
-#
-
/IN
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T e c h n i c a l S t u d i e s 5 3
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54 T e c h n i c a l S t u d i e s
Te chn ica l E tude ( J =
1 0 0 ]
m f
m) ~
at
4 =
a
"31
m
a'
4 m
a a
*
i
1
-m-
**m
J
1/
*' |
* y
0 1
f
1
TN
sa.
m i
90 -
1
K
*
M h
W -
m
a=* ara
1
-
aW
I
I
| C
i
TN
I I 1
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5 6 T e c h n i c a l S t u d i e s
15
M a j o r
^ jr-
-jHf /,|
m
m
T I
_ F f n
_ ^^^^^^^1
gm - ,
'
N
|
3 1
J
J
J J
J
J
J
J J J |
E4r
J J
^
*
f
ii*T".
I
- ' - m - ^
0-^ = - r
/
TN
]
31
g y f |
0
-m
m
m _
~
p
J
*
0
J
TN
i
|
-
=
f
=
f
p
1
'
0
J
^ |
F=0
W=0
M
t
ii-
- = - - 5 1
P V
-1
T\
0
0
0 F 0
J
* - F
0 f F 0 m
J J Ji f r P i
/
i t
1 - .
w
_
=
3
u T r r n
F m
M
p F f
0
|
1J J J i f r p
P i
0
/
?
F
F = = =fc===
- t =
TN
=6
p
i
6
1
* p
p p "
Ffr
1
0-4
.
0
1
Pj>
1
J = S - = I
-
I
f
...
p
m.
p
p .
f - f
Pr
P"
J
0
m
l
-0-
p
d
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Technical S tudies 57
. M inor ~
/ J M I
M M
M M A r m
A _
^
TN
1
r
i
;
to ^
p-mf
-
J
J J Lf
J
"
J
J
i * p . f ff flK am
m
m p
^TN
1
.11
y H I , ^
T
p-
r
$
||:
to[JE/to
J
yTN
rrj*rr'rr
tin
./TN
TN
P *
/TN
p
1
/TN
P
2 ^=
/TN
p p
L - P P
/TN
i
i i
1
*~"P
p
l
f
rrri
ft
p-
*
m
m .
TN
i. i
: 1 1
9
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5 8 T e c h n i c a l S t u d i e s
7 # l g
M a j o r
/TN
/TN
-mt
/TN
J J *
J
J
J J 1 J J J J
- u
.
m
' J * J J *J_
. J J J ^
J J J ^ J J
J
J J
/TN
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T e c h n i c a l S t u d i e s 5 9
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6 0 T e c h n i c a l S t u d i e s
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T e c h n i c a l S t u d i e s 61
., M in o r
to t*
18
p -m f
T V
33=
5^
3 *
j j j j j j j i J j j J
J J g j i j j J J j J J J J J
T N
^ i M i >
,
b -
. m
^ }
I
a
L
J
-
m
m
- m
*>*
m
m
~ m
T N
j J U j J J J j J J J J J J J J I J J J J J J J J J
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6 2 T e c h n i c a l S t u d i e s
- \ - - \ - - \
1
j
. J J
1
J
J
J *
>
j * J
J w
J [
^ j j
J
j
J
J J
j
J
J J J J
J
J
J
1
j
J
J
j
J
J J
J
p
g
=
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T e c h n i c a l S t u d i e s 6 3
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6 4 T e c h n i c a l S t u d i e s
m m
i
rffrprrrrrrrr irrrrrfrrrrfr
r f r f
i
rrrrrfrrfrr
rrrrfrr irrrrrrrr rrfrrrrr
T V
I
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T e c h n i c a l S t u d i e s 6 5
T echn ica l E tude ( J = 1 2 0 )
19
W=m
m;
f
1
n
i i_p
S I
0
m
0
1
J 8
_j__ ___rr__r
- ^ 3 ^ 7 -
d j-
I P
3 *
_=i
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6 6 F i n g e r F l e x i b i l i t i e s
Finger Flexibilities
Bang the valves down firmly
J . i
20
T N
: L _
a rp
T N
1
1
-\
1
[ J b J J J JJ J J
T N
. 1
T N T N
M
5 J J
J
J
3|JJ J J J J
*
1
J *
1
J J "
1
:
'< o 1
I
ll
:
bJ
I 11:I J
T N
T N
T N
T N
T N
~T7~
T N
i i
I
/ T N
n
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F i n g e r F l e x i b i l i t i e s 6 7
J .
m
1 2 0
f
1
T N
I
T N
T N
1
T N
T N
J J J J J J J J J J J J *
T N
T N
T N
T N
TN
3_=
T N
T N
~n~
# 4
t f e f
i 1 i
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6 8 F i n g e r F l e x i b i l i t i e s
J =100 p|
a y
three times
simile
I TS
/7s
J
_ :
3 * 3 " i
ii J
JJ j
J
i i j i
/7s
/ T
N
/TN
I
/ T N
/ T \
@ b J
'-ll
17
0
/ ^
^
r i
J =
0 0
Play three times
Play three times
A
simile
f
/ T N
j j j 1 j l ^ g
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F i n g e r F l e x i b i l i t i e s 6 9
/TN
/7s
3Z
/7s
m
i
/7s
J =100 p |
a y
three times
/7s
Play three times
I
i
11
WP
11
/TN
simile
/TN
f
/TN
- C _ -r
17
\ 1
\
\
/ T
i l
1
J
1+
a
- -
1 :
cJ
V
,
*
/TN
1 1 1
iTs
1
1
m -
1 *
*> ii
;-
J
1
1 1
H J I
m
. m
a m
I J
l -^ J
/TN
/TN
.
J
= 126
TT
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F i n g e r F l e x i b i l i t i e s
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F i n g e r F l e x i b i l i t i e s
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7 2 F i n g e r F l e x i b i l i t i e s
J = 10 0
7 i
TT
p K *- r K
PL
ffl
1.
I
j j
1 1
^
J
i
He
t ^ ,
p i i l f ~ ^
s
_ r ~ > _ r ~ ~ > *
f
"01-
m
ELS
E f f l
LJ
_LJ
8
9 6
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
I
"' bJ ^ J jJ bJ^ J bJ J I bJ bJ J i J ""
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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F i n g e r F l e x i b i l i t i e s 7 3
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7 4 F i n g e r F l e x i b i l i t i e s
3
t i j . i J j J J J j J J ' J
^ J J J J J J J i J J j
J .
1 1 6
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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F i n g e r F l e x i b i l i t i e s 7 5
j ^ j ^ j t e j ||=
JiiJJJpJlJ1JJ_3J1_1fl
- o -
J =
0 4
njg j jg
W =j b i
P
b J b d
P p
b i
P ^
/
b ^
J t J b J ^ J J J J b J J i
:
b J P
1
b J P b J b J P P b J ^ r - ^
j ^ i bj > J 1 j J 1 b j w
I
11
I
U
J
J
p
1
i
T T
- -
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7 6 F i n g e r F l e x i b i l i t i e s
1111
11
H =
Mb
1
I J g j
g g b
g g I.J g
L
J
:||
I m
m a n
p
1 B :||
J tj J l , ^ =
p
3 3 3 3
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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F i n g e r F l e x i b i l it ie s
77
L
JbJ^iJiJjJJ
1
jjjlt
a
3 3
1
3
i i "i i i i i1*1
m
3 3
X J
fifK\-.
i
3 3 3 j 3
5
3
1
. -\
H rTf
3 3 3 . 3- 3 3 3 ,
'-.
j
/ L . 1 j - ; -
3 3 3 3
. .|
3 3 3
rr j 1
J
1l H :||, 1
-A *\'- TI
3 3 3 3
3 3 . 3
3 3 3 3
_ _ _ a-
3 3 3
\
| -i -i r -* =-
3 3 3 3
3 3 3
r~~ - - h i
- / J L 1
_
3 3 3 3
Xj
~J ^ J^JfcjjJ
j
J
3 3 3
m mrna ==
"
jp
. d
3 3 3
i
3
,
a
J d J d J ^, J d | e
3 3 3
3 3 3 3
an i am
4W
am
4W
am
-fc
am
4W
aw\?4W
am
3 3 3
f
"
-
t 1
99
nm j f
9m
= 1 ^ 1 - -
\ S * *
m
q j * =1
_ i _ \ LiX 1
m
m
f>
m
~
m
m-
im
0
"
imJi*
L
3
-? 4
3
[XT
C-LfrLT
11 J
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7 8 T o n g u i n g
Tonguing
Work with
a
metronome
to
promo te evenness
and
clarity. F ive
to ten
minutes wo rk eve ry
day is the
best
means
by
which
to
gain speed
and
coordin at ion. P ractice double
and
triple ton gui ng ver y slowly
as
well
as
very quickly.
S ingle
and "K"
Tonguing
1
1BE
3 3_ _3 3_ TN
T T T T T T T T T T T T T T T T T T T T T T T T
_2 3
? ? TN
simile
Jfc
VLV a
a a a a m m m m a a a a a a a a a
n
C
i l~ i
4p
1
m m m
m
9
m
m m m
1
3 3 3 3^
T N
J J J i
JJUiJiJU
1
JJJJUJJ3JX1
P I
T N
j
m u m
i
3 3 3 3
T N
T T
3~
3 3 3
T N
m
m
w
r
T T
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T o n g u i n g 79
* ^ TO/TTTTT T T T T T T T T T T T T T T T T simile
1
J P
TN TN
J J J J j j
J J . : .
TN
TN
3
Z 4
- i
H i i i i ifi ^
3 ^ 3 J J
? i
?
~T I
s
~
i f r
i Mi i i
I I I , 3
? TN
1
3 . .
3
1 r r f l r m
.? TN
3
3 3
3
3 r
rr-i J TN 3
?
J
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80 Tonguing
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T o n g u i n g 8
5
5
/7s
m
The "K " tongu e sho uld be prac ticed a lo ne in ord er to prom ote clarity an d evenness in do uble an d triple
tonguing. T ry to mak e it as clea n so un din g as the "T " ton gu e an d be patient as the "K " tongu e may so und
bad at first.
/ 4 J
J
*
o
4
a
a
a
1
4
7
fa
a
a a
m f
1 "
K
; i | |
-j *
t
9 J J a l
C K K K
1o Lp-J
K K K
1 J J L-b ]
K K K
1 1 1 1
1
J J J J o b J J J bo
= i J J L =
K K K K K
K K K K K K K K K K
i 4 F R
5
3
,?
3
5
*
I
-1J
~mf~
m - m
1J J
4
tw
?
_2
3
i 4 ,
3
i
n
3
_.
mm
am am
m
r J
< m
m m
a
m
[ J
J i
m - m -
m f
K
5
r
j j
L T T
j
'P
n
1
i J
J
T N
n i ^ i II
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8 2 T o n g u i n g
Double Tonguing
S l o w l y
(J
= 10 8 ;
j |
|
M
j
j M j j j
M tfJ
j
J
*
| J
*r
J
T
K T K
T
K T K T K
~ rL P J 1"
'
}
r > i i f
i
~i p } s T ~
r *
r
simile
- ft J
J
..
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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T o n g u i n g 8 3
v J T
* 00 00
bJ
j j j J h J
JJJJI
J JJ3tiJ
J J J J ippfp^
rrrr r rrrrr I
T \
12
g l
J J J J J J -i i*
TN
m f
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84 Tonguing
oy
c ixrc
- -
'
nvf
13
i
f
mmm
0 0 0 0
mmm
0 0 0 0
f
# # #*
=
TT
K M
00 00
0 0 0 0
1 5
P J J J J
E X
0 0 0
0 0 0 0
f
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Tonguing 85
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86 Tonguing
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T o n g u i n g 8 7
1 r
>
L
T
5'
1
ran
j J J J J J J J J J J J ' J J J J J ftJ J j:
bJ tJ J J J J J J J J J J J '[J J J jJ J J J J J J J
9 * 9 *
9+9 *9
b :kf:bt
c f s tf c J : b t
b
c^
t f : b bJ J J i bi bJ J
w m
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8 8 T o n g u i n g
20
j
f f
i
m /
TN
mmmmm
TN
rrrrr rrrrrrr rrirrrrr rrr^^^
21 B
22
m f
mmmm
mmmm
mmmm
'-mm
-m-mwi
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T o n g u i n g 89
23
i
Jfl
mf
mmmm
ia
M Z M Z M M M X
mmmmmmmm
i
J J J J J J J J
mmm m m
24
Play three times
J J
J
j ji
mf
Play three times
3=2
simile
I
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
89/130
1
1
j- lj J it II-
aft
J H ^ J ^ T ] ||: J J J J J J J J J j J J J J J
f f " f f i P g r
n.
f r r r r f r r r r r r r r r r .n
a
f**f*?fffn
||,
f f r r f f
r
r r r r r r r r f
rr rfff rrr | r r r r r r r r r r r
r n T T
^
B u i n B u o j . 0 6
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Tonguing 91
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7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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Tonguing 93
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94 T o n g u i n g
Play three times
P
*m
8
mf
Play three times
3
A simile
Play three times
2 9
P I J J - i ^ j J j J J J J i J J J J 1
Play three times
simile
3 0 ^ ^
Play three times
I
J
d ^ d f l '
i * - 1
Play three times
3
l
*
B*
- J
1
-
m
a
1
-
Play three times
i I
i I I
A-41
4 J
-BJ 1" U
V
4 1
1 B*
-a
BJ
Play three times
I N
T
BJ
m -
-B*
J = = i
-*
1
B*
1
4R
[
Vm
1
B* I_.... ... II
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Tongu ing 9
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9 6 T onguing
Triple Tonguing
35
H aI
* *
T
T K T
T / T T K
T T T K T T T K T
J . J i ' i - ' J J J ' J . ' J J J
simile
J J J l-l
rr r
1
r
* *
36
5
5 5
5 5 5
m / " T T K T T K T T K
T
5 3 3
T T K T T K T T K
T
simile
J J J J
1
J
# -mt
-a
p
5 5
5
5 5
5
5 5
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II
r
frj
**nf"pr
|
- Vp fr*r
r
m
z
e e
J
#
J
1
r
a
J
E
9]]W1S 1 X
J f f f
m r f
* hr
1 1 1 X 1 1 1
E l
m-
9
'
9
'
9
W
mm-
N i l J-
P PP m
x l l / i t
err &.,.
1 ^ -
J
CT
r
r
F=
L c r r c r a T i
* *
P r i ^
ir
r
r
T\
e
4
*
*
9*9 mm)
_ _ _ _ _ _ _ 1
l*W mm mw mw mw~ w~ w wmm-mw~ m~-w -mw mm mw
^
1
f E
i i
fr~
s e e
S E E
S E E
E E S
J i
J J
Ji
J I G 1 J
- I i J J J
2 -
P -
f f
f.fffTOf,
f f f,
f
g
g g-
n r r n r a w e r i r r r
g g
*
^ - - _ (
v
"
tl
\\
H*>
#
t. t. t
M
3/l Ull S
X 1 1 X 1 1 X 1 1 X 1 1 X 1 .L
m-
m-m
H9i
m-
*l
I
4
1
m
m
9
9 1 m
f t
9
9 I
i
E
I
E
1
E
= 4
X 1 1 X 1 1 X 1 1 X 1 1 X 1 i /
g g E
Lb
6 u ; n 6 u o x
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
97/130
98
Tonguing
39
J J J :
mmm
m f
n rr P i
~m m m
a
'tmmmm - - _'
1,
m j r fl
1 * ~
1 3 ,
mmmMmMwM
^
r
L
^
w
: ^
J J J
J J i J
1
40
M
5
3
T
-3
m f
3 3
3 3 3
3 3 3
4i p j j j ^j j j
m
^ r i r c D - c j : i r i r T O
, |
' j '
l
' i [ p
^ m f 3 3 3
3
3
3 3 3
mmm &
mm-m
3 s
3
3 1
3 5
42
3 3 3
3 3
m m m
m m
m m m
m f
4^
3 r4 - n
ITS
w
S
m m
, 3-
m
3
mmm
m m
3
1 ~
m
b
J J
m> m 0000
P L D T P L J J ir
K L L J
rp l i s
r r r rP
s 0 0 0 0 0 0
s bp
=pk
PfT IT I
m m m m0 m\ m \\)
5
m m m m mm
1*
1
f=]
0
m m
1
1
m :
\
1
r
r
1
1
1
r
1
1
"I
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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T o n g u i n g
109
6i
l a
=*=fF
m
/ 3 3
3
3
3
3
/TV
~rk =T
3 3
3 ? ,
3
| | |f |
i ,i H -H ~=
3
3
mmm
9 m m
m m *
m
*
m
J J J J J wJJJ J S J J J J \-_
3
, ,
,
f
,
^
d d
9 m m
P
3
.? j ft\
r r r
J J J
J J
J J J J
J
J
J
J
1
3
,?
rnnI
9
J - . J . . J
--J-J-J
3
4==
3
3
3
n
9
^ '
0 0
J
m
_
m
_
mjm
_
a
^_
m
_
m
_
m
^
P
P
I
3
5
? ? 3 ^ ,
J J J J JJ J J JJJ J
Jh
j i i
T r i p l e T o n g u e E t u d e
( J =
2 0 0 ]
JL
A St
m m
m
-m
m >
mbm
0
m-
wzt
>-j
pi
W-R
Tl
===db
=JZB-
62
i
m
m^T
Tl
m i i r
J \rd m 0" m
m m m m m
P
B B B B
*"
BBB
ri
TT
a
1
0>
>
?
-=*=-
- -r
r
r M
,
f r r h
m m m
m
c
^
r
C U ; '
/ L
.,, J
J J J
J
/
" ~ ~
~Tff
TT-rTT
3
1-
0 0 0
V P }* * d * d
m f
i \
m m
-
1
g J ij|JJtHJ j j j j i
J
J
J -J 'dpi
m i
m
T~n
1
bJ
J J 'Jl?Jt;Jk JbJtjJ
r*
-iJ i-
11
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
109/130
1 1 0 T o n g u i n g
Odd Groupings
3 3 3 3
3 3 3 3
J i J i J J J J J J J J J i i i
J J J J J J J J J J J
~ * V V V V ar~
~3 3
3 3
~m ~m ~
a
~~m ~m
a~a a a
~m ~
a
- T ? 5 3
3 3 3 3 3-
#3
- 3 5 5 5 -
3
3
3 3 3 3 3 3
M M m m m m * t -
3 3 3 3
m m m m m m m m m
3 3 3 3 3 3 3 3
3 E
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Tonguing 111
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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1
12
T o n g u i n g
> 5 > 5 > 5
> 5 > 5 > 5
TN
64
J J J J J J J J J
J
3 5
77y
T K T K T K T K T K T K T K T K T K T K T K T K T K T K T K T
5
5 5 5 5 5
TN
J J J
S/^~
J ^ - ~J "J~~a J~a~~~]~j
~a~a
~m ~m ~m m
~MI
>
simile
5
TN
1
3
> >
TN
TN
>
>
>
65
T K T K T K T K T K T K T K T K T K T K simi le
5 5
5 5 5
5
a g
5
- P
>
Li-i
J
b 5
>
5
o
1
5 5 5
5 5 s
3
.
>
m-m-
1
*1
*1
*
*>
*
>->-
^ ^
-*>
1
y
I
1
1
1
1
''Be sure
to
play
the
quintuplets even ly;
not in
groups
of 2 & 3 or 3 & 2 as in the
previous section.
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Tongui ng 113
A A
kL 1
i
i i
ft
i = T i = i
TN
'J
i 1 i
m
f
T K T K
f l
'
i - i i '
>
T
K T
i
r ~ %
r
> >
K T K T
- i i i
i l -
" i i i
J. = 1
>
K T K T
TN
1
1 1:H 1
T
> >
K T K T K
m -
4
>
T K
1
-8
>
>
T K T K
- m
T K T
TN
T K T K
m
T K T K T K T
EE
K T K
T
TN
I
simile
TN
I
1
| B H J~3 in
TN
m m -m
Iir r r r
If
TN
TN
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1 1 4 T o n g u i n g
4=r
t -
U -
73
f1 *
t
El
T \
v
^4
- ' m u r n
VJ "
14
=
f t '
1
r
1
1
Q_f Iii
TV
Hi r i
> >
681
e g r'r in F"r r I
m
> i
PP
IT
TV
TO/TKTK T K T K T K T K T K T
> > > > > T \
6
c _ / L T
iii
i
a u- iii
T K T K T K T K T K T K T K
T
TN.
simile
g jj
J l j ] b ^ j
lij | J |
b J|
I,J iJ
b ^J .
| [ | J |
b J
:||jj
T \
TN
6 9 ^
P
2ac
d
5
J J K T K T K T K T K T K T K T K T K T K
S I M I K
5 5_
5 5
5
4 = ]
5
r
, T7
@
i L
1
c
1 1
L
1
i
TN
# 1
J b J t j J
4*
T 7 B
t / ^
1
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Tonguing
115
70
W
J J J J
IH i J i J J J J
> i
J J J J J J
T K T K
>
T K T
> >
K T K T
T N
> >
K T K T K
1
* 9 W W
w
K
>
T K T
>
K T
> >
T K T K
T K T K T K T
E
>
K
>
T K T
> >
K T K T K T
> >
K T K T
>
K T K
> >
T K T K
T N
a
simile
T N
5L
TN
T N
-H 4>
11
hi
i i
TN
1 LT CJ
LJI
c_r CJ
i
TN
1
I
i l
Ii C J C J
1
T N
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116 T on gu in g
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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Tongu ing 117
72
j i
J
i
r > >
^/
T K T K
>
T K T
> >
K T K T
K
T
K T K T
=#==1
j j
i
2
T N
1
- H -
V*
a
m
45J
- 4 - a
>
1
*
j
1
/
m
- 8 -
I i i
j=3= E
3 p
T N
1
I
_ J a
I
n - -
*-
r *
J
5
1
4
r< '
v
-
4 -
k v
i J
1
TN
+1 =t=r=
If
-
F . bJ] '
g
1
-
J
t i
J
->L
> d 1
T
1
a
Lj
J
v
p *
b J " - 5
v
r n i
T"
4
*
r
f
m w
4 v m
m
\ >m
S
73
m f
T K T K T K T K T K T K T K T K T
4 *V
J ~~
t j m m m ^ -m
I
K T K T K T K T K T K
T
T K T K T K
1
5C
T K T K T K T
K T K T K T K
I
T K T K T K T K T
simi le
8=
o
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118 Tonguing
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T o n g u i n g 119
A
--
ii
j j j j j j j j j j i ^ j ^ j j j - j
J J J J J J J J J J J J J J J J J J J J
E t u d e in Q u i n t u p l e t s
76
>
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1 2 0 U p p e r R e g i s t e r a n d E n d u r a n c e
U pper Register and Endurance
The essential elements of playing in the upper register and having good endurance are the same elements tha
insure a beautiful tone an d flawles s tec hniq ue . They are prope r air sp ee d, large potential air volume
projected through the instrument and efficient use of the air column, never over blowing, not under blowing.
In prac ticing he foll ow ing studies brea thing sho uld be de ep , mouth an d throat formin g an "A h " syllable, as i
you were about to step into the deep end of a swimming poo l . Take ca re , howe ver, n ot to constrict the throat;
but rather to hold the air in wi th the throa t o pe n. D on 't bre athe h igh in the chest or a constricted throat wil
1
also result. P ush from you r d ia ph ra gm a nd take grea t ca re to a vo id too much left-hand pressure or right-hanc
finger ring press ure. Too much pressure cuts bl o od flo w to the lips a nd wil l reduce your rang e an d end uranc e
without
fail
Any lip cuts or soreness indicate too much pressure.
By the time a player is advanced enough to work in this method, the embouchure is set and strong, i.e. firm
corners an d relaxed in the midd le. E mbou chu re strength, althou gh certainly important, is over-emphas ized ir
playi ng in the upp er register. P ractic ing da ily out of this metho d wi ll guara ntee embo uch ure strength
F urthermore, one nee d not have a textbook embo uch ure ( 5 0 / 5 0 top /b otto m and in the center) to play well.
W e all have different dental an d facia l cons tructions. I kn ow fantastic profess ional players , some of who n
play upstream, some do wns trea m, hig h, low, and off to on e side. Focus on brea thing in an d increasing ai,,
spee d through the instrument to impro ve your uppe r register an d endu ran ce . P lease be patient and with
practice improvement will come.
Low notes an d peda l tones should be ap pro ac he d similarly. Use relaxed embouc hure corners an d large
amounts of air, pro du ce a full s ou nd , a n d take gre at ca re to pl ay them in tune. P edal tones (be low low F
sharp) are not pa rticu lar ly pretty a nd a re difficult to pro du ce . S lide , slur or arp eg gi ate d o wn to them usinc^
the no rmal finge ring for the a pp ro pr ia te notes. E xperime nt until they be co me familiar. P lay them loudly. The
value lies in impro ved physic al an d conc ep tual use of the air. A s with an y play ing prob lem, seek the help o
a trumpet teacher whenever possible.
In order to obtain beneficial results without suffering unnecessary setbacks, please observe the following pre
requ is i tes
for upp er register study:
1) Y ou must be able to pla y a com fortab le hig h C .
2) Y ou must be familiar with an d abl e to pro duc e ped al tones (be low lo w F-sharp).
3) Y ou must be ab le to pl ay the half-tone bend s in E xercise 1 eas ily.
S lo w ly B end (lip) to notated pitch witho ut ch an gin g valves .
X
il ' I I
J
2
1 3"
I 3
I 0 -
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U p p e r R e g i s t e r a n d E n d u r a n c e 12 1
Slowly
Rest whe reve r necess ary. Do not force N o t too much pressure
0 . ^
m
7>
p
9
T N 9
- 9
T N 9
k
\ r
i
1
I
:
J
i
[
8vb^^
/
- 8v[
-4.
l
i
r
f i
I N
it
- 9
T N ?
4
7
K
i
O
9
T N ?
m w rr 1 i
4
A
tr^
- t f
1
p
T N
/TN
/
=
1
= 9
T \ 9
r ^ T f j
9
T N 9
T N
1
/
I_
T N
/
-m
T N 9
T N
f P I
S lowly
^ N 9
E
T N )
8vb 1
.bp
T N 9
r i
1 r
J
J
j i r
m ;
4=^ M -
-
1
p
:
T N *
4=
=M=s
4=1
ffffFFfff
" I
C
m
m
~i
T N
. T N
2 2 2
u
r
f f T T f f r
r
T N
T N
rii
J
itJj
T
w
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1 22 U p p e r R e g i s t e r a n d E n d u r a n c e
T N
_ T N _
r
r
1
' r
J
b
j
1
T
i
r
r l
i
I
i
/7\
#=N=
1
r
J
J
7
r
j
=N=
:
T f f T - ?
T N
7
ff
T V
- 1
Gl issando
or rip
smoothly, sounding
all of the
harmonics
in the
octave,
no
half valve.
The
glissando
wil
insure proper breath support
of the
upper note.
Do not
l inger
on the top
note. S top where ver necessary.
i-
1
mf~=zf simile
/
:- . _ / : E
: - 1
s
simile
0
t
F=fir
i
m m 0
F f
8
ft
9
i
j / f f f r
F
i
i
J
- i ^
1
p 1 1 1 1
;
L
> f f f
f f f
. f
fJ 4,
W - r
~m
ft
.
ft
f t
?9FI
* -m-
/
i n *
.m .a
p .
ft
/ -
m
ft
-m-
T \
r i f e -
T N
>
T V
=
> ~ f f -
0
N :
simile
-J J-J
1
1
y J J
T N
1
i j
T N
#=
6
r -a r i
1
\ j
y
jjr
t
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U p p e r R e g i s t e r a n d E n d u r a n c e 1 23
Play three times Play three times
U f l
1 1 : ^
t o :||
T N
1
p - m f
simile
. ||
:
r tSr
L L J *
:
|| i
f T f f
* T
T N
|| f |
i * 1
4N
J 1
J
h ? :
fet V f t
T N
^ 2 '
e f te ? ff ^
T N
Play the following at any time to relax and revitalize the lip
Play three times
m
T N
iJ J J J
J
ff
Play three times
9 ||
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1 24 U p p e r R e g i s t e r a n d E n d u r a n c e
F as t D o not go on until upp er notes of exerc ise yo u are pla ying are eas ily pla ye d.
8
4
J i J J J i J J J i J i J J J i
' i i i J J J J i J
m;
m f
T N
T N
\1 i i 1W J^m
f f f f l " f^^
_T>_
T N
i'-
j j
%i i t I*
T N
simile
T N
TN
T N
i S = i ?
i i i- i '
3 E
;e : t
/TN
T N
-
It-
T N
T N
- ts-
j t i t
TN
y .
f
:= : l
T N
J 2 _
I J
i i i
| i . . f
j 1 j j j j 1 f
i i i i
TN
TN
r r r r i f ^ #
T N
TN
fr f f f =g =^
T N
T N
31
; f f 1;
f f f j if- fH*-
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U p p e r R e g i s t e r a n d E n d u r a n c e 1 25
TN
f f f f ,f j j
f f f i f
TN
'f f f f ft
=1
f f f
3f
TN
TN
F f f f ,f
f=i
-Mr
TN
[
m -
S
1
*>
' V
Sh
5
s
L -
>
i
;
TN
LJ ...h- am 1
TN
i m m mm w
i
t
^
v 2
j
* j
>
9-
WJmM *
mw .
:
i 1
: . . i
: 1
TN
TN
2 .
A .
^ m m m m
TN
m m
r>
TN
f
f f - ^ - J
f
f
f ^
J J J J
' j J
J
1
f
f f f ' / f r ' j g j j ' j
771T
TN
TN
I f
f f ' f f
r
' j j j i y j
j
i J
T N
TN
m f
i
, l J J J
TN
TN
w
j j i
m
# 3
^ m f
TN
i i *
T
5
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1 26 U p p e r R e g i s t e r a n d E n d u r a n c e
D o not use left or righ t-ha nd finge r ring press ure to pe rfo rm up pe r register lip slurs. Use air an d co ntrol , i.e.
finesse.
- \ / 7 \
10
WM
\ >4
m f
^ r r r r r r r r r r r r r r
rf rfff rrr
ITS
f r f rf rfrm rm .rm
rf- i u^
f f r f r f r f r f r f r f r f i f f f f r f r f r f r f f
f.
^ f . f t t ^ Z r
f * * * * * * * * ? - f: * r
Play the following at any time to relax and revitalize the lips.
_iTs
/Ts
iT\
11
f Si>6
1
j p
8 v b
I 8vb
8v b 1
ITs
ITS
ITS
8v b 1
8vb 1
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U p p e r R e g i s te r a n d E n d u ra n c e 127
- fffF fffffff fffff i ^fffff
i
(to
2*
Playthepe da l tones with regula r finge rings .
13
I . .. , TV I , TV
r
J
Jj 11 iir rnJ j j 11 ir
b
f Jj j pp
i -
"
I
..TV -
|| '
TV
%=
a bm
|
f
r
i
,
1
M M
m
49
P
m
'-8v
-p9
ft*
* 8v
iui
J -
m
m[
u
8vb 1
Mediumto Fast
0
-r-
14
j rrf rtrh
-
#
-
1
| ; \
I
jpp
m-JlM
^e
y =3
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1 28 U p p e r R e g i s t e r a n d E n d u r a n c e
m f
IIJ
S r m
ite: ff : fct # k
r T f*ryr ^
r T rr =
#=5
T N
3
T
- r -
t
g
r
r f t r r t r f f j
p
A ^
liph
F f> f r -
| | J
r r
1
T rT i
1
(k i
.TN
1 '
f f t-H J t f t F *
i r
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7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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IPET/ S I 5.95 mU 5 A
"inely tuned wind, easy control, polyharmonic
wit,
orchestral pe nmanship,
Dunctuated spiritual warmth... Rarelyd o somany qu alities find themselvesin
Dne musician.
Chick Corea
Hitch your wagon
to a
star.
DocSeverinsen
Whi le growing
up in
Mo ntana, A l len
Vizzutti
was
gu ided
by his
father,
a
self-
taught musiciana ndtrumpet pla yer,to
performances
of
virtuoso literature, such
as
the Haydn
an d
Hummel c oncertos,
the
Carn i va lofVen icea ndHungar ian Dance
N o . 5. By the age of 16,
A l len
won the
concerto competition
and was
awa rd ed
first chair
in the
W or ld Youth S ymphony
Orchestra at Interlochen, Mic higa n.
Al len earned
a B.A., M .M . and a
P erformer's Certificate from
the
famed
Eastman Schoolof Music in Rochester,
New York .
He was the
only win d
or
percussion player
to
have been awa rde d
the coveted "Artist's Diploma"in the
school's history.
As
first trumpet with
the
Eastman J azz E nsemble,
he was
chosen
"Best Trumpet Soloist"a t theNo tre D ame
C ollegiate J azz Festival.
By his
sophomore
year,
he was a
regular member
of the
Rochester P hilharmonic ,
the
Rochester
Chamber Orchestra , theChuck Man gione
Orchestra
and the
only student
in the
Eas tman Brass Quintet faculty touring
ensemble.
Equally
at
home
in a
multitude
of
musical
idioms, Al lenhasvisited30 countriesto
perform with
a
ra inbow
of
artists
and
ensembles, including Chuck M ang ion e,
W o o d y He rman , Ch i ck Co rea ,the NB C
Tonight Show Band
and
No rth A merica n
orchestras
in
P hoenix, Roches ter, Buffalo,
St Louis, Milw auke e, Edmontonand
Honolulu,to
name
a few
3808
1
0 105 7"
1
People
in
Ge rmany, P o land, Eng land,
Sweden, Brazil , C anad a, J apan
and the
United States have
a ll
heard
his
brilliant
sound over
the
airwaves
of
national
television. Allen's growing status
as an
artisthas ed to solo performancesat the
Aspen Music Festival, Banff Center
for the
P erforming Arts, Israel Mu sic F estival,
Vancouver's EXPO '86,Montreaux J azz
Festival, "Live Under
the Sky" in
j ap an ,
Teton Music Festival, International Trumpet
Gui ld , theHo l lywoo d Bowl , Carne g ie Ha l l ,
Newport J azz Festiva l , Nat iona l ME N C ,
TBAand 1A JE .
While l iving
in
Los Angeles,
he
performed
on
100
motion picture soun dtracks (such
as Ba c k to the Future, S t a r Trek, The B lack
Sta l l ion , Rocky II, Po l te rge is t II, F i re Fox,
Sudden
Impact, 10,
U n d e r
the
Che r r y
Moon, B r o ad ca s t
News,
The E lec t r ic
Ho r s eman
and
/
94
1) ,
and
countless
television shows, commercials
and
record
albums, with such stars
as
Frank S inatra,
Barbra Streisand, Prince, Nei l Diamond,
the Crusaders,
the
Tonight Show Band,
four albums with W oo dy He rman
and
three albums with Chic k C ore o.
Allen's solo jazz recordings include
A l len
Vizzu t t i (K-T el/Head First),
Red
Me ta l
(availableon theBainb ridge labe l). L ive n
Mon t r e au x
with
the
Eastman J azz
Ensemble, Ra i n bow [released
in
J a pa n
and
Sweden)
and
Doub l e Focus,
a
c lass ica l /
jazz mixture (released inJ ap an) . His
classical solo recordings include
The
Versati l i ty o( A l len Vizzu t t i (G olden Crest
Records)a ndBa r oque and Be yond ( C B S /
Sony Records
in
J apan).
His latest recording,High C l a s s Brass, is _
a unique clas sic al/jaz z mixture
coproduced, written
and
perform ed with
J eff Tyzikand the90-piece national
repertoire orchestra
of the
Keystone Musi
-
""""
Festival (available from P rophecy R ecord;
102 Westiand Avenue, Rochester,New
York, 14618).
Allen's love
of
expression through c ompo
tionhas led toworld premiersby the Los
Angeles P hilharmonic, Phoentx Symphon-*
Rochester P hilharmonic, NewYork
P hilharmonic
and the
Tonight Sh ow
Orchestra,
as
well
as
recorded works
by the
Royal P hilharmonic
of
London,
the
W o o d
Herman Bond,
the
Summit Brass
and the
London Symphony Orchestra.
In
fact,
the
Tonight Show Band album (featuring
Doc
Severinsen), coproduc ed byAl lenand
fello w trumpet artist J eff Tyz ik,won the
Grammy Award
for the
"Best
Big
Band
Record ing"
of 1986
Allen's continued interest
in
education
an
the value
of
music
in
da ily life
has led to an
extensive schedule
of
concerts
a nd
clinics
universities throughout
the
United S lates,
C anada and J apan,
in
both jazz
and
classical idioms
^
Allen Vizzutti performs exclusivelyon the
Y amah a B flat,
C,D,E-flafa nd
piccolo
trumpets
Alfred
Alied
MJ . - J I . IH I
G J
. In.
16380 Roitoe Bvd.. PO B
7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
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7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed
130/130
THE
TRUMPET METHOD
B O O K 1
TECHN ICAL STUDIES
An
Intermediate/Advanced Method
in
Three Books
Allen
Vizzutti
BOOK1
T E CHN ICAL STUDIES
Practicing 3
The Wa rm Up 4
Performance Anxiety .. .. 6
BOOK3
Recommended