Allen Vizzutti Trumpet Metod Book I 1991.Compressed

7/26/2019 Allen Vizzutti Trumpet Metod Book I 1991.Compressed

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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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12/130

L on g T one s 13


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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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16/130

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 *


19/130



20/130


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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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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


25/130



26/130

L ip F lex i b i l i t i e s 27


27/130


28/130

U p F l e x i b i l i t i e s 2 9


29/130



30/130

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


32/130

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

:


33/130


M i n o r

/7\

5 ^-

1

"

--

/ 7\

W J *


34/130

T e c h n i c a l S t u d i e s 3 5


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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


36/130



37/130


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


38/130



39/130

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


40/130


M a j o r

/7\

m

m m

# 1

/ 7\

y-

J J ,

i

J

J

^ J

--

T P

-

m m

S7\

^ I


41/130


p i g

i i - -

jf i jnw^

j , 11=

jj^^^tt}^

T N

. T N

T N

T >

1 =

crxrrrrr

:

'i

T V


42/130


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


43/130

44 Technical S tudies

#

. 4

r-a

* d

m

W

*

0

m

l l

i

Mi

==+="

- t - n H

~ -Vv


44/130


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.


45/130


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


46/130



47/130

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


48/130



49/130


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


50/130


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


51/130


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


52/130



53/130

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


55/130


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


56/130

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


57/130


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


58/130



59/130



60/130


., 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


61/130


- \ - - \ - - \

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

=
http://--/--/http://--/--/http://--/--/


62/130



63/130


m m

i

rffrprrrrrrrr irrrrrfrrrrfr

r f r f

i

rrrrrfrrfrr

rrrrfrr irrrrrrrr rrfrrrrr

T V

I


64/130


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


65/130

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


66/130

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


67/130


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


68/130


/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


69/130

F i n g e r F l e x i b i l i t i e s


70/130

F i n g e r F l e x i b i l i t i e s


71/130


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 ""


72/130



73/130


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


74/130


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

- -


75/130


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


76/130

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


77/130

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


78/130

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


79/130

80 Tonguing


80/130

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


81/130

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

..


82/130

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


83/130

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


84/130

Tonguing 85


85/130

86 Tonguing


86/130

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


87/130

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


88/130

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


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


90/130

Tonguing 91


91/130


92/130

Tonguing 93


93/130

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


94/130

Tongu ing 9


95/130

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


96/130

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


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


108/130

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


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


110/130

Tonguing 111


111/130

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.


112/130

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


113/130

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

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116 T on gu in g


116/130

Tongu ing 117

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117/130

118 Tonguing


118/130

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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119/130

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

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120/130

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

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121/130

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

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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.

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122/130


Play three times Play three times

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Play the following at any time to relax and revitalize the lip

Play three times

m

T N

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Play three times

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123/130


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

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124/130


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125/130


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.

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10

WM

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Play the following at any time to relax and revitalize the lips.

_iTs

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11

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126/130

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

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(to

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Playthepe da l tones with regula r finge rings .

13

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127/130


m f

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#=5

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115

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128/130

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


129/130


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

Documents

Allen Vizzutti Trumpet Metod Book I 1991.Compressed