NOTES ON TECHNIQUE, By DAVID BILGERTrumpet technique can be broken down into 6 main headings:
The following are ideas and examples of exercises and etudes that can be used to improve these necessary trumpet skills. Sound: Good tone production on the trumpet is a combination of a functional embouchure and the proper use of air. Therefore, the following examples will focus on improving embouchure strength and focus, or air flow (Or both!) 1. Long tones. Play sustained notes for at least 12 beats at quarter note = 60 making sure that the tone is full and that the pitch is stable. Continue the same feeling of air flow that you got with the long tones while playing Herbert L. Clarke Technical Studies (#1-5) I call these "moving long tones", and the idea is to keep the free air flow that we achieve on regular long tones. Also look at Schlossberg Daily Drills and Gordon Systematic Approach to Daily Practice. 4. Mouthpiece buzzing. All of the above etudes can be done on the mouthpiece alone. Mouthpiece buzzing is an important part of sound development because it forces the player to focus the notes instead of relying on the trumpet to do it for you. Articulation: Articulation and response are completely interrelated. Both are a combination of appropriate balance between the tongue and the air. Flexibility: Flexibility actually impacts all aspects of trumpet playing, especially articulation and range. Lip flexibility exercises are actually "tongue level" exercises, since the tongue channels the air to produce the notes. The Arban's book is a good starting place, but other materials include Colin Advanced Lip Flexibilities, Schlossberg Daily Drills, and Irons 27 Groups of Exercises. Agility: Agility actually refers to the quickness of a player's fingers and brain. Included in this topic will be dexterity drills, transposition etudes, and sight reading texts. Be aware that transposition requires a constant long term investment of your time (years!), and should not be overlooked. Range: Range (both high and low) are functions of embouchure strength, tongue position, air flow, and centering. Many exercises already discussed will increase range, such as pedal tones, lip bends, flexibility studies, flow studies, etc. Try practicing octave slurs while making sure to change your vowel sound from ah to eee as you go from low to high. Also make sure not to over-adjust by playing too small or with too much pressure in the high register. Remember, if you don't practice it, you can't do it--and this applies to high notes as well. Some things to practice are Stamp Warm-up Studies, Gordon Systematic Approach to Daily Practice, Smith Top Tones, and Vizzutti Advanced Etudes. Perhaps one of the best resources for expanding your high range is the John Faddis Range Builder. Playing 5 minutes of these EVERY OTHER DAY will help you develop the necessary strength & control for increased range. Endurance: As is the case with range, endurance is also a combination of many of the topics we have already touched upon, and will benefit from many of the same etudes. The two additional things that will most quickly improve endurance are efficiency and loud practice. A. Always use a good volume of air, and high air speed Perhaps the best resource for loud playing is the Schilke Power Exercise. Playing 5 minutes of these a day will be all you need to develop the necessary strength for increased endurance.
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