TRUMPET
B
O
O
METHOD
K
HARMONIC
2 STUDIES
Intermediate/Advanced Method Allen Vizzutti Alfred
E D
TRUMPET B
O
O
METHOD K
HARMONIC
2 STUDIES
An Intermediate/Advanced Method in Three Books Allen Vizzutti
•
•
BOOK
2
1
•
BOOK
3
' М Е Ю Ъ Г С STUDIE,
HARMONIC STUDIES
Щ
Practicing
3
The Warm Up
4
Performance Anxiety ....
6
^f^l^^ixie.iyf-
Interval Studies
7
Ш 1 Ш й Й {Etudes.^
Chordal Studies
19
INTRODUCTION TO B O O K 2
НЕ SPECIFIC STUDY of intervals, chords and scales will directly affect your ability to make music on Ua trumpet. With a solid foundation in all keys, the performer will seldom run across music that is not based on harmonic material already somewhat familiar. This high level of competency is the medium in which mu : is made. Gradual advancement through all of the material will result in great success over the long term. » e patient. Be persistent.
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Please note that the many chord types in the Chordal Studies section have been named. Understandi_j what notes are represented by a chord symbol is very useful, especially for those interested in jazz improvisation. As always, trumpet players should warm up thoroughly as detailed on the next two pages before playi 3 anything demanding. The performance techniques developed in Books 1 and 2 of this method are presented in Book 3 in a purely musical setting.
3
PRACTICING
USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instruL k U ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying music include: ©
Creative problem solving
©
Controlled concentration
©
Developed motor skills
®
Greater emotional expression
©
Acquired skills in the art of self-discipline
©
Raised social status
®
Creative interaction with other people
®
Raised awareness of art, beauty and more
These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment available in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice 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 material to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts on breathing and sound. Most problems will correct themselves. Best wishes and good luck.
4
THE W A R M UP
N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm u^. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the mental focus and concentration necessary for making music. The following is a warm-up routine in four pa i with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when blowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you a about to play in the most musical and artistic way possible.
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© Buzz the mouthpiece in the approximate range indicated. The sound should be "fat," full and without gaps as you slide downward. Keep repeating until there are no gaps. Buzz anywhere 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.
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For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possibl Be sure you are producing a fat, forte tone.
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© Approach the following exercises mentally as if playing one long note. Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced—no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well.
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For additional "loosening up," repeat the preceding exercise 8va, resting wherever necessary.
©
Play long tone exercise #1, 3 or 4 with as beautiful a sound as possible.
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 found in Book 1 that are indicated for each appropriate day. In this way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Work grad ually day to day through all of the keys until you can play each study with a minimum of technical "hang-ups." It is not necessary to play the studies higher than third space " C " in your warm up, though advanced players may wish to do so. Ideal warm-up time should eventually be 15-20 minutes. ®
Monday Tuesday Wednesday Thursday Friday Saturday Sunday
Book Book Book Book Book Book Book
1, Technical Study # 1 1, Technical Study #2 1, Technical Study #3 1, Technical Study #4 1, Technical Study #6 1, Technical Study #7 1, Technical Study #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.
P E R F O R M A N C E ANXIETY
ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Players at all levels of con petency experience butterflies, dryness and other symptoms of nervousness before a performance, h goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical contrc. i order to enjoy playing music and play well. Experience is the real key. The more often one performs, the egs er it gets. Take every possible opportunity to perform. Play for friends and family. Casual settings can b с great help when done frequently. As a useful by-product, the more one performs and is heard, the more li*el one will be asked to participate in other musical settings. That is the process through which one rises to theJo 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: ©
Warm up well several hours before performance time to ensure lip suppleness and good response.
Ф When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problems Let the wave pass through your body. Observe the feeling as it happens. Don't panic. © Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on «r mouth, the sooner moisture will return. ©
Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about that later.
© Think musically, not technically, except for breathing. Breathe deeply and project the air confide H through the instrument. This is the one fundamental you should always fall back on when you find your о if dence faltering. © Finally, stay in present time. Don't worry about what has happened or what is coming. Don't sacrifice 31 entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beai tiful as possible. The rest will fall into place. Present time is the key to performing from memory without slip a well.
Interval Studies
7
Interval Studies Use your ears to play intervals accurately. Listen for the pitch of the "next" note. Do not consciously adjust your embouchure. It will adjust naturally if you stay out of the way. Remember many large intervals that look difficult on paper are not difficult acoustically on the trumpet. Play with confidence!
Pause and rest during this exercise whenever necessary.
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While growing up in Montana, Allen
People in Germany, Poland, England,
His latest recording. High Class Brass, is
Vizzutti was guided by his father, a self-
Sweden, Brazil, C a n a d a , Japan ond the
a unique classical/jazz mixture
taught musician and trumpet player, to
United States have all heard his brilliant
coproduced, written and performed with
performances of virtuoso literature, such os
sound over the airwaves of national
Jeff Tyzik and the 90-piece national
the Haydn and Hummel concertos, the
television. Allen's growing status as on
Carnival of Venice and Hungarian Dance
artist has led to solo performances at the
N o . 5.
Aspen Music Festivol, Banff Center for the
1 0 2 Westlond Avenue, Rochester, New
concerto competition and wos awarded
Performing Arts, Israel Music Festival,
York, 1 4 6 1 8 )
first chair in the World Youth Symphony
Vancouver's EXPO '86, Montreaux Jazz
By the age of 1 6, Allen won the
Orchestra at Interlochen, Michigan.
"
Festival, "Live Under the Sky" in japan, Teton Music Festival, International Trumpet
Allen earned a B.A., M . M
and a
Guild, the Hollywood Bowl, Carnegie Hall,
Performer's Certificate from the famed
Newport Jazz Festivol, Notional M F N C ,
Eastman School of Music in Rochester,
TBA and IAJE.
New York. He was the only wind or
Allen s love of expression through compc tion has led to world premiers by the Los Angeles Philharmonic, Phoenix Symphony. Rochester Philhaimonic, Now York Philharmonic and the Tonight Show Orchestra, as well as recorded works by the
While living in Los Angeles, he performed
Royal Philharmonic of London, the W o o d ^
the coveted "Artist's Diploma" in the
on 100 motion picture soundtracks (such
Herman Band, the Summit Brass and the
school's history. As first trumpet with the
as Back to the Future, Star Trek, The Black
London Symphony Orchestra. In foct, the
Eastman Jazz Ensemble, he was chosen
Stallion, Rocky II, Poltergeist II, Fire Fox,
Tonight Show Band album (featuring Doc
"Best Trumpet Soloist" at the Notre Dame
Sudden Impact, 10, Under the Cherry
Severinsen), coproduced by Allen and
Collegiate Jazz Festival. By his sophomore
Moon, Broadcast News, The Electric
fellow trumpet artist Jeff Tyzik, won the
year, he was a regular member of the
Horseman and 194 I), and countless
Grammy Award for the 'Best Big Band
television shows, commercials and record
Recording" of 1 9 8 6
Chamber Orchestra, the Chuck Mangione Orchestra ond the only student in the Eastman Brass Quintet faculty touring ensemble.
albums, with such stars as Frank Sinatra, Barbra Streisand, Prince, Neil Diamond, the Crusaders, the Tonight Show Band, four albums with W o o d y Herman and three albums with Chick C o r e a .
Allen's continued interest in education a n the value of music in daily life has led to an extensive schedule of concerts and c l m i c s _ universities throughout the United States, Canadn ond Japan in both j o z z ond
Equally at home in a multitude of musical idioms, Allen has visited 30 countries to
Allen's solo jazz recordings include Allen
perform with a rainbow of artists and
Vizzutti (K-Tel/Head First), Red Metal
ensembles, including Chuck Mangione,
(available on the Bainbridge label), Live in
Allen Vizzutti performs exclusively on the
W o o d y Herman, Chick Coreo, the N B C
Montreaux with the Eastman Jazz
Yamaha В Hot, C , D. F Hot and piccolo
Ensemble, Rainbow (released in japan ond
trumpets
Tonight Show Band and North American orchestras in Phoenix, Rochester, Buffalo, St Louis, Milwaukee, Edmonton ond Honolulu, to name a few
classical idioms.
Sweden) and Double Focus, a classical/ jazz mixture (released in Japan). His classical solo recordings include The Versatility of Allen Vizzutti (Golden Crest Records) and Baroque and Beyond ( C B S /
1
Festival (available from Prophecy Record
percussion player to have been awarded
Rochester Philharmonic, the Rochester
'3808 1 0 1 0 5 7 "
repertoire orchestra of the Keystone Music
Sony Records in Japan).
A\hed\
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