Claude Gordon - Systematic Approach to Daily Practice for Trumpet

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CLAUDE GORDON

Systematic Approac Approach h to Daily aily Practice Practice

CARL CARL FISCHE FISCHER R

CLAUDE GORDON

Systematic Systematic Approach to Daily aily Practic ractice e FOR TRUMPET HOW TO PRACTICE WHAT TO PRACTICE WHEN TO PRACTICE

 A fi ft y -tw o w eek tr u m p et cours cou rse e desig d esigned ned to develop a register from the Second C below Low C to C above High C, along with the power, endurance, sound and control necessary to meet the demands required of the professional trum pet player. player.

CAR CA R L FISCH FISCHER ER.. Copyright C 1965 by Carl Fischer, Inc.  All Rights Assigned to Cart Fischer, LLC. International Copyrigh t Secured. Secured.

 All rights reserved including performing rights. WARNING! Th» publication ts protected by Copyright lew. To photocopy or reproduce by any method it an infringement of the Copyright lew. Anyone who reproduce« copyrighted matter matter it subject subject to substanti substantial al penalties penalties and assessments for for each Infrin Infringem gement ent..

i o d m q t q n q o c q q q o o o Io dI N y / o - U - o ^ O o ¿¿oo o 

CLAUDE GORDON

Systematic Systematic Approach to Daily aily Practic ractice e FOR TRUMPET HOW TO PRACTICE WHAT TO PRACTICE WHEN TO PRACTICE

 A fi ft y -tw o w eek tr u m p et cours cou rse e desig d esigned ned to develop a register from the Second C below Low C to C above High C, along with the power, endurance, sound and control necessary to meet the demands required of the professional trum pet player. player.

CAR CA R L FISCH FISCHER ER.. Copyright C 1965 by Carl Fischer, Inc.  All Rights Assigned to Cart Fischer, LLC. International Copyrigh t Secured. Secured.

 All rights reserved including performing rights. WARNING! Th» publication ts protected by Copyright lew. To photocopy or reproduce by any method it an infringement of the Copyright lew. Anyone who reproduce« copyrighted matter matter it subject subject to substanti substantial al penalties penalties and assessments for for each Infrin Infringem gement ent..

i o d m q t q n q o c q q q o o o Io dI N y / o - U - o ^ O o ¿¿oo o 

T THESE GREAT AR  ABOUT THIS BOOK BOOK

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During the years that Claude occupied the a t  first trumpet chair in the Columbia k hi  0|*e Z Broadcasting System Staff Orchestra in W*io  is S  Hollywood, he distinguished himself for °n  his sup erior musicianship. musicianship. With With his brilliant tone» his great facility, and his extraordinary accuracy, Claude always turned in outstanding performances that contributed greatly to the success of our orchestra. As a musician and with much respect for Claude in our many years of professional work together, I highly acclaim anything he has to say about the trumpet. What What Musical Conductor is even more more wonderf won derful ul is that in my CBS Television estimation, i t 's the the fi r s t book book on trum trumpe pett Hollywood, Calif. WIL.BU« HATCH written that teaches you how to practice.

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Having just studied the draft for Claude Gordon's studies and knowing that Claude has been working on this book for almost twenty years, I would certainly recommend these studies for every young student plus some of us old timers.

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This is the first brass method book I've seen that is really a method and not just a col lec tion o f hack hackne neye yed d exe rcise s. The material here is so comprehensive, well organized, and logically presented that no serious student or professional can fa ll to benefit from from it . I believe this this book book w il l prove prove Invaluabl e to brass brass teachers as w e ll . Every Every study study necessary to the mastery of the Instrument is here at fingertip, eliminating the need for the dozens of so-called "method books" previously required . I'm sure that this has been a labor of love for Claude.

One of the a l l time time great trumpet stars. Motion Picture-Television Recording

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Les Brown Orchestra Buddy Morrow Orchestra Steve Allen T.V. Show Bob Hope T.V* Show Fi rs t Tromb Trombon one, e, Carlt C arlton on Hayes Hayes Orchestra Orches tra

3

BIOGRAPHY Claude Gordon was bom in Helena, Montana, to James Austin and Nellie (Elge) Gordon. Both of his parents, his brothers and sisters were all accomplished performers and formed a family orchestra playing for radio stations and hotels in the northwest. His early training came under the experienced guidance of his composerconductor father and his concertpianist mother. Having begun his music study at the early age of eight, Claude was cornet soloist of the Helena High School Band while still in the fifth grade. His early professional training was extensive in local bands and orchestras including symphony, theaters and radio. He moved to Los Angeles and studied trumpet for many years with the late Dr. Herbert L. Clarke and Louis Maggio. He played with many of the great traveling orchestras and most of the major hotels and theaters on the west coast. He played in the motion picture studios at Los Angeles and many NBC and CBS radio shows. Claude was first trumpeter for the CBS Broadcasting Company for eleven years under prominent conductors such as: Lud Gluskin, Wilbur Hatch, Mark Warnow, Leith Stevens, Paul Weston, the late A1 Sack and many others. ^ 3 I In 1950 Claude formed his own orchestra to do recording for Capitol Transcriptions and since then has recorded for different companies including Vogue, Liberty and Warner Brothers. In 1959 "Claude Gordon and His Orchestra" won the title "Best New Band in America" in a nationwide contest of 183 bands from the United States and Canada. The most severe critics are unanimous in their praise of his splendid ability. Claude Gordon passed away on May 16,1996.

4

THIS IS A BOOK ON HOW TO PRACTICE Many are the ideas and phobias concerning breathing, mouthpiece placement, use of the lips, use of the diaphragm, pressure, no pressure, etc.  The student in a constant search to improve his playing and to gain the reg ister, power and control required today becomes so involved in this maze of ideas that he neglects the one item necessary to develop this register, power and control; and that is, How to Practice. I find that this is the most misunderstood factor of brass students. Most troubles of the anxious player can be traced to a lack of routined development.  This book is designed to systematically develop strength and muscle coordination along with wind control so that the student will play naturally and easily as hisfears disappear. Practice must be done with a constant goal in mind just as in the construction of a tall building.  The start is made by building a strong foundation upon which a skyscraper may be erected. This is an orderly process. First the trenches are dug. Next the forms are built. Then the cement is poured. The cement must dry. Then come the floors, the sides and finally the roof. Each item must come in its order until a firm , solid construction job is completed. So it is with the brass instrument. Altogether too many students try to put on a roof before they have even built a foundation, and trouble starts immediately. From then on, one item develops faster than anything else; and that is, fear. Impatience is the enemy of the ambitious player. The reason is because you are developing and coordinating muscular action and cannot rush ahead any faster than nature will allow. In trying to proceed too rapidly, the student often times tears down faster than he builds up. Too often the stu dent is lip conscious to the point that all emphasis is placed on this one item to the exclusion of the many other important factors that cause the lip to function. A ll  of these items must be developed and coordinated. When the whole machine is working harmoniously, then playing becomes a pleasure without abusing the lips. Often we hear the term, "So and so has a natural lip ." Actually, everyone has a natural lip. Some individuals just fa ll easily into the knack of playing the instrument while others must develop it. So we come to the necessity of a systematic approach. My biggest concern in writing this material is that there are over-anxious students who turn to the back of the book first or the impatient ones who skip ove r in their rush to develop too rapidly. The purpose of these routines is to build gradually and systematically. Therefore, I must stress again and again that these routines must be practiced as prescribed - no more than one lesson each week and each lesson thoroughly practiced. It will take a minimum   of one year to cover this material correctly. It is at the request and suggestion of many fine players, teachers and students that I have under taken the task of writing this systematic approach. This approach has helped me, it has helped them, and with serious, concentrated study it can help you. Sincerely,

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THINK WHEN YOU PRACTICE  There are seven items to playing trumpet. the trombone may be judged accordingly. 1. 2. 3. 4. 5. 6. 7.

The same apply to all brass valve instruments, and

Wind Power The Lips The Control of Air The Tongue The Muscles of the Lips and Face The Fingers of the Right Hand The Left Hand

Each one of these items must be developed until it works correctly by habit. All seven of these may be compared to spark plugs in an automobile. If one is not functioning, the machine cannot work easily and smoothly. It is out of balance. When all function correc tly by habit, then the machine runs easily  and smoothly and your work is a pleasure.

Incorrect  habits are sometimes more easily developed than correct habits, and a habit is hard to change so THINK  when you practice. WHY  are you practicing a particular exercise? Have a goal in mind. Aimless blowing will not get you anywhere. Remember, the playing of your instrument is by development and coordination jus t like any ath-  lete . Therefore, we must train in the same manner.

THE LIPS  The only purpose of the lips is to vibrate. They may be compared to a double reed; possibly an oboe reed is an illustration. Notice how an oboe player is always fussing with his reed to see that it vibrates properly. Prop er development so as to vibrate freely in all registers is necessary fo r power, endurance, tone and flexibilities. As the lip tightens and relaxes causing movement under the mouthpiece, it is absolutely neces sary to moisten the lips.

There is no such thing as "no pressure," and it is beneficial to dismiss the subject from your mind and let proper development by routine practice take care of the amount ofpressure. When ascending to higher register, the lip should contract toward   the mouthpiece.

Example:

When descending to lower notes, the lips should relax.

Do not use smiling or stretching back movements   of the lips. This causes weak endurance and a thinning out of tone.  There is always much discussion as to placement of the mouthpiece on the lips, and different players have played successfully with different positions. However, for freer vibration and more en durance in all  registers and for power and control, the mouthpiece should be placed more on the upper lip. This gives the advantage of more lip in the mouthpiece or more vibrating surface. The lower the mouthpiece is placed, the more it tends to shut off the vibration. While we are on the subject of the lips and vibration, it may be welltomention the bent mouth piece as this concerns vibration.  To some, bending the mouthpiece is extremely beneficial. To some, it is harmful.

6 A student on this matter should seek the advice of a competent teacher, whereas an experienced player may use common sense and a little experimenting.

FACIAL MUSCLES  The muscles of the face and lips must be developed and trained to pull toward the mouthpiece.  This is done by careful, correct practice of these following calisthentic routines. THINK  when you practice. 1.

2.

3. 4.

5.

 The facial muscles hold the lips so that they will keep vibrating. Because of this they are constantly moving and adjusting.

When ascending make sure the lips pull together toward the mouthpiece. When descending make sure that they relax. Eventually you will develop a feeling of gripping the mouthpiece which will give  you a strong, sure feeling.  The movement of the muscles thru correct practice will grow to be habit and work with the rest of the machine.

THE TONGUE  The purpose of the tongue is far greater than generally realized. The tongue creates the resistance that enables one to play higher, to lip tri ll , and control the instrument, as we ll as articulation.  The tongue creates the resistance with air in the mouth in the same manner as the nozzle of a garden hose creates resistance with water pressure.  To illustrate, say "AHH” and then say "EEE " and notice how the tongue raises and lowers. Get this fact well established in your mind and when ascending think "EEE" and when descending think "AHH." Lip trills are accomplished by this same movement: Eee Ah Eee Ah Eee etc

Actually, for a tr il l of this type, it is better not to move the lips at all; rather, let the tongue do all the work. Diagram showing an illustration of the movement of the tongue. "Ahh" Side view of mouth. Shaded area represents the tongue in "Ahh" and "Eee" positions.

How high or low the tongue moves depends on many things: the shape of each person's mouth, how * high you are playing, etc.  This cannot be measured so let nature decide. When you practice, just think these things and nature will decide how much is necessary. One item of extreme importance: As you ascend and the tongue moves to the syllable " EEE, "  you must blow stronger to meet the resistance.

I find it beneficial to develop the back of the tongue as well as the front. To do this, I have made extensive use of the syllable "K ". This should be developed to the same degree of accuracy and fluen cy as the syllable " T ."

FINGERS  The only way that fingers can be developed is by proper practice. This is not difficult. 1. 2. 3. 4.

5.

Don't push the valves down. Strike them hard. Lift your fingers off   the valves and strike them down hard. I have used a great deal of so-called false fingering in order to develop the fingers. In some cases the conventional scale fingering that you originally learned to play with is not the best. For example: - not good rough & harsh

rough & awkward

- good smooth & pleasing

smooth & supple

In developing fingers, use repetitious practice over and over again.

CONTROL OF AIR AND WIND POWER I mentioned before that the air stream is controlled by the tongue. I have written these routines so that our first thought is to always have enough wind. Some people by nature have a large capacity of air, and their physique gives them good power and strength. If you are not born with it, you can develop it whether you are large or small. First of all, get all phobias and ideas out of your head such as: pushing out your stomach, breath ing from the stomach, breathing high, breathing low, etc. 1. 2.

Air will only go one place - into your lungs. Forget about what your stomach or your diaphragm looks like. Think only of taking a breath. Now: A. B. C. D.

Stand up. Take a big breath - fill up from the bottom to the top so that you feel full. Do not lift your shoulders up. You can't get air in them. When you are full of air, hold it but relax. (a.)

E.

Chepk if you are relaxed by counting slowly out loud  to ten with your voice sounding calm and in its natural tone. (If your voice is strained as though you were tense, then you are not relaxed.) Keep working on this until you can be full of air and perfectly relaxed at the same time.

Next, let the air all out, but do not let your chest drop. Fill up again.

8 F. G.

Keep repeating this until you are tired. Gradually, you will develop the chest and back muscles for proper use. Remember, this will not develop overnight.

I heartily recommend exercise such as boxers use, roadwork and all, to help develop your wind. With proper practice of the following routines, the control of your air will develop greatly thru repetitious use. 1. 2. 3. 4. 5.

Take a big breath, fill up, even if you only play one note . Get in the habit of filling up. (You wouldn't start a trip with the gas tank of your car only 1/4 full.) Now pick up your horn and blow. Don't hold back. Put air thru your horn. It is all right if you miss, but get in the habit of blowing. Never let your air supply get below halfway. Always keep fillin g up. When you are going uphill, blow. Don't hold back - step on the gas. When descending, ease off - save it.

LEFT HAND 1. 2. 3. 4.

Hold the horn with your left hand. In a firm grip, you are the master not the horn. Wrist relaxed, there are movements of this handthat control the instrument. Keep the horn straight up and down not tilted to one side.

PEDAL TONES  The practice and use of the pedal reg ister - that is, the notes from Fl below Low C on the Treble Staff on down i

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have been neglected almost completely in all writings. Whether or not this has been intentional by writers or because of the difficulty of explaining this on paper without the aid of a live teacher, I do not know. However, the value of the consistent practice of this register is well known to all fine trumpet players, soloists and artists.  The use of these notes in practice will, if properly used: Correct your emboucher - therefore, help high register. Give you great command of your instrument. Give you more power and fluency. Aid your attack and sureness. Develop better vibration. Develop intervals and fluency. Bigger sound in all   registers. Develop endurance. Because of the importance of this practice, it must be done by a progressive routine for gradual development.  The pedal routine, therefore, is the first thing we play every day. There is no  need to warm up or play preliminaries before. Start right out on this routine first every day and stick to it.

9  To start playing your pedals, you must listen carefully to pitch. Make sure the sound is in your mind as these notes are not naturally on the instrument - you make them : r>

Play a low F#

with all three valves.

While you are holding the note, make it go flat, very flat. Notice the feeling you have of forcing this note flat. This is the "f eel" of the pedal F - E - E flat - D and D flat. 2

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I t   b 2 E Eb D All these notes feel the same; and with a little experimenting, you will be able to get them well enough to start your practice. They are not difficult. It is just new. I have had students play them on their first lesson so do not   build up a mental block. ♦

As the pitch is so very important, it is a good idea to test the sound of each note before playing by sounding the octave above first. sound this first to establish pitch

then play this m 

Don't worry about the sound of your tone. This will take time to develop. The tone will get strong er and bigger as you progress. Remember, a baby creeps before it walks. the feel is different.

From Pedal C down 4

 To start experimenting for this reg ister play a low C. Now relax all the muscles. Let the lower

 jaw relax too as in saying "AHH” and play the Pedal C. while others may have to experiment awhile to find it. 1. 2.

To some, this may play on the first attempt

Don’t stop blowing Keep the lips vibrating (or buzzing).

When you get the feel of the ”C", then it is the same down thru the next G flat. C

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10  Then from F down, it gets very easy and is just a matter of time and practice.  The register from Pedal C down has a tendency to be very flat, especially at first. Do not let this worry you. Strive to develop the fe el firs t, and then pull it up to pitch as you improve. Do not be impatient. Some develop a flare fo r these rapidly and .may reach the second Pedal C in a few weeks. For others, it may take months. Just consistently and faithfully practice the routine every day trying to push a little farther each day. (Always attempt one half step farther than you can go.) In time, results will well-rewa rd your patience. Do not deviate from the fingering I have marked even though you may think some others are easier. All the lower octaves use the same fingering: G with 1 and 3. F t with all three.

 The lips will not miraculously get stronger by aimless blowing. They must be developed. It is how you practice   that counts. Our purpose is to strengthen and train muscles not destroy   them. Follow these rules : 1. 2. 3. 4. 5. 6. 7. 8. 9.

Rest as much as you play. When you are tired, rest. Always take a big  breath. This willsave your lip muscles. Trumpet playing is a form ofathletics.Keep yourself in good physical condition. Keep in training like any athlete. Concentrate when you practice. Keep your mind on what you are doing. Discipline yourself. Study - understand the purpose of your practice, the value of each routine, what you are developing, etc. Practice in a happy frame of mind. Do not get angry. When you get angry, you stop thinking; and when you stop thinking, you stop playing. A minimum of seven days should be spent on each lesson. Although,  you may spend more if necessary. It is absolutely essential that you practice these routines in the pre scribed manner.

ALWAYS REMEMBER ITS HOW YOU PRACTICE THAT COUNTS  The first two routines of each lesson do not have time signatures. In these routines, they are not necessary. In fact, to worry about specific time would be detrimental to the exercise.  These are calisthenics and should be practiced with freedom. needed. % 

Take your breath relaxed when

11 I HAVE REFERRED TO THE FOLLOWING BOOKS FOR USE WITH THIS SYSTEMATIC APPROACH

1.

Clarke's Technical Studies for Cornet and Trumpet, Second Series. By Herbert L.Clarke Published by L. B. Clarke, Huntsville, Ontario, Canada.

2.

Lip Flexibility on the Cornet or Trumpet. By Walter M. Smith Published by Carl Fischer, Inc.

3.

Saint-Jacome's Grand Method for Trumpet or Cornet, Part Two. Published by Carl Fischer, Inc.

4.

Lip Flexibilities for Trumpet. By Charles Colin Published by Charles Colin, 111 W. 48th St., New York, N. Y.

5.

Arbans Celebrated Method. By J. B. Arban

6.

Clarke's Characteristic Studies for the Cornet, Third Series. By Herbert L. Clarke Published by L. B. Clarke

12 LESSON ONE NOTE: THIS LESSON HAS TWO PARTS. PART I:

1.

2.

3. 4. 5.

6. 7.

PART n:

Big breath. Do not hold back. Hold the note as long as possible with a crescendo at the end. Hold the note until all air is gone and longer (until your stomach shakes).  Take the horn off your mouth and rest as long as you have played. Continue down in this manner as written as far as you can, and strive to go a little farther each day. Rest between each note.  The lesson is an example. It may take some time to go as far as I have written or  you may go farther than I have written. Go as far as you can and make three at tempts to go on. When you have gone as far as possible, rest for 15 minutes and go to Number H.

1.

Practice in same way as Number I.

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When you get as high as possible, make three attempts to go on. hour before you play anymore.

2. As you go higher, blow stronger, step on the gas, think "Teee" on higher notes,

Part I

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Continue up as high as possible. RULE: Make three attempts for a high note and that is all. can do more harm than good. Rest at least one hour.

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14

LESSON TWO NOTE: THIS LESSON HAS THREE PARTS. Big breath - full sound - do not hold back. 2 . Practice slowly and meticulously. 3. Hold the last note as long as you have any air, and then try to hold a little longer. As you run out of air, the note will shake or quaver - still try to hold it longer. 4.  The arpeggios are legato. However, if you need air, take a breath. 5. Remember, get your horn off your mouth and rest as marked. 6 Continue the exercise down as written as far as you can. Strive to go a little far ther each day, then rest 15 minutes.

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PART n:

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Big breath.

2 .  The same arpeggios going up.

3.  Tongue instead of slur. 4. Rest after each. 5.  Think "T eee" and blow stronger as you go up. 6. Crescendo on last note. 7. Keep going as far as you can. When you can't go any farther, make three attempts  Then rest at least one hour. PART IH:

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Practice legato many times.

2 . Contract lips going up; relax coming down.

3.  Top note should be the strongest - kick it with an accent.

Part I

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Continue up as far as possible.

Remember: three attempts and that is all. Rest at least one hour. Part III For Lip Muscles - Lips contract toward mouthpiece  as you ascend and relax comingback down. Watch tongue movement.

Repeat hundreds of times until lips form the habit of working correctly. Rest regularly.

16

LESSON THREE NOTE: THIS LESSON HAS FOUR PARTS. PART I:

3. 4. 5.

Big breath - full sound. Practice legato. Hold last note as long as you have air and longer; try to crescendo Get horn off mouth and rest as marked. Continue as far as possible. Then rest 15 minutes.

1.

Big breath.

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PART H:

2 .  Tongue arpeggios.

3. Step on the gas as you go higher. 4.  Think "Eee " as you go up. 5. Breathe whenever necessary. 6. Rest as marked as long as you play. 7. Continue as far as possible. Then do Number III to relax your lip. PART in: PART IV:

2.

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Very slowly, full long sounds, think "T aw ” on lower notes. Repeat three times. Then rest one hour.

1. 2.

Practice with fingers as marked many, many times legato. Kick the top notes and think "Eee" at the same time.

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17

Part HI To relax lip.

Continue up as far as possible. Remember:3 attempts and out. 3 times. REST ONE HOUR.

"Kick" the top note strong at the same time think "Eee". Repeat many times - always thinking of tongue movement.

LESSON FOUR

18

 THIS LESSON HAS FIVE PART I:

3. 4. 5.

Big breath - full sound. Hold the last note as long as you have air and longer. Crescendo.  Take a breath if you need it. Keep full of air. Rest as marked. Go as far as possible. Then rest 15 minutes.

1.

Big breath.

1.

2.

PART H:

2 .  Take a breath when you need it.

3. Always have plenty of air on high notes. 4.  Think "Tee" as you go up. 5. Last two notes legato; crescendo . 6. Continue as far as possible. Then rest at least one hour. PART m:

1.

PART IV:

 To develop the back of the tongue. Practice as marked. 3.  Think " Kee " as you go up; think "Kaw" as you come down. 1.

2.

PART V:

Part I

Continue in same manner as last week - kick the top note.

For this routine use Clarke's Technical Studies, second series for the cornet, by Herbert L. Clarke. Study One: For fingers. For contracting and relaxing lip: (a) Play slow and meticulous. (b) Lift fingers high and strike hard. (c) Rest between each exercise as you go up. (d) Contract lips toward mouthpiece as you go up and playlouder. (e) Relax lips as you come down and play softer. ( f ) The top note should be the strongest. (g) Don't stop at No. 25, but go a few steps higher.Stop when tired. (h) Skip the etude for now.

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19 Part II

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Continue up Restât least one hour

For contracting and relaxing lip tighten going up- relax coming down. For tongue level-think ” Eee"goingup Part IV For the tongue think "Ah" coming down

KKKK KKKK KKKK KKKK Repeat each many times until the "K ” starts to sound as well as"T ”

KKKK KKKK On higher notes think "Kee". On lower notes think "Kaw".

20

LESSON FIVE NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

Big breath.

3. 4.

Hold last note as usual until all air is gone and longer Rest 15 minutes.

1.

8.

Big breath. Observe legato and tongue marks. Breathe where I have it marked. Crescendo last note as usual. Rest after each as marked. Continue as far as possible. Make three attempts to go farther. Rest one hour at least.

1.

Practice as usual.

3.

Use a Metronome.

2 . Not too slow, very steady legato.

PART n:

2.

3. 4. 5.

6. 7.

PART ni:

2 . Start speeding up but keep accurate.

PART IV:

Clarke's Technical Studies, second study. 1. No. 36 use 3rd finger on all E's and A's . 2. No. 37 and No. 39 use 3rd finger on all A's .

PART V:

Clarke's 1. 2. 3.

Part I

Technical Studies, first study. Single tongue this study. Think "Tee" as you get higher and blow stronger. Think "T aw " as you descend and blow easier. O Rest

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Continue down as far as possible. Strive to go a little farther each day. Rest at least 15 minutes. Part n

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Rest at least one hour. Part m For contracting and relaxing of lip. For tongue level.

Review Exercises in Lessons III & IV. As you improve speed these up.

Continue up as far as possible. Remember-Three attempts only

LESSON SIX

22

NOTE: THIS LESSON HAS SIX PARTS. PART  I:

1. 2. 3. 4. 5.

Big breath. Breathe as necessary. Long last note as usual. Continue down as far as possible. Rest 15 minutes.

PART  II:

1. 2. 3. 4. 5. 6.

Big breath. Breathe as marked. Observe legato and tongue as written. Step on the gas as you get higher. Crescendo last note. Rest at least one hour.

PART  HI:

1. 2. 3.

Practice in same manner. Work for speed with accuracy. Kick top note as usual.

PA RT IV:

Clarke's Technical Studies, third study - observe slur marks. Lift fingers high and strike hard. Rest between each exercise. Use the following fingering on exercise: 1. No. 47, 3rd valve on all E's. 2. No. 49, bars 7 and 8 use 3rd on E's. 3. No. 52, 3rd on E's and A's. 4. No. 53, bars 3 and 4 - all 3 valves, harmonic fingering. 5. No. 54, bars 3 and 4 -1 and 3 valves, harmonic fingering. 6. No. 55, bars 3 and 4 - 2 and 3 valves, harmonic fingering. 7. No. 56, bars 3 and 4 - 1 and 2 valves, harmonic fingering. 8. No. 57, use 3rd on all A's. 9. No. 58, bars 1 and 2 - use all three. Continue up using harmonic fingering wherever possible.

PA RT V:

Clarke's Technical Studies, second study. 1. Practice single tongue.

PA RT VI:

Clarke's Technical Studies, first study. 1. Practice with "K " tongue. 2. Think "K ee" when ascending. 3. Think "Kaw" when descending.

Part I •J

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Continue down as far as possible. Breathe whenever necessary - Keep full of air - Blow freely. Put air through your horn.

23 Part n

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Continue up as far as possible - Rest at least one hour.

Part HI For contracting and relaxing lip and tongue level.

Review No. in of Lessons in, IV, and V. Work for more speed.

24

LESSON SEVEN

V

NOTE: THIS LESSON HAS SIX PARTS. 2. 3. 4. 5. 6. 7. 1. 2. 3. 4. 5.

Big breath. If necessary, take a breath after the firs t fiv e notes. All legato - kick top note stronger. Hold last note as long as you have air and longer. Rest after each. Continue down as far as possible. Rest 15 minutes. Big breath. Legato - rest as marked.  Think "E ee " as you go up and blow stronger; crescendo. Continue as far as possible and even beyond what I've written, if possible. Rest one hour at least.

PART III:

1. 2.

Practice as usual. Work for speed and smoothness.

PA RT IV:

Clarke's Technical Studies, fourth study. Lift fingers high and strike hard. No. 66, bar 2 - use 3rd finger on A's. 1. bar 6 - use 3rd finger on E's. 2. No. 69, bars 1, 2, and 3 - use 3rd finger on A's. bars 5, 6, and 7 - use 3rd finger on E's. No. 70, bar 8 - use 3rd on E's. 3. 4. No. 71, bar 6 - use 3rd on A's. 5. No. 72, bars 5, 6, 7, and 8 - use 3rd on A's. „bar 9 - use 3rd on first E, but use 1st and 2nd on last E. 6. No. 73, bar 2 - use 3rd on Fk 7. No. 74, bars 5, 6, and 7 - use 3rd on A's . No. 76, bars 1, 2, and 3 - use 3rd on E's. 8. 9. No. 77, bar 4 - use 3rd on A's. bar 9 - use 3rd on A's. 10. No. 78, bar 2 - use 3rd on Bb . 11. No. 79, bars 1, 2, 3, and 4 - use 3rd on A's. 12. No. 81, bars 1, 2, and 3 - use 3rd on A's . No. 82, bar 8 - use 3rd on A's. 13. 14. No. 83, bar 6 - use 3rd on A's. 15. No. 84, bars 5, 6, 7, and 8 - use 3rd on A's. Never mind etudes - they come later.

PART I:

PART II:

PA RT V:

PA RT VI:

1.

•

Clarke's Technical Studies, third study. 1. Practice single tongue. 2. Think "Tee” as you ascend. 3. Think "T aw " as you descend. Clarke's 1. 2. 3.

Technical Studies, second study. Practice "K " tongue. Think "Kee" as you ascend. Think "Kaw" as you descend.

25

Continue down as far as possible.

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Review No. m of Lessons m, IV, V, and VI.

26

LESSON EIGHT NOTE: THIS LESSON HAS SIX PARTS.

PART I:

Big breath. 2 Breathe when necessary. 3.  Top note is the strongest. 4. Hold last note as long as you have air and longer as usual 5. Continue down as far as possible. 6 Rest 15 minutes. 1.

.

.

3. 4. 5. 6.

Big breath. Blow stronger as you go up; softer when you come down. Remember, top note is the strongest. Rest between each. Go as high as possible and make three attempts to go on. Rest at least one hour.

PART m:

1.

Practice as marked.

PART IV:

Clarke's Technical Studies, fifth study. 1. Lift fingers high off the valves and Strike Hard. 2. By this time, you can start using your own judgment as to alternate (harmonic) fingering. 3. Try to continue this study at leasttwohalf-steps farther than it is written. 4. Hold the last note of each exercise long until all air is goneand longer.

PART V:

Clarke's Technical Studies, fourth study. 1. Practice single tongue.

PART VI:

Clarke's Technical Studies, third study. 1. Practice "K " tongue.

PART H:

Part I

1.

2.

27 Continue down as far as possible then Rest at least 15 minutes. ■» ? \>S  t|9 Part H

Continue up in Keys Bi> - B - C in same manner, as far as possible - Rest Partm

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st one hour.

Review No. in of Lessons m, IV, V, VI, and VII. Now work for more speed. I advise using a metronome with these daily, so that your speed remains consistent. increase the speed every few days, one notch at a time.

Gradually

28

LESSON NINE NOTE: THIS LESSON HAS SIX PARTS.

PART I:

1.

2.

3. 4. 5.

6. 7.

PART II:

1.

2. 3. 4. 5.

6. 7.

8.

Big breath - full sound. Observe legato and tongue marks.  Think "T ee" going up. Remember, that the top note is the strongest. Rest after each. Hold long last note as usual. By now, the student should have the manner of practice in mind so that it is not necessary to write out the entire routine. I have written the first two as a pattern, and the student should continue down by half-steps as usual. Rest 15 minutes. Big breath - big full sound. Do not play too slow (moderate tempo).  Take a breath when needed.  Think "T ee" on the high notes.  Think "Taw " on the low notes. Rest as marked (as much as you play). Continue upward, if you can't make all five of the last notes, just do what you can and hold the last. Observe marks. Rest at least one hour.

PART III:

Review Part III of Lessons III, IV, V, VI, VII, and VIII

PART IV:

Clarke's 1. 2. 3. 4.

PART V:

Clarke's Technical Studies, fifth study. 1. Single tongue.

PART VI:

Clarke's Technical Studies, fourth study. 1. "K " tongue.

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30

LESSON TEN NOTE: THIS LESSON HAS SIX PARTS. PART  I:

1. Big breath. 2. Full notes. * 3. Crescendo last note. 4. Long hold on the last note until all air is gone and longer. 5. Rest between each exercise. 6. Continue as far as possible. 7. Rest 15 minutes.

PART  n:

1. Big breath. 2. Think "Tee" on upper notes. 3. Blow stronger as you go up. 4. Crescendo on last note. 5. Rest between each exercise as long as the exercise. 6. Remember, we are not practicing to tire the lips. Rest as long as you play. 7. Continue up as fa r as you can. 8. Rest one hour at least.

PART  Ill:

1. Practice slow and accurate. 2. Top note is the strongest.

PART  IV:

Clarke's 1. 2. 3.

Technical Studies, seventh study. Hold the last note until all the air is gone as usual. Lift fingers high and strike hard. No. 133, bar 1 third beat use 3rd valve on A's. fourth beat use 1 and 2 on A's. bar 3 - use 3rd valve on F flat, bar 6 - use 3rd valve on E's. 4. No.134 - use fingering in same manner. 5. No. 135, bars 2 and 3 - use 3rd valve on E's. FOLLOW SAME PROCEDURE THROUGHOUT THE STUDY. 6. No. 138 - use 3rd valve on all E's and A's in arpeggios. 7. No. 143 - use 3rd valve on all A's in arpeggios. 8. No. 144, bar 5 - harmonic fingering, all three valves. bar 6 - all 2nd valves, bar 7 - all three valves, bar 9 - all three valves, 9. No. 145, bars 5, 7, and 9 - valves 1 and 3. 10. No. 146, bars 5, 7, and 9 - valves 2 and 3. 11. No. 148, bar 2 - use valves 1 and 2 on E on fourth beat only, 12. No. 149, bar 2 - use valves 1 and 2 on E on third beat only, 13. No. 150, bar 2 - use valves 1 and 2 on E on second beat only, bar 6 - use 3rd valve on A's. REST 

PART  V:

Clarke's Technical Studies, 1. Single tongue.

number six.

PART  VI:

Clarke's Technical Studies, 1. "K ” tongue.

number five.

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Continue up as far as possible. Rest one hour.

 Twice in one breath

Resting between each one, continue up through seven valve positions - G - A t - A - Bl> - B - C.

33

LESSON ELEVEN NOTE: THIS LESSON HAS SEVEN PARTS. PART  I:

1. 2. 3. 4. 5. 6. 7.

Big breath. Again, I have written examples, and the student should practice the exercise down in half-steps as usual. When you reach Pedal "C", add an octave on the top so that your arpeggio goes to high "C" again. When you reach your 2nd Pedal "C", add an octave on the top again so that your arpeggio goes to high "C" again. Continue down as far as possible. Long last note as usual. Rest 15 minutes.

PART  n:

1. Big breath. 2.  Top note should be the strongest. 3.  Think " Eee" going up. 4. Observe rests.

PART  m:

1. The reverse of Number n. 2. Big breath. 3.  Think "Aw" going down. 4. Continue as far as possible. 5. Rest one hour.

PART IV:

1. 2. 3. 4. 5.

PART  V:

Clarke's Technical Studies, eighth study. 1.Use the same manner of fingering as on previous lessons. 2. Lift fingers high and strike hard. 3. Rest between each exercise.

PART VI:

Clarke's Technical Studies, seventh study. 1. Single tongue.

PART Vn: S'

Clarke's Technical Studies, sixth study. 1. "K " tongue.

Practice speeding up. Low notes soft. High notes stronger. Work for four times in one breath. Practice up past high "C".

Continue down in same manner. When you reach Pedal "C ", add one octave on the top as follows:

Continue down; when you reach the 2nd Pedal "C ", add the octave on top as follows:

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8 lower  r\ 

Continue down as far as possible.

34 Part n

Continue up as far as possible. When you have reached your top, make three attempts then continue with No. m

Part m

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8 lower 

8 lower 

Continue down as far as possible. Rest at least one hour. Part IV

Four times in one breath

Continue up on G - A t - A - Bb - B - C. Practice slowly and accurately, then work for speed with metronome

LESSON TWELVE

35

NOTE: THIS LESSON HAS SIX PARTS. PART I:

Big breath. 2 . First five notes big and full. 3.  Top note is strongest. 4.  Think Eee -Ah - Eee on top notes. 5. Continue down as you always do on first study. 6. When you reach the firs t Pedal "C", add one octave on top as before

PART II:

Big breath. Do not hesitate or fear the top notes. 3. Blow strong through the horn. 4.  Top note is strongest. 5. Breathe when needed, but do not  breathe between the last two notes.

PART III:

Keep practicing back and forth in this register until the sound starts to become smooth; as though you were using valves. 2 .  Then start speeding up. 3. Speed up one notch per day on the Metronome.

PART IV:

Clarke's 1. 2. 3. 4. 5. 6. 7.

1.

1.

2.

1.

8. 9. 10.

Technical Studies, firs t study and etude. Now work for speed and repetitions. Repetitions in one breath softly. Hold the last note as long as possible. Study Clarke's instruction carefully. Take a big breath   as usual. Then practice very soft, in a whisper. Practice at least four times in one breath. By gaining speed and playing softly, work to gain more repetitions until you can play eight times in one breath. If you can play each exercise four times in one breath, then you can play the etude all the way in one breath. When you can, then work for twice in one breath. Save your power on the low notes so that you have plenty on the higher notes. Do not  hold back on the upper notes. In other words, save it when you do not need it, and use it without reservation when you do need it. The Dynamic markings are there to help you in this matter. Note that the higher notes are always the strongest.

PART V:

Clarke's Technical Studies, eighth study. 1. Single tongue.

PART VI:

Clarke's Technical Studies, seventh study. 1. "K " tongue.

Part I •d W tj^c

36

Continue down in same manner. When you reach Pedal "C" add one octave on top as in previous lesson. Then continue down in same man ner. Add octave again on 2nd Pedal ” C". No breath past here.

Part n 8 lower 

Continue up as far as possible. Rest for at least one hour.

Part IE Further exercises for tongue level-in advance of lip trill.

"Ah" "Eee""AW'"Eee"

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m

Continue up through 7 valve positions.

Repeat hundreds of times until movement becomes natural. Pull lips toward mouthpiece and lock them there. Let the tongue do the work. Aid the tongue with an accent of wind on the top note.

37

LESSON THIRTEEN NOTE: THIS LESSON HAS SIX PARTS. PART I:

PART n:

Big breath. 2 .  Tongue arpeggios with strong attack. 3.  Top notes are the strongest. 4. Hold last note longer as usual. 5. Rest as marked. 6. Go as far as possible. Then rest 15 minutes. 1.

1.

2. 3. 4. 5.

6.

Big breath. Good strong attack. Breathe when needed. Slow down if necessary when descending into pedal register Make each note definite. Go as far as possible. Rest at least one hour before continuing to Part m.

PART m:

Walter Smith Lip Flexibilities: Exercises 1 and 2. 1. Play these many times very evenly. 2. Rest between each key change. 3. Use Metronome and increase speed as they improve. 4. Read Smith's instructions carefully.

PART IV:

Clarke's Technical Studies, second study and etude. 1. For speed and repetitions in one breath. 2. Hold last note until all air is gone and longer.

PART V:

Clarke's Technical Studies, first study. 1. Double tongue.

PART VI:

Clarke’s Technical Studies, eighth study. 1. "K" tongue. NOTE

I have explained preceding Lesson One that I have not used time signatures  Therefore, I have not used measure lines in most of the exercises. Due to this fact, the cancellation of accidentals by measure lines does not occur. It is important, therefore, to note that many of the following exercises throughout the book are chromatic scales and major arpeggios. Part I

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41

LESSON FOURTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

2. 3. 4. 5.

PART

n:

1.

2.

3. 4. 5.

Big breath. Practice as usual. Rest between each. Go as far as possible. Rest 15 minutes. Big breath. Practice the same as last lesson. Rest as much as you play. Go as far as possible. Rest at least one hour before continuing

PART IH:

Lip Flexibility on the Cornet or Trumpet. By Walter M. Smith 1. Exercises 1, 2, and 3. 2. Practice evenly many repetitions. 3. Step on the gas (stronger) as you go higher; softer when descending. 4. Speed up as you improve.

PART IV

Clarke's 1. 2. 3.

PART V:

Clarke's Technical Studies, second study. 1. Double tongue.

Technical Studies, third study and etude. For speed and repetitions in one breath. Hold last note until all air is gone and longer. Take a big breath and practice in a whisper.

Part I

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Continue down by half steps as usual. one octave on top as before.

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44

LESSON FIFTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

PART II:

1.

Big breath.  Top note is the strongest. Hold long last note until all air is gone and longer. . Rest as much as you play. Continue down as far as possible. Rest for 15 minutes.

1.

Big breath. Good firm attack. Breathe when necessary. Pedal notes deliberate and sure. Crescendo last note. Rest as much as you play. Continue up as far as possible. Rest at least one hour before continuing.

2. 3. 4. 5. 6. 2. 3. 4. 5. 6. 7. 8.

PART m:

Lip Flexibilities. By Walter M. Smith. Exercises 1, 2, 3, and 4. 1. Watch slur marks and accents. 2. Use Metronome. 3. Practice many, many repetitions. 4. Speed up as you improve. 5. Use Metronome to keep an accurate record of your speed and progress.

PA RT IV:

Clarke's 1. 2. 3.

PART V:

Clarke's Technical Studies, third study. 1. Double tongue.

Technical Studies, fourth study and etude. For speed and repetitions in one breath. Hold last note until all air is gone and longer. Take a big breath and practice in a whisper.

Continue down as far as possible. Add octave again at 2nd Pedal "C". Rest 15 minutes.

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LESSON SIXTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

2.

3. 4. 5.

6.

7.

Big breath. Breathe as needed. Continue down as usual. When you reach Pedal " C", add an octave on top as usual. When you reach the second Pedal "C", add an octave on top again. Continue down as far as possible. Rest as marked as long as you play Rest 15 minutes before continuing.

PART H:

Big breath. Breathe when necessary - keep full. 3. Good attack - strong - do not hold back on starting note. 4. In order to establish the pitch in your mind, sound the octave lower than you start.  Then start full without fear. 5. Continue up as fa r as possible. Rest as marked. 6. Make only three attempts when you stall. 7. Rest an hour at least before continuing.

PART IE:

Lip Flexibilities. By Walter M. Smith 1. Exercises 1, 2, 3, 4, and 5 - practice numbers 1, 2, 3, and 4 two times each, and spend most of your time on number 5. 2. Work for speed on first four. 3. Remember, kick the top notes strongest.

PA RT IV:

Clarke's 1. 2. 3.

PART V:

Clarke’s Technical Studies, fourth study. 1. Double tongue.

1.

2.

Technical Studies, study five and etude. For speed and repetitions in one breath. Hold long last note until all air is gone and longer. Take a big breath and practice in a whisper.

49

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Continue down as before. When you reach Pedal "C", add one octave on top as follows:

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Continue down as far as possible. When you reach 2nd Pedal " C", add one octave on the top. Rest Part II

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50

LESSON SEVENTEEN NOTE: THIS LESSON HAS FIVE PARTS. PART  I:

1. 2. 3. 4. 5. 6. 7.

Big breath. Take a breath when needed. Top notes are the strongest. Hold long last note as usual. Continue down as usual. Rest as much as you play. Play the pedals meticulously -slower if necessary. Rest 15 minutes before continuing on to Part II.

PART  II:1.

Big 2. 3. 4. 5. 6. 7.

PART  HI:

Lip Flexibilities. By Walter M. Smith 1. Exercises 1, 2, 3, and 4. 2. Practice each twice. 3. Exercise 6 - practice many repetitions - slowly at fir st, then for speed.

PART  IV:

Clarke's 1. 2. 3.

PART V:

breath. Step on the gas as you go up. Take a breath whenever needed. Make sure pedals are accurate - play slower if necessary. Rest as marked. Continue up as far as possible. Rest at least one hour before continuing.

Technical Studies, number six and etude. Practice for speed and repetitions in one Hold last note long until all air is gone. Take a big breath and practice softly (in a whisper).

Clarke's Technical Studies, number five. 1. Practice double tongue.

breath.

51 Continue down as before as far as possible. When you reach Pedal "C", add one octave on top. When you reach 2nd Pedal " C", add one octave on top again.

Continue up in half steps in this manner as high as possible. Rest at least one hour or more before continuing the lesson.

52

LESSON EIGHTEEN NOTE: THIS LESSON HAS FIVE PARTS.

PART I:

1.

2.

3. 4. 5.

6. 7.

8.

Big breath. Play accurately - slowly at first.  Take a breath when you need it. Make your top notes the strongest. When you reach Pedal "C", add one octave on the top as usual. When you reach the second Pedal "C", add an octave on top again. Continue down by half-steps as usual as far as you can. Rest between each one as usual. Rest at least a half-hour.

PART II:

Big breath. Single tongue with good attack. 3.  Think "Tee" as you go higher. 4. Rest between each. 5. Continue up   as far as you can. 6 . When you cannot go any higher, make three attempts and do no more. 7. NOTE: Never do just part of the scale . When you miss, try from the beginning of the scale every time.

PART ni:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3, and 4. Work for speed. 2. Exercise 7 - slowly at first with accuracy. 3. Top notes are the strongest. 4. Think "E ee" as you go higher and "A w" as you go lower. 5. Speed up as you progress. 6. Use the Metronome to keep accurate progress.

PART IV:

Clarke's 1. 2. 3. 4. 5.

PART V:

Clarke's Technical Studies, number six. 1. Practice double tongue.

1.

2.

Technical Studies, number seven and etude. Practice softly (in a whisper). Work for speed and repetitions in one breath. Hold last note until all air is gone. The softer your practice, the stronger the lips become. Remember, blow stronger when going uphill.

Part I

Continue down by half steps as usual, when you reach Pedal " C", add one octave on top as follows:

53

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Continue down in the same manner by half steps as far as possible. Rest for one half hour. Part n

Continue up as far as possible.

54

LESSON NINETEEN

1* 

NOTE: THIS LESSON HAS FIVE PARTS. PART  I:

l. 2. 3. 4. 5.

Big breath. Blow freel y - full sound. Kick the top notes stronger. Hold the last note long until all air is gone andlonger. Add an octave on top when you reach Pedal "C", and again at the second Pedal "C" as usual. 6. Continue down as fa r as possible observing rests and breathing when necessary. 7. Rest at least 15 minutes.

PART  n:

1. Big breath. 2. Play with full sound. 3. Think "Tee" on upper notes. 4. As you go higher, play stronger with slight crescendo on the last note. 5. Rest between each. 6. Continue up as far as possible. Make three attempts, and then rest at least one hour before continuing on to Part HI.

PART  HI:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3 and 4. 2. Exercise 8 - slowly and accurately at firs t with many, many repetitions.  Then speed up. 3. Rest 15 minutes.

PART  IV:

Clarke's 1. 2. 3. 4.

PA RT V:

Clarke's Technical Studies, number seven. 1. Pra ctice triple tongue.

Technical Studies, number eight and etude. Take a big breath. Practice softly. Work for speed and repetitions in one breath. Hold the last note until all the airis gone and longer.

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Continue down. When you reach 2nd Pedal "C", add one octave on top.

56

Continue up as far as possible. Rest at least one hour before continuing.

57

LESSON TWENTY NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. Big breath. 2 . Play with relaxed, full sound. 3. First five notes legato. Then tongue arpeggio. 4.  Top notes are the strongest. 5. Hold the last note until all air is gone and longer. 6 Continue down as far as possible. 7. Add an octave on top at Pedal "C", and again at second Pedal "C" as usual 8 . If you are reaching your third Pedal ” C” , add an octave on top again. 9. Rest at least 15 minutes.

.

PART n:

1.

2. 3. 4. 5.

6.

7.

Big breath. Crescendo as you go up.  Top note should be the strongest with a little crescendo.  Take a breath as you need it. Always reach the top boldly and fearlessly even if you should miss Continue as far as possible. Rest at least one hour.

PART HI:

Lip Flexibilities By Walter M. Smith Exercises 1, 2, 3 and 4. 1. 2. Exercise 9 - practice slowly and accurately at first. Then work for speed gradually with the help of a Metronome.

PART IV:

Clarke's 1. 2. 3. 4.

PART V:

Clarke's Technical Studies, number eight. 1. Practice triple tongue.

Technical Studies, number nine. Exercises 178 - 186. Lift fingers high and strike hard. Practice slowly at first with steady tempo. Practice single and triple tongue also.

Part I

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59

LESSON TWENTY-ONE NOTE: THIS LESSON HAS THREE PARTS. 1.

PART I:

2.

3. 4. 5. 6

.

7.

Big breath. First five notes slow and full. Breathe whenever you need to. Make the top note the strongest. Hold last note until all air is gone and longer. Continue down as far as possible resting after each one. Add octave on top when you reach the Pedal "C" as usual

PART II:

1.  This is the longest series of endurance so far. 2 Big breath. Blow full and free, and take a breath when you need it. 3. If you observe the rests, you will not tire. Rest as much as you play. 4. Push the top notes a little stronger. 5. Continue as far as possible. 6. Rest at least two hours before continuing.

PART m:

Smith Studies 1, 2, 3, 4 and 10.

.

Part I

Continue down as fa r as possible. Add octave at Pedal "C " as usual. Part II

Big breath.

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Rest often and long - Do not overdo. Go only as high as you can and only three attempts on any high note. When you are tired, STOP. Rest for two hours.

62

LESSON TWENTY-TWO NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1.

2.

3. 4. 5. 6

.

7. PART II:

1.

2. 3. 4. 5.

Big breath. Blow freely - do not hold back. If you are holding back, it is too soft. If you are forcing, it is too loud Play the first five legato and tongue the rest. Play top notes stronger and think "Tee". Hold last note until all air is gone and longer. Add octave on top at Pedal "C" as usual. Big breath. Do not hold back. Breathe as needed. Rest as much as you play. Continue as far as possible. Then rest at least two hours before continuing with Part HI.

PART HI:

Lip Flexibilities By Walter M. Smith 1. Exercises 1, 2, 3 and 4.

PART IV:

Saint-Jacome's Grand Method for Trumpet or Cornet Page 157, first exercise and models . 1. Practice with good attack - full note not staccato (do not peck). 2. Full sound. 3. It is absolutely essential to practice all models thoroughly. 4. Rest’between each model. 5. Notice that each model may be written with different articulations 6. Practice the exercise also with the "K " tongue. 7. Use the Metronome to control your progress.

Part I

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66

LESSON TWENTY-THREE NOTE: THIS LESSON HAS FOUR PARTS.

6.

Note that the exercise runs to an octave lower than before ending on Pedal "C " Big breath. Hold the last note until all air is gone and longer. Add octave on top when you reach Pedal "C" as usi^al. Continue down as usual as far as possible. Rest 15 minutes.

PART n:

1. 2. 3. 4. 5.

Big breath. Blow stronger as you go up. Think "T ee” . Rest as much as you play. Continue up as far as possible. Rest one hour before continuing on to Part HI.

PART in:

Lip Flexibilities for Trumpet By Charles Colin 1. Read carefully all of Mr. Colin's study material. 2. Study so as to understand the purpose of his exercises. 3. Practice exercises 3, 4 and 5 slowly at first.

PART IV:

Saint-Jacome's Grand Method Page 157, first variante and models. 1. Use Metronome as marked - slow at first. 2 . Rest often. 3. Practice with "K” tongue also. 4. Practice for accuracy and gradually for speed until the Metronome markings can be reached. 5. Do not sacrifice accuracy for speed. 6. Once you develop a high degree of control and accuracy, the speed will come easily.

PART I:

1.

2. 3. 4. 5.

Part I

Continue down as far as possible.  Try to get to your third Pedal "C ". Add octave on top each time you get to a Pedal ”C" as usual Part n 8   lower  : loco 

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68

LESSON TWENTY-FOUR NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1. Big breath. 2. Long, full sound. Legato on firs t five notes. 3.  Tongue the arpeggio. 4. Hold the last note long until all air is gone and longer, 5. Continue as far as possible. 6. Rest 15 minutes.

PART H:

1.

2.

3. 4. 5. 6. 7. 8

.

Big breath. Start on the second Pedal "C". Blow stronger as you go up. The top note is the strongest. Crescendo on the last note. Rest after each as long as you play. Continue up as far as possible. When you cannot go any farther, make three attempts only. Rest at least one hour before continuing.

PART m:

Lip Flexibilities By Charles Colin 1. Exercises 6, 7, 8 and 9. 2. Practice many repetitions. 3. Rest often. 4. Speed up as you progress.

PART IV:

Saint-Jacome's Grand Method Page 158, second variante and models. 1. Practice all models carefully. 2. Practice with "K " tongue also. 3. Practice slowly at firs t. 4. Rest between each model. 5. Speed up to tempo as you progress. 6. Use the Metronome. 7. Work for accuracy. 8. Do not sacrifice accuracy for speed 9. Lift fingers high and strike hard.

Part I

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Continue down as far as possible. When you reach Pedal "C", add one octave on top. When you reach 2nd Pedal " C " , add one octave on top as usual. Rest Part n

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Continue up as far as possible. Rest for one hour at least.

70

LESSON TWENTY-FIVE NOTE: THIS LESSON HAS FOUR PARTS. 1.

12.

Big breath. Practice firs t five notes long, full sound - legato. Single tongue the eighth notes with good, clean attack.  Think "T ee" as you go up.  Think "Taw " on lower notes. Blow stronger on top notes.  The top notes should be the strongest. Hold the last note long until a.11 air is gone and longer. Continue down as far as possible. Rest after each one as usual.  Try to go a little farther each day. Rest one half-hour before continuing on to Part n.

PART n:

1. 2. 3. 4. 5. 6.

Big breath. Start on second Pedal "C". Blow stronger as you go up. Rest between each. Continue up as far as possible. Rest at least one hour before continuing on to Part in.

PART m:

Lip Flexibilities By Charles Colin 1. Exercises 10, 11 and 12. 2. As these get easier, speed up. 3. Practice many repetitions.

PART IV:

Saint-Jacome's Grand Method Page 158, third variante and models. 1. Practice with "K " tongue also

PART I:

2.

3. 4. 5. 6. 7. 8. 9. 10.

.

11

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LESSON TWENTY-SIX NOTE: THIS LESSON HAS FOUR PARTS. PA RT I:

1. 2. 3. 4. 5. 6.

Big breath. Practice the firs t five notes legato - long, full sound. Single tongue the eighth notes. Blow stronger and think "T ee" as you go up. Hold last note long until all air is gone and longer. Rest after each. Continue down as far as possible. Then rest 15 minutes before continuing on to Part n.

PA RT II:

1. 2. 3. 4. 5.

Big breath. Start on second Pedal "C ” . Good, deliberate attack blowing stronger as you ascend. Rest after each. Continue up as fa r as possible. Then rest at least one hour before continuing on to part HI.

PAR T ni:

Lip Flexibilities By Charles Colin 1. Exercise 13. 2. Rest often. 3. Breathe when needed. 4. As you progress, speed up and do in one breath.

PA RT IV:

Saint-Jacome's Grand Method Page 159, second exercise and models. 1. Practice all models. Rest between each. 2. Practice "K " tongue also.

Part I

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74

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75

LESSON TWENTY-SEVEN NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Practice legato. Accent the top eighth note of each group of two eighths with a little push. Blow stronger as you go up. Hold long last note as usual. Continue down as far as possible by half-steps as usual. Add octave on top as usual at Pedal "C". Rest 15 minutes.

PART H:

1. 2. 3. 4. 5. 6. 7. 8. 9.

Big breath. Practice very deliberately. Listen carefully to your intonation of the pedal notes. Blow stronger as you go up. Make a crescendo on your last note. Make sure that you rest between each. Continue up as far as possible. When you can't go any farther, make three attempts - no more . Rest at least one hour.

PAR T IH:

Lip Flexibilities By Charles Colin 1. Exercise 14. 2. Practice slowly at firs t. 3. Breathe when necessary. 4. Practice fo r accuracy, and then speed up until you can do each in one bre; h.

PA RT IV:

Saint-Jacome's Grand Method Page 159, first variante and models. 1. Pra ctice for accuracy. 2. Practice "K " tongue also. 3. Rest when you become tired.

76 Part I

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Part n 8 lower 

8 lower 

8 lower 

Continue up in same manner as far as possible

77

LESSON TWENTY-EIGHT NOTE: THIS LESSON HAS FOUR PARTS. PART I:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Practice first five notes legato. Good attack - accent the first eighth note of each goup Make sure that you blow stronger as you go up. Do not   peck the top note. Make it strong and full. Continue down as usual. From Pedal "C" down, add an octave on top as usual. Rest 15 minutes, at least.

PART n:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Good, strong attack. Keep all notes the same length. Blow stronger as you go up. Hold and crescendo the last note. Rest after each as marked. Continue up as far as possible. Rest at least one hour before continuing on to Part in.

PART m:

Lip Flexibilities By Charles Colin Page 13, study carefully. 1. Page 14 and 15, exercises 15, 16 and 17. 2. Slowly at first. 3. Work for accuracy and evenness.

PART IV:

Saint- Jaco me's Grand Method Page 160, second variante and models. 1. Use "K" tongue also. 2. Use Metronome with all Saint- Jaco me1s routines.

Part I

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80

LESSON TWENTY-NINE NOTE: THIS LESSON HAS FIVE PARTS.

«

PART I:

1. Big breath. 2. Practice all legato. 3. Accent the first note of each triplet. note shoul should d be the strongest. Blow stronger stro nger as you you go up. 4.  The top note 5. Hold the last note as long as you have air left and longer. 6. Continue down as far as possible. 7. From Fr om Ped P edal al " C " down, down, add add one octave octa ve on top as usual. usual. 8. Rest 15 minutes.

PART H:

1. 2. 3. 4. 5. 6. 7. 8.

ni: PART ni:

Lip Flexibilities By Charles Colin 1. Page Pa gess 15, 15, 16 and 17; 17; e xerc xe rcis isee s 18, 18, 19, 19,20 and 21. 2. Practic Pra cticee slowly at first. firs t. 3. Work for fo r accuracy and and control (very (ve ry eventempo). eventempo). 4. Stud Studyy all al l of the printed material mate rial..

PART IV: IV:

Saint-Jacome's Grand Method Page 160, third exercise and models. 1. Prac Pr actic ticee for fo r accuracy, then then speed. 2. Use the Metronome Metr onome.. 3. Prac Pr actic ticee " K " tong tongue ue also.

PART V:

Clark Cla rke’ e’ss Characte Char acteristi risticc Studi Studies, es, num number ber one. one. 1. Prac Pr actic ticee this one one measure measure at at a time starting start ing at the the end end and and work toward the beginning. 2. Prac Pr actic ticee each measure measure slowly four times. 3. When When you you have have finished finish ed one one phrase, practi pra ctice ce that that entire ent ire phrase four times. time s. 4. Remember, practice slowly and accurately. 5. By the time tim e you you get to the beginning of the study, you w ill il l beready beready to start from the top and work for the tempo that is marked.

Big breath. Start on second Pedal "C". Rest as marked. Be sure to take horn off your mouth on each rest. Continue up as far as possible. Repeat the entire exercise starting on B natural. Repeat Repeat the the entire exerc ex ercise ise starting on on B flat, etc. etc. Rest at least one hour before starting on Part IH.

81 Part I

Continue down by half-steps as usual as far as possible.

Part II

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Continue up as far as possible. Repeat entire exercise starting on 2nd Pedal Btl. Repeat entire exercise starting on 2nd Pedal Bk Continue in same manner.

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IP

LESSON THIRTY

& 

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5.

Big breath. First five notes legato - tongue the rest. Accent the first note of each triplet. Blow stronger as you go up. Continue as usual with the long last note.

PART n:

1. 2. 3. 4. 5.

Big breath.  Take a breath as you need to. Blow stronger as you go up. Continue as high as possible. Rest at least one hour before continuing on to Part

PART m:

1. 2. 3.

Big breath, and breathe when you need to. Follow strict tempo - slow at first. Practice this model up by half-steps through all seven valve positions 1. All Three. 2. First and third. 3. Second and third. 4. First and second. 5. First. 6. Second 7. Open.

PART IV:

Saint-Jacome's Grand Method Page 161, fourth exercise and models. 1. Slow and accurate at first, and then speed up. 2. Practice "K ” tongue also.

PART V:

Clarke's Characteristic Studies, number two. 1. Practice in same manner as last lesson. 2. Slow with accuracy at first.

Part I

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Continue up as far as possible Rest often. Remember: Rest at least one hour - then continue with No. III. Part m

continually

Continue up through 7 valve positions. Practice slowly at first with Metronome. As you progress, speed up the tempo a little at a time. Start at J = 72 or slower.

85

LESSON THIRTY-ONE NOTE: THIS LESSON HAS FIVE PARTS.

By this time, the student will realize that these routines have been designed to develop habits of correct procedure of practice.  The student should, therefore, strive to adhere to this method of practice in all lessons to follow. PART I:

Big breath and continue down as usual. Rest.

PART n:

Big breath and continue up as usual as far as possible Rest.

PART III:

Practice in same manner as last lesson. Rest.

PART IV:

Saint-Jacome's Grand Method Page 161, variante and models. 1.Practice in same manner as usual. 2. Practice "K " tongue also.

PART V:

Clarke's Characteristic Studies, number three. 1. Practice as before - one measure at a time

Part I

Continue down in same manner as far as possible. O

Part II

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Part HI

continually

Continue up through 7 valve positions. Use Metronome. Slow at firs t then faster as exercise gets easier.

86

LESSON THIRTY-TWO NOTE: THIS LESSON HAS FIVE PARTS

PART I:

1. 2.

Big breath. Continue down as usual - good attack.

PART n:

1. 2. 3. 4.

Big breath. Breathe when you need to. Strive for all five notes on the end, but don't worry when you reach the extreme high notes if you are unable to play all five. Continue up as usual. Rest one hour.

1. 2. 3.

Practice strict tempo. Think "Ah", "Eee", etc. Continue up through seven valve positions as usual.

PART III:

PA RT IV:

Saint-Jacome's Grand Method Page 162, fifth exercise and models. 1. Practice slowly and accurately. 2. Practice with "K " tongue also.

PA RT V:

Clarke's Characteristic Studies, number four. 1. Practice one bar at a time slowly.

Part I

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6

Continue up through 7 valve positions

LESSON THIRTY-THREE

87

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. Big breath. 2. First five notes legato. Then double tongue. 3.  Think " Tee", "K ee " as you go up. 4.  Think Taw", "Kaw" on the low notes. 5. Make sure the "Kee" is as clear as the "Tee". 6. Continue down as usual.

PART II:

1. 2. 3. 4. 5.

Big breath. Practice as usual observing rests. Breathe when you need to. Speed up as you progress. You must discipline yourself to observe the rest periods because as you get stronger, you do not feel tired.

PART III:

1.

Practice accurate, steady tempo. Use a Metronome. Breathe when you need to. Speed up as you progress.

2. 3. 4.

PART IV:

Saint-Jacome's Grand Method Page 162, first variante and models. 1. Be sure that you are practicing all models. 2. Practice "K " tongue also.

PART V:

Clarke's Characteristic Studies, number five. 1. Practice in same manner. 2. Observe breathing marks.

Part I

, T k t k

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t k t k simil 

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Part II

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Continue up as far as possible. Rest at least one hour.

88

LESSON THIRTY-FOUR NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1.

Big breath.

2 . First five notes legato.

3.  Triple tongue the rest. 4. As you go up think "Te e" , "T ee ” , 5. Blow stronger as you go up. 6. Long last note.

ft

Kee ??

3. 4. 5.

Big breath. Practice evenly and not too slowly. Blow stronger as you go up. Continue up as usual. Rest at least one hour.

PART ni:

1. 2. 3.

Practice as usual with a Metronome. Speed up. Practice in all seven valve positions.

PART IV:

Saint-Jacome's Grand Method Page 163, second variante and models. 1. Use a Metronome. 2. Pra ctice "K " tongue also.

PART V:

Cla rke’s Characteristic Studies, number six. 1. Practice one measure at a time as before. 2. When practicing at the proper tempos, observe breathing marks strictly.

PART II:

1.

2.

Part I

9T T K T T K t t k T T K T T K T T K

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Part m

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Continue up through 7 positions.

6 

LESSON THIRTY-FIVE NOTE: THIS LESSON HAS FIVE PARTS.

PART I:

Big breath. Discipline yourself to make this a habit. Fill up. Big free, full sound. Observe accent marks. These accents are to make the air do the work. Hold the last note until all the air is gone and longer .  Force  yourself to keep this up. 5. Remember, I have only written one model. You must continue down by half-steps as usual as far as you can go. 6 Add your octave from Pedal "C " down. 7. Rest 15 minutes. 1. 2. 3. 4.

.

PART H:

PART III:

1. 2. 3. 4.

Big breath. Fill up when you get below half-way empty of air. Keep  plenty   of air. Start on the second Pedal "C " and practice as usual. Rest one hour before continuing on to Part ni.

1.

Practice evenly with a Metronome.

2 . Work for speed.

PART IV:

Saint-Jacome's Grand Method Page 163, sixth exercise and models. 1. Use a Metronome for even playing. 2. Practice with ” K" tongue also.

PA RT V:

Clarke's Characteristic Studies, number seven. 1. Practice one measure at a time as usual. 2. Observe breathing marks and Metronome tempo on finished product.

Continue down as far as possible. You should reach the third Pedal "C" Add octave at Pedal "C" as usual. Part II

loco 

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1. 2. 3.

Continue up as far as possible. When you reach the more extreme high register and find you can't do all eight notes, then do only as many as you can. Go as high as you can - make three attempts and that is a ll . Rest one hour at least.

Part m

2-

continually

Continue up through 7 positions

1 ..

.

1- 4.-4=-"T=r .

LESSON THIRTY-SIX NOTE: THIS LESSON HAS FIVE PARTS.

PA RT I:

1. Big breath. 2. First five notes legato. 3. Tongue the eighth notes with accents as usual. 4. Blow stronger going up. 5. Hold last note long as usual. 6. Continue down as far as possible. Observe rests and get horn off your mouth on each rest. 7. Rest 15 minutes.

PA RT II:

1. 2. 3. 4. 5. 6.

7.

Big breath. Practice the same as last lesson. Do not practice too slowly - use a moderate tempo. Breathe when necessary. Observe rests - train yourself. Continue up as far as possible. Rest at least one hour before continuing on to Part ni.

PART HI:

Arbans Celebrated Method, pages 42 and 43. 1. Exercise 18 use Metronome J  = 92. 19 use Metronome J  = 92. 20 use Metronome J   = 92. 21 use Metronome J = 92. 2. Increase Metronome tempo as you improve.

PA RT IV:

Saint-Jacome’s Grand Method Page 164, seventh exercise and models. 1. Work for accuracy first. 2. Use a Metronome. 3. Be sure to practice all models. 4. Practice seventh exercise "K " tongue also.

i 

PA RT V:

Clarke's 1. 2. 3. 4.

Characteristic Studies, number eight. These studies are putting your exercise to work. Practice one measure at a time,slowly. Observe accents. Breathe where marked on finished study.

94 Part I

1.

Continue down as far as possible

2.

Add octave on top at Pedal "C".

Part II 8  lower 

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8 low e r"' loco  a 

Continue up as far as possible Rest as long as you play. Rest at least one hour.

LESSON THIRTY-SEVEN NOTE: THIS LESSON HAS FIVE PARTS.

PA RT I:

1. 2. 3. 4. 5. 6.

Big breath. Breathe as marked (after half notes only). Blow stronger as you go up. Hold last note until all air is gone and longer. Continue down as usual. Rest 15 minutes.

PART n:

1. 2. 3. 4.

Big breath. Practice the same as the last lesson and about the same tempo. Continue up in the same manner as high as possible. Observe your rests. Rest at least one hour before continuing on to Part m.

PA RT HI:

Arbans Celebrated Method, page 44. 1. Exercise 22 Metronome J   = 100. 23 Metronome J = 100. 2. Increase tempo gradually as you progress.

PART IV:

Saint-Jacome's Grand Method Page 164, variante and models. 1. Practice variante with "K " tongue also.

PART V:

Clarke s Characteristic Studies, number nine. 1. Practice one measure at a time slowly  (at least four times each). 2. Be very accurate. 3. Prac tice up to tempo with breathing as marked.

96 Part I

Continue down as far as possible.

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In the the extreme extreme register, if yo you can't can't get get all sixteen notes-just do as many as possible.

2

Rest at least one hour

LESSON THIRTY-EIGHT NOTE: THIS LESSON HAS FIVE PARTS.

PART  I:

1. 2. 3. 4. 5. 6.

Big Bi g breath. Breathe Breat he where whe re needed. Blow strong str onger er on on the higher notes. notes. Continue Continue down down as far fa r as possib pos sible. le. Add the octave octa ve on top when when you reach Ped P edal al " C " on down down.. Rest at least lea st 15 15 minutes.

PART  n:

1. 2. 3. 4. 5. 6. 7. 8.

Big breath. Pract Pr actice ice steady, steady, deliberate tempo. tempo. Hold the dotted half note to a cresce cre scend ndo. o. Rest between each. If you you tire ti re,, ma make ke your rests res ts longer. Cresce Cre scendo ndo the dotted half. Continue Continue up as fa r as as possib pos sible. le. Rest at least lea st one hour hour befor be foree continuing continuing on to Part Pa rt

PART  IH:

Arbans Celebrat Cele brated ed Method, Method, page 45. 1. Exer Ex ercis cises es 24 Metronome J =   120. 25 Metronome J   = 120. 26 Metronome J = 120. 2. As you you prog pr ogre ress ss,, step up the Metronome Metron ome tempo one notch at a time. time .

IV : PART  IV:

Saint-Ja Sain t-Jacome come's 's Grand Method, page 165. 65. 1. Eighth exer ex erci cise se and and models. 2. Eighth Eig hth exercis exe rcisee " K " tong tongue ue..

PART V:

Clarke Cla rke's 's Charact Ch aracterist eristic ic Studie Studies, s, num number ten. ten.

98 Part I

1.

Continue Continue down down as fa r as possi po ssible ble..

2.

Keep full ful l of a ir - breathe when when necessary neces sary..

3.

Add octave on top at Pedal Ped al "C " C " as usual. usual.

Part II 8  lower 

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100

LESSON THIRTY-NINE NOTE: THIS LESSON HAS FIVE PARTS.

PART I:

1.

2.

3. 4. 5.

6. 7.

Big breath. First five notes legato - big, full sound.  Tongue all the rest of exercise. Hold the last note long as usual. Continue down as far as possible. Add the octave on top at Pedal MC" as usual Rest 15 minutes.

PART H:

1. Big breath. 2 . Start on second Pedal "C". 3. Play the pedal notes very accurately. 4. Blow stronger as you go up. 5. Do not practice too slowly although you may practice the pedal register slowly if necessary to be accurate. 6 . Continue up as far as possible in same manner. 7. Rest at least one hour before continuing on to Part HI.

PART III:

Arbans Celebrated Method, pages 46 and 47. 1. Set Metronome tempo.

PART IV:

Saint- Jacome's Grand Method Page 167, practice the full page and models. Practice with "K" tongue also.

PART V:

Clarke's Characteristic Studies, number eleven. 1. Practice in same manner as before.

Part I

l.

2.

Part II 8 lower 

Continue down as far as possible. Add octave at Pedal "C" as usual.

8  lower 

1. 2.

Continue up as usual as high as possible Rest at least one hour.

101

LESSON FORTY NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5. 6

PART II

.

1.

2.

3. 4. 5. 6.

Big breath. First five notes legato. Single tongue the eighth notes. Observe the rules as usual. Continue down as far as possible Rest a half hour. Big breath. Start on second Pedal "C". Good attack. Hold the last note with a crescendo. Rest with mouth off mouthpiece as long as you play. Continue up in this manner as far as possible. Rest at least one hour before continuing on to Part ni

PART HI

Lip Flexibilities By Walter M. Smith Page 16, exercise 10. 1. Observe markings and fingering. 2. Try to get all the notes that you can in the octave 3. Top note is the strongest. 4. Speed up as you improve. 5. Think "Ahh” , "E ee ", "AhhM, "E ee ", etc. 6. Rest.

PART IV:

Saint-Jacome's Grand Method Page 168, full page and models. 1. Practice slowly at first. 2. Then speed up with Metronome. 3. Pra ctice "K " tongue also.

PART V:

Clarke's 1. 2. 3.

Characteristic Studies, number twelve. Practice one measure at a time. You may practice without grace notes first, if necessary. Then add them On finished study, observe breath marks strictly.

Part I

1 j j g J T f l - n - F v n n g .j ..F w  . . "i—i yf  ^n ¡  J J "

4

fi . . FF

u n rrj^n ff

Ff

nn n n u c i r f 1. 2. 3.

Continue down as fa r as possible. Keep full of air - breathe whenever you need to. Add octave at Pedal "C " as usual.

. .

= = i

102

8 lower 

Part n

O

90

IS 

8  lower 

IS 

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9 O

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Continue up as far as possible Rest at least one hour.

o #

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 ß * . * . » .

104

LESSON FORTY-ONE NOTE: THIS LESSON HAS FIVE PARTS. PART I:

1. 2. 3. 4. 5. 6. 7. 8. 9.

Big breath. First five notes legato - big, full sound. Triple tongue the rest of exercise. Play strong on the top notes and think "T ee” , "T ee", "Kee". On low notes think "Taw ", "Taw ", "Kaw". Hold long last note as usual. Add the octave on top at Pedal "C " as usual. Continue down as far as possible. Rest fo r one hour.

PART II:

1.

Big breath. Start on second Pedal "C". Chromatic legato to top note. Hold.  Take a breath, but do not   take horn off your mouth. Make a good attack ("Tee") and come back down. Continue up as far as possible, observing rests. Rest at least one hour before continuing on to Part in.

2

.

3. 4. 5.

6. 7.

PART III:

1.

2.

3.

Practice double tongue. Slowly at first with even tempo. Practice over and over, many repetitions.

PART IV:

Saint-Jacome's Grand Method Page 169 and models. 1. Slowly and accurately. Then speed up. 2. Pra ctice "K " tongue also.

PA RT V:

Clarke's Characteristic Studies, number thirteen. 1. Practice one bar at a time as usual. 2. Breathe only where marked when you have the study up to tempo.

Part I

 T T K

 T T K simile   T T K t

t k

•••

Continue down as far as possible.

IS  long - until all air is gone and stomach shakes

1.

Continue up as usual as far as possible.

Part m  T K T K T K T K T K T K

 T K T K T K T K T K T K 2 _ 

 T K T K T K T K T K T K

 T K T K T K T K T K T K

! x:

 T K T K T K T K T K T K

1-

 T K T K T K T K T K T K

2

-

w 

 T K T K T K T K T K T K 1. Practice many times. 2 . Slowly at fir st then faster as you progress. 3. Rest often.

106

LESSON FORTY-TWO NOTE: THIS LESSON HAS FIVE PARTS.

PART I:

Big breath. First five notes legato. 3.  Then double tongue the rest of the exercise. 4. Continue down as far as possible. 1.

.

2

PART II:

1.

.

2

3. 4. 5.

6. 7.

. 9. 10 . 8

Big breath. Steady tempo in 3/4 time. Strong accent on each count.  Think "Tee" as you go up. Do not hesitate - keep the tempo steady. Develop surety with no  fear. Hold the last note and crescendo. Rest after each. Continue up as far as possible. Rest one hour.

PART HI:

1. 2. 3.

Practice double tongue. Use Metronome slowly. Speed up gradually.

PART IV:

Saint-Jacome's Grand Method Page 170 and models. 1. Work for accuracy,then speed. 2. Practice with "K " tongue also.

PART V:

Clarke's Characteristic Studies, number fourteen 1. Practice in same manner. 2. Rest when you are tired.

MAKE SURE THAT YOU TAKE YOUR HORN OFF YOUR MOUTH ON THE RESTS!  T

Part I

 T K simile 

K

O Continue same down as far as possible long

Part II

107

Continue up in same manner as far as possible Rest at least one hour.

1. 2

Part m

.

 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 K T K T K

 T K T K T K T K T K T K

 T

 T K

k

t

k

t

k

t

k

t

k

t

k

T K T K T K T K T K

I :||  T K T K T K T K T K T K Repeat each many times. 1. 2.

Keep a steady consistant tempo. Speed up as you progress.

108

LESSON FORTY-THREE

. ' 9*  

NOTE: THIS LESSON HAS FIVE PARTS. PART I:

3. 4.

Big breath. Practice as usual. Continue as far down as possible Rest 15 minutes.

1.

Big breath.

1. 2

PART H:

2

.

. Same as last lesson with one octave added.

3. 4. 5.

6. 7. PART m:

1. 2

.

3. 4.

Start on second Pedal "C". Accent each count strongly. When you reach half-way, notice that you add an octave at the start from Pedal "C" to high "C". Continue up as usual. Rest carefully - do not over-tire. Rest one hour before continuing on to Part EH. Double tongue. Many repetitions. Start working for speed. Keep a steady tempo. Use the Metronome.

PART IV:

Saint-Jacome's Grand Method Page 171 and models. 1. Practice "K " tongue also. 2. Slowly at first.

PART V:

Clarke's Characteristic Studies, number fifteen 1. Practice each bar at a time.

REMEMBER - ALWAYS START WITH A BIG BREATH OF AIR,

LUNGS FULL.

Part I )T T K T T K T T K x T K simile 

Part H

8 lower • loco 

8 lower • : loco 

8 lower • : loco 

Continue down as usual. 73 long 8 lower • • loco 

8 lower • : loco 

8 lower •

•

109

8 lower • • loco

8 lower • : loco

8 lower • : loco 

8 lower •• loco 

8lower': loco 

8 lower'', loco 

8 lower 

 f V

Note: You have now added one octave lower at the start.

¥• T W 

8 lower • • loco 

Continue up as far as possible. Part m

 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 K T K T K

 T K T K T K T K T K T K l

2

2

3

 T K J

T K T K T K T K T K

T rrrfr r r
 T K T K T K T K T K T K

 T K T K T K T K T K T K

m

110

LESSON FORTY-FOUR NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1. 2. 3. 4. 5.

Big breath. Observe legato and tonguing carefully. Long last note. Continue down as fa r as possible. Rest 15 minutes.

PART n:

1. Big breath. 2. Breathe when you need it. 3. Start on second Pedal ”C". Legato totop"C ". Takea breath, but do not  take horn off mouth. 4. Start down with good attack,and tongue therest of the exercise. 5. Make the last note full and strong. 6. Continue up 4s usual as far as possible. 7. Rest one hour.

PART m:

Saint-Jacome's Grand Method Page 191, exercise ten and models. 1.Practice all models slowly. Watch  your key signature. 2. Practice with "K " tongue also.

PART IV:

Clarke's Characteristic Studies, number sixteen. 1. Slowly - one bar at a time. 2. Then practice the entire study. 3. Observe breath and tempo markings.

YOUR U P IS LIKE THE PUMP OR MOTOR IN A WINDMILL. NO MATTER HOW STRONG THE M OT OR: - - IT CANNOT WORK IF THERE IS NO WIND.

I

Ill

Part I  T K T K T K Tf £

* h

T 

JJ¡JjWwù C!ir.. T K T K T K T_K T

d 

K

/T\   r-

1

i. 2.

# #

9

Continue down by half-steps as usual. Add octave as usual when you reach Pedal "C".

Part n

8 lower 

8 lower 

1.

loco 

Continue up starting on C# then D - Eb as usual as far as possible.

Models for Practicing Part I. Model Ii Moaei

I i j j j j ’

f t / f r r - m

i j

) Continue down T3 

Model II

Continue down

112 LESSON FORTY-FIVE

NOTE: THIS LESSON HAS FOUR PARTS.

PA RT I:

1. 2. 3. 4.

Big breath. First five notes legato. Then double tongue Practice in same manner as you always do. Rest 15 minutes.

PA RT H:

1. 2. 3. 4. 5. 6. 7.

Big breath. Start on second P_edal "C". Legato up, take a breath and tongue the rest. Practice the last bar in steady tempo,with each beat accented strongly. Rest as long as you play. Continue up,as always,as far as possible. Rest at least one hour before continuing on to Part HI.

PA RT HI:

Saint-Jacome's Grand Method 1. Page 192, Exercise 11 and models. 2. Pra ctice Exercise 11 with "K " tongue also.

PA RT IV:

Cla rke's 1. 2. 3.

Characteristic Studies, number seventeen. Pra ctice one bar at a time,slowly and accurately. Use a Metronome on the finished study. Observe breath marks.

113 Part I  _______________> t k

j

j

t

K

K

k

  T.*

Tr £

n

n

j i n

J j j

t

t

T

K

T

K

!

k

  f

f

r

f

I

r

t

H

h

i j f r r -f-iT L r n

^

6 

Continue down as usual,as far as possible.

Part n

loco 

8 lower 

8 lower 

8 lower 

loco 

w 

w  ll 8 lower 

loco 

1.

Continue up by half-steps as usual, as far as possible.

2.

Rest at least one hour.

LESSON FORTY-SIX

NOTE: THIS LESSON HAS FOUR PARTS.

PART I:

1. This is much shorter than usual because of the length of routine number two 2. Big breath. r 3. All legato - blow stronger as you go up. 4. Notice: Add one octave on top when you reachPedal "C " sharp and continue down this way as far as possible. 5. Hold long last note as usual. 6. When you have gone as far as possible, rest 15minutes.

PART n:

1.

Big breath. 2 .  The same exercise as the last lesson with one octave added on top. 3. Keep an even tempo on the last two bars with a strong accent on each count. 4. Continue up as far as possible. 5. Rest at least one hour before continuing on to Part IH.

PART HI:

Saint-Jacome's Grand Method Page 192, exercise twelve and models. 1. Practice slowly and evenly. 2. Gradually work for speed. 3. Practice "K " tongue also.

PA RT IV:

Clark e’s Characteristic Studies, number eighteen. 1. Practice one bar at a time,as usual.

DON'T FORGET - HOLD LONG LAST NOTES ON FIRST ROUTINE (P AR T I ) DAY, UNTIL ALL OF THE AIR IS GONE AND STOMACH SHAKES.

 j 

EVERY

i ' d . r ii

1.

2.

Continue down as far as possible When you reach Pedal "C#" add one octave on top as follows:

8 lower • :

&  -d

tp

1. When you reach 2nd Pedal "C#" add the octave on top again.

loco 

Part II 8 lower 

8 lower 

8 lower 

loco 

8 lower 

w 

? 1.

Continue up as far as possible,by half-steps as usual.

2.

Rest at least one hour.

116

LESSON FORTY-SEVEN

NOTE: THIS LESSON HAS FOUR PARTS.

PA RT I:

1. 2. 3. 4.

Big breath. Notice: Continue down as usual, but add an octave on top when you reach Pedal "D". Hold the last note long as usual. When you have gone as fa r as possible, rest 15 minutes.

PART H:

1. 2. 3. 4. 5. 6. 7.

Big breath. Start on second Pedal ”C". Blow stronger as you go higher. Crescendo the last note, observing rests. Breathe when necessary. Always have plenty of air on the top notes. Continue up as fa r as possible. Rest one hour before continuing on to Part HI.

PART ni:

Saint-Jacome’s Grand Method Page 194, exercise thirteen and models. 1. Practice slowly and evenly. 2. Do not "peck" notes - use a good, full attack always. 3. Practice with "K " tongue also.

PART IV:

Clarke's Characteristic Studies, number nineteen 1. Pra ctice slowly one bar at a time. 2. Then work to Metronome tempo.

Part I

1.

Continue down down as usual.

2.

Add octave octav e on top when when you you reach Pedal Pe dal "D" "D "

Part n 8 lower 

8 lower 

■à   ## fa*

1.

Continue up as high as poss po ssib ible le

2.

Rest Res t at least lea st one hour. hour.

118

LESSON FORTY-EIGHT

NOTE: TfflS LESSON HAS FOUR PARTS.

PA RT I:

1. 2. 3. 4. 5.

Big breath. breath. Pra Pr a ctic ct icee in the same manner manner as usual. usual. Note: Add the octave on top when when you reach the Pedal Ped al "E " E " flat Continue down in the same manner. Rest Re st 15 minutes. minut es.

PA RT H:

1. 2. 3. 4. 5.

PA RT HI: HI:

Saint-Jacome's Grand Grand Metho Method d Pagee 196 Pag 196, exer ex erci cise se sixteen six teen and and models. 1. Slow and accura acc urate. te. 2. Use the Metronom Metr onome. e. 3. Pra ctice cti ce with "K " tong tongue ue also.

PA R T IV:

Clarke Cla rke's 's Characte Cha racteristi risticc Studie Studies, s, numb number er twenty twenty.. 1. Pra ctice cti ce one one measure at a time slowly slowl y and and accurately 2. Then work to Metronome tempo.

Big breath. breath. Start on second Pedal Ped al "C ". Breathe when when necessar nece ssary. y. Have plenty of air ai r fo r the the top note. note. Continue Continue up as fa r as possib pos sible. le. Rest Res t as much much as you play. play . When When you have gone gone as fa r as you you can, can, make three thr ee attempts 1  Then  Then rest re st one one hour,at least,be lea st,before fore continu continuing ing on on to Pa rt m .

1

Continue down.

2

Add octave on top when you reach Pedal "Ei>"

Part II 16 lower 

: 8 lower 

16 lower 

8 lower 

loco 

8 lower 

P S >

4

i 

4

é

4

^

> >

>

>

>

:

4 ^> >3

1.

Continue Continue up as usual.

2.

Rest Res t at least lea st one hour

>

b#

>■ >• ■»

120

LESSON FORTY-NINE

NOTE: TfflS LESSON HAS FOUR PARTS.

PA RT I:

1. 2. 3.

Big breath. Practice in the usual manner. Note: Add the octave on top when you reach Pedal " E " and continue down in the same manner.

PA RT n:

1. 2. 3. 4. 5. 6.

Big breath. Start on the second Pedal "C ". Blow stronger on the higher octaves. Hold the notes with hold marks with a crescendo. Continue up as fa r as possible. Rest as usual.

PART m:Saint-Jaco me's Grand Method Page 197, exercise seventeen and models. 1. Practice slowly and accurately. 2. Pra ctice with "K " tongue also. PA RT IV:

Clarke's Characteristic Studies, number twenty-one. 1. Practice in same manner.

DO NOT HOLD BACK.

YOU MUST DEVELOP A STRONG, CONSTANT FLOW OF AIR FIRST 

 THE SOFT CONTROL IS DEVELOPED AF TE R THIS.

w

w  1.

Continue down.

2.

Add octave when you reach Pedal "E ".

TD 

Part II 8 lower  (O

“5

4

f 3 =

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Continue up as far as possible.

Cs ^ j£#i2

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122

LESSON FIFTY

NOTE: THIS LESSON HAS FOUR PARTS.

PA RT I:

1. 2. 3. 4.

Big breath. Continue down as usual. Note: Add an octave on top when you reach Pedal " F " and continue in the same manner. Rest.

PART n:

1. Big breath. 2. Blow freely (not too loud). 3. When you start back up, step on the gas gradually so that you blow stronger on the higher notes. Do not hold back. 4. Rest as marked and continue up in this manner as high as possible. 5. Rest one hour, at least .before continuing on to Part HI.

PA RT m:

Saint-Jacome's Grand Method Page 198, exercise eighteen and models 1. Practice slowly and accurately. Then speed up. 2. Practice "K " tongue also.

PA RT IV:

Clarke's Characteristic Studies, number twenty-two 1. Practice in the same manner.

Part I

1.

Continue down as fa r as possible.

2.

Add octave on top when you reach Pedal " F ".

Part n

I

8 lower  i n n  ■a 

IS US US 

■o ^ é  S a 7S  73 T9 S

I SS 7 S

8 lower • • • loco ”© "6  T9 'O'OO 

n a  ■©

8 lower  ■0T073 

T3 -&TS a w 

TS  ■» ■© -o

8 lower  3 9 9

8 lower • • :.

« « « 1.

Continue up as fa r as possible.

2.

Rest at least one hour.

LESSON FIFTY-ONE

124

NOTE: THIS LESSON HAS FOUR PARTS. 1.

PART I:

2

Big breath. Remember, accent the top note. Remember, blow stronger as you go higher. Note: Add the octave on top when you reach low F sharp Continue down in this manner as far as possible. Rest.

.

3. 4. 5. 6.

1. Big breath. . Start on second Pedal "C". 3.  The third note of each group should be the strongest,with a hold 4. Blow stronger as you blow higher. 5. Continue up in this manner as far as possible. 6. Rest.

PART II:

2

PART III:

Saint-Jacome's Grand Method Page 199, exercise nineteen and models. 1. Practice slowly and accurately. 2. Practice ” K" tongue also.

PART IV:

Clarke's Characteristic Studies, number twenty-three. 1. Practice one bar at a time,as usual.

Part I

73 W

Part II

8 lower - :

~6 

1.

Continue down as far as possible.

2.

Add octave on top when you reach low "F #".

toc(,

is O

A

"3 8 lower •

• • •

125 L

8 lower • • • •

, loco

’

r

............... ................... .

' j n 

~l

'"

 

.....................

»• •

Continue up in same manner as far as possible

1. 2

—r °

J ¿  T  .....  

n HL  "3

 TS 72 _ 5

8 lower •

9 

^----- P / \ \ 

.

Rest at least one hour.

Models for practicing Part I Model I

é  r_r.r. LiJ Model II

Continue down Modél IV

2

r

n

m

m

m

w ¥ 7  m

rs 

5-  j s 

long

Continue down

126

LESSON FIFTY-TWO

NOTE: THIS LESSON HAS FIVE PARTS. PA RT I:

1. 2. 3. 4.

Big breath. Note: Add the octave on top when you reach low "G ". Continue down in the same manner as fa r as possible Rest.

PA RT n:

1. 2. 3. 4. 5. 6. 7.

Big breath. Start on Pedal "C ". Good, full attack on each note. Blow stronger as you go up. Rest as much as you play. Breathe whenever you need to. Continue up as fa r as possible.

PART ni:

1.  The reverse of Pa rt n.

PA RT IV:

Saint-Jacome's Grand Method Page 200, exercise twenty and models. 1. Pra tice slowly and accurately. 2. Then work fo r tempos as marked. 3. Practice "K " tongue also.

PA RT V:

Clarke's Characteristic Studies, number twenty-four. 1. Practice each measure slow and accurate. 2. Work to tempos marked. Breathe as marked

2.

Continue down as far as possible.

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Continue down as far as possible.

1.

Add one octave on top when you reach low "G ft

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2

Part II

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Continue up by half-steps as usual,as fa r as possible.

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To Whom It May Concern: I'v e known Claude Gordon and have admired his pla ying fo r many year s, I think he 's among the best and feel he has a lot to off er in his new book. He haa students all over the country, and I assure you no time is wasted in seeking t^improve along the linea he recomm

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•UCC/ V«* Let me say the re i s no short cut to suc cessful trumpet playing, but I have found the method that assures success with conscientious practice*-the Claude Gordon method. After years of "hit and miss" studies which led to fears and self doubt» 1 began studyla with Mr. Gordon; and with in the year my   con* fidence waa restored . Deily practice once again became a pleasure, professional pleyi a%th ri ll. Speaking as both a student and profession/ I would like to thank Mr. Gordon for his years of reseerch in the field of trumpet study and teach

llyvQod,   Calif.

THE GENIUS OF

UDE GORDON