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Trumpet clinic

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The document discusses strategies for developing a strong trumpet section in school bands. It recommends starting beginning students on cornet instead of trumpet, as cornets are easier to play due to their shorter length and conical bore. However, it states students should switch to trumpet after two years, once they have mastered proper technique. The document provides guidance on developing good posture, breathing, and buzzing skills in students. It also gives warm-up exercises and tips for addressing common tone issues.

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Building A Better Trumpet Section Dr. P. Bradley Ulrich EDUCATION SERVICES
Dr. P. Bradley Ulrich DR. P. BRADLEY ULRICH, Professor of Music, has taught trumpet at Western Carolina University since 1989. Dr. Ulrich received his Bachelor of Music Degree in Trumpet Performance from the Florida State University where he studied with Bryan Goff. His Master of Music and Doctor of Musical Arts degrees in Trumpet Performance and Literature were awarded from the University of Illinois, Champaign-Urbana, where he studied with Ray Sasaki and Michael Tunnell. He has also studied with Raymond Mase, George Vosburgh, Adolphe Herseth, James Thompson, and Vincent DiMartino. Maintaining an active performing career, Dr. Ulrich is currently Principal Trumpet with the Brevard Chamber Orchestra and the Hendersonville Symphony Orchestra. In addition, he also performs with both the Asheville Symphony Orchestra (NC) and the Greenville Symphony Orchestra (SC). He has formerly held positions in the Springfield Symphony Orchestra (IL), the Champaign-Urbana Symphony (IL), Sinfonia da Camera (IL), and the Cedar Falls Waterloo Symphony (IA). In addition to his orchestral experience he has performed numerous recitals in the Southeast, performed with the Smoky Mountain Brass Band, one of Western North Carolinas finest brass quintets, and has also been a featured soloist with the Brevard Chamber Orchestra. Dr. Ulrich has published numerous articles in the International Trumpet Guilds Journal and since 1999, has been the Public Relations Director for ITG. Brad is an Educational Clinician and member of the Product Advisory Council for Jupiter Band Instruments Inc. Statement of the Challenge No band program can perform well without a solid trumpet section The trumpet is one of the most challenging instruments to develop proper technique and good tone Most students, regardless of size, begin learning on trumpet During extended and consistent practice, beginning students may find trumpets heavy and tiring, ultimately discouraging them from practicing Many students beginning trumpet study are of a size and stature that is better accommodated by a cornet Advantages of Starting on Cornet The cornet is easier for a beginner to hold in the correct position because its tubing is wrapped tighter, making the instruments overall length shorter. It is easier for the beginner, with short arms, to balance the cornet and hold the instrument for longer periods of time. When the instrument is held at the correct angle it becomes easier to achieve the proper embouchure and the overall tone production will be more pleasant. With the proper instrument balance the student will be able to use the first and third valve slides more easily to adjust flaws in pitch. The cornet has a naturally mellow sound that can give the student a better concept of tone. The cornet has a conical bore verses the more cylindrical bore of the trumpet. Consequently, cornets are easier blowing. Particularly important when you consider beginning students usually have 1 to 1 1/2 liters of air (most adult trumpeters have 4-6 liters). Cylindrical Bore (Trumpet) Conical Bore (Cornet) Switching To Trumpet Though cornets offer beginning students the easiest and most comfortable opportunity to develop skills, trumpets are the more common performance instrument offering a wider range of tonalities, and abilities. In performance opportunities cornets are most appropriately suited for British Brass Bands, while trumpets offer the ideal tone colors for American music including symphonic, jazz, and brass ensembles. Consequently, it is recommended that upon development of basic skills, students switch to trumpet.
Students should switch to trumpet only after a clear understanding and use of the following disciplines are consistently displayed: - Proper posture and hand position Proper breathing habits and breath support Development of a good buzz and the ability to buzz on pitch Development of a good non-airy tone Consistent use of 1st and 3rd valve slides to correct simple inherent pitch problems - Display of excellent daily warm-up routine Students are generally ready to switch to trumpet after two years of study. Research indicates: - Reasons for quitting an instrument include: too hard to play, too big and weights too much, dont like the sound, its boring, its dumb, I dont like it - Adolescents have an uncontrolled desire to be equal or part of the in-crowd and will be less motivated playing a different type of instrument - Beginning string players start on smaller instruments; flute players use curved headjoints to reduce the size of the instrument; tuba players begin on 3/4 size instruments or euphoniums Motivate by Creating a Friendly Environment Try to avoid using the word hard, or difficult when referring to techniques, range on the trumpet, or passages in music, as this will create mental blocks for the student. Also avoid the phrase high note as students tend to equate it as being more difficult. Try to mention positive aspects of a students playing before introducing constructive criticism. the arms all of the way down to the sides keeping the chest in the high position. This should achieve the correct posture which is used when standing or sitting. Breathing Starting each session with breathing exercises is imperative! Students should be striving for a low-pitched HAW sound on inhalation. An invigorated yawn is another way to gain a correct breath. A good sounding breath is a good breath! 3/4" PVC pipe cut 3" long placed in the teeth will remind the students of the deep sounding inhalation required. Breathing should be done in time with the music. Make sure that the breath is exhaled immediately after inhalation (no hesitation). The only sound one should hear in the inhalation process is a low-pitched HAW. Below are some examples of breathing exercises that should be used each day. These are done at approximately 60 beats per minute: Exercise No. 1 4 beats in, 4 beats out (repeat) 2 beats in, 2 beats out (repeat) 1 beat in, 1 beat out (repeat) rest Exercise No 2 4 beats in, 4 beats out (crescendo on exhalation) 4 beats in, 8 beats out (crescendo on exhalation) 4 beats in, 12 beats out (crescendo on exhalation) rest Starting Off Correctly Nothing is more important than starting students off correctly! Posture, breathing, mouthpiece buzzing, warming up, and attention to pitch should be taught from the beginning. It is easier to teach correctly from the beginning than it is to correct bad habits! Posture The student should sit or stand with an arch in their lower back, chest held high and neck straight. Good posture can be achieved by having the student stand up straight, stretching their arms up over their heads. Lower the arms out to the sides (9 and 3 oclock position) keeping the chest high. Next, 2 beats in, 4 beats out (crescendo on exhalation) 2 beats in, 8 beats out (crescendo on exhalation) 2 beats in, 12 beats out (crescendo on exhalation) rest 1 beat in, 4 beats out (crescendo on exhalation) 1 beat in, 8 beats out (crescendo on exhalation) 1 beat in, 12 beats out (crescendo on exhalation)
Mouthpiece Buzzing Students must also work on mouthpiece buzzing everyday. The better the buzz, the better the tone, intonation, and pitch accuracy on the instrument. At first, beginners should be encouraged to buzz on any pitch. It is difficult for beginner to match pitch right away. A good buzz is one with as much vibration as possible (the buzz should sound like a swarm of bees). Have the student play a siren buzz on the mouthpiece starting very low and glissing as high as they can and then back down. Be sure to stress a strong vibration at all times in the buzz. Over time, the student should begin to match pitches. This can be accomplished by playing a pitch on the piano, having the student sing the pitch and then match it on the mouthpiece. Simple melodies, with a strong, consistent vibration and attention to intonation should then be buzzed. When the student has mastered these basic buzzing suggestions they should progress to wider intervals. On all long tones, the air should continue to move quickly through the instrument. Blowing quickly through the instrument will energize the sound and keep the pitch from sagging on long tones. As the student descends, they should hold the pitch up. As they ascend, they should hold the pitch down. Not only will this correct some basic intonation problems, but it will also help center their tone. Other Basics Students should be taught NOT to use the pinky ring on the leadpipe. Using this ring will create tension in the 3rd valve finger and slow down its motion. Keep the fingers on the right hand rounded. The pads of the fingertips should remain in contact with the valve buttons. Keep the wrist of the right hand straight. Bending the wrist will create unwanted tension. Simple Solutions to Tone Problems What Else Can I Do? An airy tone is often an indication of the aperture of the lips being too wide. Correct this by having them use much more air and firming the corners of their mouth. Start a trumpet ensemble, which will expose students to more literature A pinched tone can be caused by: The student not blowing enough air through the instrument The teeth being too close together (should be approximately 1/8" apart; have them bite on the nail of their pinky finger to approximate this distance) The embouchure is too tense. RELAX! Daily Warm-up Routine Following breathing and mouthpiece buzzing exercises, the student should perform exercises incorporating long tones, simple flexibility, and articulation. These exercises can be elementary variations on the chromatic scale or major scales and arpeggios. Most beginning method books include exercises in each of these areas. To receive a complimentary warm-up sheet, contact Dr. Ulrich at Ulrich@email.wcu.edu. Provide potential cornet students with audio and video examples of cornet performances Encourage students to join the International Trumpet Guild (ITG) Challenge beginners better suited for cornet to play a cool instrument cornet. If the instrument is presented as unique and fun to play students will not feel different Choose interesting and enjoyable music that will maintain and increase the students interest Utilize solo and ensemble to develop student repertoire Strongly encourage all of your students to obtain private lessons with qualified instructors Bring in guest performers to demonstrate what is possible on the instrument Helpful Resources Solving Simple Pitch Problems International Trumpet Guild .................................... www.trumpetguild.org The 3rd valve slide should be extended approximately 1/2" on low D and 1" on C#. D, E-flat, and E are inherently very flat notes on the cornet/trumpet. A simple fix is to have the student raise their eyebrows on these notes! Using faster air and changing tongue placement by pronouncing ee will also help to raise the pitch. The Trumpet Players International Network ........... trumpet.dana.edu The Trumpet Spot ..................................................... www.trumpetspot.com Jupiter Band Instruments ......................................... www.jupitermusic.com
Selected Cornet/Trumpet Solo Repertoire Grade 1 Trumpet Methods and Studies Andre 12 Etudes caprices dans le style baroque (piccolo trumpet) (Editions Billaudot) Balasanyan 20 Studies, ed. Foveau (International) Balay 15 Etudes Bellamah Forty-Four Melodius Warm-up Exercises, Gr. 3 (B112) Grade 2 Bellamah A Trumpeters Treasury of Information (B450) Bach Fitzgerald Maltby Telemann Bellstedt Twelve Famous Technical Studies, Gr. 2 (B113) Bizet, N. 12 Grandes etudes de perfectionnement (A. Leduc) Bodet 16 Etudes de virtuosite dapres J.S. Bach (A. Leduc) Barnes Hartzell Hering Clifford Barnes trumpet Album A Trumpeters Prayer Classic Pieces for the Advancing trumpeter Smith Smith Vandercook Vincent Firefly Picnic time Lyra Air for Cornet Aria, bist du bei mir English Suite Ceremonial March Suite No. 1 Vandercook Vega Voxman Concert and Contest Collection Williams Little Classics Trumpeters Lullaby Lied Magic Trumpet Scarlatti/ Fitzgerald Wastall Bordogni/ Clark Grade 3 Anderson Bozza Burke Bordogni Scarlatti Suite Baroque Music for Trumpet 24 Vocalises, trans. Porret (transposition) (A. Leduc) Bousquet 36 Celebrated Studies, ed. Goldman (C. Fischer) Brandt 34 Studies and 24 Last Studies, ed. Vacchiano (Belwin-Mills) Broiles Have Trumpet . . . Will Transpose (transposition) (C. Colin) Broiles Grade 4 Balay Bernstein Clarke, H. Corelli Gibbons Twenty Solo Studies for Trumpet, Gr. 3 (B235) Petite Piece Concertante Rondo for Lifey Twilight Dreams Sonata VIII Gibbons Suite Hovhaness Nagel Reed Ropartz Wallin Prayer of St. Gregory Baroque Music for Trumpet Ode for Trumpet Andante and Allegro Elegi Bride of the Waves Carnival of Venice Maid of the Mist Concert Etude Aria Con Variazioni Hartley Latham Ravel Smith Turrin Sonatina Suite Pavance Willow Echoes Caprice Trumpet Baroque, 2 vols. (piccolo trpt.) (Queen City) Charlier Etudes transcendantes (A. Leduc) Chavanne 25 Characteristic Studies, ed. Voisin (International) Clarke Technical Studies (C. Fischer) Setting Up Drills (C. Fischer) Elementary Studies (C. Fischer) Characteristic Studies (C. Fischer) Colin Advanced Lip Flexibilities (C. Colin) Duhem 24 Etudes (C. Fischer) Endresen Supplementary Studies (Rubank) Gallay 22 Exercises, ed. Maire (A. Leduc) 12 Grand caprices, ed. Maire (A. Leduc) 39 Preludes, ed. Maire (A. Leduc) Glantz The Complete Harry Glantz (C. Colin) Grade 6 Goldman Practical Studies (C. Fischer) Arban Clarke, H. Haydan Hindemith Gordon Physical Approach to Elementary Brass Playing (C. Fischer) Grade 5 Clarke, H. Clarke, H. Clarke, H. Goedicke Handel/ Fitzgerald Carnival of Venice The Debutante Concerto in E-Flat Sanate Hummel Kennan Peeters Stevens Concerto in E-Flat Sonata Sonata Sonata Gower and Rubank Advanced Method (Rubank) Voxman (ed.) Harris Advanced Studies (C. Colin) Hering 32 Etudes (C. Fischer) Hickman The Piccolo Trumpet (Tromba Publications) Hovaldt Lip Flexibility (R. King) Irons Twenty-Seven Groups of Exercises, Gr. 3 (B114) Kase Twenty-One Studies in Style and Interpretation, Gr. 4 (B290) Kopprasch 60 Studies, ed. Gumbert and Herbst, 2 vols. (C. Fischer) (continued on back cover)
Jupiter has a complete line of high quality Cornets and Trumpets to help build your horn section 606MRL Bb Deluxe Standard Trumpet 520ML Bb Cornet Lacquered brass body Shepherds crook Monel pistons 1st valve thumb hook 3rd valve slide throw ring .460" bore 4.7" bell Woodframe case Lacquered brass body Rose brass bell and leadpipe Monel pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 520MS Bb Cornet Above with silver plated finish 1000S Bb Intermediate Trumpet Medium weight silver plated brass body Monel pistons .460" bore 4.8" bell 1st valve thumb hook and 3rd valve throw ring Amado water keys Professional engraved bell Woodframe case 1002S Bb Intermediate Trumpet Above with 5" flared bell 600NL Bb Standard Trumpet 600ML Bb Standard Trumpet Lacquered brass body Monel pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 600MS Bb Trumpet Above with silver plated finish Lacquered brass body Nickel silver pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 600NS Bb Trumpet Above with silver plated finish
Trumpet Methods and Studies (continued) Laurent Etudes pratiques, 3 vols. (A. Leduc) Longinotti lEtude de la trompette (Editions Henn) Studies in Classical and Modern Style (International) Pares Scales (Rubank) Petit 15 Etudes techniques et melodiques (A. Leduc) Grandes etudes (A. Leduc) Pietzsch Twenty-Two Virtuosity Studies, Gr. 5 (B115) Ridgeon Brass for Beginners (Boosey & Hawkes) Robinson Rubank Elementary Method (Rubank) Rubank Elementary Method For Trumpet Intermediate Method For Trumpet Advanced Method For Trumpet, Vol. I Advanced Method For Trumpet, Vol. II Exercises On The Emission Of Fundamental And Harmonic Tones Sachse 100 Etudes (transposition) (International) Salv. Army 101 Technical Exercises (Salvation Army) Schlossberg Daily Drills and Technical Studies (M. Baron) Skornicka Rubank Intermediate Method (Rubank) Smith Top Tones (C. Fischer) Lip Flexibility (C. Fischer) Staigers Flexibility Studies, 2 vols. (C. Fischer) Stamp Warm-ups plus Studies (Editions Bim) Vacchiano Trumpet Routines (C. Colin) Webster Method for Piccolo Trumpet (Brass Press) Wiggins First Tunes & Studios (Oxford) Zauder Embouchure & Technique Studies (C. Colin) Supplemental Materials Baird Caruso Clarke Farkas Findley Lucas Sanborn Weast Williams Developing Technique Musical Calisthenics for Brass Setting Up Drills The Art of Brass Playing Bob Findley On Trumpet Pedal Note Studies Brass Tactics Famous Trumpet Players The Secret of Technique-Preservation Jupiter Band Instruments, Inc. PO Box 90249 Austin, TX 78709 (512) 288-7400 bi@jupitermusic.com PRINTED IN USA J-01-XXM-10

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Trumpet clinic

  • 1. Building A Better Trumpet Section Dr. P. Bradley Ulrich EDUCATION SERVICES
  • 2. Dr. P. Bradley Ulrich DR. P. BRADLEY ULRICH, Professor of Music, has taught trumpet at Western Carolina University since 1989. Dr. Ulrich received his Bachelor of Music Degree in Trumpet Performance from the Florida State University where he studied with Bryan Goff. His Master of Music and Doctor of Musical Arts degrees in Trumpet Performance and Literature were awarded from the University of Illinois, Champaign-Urbana, where he studied with Ray Sasaki and Michael Tunnell. He has also studied with Raymond Mase, George Vosburgh, Adolphe Herseth, James Thompson, and Vincent DiMartino. Maintaining an active performing career, Dr. Ulrich is currently Principal Trumpet with the Brevard Chamber Orchestra and the Hendersonville Symphony Orchestra. In addition, he also performs with both the Asheville Symphony Orchestra (NC) and the Greenville Symphony Orchestra (SC). He has formerly held positions in the Springfield Symphony Orchestra (IL), the Champaign-Urbana Symphony (IL), Sinfonia da Camera (IL), and the Cedar Falls Waterloo Symphony (IA). In addition to his orchestral experience he has performed numerous recitals in the Southeast, performed with the Smoky Mountain Brass Band, one of Western North Carolinas finest brass quintets, and has also been a featured soloist with the Brevard Chamber Orchestra. Dr. Ulrich has published numerous articles in the International Trumpet Guilds Journal and since 1999, has been the Public Relations Director for ITG. Brad is an Educational Clinician and member of the Product Advisory Council for Jupiter Band Instruments Inc. Statement of the Challenge No band program can perform well without a solid trumpet section The trumpet is one of the most challenging instruments to develop proper technique and good tone Most students, regardless of size, begin learning on trumpet During extended and consistent practice, beginning students may find trumpets heavy and tiring, ultimately discouraging them from practicing Many students beginning trumpet study are of a size and stature that is better accommodated by a cornet Advantages of Starting on Cornet The cornet is easier for a beginner to hold in the correct position because its tubing is wrapped tighter, making the instruments overall length shorter. It is easier for the beginner, with short arms, to balance the cornet and hold the instrument for longer periods of time. When the instrument is held at the correct angle it becomes easier to achieve the proper embouchure and the overall tone production will be more pleasant. With the proper instrument balance the student will be able to use the first and third valve slides more easily to adjust flaws in pitch. The cornet has a naturally mellow sound that can give the student a better concept of tone. The cornet has a conical bore verses the more cylindrical bore of the trumpet. Consequently, cornets are easier blowing. Particularly important when you consider beginning students usually have 1 to 1 1/2 liters of air (most adult trumpeters have 4-6 liters). Cylindrical Bore (Trumpet) Conical Bore (Cornet) Switching To Trumpet Though cornets offer beginning students the easiest and most comfortable opportunity to develop skills, trumpets are the more common performance instrument offering a wider range of tonalities, and abilities. In performance opportunities cornets are most appropriately suited for British Brass Bands, while trumpets offer the ideal tone colors for American music including symphonic, jazz, and brass ensembles. Consequently, it is recommended that upon development of basic skills, students switch to trumpet.
  • 3. Students should switch to trumpet only after a clear understanding and use of the following disciplines are consistently displayed: - Proper posture and hand position Proper breathing habits and breath support Development of a good buzz and the ability to buzz on pitch Development of a good non-airy tone Consistent use of 1st and 3rd valve slides to correct simple inherent pitch problems - Display of excellent daily warm-up routine Students are generally ready to switch to trumpet after two years of study. Research indicates: - Reasons for quitting an instrument include: too hard to play, too big and weights too much, dont like the sound, its boring, its dumb, I dont like it - Adolescents have an uncontrolled desire to be equal or part of the in-crowd and will be less motivated playing a different type of instrument - Beginning string players start on smaller instruments; flute players use curved headjoints to reduce the size of the instrument; tuba players begin on 3/4 size instruments or euphoniums Motivate by Creating a Friendly Environment Try to avoid using the word hard, or difficult when referring to techniques, range on the trumpet, or passages in music, as this will create mental blocks for the student. Also avoid the phrase high note as students tend to equate it as being more difficult. Try to mention positive aspects of a students playing before introducing constructive criticism. the arms all of the way down to the sides keeping the chest in the high position. This should achieve the correct posture which is used when standing or sitting. Breathing Starting each session with breathing exercises is imperative! Students should be striving for a low-pitched HAW sound on inhalation. An invigorated yawn is another way to gain a correct breath. A good sounding breath is a good breath! 3/4" PVC pipe cut 3" long placed in the teeth will remind the students of the deep sounding inhalation required. Breathing should be done in time with the music. Make sure that the breath is exhaled immediately after inhalation (no hesitation). The only sound one should hear in the inhalation process is a low-pitched HAW. Below are some examples of breathing exercises that should be used each day. These are done at approximately 60 beats per minute: Exercise No. 1 4 beats in, 4 beats out (repeat) 2 beats in, 2 beats out (repeat) 1 beat in, 1 beat out (repeat) rest Exercise No 2 4 beats in, 4 beats out (crescendo on exhalation) 4 beats in, 8 beats out (crescendo on exhalation) 4 beats in, 12 beats out (crescendo on exhalation) rest Starting Off Correctly Nothing is more important than starting students off correctly! Posture, breathing, mouthpiece buzzing, warming up, and attention to pitch should be taught from the beginning. It is easier to teach correctly from the beginning than it is to correct bad habits! Posture The student should sit or stand with an arch in their lower back, chest held high and neck straight. Good posture can be achieved by having the student stand up straight, stretching their arms up over their heads. Lower the arms out to the sides (9 and 3 oclock position) keeping the chest high. Next, 2 beats in, 4 beats out (crescendo on exhalation) 2 beats in, 8 beats out (crescendo on exhalation) 2 beats in, 12 beats out (crescendo on exhalation) rest 1 beat in, 4 beats out (crescendo on exhalation) 1 beat in, 8 beats out (crescendo on exhalation) 1 beat in, 12 beats out (crescendo on exhalation)
  • 4. Mouthpiece Buzzing Students must also work on mouthpiece buzzing everyday. The better the buzz, the better the tone, intonation, and pitch accuracy on the instrument. At first, beginners should be encouraged to buzz on any pitch. It is difficult for beginner to match pitch right away. A good buzz is one with as much vibration as possible (the buzz should sound like a swarm of bees). Have the student play a siren buzz on the mouthpiece starting very low and glissing as high as they can and then back down. Be sure to stress a strong vibration at all times in the buzz. Over time, the student should begin to match pitches. This can be accomplished by playing a pitch on the piano, having the student sing the pitch and then match it on the mouthpiece. Simple melodies, with a strong, consistent vibration and attention to intonation should then be buzzed. When the student has mastered these basic buzzing suggestions they should progress to wider intervals. On all long tones, the air should continue to move quickly through the instrument. Blowing quickly through the instrument will energize the sound and keep the pitch from sagging on long tones. As the student descends, they should hold the pitch up. As they ascend, they should hold the pitch down. Not only will this correct some basic intonation problems, but it will also help center their tone. Other Basics Students should be taught NOT to use the pinky ring on the leadpipe. Using this ring will create tension in the 3rd valve finger and slow down its motion. Keep the fingers on the right hand rounded. The pads of the fingertips should remain in contact with the valve buttons. Keep the wrist of the right hand straight. Bending the wrist will create unwanted tension. Simple Solutions to Tone Problems What Else Can I Do? An airy tone is often an indication of the aperture of the lips being too wide. Correct this by having them use much more air and firming the corners of their mouth. Start a trumpet ensemble, which will expose students to more literature A pinched tone can be caused by: The student not blowing enough air through the instrument The teeth being too close together (should be approximately 1/8" apart; have them bite on the nail of their pinky finger to approximate this distance) The embouchure is too tense. RELAX! Daily Warm-up Routine Following breathing and mouthpiece buzzing exercises, the student should perform exercises incorporating long tones, simple flexibility, and articulation. These exercises can be elementary variations on the chromatic scale or major scales and arpeggios. Most beginning method books include exercises in each of these areas. To receive a complimentary warm-up sheet, contact Dr. Ulrich at Ulrich@email.wcu.edu. Provide potential cornet students with audio and video examples of cornet performances Encourage students to join the International Trumpet Guild (ITG) Challenge beginners better suited for cornet to play a cool instrument cornet. If the instrument is presented as unique and fun to play students will not feel different Choose interesting and enjoyable music that will maintain and increase the students interest Utilize solo and ensemble to develop student repertoire Strongly encourage all of your students to obtain private lessons with qualified instructors Bring in guest performers to demonstrate what is possible on the instrument Helpful Resources Solving Simple Pitch Problems International Trumpet Guild .................................... www.trumpetguild.org The 3rd valve slide should be extended approximately 1/2" on low D and 1" on C#. D, E-flat, and E are inherently very flat notes on the cornet/trumpet. A simple fix is to have the student raise their eyebrows on these notes! Using faster air and changing tongue placement by pronouncing ee will also help to raise the pitch. The Trumpet Players International Network ........... trumpet.dana.edu The Trumpet Spot ..................................................... www.trumpetspot.com Jupiter Band Instruments ......................................... www.jupitermusic.com
  • 5. Selected Cornet/Trumpet Solo Repertoire Grade 1 Trumpet Methods and Studies Andre 12 Etudes caprices dans le style baroque (piccolo trumpet) (Editions Billaudot) Balasanyan 20 Studies, ed. Foveau (International) Balay 15 Etudes Bellamah Forty-Four Melodius Warm-up Exercises, Gr. 3 (B112) Grade 2 Bellamah A Trumpeters Treasury of Information (B450) Bach Fitzgerald Maltby Telemann Bellstedt Twelve Famous Technical Studies, Gr. 2 (B113) Bizet, N. 12 Grandes etudes de perfectionnement (A. Leduc) Bodet 16 Etudes de virtuosite dapres J.S. Bach (A. Leduc) Barnes Hartzell Hering Clifford Barnes trumpet Album A Trumpeters Prayer Classic Pieces for the Advancing trumpeter Smith Smith Vandercook Vincent Firefly Picnic time Lyra Air for Cornet Aria, bist du bei mir English Suite Ceremonial March Suite No. 1 Vandercook Vega Voxman Concert and Contest Collection Williams Little Classics Trumpeters Lullaby Lied Magic Trumpet Scarlatti/ Fitzgerald Wastall Bordogni/ Clark Grade 3 Anderson Bozza Burke Bordogni Scarlatti Suite Baroque Music for Trumpet 24 Vocalises, trans. Porret (transposition) (A. Leduc) Bousquet 36 Celebrated Studies, ed. Goldman (C. Fischer) Brandt 34 Studies and 24 Last Studies, ed. Vacchiano (Belwin-Mills) Broiles Have Trumpet . . . Will Transpose (transposition) (C. Colin) Broiles Grade 4 Balay Bernstein Clarke, H. Corelli Gibbons Twenty Solo Studies for Trumpet, Gr. 3 (B235) Petite Piece Concertante Rondo for Lifey Twilight Dreams Sonata VIII Gibbons Suite Hovhaness Nagel Reed Ropartz Wallin Prayer of St. Gregory Baroque Music for Trumpet Ode for Trumpet Andante and Allegro Elegi Bride of the Waves Carnival of Venice Maid of the Mist Concert Etude Aria Con Variazioni Hartley Latham Ravel Smith Turrin Sonatina Suite Pavance Willow Echoes Caprice Trumpet Baroque, 2 vols. (piccolo trpt.) (Queen City) Charlier Etudes transcendantes (A. Leduc) Chavanne 25 Characteristic Studies, ed. Voisin (International) Clarke Technical Studies (C. Fischer) Setting Up Drills (C. Fischer) Elementary Studies (C. Fischer) Characteristic Studies (C. Fischer) Colin Advanced Lip Flexibilities (C. Colin) Duhem 24 Etudes (C. Fischer) Endresen Supplementary Studies (Rubank) Gallay 22 Exercises, ed. Maire (A. Leduc) 12 Grand caprices, ed. Maire (A. Leduc) 39 Preludes, ed. Maire (A. Leduc) Glantz The Complete Harry Glantz (C. Colin) Grade 6 Goldman Practical Studies (C. Fischer) Arban Clarke, H. Haydan Hindemith Gordon Physical Approach to Elementary Brass Playing (C. Fischer) Grade 5 Clarke, H. Clarke, H. Clarke, H. Goedicke Handel/ Fitzgerald Carnival of Venice The Debutante Concerto in E-Flat Sanate Hummel Kennan Peeters Stevens Concerto in E-Flat Sonata Sonata Sonata Gower and Rubank Advanced Method (Rubank) Voxman (ed.) Harris Advanced Studies (C. Colin) Hering 32 Etudes (C. Fischer) Hickman The Piccolo Trumpet (Tromba Publications) Hovaldt Lip Flexibility (R. King) Irons Twenty-Seven Groups of Exercises, Gr. 3 (B114) Kase Twenty-One Studies in Style and Interpretation, Gr. 4 (B290) Kopprasch 60 Studies, ed. Gumbert and Herbst, 2 vols. (C. Fischer) (continued on back cover)
  • 6. Jupiter has a complete line of high quality Cornets and Trumpets to help build your horn section 606MRL Bb Deluxe Standard Trumpet 520ML Bb Cornet Lacquered brass body Shepherds crook Monel pistons 1st valve thumb hook 3rd valve slide throw ring .460" bore 4.7" bell Woodframe case Lacquered brass body Rose brass bell and leadpipe Monel pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 520MS Bb Cornet Above with silver plated finish 1000S Bb Intermediate Trumpet Medium weight silver plated brass body Monel pistons .460" bore 4.8" bell 1st valve thumb hook and 3rd valve throw ring Amado water keys Professional engraved bell Woodframe case 1002S Bb Intermediate Trumpet Above with 5" flared bell 600NL Bb Standard Trumpet 600ML Bb Standard Trumpet Lacquered brass body Monel pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 600MS Bb Trumpet Above with silver plated finish Lacquered brass body Nickel silver pistons .460" bore 4.8" bell 1st valve thumb hook Adjustable 3rd valve slide Woodframe case 600NS Bb Trumpet Above with silver plated finish
  • 7. Trumpet Methods and Studies (continued) Laurent Etudes pratiques, 3 vols. (A. Leduc) Longinotti lEtude de la trompette (Editions Henn) Studies in Classical and Modern Style (International) Pares Scales (Rubank) Petit 15 Etudes techniques et melodiques (A. Leduc) Grandes etudes (A. Leduc) Pietzsch Twenty-Two Virtuosity Studies, Gr. 5 (B115) Ridgeon Brass for Beginners (Boosey & Hawkes) Robinson Rubank Elementary Method (Rubank) Rubank Elementary Method For Trumpet Intermediate Method For Trumpet Advanced Method For Trumpet, Vol. I Advanced Method For Trumpet, Vol. II Exercises On The Emission Of Fundamental And Harmonic Tones Sachse 100 Etudes (transposition) (International) Salv. Army 101 Technical Exercises (Salvation Army) Schlossberg Daily Drills and Technical Studies (M. Baron) Skornicka Rubank Intermediate Method (Rubank) Smith Top Tones (C. Fischer) Lip Flexibility (C. Fischer) Staigers Flexibility Studies, 2 vols. (C. Fischer) Stamp Warm-ups plus Studies (Editions Bim) Vacchiano Trumpet Routines (C. Colin) Webster Method for Piccolo Trumpet (Brass Press) Wiggins First Tunes & Studios (Oxford) Zauder Embouchure & Technique Studies (C. Colin) Supplemental Materials Baird Caruso Clarke Farkas Findley Lucas Sanborn Weast Williams Developing Technique Musical Calisthenics for Brass Setting Up Drills The Art of Brass Playing Bob Findley On Trumpet Pedal Note Studies Brass Tactics Famous Trumpet Players The Secret of Technique-Preservation Jupiter Band Instruments, Inc. PO Box 90249 Austin, TX 78709 (512) 288-7400 bi@jupitermusic.com PRINTED IN USA J-01-XXM-10
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