BOUSQUET TRUMPET ETUDES PDF

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There is a lot of emphasis upon the lower register, and items such as triple tonguing that are not particularly popular nowadays. I am almost tempted to offer that low register playing is not particularly sought after these days. At any rate, I suggest you take good care of these studies, as they will serve you well! The Author says: "The studies will be an excellent practice, especially for the lower register of the cornet, which is somewhat neglected in other Instructions books.

It is recommended that the pupil should practice one of this Series of Studies now and then to repose his lips, and acquire facility in difficult fingering. Jacome Method Book. What was unusual about it, was the content. I was accustomed to playing exercises, such as those found in Arban.

But this was a collection of beautiful songs or Etudes. Each etude capable of being played in a recital. Thus, this collection became the first collection of "Ten Etudes" that I recorded from cover to cover. So many years later I dedicated them to Mr. Harry Herforth.

However, "Arban Conservatory Method" became the only "exercise" album that I recorded. And in a certain sense they are right. But it was considered to be a "stunt" Some of the old cornetists, W. Paris Chambers, for example, had a phenomenal register. To this end, I added an extended section of high register to Arban and Schlossberg. Ironically, Arban is dear to my heart, because it hails to my early childhood. Which one did I find most difficult?

But which Trumpet Book did I enjoy most? That honor goes to Raymond Sabarich, "Dix Etudes". I will also include Concone Lyrical Studies. A word about the stereophonic recordings from B-Flat Music Production. Our recordings are produced using a pair of Crown PCM Pressure Zone Boundary Mics, which enable all the musicians to sound as if they are all equally close to the mic.

The resulting signal is fed into a stereo Tascam mixer. Our first processor was an outboard two channel unit, recording direct to digital audio on a Beta Video Machine. When the Akai Dr4d Hard Drive recorder became available we switched to this newer format. As a matter of principle, we allowed no further tampering with the signal, except for a "room size" digital environment: No compression, limiting, or dolby noise reduction.

There are plenty of notes below high C upon which to devote your time and effort. FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player. FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped.

Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach 1. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register.

MYTH 3 I need a special trumpet. FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece. MYTH 4 Playing and practicing in the high G2 to C5 register will ruin the middle and low registers, and make my tone brittle and laser-like.

FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints.

MYTH 5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops.

Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.

For I am reasonably sure that: A I have no unique exercises. C I am not the originator of any of these principles. D All players with a very great range play in essentially the same way, so that the only unique aspect of this book is the manner in which the information is presented. I came away from the project, in some ways, even more confused than when I began it.

The assumption seems to have been that the exercises were enough in themselves. However, I did leave the library with a much better idea of which questions are the important ones. The results of that compilation are available within these pages. The high register, like the proverbial mountain, is there and so we must climb. The truth is, very few people possess the know-how to ascend into the alt register, let alone teach young people how to do so.

It becomes quickly apparent that the brute strength approach will not master the instrument. B A lack of standardized terminology, and C the difficulty of trying to externalize, or verbalize, a process which is essentially internal.

In other words, most disagreements regarding playing techniques are a result of several differing verbal descriptions of the same physical much akin to the proverb of the blind men who gave conflicting descriptions of an elephant based upon the examination of a particular appendage.

The range of the trumpet, as well as that of all other brass instruments, is contingent upon the chops of the player. To this end, we brass players have to devote considerable time to the physical development of our embouchure. I doubt that anyone can promise that any amount of practice will enable everyone to play the above-mentioned seven octave range, anymore than we can guarantee that every jogger will eventually be able to run the four-minute-mile.

It is not given that all should be able to do so! But I can promise that everyone who seriously and conscientiously follows the regimen prescribed in this book will be able to improve his range and endurance considerably. The high register will not capitulate to casual practice - but it will yield to those who correctly persist!

At least they were not explained in a way which made sense to me. What this guide offers, I hope, is a unique personal approach which consists of: A A defined terminology to codify and label the parameters of brass playing.

B A consistently programmed series of exercises which will address both the calisthenic and some of the musical needs of the player. C A demo CD or cassette. While lecturing on the principles of playing the trumpet in both the upper and pedal registers, it became apparent that few people really have any idea whatsoever of what all those ledger lines, both above and below the staff, feel like, or sound like. Use of the recording also allows immediate feedback as to the success of the practice session.

The essence of good teaching lies with the articulation of information in a manner which the student is likely to understand. This means that the teacher should make every effort to say the same things in as many ways as possible.

You, dear reader, will have to be the judge of the extent to which I have succeeded.

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BOUSQUET TRUMPET ETUDES PDF

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