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..

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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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As you go higher, think the syllable "Teee" and blow stronger H

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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.

Trying to hit high notes over and over

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.

PART I:

1.

.

PART n:

1.

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:

1.

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

Rest

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Continue down as far as possible.

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Short hold - to a crescendo only. Rest as much as you play. r\ 

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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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2.

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.

1.

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.

Part I

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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

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 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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73 îiü l 73 Continue down as far as possible. Breathe when you need it.

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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.

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

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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

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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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 Think "E ee ” as you go up.

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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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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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Technical Studies, sixth study. Hold last note. Lift fingers high - strike hard. Work for accuracy - speed will come later. Rest between each exercise.

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