Expertly written by the renowned trumpet virtuoso Allen Vizzutti, this comprehensive trumpet method provides a fantastic assortment of all-new intermediate to advanced-level exercises and etudes in all keys. Available in SmartMusic. Convert currency. Add to Basket. Book Description Dover Publications Inc.
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Rosanna Giles Your wife will never find out! Just send me a message and ask to F. Show More. Juan Jose Ramirez Robledo. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. With a solid foundation in all keys, the performer will seldom run across music that is not based on harmonic material already somewhat familiar.
This high level of competency is the medium in which mu : is made. Gradual advancement through all of the material will result in great success over the long term. Be persistent. Please note that the many chord types in the Chordal Studies section have been named.
As always, trumpet players should warm up thoroughly as detailed on the next two pages before playi 3 anything demanding. The performance techniques developed in Books 1 and 2 of this method are presented in Book 3 in a purely musical setting.
Trumpet is one of the most versatile of instru- L k U ments, an instrument that is capable of crossing any stylistic or cultural boundary. The freedom and enjoyment avail- able in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be.
Here, then, is a suggestion. Practice in three to minute segments, resting where necessary. Segment one is the warm up, segment two is technical study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the materi- al to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teach- er. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts on breathing and sound.
Most problems will correct themselves. Best wishes and good luck. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the mental focus and concentration necessary for making music.
The following is a warm-up routine in four pa i with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day i. Finally, prepare mentally to approach whatever exercise or piece of music you a about to play in the most musical and artistic way possible. The sound should be "fat," full and without gaps as you slide downward.
Keep repeating until there are no gaps. Buzz any- where from a few seconds to a few minutes. Be aggressive and demanding of yourself. It is possible to improve your trumpet sound almost immediately by working on the mouthpiece. For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possibl Be sure you are producing a fat, forte tone.
Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced—no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well. For additional "loosening up," repeat the preceding exercise 8va, resting wherever necessary. Start each playing day with the three steps above.
Some days may require more warming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps. Finally, play the technical studies found in Book 1 that are indicated for each appropriate day.
In this way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Ideal warm-up time should eventually be minutes. They are physically demanding and, therefore, useful later in your practice time. Lip strength more accurately, the strength of the muscle structure around the lips as a goal is greatly overemphasized. Although strength is important to a degree, range, endurance, a beautiful sound and advanced technique as a complete package are based on efficiency of breath control, not brute strength.
Players at all levels of con petency experience butterflies, dryness and other symptoms of nervousness before a performance, h goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical contrc. Experience is the real key. The more often one performs, the egs er it gets. Take every possible opportunity to perform. Play for friends and family. That is the process through which one rises to theJo of the music community, no matter how large or small the community.
Resistence causes tension. Tension causes playing problems Let the wave pass through your body. Observe the feeling as it happens. Don't panic. Do not dwell on them. There is always time to think about that later. Breathe deeply and project the air confide H through the instrument.
Don't worry about what has happened or what is coming. Don't sacrifice 31 entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beai tiful as possible.
The rest will fall into place. Present time is the key to performing from memory without slip a well. Interval Studies 7 Interval Studies Use your ears to play intervals accurately.
ISBN 13: 9780739019412
The Allen Vizzutti Trumpet Method - Book 2, Harmonic Studies
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The Allen Vizzutti Trumpet Method Book 2
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Allen Vizzutti: Trumpet Method Book 2
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