MBOUCHURE_ BUILDER for TRUMPET (Cornet) i; for daily use LOWELL LITTLE with any methodi cae cae: Bees eects eee eevee ape cme mapa gaINTRODUCTION ‘Two of the most valued qualifications possessed by the successful cornet or trumpet player are flexibility or elasticity of the lips and the ability to support a free-flowing, sonorous tone with the breath in all registers. lis through the de~ velopment of these qualities only that endurance (the ability to play for long pertods ir time without undue fatigue) and a pleasing, musical sound may be achieved. ‘Afree and flexible upper register can be developed only through the develop- ment of A COMPLETELY RELAXED LOW AND MIDDLE REGISTER! ‘The great majority of instruction books on the market tofay neglect the low register almost completely and take the student into his upper register long be~ fore he has learned to support his tones properly with his breach. ‘This can result bily in excessive mouthpleee pressure, excessive strain, and a forced and inac~ Curate tone placement. The ability to play except for short periods withoutfatigue fand bruising abuse to the ips, sometimes beyond repair, becomes impossible. SUBRE ARE ABSOLUTELY NO SHORTCUTS TO FLEXIBILITY AND ENDURANCE! ‘These qualitiescan be achieved only through diligent, daily, concentrated, prac, tice toward developing a relaxed physical attitude, free from feree or strain, Many nisquided students are encouraged to use shallow cupped, cushion-rim mouthpieces as. shorteut to endurance and high register, However, the tremendous sacrifice fn tone quality and unmusteal results generally can never achieve the desired re~ sults.‘THE PURPOSE OF THIS BOOK ‘This book has been designed as a supplimentary study to be used along with ‘any standard instruction book. The studies contained herein are excellent for use ® the warm-up period prior to each daily session of practice. ‘The technicality of he fingerings 1s comparatively simple and the studies ean be used to advantage by young student with only a few weeks of formal study. ‘This book contains much valuable material essential to successful performance not found within standard {instructional material. ‘The advanced student will also find much of value in helping himto keep his ‘embouchare and breath support in “tip-top” condition. Many of the exercises, can be memorized and utilized as short warm-up drills prior to group rehearsals or public performances. Just as an athlete would never think of entering into a stren- vous sport before warming up and limbering up his muscles neither would a true ‘musician think of immediately beginning to play the high register of his instrument or play forte passages without a period of preparation. SUGGESTIONS FOR THE USE OF THIS BOOK When practicing sit or stand in an erect but relaxed position. The entire body, cluding the hands, arms, shoulders, neck, and face, should ascume an attitude 2 physical comfort free from any feeling of anxiety or strain, ‘This cannot be nphasized too strongly! While the exercises contained here are to be practiced slurred as marked, thoy ean also be played with legato, detached, or staccato touguiny fur the advan tage of additional dexterity after they have been mastered by slurring. BREATHING Breathe naturally but deeply through both the corners of the mouth and the uuose. Do not raise the shoulders or allow them to become rigid. Practice holding the lungs full of air with the throat and mouth open before taking u9 your instru nent. Never hold the air in the lungs by closing the throat. Then, try placing the wads over the waist and abdominal area and pronounce the word “hut”, with some ‘orce, holding the “‘t”. Note how the mid-section and abdominal muscles contract ‘against the hands, This is the natural manner in whieh these muscles should con- ‘ract when expelling the air from the lungs into the instrument, ‘The amount of contraction will, of course, increase with the volume desired or the amount of yeod required by the colimn of alr passing through the lips to sustain a given “ich, “The student must learn through application the exact amount of eontraction tah = =e = mp —= nf j sana ¢ — Keep lips in constant motion-contracting upward-relaxing downward, slowly P 7Slowly a + 6 tatecatecagn 2 a Pp talvecahee-ahSlowly 10 5 oo tahee-ahveceh-eeah-ah-ah —— => Do not proceed beyond this page until you are able to play all of the preceding ex- ercises with a free and open tone without force or strain! It Repeat 4-8 times. Keep abdominal and lip museles constantly in motion-contrac~ ting and relaxing as you ascend and descend. 486-132Andante de72-120 16 Pahcenah-ce-ah-ee-ah-eeRepeat 4-8 times. 2120 18 2 ———§ SS SS SS SS Are you able to play everything thus far freely and without strain? Slowly a a 19 i SS OC enh reah Slow) y 2 20 Pf 2 mn _———— SSOd-92-144don-14 2734 A= Ss F112-160 Pb ceahooah ee492-120 :ip———_—— f ee emmeee a SSS eS When the student has mastered the foregoing exercises, he should be easily able to improvise further exercises based on thelr principles,‘CLASSIC FESTIVAL SOLOS offer the advancing instrumental ‘soloist an array of materials, graded trom easy to more « ‘challenging. An assortment of musical styles has been ir- ‘cluded to give variety and to allow an opportunity for the musician to develop interpretive skills. Many of the solos included appear on State Contest lists. ‘CLASSIC FESTIVAL SOLOS are available for 16 instruments, ‘each with piano accompaniment. In addition, a book of ur- accompanied snare drum solosis offered as part ofthis series. SESS Instrumentation: FLUTE E) ALTO SAXOPHONE BARITONE (Bass Clef) Solo Book (€L.03720) Book (1 09732) — Solo Book (EL 0344) Pano Aecompariment(EL.03721)_ — Plame Accompaniment EL 03733) Plano Accompaniment 03748) ‘oBoE 'B) TENOR SAXOPHONE TuBA Sole Book (EL. 05722 _— So Book (E0973) Selo Book (03746) ono Aecomporiment(EL.03725) Plano Accompaniment EL 03735) —— Plano Accompaniment 0747) CLARINET E> BARITONE SAXOPHONE MALLET PERCUSSION | Sete Book E. 09724) Sole Book (6.03726) Sole Book E6274) I Plano Accompaniment (EL.c3725) Plana Accompaniment L727) —— Plan Aecompeniment EL 02749) Es ALTO CLARINET TRUMPET SNARE DRUM Sole Book (EL05720) — Solo Book 02738) — Solo Book 03750) Plano Accompaniment (EL. 03727 Plane Accompaniment (EL. 05730) —— Plano Accompaniment E6375) BASS CLARINET HORN INF ‘SNARE DRUM » Sole Book E03728) Sole Book EL. 03740) Sole Book (Unaecompanig) EL Prana Recompeniment(CL03729) Plan Recompariment (E0374) BASSO! TROMBONE Solo Book (EL. 03720) Solo Book (6.03742) , Piano Accompaniment (€L03731) —— Plane Aesompanimen (EL. 03749) HM