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Graduate Student Theses, Dissertations, & Professional Papers Graduate School

1960

Manual of trumpet (cornet) techniques

Jack D. Lind The University of Montana

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Recommended Citation Lind, Jack D., "Manual of trumpet (cornet) techniques" (1960). Graduate Student Theses, Dissertations, & Professional Papers. 2922. https://scholarworks.umt.edu/etd/2922

This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A MANUAL OP TRUMPET (CORNET) TECHNIQUES

by

JACK D. LIND

B,M, Montana S tate U niversity, 1956

Presented in partial fulfillment of the requirements

for the degree of

Master of Music

MONTANA STATE UNIVERSITY

I960

Approved by:

tu Chairman, Board^ 'd of o f'E Examine! x lm i

Dean, Graduate School

JIN 9 Date UMI Number: EP35100

All rights reserved

INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.

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ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 TABLE OP CONTENTS

CHAPTER PAGE

I . THE TRUMPET IN HISTORY...... 1

H . SELECTION OP THE INSTRUMENT...... 5

Bore ...... 5

Valves ...... 7

Other Mechanisms ...... 8

The Playing T e s t ...... 10

I I I . THE PIRST LESSONS...... 11

IV. TONGUING AND SLURRING...... 20

T o n g u i n g ...... 20 E x p e r i m e n t ...... 21

Starting the tone ...... 26

S l u r r i n g ...... 2 ?

V. ENDURANCE AND RANGE...... 33

VI, THE ADVANCING STUDENT...... [|.0

Additional R ange ...... 1^3

The Warm-Up...... I4.7

Advanced T o n g u in g ...... i;8

V II. TRUMPET MATERIALS...... 5l

M e th o d s ...... 52

E t u d e s ...... 53

Daily D rills ...... 55 CHAPTER pace

S o l o s ...... 56 V III. CONCLUSIONS AND RECOMMENDATIONS ...... 6l

The C o r n e t ...... 62

The Dally Routine ...... 6l(.

Warm-up ...... 65

Major and minor scales ...... 66

Chromatic scales ...... 66

Lip s l u r s ...... 66

A r p e g g i o s...... 66 Single tonguing ...... 66

Double and tr ip le tonguing ...... 66

S o n g s ...... 67

E t u d e s ...... 67

S o l o s ...... 67

Transposition ...... 6 7

Sight reading...... 68

Vibrato ...... 68

The Checklist...... 69

Recommendations ...... 71

The instrument ...... 71

The foundation ...... 72

Range and e n d u r a n c e ...... 7ij.

The warm-up and d a ily ro u tin e ...... 7lj.

The duties of the student and teacher. . . 75

- i i i - LIST OP TABLES

TABLE PAGE

I. Relation of Membrane Tension to Air Pressure. , . 36

II, Advanced Techniques Together with Pitfalls. . . , lj.1

III. Table of Abbreviations of Publishers ^)

- i v - LIST OF FIGURES

PIGITRE PAGE

1. Vowel Usage In Trnmpet A r t i c u l a t i o n ...... 2l|_

2. Examples of Lip S lu rs ...... 30

3. Pedal Fingerings for the Trumpet...... 1|_6

i|. Examples of Rapid Tonguing Exercises ...... lj.9

-V- FOREWORD

Thousands of pages have been written concerning the problems of trumpet artistry and their possible solu­ tions. This paper represents an attempt to compile some of the outstanding problems together with the solutions they demand as suggested by noted performers and clini­ cians ,

Obviously all aspects and all opinions could not be included in this treatise. To a certain extent the authorities were chosen at random. To another extent they were chosen selectively to assure that each is respected in his field and that his opinions are weighty.

The public school instrumental teacher should find this information particularly useful as a reference for recommended methods of helping the student overcome the obstacles to musical playing. It may in some cases prove useful in the hands of the student.

Whatever the occasion for its use, it is the author's wish that this treatise will help in some ways to enhance the status of public school music.

jdl

- v i - CHAPTER I

THE TRUMPET IN HISTORY

The trumpet has enjoyed a fascinating history.

Before I 8OO the only trumpet was the natural trumpet,

that is, one without valves or keys. Music for this

instrument was one of two kinds, (1) percussive effects

limited to the natural overtone series or (2) playing in

the very high part of the register where the overtones

form a complete scale. The latter style gave rise to the

name "Clarin Trompete," also known as the "Bach Trumpet"

style because of its particular popularity at the

beginning of the Baroque era through the greater part of

the eighteenth century.^

In the fourteenth and fifteenth centuries trumpet

playing was among the carefully guarded privileges of the

nobility and only court officials were permitted to play. Obvious limitations of the natural trumpet led to

experimentations with devices to fill in the gaps of the

scale in all registers. This was done with crooks, slide

^Willi Apel, Harvard Dictionary of Music (Cambridge Harvard University Press, 1951 ), p. 771.

- 1 - — 2— mechanisms, clappers and, as in the case of Zinken, with finger holes. The Zinken (cometto) date from the fifteenth and sixteenth centuries and were among the first

chromatic wind instruments. Their shapes varied. The first Zinken were straight or slightly curved but as

larger, lower Instruments were added to the family the

tubing had to be doubled back over itself in order that

the player might be able to reach all of the finger holes.

In the six tee n th century a bass size was added and bent

into a clumsy serpentine shape to facilitate fingering.

Because of its peculiar shape this instrument was called

the "serpent," The tone of the serpent blended well with voices and strings and the instrument was favored

by many composers up to the middle of the nineteenth

century.^

None of the early methods of bridging the gaps in

the scale was entirely satisfactory, Glogget's rotary

valve, invented in 1 7 8 8 , was m echanically sound and ade­

quate for the French horn but much too inarticulate for

the type of playing required of the trumpet. When the single keyed trumpet was invented in

St, Petersburg in 1770 a new field of thought was opened.

The inventor was Kolbel. However, it was not until I 813 that the piston valve was invented by Bluhmel. Stotzel

"Willi Apel, o£. cit., p. I86, “ 3~ added a second valve in l8l5 and before I 8 3 I the instru­ ment had three piston valves, making it possible to play

chrom atically from concert small "E" up to and beyond con­

cert "Bb-2," depending on the individual player's range.

The valves or pistons were so arranged that the first valve

lowered an open tone one step, the second valve lowered it

one-half step, and the third lowered it a step and one-half,

From these combinations a complete chromatic scale was made

possible. The same principle is used in the manufacturing

of today's instruments, although they are technically more perfect and the action of the valves themselves has been greatly improved. Trumpets have been pitched in many different keys

but the Bb model p re v a ils . Wagner called fo r trumpets

pitched in low E and D for his Ring. This seems typical of his often unreasonable demands and the instruments

actually used in this instance are valve trombones which are c h a r a c te ris tic a lly more p ra c tic a l. From l8i|0 to 1858 Adolphe Sax was inventing an

entire family of brass instruments after a model of the

trumpet. His inventions, however, were merely deviates

and in no way did they influence the playing or

construction of the long-standing trumpet. During the Civil War there developed an offshoot of the modern trumpet which is referred to now as "over the

shoulder brass." The tubing of this band instrument was

arranged so that the bell of the instrument sent the - 4 - sound backwards to the rear of the column^ presumabl-^ to help keep the troops In step.

The trumpet has gradually regained much of the prestige it had in Medieval times and a separate, distinct virtuoso idiom has developed in more recent years. Such composers as Prokofiev, Stravinsky and Hindemith, to name a few, have helped the trumpet take its place as an important orchestral and solo instrument. CHAPTER II

SELECTION OP THE INSTRUMENT

The selection of an instrument is a difficult topic to discuss systematically. Personal opinion plays such a large part in it that one can hardly establish a code to follow step by step. There are, however, a few criteria by which one can choose the proper instrument if he keeps in mind th a t they are fle x ib le and by no means do they constitute a rigid set of specifications.

I . BORE

Being aware that there are different sizes of bore in trumpets should be a help in understanding why some sound different than others. For the most part the smaller bores give a brighter, sharper sound and the larger bores have a wider, darker sound. Caution I The small bore instrument can be played with a b ri^ t sound or with a dark sound according to the player. The same reversal is true of the large bore instrument so the size of the bore is only an indication of the natural tenden­ cies of the instrument,

- 5 “ - 6 -

The small bore, like the small car, is easier to

"park,” It is generally more responsive to attack and

articulation and takes less wind to play. The high range

is more e a sily w ithin reach, and endurance is much le ss of

a problem on this instrument. Probably the reason that

everyone doesn't play the small bore Instrument is due to

one serious shortcoming, that of tone. The brittle

tendency of the tone is very hard to remedy. While making

a modest crescendo on a sustained note the tone is apt to

crack. In the lower register the tone is stuffy and in

the entire register a pinched, nasal quality is observable.

On the other extreme is the large bore trumpet.

Its natural qualities and shortcomings are essentially the

opposite of the small bore trumpet. There is an important

difference, however, in the basis of its limitations. On

the small bore the limitations are mechanical: on the

large bore they are personal. The "big" trumpet is

actually harder to play. It is not naturally agile and maneuverable and playing it is more strenuous physically.

It is still capable of all these things in the hands of

an artist. The shortcomings are those of the performer

and not of the instrument, A terrific crescendo on low

Ab or rapid, light passages at the other extreme of the range; both are possible.

Should the beginning student start right out on a - 7- large bore Instrument? In most cases, no. This instru­ ment is much too clumsily played by a beginner and the student may be easily discouraged at its unresponsiveness.

A better plan is to start with a medium bore and progress to the larger bore after the fourth or fifth year of playing.

When buying an instrument the prospective customer should look for a stamp on the valve casing that will tell him what classification the bore is. If there Is none, he can pull out the second valve slide and try fitting it into different instruments. In so doing he can get a point of reference for judging the size of the bore.

There are, perhaps, issues to defend the purchasing of trumpets with every size bore. Many words can be spared here by referring the reader to the happy medium principle and suggesting that he examine carefully any contemplation of purchasing a trumpet with either extreme in bore.

I I . VALVES

Without the use of micrometers, an examination of a trumpet's valves is not too meaningful. Even the poor­ est valves look good to the naked eye as far as metal content and plating are concerned, but there is one overt detail that is significant and that has to do with the - 8 -

sprlngs. In general the more expensive type of valve

construction is that of a top-loaded spring. Valves are

made that way, at extra cost, because they are more

trouble free and are virtually noiseless. Both of these

are important details.

The prospective customer can further protect him­

self from purchasing Inferior quality by buying through a

reputable dealer and relying on nationally-known trade

names.

I I I . OTHER MECHANISMS

Careful attention should be given two separate mechanisms which are to be discussed now. The first of

these is the compensator; also incorrectly known as the

tuning mechanism, which is actually the large main slide.

The compensator takes the form of a trigger, ring

or socket which is used to extend the first or third

valve slide or both. The most inconspicuous compensator

is the one which appears as a finger ring of the third

valve slide. Many times this is mistaken for a holder

and the student will need special Instruction in its uses and purpose. On other instruments the compensator will be a trigger on either the first or third valve

slide, and in some cases on both. The purpose of the pitch compensator is mainly to bring into pitch the - 9- notes D, Db and C# below the staff. It Is not possible to build a trumpet perfectly in tune because of the various note ratios, and it is on those notes just listed that the pitch is most seriously distorted.^ These notes will be quite sharp when played with their only possible fingerings; thus, the need for the compensator.

Although the compensator is built specifically for the job of altering D, Db and C#, it has other uses too.

Alternate fingerings on P#, G, B, Bb, C and D in the staff are all sharp and require adjusting. In this respect the compensator makes possible a greater variety of finger­ in g s.

The compensator on the third valve is difficult to operate unless it is the trigger variety. Whereas one compensator is necessary, two are desirable although they both need not be the expensive trigger type. Two compen­ sators increase the number of possible combinations of fin gerings and adjustm ents.

Secondly, the prospective buyer of a trumpet should examine the water keys to see that they appear to be rigidly built, but most importantly just to see that they are present. As in the case of the compensator, one is necessary and two are d e sira b le . Instrum ents without

^Howard Deming, "Trumpet/Cornet Intonation Problems," The Instrumentalist, (June, 1959), p. 52. -1 0 - the third valve slide water key are bothersome to play because much m oisture c o lle c ts in th a t s±ide and must be

removed by p u llin g the s lid e .

IV. THE PLAYING TEST

The playing test is the final and most rigid

inspection of the instrument. It should be done by a

competent trumpeter who is a reliable source for informa­

tion concerning the instrument’s responsiveness and pitch.

Under the best circumstances the tester should know some­

thing about the person for whom the instrument is intended;

what his level of ability is and what his physical limits

are. In that way he can make the wisest recommendations. CHAPTER I I I

THE PIRST LESSONS

”A good foundation is most important, therefore the student must pay particular attention to the first studies.

The first lessons will be devoted entirely to the striking or tonguing of notes, which is the most essential part of comet playing. Even advanced players should practice just such simple studies each day. Sustained tones in particular are strengthening to the lips, and most bene­ ficial in improving the quality of tone. Sustained tones should be practiced the first thing each morning. Be careful to strike each tone well, and give it its full time value. Keep the tones steady. Do not let them wabble. Think and listen, and see that the intervals tune. Whatever is worth doing is worth doing well, there­ fore, be careful from the very start, and above all, do not be in too great a hurry.

"Nothing that is afterwards taken up will be as important as this the 'foundation,' therefore, build it carefully and strongly."^

^Edwin Pranko Goldman, Poundation to Cornet and Trumpet Playing (New York: Carl Pischer, 193&% p. 13.

-1 1 - -1 2 -

When possible the instructor should be present when the student puts the instrument to his lips for the first time. He can in this way make sure that the proper mouthpiece placement is used at the outset. That first

feel of the instrument is liable to be the one to which

the student, especially the youngster, will make his

adaptation. Very few authorities will commit themselves

as to what the effects of vertical placement are. For

the most part those who play out of one side of the mouth

say that it is not harmful and those who use middle place­ ment q u ie tly recommend th at s ty le . On the other hand

there is an overwhelming majority of experts who advocate

a particular type of horizontal placement. Arban,

Goldman, A ltenburg, among the g reats and of le s s renown

Edwards, Hovey and T e tz la ff a l l recommend e ith e r h a lf

and half placement or else two-thirds of the mouthpiece

on the lower lip and one-third on the upper. Whether

this is a matter of physical comfort, a technical aid 2 or ju s t common p ra c tic e is not known.

An examination of more than a dozen beginning methods has supported the opinion that there is much

agreement on the content of the first lessons. They

stress basic tone production and elementary articulation

p See recommendations of George Reynolds in the chapter on the advancing student (VI). - 13- and attack. The more usual approaches to these tech­ niques will be discussed later in this chapter.

The teacher who first works with the student has the choice opportunities of instilling the proper practices. The first lessons will be very impressive to the student and will probably be remembered a long time.

It is not enough for the teacher to well up a tremendous enthusiasm in the student. He must also instill some basic techniques which will be firm footing for the skills to be acquired in future study. The duty of the teacher is c le a r when w ritte n thus. This duty cannot be performed without a previous acquaintance with both problems and their possible solutions, so one duty calls for another and we have a chain re a c tio n . Such is one of the intriguing aspects of teaching.

Few students are unable to produce some kind of a tone on the trumpet on the first try. The guiding process of the teacher then takes over and he gradually corrects the tone until it is stable enough for him to begin the elementary technique exercises. The easiest tones to produce on the trumpet are E first line and the P immediately above it. Occasionally a beginning student will be discovered whose top range is in the neighborhood of the lowest C on the Instrument. This is a symptom of incorrect embouchure and demands imme­ diate correction. The specific cause is usually playing with the lips separated which prevents the outside edge of the lip to vibrate. The soft, red part of the lip is non-muscular and cannot be made to tighten up enough to extend the range beyond the bottom part of the staff.

While the student presses a V, formed by his first two fingers, against his embouchure, the teacher can examine the happenings and thereby detect the trouble. For the

student who can produce no tone on the instrument, the finger mouthpiece serves equally well. Buzzing exercises help condition the lip to respond to tension and pressure

The student can usually create a short buzz by spitting an imaginary hair off the tongue or lip and, next, repeating the procedure into the instrument.^ The resulting tone will leave much to be desired, but it provides a starting point. It can be corrected later if not neglected too long.

The usual faults of beginners are tight throat, pinched lips, clenched teeth, puffing of cheeks and weak attack.^ All of these need correction, but the teacher must be careful not to make too many sudden corrections. Working gradually and patiently, he will accomplish much more. In the words of John Kinyon, "Start with

^E. C. Moore, The Brass Book (Kenosha, Wisconsin: The Leblanc Educational Series), p. 7.

^John Kinyon, "Beginning Brass Class," The Instrumentalist. (Feb., 1959), p. 73. -In ­ tone, add range slowly and mix with rhythm."^ This is his

recipe for brass players.

One of the earliest samples of writing on the

subject of trumpet instruction comes to us from the seven­

teenth century through a reprint in "The Brass Quarterly."

The author is Johann Altenburg and he had some very

interesting thoughts on the duties and qualifications of

the teacher and student.^ The following suggestions were

compiled from the fore-mentioned article without direct

quote :

The Teacher

1. The teacher must be a good trumpeter and also

play the violin. He should instruct the

student in violin also in order to give him

steadiness of rhythm.

2. The teacher should instruct the student

thoroughly in basic musicianship.

3. He must have patience and to leran ce,

i|. He should start with the easy and proceed very

gradually toward the difficult.

5. The teacher must guide his student morally and

teach him how to conduct himself in the

%bid.

^Johann Altenburg, "An Essay on the Instruction of the Noble and Musical Art of Trumpet and Kettledrum Playing," The Brass Quarterly. (June, 1958), p. 58. -1 6 -

presence of the gentry.

The Student

1. The student must be healthy and have good

lungs and chest.

2. He should possess some knowledge of vocal

and instrumental music. Singing will be of

great help in learning to play the trumpet.

3. The student must get in the practice of

beating time with the hand or foot.

l|.. The student must not eat or drink cold

liquids immediately after playing because

both can bring on incurable illnesses.

On the very subject of first lessons Altenburg had

some further instructions for the teacher. He wrote that

the teacher should have a mouthpiece turned out

especially for each student. The specifications he

gives amount to what we consider a medium mouthpiece,

except that the cup would be shallower to facilitate

Clarion playing.

Evidently Altenburg's students did not play written- out tunes until the fourth lesson. Unfortunately we do not know whether th is would be in the fo u rth week of instruction or the fourth day, but we do know that he

tried to lay a firm foundation before allowing the student to attempt music reading. At the first lesson he showed the student how to hold the instrument and what embouchure - 17- he considered b e st. He recommended placing the mouth­

piece a little more on the lower lip than on the upper

and cautioned against the damaging habit of puffing the

cheeks. In subsequent discussions the reader will observe

that almost all authorities of the present period are in

complete agreement with him on these two points. For the

remainder of the first lesson Altenburg and his student

played exercises on five different tones, together,

separately, together again. Then the tones were written

out so that the student could begin to get a picture of

the tones he was playing.

More of the same constituted the second and third

lessons except that at these settings the teacher strove

to "impart a clear idea of tonguing and h u f f i n g .

Huffing is a type of articulation peculiar to the style

of the playing of Peldstucke, the music of the Feld-

trompeter. The Peldtrompeter or field trumpeter was a military instrumentalist of the seventeenth century, and

is distinguished from the Kammertrompeter or chamber g trum peter.

Up-to-date methods of trumpet instruction do not

differ radically from those prescribed by Johann Alten­ burg in the 1 6 0 0 *s. Present day authorities recommend

7 Altenburg, op. cit,, p, 59.

^Willi Apel, 0£, cit.. p. 2 6 1 . -1 8 - foot beating and ear playing.^ They also recommend buzzing Into the palm without the mouthpiece or Instru­ ment. Christopher and Van Bodegraven's "Adventures In

Cornet-Trumpet Playing" Is a method book written without

dynamics. The authors maintain that beginners cannot

adjust dynamics without distorting the tone production

and should therefore be Instructed to play with just a

good firm sound This is not the usual procedure. In

fact it is the only method examined which did not have

dynamic markings. The chapter on conclusions will contain

some opinions and recommendations on this controversial

p o in t.

All students should naturally be Instructed In the p o sitio n of the hands and Instrum ent and in mouthpiece

placement In the first couple of lessons. The student

should also receive Instruction In the proper care of the

Instrum ent and the names of the various p a rts . This

Information Is available In virtually every method book

and a great many other places as well, so It will not be

Incorporated Into this treatise.

Most often the best results are obtained If the

teacher demands from the beginning that all techniques

^George Christopher and Paul Van Bodegraven, Adventures In Comet-Trumpet Playing (Great Neck, New York Staff Co., 1958), p. 2.

lO jbld. - 19- of trumpet playing be approached from the proper direction.

Although the student cannot be expected to produce a good tone immediately he should be expected to start his tone in one of the prescribed manners, such as speaking "ta,”

"tu" or "tee" into the instrument. As another example, the student cannot be expected to tongue cleanly and rapidly from the start, but he should be expected to tongue without excessive jaw movement known as "chewing."

Therefore the student must acquire the first degree of proficiency of each technique as it is introduced.

Failing to do so will lead to poor practices. This is perhaps the most important axiom in the learning situation, and i t should be kept in mind by both the student and the teach er. CHAPTER IV

TOKGUING AHD SLURRING

Good tonguing and slurring are so essential and difficult that a separate chapter is devoted to their proper execution. Together with tone, they constitute the most important facets of trumpet playing except for the extreme type of virtuoso playing where facility is equally important.

1. . TONGUING

Perhaps the most detrimental pitfall in develop­ ing tonguing is the chewing action caused by jaw move­ ment. This jaw motion does more than hamper the action of the tonguing. It also spoils tone, flexibility and pitch. The jaw cannot be drawn up and down without changing the embouchure, which is the prime reason for chewing being such a serious habit.

The reason so many students move t h e i r jaws while tonguing is not clear, because the proper execution of tonguing is completely divorced from the jaw. The habit is very difficult to correct once it progresses past the first lessons. The student who chews while tonguing has

- 20- -2 1 - not been carefully guided during the early stages of

development. If the student has been taught to use "tah"

for starting the tone, there is apt to develop a natural

inclination for moving the jaw. The reader may be easily

convinced of this through a simple experiment.

Experiment. Speak the following syllables sharply

as though tonguing into an instrument, allowing some

space between them for a greater contrast: Tee, — ti,

— tu , - - tah ( t a ) . I f one of the sy lla b le s seems to

induce jaw movement, repeat it several times until

thoroughly convinced. The results of the above experiment are convincing

enough so that all instructors should exercise caution in

the use of "tah” as a tonguing syllable. However, the

use of i t is recommended by such a u th o ritie s as Arban

and Goldman without discrimination.^

Some trumpet teachers encourage tonguing with

the syllable "tah" to open up the throat of the student

and thus overcome a tight, pinched sound. They would

probably get better results with the use of "tow" (as in

toad) for this purpose, and again the reader should be

able to convince himself by making a comparison of the two sy lla b le s and determine which is apt to be more

J. B. Arban, Complete Method fo r Com et or Trumpet (New York: Carl F ischer, 1915), p. 11; and Edwin Goldman, Foundation to Cornet and Trumpet Playing (New York: Carl Fischer, 193^), p. 13. -22- conduclve to playing with an open throat.

The problem of open throat has to do with improved tone production, but it is so closely related to tonguing that it deserves a cursory treatment here.

A study by Daryl Gibson sheds an interesting light on this very matter. It points out the relationship between the tonguing syllable and tone production. In this respect the problem is not just open throat, but open mouth as well. Gibson's study involved the record­ ing of trumpet experts with the use of various vowel sounds for articulation. In his words:

Our findings agreed w ith the r e s u lts of Dr. Russell in his experiments on voice produc­ tion, i.e., the two master or cardinal vowels are "i" (ee) and '^u" (oo) with "a" (ah) lying between the two extremes: "a" (ah) possessing the widest opening of the pharynx and the least altered glottal quality. The greatest tension of the throat was found to be in the vowel "i" (ee) and the least tension was found when pro­ ducing "u" (oo). The series of experiments conducted by Dr. Russell at Ohio State University amply prove these a sse rtio n s .

. . . Our findings v e rify and record for any to hear, the obvious value of change in vowel for a change in playing range ... The vowel "a" (ah) is termed best for the middle playing range and "i" (ee) best for the high range, "u" (oo) was recorded as too mellow for the lower notes of a trumpet and would probably be more suitable for trombone or baritone. In performing slurs "ta-ee" (ah ee) was recorded as the most suitable,

... In applying these results a further word is necessary. A decided change in quality when moving from one articulation to the other ... is not advocated. Graduation throughout both vowel ranges must be made. Thus, it follows that the -23- lower the musical scale descends, the darker the vowel must become. The reverse is also true; the higher the scale ascends, the brighter the q u a lity .2

To further support the theory of changing vowels for different registers, here is a quote from Harold

Brasch:

It should be noted that "ta” and "da” are used only in the middle register, "Tee” and "dee” are correct syllables for higher notes; "too" and ”doo” should be used for low tones. An ascending tongued interval is produced more easily if "ta" is used for the first tone and "tee" for the second. The same notes are slurred "ta-ee.” In descending intervals the syllables would be ”tee-ta” when tonguing has a direct bearing on producing intervals whether large or small, whether detached or slurred. Even what is normally called a lip trill is an exercise for the tongue as well.3

The accompanying manuscripts will help the reader by giving him a visual diagram of vowel usage as recom­ mended by both Gibson and Brasch, (See Figure 1)

Howard Deye, in his capacity of supervisor of music in Pendleton, Oregon, conducted a survey which

shows us what some teachers have to say about some of the facets of brass tonguing.^ The statements do not

^Daryl Gibson, Recordings of Differentiations in Tone Color Produced by Vowel Sounds on the Trumpet (MSTJ Music Library: an unpublished Master's thesis), pp, 27- 2 8 , 3 Harold Brasch, "Articulating the Brasses,” The Instrumentalist, (January, 1957), p, 86.

^Howard Deye, "The Use of Tongue in Brass In s tr u ­ ments," The Instrumentalist. (March-April, I 9 J4.7 ), p, 52. -2i|-

Tu tu tu tu ta e ta Ta ee tee

Tu ta tee tee ta-e a e a - e teeTa

FIGTJRE 1

VOWEL USAGE IN TRUMPET ARTICULATION —25“ pertain strictly to trumpet playing. Where tonguing techniques differed from other brass Instruments^ a notation Is made.

The following compilation has been made from

Deye'8 survey without direct quote:

1. In tonguing the tongue should strike the

roof of the mouth.

5 yes, 26 no, 2 said only when using "du"

or "lu" attacks

2. The tongue should strike at the roots of

the upper teeth.

2^ yes, 10 no

3. The tongue should strike the tips of the

upper teeth,

majority of yes answers In ratio 7 to ^

1^. The tongue should never strike the lips,

cornet and horn players responded yes 12

to 6; lower brass gave the opposite

response 11 to 6

5. For low tones the tongue may come between

the te e th .

21 yes, lij. no

6 . Most amateur players tongue too forcefully,

all but one said yes

7. What Is the best syllable for ordinary tonguing? — 26 —

26 "tu/' 8 "tee," 6 "tah"

The reader may draw some of his own conclusions from this study, Mr. Deye drew them gingerly. The most important thing that the study disclosed was that there is considerable disagreement on the subject of tongue placement. The fact that four out of seven men questioned said that the tongue should strike the tips of the teeth should not lead the teacher to demand that each of his students do Just that, A further blow is dealt in the words of Jean Baptiste Laurent Arban who said the tongue does not actually strike anywhere, but merely acts as a valve to chop the air column into notes of desired length.^ The confusion may be merely a problem of semantics. The referring to the tongue as a valve is a very popular concept, and many a u th o ritie s recommend starting a tone in the following manner:

Starting the tone. Press the tongue against the roots of the upper teeth where they Join the gums.

Start air pressure from the diaphragm but allow none of it to escape through the created valve. Draw tongue back quickly. This is an excellent system for the begin­ ning student.

Undoubtedly there would have been more agreement in Mr, Deye'8 study if the questions had been more

^J, B, Arban, 0£, cit,. p, 5. -27- speclflc, A variation of this study should prove interesting,

A great many trumpet teachers take the stand of

Herbert L, Clarke, who says that the placement of the tongue varies within the different registers of the instrument, at different dynamic levels and with dif­ ferent attacks.^ This is a logical premise and is

flexible enough to allow for individual differences.

As in all matters of musicianship, the results are the measure of the means. If the student gets good results

and progress from an unorthodox style of tonguing, the teach er should be s a tis f ie d . Only when there is some

obvious difficulty should he attempt to change an

established pattern.

Those types of tonguing and tongue placement discussed here are proven methods and one or more of them should be used in the instruction of beginning

stu d e n ts,

I I , SLURRING

Slurring is another of the important facets of trumpet playing, but fortunately there is more agreement on this technique than there is on tonguing.

^Herbert L, Clarke, Characteristic Studies for the Cornet (New York: Carl Fischer, 1920), p, 6, -28-

The teacher must not be surprised if beginning

students have difficulty with slurring exercises. In

fact Arban testifies that no slurring should be attempted until the tonguing is very good,? intimating that it is

one of the more advanced problems.

That type of slurring which is least troublesome

is the kind which involves the smallest interval, since

there is little or no lip adjustment involved. The next

least troublesome is the slur which involves a large

interval skip but also involves a change of fingering.

For some physical reason the valve movement effects a

clean, smooth slur, particularly if this involves the

adding of valves such as 0 to 1-2, 1 to 1-2, or 1-2 to

2-3, The change 1-2 to 2-3 involves basically the same

principle as 1 to 1-2, because the third valve slide is

1 1 / 2 times longer than the second valve slide. Where

the slur would not ordinarily call for a valve change a

smoother execution can be obtained by creating a vglve

change through the use of alternate fingerings. An

example would be middle C to C an octave higher; a difficult slur, but it is made easier by playing the

second C 2-3 instead of open, thereby creating a movement

of 0 to 2-3 in favor of the static fingerings 0 to 0,

This is never a wholly satisfactory remedy, however. The

?J. B, Arban, 0£. cit.. p. 6 -29- alternate fingerings are never as well in tune and they

often produce a tone quality that is foreign to the register. These two obstacles make it necessary for the

trumpet teacher to master the most difficult type of

slurring, that which does not involve valve change but

does involve large intervals.

The need for mastery of slurring gave rise to a

particular type of exercise known as the lip slur, so

called because the embouchure makes the slur without the use of valves. In executing these exercises alternate

fingerings are used so that the embouchure will be taxed

to the greatest degree. (See Figure 2)

By making extraordinary demands upon the embouchure

the student is employing the same principle as the athlete who practices throwing a sixteen-pound shot so that the

twelve-pound shot used in contest will seem much lighter.

Concomlttantly the student should exaggerate all expression,

dynamic and tempo markings when practicing. All soft passages should be played very soft, loud passages very loud and fast passages very fast. In doing this he is building additional, reserve skill which will be ready when he needs it, besides making the medium playing very e a sy .

When slurring to a higher note the mouth and tongue form the syllables "tu-ee." When slurring to a lower note. -30-

1. a e

1 - 3 2 - 3 1-2

1

------— y ' w~...... ~ - F y w etc .

FIGURE 2

EXAMPLES OF LIP SLURS -31- the syllables are "tee-u" (oo). As in the lip slur exercises where the notes move alternately up and down,

the syllables change ”tu-ee-uu-ee-uu-ee-uu,” in rhythm.

The use of these syllables induces the air column and

embouchure changes necessary for good slurring. Note

also that the tongue takes different positions. This

is im portant. Exaggerated fa c ia l movement should not be

a by-product, but may actually help in discovering the

proper action of the mouth.

Some action must come from the diaphragm in addi­

tion to the normal steady pressure. When executing slow

slurs the diaphragm should be drawn up and in to

facilitate a slow upward slur and gradually released for

a downward s lu r .

Sometimes the notes will be too fast to allow time

for adjusting the diaphragm for each note. In this case

diaphragmatic pressure should be set at a level slightly

higher than the medium between the high and low le v e ls

of the passage.

One notable exception to the usual techniques of

slurring is found in Cleon Dalby's "Trumpet Problems."

He recommends deflecting the current of wind down to

slur upward, at the same time rolling in the lower lip

and drawing in the diaphragm to produce sw ifter wind.®

®Cleon Dalby, Trumpet Problems (New York: Belwin Company, 1950), p. 30. -32-

If this method produces good results, the results form their ovm defense. However, since there is no provision in it for embouchure and tongue adjustment, experimenters such as Robert Weast would object to it as an instrumental

Q method. ^

q ; Discussion and results in Chapter V. CHAPTER V

ENDURANCE AND RANGE

Endurance Is one of the principal problems in trumpet playing, and every serious player concerns himself with developing and attaining endurance.^ So far as we know, no one has ever achieved the ultimate in endurance; that is, playing endlessly without fatigue. Some players have reached a high level of endurance while others, equally skilled in other techniques, tire easily and need frequent rests. Why are some players capable of such lengths of strenuous playing? Is endurance a skill which can be developed and improved or is it related to the physical makeup of the embouchure which cannot be changed? e.g. (thick or thin lips, muscular jaw, etc.)

The answers to these questions have been sought for a long time and many have claimed to have found them, but what they actually found may have been only hints, helps and habits that usually improve endurance rather than the secret power behind it.

^Bernard Fitzgerald, "Brass Clinic," The Instrumentalist, (June, 19^7), p. 20.

“33- - 34 " Vlrtually all of the above statements apply to the problem of range as well. Therefore, in this chapter the two problems will be treated simultaneously when feasible. This is possible because range and endurance have two very im portant things in common. They are (1) embouchure strength and (2) diaphragmatic support.

Players who have reached high levels of these components have good range and endurance. Knowing this has prompted trumpet teachers and players to discover good breathing e x ercises, l ip building m aterial and good playing h ab its to conserve strength. Strength, in the last analysis, is the most important component of range and endurance.

That breath support (air pressure) is directly re la te d to range was proven by Robert Weast and asso- p elates at Drake University in 1958. Weast constructed a machine that produced tones on a cornet. His conten­ tion was that membrane (lip) tension and air pressure are two components of brass playing, so he built his machine to accommodate those two requirements. His tests showed that the lower the air pressure the higher ,the membrane tension necessary for the same pitch. For instance, D5 (fourth line) could be produced with fourteen ounces pressure and one ounce tension or five ounces

^Robert Weast, "Breath Support and Lip Tension," The Instrumentalist. (Dec., 1958), p. 52. “ 35 " pressure and eight ounces ten sio n .^

The results of Weast's study are extremely impor­ tant to the problems of range and endurance. He has shown that the work of the embouchure can be sizeably reduced by using proper breath support. He does not conclude, however, that proper breath support eliminates the need for embouchure strength.

The concept of breath support is a difficult one to teach. Younger students in particular are notable to comprehend such instructions as "blow harder and play softer" or "use more pressure with less air." When we speak of swifter air, sometimes the point is driven home.

Other helpful analogies ought to be used. The idea of a balloon filled with air seems to help; the diaphragm can be thought of as the hand squeezing the bottom of the balloon to produce greater pressure at the top. The tongue is the valve at the top which prevents the air from escaping except in desired tone lengths.

Young trumpet students lea rn quickly that higher notes can be produced by pressing the instrument harder into the lips. Experienced players know that too much pressure hampers flexibility and endurance and so many camps have been built on theories of how to play with little or no pressure. The resulting proposed methods

^Ibid., p. 53. — 36—

1 4

1 3

Xi0 12 d 5 c 11 Db^ E^ 110 Db^ Eb^ 0) Db^ a 9 % 8 B^ Db^ Eb^ cog I 7 Bb^ B^ c 5 Eb^ 6 A^ Bb^ B^ Db^ 0

8

ounces of membrane tension

TABLE I

RELATION OF MEMBRANE TENSION TO

AIR PRESSURE -37- have been the source of frustration of many trumpet players as they attempt to play high C with their instru­ ment suspended from the ceiling on a string. The frustra­

tio n comes from a m is in te rp re ta tio n of the method.

Proponents of the non-pressure method are aware that it

is only an ideal method that few players have actually

accomplished. The non-pressure exercises are designed

only to help the student grasp new concepts of tone,

range, endurance and f l e x i b i l i t y .

When the student develops the symptoms of poor

endurance, lack of flexibility, pinched tone and poor

general tone quality, the teacher should make an examina­

tion, The prime suspect is, of course, lack of practice

and/or the wrong practice procedure. If the instructor

is convinced that the difficulty is not due to one of

these causes, excess pressure may be the cause. Although

we have no way of measuring the amount of pressure

exerted against the mouthpiece, the instructor can make a

comparison of the pressures used by different players by

placing his index finger between the valve casing and the player’s left hand grip. While the student plays a

chromatic scale slowly from the bottom to the top of his

range, pressure will be registered as he pulls the instru­ ment into his lips to get the high notes. If this pressure is excessive, special attention is needed. The -38- student should be made aware of h is problem, but should not be given a condemning diagnosis. He should be told that the excessive pressure is cutting off the circula­ tion in his lip and that trying to play under that handi­ cap is like trying to tie shoe strings with mittens on.

The lip becomes insensitive and unresponsive when it is thus undernourished with a fresh supply of blood.

Probably the biggest mistake the teacher could make in this regard would be to demand that all of his students play without pressure. Various degrees of pressure are required from one individual to another, and a specific individual will need to use various amounts of pressure throughout the range, particularly a little more in the upper extremities.^

Aside from special problems, the matter of developing good endurance and range is one of proper practice habits. The first requirement of proper practice habitais regularity, Robert Schumann once wrote, "If I miss one day of practice I immediately notice it. If I miss two days of practice my friends notice it. If I miss three days of practice my audiences notice it."^ Pour hours of practice every other day will not take the place

^Edwin Goldman, Foundation to Com et and Trumpet Playing (New York: Carl Fischer, 1936), p, 13,

^Leonard B, Smith, Regularity in Practice, Roth- Reynolds Co,, a pamphlet, 1956, -39- of two hours each day. The acquired skills must be taxed and stretched every day if the maximum achievement is to be had. This Is an axiom that is not peculiar to the field in music, but one that is employed in the developing of all motor skills.

Besides being regular according to the calendar, the practice period should be regular as to content and a rigid routine should be adhered to. This routine should allow for the exercising of all acquired skills, the a c q u isitio n of new s k i l ls , and warm-up and cooling o ff.

Further suggestions and discussions on this subject are part of the chapter on the advancing student. CHAPTER VI

THE ADVANCING STUDENT

The pitfalls encountered in and after the second year of instruction are very treacherous. They are usually not easily overcome and must be avoided rather

than corrected whenever possible. These pitfalls are usually brought about due to the increasing technical

demands on the student. If he is not equipped to meet

these demands he will resort to improper methods which will seem to satisfy the needs. This is precisely what

teachers are guarding against when they recommend that

skills be acquired gradually. Table 11 shows some

advanced techniques together with their likely pitfalls.

The pitfalls that are likely to be encountered

do not pose a serious threat to the student who continues

to study privately, but such is not the case always in

the public school and thus the need for a special measure

of caution.

As Table 11 suggests, there are some techniques of

trumpet playing that are only introduced to the advanced

student. For the most part they are only extensions of the techniques already begun in the first lessons, but Te chnlque______P itfa ll______

1. rapid tonguing ...... tongue does not strike each note clearly

2. double and triple t o n g u i n g ...... the "k" sound becomes less d istin ct than the "T” which results in unevenness

3. difficult slurs ...... pinching off the tone in the throat because a small tone is easier to slur than a big tone

Lj., extended range...... use of excessive amount of pressure on the embouchure to squeeze out the high notes

5. extended dynamic le v e ls .con trollin g the amplitude of the tone by shutting off the air column in the throat

6. d if f ic u lt runs .skipping over some of the notes in order to satisfy the time requirement for the passage

7. endurance .playing with the smallest possible tone since it is less tiring

TABLE II

ADVANCED TECHNIQUES TOGETHER

WITH PITFALLS -14 2- there are separate, distinct techniques as well. Among the separate techniques are double and triple tonguing and transposition. Those techniques which are merely extensions of elementary techniques follow a logical sequence. I.e., the student does not begin tonguing sixteenth notes at 120 beats per minute until he can accomplish the same thing at 80 or 100 beats per minute.

When It comes to Introducing transposition or other distinct techniques, the Instructor may be In doubt as to when the student Is ready for It.

Transposition requires not just a working knowledge of key signatures and music theory but also an understand­ ing of them. This need may have been filled In previous training of the student. When this Is so the student may begin exercises In transposition as soon as he Is able to handle the requirements of tone, tonguing and rhythmic dexterity. An unusual student might meet these require­ ments w ithin the f i r s t two years of study, but such would be the exception rather than the rule. Transposition

Is one of the more difficult techniques, but It requires the same physical skills as any other playing. The process Involves a relearning of basic fact. I.e., the first line Is not always E, and Is therefore difficult.

Double and triple tonguing require a good founda­ tion In single tonguing. Without this the student only flounders. The Instructor should be aware that double - 43 - and triple tonguing are not necessarily requirements of

trumpet artistry- They are in fact short-cuts to the

ultimate goal of single tonguing, very rapid execution.

A few trumpet players have succeeded in meeting most of

the requirements of tonguing without resorting to double

and triple tonguing, but they are in such a minority that

most experts do not feel that their case is one to con­

sider in instructional methods. Unless the student can

single tongue sixteenth notes at 226 quarter note beats

per minute there is definitely a need for acquiring the

additional skills of double and triple tonguing, particu­

larly in this age of the idiom of trumpet virtuosity.

The problems of transposition and double and triple

tonguing will be part of this discussion again later in

the chapter.

I . ADDITIONAL RANGE

Tremendous demands of range have been placed upon

the trumpet player of today. True, the upper register

of the trumpet has never been so tried as it was in the

day of the clarino trumpeters of the Baroque period, but

their instruments and mouthpieces were especially con­

structed for that type of playing and their embouchures were specially cultured for the high registers. There was no expectatio n th a t low tones could be played. The - 44 - easy playing range of the modern trumpet is, in turn, in terms of advanced students, between F# below the staff to high C above the s t a f f . Frequently demands are made fo r notes outside the playing range, and i t is an addi­ tional tax on the player to produce them. Orchestral and band scores o ften c a ll for D, E, Eb, and F beyond the high C,and occasionally the composer asks for tones below the normal playing range.^ There are three examples of this in the prelude to Carmen (Bizet), one in Ejn Helden- leben (Strauss) and one in Don Juan (Mozart),to cite a few examples of the problem. Tones lower than the F

(written) below the staff are sometimes referred to as pedal tones or induced tones and require special treat­ ment .

The embouchure for producing pedal tones is dif­ ferent from that in the normal playing range. It is much more relaxed and has a larger area of vibration. The jaw is dropped until the buzz of the lip(s) has moved away from the edge of the lip into the red, fleshy part of it.

Additional puckering of the lips moves the mouthpiece to a position where it sits wholly or partly on the red part of the lips. Any tenseness in the embouchure causes the tone to skip up to the next usable overtone. This is

^Bernard Fitzgerald, "Pedal Tones on the Trumpet or Comet," The Instrumentalist. (March-April, 19^8), p, 37. what makes the producing of pedal tones a difficult skill to acquire. Holding a tone for a length of time with the embouchure in such an awkward position makes the task even more difficult. As in the case of the other extremes in range, pedal tones are more easily produced when approached by step, and they should be practiced

scale-wise until considerable proficiency has been

achieved before the tones are attempted by leap such as

chord form passages. Separate fingerings for pedal tones p have been prepared by Bernard Fitzgerald. They are non-

logical because in some cases conjunct tones have the

same fingerings. This is due in part to peculiar requirements of playing outside the instrument's range.

In Figure 3 the alternate fingerings are given in parentheses. The pitches are transposed to the trumpet key of Bb, (See Figure 3)

The occasional requirement for pedal tones should not make the playing of them a skill equal to other

techniques. The playing of pedal tones is actually a novel achievement and not a significant value by

comparison,^ Pedal tones are an excellent lip condi­ tioner and the playing of them helps to relax a stiff lip, and should therefore be included in the daily warm-up.

p Bernard Fitzgerald, up. cit,, p. 3 8 ,

3 lb id , -B- O -e - _o. - a — 2 1 1 1 0/1 0 (2 ) 3 3 2 2 3 3

I 1 ? ( i\ 2/11 . 1 0) 0 0 0 / / ill) 3I3J 3 ■ ' .. ,

FIGURE 3

PEDAL FINGERINGS FOR THE TRUMPET -hi­

ll. THE WARM-UP

The warm-up becomes increasingly important with the addition of new skills and the extension of old ones.

Beginning students need not be too concerned about proper treatment of the embouchure because they are not capable of anything very taxing. As the embouchure increases in strength it not only needs more special treatment, but it requires a longer period of conditioning each day before it is ready to play. If the student has not adopted a systematic warm-up procedure of his own that meets the requirements, the instructor should see that one is pre­ pared for him.

The warm-up should start with either long tones or short running passages in the lower middle register. This is the one time when tone may be sacrificed for ease of playing. The tone should not be forced even if it fails to respond on some fingerings. The lower middle register is chosen for beginning the warm-up because the tones in this register are most easily produced. If the warm-up is begun in the high or low register, the lip often develops a set for that register and will not respond satisfactorily throu^out the playing range.

In addition to the long tones or short running passages, the warm-up should include lip slurs and tonguing - 1+ 8 - exerclses, but nothing too vigorous. Various forms of scales are ideal for finishing off the warm-up since they

cover the entire playing register. The warm-up should

take no less than ten minutes and may take as long as

forty-five minutes before the lip is ready to play. These recommended times include frequent rest periods, for they

are an integral part of the warm-up period.

I I I .. ADVANCED TONGUING

Provided that the fundamentals of tonguing have

been properly taught, advanced tonguing w ill not contain many new elements. The problem is basically one of

increasing the speed of tonguing while at the same time maintaining the clarity and precision that was developed

at slower speeds. Naturally the process must be gradual,

but i f worked at every day advanced tonguing requirements

w ill not become an obstacle to good playing. Chromatic passages and scales can serve as the basis for rapid

tonguing exercises as shown below. (See Figure ]+)

Tonguing patterns such as the one shown in Figure 6

should be repeated several times, or until the tongue

actually becomes tire d . The student should then turn to

other exercises while the tongue rests and then repeat

the process. This is one area in which progress is evident

and gratifying. Through serious application the student can improve the speed by as much as twenty beats per _etc.

-0-

etc ... V i - ✓ ^ ^ ^ ^ ^ 0 -J

etc

FIGURE Ij.

EXAMPLES OF RAPID TONGUING EXERCISES -50- ralnute In the first week.

Double and tr ip l e tonguing w ill pose an e n tire ly

new problem to the student, and that is the starting of

tones with the syllable "ku" in place of "tu." The

"k" sound is much more difficult to manipulate and as a

result the note with the "k" syllable often becomes s l i ^ t e d . The proper way to teach double and triple tonguing

is to start with the "k" syllable. The student should be

able to use i t ra th e r p ro fic ie n tly before i t is combined

with the other syllables to form "tu-ku" and "tu-tu-ku."

The same principles of varying the syllable within the

register will apply to double and triple tonguing. The

student will soon discover that multiple tonguing is most

difficult in the lower register, less difficult in the

upper register and easiest in the middle playing range.

This in itself should be encouragement for him to concen­

trate on the extremeties of the register. The difficulty

of the problems connected with multiple tonguing may lead

the student to employ incorrect attacks and releases. CHAPTER VII

TRUMPET MATERIALS

No attempt has been made In this chapter to evaluate or criticize the existing trumpet methods, etudes and solos,

Although the listings on subsequent pages include all of the common materials, they do not constitute a wholly complete compilation. In fact, such a list would be outdated before it was completed. The following list is therefor not unique, but it is still essential in a study which is designed primarily to aid the public school teacher of instrumental music. The compilation is an outcome of the experience of the author and others and is pointed toward an inclusive variety. The materials range from grade one to six in difficulty, and from contemporary French to the days of the cornet band in style. The instrumental teacher should be able to find materials in this listing to suit every need.

In the compilation the publishers are referred to by a code symbol for the sake of expediency. The last pages of the chapter repeat the code symbols in alpha­ betical order, together with the corresponding publishers and th e ir m ailing addresses,

- 5 1 - METHODS

T itle Composer Grade Pub. . Date Price

Complete Method for Cornet Arban 1-U F 1893 $2.00

Elementary Studies Clarke 1 F 1923 2.25 Scientific Method for Cornet Eby 1-U J 192U 5.00

Book One: Method for Cornet Edwards-Hovey 1 B 19U0 1.00

Belwin Comet Method Eidson 1 B 19U7 .75 I Vn ro Rubank Advanced Method for Comet Gower-Voxman 2 R 19U0 1.25 I Music Educators Basic Method Hindsley 1 F 1937 .75

Arban-Prescott Complete Method Prescott 1-2 F 1937 1.25 Basic Studies for the Beginner Reinhardt 1 EV 19U0 1.00

Pivot System for Trumpet Reinhardt 1-2 EV 19U2 2.00

Rubank Elementary Method Robinson 1 R 193U .90

Grand Method for Trumpet S t. Jacome 1-? F 189U 6.00

Rubank Intermediate Method Skomica 1-2 a 1937 .90

Modern Method for Trumpet Williams 1-S M 1936 5.00 II. ETUDES

T itle Composer Grade Pub., Date Price

Celebrated Practice Duets Amsden 3-U Ba 1918 12.50 Ten Preludes (with Piano) Bach, J. S. S 1916 3.00

Orchestral Studies from the Symphonic Repertoire (5 vols.) Bartold (ed.) U-6 I 1918 2.50

Twelve Technical Studies B ellstedt h F il 1906 1 .2 5

Twelve Etudes for Trumpet Brahms h Her 1917 1.25 I Etudes for Trumpet Brandt $ L 19kS 2.00 Vn U) I Modern Trumpet Studies Brooks 3 Rob 19ii6 1 .2 5

36 Etudes Transcendantes Charlier 6 Le 1916 il.00

25 Etudes Characteristiques Chavanne 5 Le 1927 3.00

25 Etudes de Virtuosité Ohavanne 6 Le 1916 3.00

Characteristic Studies Clarke li F 1915 2.25

Technical Studies Clarke 3 F 1920 2.25

Advanced Trumpet Studies Dalby 3 B 19U6 .75

Trumpet Studies for Young Players Dalby 2 B 19U2 .75

Trumpet Problems (2 v o ls.) Dalby 1 B 1950 2.00

2li Etudes Duhem li CB 1901 1.00 T itle Composer Grade Pub. Date Price

Celebrated Gatti Duets Gatti 2 F 1911 .75

Practical Studies for Cornet Getchell 1-2 B 1918 .75

U8 Studies for the Advanced Trumpeter Glanz U-5 W 1936 1.50

Practical Studies for Cornet Goldman 2-3 F 1921 1.2S

Hazas Duets Gomston k G 19U0 1.25

UO Progressive Etudes Bering 1 F 1915 1.25

32 Etudes Bering 2 F 19L3 1.50

2k Advanced Etudes Bering 3 F 19U7 1.50 I

I Wagner Orchestral Studies Boehne (ed.) 5-6 I 1917 1.75

Twelve Special Studies Buber 3 F 1912 1.00

60 Selected Studies (2 v o ls.) Kopprasch 2-3 F 19U1 1.00

Etudes Practiques (3 vols.) Laurent 3-5 Le 1931 3.90

Etudes Novelles (2 vols.) Maxime -Alphonse 3-5 Le 1920 2.00

2k Modern Virtuoso Studies Paudert k F 1917 1.25

15 Etudes Techniques et Mélodiques P etit k Le 1922 3.00

Grandes Etudes P etit 5 Le 1913 2.00

22 Virtuoso Studies Pietzsch 5 CB 1910 1.25 Preparatory Melodies to Solo Work Pottag 3 B 19U8 1.00 T itle Composer Grade Pub, Date Price

Selection of Coneone Studies Reinhardt 3 EV 1913 .72 Orchestral Studies from Symphonic Works of R. Strauss Rossbach (ed.) 2-6 I 19li7 1.72

100 Etudes for Trumpet in C, D, E and F Saches 3-U Bar 19liO 2.20

Kreutzer's 10 Famous Etudes Schaefer F il 193b 1.00

Daily Drills and Technical Studies Schlossberg 3-S Bar 1937 3.00

Top Tones for the Trumpeter Smith, W. M, 2 F 1936 1.20 I UO Advanced Studies for the Trumpet Tyrrell L BH 19li2 1.00 vn Vn Orchestral Passages for the Trumpet Voisin 3-5 Bar 19U8 2.20 I

Modem Pares Foundation Studies Whistler (ed.) 2 R 19U2 .72

Modern Method for Transposition Williams 6 M 1938 2.00

I I I . DAILY DRILLS

Setting up Drills Clarke F 1929 1.00 Lip Flexibilities for Trumpet Colin C 1911 1.22

Daily Embouchure Studies Goldman F 1909 .20

The Trumpeter's Daily Stint Shuebruk F 19U0 .22 T itle Composer Grade Pub. Date Price

Common Sense: Lip and Tone Development Thieck Bee 1928 $2.00

The Secret of Technique Preservation Williams M 1916 1.50

IV. SOLOS

Everybody's Favorite Trumpet Solos Arnold (ed.) 1-2 Am 1939 1.00

Petite Piece Concertante Balay 3 B 1919 .60

Prelude and Ballade Balay 5 ES 1921 1.30

I Andante et Scherzo Barat 3 BC 1926 1.00 Vn 0 1 *La Mandolinata B ellstedt a Si 1932 1.50

First Concert Piece, Op, 11 Brandt i: CB —---- — 1.00 Paramount Folio of Standard Favorites Brockton (ed.) 1 F 19L0 1.00

■«Collections of Ten Solos Clarke 3-6 F 1919 1.50

«Stars in a Velvety Sky Clarke 3 F 1919 1.50

Fifteen Celebrated Solos Clarke 3-6 F 19lO 1.00

Fete Joyeuse Da Hier h An 1905 1.00 Introduction and Polonaise Denmaik 3 Lu 1950 1.00

12 Program Solos for Trumpet Eckard (ed.) 2-3 P 1955 2.00

*For cornet only T itle Composer Grade Pub. Date Price

Sonate pour Cornet e t Piano Emmanuel 3 BC 1937 $2.00

Legend Enesco S I 1906 1.50 Concerto in Ab Minor Fitzgerald F 1937 3.75

Modem Suite for Trumpet Fit zgerald 3 F 1910 1.75

Concerto for Trumpet Giannini 5 GH 19U8 2.00

Concerto, Op. Ul Goedieke L 1951 1.75

Morceau de Concert Goeyens U ES 1923 1.30 I Solo dans le Style Ancien Goeyens 3 Wal 1925 1.00 Vn I Da Capo Album Goldman (ed .) 1 F 1 9 ll 1.50

Ideal Collection of Famous Solos Goldman (e d ,) 2-3 F 1917 2.00

Songs of the Great Masters Goldman (ed.) 2 F 19Ü1 1.50

Concerto for Trumpet in Eb Haydn 6 F 19U1 2.00 Sonata for Trumpet and Piano Hindemith 6 A 1939 2.00

Trumpet Voluntary in D Purcell 3 MP 19U6 3.00

Contest Album Laube (ed.) 3-6 CB 19UU 3.00 Mattinata Leoncavallo 3 Lu 1950 .50 Aubade for Trumpet in C Le sur 5 I 1951; 1.50 Five Grand Solos de Concert Mager (ed.) S An 19U5 2.50 T itle Composer Grade Pub, Date Price

Legend Heroique, Op, 27 Mouquet h CB 1908 $1.50

Concerto for Trumpet Mozart, L. $ F 1952 .60

Gapriccio for Trumpet in 0 Pascal 5 I 195k 1.50

Etude de Concours P etit 3 A1 1926 1.00

Andante e t Allegro Ropartz 3 CB 1903 1.00

Sonatine for Ti-umpet Scbmutz h Lu 1950 1.00

Ecstasy Smith, L. 3 F 1939 1.00 I Va The Cavalier Smith, W. M. 2 F 1928 .75 03 I Sonata for Tnimpet and Piano Sowerby 6 GH 1918 2.00

*The Tower of Jewels Tong k F 1933 1.00

Concerto in D Major T orelli 5 I 195k 1.50

Little Classics for Trumpet Williams 1-3 M 19k6 1.00

Sonata for Piano and Trumpet Williams 6 M 19k2 1.50

•«■For cornet only Symbol Publisher Address

Co M, M, Cole Publishing Co, 2611 Indiana Ave., Chicago, Illinois

ES Evette & Schaeffer Co. 18-20 Passage du Grand-Cerf, Paris, France

EV Elkan-Vogel, Inc. 1712 Sansom S t., Philadelphia 3, Penna.

F Carl Fischer, Inc. 62 Cooper Square, New York 3, N. Y.

F il Fillmore Music House 528 Elm S t., Cincinnati 2, Ohio

Fox Sam Fox Publishing Co. RCA Building, Radio City, New York 20, N. Y

G David Gornston Music Co. New York, N. Y,

I GH Gamble Hinge 218 S. Wabash, Chicago 111. Vn vD I I International Music Co, 509 5th Ave., New York 17, N. Y.

J Walter Jacobs, Inc. 120 Boylston St., Boston, Mass.

K N eil A, Kjos Music Co. 223 W. Lake S t ., Chicago 6, 111.

Ki Robert King Music Co. 7 Canton S t ., North Easton, Mass.

L Leeds Music Corp. 322 W. U8th S t., New York 19, N. Y.

Le Alphonse Leduc & Cie 175 rue Saint-Honore, Paris, France

Leb G. Leblanc Co, Kenosha, Wisconsin

Lu Ludwig Music Publishing Co. 557-9 E. IhOth S t ., Cleveland, Ohio

M Edwin H, Morris & Co., Inc. 35 w. 5 lst S t., New York, N. Y.

Mer Mercury Music Corp. 231 W. Loth St., New York, N. Y. Symbol Publisher Address

Mi Mills Music, Inc. iill W. 7th S t., Los Angeles, California

MP Music Press, Inc. 130 W. 56th S treet, New York, N. Y,

P Theodore Presser Co. Bryn Mawr, Penna.

Pet C, F. Peters Corp. 1209 Carnegie H all, New York 19, New York

R Rubank, Inc. 55UU W. Armstrong Ave., Chicago 30, Illin ois

Rob Robbins Music Corp. 799 7th Ave., New York 19, N. Y.

S Schott Freres 30 rue Saint-Jean, Bruxelles, Belgigue I Sc Paul A. Schmidt Music Co. Minneapolis 3, Minnesota O' 0 Sch G. Schirmer 3 E. U3rd S t ., New York 17, N. Y. 1

Si Frank Simon Middleton, Ohio

W Witmait &Sons U88 Madison Ave,, New York, N. Y.

Wal Charles Walpot 11 rue D'Assaut, Bruxelles, Belgigue

Wo B. F. Wood Co., Inc. Boston, Mass.

TABLE III TABLE OF ABBREVIATIONS OF PUBLISHERS CHAPTER V III

CONCLUSIONS AND RECOMMENDATIONS

If the preceding discussions and documentations have been somewhat confusing i t may be because of the general nature of the problems connected with trumpet artistry. Further difficulty arises in trying to explain

concepts and verbalize muscular reactions which are not

overt. In this way the pianist and the violinist have a distinct advantage. They can see how the hand should curve over the keyboard or fingerboard and how the left elbow affects fingering. If the teacher of wind instru­ ments were able to manipulate his student's embouchure and diaphragm or to show him exactly what takes place muscularly in a given passage the learning process would be much simplified. Since this is not possible the teacher must rely on other means for conveying to the student the benefit of his experience and knowledge.

In this summary the conclusions and recommendations are treated topically.

From time to time in the preparation of this treatise, discussions and controversies have arisen, but

—6l— -62- they could not be treated completely because of the objective nature of the body of the paper. A slight breach in this rigid type of reporting may serve to stimulate the reader and also demonstrate the subjective nature of topics connected with art and artistry.

I. The Comet

Throughout this paper the controversy and rivalry between the cornet and the trumpet have been avoided.

Although the two Instrum ents can be compared they should be treated as two separate instruments and not as rivals.

Each has its own specific duties and one need not defend its position against the other. The time has passed when there was a marked difference between the two instruments, and now even fine teachers cannot always tell whether the instrument being played is a cornet or a trumpet unless they can see it.

The bores of brass instruments are graduated all the way from conical, such as the French horn, to cylindrical, such as the trombone. The cylindrical bores induce bright, edgy tones and the conical bores induce mellow, "sweet" tones. Since most manufacturers build the cornet mostly conical and the trumpet mostly cylindrical, many people believe th a t the cornet is sure to be mellow sounding while the trumpet is piercing. Although the instruments are manufactured with this predisposi­ tion, anyone who would base a prejudice on this premise -63-

Is not standing on firm ground. The fact that there are so few professional cornetists in comparison to professional trumpeters has been influential in establishing a trend toward greater popularity for the trumpet. The comet has fallen into disrepute and disuse partly because of the degenerative literature that was written for it between I 87 O and 1 9 3 0. As a result of a long campaign by the instrument manufacturers, there are probably more wind bands per capita than ever before in the history of any country. A city with a population of 2 5,000 might easily have six or eight performing bands, including the various school bands on the elem entary le v e l. Since the cornet seems to be preferred by many directors as a band instrument, we might expect to find more cornets than trumpets in the class of amateur players. Although this is probably true, the fact that the trumpet is in greater demand for professional playing keeps the two instruments on the same plane so far as popularity is concerned.

Cornetists of years gone by felt the trumpet encroaching upon an area which was more or less the domain of the cornet; the virtuoso solo. These lines from

Edwin Franko Goldman have undertones of panic such as those from a man whose business is f a ilin g ; In conclusion I wish to state my candid opinion that the cornet is the more useful instrument In general and the most advisable for the beginner to learn unless he definitely wishes to play in a symphony o rch e stra. Many beginners purchase a trumpet in the belief that it is smarter looking than the cornet. This is hardly to be considered a serious advantage. At the present time ÉL936] the trumpet is suffering by being used too often where the cornet is needed and the comet in turn is suffering from inattention. But the cornet must regain its rightful place. Pine cornet players are scarce today and opportunity is ahead of them.1 With the decline of the Herbert L, Clarke school,

the cornet has lost popularity. When the last of the old bandmasters are gone, the cornet will probably be laid to rest with the serpent and the sax horn,

I I . , THE DAILY ROUTINE

Regularity is very important in practicing and mastering an instrument, and many authorities recommend

the setting up of a rigid daily routine to follow. This routine varies from person to person mainly due to the

various time that each has to devote to practicing. Some

clinicians are either traveling or demonstrating every

available hour. These people use a very concentrated routine that is aimed primarily at preserving technique.

They do not, by this type of practice, expect to gain new

techniques. These short bursts of practice are usually

^Edwin Franko Goldman, Foundation to Cornet and Trumpet Playing (New York: Carl Fischer, I 9 3 6 ) - 65- no more than a half hour in length, but they contain smatterings of the usual elements, i.e., lip slurs, long tones, tonguing exercises and flexibility exercises.

For the student, the player who is concerned mainly with the acquisition of new skills, the most important axioms in practicing are regularity, perserverance and 2 variety. James Hoffren has suggested a daily routine which is based on those axioms.^ His suggestions make up the framework for the next portion of text, which is written without direct quote. Warm-Up. The warm-up should consume about the f i r s t fifteen minutes of the practice period. Naturally the amount of time will vary from individual to individual, or even with the same individual from day to day. The low and middle register should be used and the playing slow and so ft with minimum e x ertio n . The buzzing of lip s and mouthpiece is advised in addition to long tones with a crescendo in the middle, low slurs and slow tonguing.

Notice the emphasis during the warm-up is on a very slow awakening of the lip muscles, and no exertion is made until the lip feels warmed up and ready to respond to more difficult tasks. The warm-up should not be confined

2 James H offren, "Daily P ractice R outine," The Instrumentalist. (March, 1959), p. 73.

3 lb id . - 66- to the low register, however, since the lip will sometimes take a set in that register and will not respond in the other registers. The same thing would happen if the warm-up was done in the high register. Major and minor scales are included in his daily routine in all forms. The scales are played with all types of a rtic u la tio n , fa s t and slow and up and down.

They should be played through more than one octave and

should be played from memory when they have been mastered from manuscript.

Chromatic scales are also practiced fast and slow

and with all possible types of articulation.

Lip slurs are included mainly for flexibility and for improving endurance.

Arpeggios may be played separately or in conjunction with the scale practice, but they should definitely be included. Together with scales they form the backbone of melody and harmony, two of the components of music.

Single tonguing is included in the routine, but a t th is point i t is much more energ etic and taxing than i t was when used as a warm-up device. The emphasis is on

speed and clarity.

Double and triple tonguing are practiced aftd mastered for the instances they will be needed. Although these two techniques will not be used often, their only -67- substitute is an abnormally fast single tongue. Nearly every player needs to acquire this technique.

Songs for cantabile style are Included for developing a smooth legato type of playing. This is now required of the symphonic trumpeter as well as the solo­ i s t and band player now th a t the trumpet is more than a percussive instrument.

Etudes are chosen which develop and emphasize specific problems of the player. They may emphasize tonguing, slurring, rhythm, endurance or any of the other facets. They are chosen by the student or his teacher for their corrective and therapeutic value and according to the level of ability and the needs of the Individual.

Solos in all styles help the player build up his repertoire and also give him a chance to apply his acquired skills to real situations. Although the master­ ing of a solo contributes to the mastering of techniques the solo should not become a vehicle for this, but rather a proving ground for the techniques which have been learned in more efficient areas of practice.

Transposition is definitely one of the advanced techniques and would therefore not be included in the daily routine of most public school students. However, for the student who is aspiring beyond the average limits, transposition is essential. - 68 -

Slght reading may be the most Important part of the dally routine and should be included in abundance regardless of the level of the student, beginning or advanced. The ultimate objective is to play everything correctly at sight.

II I. VIBRATO

Although diaphragm vibrato is usually considered best for woodwind p lay ers i t i s used in fre q u e n tly with the brasses, particularly the trumpet. Here the two main types of vibrato are hand and jaw with other kinds being in fe r io r There is a general tendency among trumpet players to over-use the technique of vibrato, and both teacher and student should be aware of this pitfall. Vibrato should never be used in ensemble passages, and in solo passages it should be used only sparingly.

There is also a tendency among student trumpeters to use a vibrato to cover up faulty tones. For this reason a good foundation in tone is desirable before the student attempts vibrato. Although many high school players use it, only a small per cent of them are actually capable of using it to the advantage of their tone.

^Harold Brasch, "Brass Clinic," The Instrumentalist. (June, 1957)» P* ^4-8« -69- The study of vibrato should be systematic. The first item of instruction is to make the student aware that trumpet vibrato is not used consistently as is string vibrato, and that he will have to exercise caution in its use. The student should then practice tone oscillations with hand or Jaw in strict rhythm; first, quarter notes and then eighth notes, eighth note triplets and finally sixteenth notes, all at 120 beats per minute.

The metronomic marking of 120 beats per minute will produce eight oscillations per second when sixteenth notes are used as the rhythmic basis. This is maximum speed for vibrato with tastes in most cases varying from five to seven counts per second.

IV. THE CHECKLIST

There i s , in general, good agreement on what techniques are important and how they are best achieved.

Quite naturally there is some disagreement and we would expect to find this when many persons comment upon a subject. At no point in this study has there been an indication that an author recommended his method above the others regardless of individual circumstances. The experts have reported what worked for them and their students, and suggest that the same methods will work for others. Whenever the teacher reaches a dilemma as to what mouthpiece to recommend or what vowel sound to —7 0— use In articulation he should keep in sight the ultimate

goal and remember that the results are far more important

than the methods, A simple checklist will help the

student and the teacher settle problems which may be

peculiar to each separate case.^ The following is an

example,

1, What is the effect of the position of the

tongue on tone? try "tee,” ”tah” and ”tuu” on

low tones. Do the same in the middle and high

registers and compare tone differences, if any.

2, What effect does pivoting have on register

and quality? While holding a steady tone, change

the angle at which the horn meets the face from

straight to oblique and to acute. Do the same

in all registers and also while ascending and

descending chromatically.

3, What is the effect of horizontal placement

of the mouthpiece? Check tone q u a lity , range

and flexibility with the mouthpiece on the left

side, then center, then right.

1|. What is the effect of vertical placement?

Check tone q u a lity , range and f l e x i b i l i t y w ith

the mouthpiece mostly on the lower lip, then

^George Reynolds, "Quality First," The School Musician, (October, 1958), p, l8. -71- half and half, then mostly on the upper lip. Try

to determine in round fra c tio n s how much of the

mouthpiece is on the bottom and how much is on

the top lip.

5. What e ffe c t does lip movement have on trumpet

playing? Experiment with the smile method of tone

production and also the pucker method,

6. What is the effect of the closeness of the

teeth? Experiment with tone and articulation at

various closenesses.

The checklist may be added to ad infinitum, again

according to the needs of the individual student.

V. RECOMMENDATIONS

The following recommendations are a result of the

study and the author's experience. They represent, to an

extent, the essence of the foregoing chapters with the bulk of argument and controversy sifted out.

The Instrum ent

The cornet is waning in popularity except in one

s ig n ific a n t area, and th a t is in the college concert band

of schools that have large enrollments. The enrollment

factor is significant because of the severe selection

that is necessary to obtain a section that is made up of only comet players. -72- The trumpet is gaining ground fast as a solo instrument and is used exclusively in orchestras, brass ensembles and dance bands, except for very unusual instrumentations, If the student and the teacher are aware of the above and are aware th a t the trumpet is the more popular instrument among teachers and professionals they should be able to make a wise choice.

In the case of a grade school student who is too small to handle a trumpet easily, the substituting of a cornet is entirely justifiable.

The prospective instrument customer should be cautious about unfamiliar brand names and student model instruments whose prices range around and below $100.

The instrument to be purchased should have adequate p itc h compensators and water keys, and must pass a rigorous playing test given by a skilled player.

The large bore instrument is desirable because it is not limited in the way that the smaller bore instruments are. However, because of its relative unwieldiness it may not be the most desirable for a beginning student, particularly the smaller, underdeveloped student.

The Foundation

The importance of the first lessons stems from the permanence of first impressions. During these lessons the -73- teacher xnust instruct the student in mouthpiece placement, tonguing, tone production and control, rhythm, note values and breathing; all this, ideally, simultaneously. By far the most usual mouthpiece placement is one- third on the upper lip and two-thirds on the lower lip.

The next most common is half-and-half placement. The mouthpiece should be centered horizontally on the lips, but an un-centered embouchure should not be corrected on an advanced student who is achieving proper results.

The vowel sounds in trumpet articulation are very important to tone quality. The use of "tah" may induce jaw movement and should be used c au tio u sly . The vowel usage will vary within the playing register, "Tu" has been found best for the low register, "tah" and "tih" for the middle register and "tee" for the high register.

The beginning student should use "too" or "tow" for all notes until he advances to slurring problems, where vowel changes are essential.

Although there is not good agreement on the action of the tongue, most authorities suggest that the tongue strike at the tips of the upper teeth or at the roots of the upper teeth. Some say that the tongue may touch the lips, particularly on the low tones. Some say that the point of contact varies within the register just as does vowel usage. - 74- Range and Endurance Both range and endurance are principal problems of the trumpet student, and the two are closely related to embouchure strength and diaphragmatic support.

The two components of tone production as pointed out by Robert Weast of Drake U n iv ersity are membrane tension and air pressure. His experiments proved that

Id e n tic a l p itch es could be produced w ith a small amount of pressure and a large amount of tension or with a small amount of tension and a large amount of pressu re.

Diaphragmatic support can therefore reduce the amount of embouchure tension required for high notes and/or extended periods of playing.

With the exception of a few orchestral passages, the range of the Instrument below the normal range. I.e., the pedal register. Is not useful In performance. The usefulness of the pedal register Is mostly therapeutic, since It relaxes the embouchure and starts the lips buzzing with a minimum of effort.

The Warm-Up and D ally Routine

The warm-up Is an essential part of every practice session and will consume the first ten or fifteen minutes of the practice period. The warm-up should Include the type of exercises which Induce the functioning of the embouchure with a minimum of exertion such as long tones. -75- easy lip slurs and medium tonguing exercises. The emphasis throughout the warm-up is on a gradual awakening of the muscles of the embouchure. The need for a thorough warm-up increases with the building up of the embouchure.

"The beginner does not particularly benefit from a lengthy warm-up. The practice period can be used most efficiently if the student has a rigid daily routine. The routine should include warm-up, major and minor scales, chromatic scales, lip slurs, arpeggios, single tonguing, multiple tonguing, songs, etudes, solos, transposition and sight reading.

The Duties of the Student and Teacher

The student must be faithful to the principles he pledged when he began his study. He must be regular in his practice and must be willing to sacrifice leisure for the sake of eventual artistry. One of his greatest assets will be natural and/or forced perserverance, since even the most gifted of performers need several years of preparation.

The prime responsibility of the teacher is to impart to his student the best of himself. In order to do th is he must be fu lly aware of h is own shortcomings so that he will not mistake faults for virtues and thereby impart not just the best of himself but all of himself to the student. -76- A further responsibility of the teacher is to keep abreast with recent trends and new developments in his field. This he can accomplish through books and clinics but mostly through active membership in professional organizations.

The final responsibility of the teacher is to make his teaching goal directed; being conscious that the methods are never as important as the results. BIBLIOGRAPHY

A. BOOKS

ApeT., ¥1111, Harvard Dictionary of Music. Cambridge: Harvard University Press, 1951-

Arban, Jean Baptiste. Complete Method for Cornet. Hew York: Carl Fischer, Inc., 1915*

Christopher, George and Van Bodegraven, Paul. Adventures In Cornet-Trumpet Playing. Great Neck, New York: Staff Publishing Co., 1938.

Clarke, Herbert L. Characteristic Studies for the Cornet. New York: Carl Fischer, Inc., 19i|3.

Dalby, Cleon. Trumpet Problems. New York: Belwln, 195C.

Edwards, Austyn and Hovey, N lolo. Edwards-Hovey Method for Comet and Trumpet. New York: Boosey-Hawkes, îWo. Moore, E. C, The Brass Book. Kenosha, Wisconsin: The Leblanc Co., 1934* Reinhardt, Donald S. and Gornston, David. Trumpet Mechanisms. New York: Leeds Music Corp.,1946.

B. PERICD1GALS

Altenburg, Johann, "An Essay on the Instruction of the Noble and Musical Art of Trumpet and Kettledrum Playing," The Brass Quarterly. June, 1938.

Brasch, Harold. "Articulating the Brasses," The Instru- mentallst, January, 1937.

Brasch, Harold. "Vibrato In Brass Playing," The Instrumentalist, June, 1937

-77- -78-

Deming, Howard. "Trumpet-Comet Intonation Problems," The Instrumental!st, June, 1959.

Deye, Howard, "The Use of Tongue in Brass Instruments," The Instrumentalist, March-April, 19l|7.

Fitzgerald, Bernard. "Brass Clinic," The Instrumentalist, May-June, 19^7.

Fitzgerald, Bernard. "Pedal Tones on the Trumpet or Cornet," The Instrumental!st, March-April, 19^8.

Hoffren, James. "Daily Practice Routine," The Instru­ mental! s t, March, 1959-

Kinyon, John. "Beginning Brass Class," The Instrumentalist February, 1959-

Reynolds, George. "Quality First," The School Musician, October, 1958.

Weast, Robert. "Breath Support and Lip Tension," The Instrumentalist, December, 1958.

C. PAMPHLETS

Smith, Leonard B. Regularity in P ractice. Roth-Reynolds Co., a pamphlet, not dated.

D. UNPUBLISHED MATERIAL

Gibson, Daryl. Recordings of Differentiations in Tone Color Produced by Vowel Sounds on ttie Trumpet. Montana State University Music Library; unpublished an Master's thesis, not dated.