Brass Technique Trumpet 7 Mellophone

BRASS TECHNIQUE

TRUMPET 7 MELLOPHONE REHEARSAL CHECKLIST

The following is a list of items that you should bring to every rehearsal:

• 3-Ring Binder, 1/2 to 1 inch, with several clear insert pages to keep all of your music in • Any Music that has been assigned, check the website and print all of your parts, including this book • Mechanical Pencil • Valve Oil • Towel big enough to lay your horn on a gym floor or other hard surface • Gloves (can be purchased at rehearsal) Tuba players may want stronger work-out type gloves • Water Jug filled with ice water, at least a half-gallon • Baseball style Hat • Running shoes • Sunscreen • Lip Balm • Workout type clothes that are weather-appropriate; be prepared to be outside all day. No jeans! • Mouthpiece for your instrument • Don't forget your Instrument!

Trumpet and Mellophone Fingering Chart

F il / GI, G GI / Ab A A#1/Bb B C _ xr I, b, 13- 0; Im 1-2-3 1-3 2-3 1 2

C C tt/ D6 D [NU El, E F C D -0- J 0 6.I 0 ta Open 1-2-3 1-3 2-3 1-2 1

F#/ GI, G G41/Ab A A#/Bb B

i ri CI 0 b..1 0 J 1, 2 Open 2-3 1-2 1 2

C 01 / Db D DI/ Eb. E F til 17 O CD r P 1P Open 1-2 1 2 Open 1

FU Gb G A B C -43- I, o -0- tir Al P I 2 Open 2-3 1-2 1 2 Open

The Overtone Series

When you are working on these types of exettcises, use one fingering for each set of exercises, in order to train your embouchure to move smoothly from one partial to the next. This means that some of the notes will use an alternate or "false" fingering. There are seven sets of fingerings or "positions" that allow you to play all the notes. The notes in parenthesis are alternate fingerings and may be out of tune, but they are useful in embouchure development when used in these types of exercises. To save space, the exercises will only be written in the Open Position, but practice them in all fingering combinations.

*Special Note: In order for the Mellophones to get the same benefits from these exercises, they will play the same written part as the Trumpets, unless otherwise instructed. This means that they will not be playing in unison, but in parallel fifths from the rest of the Hornline.

1. FIRST POSITION (also known as Open Position) is played open. The following notes are played: C, G, C, E, G, (B-flat), C. r

2. SECOND POSITION is played with the second valve. The following notes are played: B, F-sharp, B, D-sharp, F-sharp, (A), B. I1 rr

3. THIRD POSITION is played with the first valve. The following notes are played: B-flat, F, B-flat, D, F, (A-flat), B-flat. r

4. FOURTH POSITION is played with the first and second valves. The following notes are played: A, E, A, C-sharp, (E), (G), A. J J t;r r r

5. FIFTH POSITION is played with the second and third valves. The following notes are played: A-flat, E-flat, A-flat, (C), E-flat, J r (G-flat), A-flat.

6. SIXTH POSITION is played with the first and third valves. r r The following notes are played: G, D, (G), (B), (D), (F), G. J r r

7. SEVENTH POSITION is played with all three valves. The following notes are played: F-sharp, C-sharp, (F-sharp,) r r (A-sharp), (C-sharp), (E), (F-sharp). SECTION 1— BREATHING EXERCISES

The following exercises are taken from the Breathing Gym, and can be used as part of a warm-up routine or to address specific issues such as Dynamics, Articulation, and Phrasing. Work on these exercises just past the point of ease and slightly into discomfort without over-exertion.

PRELIMINARY CONSIDERATIONS

Maintain a proper and consistent oral shape for maximizing the benefits of these exercises.

• During the inhale/exhale, the inside of the mouth should feel like a big yawn • The back of the throat is to remain open and unobstructed

Monitoring each breath ensures correct execution. All exercises are to be performed in a relaxed manner with no tension in the body. If light-headedness occurs, sit down and gently breathe in through the nose and out through the mouth for a few moments. The inhale and exhale are to be performed continuously with no break (unless otherwise instructed).

INHALE

• Form the right hand like a karate chop, but fold the thumb flat against the palm • Place the index finger just under the tip of the nose, with the top lip against the middle knuckle and the bottom lip against the big knuckle (approximately)

EXHALE (remove the right hand before the exhale)

• Form a slight embouchure with the lips, but with very little tension (like whistling) • Push the air out in one constant, steady flow

THE EXERCISES

FLOW STUDIES — used to stimulate regular breathing patterns used while playing. Monitor the consistent flow of air (comfortably full to comfortably empty) • Float the Paper Airplane (piano), Toss the Dart (mezzo forte), and the Bow & Arrow (forte) • Quick Breath — Full breath on the last beat of a measure before exhaling • Exercises with varying lengths of Inhalation and Exhalation

THERAPIES — used to inspire better airflow by creating problems to overcome, such as resistance and suspension

• Inhale Therapy — Exhale all air (sizzle), place the back of the hand against the lips while inhaling (fight for air), remove hand and inhale as much as possible, suspend the air for a set number of counts with mouth and throat open, then exhale in 3. quick burst down to a sizzle • Oral Shape Therapy— Inhale/Exhale with the mouth and throat open in varying rhythmic patterns, monitoring the consistent flow of air

STRENGTH AND FLEXIBILITY — focus on expanding and contracting the lungs to their extremes

• In, Sip, Sip — Out, Push, Push. "In" = full inhale in 1 beat while raising arms overhead, "Sip" = Lift arms higher and sip more air, "Out" = full exhale while lowering arms, "Push" = force more air out • Power Breaths • Power Bow & Arrow Score Sonus Brass Technique

Bryk

1. F Stretch

4 ∑ ∑ ∑ ∑ & 4 ˙ #˙ w ˙ ˙ w ˙ ˙ w ˙ b˙ w

13 ∑ ∑ ∑ & ˙ ˙ w ˙ #˙ w ˙ ˙ w w 2. Bb Stretch 23

& ˙ ˙ w ∑ ˙ b˙ w ∑ ˙ ˙ w

31

& ∑ ˙ b˙ w ∑ ˙ ˙ w ∑ w

3. Flexibility 39 œ œ w & œ œ ∑ œ #œ œ œ w ∑ bœ œ œ œ bw ∑ œ œ œ œ w 4.Arpeggios 50 œ œ œ #œ#œ œ œ œ œ œ & œ w ∑ œ w ∑ bœ bw ∑ œ #œ œ w

5. Flex-peggios 61 œ œ œ œ œ œ ˙ #œ #œ œ & œ œ Ó œ #œ œ œ œ ˙ Ó

67 bœ œ bœ œ œ œ b˙ Ó #œ œ œ Ó & œ œ œ œ œ œ œ ˙ 2 Sonus Brass Technique

Air Flow #1 73

& w #œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œbœ œ œ œ #œ œbœ œ ˙ ∑

79 ∑ & #w #œ#œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ #œ#œ œ œ œ œ œ œ #œ#œ œ œ ˙

85 ∑ & w œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œbœ œ ˙

91 ∑ & w #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ˙

Air Flow #2 97

& w œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œbœ œ ˙ ∑

103

& w #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ˙ ∑

109

& bw œbœ œ œ œ œ œ œ bœbœ œ œ œ œ œ œ œbœ œ œbœ œ œ œ œbœbœ œ ˙ ∑

115

& w #œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œbœ œ œ œ #œ œbœ œ ˙ ∑ Sonus Brass Technique 3

Air Flow #3 121 bœ bœbœ bœbœœœ bœbœ œ bœ & Ó Œ œ œ œ œ œ œœ œœœ œœ œœœ œ œ œ œ œ œ œ œ œ œ ˙

128 œ œœ œœœœ œ œ œ œ & Ó Œ#œ œ#œœ œœ#œ œ#œœ œ#œ œ#œœ œ #œ œ #œ œ #œ œ œ œ #œ ˙

135 bœ bœbœ bœbœbœœ bœbœ œ bœ & Ó Œ œ bœœœ œœœ bœœœ œœ bœœœ bœ œœ œbœœœ œ bœ œ b˙

142 Ó Œ bœ bœœ bœœœœ bœ œ œ bœ & œ œ#œœ œœœ œ#œœ œœ œ#œœ œ #œ œ œ œ #œ œ œ œ œ ˙

149 Air Flow #4

& Ó Œ ‰ j œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ #œ œ œ œ œ w

154

& Ó Œ ‰ j #œ œ #œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ w

159

& Ó Œ ‰ j œ œ œ œ œ œ œ bœ œ bœ œ bœ œ œ œ bœ œ bœ œ œ œ bœ œ œ œ w

164 Ó Œ ‰ & j œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ w 4 Sonus Brass Technique Lip Slur #1 169 œ œ œ œ #œ œ #œ & œ œ Œ œ #œ œ œ œ Œ bœ œ œ bœ œ Œ œ œ œ Œ œ œ bœ œ œ œ Lip Slur #2 177 œ œœœœ ˙ #œ#œœ œœœ #œœœ & œ œ . Œ œ#œ œœ ˙. Œ bœœ œœ b˙. Œ œ œ ˙. Œ œ œ bœ œ œ Lip Slur #3 œ

185 bœ œ bœ œ œ œ œ #œ #œ #œ #œ œ œ œ œ œ œ œ & œ œ Œ œ œ Œ bœ bœ Œ œ #œ #œ œ Œ Lip Slur #4

193 bœ œ œ œ œ œ bœbœ œ œ œœ œœ #œ#œ œœ œœ œœ œœ œœ & œ ˙. Œ œ ˙. Œ bœ b˙. Œ œ#œ œ ˙. Œ Speed Slur #1 201 œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ j‰ œ#œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ j‰ œ œ #œ œ 205 # bœ œ œ œ bœ œ œ œ ‰ ‰ & œ œ œ œ œ œ œ œ œ j œ œ œ œ œœ œ œ œ œ œ œœœœœ œ j œ bœ #œ œ

209 Vizzutti Concert F # œ œ œ œ œ n & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . w b Vizzutti Eb 212 . œ . b b & b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . w b b Vizzutti Gb 215 b b œ œ œ œ œ n n & b b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . w n n Articulation Studies

Variations in musical style can be achieved by altering the duration and/or emphasis (stress, weight) of notes. e thasdfhe use of the syllables listed in this chart.

normal legato staccato marcato accented Articulation :J :J :J ~ J . y > Syllable dah doo dah Dah Dah Same Twice the Smoother Twice the beginning as emphasis on Difference from the beginning emphasis N/A normal with the beginning normal enunciation and more with half the half the of the note, a connected length length slight decay

6. Quarters and Eighths

J = 120 (all the notes should touch)

»if

' ~ 1 J J J J I JJ J J J J J J I }z # I J J J JI WW W W ; WW W I Jx t II (continue to ascend) 7. Forklift (in unison)

J = 120 (dah) (dah) (dah) (dah) (doo) (doo} (doo) (doo) (dah} (dah} (dah} (dah} (Dah} (Dah} (Dah) (Dah} 'J J J J IJ J J J IP P J J It i i i »if (keep the volume consistent from measure to measure)

J J J J J J J J J J J J I

J J IJ J J J IJ J J J IJ J J J I > > > >-

J J J IJ J J J IJ J J J IJ J J J II >- (continue to ascend)

22 Sonus Brass Technique 5 Articulation #1 218 œ Œ œ Œ œ œ Œ & œ œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ. œ. œ œ. œ. œ > - > - > > > - 222

& œ #œ œ œ Œ œ #œ œ œ Œ œ #œ œ œ œ œ œ œ #œ œ œ Œ > . . œ > œ > . . œ . . > . . œ - - > - 226

& bœ œ œ œ Œ bœ œ œ œ Œ bœ œ œ œ œ œ œ bœ œ œ œ Œ > . . bœ > bœ > . . bœ . . > . . bœ - - > - 230

& œ Œ œ Œ œ œ Œ > œ œ. œ. œ > œ œ œ œ > œ œ. œ. œ œ œ. œ. > œ œ. œ. œ - - > -

Articulation #2 234 > . >œ œ œ œ œ œ œ œ. . œ Œ & œ œ. œ. œ œ œ. œ. œ œ. œ. œ œ œ. œ. œ œ œ œ. œ. œ > > > > > - 238 #œ #>œ œ . & œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ œ #œ œ . œ œ. œ#œ œ œ Œ > . . œ . . > . . œ . . > > . . œ > > - 242 œ >œ œ . & bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ . œ œ. bœ œ œ œ Œ > . . bœ . . > . . bœ . . > > . . bœ > > - 246 #œ œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ. œ œ œ œ œ > . . œ . . > . . œ . . > > . > . . œ > > - tt " Sasquatch

Trurnpet 1

Trumpet 2

Tnrmpet 3 .,"ffi 6 ,',,ffi .ffi "' "ffi --- Mellophone 1

Mellophoce 2 , .ffi "ffi :"ffi , :.ffi _o_ + +

Baritone 1

Baritoae 2

Euphonium

Tuba ,"ffi -ffi *9f * +

Tpt. 1

TpL.2

Tpt.3 :"ffi "ffi

Meltro. I

Mello. 2 ,=ffi ,r, * + -&

Bar" 1

Biat 2

Euph"

Tlrba ,"-:rffi

33 Power Exercise # 2

Trur*pef

Mellophone

Baritonp / Euphoniuna

Metlo"

Bar / Euph"

Tuba

Tpt.

Mells.

Bar" lEuph.

Tuba

Tpt.

Mello.

B,at /Euph.

Tuba

29 SECTION 7 TUNING SEQUENCES

SCV Tuning e:1 41 ILI b0 Trpt. V op 0 8 43 I/ 41 A 111 mf if

I I Mello _4 b1' e 0 0 8 0 ILI • • P 0 8 mf if Concert F Tuning

8 CI Trpt A 0 4) 8 mf if ■ 0 er Mello 4. 4) 8 8 mf if Concert B-Flat Tuning

4-) 8 8 El Trpt. 41 0 mf if 0 Mello 8 ILI ILI mf if Play, Sing, Boom! 4E. IL) Trpt. 8 A 8 8 mf if

0 Mello J i? () 8 mf if

Sonus Brass Theater SECTION 8 WARM-DOWN & PEDAL TONES Play these at the end of the day or when your chops tire, followed by rest. Use as little mouthpiece pressure as possible.

1 Slowly and Light

e I p 2. I p 3.

witair #411- tf" Ao 4. c r J J J J IJ J J J J J I ro- 6 6 1-3 1-2-3 # #47*

r 6.

ICY p 7. 6 p 8. J J

1,r 6.1 ba ba

#5[