Exploring The Double Pedal Register

Contents • Introduction

• Explanation of terminology

• The basics of the Yoga system

• General comments for exercises

• How to play with the Einsetzen and photographs

• Exercises Part One: Finding and playing double pedal tones

• Moving from Ansetzen to Einsetzen

• Exercises Part Two: Ansetzen/Einsetzen

• Moving from Einsetzen to Ansetzen

• Exercises Part Three: Einsetzen/Ansetzen

• Appendix I: The origin of the TCE

• Appendix II: Similarity to other embouchure systems Introduction Pedal tones are notes that do not naturally fall in the harmonic series of notes available to a . Under normal circumstances they are practised and performed by bending a note farther and farther from its pitch centre until you reach the pitch of another note. They tonal quality of pedal tones is poor because you are forcing a sound from the instrument that is contrary to the way that it is designed to function. In physical terms one would be forcing the instrument to behave as a megaphone rather than a resonator1. Different schools of trumpet playing will either discourage the practice of pedal tones or swear by the merits of their use, often without sufficient description about why. Many trumpeters devote a lot of time to learning to play “Pedal C”, the note sounding one octave lower that the second harmonic of the trumpet 2. Due to the profile and bell size of a modern trumpet the fundamental harmonic is not available and instead there is a tone that sounds a diminished fifth lower (F#2) that eager players will practise bending upwards to the pitch of C3 believing that the hard work will uncover the secrets of easy playing and the ability to play in the extreme high register. If only those players were to buy a flugel , which with its larger conical bore and bell have the fundamental note C3 available in the harmonic series, all of those hours of hard work could be saved (they would also learn that it does not help their upper register). Sometimes understanding physics is more important than how much you believe in practising a technique.

“Double Pedal Tones” are those that fall more than an octave lower than the illusive C3. Those available on a standard three-valve trumpet range from C2 to F#1. How to correctly perform them with the Einsetzen embouchure is a technique uncovered by the research of Jerome Callet, which he first published in his book titled Trumpet Yoga Volume 1: The Ultimate Modern Trumpet Embouchure. Callet’s work has since developed to include another six books and two video tutorials as well as inspiring exercises in books by Pierre Thibaud3 and Jeff Smiley4. Through the use of double pedal tones and exercises in which the player seamlessly slides into the normal playing register one can develop the ability to play the world’s most challenging music and unleash the full five-octave range of the instrument. Evidence of this can be found on the recordings of American baroque trumpeter Bahb Civiletti as well as YouTube videos of Callet’s other pupils and myself.

Although there are traces of these exercises to be found, at the time of writing there is no publication available that specifically shares the knowledge from Trumpet Yoga and internet forums show that people want access to this information. In his 1986 book Trumpet Yoga Second Edition: A Revolutionary Approach To Embouchure Development Callet states “I vowed to myself if I could achieve this dream of mine, I would share it with all brass players”. And so the intention of this e-book: to to reunite the trumpet community with a series of Einsetzen/Ansetzen exercises to aid the develop of The Ultimate Modern Trumpet Embouchure.

Richard Colquhoun.

1 The terminology “resonator” and “megaphone” are quoted from Kristian Steenstrup’s description of The Laws of Physics and Brass Players as described in his book Teaching Brass 2nd Revised Edition, 2007. 2 This note is generally defined and will from here be referred to as C3 due to “Middle C” on a piano being defined as C4 and descriptions being in transposed pitch. 3 Thibaud, Pierre: Exercices d’échauffement et vocalises pour trompettiste avancé, 2002. 4 Smiley, Jeff: The Balanced Embouchure, 2001. Explanation of terminology The terms Einsetzen and Ansetzen originate in technique. They are not terms that are usually associated with trumpet playing and they do not directly relate to any standard technique of larger brass instruments. Historically the french horn has the largest useable range when compared to other brass instruments. It is common for french horn players to specialise in high playing, typically occupying the first and third horn parts in orchestral music, or in low playing occupying the second and forth parts. Oscar Franz defines Einsetzen as meaning "setting in" and refers to it as an embouchure type ideal for low horn players for which the player has to unfurl the bottom lip and set the "within the inner part of the lower lip"5. In contrast Ansetzen means "setting against" and refers to placing the mouthpiece on the outside of both lips. This how brass embouchure is taught in modern times.

Philip Farkas dismisses the use of Einsetzen in modern playing due the demands put upon modern players and claims that there is need for a different kind of mouthpiece for playing in the Einsetzen position6. He goes on to say that modern horn are a combination of the two older techniques and states that this is exclusively in french horn players as a result of technique having evolved from a dual system to a single system. Whilst this was probably the case at the time Farkas wrote his book it is no-longer the true as it is exactly this idea that forms the basis of Jerome Callet's earliest book Trumpet Yoga.

“I was the first man to use the old German french horn method Einsetzen and Ansetzen, and combining the two. Everyone else had either played high horn or low horn.”7

Basics of the Trumpet Yoga system The intention of the Trumpet Yoga system was to train a trumpet player with the use of exercises that include both Einsetzen and Ansetzen embouchures to play freely over the entire extended range of the trumpet. The range of the trumpet as defined by Trumpet Yoga is five and a half octaves from F#1 to C7.

It may sound unusual to encourage the use of two different embouchure positions for playing the trumpet. All of the more traditional approaches to trumpet pedagogy insist that one’s embouchure is an unchanging constant defined by the placement of the mouthpiece on the lips. This goes some way to explain faulty logic such as requiring a large mouthpiece to create a so-called “big sound”. Disciples of Callet’s teaching have learnt that in fact a true vibrant trumpet sound is produced by compressing air inside the mouth. As such the embouchure and the mouthpiece are independent of each other and therefore moving the mouthpiece for pedal tones cannot have a negative effect on the normal embouchure. 5 Franz, Oscar: Complete Method For French Horn, as quoted by Farkas, pp. 22 6 Farkas, Philip: The Art of French Horn Playing, 1956, pp. 22 7 Callet, Jerome: Master Superchops, DVD, 2007. When moving from the Einsetzen embouchure (that is used exclusively in the double-pedal register) to the Ansetzen embouchure the player is instructed to maintain the top lip in the unfurled position. This is the reason for the term “Yoga”.

“The reason I call my method Trumpet Yoga is this – trying to hold the unrolled lips in a fixed feel is much like a yog[i] holds a posture”8

The bottom lip needs to move from its unfurled position to a more natural setting. Callet described how the bottom lip then feels as though it moves upwards behind the unfurled top lip. The lips interlock with each other, against the teeth, resulting in a firm, closed embouchure setting without the need to pull the corners of the mouth tight. The aperture between the lips is smaller than with a traditional embouchure model and more resistant to the air stream. The aperture is then controlled completely by the compression of air. Air is compressed by taking a deep relaxed breath and then pushing the air up and out with the abdominal muscles. It is important to realise that this will only result in effective compression if the embouchure is providing sufficient resistance to the air stream.

“Most trumpet players are taught to think of a large opening in the center of the lips … This concept is wrong because … air compression will control the size of aperture needed for any note. When I blow a loud, free and clear double high C [C7], very little air is actually going into the trumpet yet the blow is of complete freedom.”9

Another key part of the Trumpet Yoga system includes the way that the tongue is used. This takes on two parts. Firstly Callet insists that the tongue’s position in the mouth is not used to control pitch. He states that using vocal sounds such as “Ooo” or “Eee” cause the player to improperly stretch the lips, block the throat with the tongue and close the jaw, all of which are seen as having a negative effect one’s ability to supply air to the lips. Secondly it is instructed that the player should articulate by touching the top lip with the tongue as though “spitting a particle from the tip of the lip”. This idea is very common in brass methods written before 1900. It allows for a strong, clear attack on each note and it is claimed to vastly improve tone, projection and intonation. This idea is revisited in a later chapter.

“Remember, it is air power against soft unrolled lips … that does it all.”10

8 Callet, Jerome: Trumpet Yoga Volume 1, 1971, pp 5. 9 Callet, Jerome: Trumpet Yoga Second Edition, 1986, pp 12. 10 Callet, Jerome: Trumpet Yoga Second Edition, 1986, pp 13. General comments for exercises Use of clefs: In Part One there is frequent use of the contrabass . This has been done to aid reading and for the benefit of layout management. When notes are written in the contrabass clef they are still at the same transposed pitch as the notes printed with clef, which is not normal practice for brass instruments. In Parts Two and Three it was tidier not to change clef for every double pedal tone. Fingering system: Fingerings for double pedal tones (C2 to F#1) are the same as those in the lowest available harmonic (C4 to F#3) of a standard three- valved trumpet. You will notice that as use of the third valve is depicted that it will read “3, 1, 2” rather than being sorted in numerical order. This system is in line with other materials produced by the author as it is believed to have pedagogical benefits concerning awareness of each valve’s function. Articulation: The player should always slur, or gliss when moving from Einsetzen to Ansetzen or visa versa. When other notes in exercises are articulated the attack should always be strong, clear and immediate. In order to adhere to Trumpet Yoga you should spit-attack with the tongue touching the lips. At the very least take advise from the following: The first matter which calls for the student’s special attention is the proper production of the tone … a musician whose method of emission is faulty will never become a great artist. It is always necessary to [be] articulate … and not [make the sound] “doua”, as is the habit of many players. [This] articulation causes the tone to be flat and imparts to it a thick and disagreeable quality11.

The exercises in this book are intended as a starting point for those interested in this system of playing. For example, once you can play all of the exercises in part one, seek other melodies that span the range of a perfect forth and try those in the double pedal register. In fact, with practise and alternative fingerings, there is more than an octave of notes available with the Einsetzen embouchure. It is encouraged that you take the knowledge contained here and apply it in other areas of trumpet practice. The exercises in this book (not the book itself) are licensed under the Creative Commons Attribution-ShareAlike 4.0 International license12.

11 Arban, Jean Baptiste: Arban’s Complete Celebrated Method For The , 1893, pp 6. 12 The full CC BY-SA 4.0 license can be read here: https://creativecommons.org/licenses/by-sa/4.0/legalcode How to play double pedals with the Einsetzen embouchure At first, discovering a correct Einsetzen embouchure may be tricky. Playing notes with an Einsetzen embouchure is in fact a very easy thing to do and for most this is precisely why it is difficult. Many children achieve it in an instant when told to blow raspberries or farts into an instrument as a means of creating their first sound. It is the experience of the author that most players try to replicate the physical sensation that they are used to when playing in the Ansetzen position. It is also very revealing to see just how much tension players habitually pre-set in their embouchure, which explains how and why they would benefit from learning this technique. Tone, range and stamina will all improve by learning to play without pre-setting tension in the lips when placing the mouthpiece. Unrolled vs puckered: When playing with the Einsetzen embouchure it is helpful to be aware of the difference between unrolling the lips and puckering. A puckering of the lips leaves the chin flat, and corners of the mouth firm. One of the primary advantages to this system is releasing tension in the corners of the mouth. Also, puckered lips cannot resist the air flow correctly so will result in over-blowing. Hearing before playing: Of at least equal importance to the position of the embouchure is the ability to imagine what you are trying to achieve. Double pedal tones are two whole octaves lower than the lowest seven notes on the trumpet. If you consider the difference between playing a high C6 to a low C4 then the difference in descending a further two octaves is at least equal to that. At first, using a piano or recording to identify the correct pitches is a very valuable learning aid. The following instructions must be followed: 1. The lips must be rolled outwards, not in a pucker (see photographs for reference). 2. The lips must be touching in the centre. 3. The mouthpiece must be placed almost entirely on the top lip, resting inside the bottom lip. Sometimes tilting the bell of the trumpet upwards can help to find the correct position and aid in holding the lips together. 4. The bottom lip should protrude beneath the rim of the mouthpiece. 5. You must imagine the pitch of the pedal tone you are trying to play. In many cases people try to perform notes at least an octave too high. 1 – Correct unfurling of the lips: Notice how the muscle pulls down beneath the nose as the top lip unfurls. Mouth corners are relaxed. The chin bunches upwards as lower lip rolls out to reveal soft inner tissue. 2 – Incorrect puckering of the lips: Notice the chin is pulled flat and mouth corners are tense. The lips would be blown apart in this position and cannot provide correct resistance to the air stream. 3 – Placement of the mouthpiece (Einsetzen): The rim is placed high on the top lip. The lower lip protrudes around the bottom of the mouthpiece. Notice how the top lip and mouth corners are completely relaxed. 4 – Ansetzen lip position: The lips are closed but relaxed. The top lip slightly overlaps the bottom lip. The chin is never pulled flat as this would stretch the lips and prevent correct aperture control. 5 – Placement of the mouthpiece (Ansetzen): Vertically the mouthpiece has been lowered to this player’s normal position, which is around 60/40 on the top lip. This may be different for you. The angle is dictated by your natural jaw position. Exercises Part One Finding and Playing Double Pedal Tones

Exercise 1a - Listen carefully for the pitches of each note 0 0 2 2 1 1 1 1 Ó Ó Ó 2 Ó 2 & œ œ œ . . . œ. œ. œ. bœ. œ. œ. œ. œ. œ. w w bw w 1

3 3 3 3 3 3 1 1 2 Ó 2 1 Ó 1 2 Ó 2 ? & ‹ bœ. œ. œ. œ. œ. œ. bœ. œ. œ. bw w bw

Exercise 1b - Aim to perform this in one breath

3 0 q=60 2 1 1 3 3 1 ? w 2 2 1 2 ‹ w bw w bw w bw

Exercise 1c - Spit attack for each note; take your time and aim for cleanliness; perform in one breath q=80 ? U œ œ œ œ œ œ œ œ bœ œ œ œ ‹ ...... œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. bw Exercise 1d - Control the lengths of notes with a gradual rallentando throughout ------? œ œ œ œ œ 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 œ œ

? ------U ‹ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bw &

Exercise 1e - Folk Song over three octaves > > > > > > > b>œ ˙ b>˙ œ b>œ >œ Ó ? Ó & bœ œ œ bœ b˙ ‹ bœ œ œ bœ ˙ b˙ bœ œ bœ œ b˙ & Play first with normal (ansetzen) embouchure Now play it three octaves lower to get the pitches in your ear with the einsetzen embouchure

> > > > > > > > > 3 1 2 1 3 2 1 3 >˙ >œ Ó ? 1 2 2 1 2 1 Ó & œ œ œ nœ ˙ œ œ œ ˙ ‹ œ œ œ œ ˙ ˙ œ œ œ œ ˙ &

3 3 3 > > > > > > > > > > > 1 3 1 3 1 1 3 1 #˙ #œ Ó ? 2 2 2 2 2 2 Ó & #œ œ œ #œ #˙ #œ #œ œ #˙ ‹ #œ œ œ #œ #˙ #˙ #œ #œ #œ œ #˙ & Exercise 1f - Yankee Doodle 3 U 1 1 2 œ œ ? 2 2 & œ œ œ œ ˙ ‹ œ œ œ œ œ œ ˙ œ œ œ œ

3 1 ? 2 œ ‹ ˙ #˙ œ œ œ œ œ œ œ #œ œ œ œ ˙ ˙

Exercise 1g - Merrily in two keys ? œ™ œ œ œ œ œ œ œ™ œ œ œ œ ‹ bœ. bœ. œ. . . bœ. œ. œ . . bœ. bœ. œ. . . bœ. œ. . œ. b˙

? bœ™ œ œ œ bœ œ œ bœ™ œ œ œ bœ ‹ bœ. bœ. œ. . . bœ. œ. œ . . bœ. bœ. œ. . . . nœ. bœ. bœ. . œ. ˙ Moving from Ansetzen to Einsetzen These exercises will introduce you to the movement from Ansetzen to Einsetzen. The intention of these exercises is to develop the feel for sling the mouthpiece rim upwards on the top lip, unfurling the bottom lip and releasing any unwanted tension from the corners of the mouth. Repeatedly returning to the Einsetzen position after playing ascending patterns with Ansetzen as helps to prevent the player from becoming too fatigued whilst playing higher and higher. You can also concentrate on resetting with the relaxed lips as you will need to when practising music or performing. For these reasons this exercise is particularly effective as a warm-up to get the blood flowing and eliminate stiffness in the lips. On top of that it takes very little time! Because the mouth corners are relaxed as you play over the four octave range in these exercises you will notice that your embouchure is very flexible and you will soon be able to perform intervals and octaves with great ease.

Rules for playing Ansetzen/Einsetzen:

It is important to keep the air moving as you make the movement from Ansetzen to Einsetzen. The air will control the aperture during the shift. You will be able to feel the movement of the lips as you slide downwards. Do not open the lips or pull them apart to descend. For there to be rich vibrations of the inner red part of you lips they need to maintain contact at all times. This is also important for efficient use of air. Exercises 2e: This is an alternative way to approach Exercises 2a-2d. Do not short cut to this point as a matter of habit. Taking time to work through these exercises is an essential embouchure conditioner. Exercise 2f: Work on playing smoothly with a good sound. It must be centered and not overblown! Each line must be performed in one breath with a solid double-pedal note at the end. Do not try to use greater amounts of air to last through the longer phrases. Instead concentrate on controlling the release of compressed air with your embouchure. Air does not need to enter the trumpet for it to make a sound; it only needs to pass through the lips 13; therefore large quantities of air are never a solution for tone, range, power and endurance. It is also suggested that you practise this exercise on different pitched instruments, and transpose into various keys.

13 Smith, Richard: Journal of the International Trumpet Guild, 1999, pp 44-45. Exercises Part Two Moving from Ansetzen to Einsetzen

Exercise 2a - Observe dynamics; compress air, do not overblow; Keep the air moving from Ansetzen to Einsetzen 4 &4 w w bw w f sim. w w bw w

& bw w bw

1 1 3 2 3 bw w bw

Exercise 2b - Same rules as 2a; relax all tension from the embouchure as you descend; Maintain relaxed feel as you reset Ansetzen to ascend ˙ & ˙ ˙ #˙ b˙ ˙ ˙ #˙ f sim. w w bw w

& b˙ ˙ ˙ ˙ b˙ b˙

2 1 1 3 2 3 3 bw w bw Exercise 2c - Observe softer dynamic at the start of each two-measure motif; Keep mouth corners flexible œ n>˙ #>˙ >˙ >˙ & œ œ #œ bœ œ œ #œ

1 mf sim. 2 w w bw w

b>˙ > > & bœ œ œ œ ˙ bœ bœ b˙

2 1 3 1 2 3 3 bw w bw

Exercise 2d - Add a clear, strong attack to each note ^ œ^ œ^ bœ^ ^ ^ œ^ nœ ^ #œ^ ^ œ^ ^ œ^ œ & œ œ^ #œ bœ^ œ œ^ #œ mp sim. w w bw

^ ^ ^ ^ bœ^ bœ ^ œ ^ bœ & bœ^ œ œ^ œ^ œ bœ^ bœ^ bœ

1 2 1 3 2 w 3 3 bw w bw Exercise 2e - Combining 2a-2d; observe dynamics > . >œ ˙ œ ˙ . œ. œ & w ˙ œ œ f f mf mp ff w w w w >œ #>˙ . . #œ. & w ˙ #˙ œ #œ œ #œ sim. w w w w b>œ >˙ . . œ. & bw b˙ ˙ bœ œ bœ œ

bw bw bw bw > >˙ . œ. œ & w ˙ #˙ œ #œ œ. #œ

w w w > w b>˙ . bœ. bœ & bw b˙ ˙ bœ œ bœ. œ

bw bw bw bw > > . . œ & w ˙ ˙ œ œ ˙ œ. œ œ

w w w w Exercise 2f - Slurring over the pattern of the harmonic series; perform each line in one breath & ˙ ˙ ˙ ˙ ˙ ˙ w dolce w

& ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙ w w

˙ & ˙ ˙ b˙ b˙ ˙ ˙ ˙ ˙ ˙ w w

˙ ˙ ˙ & ˙ ˙ b˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w

b˙ ˙ ˙ ˙ ˙ ˙ b˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ #˙ ˙ ˙ ˙ & ˙ ˙ b˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w

˙ ˙ ˙ #˙ ˙ #˙ ˙ ˙ ˙ & ˙ ˙ b˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w

Carry on adding notes to the pattern until you can play this in one breath ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ ˙ & ˙ ˙ b˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ ˙ & ˙ ˙ b˙ ˙ ˙ w w Moving from Einsetzen to Ansetzen These exercises are what you have been working towards. They will enable you to discover ease in your playing as well as improved tone, projection and consistency. It is here that the important discoveries are made! In moving swiftly from Einsetzen to Ansetzen you will feel and hear the next level of trumpet playing. There are three important rules when practicing these exercises: 1. You must keep the air moving as you slide from the Einsetzen into the Ansetzen lip position. 2. You must make the movement quickly without trying to make corrections or finding what feels “right” to you. By following these two rules you will find on occasion that you are playing the higher tones with greater resonance and power, but far less effort than ever before. This is how trumpet playing feels when you do it well, so try to remember that feeling and carry it into your everyday music-making. 3. With all Einsetzen/Ansetzen exercises you must only play as high as you can reach a strong note. Straining to get higher will not improve your playing. Instead you should work on making what you’ve got work more efficiently and increase stamina.

Exercises 3a-3c: These initial exercises are designed for acclimatising to the movement. Go slowly at first and be sure to maintain a relaxed feel in the lips as you ascend. Exercises 3d-3f: You should maintain the same fingering as you move across the harmonics of the trumpet. As these are embouchure exercises there is no need to involve the movement of valves. This will also aid in becoming familiar with all fingerings for all notes and associated intonation variables. Exercises 3d: Make the gliss from the double pedal tone to the higher pitch quickly. Listen for improved resonance when you make the shift. Rhythm from one bar to the next is not important, just the speed of the movement and holding out the higher note. You can also use the format of exercise 3d when learning challenging music by adding double pedal tones to at the start or end of phrases that you are practising. Exercise 3f: This page is a quote from the Trumpet Yoga books. It is included more as a reference than as an important additional exercise. Notice how this version of the exercise ascends following the notes of the arpeggio rather than including every tone in the harmonic series. Exercises Part Three Moving from Einsetzen to Ansetzen

Exercise 3a - Practise sliding from Einsetzen position to Ansetzen position; don't spend any time finding what feels normal; top lip should stay unfurled; stop and reset every two bars 4 &4 w w bw w bw w #w w w bw w bw w #w & w bw w bw w w w bw nw bw nw w

Exercise 3b - Slur higher; maintain rolled out top lip; double the air power for each octave you ascend; half the quantity of air for each octave you ascend; strong, clear attacks on top notes & ˙ œ. œ. œ. œ. ˙ œ œ œ œ ˙ ˙ ˙ ˙ #˙ #˙ . . . . ˙ ˙

& ˙ bœ. œ. œ. œ. ˙ œ. œ. œ. œ. ˙ b˙ ˙ ˙ #˙ ˙ b˙ ˙ bœ œ œ œ ˙ & b˙ . . . . ˙ œ. œ. œ. œ. ˙ #œ. œ. œ. œ. ˙ b˙ ˙ ˙ ˙ #˙ #˙ #˙ b˙ ˙ #˙

Exercise 3c - Moving smoothly between Einsetzen and Ansetzen; Listen for improved focus and control that comes from working up to this point; T>he most efficient embouchure will develop with this goal in mind œ œ. œ. œ. œ. œ >œ œ. œ. œ. œ. œ & >œ œ œ œ œ >œ #œ #œ #œ #œ > > > > > >œ œ > > ˙ ˙

> . . . . & bœ nœ œ bœ œ œ œ œ œ œ. œ. œ. œ. œ > œ bœ bœ œ > > >œ #œ #œ >œ > > > > >œ œ > b˙ ˙

& bœ bœ bœ bœ. œ. œ. œ. œ œ œ œ œ œ œ > > œ bœ bœ œ > > >œ œ œ >œ . . . . > > > > >œ œ > b˙ ˙ Exercise 3d - It is important to move quickly from Einsetzen to Ansetzen; Do not waste time trying to find what feels normal. ™ These exercises are designed to help you discover an efficient embouchure set-up. ™ ˙™ ˙™ #˙™ ˙ ˙™ b˙™ ˙ ™ ˙™ ˙™ & ˙™ ˙ œ œ œ œ œ œ œ œ œ œ œ No squeezing or straining on top not™es! ˙™ ˙™ b˙ & ™ b˙™ b˙™ ˙ bœ bœ bœ bœ bœ bœ ™ ™ ˙™ b˙™ ˙™ ˙™ ˙ ˙ &

bœ bœ bœ bœ bœ bœ

™ ˙™ ˙™ ™ ˙™ ˙ & ˙™ ˙ ˙™ œ œ œ œ œ œ œ ™ #˙™ ˙™ ˙™ ˙™ #˙™ ˙™ ˙ &

œ œ œ œ œ œ œ Exercise 3e - Only play as high as you can with a strong clear sound; no straining; the aim is einsetzen/an.setze.n, n.ot fo.rcing. mo.re raœ.ng#e œ. w ˙ b˙ œ œ œ œ œ œ ˙ ˙ & ˙ ˙ ˙ ...... #œ. #œ. #w #˙ ˙ œ œ œ œ œ #œ & ˙ #˙ ˙ #˙ ...... œ. œ. w ˙ ˙ b˙ bœ œ œ œ œ œ & b˙ ˙ b˙ ˙ b˙ ...... #œ. #œ. w ˙ ˙ œ œ œ œ œ œ & ˙ #˙ ˙ ˙ ...... œ. œ. bw ˙ b˙ b˙ bœ œ œ œ œ bœ & b˙ ˙ b˙ b˙ b˙ ...... œ. #œ. w ˙ ˙ œ œ œ œ œ œ & ˙ ˙ ˙ ˙ . . ˙ bœ. œ. œ. œ. œ. bœ. bœ œ bw b˙ b˙ ˙ & b˙ b˙ b˙ b˙ U w w Exercise 3f - This is quoted directly from Trumpet Yoga for reference w w w w w & w w w Uw #w #w #w w & w #w w #w w U bw w w w bw & bw w bw w bw U w w w #w #w w & w w w w U bw bw w bw w bw & bw bw bw bw U w w w w & w w w w w U w bw bw bw bw & bw bw bw bw bw bw

Jerome Callet describes the following as the ultimate test of a trumpet player's embouchure. If you can play this without breaks then you can you have no problems with your chops! w w w w w w & w w w w

w w w w w w & w w w Appendix I: The Origin of the TCE Jerome Callet’s Trumpet Yoga is consider by some to be an out-dated system for brass playing. It is due to the fact that he has continued to teach, experiment and develop his methods for more than forty years since the first edition was published. During this time the technique has had a few different names and various proponents of the system along the way. One such person is Robert J. ‘Bahb’ Civiletti, a trumpet player from New Jersey, the world’s pre-eminent proponent of the Tongue Controlled Embouchure. In 2007 Civiletti made world premier recordings of the most challenging music from the high baroque on a period instrument and to this day no player has matched this feat. Civiletti talks of Trumpet Yoga as being the origin of the TCE and uses Einsetzen/Ansetzen exercises as a cornerstone of his teaching. In 1973 I studied with Jerome Callet in New York City. He was the guy to see if you wanted to play in the extreme high range. Jerry taught me his Trumpet Yoga method. During the course of study with Trumpet Yoga he taught the old German french horn technique of Einsetzen/Ansetzen, the unfurling of the lips. This method of playing double pedal tones with the lips unfurled helped me to build on my already strong embouchure. I now understand that if you place your tongue in between your teeth when playing double pedal tones, you will fell the exact setting for the TCE. This is where it all began14.

The Tongue Controlled Embouchure differs from Trumpet Yoga in that the tongue is held against the lips at all times. In this way it is used to control compression and release of the air and hence pitch, dynamics and articulations also. Civiletti’s teaching includes a number of different articulation types, use of harmonic exercises and double pedal tones in a way that has revolutionised the way that people can learn this embouchure system. Further information about the TCE can be found at http://tonguecontrolled.info, http://tce-studio.com, or in any of Civiletti’s books. The following page contains information about his latest book TCE Power Training and his contact details.

14 Civiletti, Robert: http://tce-studio.com/tce/the-origin-of-the-tce, 2008. “TCE POWER TRAINING” NOW AVAILABLE! Robert J. (Bahb) Civiletti and Dr Niranjan (Nini) Wijewickrema This 211 page book covers all aspects of the TCE technique from its origin to present day comprehension. Advanced Einsetzen/Ansetzen Power Drills, Advanced Double Pedal Tones and the Five Essential Articulations as never experienced before. We have also introduced “Lingua Puntata” (Pointed Tongue) a documented history of trumpet playing, “Through the teeth...through the centuries”. FREE SHIPPING IN THE U.S.A. Go to http://tce-studio.com/payment for PayPal payments or send a check to P.O. Box 168 Stanhope, NJ 07874. The total price is $65.00 The first reviews are in! Read them at my review page.

“SECRETS OF THE TONGUE CONTROLLED EMBOUCHURE” Also available from Robert (Bahb) Civiletti is The TCE Training Manual, a 71 page manual of TCE exercises designed to develop the TCE technique with instructional DVD. Available in English, French and German editions. TCE Training Manual, Trumpet Secrets & The Art of the High Baroque CD are all available at http://tce-studio.com, Studio phone: 973-347-6236 Appendix II: Similarity to other systems Much of Jerome Callet’s current teaching is seen as quite radical in trumpet playing/teaching circles. There are certain rules, such as allowing the tongue through the teeth, which for unknown reasons are strictly forbidden. Anecdotal evidence has shown that people are very complimentary towards TCE proponents until they discuss their technique. Once the secrets are revealed the normal response is to deny that TCE is viable despite having seen evidence to the contrary. In the time that the author has been studying the work of Jerome Callet it has become more evident that key concepts in his teaching are discussed by many of the worlds most impressive players and that rather than being incorrect Callet is simply ahead of his time. The fact that many find convenient to ignore is that Callet has developed his ideas by talking with and observing the world’s best players. Whilst the use of Einsetzen/Ansetzen is unusual and contradictory to the conventional use of pedal tones the resulting effect of their use; i.e. a relaxed aperture, controlled completely by air compression resulting in clear efficient playing; is not particularly different from the ideas taught by players such as Roger Ingram15. Also, in his pay-to-view video16 and YouTube channel, Lynn Nicholson describes a system of unfurling the lips in the extreme upper register and using air compression as a means of control. Based upon these facts alone it seems that some of these ideas are more widespread than the pedagogical gatekeepers realise. Unfortunately many would prefer to believe that strong players are an oddity than to admit that traditional methods are ineffective for the majority. The herd mentality has most players believing that if they practice routines or exercises long and hard enough, they will eventually master the physical aspects of trumpet, and end up with excellent range/endurance. If that were true, then why do you suppose most players can only play musically with a decent sound (but maybe not a great sound) up to high G-A? Oh wait, I know. The conventional approach to physically playing the trumpet yields conventional results. And no, squeaky mosquito-like sounds don’t count as notes and certainly not music17.

According to David Hickman there have always been many contradictory brass instruction manuals18. Evidence suggests that it is only in the last half- century that people have attempted to establish the definitive way to play the trumpet resulting in a plethora of mediocre methods producing a profusion of mediocre brass players. With any luck the free movement of information resulting from the prevalence of the internet will result over time in traditional pedagogical ideas being pushed aside by more effective developmental systems.

15 A subject discussed between the author and a pupil of Roger Ingram. 16 Nicholson, Lynn: Got High Notes?, 2015. Available at https://vimeo.com/ondemand/31871 17 Nicholson, Lynn: Trumpet Herald Forum post, 2016. https://www.trumpetherald.com/forum/viewtopic.php?p=1469343 18 Hickman, David: Trumpet Pedagogy: A Compendium of Modern Teaching Techniques, 2006, pp vii.