High notes for trumpet

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HIGH NOTES for

TRUMPET By ALLEN VIZZUTTI

Village Place Music

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HIGH NOTES – by Allen Vizzutti INTRODUCTION The positive power of music is truly awesome. The pursuit of excellence in instrumental music is an important, noble and fulfilling activity. Meeting the challenges inherent in musical study hones the work ethic and bolsters self-esteem. Personal expression through musical performance is innately healthy and enhances the lives of both performer and listener. Achieving a high level of artistic communication results directly from positive thought, hours of creative practice, and experience. My goal as a musician is to create and share positive energy, to communicate emotion and to present a positive musical experience for the audience. Skillful playing is an absolute prerequisite to communicating at a professional level. Success at creating a wonderful musical experience is not necessarily predicated on being able to play the highest notes, the fastest lines, or the loudest volume. I am personally not interested in trumpet playing as an athletic event particularly in reference to high notes. It is interesting analytically, how ridiculously high some trumpet 'athletes' have learned to play. Screaming high notes can be entertaining to a degree, but quickly become tiresome when the musical quality is weak. Personally I find high notes for high notes sake, a waste of energy. On the other hand, having confidence in performing in the upper register is a wonderful asset. Before you proceed, it is important to me that you understand how strongly I believe in musicality and personal expression as the absolute foundation for musical endeavors. This thought should never be lost as we delve into the technical aspects of improving our trumpet playing in the high register and beyond. HIGH NOTES - The Phenomenon There isn't a brass player in the world that doesn't wish he or she could play higher notes. Period. Trombone players want to play higher notes. Tuba players want to play higher notes. Amateurs want to play higher notes. Professionals want to play higher notes. Even though the highest register for tuba and trombone is not as high sonically as the highest register for trumpet and even though the rich beauty of the trombone and tuba lie in the low to medium-high range, and even though 99% of music and 99% of the money is made below high 'C', brass players still obsess over expanding their high register. Listeners get excited hearing high notes. There seems to be status and hierarchy associated with the ability to play high notes. Brass players have created a caste system of 'those who can' and 'those who can't'. The brass 'royalty' are able to play high notes. Yet high notes have nothing to do with artistry or beauty. (Remember Chet Baker?) Still there is the 'Phenomenon', that is, no matter how high you can play there is a burning desire and a constant quest to play higher. This book will help you improve your trumpet playing. There are many valuable lessons within. Ostensibly, the book is designed to improve, range, endurance and consistency and will help in that regard. When you realize that excellent range, endurance and

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consistency are all contingent on your fundamental playing skills, it should become obvious that studying the material in this book will also improve your overall performance. Those of you already enjoying steady improvement and growth in your playing will find new material and ideas within that will contribute to your continued rapid progress. Trumpet players with frustrating issues will hopefully find a path through some of your difficulties to a new level of performance ability and confidence. In order to have any hope of transcending a long lasting plateau or a declining trend in your trumpet playing, you are going to have to get comfortable with a new approach to your studies. You are going to have to exercise a willingness to let go of previous habits. If you are not willing to experiment and try need ideas you can stop reading right now. Every aspect of your playing is by now habitual and these habits are formed early on. You are going to have to accept that the familiar is not always correct and the correct may not be familiar. The basics of trumpet playing are not complicated. The combined elements of personality, physique, equipment and concept create myriad variations affecting how successfully, (or often unsuccessfully), we achieve a consistently high level of trumpet performance. Regardless of how long you have been playing trumpet, and for the sake of clarity, I believe revisiting some relevant basic concepts and physical facts regarding trumpet performance is important. Consider the following list: 1) Air flow / breath support 2) Mouthpiece on lip pressure 3) Mouthpiece placement 4) Aperture size, (the opening between the lips) 5) (Managing your), State of tension / relaxation 6) Tongue placement and 7) Mouthpiece size The correct BALANCE of the listed elements is essential to successful tone production. Ponder that. All elements listed must work together in the correct proportion. None of the elements can successfully work alone. None are static during tone production except number seven, mouthpiece size. A relaxed, full-bodied tone is the fundamental building block for RANGE, ENDURANCE AND TECHNIQUE. Fast tonguing, fast fingers, and accurate intervallic movement are techniques learned to alter and embellish the fundamental sound in order to produce the desired music. Great skill comes as a result of repetitious practice. Practicing trumpet regularly is obviously a huge factor in developing the skills necessary to perform at a high level. Expert coordination of tonguing, finger movement and harmonic movement by means of daily practice, creates advanced technique. Developing an accurate musical ear is equally important, but all of these items are secondary to the fundamental element of BASIC TONE PRODUCTION.

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An interesting way to promote improvement in correctly balancing the listed elements is to think in terms of resistance. Different players are comfortable with various levels of resistance. Every item on the above list contributes to how much resistance is felt while blowing into the horn. The ideal sensation while playing should be one of steadily leaning on the air column, feeling a comfortable amount of backpressure while avoiding the temptation to over blow. Over blowing is a fast track to problems including fatigue in all of its forms. The embouchure touching the mouthpiece rim should feel like a comfortably firm cushion, neither smashed into place nor hard. Fact #1: Most trumpet players use too much pressure, (left hand and finger ring). Fact #2: Lack of response and fatigue are OFTEN a result of 'over-blowing' - blowing too forcefully. Fact #3: Lack of improvement in the upper register is frequently a result of using too much mouthpiece-on-lip pressure, playing with an aperture that is TOO LARGE and weak unsteady airflow through the aperture-mouthpiece-trumpet. Fact #4: Bach 1! C mouthpieces and the like are too large for most players to consistently produce the air speed, (actually air turbulence), necessary to play with decent consistency, range and endurance. Fact #5: Small mouthpieces are more efficient than large ones but can compromise beauty of sound to various degrees and can exacerbate the difficulty of low register playing, particularly articulation. Rethinking Traditional Concepts In my opinion, many of the traditional concepts of trumpet playing need to be reconsidered in order establish a concept and understanding with which to best improve your high register and general playing. The ideas of 'buzzing', 'more air', 'blowing forcefully', 'hard-as-rock mouth corners', 'flat chin', 'NO pressure playing', ' rolling the lips in or out', 'puckering', smiling', 'opening the throat', firming the lips' and noisy 'throat breathing' all need to be addressed. Firstly, however, I have to make sure you understand how the trumpet sound is created so that my ideas and explanations on more specific aspects of tone production will be completely clear. The trumpet consists of metal tubing and the bell serves as an amplifier for sound waves created within it. The vibrating air column sets up wavelengths oscillating against the sides of the tubing based on the energy sent through the instrument by the player. The length of the wave dictates the pitch of the resulting note. The player creates energy by using his large abdominal muscles to project air into the trumpet mouthpiece. The resistance inherent in the mouthpiece design creates various degrees of air turbulence

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based on its cup size, throat hole size and the energy of air speeding into it. The embouchure creates an aperture, directing and fine-tuning the airflow in such a way that a high degree of control over the resulting note pitches can be developed. The turbulence is created at the mouthpiece. The sound wave or vibration is set up by turbulent air spinning in the mouthpiece cup and setting off waves against the walls of the trumpet's tubing not unlike blowing air over a bottle opening. Although the mental image of blowing through the horn and beyond is extremely valuable in helping to create a big sound with great conceptual flow, that is not exactly literally occurring. Fact #6: Experiments with cutaway mouthpieces have shown the air stream does not travel through the lips straight into the mouthpiece hole and trumpet lead-pipe. It streams downward for most hitting the mouthpiece cup wall first. Fact #7: It is possible, even easy, to play long high notes, arpeggios, etc. well above high 'C3" at a very soft dynamic level. This illustrates that a large volume of air is not required to sound high notes. A small amount of high-energy air flowing steadily through a small aperture will create the upper register pitches at soft dynamics. Fact #8: Most trumpet players inhale like wimps and with marvelous inconsistency. Fact #9: Most trumpet players have barely tapped into their natural ability to produce and maintain the consistent, steady breath support necessary to play trumpet at a high level. Blowing steady smooth air is easy. It is a mystery to me why this concept is so illusive. Fact #10: Many, many trumpet players use terrible right hand position. Good finger position, (tips on valve caps), is necessary for clear technique. Bad finger position will needlessly handicap your technique. Now back to the list. THE SUCCESSFUL BALANCING OF ELEMENTS #1 - 6 IS OUR ULTIMATE GOAL. (Item #7, mouthpiece size is discussed later as well. Once the mouthpiece is in your horn it is obviously a fixed element). 1) BREATHING and blowing are so simple it is difficult for me to understand why poor breathing habits are so pervasive among trumpet players. You have no chance to play well if you don't breath well. Inhale by opening your mouth and letting the air fall into your lungs. Breathe deeply. Don't be overly analytical. Don't use a 'breathing system'. Allow yourself to breathe as your body was designed to do. Understand that deep breathing in a calm state, such as when you are practicing, is different from deep breathing in an agitated state, such as during strenuous exercise. The brain will not suggest you breathe deeply when you are relaxed but will order you to when agitated.

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Train yourself to always breath deeply before beginning to play. Think of your 'inhale' as part of the musical phrase. Learn to blow evenly and steadily using your tone and intonation as aural indicators of how well you are doing. Occasionally blow a long smooth air stream out through a relaxed embouchure without the mouthpiece and horn. Apply that low resistance, free-flowing feeling to your next notes on the trumpet. 2) Every trumpet player uses too much mouthpiece-on-lip pressure some of the time. We all need to get used to the sensation of consciously lightening up on the pressure in performance and practice. Pressure is necessary and the amount of pressure varies in different ranges in combination with different volumes. The notion of non-pressure playing is ludicrous. The real problem is most players use excessive amounts of pressure in the mistaken belief that it will help them produce higher notes and it quickly becomes a habit. Smashing the lips with the mouthpiece rim can create a smaller aperture, forcing the air to temporarily go faster sometimes creating a faster wave vibration hence a higher note. The results are inconsistent and short lived at best. During an excessive pressure event the mouthpiece rim cuts into the lips starving the tissue of blood and oxygen. The lip tissue and facial muscles get distorted and very bad things happen that shorten endurance, kill response and slam the brakes on forward development. Levels of pressure must be brought under control and kept under control. It’s not that difficult to form a good habit to this end. By practicing a literally lighter touch. Fact #11: Muffled tone, airy sounding notes, poor quality low notes and very limited high notes are often a result of placing the mouthpiece too low or too high on the lips. (Play some notes after moving your mouthpiece slightly lower and honestly evaluate the sound; better or worse? Move the mouthpiece higher. Is the sound better or worse? (Notice that with incorrect mouthpiece placement increasing airflow does not improve the tone). 3) Mouthpiece placement and embouchure are firmly established shortly after beginning to play trumpet. Changes are very challenging to make successfully. After years of playing, the mouthpiece rim has literally imprinted a groove in the lip establishing the feeling of correct placement. Although it may be too late for readers of this book, the importance of expert guidance concerning mouthpiece placement and embouchure for beginning trumpet players cannot be over stated. Keep that in mind if you teach. Side to side placement of the mouthpiece is dictated by dental and facial structure. Division of the mouthpiece rim between the upper and lower lips is not as clearly defined nor is it as difficult to adjust later. Small changes in upper and lower mouthpiece rim placement can have a profound effect on successfully producing upper notes. Experimenting in this regard is not difficult or dangerous. Most players end up with nearly equal division between upper and lower lips. Your sound quality should be the ultimate indicator of correct placement. Fact#12: If the aperture is too large the high notes ain't coming out.

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4) The aperture is the opening between the lips, in the center area, through which we blow the air into the mouthpiece. A large aperture translates into slow, low compression air. A small aperture translates into fast, highly compressed air when abdominal support is applied in a significant amount. Over-blowing will cause an oversized aperture and unsatisfactory results in regards to sound, range and endurance. Excessive pressure will exacerbate the problem. Many trumpet players have learned to set and play with the lips too far apart. After months or years of practicing with this unfortunate setting, it will feel familiar and correct. Whoopsie. There is no literal way to practice control over the size of the aperture. The playing apparatus only works when the mouthpiece is on the face and the embouchure is formed. We can only practice and experiment using intelligently designed studies to learn aperture control by repetition and feel. We evaluate our progress by assessing aural results. It is my intention that you gain skills in aperture control using the exercises in this book to become comfortable and familiar with effective settings that yield results for you. Fact #13: Most of your problems are in your head. 5) Concepts of relaxation, tension and concentration can make or break your success. Performing well involves multiple layers of relaxation, tension, focus and adrenaline induced energy. You can't play trumpet well in your sleep. Conversely, unnecessary muscle tension will inhibit good playing results. That's why I refer to a CONCEPT OF RELAXATION rather than an order for you to RELAX! This concept will permeate your playing if you allow yourself to experience the anxieties of performance and challenging practice WITHOUT FEAR of failure. Purge the notion of failure and consider only results on which you can work for improvement. Concentrating on fundamental skills will allow you to sound relaxed even when you are not. Inhaling fully and breathing skillfully will positively influence your ability to manage your anxieties without unnecessary tension. It is ok to feel performance anxiety. It is ok to feel adrenaline charged. It is ok to experience dry mouth and unsteady hands. Trumpet playing should be aggressive but is should always be done with an over-all concept of relaxation and persistent steady musical airflow. Fact #14: Low tongue placement does NOT guarantee a big sound. Fact #14a: Low tongue placement while playing middle and upper notes will make your intonation flat. 6) Active experimentation with tongue placement can help you to create fast air speed resulting in the turbulence necessary to produce upper notes. In combination with skillful aperture control, pressure control and the correct chin / lower jaw placement, positioning the tongue high and forward can fine- tune your airflow with positive results. We must be able to play nice low notes too. In order to play the bottom three of four notes of the trumpet range well, it is necessary to allow the lower jaw to drop and swing out in it's natural arc more than in any other range. This is essential in creating the very

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large aperture necessary for a big sound on the bottom few notes. Notice that your corners should not be kept overly firm in the lowest register either. Experimentation with corner firmness in the low register should render the correct firmness obvious to you by assessing the best-achieved sound. As an experiment, play a nice sounding 'G' in the staff and slowly go down the chromatic scale slurred. Hold your jaw position for the original 'G' firmly in place as you go down. No matter how much air your project through the horn your sound will be thin and airy at the bottom of the range. Holding the jaw position doesn't work. Allow your lower jaw to drop and move forward thereby producing big low notes. It's easy and natural to proceed back up the scale to the higher notes without artificially manipulating the jaw position. There is no reason to resist the necessity of dropping the lower jaw for big bottom notes as so many trumpet players are wont to do. Fact #15: Skilled trumpet players can hold any note, including upper tones, while moving the tongue up and down. Logic therefore tells us that skillful tongue placement is merely an adjunct part of the correct balance in creating fast and turbulent air for the high register. Never the less, experimentation with tongue placement is a valuable and necessary technique for learning control over air speed and intonation. Tongue placement should be experimented with TO EXTREMES. The syllables of 'AHHH", (low notes), and "EEEE", (high notes), are useful but not extreme enough. The syllables of "HHHEEE" and "SSSSS" can also be helpful in getting your tongue placement high and forward to the extreme. The 'high register tongue placement' I am about to describe should be used literally and tested liberally through out the studies in this book. Imagine a ball the size of a BB placed at the point where your two top front teeth meet at the gum line. The ball is held in place by your tongue, back from the tip so that the front of the tongue is touching the back of the front teeth. The contact point of the ball on the tongue can vary. Blowing firmly with the tongue in this position, through the spot occupied by the imaginary ball will create tremendous air turbulence even AT SOFT DYNAMICS. Don't drop the ball by letting the tongue drop. Let the force of air create an opening. Experiment with simultaneously increasing air pressure and the firmness with which you hold the imaginary ball in place, still at a soft dynamic. You should eventually experience production of some soft effortless upper register notes. Observe the degree of firmness with which you hold your tongue in place when you experience successful production of some upper notes. (This tongue position is basically effective for notes, 2ledger line high 'C' and above). Why practice this technique softly? Using a soft dynamic lowers the intensity of internal pressure otherwise created by blowing with the energy necessary to produce loud notes. You won't get tired quickly practicing softly and that will afford you more opportunity to spend time experimenting. Loud upper notes become easier after you have established a comfortable feeling of producing high notes softly. Study methods during which you attempt to learn new high notes by sliding or blowing scales and arpeggios with extreme

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air support and volume are valuable. I have included exercises of this nature in my "Allen Vizzutti Method Book" in fact. (Alfred Music Publishers). It can feel very good to 'clear the pipes' by playing something at full volume from time to time especially if you feel yourself getting tense playing softly. Occasionally playing loudly can wake you up to producing a full sound and steady air support, too. Just remember, loud and high playing is very taxing and is the ultimate setting in which the correct Balance Of Elements is absolutely necessary. Fact #16: Extremely wide and deep mouthpieces, and extremely narrow and shallow mouthpieces – for the majority of players - are stupid. 7) There is no good reason to use a trumpet mouthpiece that doesn't help you play more efficiently. In order to play in the high register well your mouthpiece cup needs to help you create the turbulence necessary for fast air column vibrations integral to the high register. Imagine blowing forcefully into a water glass containing a tablespoon of baking flour. You would certainly get a face-full of dust and a white cloud. Now imagine the same tablespoon of flour at the bottom of a 50-gallon drum. No matter how forcefully you blow into the drum you get little or no white cloud. Mouthpiece cups create turbulence in the same way. Assuming equal amounts of energy expended by the player, the smaller mouthpiece creates more "action' than the bigger one along with a brighter sound, more edge, and harder sounding attacks. You can probably understand the compromises confronting you when picking a mouthpiece now. Generally speaking, we have to find a balance between ease of execution and sound quality. So what are mouthpiece size limits? How deep of a cup is too deep? How shallow is too shallow? The answers vary. No two humans have the same embouchure, teeth or jaw line. Ultimately you have to be the judge. While it is true that some trumpet players in history have done very well playing on really strange equipment most of us would be best served by the middle sized range of mouthpieces. There are other important elements of mouthpiece design of which you should be aware. The width of the rim will effect how much pressure is acceptable. The wider the rim, the larger the cushion, hence the pressure is distributed over a wider area raising the acceptable limits. On the other hand, the wider the rim, the more difficult it is to perform technically with accuracy. The roundness or sharpness of a mouthpiece cup's inner rim is another essential element. A sharper rim can improve accuracy but can have a cookie cutter effect on your lip if too sharp edged. Some players enlarge the throat, (the hole at the bottom of the cup), to allow freer flowing air. Extreme throat enlargements usually don't work. It is difficult to maintain steady air flow if the resistance is too low, (think tuba). Other players prefer more resistance to blow against, in a sense helping to maintain steady air flow, (think blowing through a straw).

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The bottom 1/3rd of the mouthpiece, called the back bore, can also be altered is size and shape. A large back bore on a relatively shallow piccolo trumpet mouthpiece is generally very helpful in creating a wonderful sound and feel on such a small bore instrument for instance. Putting the wrong back bore on a good cup, however, can cause a mouthpiece to sound like a kazoo. Until you have found a mouthpiece cup about which you are really excited, it is best to let the manufacturer choose the throat size and back bore. They know which back bores and throats best match their cup designs and it is a good point of departure. Eventually it is preferable to have a set of mouthpieces with matching rims for your various types and keys of trumpet. Fact #17: If a new mouthpiece doesn't work well for you within the first few minutes of trying it, it will never work well for you, (without changing it). You will not grow into it. Don't waste your time trying. Only experimentation with mouthpieces will reveal how well they work for you and how beautiful they sound. Your personal taste and artistry should dictate the final results in choosing a mouthpiece. There will be compromises with every mouthpiece concerning the timbre, comfort, response, and ease of articulating both low and high notes. The fact remains that a mouthpiece well suited to a player will help his / her consistency, sound, endurance and confidence. The style with which you hold your trumpet warrants comment. With a natural balance of weight between the hands the trumpet should be held with the valves nearly vertical. Tipping the horn over sideways with a collapsed left wrist is a bad idea. Grabbing the finger ring at the bottom joint of your little finger will inhibit finger movement and promote excessive pressure. Your grip should insure freedom of movement for the valve fingers and the 1st and 3rd tuning slides. I like to balance my horn between my right thumb placed under the lead pipe between the first and second valve casings, and my left index finger under the bell gently wrapped around the third valve casing. The pistol grip has been popular for 'high note' trumpet players mainly because Maynard Ferguson used it. It also helps to raise the bell position over the music stand. In reality, the pistol grip does little if anything to help high note playing and can, in fact, cause excessive pressure on the top lip for down stream players. The majority of trumpet players have an overbite so it follows that using the pistol grip can cause problems. The pistol grip is also a detriment to playing in tune as it makes the use of the 1st and 3rd tuning slides practically impossible. Upstream players will have the most luck with the pistol grip. A mentioned earlier, many of the traditional concepts of trumpet playing need to be reconsidered in my opinion. The ideas of 'buzzing', 'fast air', 'blowing forcefully', 'hardas-rock mouth corners', 'flat chin', 'NO pressure playing', ' rolling the lips in or out', 'puckering', smiling', 'opening the throat', firming the lips' and noisy 'throat breathing' all need to be addressed. Fact #18: Buzzing the lips does NOT create the trumpet's sound. Sorry.

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The old traditional concept of buzzing the lips to make a sound, while understandably credible and undeniably ubiquitous, is unfortunately inaccurate. Of course the lips vibrate and are an integral part of tone production but the actual sound is created by air traveling with energy through the aperture and into the mouthpiece cup and beyond. The air column encounters the resistance of the cup, mouthpiece throat and tubing causing a sound wave to begin. The sound in powered by the airflow. Buzzing the lips causes an undesirable and 'buzzy' beginner sound. Conscious buzzing actually distorts the sound wave set up by free-flowing air and the trumpet tone suffers as a result. There is an experiment in which the player holds the mouthpiece in the left hand and the trumpet separately in the right. While spiritedly projecting air with a relaxed embouchure steadily through the mouthpiece the right hand brings the trumpet gently together with the mouthpiece and a solid pure note begins, without conscious buzzing. Pull the trumpet away separating the mouthpiece and horn, and the note stops. If the note doesn't begin, the aperture is too large, wide or spread. Lip vibration appears to be sympathetic to the tone production process. As an additional experiment you can, in fact, touch your tongue to your bottom lip while holding a note, stopping the lower lip from vibrating. The note will continue even though the sound will deaden. This simply illustrates that the vibrating lower lip is not responsible for creating the sound, yet is still part of the process. I believe this to be true of the upper lip as well. Note: I consider buzzing the lips away from the trumpet, as well as playing the mouthpiece separately, very beneficial for many reasons including relaxing the facial muscles. It should not be construed that I am anti-lip buzzing or anti-mouthpiece playing. I just don't play the trumpet the same way I buzz my lips without a mouthpiece. 'Blowing hard' for better results is a common and questionable concept. I am a big fan of an aggressive approach to playing the trumpet both physically and mentally but you will be best served to get a grasp on the difference between taking a relaxed and aggressive approach, and trying to overpower the horn physically. Rather than blowing hard, you should learn to play with relentless steadiness, using strong and smooth airflow in balance with the range and dynamic desired. Very often a conductor or teacher will command, "Use more air!" In concept the idea is fine. Literally, though, it is not how much air is used that allows the trumpet player to perform well, but the efficiency and consistency with which it is used. With a misplaced mouthpiece or an incorrect aperture size, blowing harder will produce nothing but frustration. On the other hand, many trumpet players, particularly young ones, 'under play' to the point that a command to use more air can only do them good. Certainly the larger part of getting a 'wimpy' player to create a bigger sound is to master the ‘relaxed inhale’ and the ‘steady blow’. Fact #19: If you clamp your mouth corners down too firmly your sound will be terrible. Fact #20: If you flatten your chin too firmly or too far down your sound will be rotten.

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I'm sure I will raise the ire of some wonderful trumpet artist / teachers with Facts #18 & 19! The truth is that if I hold my best sounding 'g' in the staff and then tighten my corners more than I normally would, the sound becomes very bad. Similarly, if I flatten my chin beyond my natural inclination while holding a note, the tone immediately changes for the worse. It seems obvious the best settings would be between the two extremes of looseness and tightness. Experimentation with corner tightness and how flat to make your chin - will reveal the correct position for your best sound. After experimenting, endeavor to allow yourself to play in the most natural way possible. Listen honestly to your sound quality. Personal awareness is crucial to personal improvement. Certainly as range and volume increase so does the need for strong corners, simply because of the related increases in pound-per-square-inch internal pressure and the necessity of holding your embouchure in place. Yet logic, common sense and experience should tell you that if you practice with even decent efficiency on a daily basis, (and you have been playing for more than a few months), your corners should be 'strong enough' for most performance demands. Therefore, I don't advocate using unusual extended corner building exercises, such as hours of lip slurs or holding a pencil pointing out of your mouth for an extended period of time, as has been suggested in some trumpet methods. I don't have a problem with general lip slur studies or musical corner specific workouts per se but you should be aware that overdoing some of this type of exercise can lead to stiffness, lack of response and even a counterproductive downward spiral regarding tone production and flexibility. The notion that you need to work on hours of corner specific routines to play well is in fact, ridiculous. When you get 'The Balance' right, playing a variety of material and practicing regularly with a good concept is all that is necessary to improve range, endurance and all other aspects of trumpet performance including strong corners. Fact #21: There is no such thing as 'no pressure' trumpet playing. While it may be dangerous for me to say it, and the likelihood of erroneous interpretation is high, the following statement is never the less true. We need to use pressure when we play trumpet. It must be clearly understood that the amount of pressure used needs to be in perfect balance between the elements of actual pressure, embouchure cushion, breath support and mouthpiece type. Every trumpet player uses too much pressure at least part of the time so ideally we need to get in the habit of LOW PRESSURE playing. There will never be a day when your trumpet professor says, " You need to use more pressure. Really smash that mouthpiece into your face!" The idea of using NO pressure is not practical, yet the concept of always endeavoring to use less pressure is very important. Fact #22: The concept of playing trumpet using an embouchure employing comfortably firm mouth corners and relaxed lips, (in the middle), has proven to be an immensely positive and useful approach. Fact # 23: You can't open your throat so don't try.

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You're probably thinking, "Excuse me? What are you talking about? If I didn't open my throat how could I breathe?" More accurately stated I mean, you can't follow a command to open your throat. Attempting to open your throat by manipulating muscles will only create tension and cause you to choke. I'd say that's pretty far from the desired result. Breathe as described earlier and don't focus on your throat. When you breathe in and blow out in a relaxed way your throat will be open. Every player is unique. That which you observe of yourself in a mirror or in viewing other players may be misleading. Even though it may look as if other good players may be employing the following techniques, you must never unnaturally: a. pucker b. roll lips in c. roll lips out d. stretch lips or 'smile' to ascend. Employing any of the above, a-d, and expecting improved results in the high register will result in great unhappiness. Period. I've warned you. At this point you may feel confused by detail so allow me to recap a short list of salient points. The goal is to balance the following elements in your playing: 1) mouthpiece-on-lip pressure, 2) steady, ‘insistent’ air support and 3) aperture control, in order to increase air speed and air turbulence, in the most relaxed way possible, thereby achieving maximum result with minimal physical effort. Working with the concepts and exercises in this book should enhance your upper register and your trumpet playing skills in general. Ultimately, through repetitive practice, we want the process to be natural and primarily second nature so that the focus can be on the wonderful experience of making and sharing music. High Notes can be used regularly or periodically. The sections may be practiced in any order. Frequently use exercises that seem to produce the best results for you. If one of the studies seems to make your lips overly stiff don’t use it. Be aware however, that over blowing, playing too loudly, using too much mouthpiece pressure and failure to take rests can cause many problems.

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- Breathe deeply and in a relaxed fashion before each and every entrance. - Conceptualize the ‘inhale’ and the ‘exhale’ as one fluid circular motion. - Maintain a steady and smooth air stream. - Consciously use the lightest mouthpiece pressure possible especially as you ascend. - Allow yourself some imperfections. - Stay relaxed. Good luck! You’re on your way to improved trumpet performance!

Allen Vizzutti

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High Note Studies

Allen Vizzutti Smooth connectivity between notes and steady persistent air flow are key elements for success in trumpet playing.

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bœ œ œ œ œ œ œ œ œ b˙. "

"

3

bœ œ œ œ œ œ œ œ œ n˙.

"

"

"

œ #œ œ œ œ œ œ œ œ b˙.

"

œ #œ œ œ œ œ œ œ œ ˙.

3

3

"

3

3

bœ œ œ œ œ œ œ œ œ n˙.

Lift the mouthpiece off frequently.

œ #œ œ œ œ œ œ œ œ ˙.

bœ œ œ œ œ œ œ œ œ n˙.

3

" " " "

&

High Notes - Vizzutti

bœ œ œ œ œ œ œ œ œ b˙. 3

3

"

3

3

3

3

3

& & & & & & &

3

3

3

œ #œ œ œ œ œ œ œ œ b˙. œ #œ œ œ œ œ œ œ œ ˙. 3

3

3

#œ nœ #œ nœ #œ nœ #œ nœ #œ ˙. 3

3

3

3

3

3

œ œ #œ œ œ nœ œ œ #œ œ œ nœ w 3

3

3

3

œ bœ nœ bœ œ bœ œ œ nœ œ œ bœ w 3

3

3

3

#œ œ #œ œ œ nœ œ œ #œ œ œ nœ #w 3

3

3

3

3

3

3

bœ œ œ œ œ œ œ œ œ n˙. bœ œ œ œ œ œ œ œ œ n˙. 3

Lift the mouthpiece off frequently

œ œ œ œ œ œ œ œ œ b˙.

3 3

"

& œ #œ œ œ œ œ œ œ œ b˙. 3

3

"

& œ œ œ œ œ #˙. œ œ œ œ 3

œ #œ œ œ œ œ œ œ œ ˙.

3

3

bœ œ œ œ œ œ œ œ œ n˙.

"

3

3

3

bœ œ œ œ œ œ œ œ œ n˙.

"

œ œ œ œ œ œ œ œ œ #˙. 3

"

3

3

3

3

3

c œ bœ nœ bœ œ bœ œ œ nœ œ œ bœ w

"

2

" " " " " " "

"

3 3 3 3 ! -F œ œ #œ œ œ nœ œ œ #œ œ œ nœ w

"

"

bœ bœ nœ bœ œ bœ œ œ nœ œ œ bœ bw

"

œ bœ nœ œ œ bœ œ œ nœ œ œ bœ w

"

3

3

3

3

"

3

3

3

3

3

15

3

3

3

& & & & & & & & & &

œbœ nœ bœ œ bœ œ œ nœ œ œ bœ w 3

3

3

bœ nœ bœ nœ bœ œbœ nœ œ nœ bœ œ bw

"

œ bœ nœ bœ œ bœ œ œ nœ œ œ bœ w

"

bœ nœbœ nœ bœ œ bœ nœ œ nœ bœ œ bw

"

3

"

œ#œ œ#œ nœœnœ#œ œ#œnœ œ w

"

3

"

œ œ #œ œ œ nœ œ œ #œ œ œ nœ w

"

3

"

bœ nœ œ bœ œ œ bœ nœ œ œ œ œ bw

"

œ #œ œ œ œ œ nœ #œ œ œ œ œ w

"

3

bœ nœ bœ nœ bœ œ bœ nœ œ nœ bœ œ bw 3

3

3

3

3

3

bœ bœ nœ bœ œ bœ œ œ nœ œ œ bœ bw 3

3

"

3

"

3

3

3

œ bœ nœ bœ œ bœ œ œ nœ œ œ bœ w 3

3

3

bœ nœ bœ nœ bœ œ bœ nœ œ nœ bœ œ bw 3

3

3

3

œ bœ nœ œ œ bœ œ œ nœ œ œ bœ w 3

3

3

3

"

3

"

bœ nœ œ bœ œ œ bœ nœ œ œ œ œ bw 3

3

3

œ œ #œ œ œ nœ œ œ #œ œ œ nœ w 3

3

3

3

3

3

3

"

3

3

3

3

3

3

3

3

#œ œ #œ œ œ nœ œ œ #œ œ œ nœ #w 3

3

3

3

œ #œ œ bœ œ œ nœ #œ œ œ œ œ nw 3

3

16

3

3

3

3

3

3

3

3

3

3

3

3

"

3

3

3

"

œ œ #œ œ œ nœ œ œ #œ œ œ nœ w

3

3

3

œ bœ nœ œ œ bœ œ œ nœ œ œ bœ w 3

High Notes - Vizzutti

3

3

3

3

3

3

œ bœ nœ bœ œ bœ œ œ nœ œ œ bœ w

" " "

3

U

& œ œœœ œœ ˙ p -F (3)

&

œœ

œ

&

(0) œ bœ œ

œ #œ

"

U

#œ œ œ (2)

bœ

˙

œœ

#œ #œ œœ

bœ

bœ œ œ

bœ bœ

U œ

b(0) œ œœ

2 3

œ bœ 5

œœ

5

&

œœ

bœ bœ œ 5

bœ

U

œ

(3)

œœ

U œ

œ

U

bœ

œ

˙

U

bœ

b˙

œœ

œ

(0)

œœ

œ bœ

œ

#œ#œ

bœ

#œ œ # œ œ

œœ

Uœ

œœ

œœ

5

#œ œ U 5

#œ

œ

œœ

œœ

U œ

œœ

"

(3)

œœ

˙

(3)

œœ

œ

œœ

˙

#œ #œ

œ #œ

œœ œœ

œœ

˙

œœ

U

˙

#Uœ

" œœ

œœ

82

œ

bœ

83

bœ œœ

œ bœ œ

œœ

œ

˙

"

˙ "

"

#œ #œ

U

œœ

U

U

bœ œ

b(1) œ œœ

U

œ

œ

˙

œœ

˙

U œ œœ U 3 #œ #œ œ 4 œœ #œ œ ˙ #˙ simile F ƒ U U (1) bœ bœ œ œ (2)œ # œ U œ bœ #œ œ U œ #œ b˙ ˙

˙ œ

œ

bœ œ œ œ

"

#œ œ

(3)

U (2)

(2)

1 2

œ #œ

U

œ (0)œ œ

"

˙

œœ œœ

"

˙

(1)

U œ U œ

œœ

(3)

"

simile

U

œœ

˙

œœ

b˙

œœœ

"

U

bœ bœ

œœ

˙

bœ œœ

U

"

œ #œ

(1)

bUœ

bUœ

œœ

œ

"

&

"

U

"

#œ#œ

&

&

œœ

œ

& &

High Notes - Vizzutti

Sound the grace notes confidently and smoothly. The dynamic is soft but the air stream must be steady and intense. Go for smoothness before note perfection. (3) (3) (3) (3)

U

˙

4

bUœ b œ œ œ bœ U œ b˙ 5

U

˙

œ œœ U œœ ˙ 17

U

5

U #œ #œ œ #œ œ #˙

U œ

œœ

5

#œ œ 5

œ

U

˙

"

5

1 2 3

U

œ #œ #œ

& #œ ! -F & &

bœ bœ U œ bœ

Uœ œ œ

œ

#U˙ bU˙

U ˙

U œU ˙

œ

U

œœ

U œ #œ œ

"

œ

U ˙

bœ

œ

U b ˙ b œ bœ

simile

bUœ œ U

U

œ

#œ œ

U b ˙ b œ bœ

œ U œ #œ

U

bœ œ œ

œ bœ

&

bUœ

bU˙

U

U ˙ , b œ œ œ œ œ œ œ bUœ œ œ œ

œ

U ˙

U ,

U

U

œ

f

U

U# œ # œ œ

Uœ œ b œ

˙ œœœœœ

U

U ˙

Uœ

U# œ # œ œ

#œ

œœœœ œœœœœœœ œ simile

U œ

U œ

U

œœœœœ

#U˙

, U ˙

U ,

œœ˙ œ œ œ œ

U ˙ , b œ œ U œ œ œ œ œ bœ œ œ œ

U

U

U ˙

U

U

U ˙ b œ œ œœ

œœœœ œœœœœœœ œ

bœ œ œ œ bœ œ œ œ

,

,

U ,

U # ˙ , U U U œ , U œ b œ œ œUœ œ œ œ œ œ œ # œ # œUœ œ œ œ œ # œ # œ ˙ œ œ œ bœ œ œ œ œ œ œ œ œ & U b ˙ U b œ œ b œ U b œ œ U b œ U œ , bœ bœ bœ œ œ b œUb œ b œ b œ œ œ œ œ b œ œ b œ b ˙ & bœ U ˙ U œ # œ œ U œ œ U œ œ U , œ œœ œ œ U œ œ œ œ œ œ œ œ œ #œ œ ˙ & œ f F f 18

œ bœ

œ

œ œ #œ #œ œ œ œ œ #œ #œ œ #˙ œ

U œ

U ˙

High Notes - Vizzutti

U ˙

Minimize mouthpiece pressure!

45 œ b œ œ œ œ œ œ f F

6

œ

U ˙

U U, ˙ , U œ U œ œ œ & œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ ˙ œ , U U U U U , U ˙ œ ˙ œ #œ œ œ œ & œœ œ œ œ œ œ # œ œ œ œ œ œ œœœœœ U ˙ , œ U , œ U U U œ œ œ œ Uœ œ œ œ œ œ &œœœ œ œ bœ ˙ œ œ œ œ bœ œ U ˙ , U U œ , # œ œ œ # œ œ Uœ œ œ œ œ œ U U ˙ œ œ #œ œ œ œ œ œ œ œ #œ œ & U œ

U

1 3

U

œœ˙ , , "

c

j ‰ UŒ ‰ Œ b œ n œ b œ œ n œ b œ b œ n œ b œ j œ. . . . œ. . . . œ. . . . œ. b œ n œ b œ œ n œ b œ b œ n œ b œ œ. . . . œ. . . . œ. . . . œ. ! U j U . . . . . . . . . œ œ œ . . . ‰ Œ œ œ œ œ œ œ bœ œ bœ œ. ‰ Œ & j b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. U U . œ. œ. œ. œ. œ. b œ. œ. j U . b œ œ . . . ‰ Œ ‰ Œ ‰ œ œ œ œ. & œ bœ œ j j Œ b œ n œ b œ œ n œ b œ b œ n œ b œ b œ. . . . œ. . . . b œ. . . . œ. œ. . . . œ. &c

7

U

Think 'flow' and steady sir support in spite of playing short notes

High Notes - Vizzutti

U . b œ. n œ. b œ. œ. œ. n œ. b œ. b œ. b œ. n œ. b œ. œ. ‰ UŒ b œ ‰ & j Œ b œ œ b œ J œ œ œ œ œ œ œ. . . . œ. . . . œ. . . . œ. U . b œ. n œ. b œ. . œ. n œ. b œ. . œ. b œ. œ. œ. ‰UŒ œ œ ‰ Œ œ j & b œ n œ b œ œ n œ b œ b œ n œ b œ J œ. . . . œ. . . . œ. . . . œ. U b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. U j‰ Œ J‰Œ

. . . .. . œ. œ b œ œ œ. œ œ œ

. . . U œ. b œ n œ b œ œ. ‰ Œ J

& b œ œ œ. œ œ œ œ. œ b œ œ œ. œ œ œ. œ. b œ. œ. œ. œ. œ. œ. . . . . . . . . . . U œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. U U j & œ œ. b œ. œ. œj ‰ Œ J ‰ Œ b œ. b œ. n œ. b œ. œ. œ. n œ. b œ. b œ. b œ. n œ. b œ. œ. ‰ Œ . . . n œ. b œ. . œ. n œ. b œ. . b œ. n œ. b œ. . U . b œ. œ. . œ. œ. œ. . . b œ U œ bœ œ bœ œ‰Œ œ j‰ Œ œ b œ œ b œ & J œ œ œ œ œ œ . . . œ. . . œ. . . œ. . . œ. . b œ. œ. . œ. œ. œ. . b œ. b œ. œ. . . b œ .œ œ. b œ. œ. œ. U U œ œ œ œ U j‰ Œ b œ œ b œ ‰ Œ b œ œ œ œ b œ œ J‰Œ & J œ. . . . œ. . . . œ. . . . œ. . œ. b œ. œ. œ. œ. œ. œ. # œ. œ. b œ. U # œ & # œ. œ. b œ. œ. œ. œ. œ. œ. # œ. œ. b œ. œ. œ.j ‰ Œ j ‰ UŒ b œ n œ b œ & œ. . . . œ.

œ. œ. U J ‰ Œ œ b œ. n œ. b œ. œ œ. n œ. b œ. . .

œ. b œ. n œ. b œ. œ. œ. n œ. b œ. œ. b œ. n œ. b œ. œ. U J ‰ Œ 19

b œ. b œ. n œ. b œ. œ. œ. n œ. b œ.

j ‰ UŒ . . . b œ n œ b œ . œ. & bœ j U . . . œ # œ n œ . œ. ‰ Œ &œ

. b œ. n œ. b œ. œ. ‰ UŒ b œ & J . œ. # œ. n œ. œ. ‰ UŒ œ & J

. b œ. n œ. b œ. œ. ‰ UŒ œ & J b œ. œ. œ. œ. œ. ‰ UŒ & J

. . . . . . . . . b œ. b œ n œ b œ œ. œ n œ b œ b œ. b œ n œ b œ œ. U J ‰ Œ

. . . . . . . . . œ. œ # œ n œ œ. œ # œ n œ œ. œ # œ n œ œ. U J‰Œ

. . . . . . . . . b œ. b œ n œ b œ œ. œ n œ b œ b œ. b œ n œ b œ œ. U J‰Œ

œ. œ. # œ. n œ. œ. œ. # œ. n œ. œ. œ. # œ. n œ. œ. U J‰Œ

. . . . . . . . . œ. b œ n œ b œ œ. œ n œ b œ œ. b œ n œ b œ œ. U J ‰ Œ

b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. J ‰ UŒ

"

High Notes - Vizzutti

œ. œ. # œ. n œ. œ. œ. # œ. n œ.

. . . . . . b œ. b œ n œ b œ œ. œ n œ b œ . . . . . . œ. œ # œ n œ œ. œ # œ n œ . . . . . . œ. b œ n œ b œ œ. œ n œ b œ . . b œ. œ. œ œ. œ. œ. œ œ.

8

. . . . . . œ. b œ n œ b œ œ. œ n œ b œ

! . . . .œ b œ. n œ. b œ. œ. U b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. U œ. œ. b œ œ. œ. œ. œ œ. œ. œ. b œ J‰Œ J‰Œ & . . . . . . . . . b œ. b œ n œ b œ œ. œ n œ b œ b œ. b œ n œ b œ œ. U J ‰ Œ &

.œ œ. b œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. U J‰Œ

.œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. J ‰ UŒ

. . . . . . . . . b œ. b œ n œ b œ œ. œ n œ b œ b œ. b œ n œ b œ œ. U J‰Œ &

(0) . œ. œ. . œ. œ 9 . œ . œ. œ. . œ. œ. œ. . œ. œ. œ. j ‰ UŒ œ œ . &œ œ œ œ. 1 ! . # œ2. œ. œ. œ. œ. œ. œ. # œ. # œ. œ. . # œ œ . œ. j U . # œ # œ . œ. ‰ Œ &œ

20

œ. œ. U J‰Œ

"

œ. œ. . œ. œ. œ. . œ œ U # œ. # œ. œ. œ. œ. œ. J ‰ Œ œ. œ. œ. U . . œ. . . . œ. . . . œ. . . U J ‰ Œ bœ œ œ œ œ œ bœ œ œ œ ‰ Œ J

. . . . . . (1) . . . . œ b œ œ œ œ. œ œ œ b œ. œ œ œ œ. U J‰Œ &

High Notes - Vizzutti

œ œ œ œ œ œ œ œ j ‰ UŒ œ œ œ œ œ 1 (0) ! -F 2 œ œ œ # œ œ œ œ œ œ œ # œ œœœœœ œ œ œ œ œ U U j J ‰ Œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ ‰ Œ & "

10

œ œ œ œ œ œ œ bœ œ œ œ œ b œ œ #œ #œ œ œ U U œ œ œ œ œ œ œ bœ œ œ œ œ ‰ Œ J ‰ UŒ J ‰ Œ b œ & J (1)

1 2 3

œ œ œ œ œ œ œ œ œ œ œ œ U bœ bœ bœ œ œ œ œ œ bœ bœ bœ œ œ œ J J‰Œ & " f 2 1 1 3 bœ œ œ œ œ 3 œ œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ U U 2œ œ # œ œ œ J‰Œ J‰Œ & 1 11 3

U

‰ Œ

œœœ

(1) (2) bœ œ bœ œ œ # œ œ œ U b œ œ œ œ œ œ œ œ b œ œ œ œ œJ U œ b œ œ œ œ œ œ b œ œ œJ U J‰Œ ‰Œ ‰Œ &

(0) œ œ œ œ œ œ œ œ œ œ œ œ œ U bœ bœ œ œ œ œ œ œ bœ bœ œ œ œ U œ œ #œ œ œ œ œ œ J‰Œ J‰Œ & 1 2

(0)

bœ œ œ œ œ œ œ œ bœ œ œ œ œ J ‰ UŒ

œ œ #œ œ œ J ‰ UŒ &

2 3

Lift the mouthpiece off frequently. »¡™º U >˙ >˙ >˙ >˙ ˙ Ó Ó Ó Ó Ó &

12

& &

q

f # >˙ b >˙

# >˙

#U˙

Rest any time you wish.

Ó Ó

Ó

bU˙

Ó

Ó

>˙

>˙

Ó

Ó

>˙

>˙

>˙

Ó Ó

21

>˙

U ˙

Practice using breath attacks as well.

Ó

>˙ >˙

U ˙

Ó Ó

Ó

Ó

U ˙

b >˙ Ó

Ó

Ó

# >˙

" Ó

b >˙ b >˙

Ó Ó

b >˙

b >˙

bU˙

Rest any time you wish.

& &

>˙

Ó Ó

Ó

>˙

>˙

Ó

U ˙

Ó

& & & & &

>˙

Ó Ó

b >˙

b >˙

Ó

>˙

œ bœ œ œ œ œ œ œ U ˙

Ó

>˙

bU˙

Ó Ó

œœœœœœœœ˙ U

& #œ œ œ œ œ œ œ œ ˙ U

& #œ œ œ œ œ œ œ œ ˙

>˙

Ó

U ˙

Ó

Ó

>˙

Ó

Ó

>˙

Ó

>˙

Ó

Ó ˙ >

Ó Ó

U ˙

Ó U

" ! -F œ b œ œ œ œ œ œ œ ˙ #œ œ œ œ œ œ œ œ U ˙ U

U

#œ œ œ œ œ œ œ œ ˙ œ bœ œ œ œ œ œ œ U ˙ U

Ó

U ˙

˙ ˙ b˙ ˙ b˙ ƒ > > > > >U >˙ >˙ >˙ ˙ q»¡™º " Ó Ó Ó f U U >˙ >˙ >˙ b˙ ˙ Ó Ó Ó Ó

#œ œ œ œ œ œ œ œ œ œ œ œ œ b >˙ b >˙ b >˙ Ó Ó Ó & b >˙

Ó

>˙

Ó

U

&

>˙

High Notes - Vizzutti

13

œ bœ œ œ œ œ œ œ ˙ #œ œ œ œ œ œ œ œ U ˙

U

#œ œ œ œ œ œ œ œ ˙ œœœœœœœœU ˙

#œ œ œ œ œ œ œ œ U ˙ #œ œ œ œ œ œ œ œ U ˙

U

œ bœ œ œ œ œ œ œ ˙ U

œ bœ œ œ œ œ œ œ ˙ U

œœœœœœœœ˙ 22

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U

Bang the valves firmly throughout!

14

#œ œ œ œ œ œ œ œ ˙ U

bœ nœ bœ œ bœ nœ œ œ bœ nœ œ œ bœ ! -F

& &

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High Notes - Vizzutti

bœ nœ bœ œ bœ nœ œ œ bœ nœ œ œ bœ

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Minimize mouthpiece pressure!

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High Notes - Vizzutti

U

& œ bœ nœ bœ œ œ nœ bœ œ œ nœ bœ œ

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Phrase musically.

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24

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High Notes - Vizzutti

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w f F œ bœ œ bœ b˙ U bœ bœ bœ œ œ U >œ >œ >˙ Œ Ó " & bœ bœ bw f F F œ U >œ >œ >œ >œ >˙ . U œ œ œ œ # œ # œ œ ˙ Œ Ó " & œ œ w F F bœ > >œ b >œ >˙ >œ b >œ œ >œ >˙ . U œ b œ œ œ œ œ œ b ˙ U Œ Ó & œ b œ bw f F F >œ > >œ # >œ >œ > . U #œ œ #œ œ #œ #œ ˙ œ > > #œ ˙ #œ #˙ Œ #œ Ó & " #œ œ F f F œ > >œ >œ >˙ >œ >œ œ >œ >˙ . U œ œ œ œ œ œ œ ˙ U " Œ & w f F b >œ >˙ b >œ b >œ >œ b >˙ . bœ bœ œ œ > > b œ b œ b œ U U Ó " Œ & œ œ w f F F bœ œ bœ b˙ >œ > >œ >œ >œ > > > œ ˙ œ ˙. U U Ó " Œ bœ & bœ bw F f #œ œ #œ œ ˙ œ œ œ œ U Ó œ & œ w F F F b >˙ .

25

High Note Etude #1 This etude incorporates the smooth scaler approach to upper notes from below as in Study #6. Dynamic markings and cresendi are naturally musical and practical for upper note production. Allen Vizzutti »¶• # œœœ˙ œœœœœ œœ œ œœ œœœœœ œ œ œ Œ ‰J œ œ & c œœ F F 5 œ œœœ œœ œœ œ # œ œ œ œ œ œ œ œ œ œ œœ ! œ œ œœ Œ ‰J œœ œœ & Œ ‰J F F 11 # œ œ œ œ œœœ œ œ œ œœ œ œ œ œ œ. œ œ œ œ œ Ó œ Œ œ œ œ Ó œ œ œ & œ œ ˙ F f œœ 17 œ œ. œ # Œ œ œ œ œ . œœ œ œ œ œ Œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ œ J Œ œ œ & p F f 23 # œ œ œ. œ œ œ œ œ œ . jœ œ œ œ Ó œ œ œ œ œ œ œ & œ ˙ œ œ œ œœœœ J p F 28 # œœœœœœœ œ œ œœ œ ˙ œ œ œ œ œ œ œ œ œ Œ ‰ Œ ‰ œ œ œ & ˙ f F F U 32 œœœœœœœœ ˙ œ œ œ œ œœœœ œ # ˙ œ œ œ œ Œ ‰ œJ œ œ œ œ Ó & f F œœ w œ 36 œ w # œœ œœ œœ œœœ˙ œ œ œ Œ Œ Ó œ œ & œ œ œ œ œœœœ˙ p p p Lyrically q

26

High Note Etude #2 Allen Vizzutti Apply the techniques practiced in Studies #1-2 here. The glissando to the high F# in the penultimate bar incorporates the skills practiced in Study #5. qk»¡¢™

12 & 8 œ bœ nœ œ œ bœ œ. Œ. œ bœ nœ œ œ bœ œ. # œ. œ bœ nœ œ œ bœ œ. P 5 bœ. œ bœ nœ bœ œ bœ œ. œ. œ œ #œ œ œ nœ œ. œ b œ n œ b œ n œ œ & œ bœ nœ bœ nœ bœ œ bœ. Œ. œ #œ œ #œ œ œ #œ œ #œ b œ n œ &

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œ œ œ œ œ œ œ. F 17 œ œ œ œ œ œ œ. œ œ œ œ œ œ. # œ Œ. Œ. & œ œ œ œ œ œ œ. Œ. f Optional Cut fi fi œ œ œ # œ œ œ œ . œ œ œ # œ œ œ œ . 20 U . Œ Œ. œ œ #œ œ œ nœ œ. Œ. & P 23 œ œ nœ œ. . œ œ #œ œ œ nœ œ. Œ. bœ nœ œ #œ nœ œ bœ œ #œ nœ. œ # œ œ & #œ f

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32

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High Note Etude #3 Even though the notes are short they should have good sound and pitch. Allen Vizzutti Conceptualize the dots as lightness of style and the air flow as if playing legato.

q»¡£™ -¡§• œ. œ. 38 b œ. œ. b œ. 43 œ. œ œ. œ Œ . .

44 œ. œ. b œ. œ. œ. œ. œ. œ. 38 b œ. œ. b œ. 44 P . . . . 3 b œ. œ. b œ. 7 œ. œ. œ. œ œ. œ 5 œ. œ œ. œ. œ 2 Ó 7 8 8 œ. 8 4 8 F P 11 . . œ. b œ. œ. œ. œ. œ. . . . . œ œ œ . . Œ 4 . œ. b œ. œ. . œ. œ. œ. 3 7 4 2 œ œ œ œ œ œ & 8 . œ. 4 4 4œ œ 8 P F P . . . . œ. b œ. œ. œ. n œ. 15 . . . . . . . . b œ œ n œ œ . . œ œ œ œ # œ œ . # œ œ 3 b œ . b œ 4 . . œ Œ 11 Œ Œ 44 & 8 œ 4 œ œ. œ 8 P F P F 19 . . b œ. . . b œ. . œ. # œ. œ. œ. œ. b œ. œ. œ. n œ. . . . . . . . . œ œ œ b œ œ 4 œ œ œ. œ œ 3 œ 7 œ œ. œ œ. œ 13 Œ 44 & 4 œ. 8 8 8 f F P 23 . . . . . .œ œ. œ. œ. œ. œ. œ. œ. 3 œ œ. œ. 11 œ. œ. œ. œ. œ œ. œ. œ. Œ 7 œ. œ b œ œ œ n œ b œ 4 &4 8 8 8 F F p 27 . . . . . . bœ œ œ. œ b œ œ œ n œ b œ 3 œ. Ó 10 œ. œ b œ œ œ n œ b œ n œ 2 12 & 4 8 4 Ó 8 . b œ. œ. . œ. 4 œ . &4 œ œ p 6 4 & 4 œ. œ. œ. œ. œ Œ .

Lively, Rhythmic and Even

bœ nœ bœ nœ bœ œ œ nœ bœ œ œ œ 12 &8 F f . b œ. œ. . œ. . œ 35 œ 2 Ó 4 bœ &4 4 P 31

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High Note Etude #4 As smoothly as possible q

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Flow as practiced in Study #6

Allen Vizzutti

œ ˙ œ œ œ bœ œ œ œ bœ bœ œ œ b œ b œ œ œ œ b c œ œ œ bœ œ œ bœ œ œ œ œ œ & bœ bœ ˙. F f 5 œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œœœœ œ œ œ ˙. & b œ œœœœœ œœœ f F F 10 œ ˙. œ œ œ œ œ œœœœ œœœœ œœ˙ œ œœ œ œ œœœœ œ &b ! œ œ œœœ F f ˙ œ œœ œœœ œœœ œœ 15 ˙ œ . œ œ œ œœ œœœ œœ b œœœœœ & F f 18 œœœœ œ œ œ ! œœœ œ &b œ œœ œœ œœ œ œ œ œœ œœœœœœœœ w p 22 œœœ œœ œœ œœ œ œ œ œ œœ œœ œ ‰ œ œœœ œ &b ‰ œ œ œ œ œœ ˙ œœ ˙ œ œ œœ œ œ F F P P œœœœœœ œ œ œ . œ ˙ œ 27 ˙ œ œœœœœ œœ ˙ œœœ œ ˙ œ œ œœ œ Œ &b f 32 ˙ œ œœ œ œœœœœ œœ œ œ b œ ! œ œ œ œ œ & œœœœ œœœœ œœœœ œœ œœ˙ F f 37 œ œœœ œœœ œœ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œœ &b œœœ œ œœœœ œ ˙. F U œ œ œ œ ˙. ˙ 41 œœœœ . ˙ Ó œœœœ &b ˙. F f P p 29

High Note Etude #5 Play expressively with nuance. Study #16 requires similar flow and breath support.

»ª™ œ œ œ œ œ œ

Slowly - Like an Italian Aria e

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Allen Vizzutti

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APERTURE CONTROL - LOW PRESSURE STUDIES Imagine a trumpet teacher instructing you in a lesson, “You sound really good on the first movement of the Haydn Concerto. I have an idea how to make it even easier. Give it one more try and this time just before you get to the high Eb, I want you to pull on the finger ring and pull with your left hand as hard as you can until your teeth start to bend. Blow and PULL!! That’ll sound really good!!” Of course this would never happen. It’s a ridiculous notion. Why is this scenario such a joke? Because we all know too much mouthpiece pressure can ruin your playing and hamper your development. On the other hand it is safe to say that all trumpet players use too much mouthpiece pressure at least some of the time. It makes perfect sense to me therefore, to find literal ways to practice using less pressure than one’s normal default setting and still sound great. Keep this concept in mind throughout the Aperture Studies section of this book. Relax and lighten up. Lips Slurs and Aperture Control Fun Facts: • • • •

If your can't control your aperture, (usually it's too big), - that’s not good. If your breath support is unsteady, low-energy or uneven – that’s not good. If your mouthpiece doesn't fit your face – that’s not good. If you use too much left-hand and finger-ring pressure – that’s not good.

How do we create note movement passing through a harmonic break? How do we manage to move between notes of the same fingering? What mysterious forces actually make this happen? The 4 essential elements I have observed that enable flexible intervallic movement on trumpet are listed below. No single element is sufficient to achieve easy lip slur control. All four techniques must be used in balance and in concert with one another. This control can be achieved through repetition and by "feel" while practicing musical materials presented in this book. Experimentation with and concentration on the techniques listed below will yield improvement and garner understanding about that which is physically going on while you play a lip slur. Gaining an understanding of the concept of balance and control is necessary for success.

31

In order to move upward from one note of a harmonic series to the next, (between notes with the same fingering), you must: 1) Over blow the lower harmonic forcing faster sound wave vibrations, 2) Move your chin up a slight amount, 3) Close your aperture in very small increments, (getting smaller as you go higher), 4) And use helpful tongue placement, basically moving it up and forward as you ascend. (Flat pitch on random notes is often a result of tongue placement being is too low A very revealing and helpful experiment is to slur from third space 'c' to top space 'e' emphasizing each of the four listed actions while minimizing the others. 1) When you hold the 'c', and blow forcefully without moving your chin or raising the tongue you may get the 'e' but it will be with that ‘I'm-a-beginner-trying-to-figure-outhow-to-lip-slur’ sound. 2) Using very little air, if you exclusively move your chin up you may very well get the 'e' or a higher note but likely without good tone quality. 3) Shrinking your aperture is not an action easily accomplished on command and is closely related to the chin experiment. Think lips closing together rather than chin movement this time and try the slur again. Observe. 4) Raising the tongue often affects chin movement. In this regard, raising the tongue will likely affect aperture size. Air speed also increases when a raised tongue forms a more narrow air passage. Moving the tongue up and forward to reach upper notes may help you lip slur smoothly or it may have little affect. Tongue placement is an important aspect of air speed control when combined with the other 3 techniques. Certainly tongue placement has a much more obvious effect above the staff than in and below it. No matter which thought process helps you to improve, I think you can now understand that the best idea is to find an approach that works for you. The end result will eventually be fluid lip slurs without technical thought. More good news is, learning this kind of natural aperture control will directly improve your ability to play well in the upper register.

32

Trumpet

Aperture Studies

Warm up before proceeding. This set of exercises is not intended to be used as warm up.

The Essential Approach for Success: 1) Breathe deeply and in a relaxed fashion before each and every entrance. 2) PLAY VERY SOFTLY. 3) Maintain a steady and smooth air stream. 4) Consciously use the lightest mouthpiece pressure possible especially as you ascend. 5) Lips should be close together but not stiffened. 6) Allow yourself some imperfections. 7) Stay relaxed. 8) Repeat any exercises as many times as you wish. Proceed only as far as you are comfortable. 9) Play these exercises using all 7 partials. (Obviously some notes are too low). 10) Arch the tongue high and forward for notes ascending above the staff.

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35

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ATTACK!! 1) Breathe deeply and in a relaxed fashion before each and every entrance. 2) Consciously use the lightest mouthpiece pressure possible. 3) Allow yourself some imperfections. 4) Stay relaxed. 5) Hear the pitch before you play 5) Attack! >˙ >˙ >˙ U

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Allen Vizzutti Music cont. page 4 Steven Mead Presents 20 Dances for Euphonium (Euphonium) - Bass Clef - De Haske Play-Along Book - Book W/CD - 44004120 - $15.95 Steven Mead Presents 20 Dances for Euphonium (Baritone / Euphonium) - Treble Clef - De Haske Play-Along Book - Book W/CD - 44004119 - $15.95

Other Allen Vizzutti Original Print Music Available: Allen Vizzutti Trumpet Method – a complete method for trumpet study: Part 1 - Technical Studies - 128 pages Part 2 – Harmonic Studies – 104 pages Part 3 – Melodic Studies – 80 pages Alfred Music Publishing: < www.alfred.com > New Concepts for Trumpet – 160 pages of music, studies and articles. Alfred Music Publishing: < www.alfred.com > Sonata No. 1 - Allen Vizzutti – C Trumpet and Piano: Ars Nova Music Press < www.arsnovamusic.com > Sonata No. 2 – Allen Vizzutti – Bb Trumpet and Piano: Southern Music Publishing – SU52 - < www.smcpublications.com > Prelude and Presto for Brass Quintet – Southern Music Publishing – SU523 – < www.smcpublications.com > Complete Method for Trumpet by Jean-Baptiste Arban Annotated and Edited by Allen Vizzutti and Wesley Jacobs – Complete original method with insightful new performance suggestions and analysis. Bonus Vizzutti solo, Carnival of Venus, included: < www.encoremupub.com > < www.arbanbook.com >

ALLEN VIZZUTTI Equally at home in a multitude of musical idioms, Allen Vizzutti has visited 55 countries and every state in the union to perform with a rainbow of artists and ensembles including Chick Corea, 'Doc' Severinsen, the NBC Tonight Show Band, the Airmen Of Note, the Army Blues and Army Symphony Orchestra, Chuck Mangione, Woody Herman, Japan!s NHK Orchestra and the New Tokyo Philharmonic, the Budapest Radio Orchestra, , the Saint Paul Chamber Orchestra, the Leipzig Wind Symphony and the Kosie Wind Orchestra. Performing as a classical and a jazz artist, often in the same evening, he has appeared as guest soloist with symphony orchestras in Tokyo, Germany, St. Louis, Seattle, Rochester N.Y., Syracuse, Milwaukee, Buffalo, Phoenix, Edmonton, Vancouver and Winnipeg to name a few. Music lovers in Germany, Poland, England, Sweden, Brazil, Canada, Japan, Australia and the United States have heard his brilliant sound over the airwaves of national television. Allen's status as an artist has led to solo performances at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Teton, Vail, Aspen and Brechenridge Music Festivals, the Charles Ives Center and Lincoln Center in New York City. From his home in Seattle Washington, Allen!s current career activities embody an impressive schedule of recitals, concerts, recording and composing. His continued commitment to music education and the value of music in everyday life results in an extensive schedule of guest appearances at universities throughout North America, Europe, Japan and Australia. Allen's solo jazz recordings include CDs such as “Trumpet Summit” and “Skyrocket” from Summit Records. Classical CDs currently available from DeHaske Music Publishing Recordings are “The Emerald Concerto and Other Gems”, with the Budapest Radio Orchestra, “Vizzutti Plays Vizzutti” and “Vizzutti and Soli On Tour”. His “High Class Brass”, (also DeHaske Recordings), is a wonderfully unique classical and jazz blend co-produced, co-written and performed with fellow trumpet artist, composer and conductor, Jeff Tyzik along and a 90 piece studio orchestra. Also of interest are “Baroque and Beyond”, from Sony, “The Carnival of Venus”, (Summit Records), and “A Trumpeter!s Dream, (Ludwig Music Publishing). As Artist in Residence, Allen has taught at the Eastman School of Music, the Banff Center for the Performing Arts, Kansas State University, Ohio State University, West Texas State University, the Skidmore Jazz Institute, and the Trompeten Akademie of Bremen Germany. He is professor of trumpet at the University of Washington. His extensive treatise, “The Allen Vizzutti Trumpet Method” and his “New Concepts for Trumpet”, (Alfred Music Publishing), have become standards works for trumpet study worldwide. Allen!s love of expression through composition has led to premier performances by the Los Angeles Philharmonic, Budapest Radio Orchestra, the Royal Philharmonic of London, the Nuremberg Symphony, Rochester Philharmonic, Syracuse Symphony, London Symphony, the renowned Summit Brass and others. After the world premier of his “Emerald Concerto” with the Syracuse Symphony Allen!s writing was described in review: “The Emerald Concerto sparkles!...a vivacious treatment which speaks well for both his dramatic instinct and technical prowess as a composer.” ALLEN VIZZUTTI IS A YAMAHA PERFORMING ARTIST

Allen Vizzutti Music cont. page 5 Cascades for Unaccompanied Trumpet – Editions BIM / Brass Press < www.editions-bim.com > or Robert King Music Sales Stock #703 < www.rkingmusic.com > Advanced Etudes by Allen Vizzutti – 20 very difficult, well written, unaccompanied solos < www.editions-bim.com > or Robert King Music Sales Stock #497 < www.rkingmusic.com > Allen Vizzutti Solo Recordings/CDs: 1) High Class Brass CD – Allen Vizzutti and Jeff Tyzik. A jazz / classical fusion with symphony orchestra - De Haske CD – 44000932 - $14.95 2) Emerald Concerto and Other Gems - CD – Original Vizzutti Classical compositions with the Budapest Radio Orchestra -De Haske CD - 44000929 -$14.95 (available with book of solo trumpet parts above - 44003647) 3) Soli & Vizzutti On Tour CD – Vizzutti with Brass Band - De Haske Brass Band CD - CD - 44000933 - $14.95 4) Vizzutti Plays Vizzutti CD – Vizzutti with Concert Band - De Haske Concert Band CD - CD - 44001018 - $14.95 From Summit Records:: www.summitrecords.com 5) Carnival of Venus – Allen and Laura Vizzutti perform contemporary music with strings 6) Trumpet Summit – Allen Vizzutti, Bobby Shew and Vincent DiMartino perform jazz live with the Summit Brass 7) Skyrocket - Original fusion music featuring Chick Corea 8) Summit Brass Live! – Soloist and composer with Summit Brass From Four Leaf Clover Records: www.flc.se 9) Rainbow – Re-release of 80’s fusion studio recording of Allen Vizzutti in Sweden

Music available from Allen Vizzutti at www.vizzutti.com JAZZ DUETS for TRUMPET

JAZZ ETUDES for TREBLE CLEF INSTRUMENTS

Sonata #3 for TRUMPET And Piano

Copyright 2008 by Village Place Music