tsrass Ctrass

FKRdh0olc

second edition, .revised

r995

written and compiled

by
Dr" James Buckner
Professor of Trumpet

F{enderscn State
lJniversity
@1995 Jannes tsuckner, Arkadelphia, Arkansas
all rights reserved
 Table of Contents

Supplementary Texts 1

A Listing of Some of the Most Excellent Brass players on Record 2

Breathing

Breathing .
4

Arnold Jacob's Breathing Exercises . . I

Facial Characteristics L2

Brass Class Introductory Studies ....13

Maintenance

The Importance of a Clean Instrument 18

The Care of a Schilke Instrument 20

Warmup

Breath and Range Expansion Studies 21,

Warmup Routine 23

Warmup Materials 24

Tone Studies, Part I 25

Alterations to Clarke Technical Stud,ies 26

Range

Range Expansion Slurs 27

Jazz Trumpet: How High Is'High Enough? 29

Braces

Brace Relief Shields 34

Brace Guard 35

Basic Lip Slurs 36

 Multiple Tongue Practice Aids .37
Developing Intonation 38

Solos and Contest: How to Do Your Best ..41

Recommended Methods
45

Mouthpieces

Trumpet/Trombone Mouthpiece Comparison Chart 46

Yamaha Brass Mouthpiece System 47

Yamaha Brass Mouthpiece Comparison Chart 48

Holton Farkas French Horn Mouthpieces 49

Trumpet

Tuning and Valve Slides 50

Miscellaneous: Triple Tongue scale Pattem, Trumpet Intonation Tendencies, and

Common Alternate Trill Fingerings 52

Fingerings and Alternate Fingerings and Overtone Series 54

Horn

Tuning the Holton Farkas Double French Horn 55

Removing water from the Holton Farkas Double French Horn . . 57

Care of the Valves 58

Valve Lubrication Procedure 59

Reference Books
61,

Magnum Mouthpiece Puller @on't Use This!) 64

Topic Check Sheets

Brass Class Topic Check Sheet #1 65

Brass Class Topic Check Sheet #2 66

 1

Supplernentary Texts

Psychological

The Inner Game of Tennis by V/. Timothy Gallwey

The Inner Game of Music by Barry Green
I'm OK, You're OKby Thomas A. Harris
Pscho- Clbernetics by Maxwell Maltz

Brass

The An of Brass Playing by Phillip Farkas

 2

A Listing of Some of the Most Excellent Brass Players on Record

(Non-Jazz)

Trumpet

Maurice Andre - many recordings

David Baldwin - University of Minnesota - recorded Chariier Etudes
Timofey Dokschitzer - Bolshoi Theater Orchestra, Moscow
Adolph "Bud" Herseth - principal trumpet, Chicago Symphony Orchestra
Wynton Marsalis - quite a few recordings, "legit" and jazz
Anthony Plog - also an excellent composer for brass
Gerard Schwarz - former principal trumpet, New York Philharmonic and American Brass
Quintet, now conducts Seattie Symphony Orchestra, recorded Cornet Favorites
Philip Smith - principal trumpet, New York Philharmonic
Don Smithers - valveless "naturd" trumpet, recorded CBS Sunday Morning fanfare
Thomas Stevens - principal trumpet, Los Angeles Philharmonic
Edward Tarr - valveless "natural" trumpet, now trumpet historian

Horn

Hermann Baumann - valve and natural hand horn

Dennis Brain - one of the all time great brass players and musicians
James Chambers
Dale Clevenger - principal horn, Chicago Symphony Orchestra
James Stagliano
Barry Tuckwell - one of the only professional horn soloists

Trombone
Vinko Globokar
Donald Knaub - bass trombone
Christian Lindberg - superb soloist
Ralph Sauer - principal trombone, Los Angeles Philharmonic
Henry Charles Smith - former principal trombone, Philadelphia Orchestra, now conductor
Denis Wick - principal trombone, London Symphony Orchestra

Euphonium

Fred Dart
Leonard Falcone - old school of playing, superb technique, fast vibrato
Henry Charles Smith - former principal trombone, Philadehia Orchestra, now conductor
Raymond Young
 3

Tuba

William Rell - the first great trrha player of modern times

Roger Bobo - tuba, Los Angeles Philharmonic
James Fletcher - deceased, London Symphony Orchestra, Philip Jones Brass Ensemble
Toby Hanks - New York Brass Quintet
Arnold "Jake" Jacobs - former tuba, Chicago Symphony Orchestra
Fritz Kaenzig - tuba teacher, University of Michigan
Michael Lind - Danish tuba player
Harvey Phillips - founder of TubaChristmas in memory of William Bell

Brass Ensembles

American Brass Quintet - bass trombone, not tuba

Canadian Brass - the most famous brass quintet
Dallas Brass - excellent brass quintet
Eastman Brass Quintet - one of the earlier brass quintets
Empire Brass Quintet - one of the earlier brass quintets
New York Brass Quintet - the eariiest American brass quintet, now disbanded, possibly the
finest brass quintet ever
Philip Jones Brass Ensemble - the earliest English brass quintet, varies in size from 5 to 10,
now called the London Brass Ensemble
Rhythm and Brass - contains many former members of the Dallas Brass

recording of the antiphonal music of Giovanni Gabrieli by the Chicago, Cleveland, and
Philadelphia orchestral brass sections

Orchestras

Berlin Philharmonic Orchestra

Boston Symphony Orchestra
Chicago Symphony Orchestra
Cleveland Orchestra
London Symphony Orchestra
Los Angeles Philharmonic Orchestra
New York Philharmonic Orchestra
Phiiadelphia Orchestra
St. Louis Symphony Orchestra
Vienna Philharmonic Orchestra

especially recordings of:

Copland, Mahler, Respighi, Rims-Korsakov, Shostakovitch, Sibelius, Strauss, Stravins,

Tchaikovs, Wagner
 4

BRE:[HING

AJ-thottgh breathingis one of the most natural things we do, when we

apply it to trurnpet playing we frequently distort certain aspects.
with good breathing habits alr aspects of playing improve. - This
not onry incrudes tone quality/ rang:e, and endurance, but also
tonguing, slurring, and eveR fingering.
Correct fnhalation
The goal of proper breathing is inhaling and exhaling large amounts
of air without friction. Professonal trumpeters use large
quantities of air, and this is one of the most important reasos
they play so well-. It is vital that younger trumpeters breathe
Iike professionals so that, they may beEin to develop to thir frIl
potential "

Frequently musicians argue whether it, is more inportant to breath

from the diaphragrrn or the chest. Expansion of the ribs provides
about 6o percent of a personts total lung capacity, and movement of
the diaphragrm produces about 40 percent. Obviously, a person
doesn't want to use 40 percent or 60 percent of their potential.
ft is necessary to use all L0O percent.
Many rnethods exist for teaching breathing, and most require a
certaj-n degree of conscious control of the breathing process.
Fortunately, it is not necessary to make breathng conplicated" A
correct breath may be taken simply by inhaling as quietly as
possible. Any sound results from friction in the airway. This
slows down the inhaLation and decreases the amount of air you can
inhale quickly. fnagine a gentJ-e sunmer breeze blowing through the
trees aa imitate that sound as you inhale. Another easy way to
breathe correctry is to pretend to yawn through slightly opened
lips" Strangely enough, opening the mouth too far makes a proper
breath more difficult. Practce breathing correctly with every
breath you take in practice, rehearsal or perfornance. your
pJ-aying will show definite improvernent.
It is also important to realize that the style of the breath going
in sets the style of the breath going out. rf you breathe in with
tension, you wilr tend to brow out with tension. A reraxed
inhal-ation greatly helps with relaxed blowing and contributes to a
good, healthy sound that projects weIl. It also helps with
intonation and range.
Size of the Breath
The next question is, how nruch do you inhale? In generalr you
cannot take too rarge a breath, but there is a lirnit. rnhale
quietly as l-ong as you can. At the very end of the breath, just,
before you are totally fuIIr you will feel quite uncomfortable.
This is call-ed the stretch point" I tried for several months to
take breaths that l/ere as large as possible. I f ound that when you
are this fuII it is difficult to start the air out smoothly. This
 5

makes it. difficult to play quietly and to start a phrase without

accenting it.
A furl breath shourd go right up to the stretch point, but not into
it. In this way you have taken in you maxirnum useable capacity.
As a guiderine, this is approximatery 90 per cent of youi totl
capacity "

Students who have not been breathing properly sometimes confuse the
meaning of the stretch point. I^Iith a correct breath there is great
expans ion in the ribs ,' hov/ever, r have observed studentJ who
thought that when thej-r ribs began to move they had reached the
stretch point. Ths point is not reached until almost the total
breath capacity s inhaled and the breath becomes quite
uncomfortable.
Students often ask me if they should take such a large breath when
they need to play a soft phrase. rn general, r rourd say that a
good breath should be taken, probably about 70 per cent of your
total. A breath this size has momentum, but not so much that you
have to hold it back. Holding back leads to tension, and ttris
makes soft playing more difficult.
When you need to play loudly however, yo should inhale the full 90
percent" This makes it easy to produce the needed volume" Full
breaths also help with the upper range. Think of a full breath as
helping your playing the same vray a baseball batter uses a full
swing to knock the ball out of the park. speed and momentum
accomplish what brute muscle strength cannot. The same holds true
for loud or high trumpet playing.
there is an easy way to determine if you are taking fu]l breaths.
rnhale and exhare fully three times, pausing onry for about a
second between breaths. rf you are breathing properly you will
experience the beginnings of hyperventilation: slight, d,izziiess and
the rights seeming to din. rf you don't hypervenCilate, don't pat
yourself on the back for being in such great physicar shape" rt
simply means that you didn't take big enoug breaths. Try it
again, but inhale much more fulIy. These are the size breathJ you
need to play your best.
The Importance of a Full Breath
A big, fult breath wants to come out. All you have to do is
control it,. A small breath often means you have to force. Take a
big breath and hold it -- what d.oes the air want to do? It wants t,o
go out. No$/, let the air out and arrow your body to reach its
normal state t ot resting point. From this resting point begin to
bl-ow -- as long as you can. What does the body want to do? fnhate.
The more you blow out from the resting point, the more effort t
takes. BIow until you are almost totally out of air. Notice how
hard it is to inhale; the body almost locks up"
The most efficient part of your breath is the top part of the
 6

breath, from nearry full untiL the resting point. [.Ihen you pray,
start with a fulI breath. (Remember, don't inhale past the streth
point! ) Take another breath when you get near the resting point.
Exactly when you do this will be determined by the phrasing t tne
music. occasionally, yo wirr need to pray past the restig point
and into the bottom part of the breath. This is okay, nut you
should ony use this part of the breath when absolutely necessary.
fn this \/ay you will maximize your endurance.
concentrate on taking rarge breaths in all of your praying: band,
)azz, solo playing, and especially in your practice sssions.
During every rehearsal you take hundreds of breaths, giving you
hundreds of opportunities to develop the art of correct breathing.
rt takes time to develop good breathing habits. A great'deal of
repetition is necessary to strengthen muscles, buId endurance, and
establish this as a habit. Large breaths are somewhat
uncomfortable at first because the intercostal muscles (between the
ribs) need to develop, and, unless you are a runner, you are not
used to expanding your rib cage to its capacity.
rn tine (six months or more) you will automatically take ]arge,
full breaths without even thinking about it. V'rhen you see someone
else pray who doesn't take a fulr breath, you will wonder why they
don't breathe properly it's so much easier to play the right
Itay.

The Inportance of Correct Breathing

one of the most important parts of trumpet praying is developing a
nev/, correct habit. rn spite of our best intentions, it is esy-to
J-et.up. I would l-ike to share with you some of the reasons vrhy
taking large breaths are criticar to playing extrenely welll
Perhaps these reasons will give you additional incentive to learn
to breathe properly.
Loud playing, low and high notes, slurs, and large ntervaLs are
expensive in that they all take a great dear of air. The rouder
you play, the more air you use. The most costly notes,
surprisingly, are the lowest notes. pray a G berow the staff as
loud as possi.bre, and see how rong you can hold it. Then try the
same thing with the G at the top of the staff. you can probably
hord the higher note at reast twice as long as the lower pitch. -
Higher pitches require a certain amount of air pressure. rt is
easiest to generat.e the needed compression when the lungs are fu11
because the body is expanded and wants to contract, thereby
generating some air pressure and giving you a head start. Bt
contrast, when you are getting low on air the body wants to expand
and take air in, so you need not onry the effort to generate the
needed air pressure, but also to overcome the body's natural desire
to expand to its rel-axed state.
Slurs use more aj-r than articulated notes. This only makes sense:
 7

slur the air never stops. When you articul"ate the air is
v/hen you
momentarily interrupted, either by the tongue or by separation of
the breath, depending on the tempo.
Playing wide intervals is much easier vrhen you use a lot of a1r.
This is particularly true with ascending intervals, and even more
true when the notes are slurred"
A person has their greatest lung capacity at about the age of
eighteen. PriorEo that tirne, lung capacity increases, and fter
that age it decreases littIe by little. A young player who takes
Iarge, full breaths will not experience many problerns as they age.
They will simply breathe a little more often than when they were
younger.
A trumpeter who does not take good breaths as a young person may be
able to get by for quite some time, but the inevitable decrease in
Iung capacity will eventually take its toll" By the time a
trumpeter is in his or her forties playing nay become quite
difficuLt. Many excellent trumpeters have had to quit playing once
they reached this point. This is several decades av/ay for most of
you, but hrhy do anything to shorten your playing career
unnecessarily, especially when you have so much to gain in the
meantime by breathing properly?
Many playing problerns are caused by a rack of air. one of the
first things to show up is tension in the throat" This hurts
endurance and upper range. The diaphragm and ribs also stiffen and
there is a general decrease in flexibility. The tips often feel
stiff and unresponsive when not enough air is used. The tongue
does not function as weII, particularly in double- and
triple-tonguing. Even the fingers perform more poorry with an
inadequate ar supply.
Many other problems are brought about by a lack of air. Frequently
you can cure what appears to be a totally unrelated problen simply
by using more air. Even if the problem does not go away, it will
be greatl-y rnininized.
rn teaching my students, r frequently make an analogy cornparing
Iarge breaths to being rich. lrfhen you are rich, yo can do
anything you want. You can fly to Paris for lunch and India for
supper" You can buy an new red Mercedes convertibl-e because the
bl-ue one crashes with your outfit. what do you do if you run out
of cash? Just go to the bank and get more. When yourre rich,
therets always more money!
when you take large breaths, yo can pray vhat you want. you can
crescendo as much as you wish or play the length of phrase the
composer wants. You can play large intervals more easily or blow
through a tongued passage so that the notes really project. High
notes are easier and have a beautiful sound. What do you do when
you run out? Just take another big breath. Therers always more
air !
 I

ARNOLD ''COB ' S

BREATHING EXERCISES

Itisveryhelpfulfor.brassplayerstopracticelargevolume
initrument and music' By doing
movements of air ah/ay frorn-ine-correct processes rnuch faster'
this, the body learns tn"
Eventuallytlreseprocesse.swillunconsciouslytransfertohisor
-ifri' a few weeks these exeicises will begin to
her playing. be practiced f or six pointmonths or
produce resutts f but th.ey rnust the subconscious ' At that they
Ionger f or tne"nf !o-*o.r* intohabits. The player's breathing habits
wiII replace iA-Lt^thng
wiII be changed forever'
Thebod'ywillbelearningnewsklls.Itmustberememberedthat
vorun- *"*"tt= of air' ne! large body
the goal is f.tq.oinq these exercises it s helpful' however' to
movements. While pn*r,o*"r,. to ensure that the independent
body learns
exaggerate th;;;y;-t" motion
proper *o.r"*"it:--'fi iu f=o wise to estabtish
oftheair.Thishelpstrrebodylqllnfunctionandteachest,he guarantee proper air
prayer thar ;- nv"ment;- "r;; will not
flow.
Whentheplayergoest.ohisorhernstrument,theseexercisesmust
;;=-;" inlo art, not mechanics' It
be forgotten. fr" pfayer t" p""9. m.nutes per day with
will be herpful to theofplay;; fnction.
- During
iwenty
.nis tine the player
increased ,r'.i"rr"=r a t.rn-ieatfr is eig taken and that it' is
should observe that i"-tilne_ these a\rarenesses should be
f towing f reery f rom .!1" . bJd; .-- level of the
forgotten -- tfrey will nav entered the subconscious
brainandwillhavebecomeanaturalpartoftheplaying.
Exercise No- I
]..Filllungstothecountof5whileraisingarmsabovehead
2- DroP arms on.count 5 an open throat
3. Retain the air with
4. GraduatlY exhale in front of a mirror with 6 repetitions
5. Do this xercise in 3 counts
6- After a week, do this exercise
this exercise in 1 count
7. After another ,""x1-"
Exercise No. 2
1. This exercise s done while walking
2.Inhalethroughthnosefor5stepiaslow,smooth
quantitY-
inniation oi rargenose for 5 =!:-q:-.^^ i-
3. s"hl-irrrousrr t'h
4.Afteraweek,perforrnthesameexercisein3steps
Bxercise No. 3
l.ThisexerciseshoutdnotbedoneuntilExercisesNo.land
fo5 three weeks
No. 2 have been practiced(partial breaths, not Yoga
2. Take a breath in'-Lnirs
 9

breaths )
3 Pause between each partial breath and observe how it feels
4 Exha1e in thirds
5 Pause between each partial exhalation and observe how it
feels
Exercise No. 4

l_ This exercise may be done only after Exercise No. 3 has

been mastered
2 Take in 2/3's of a breath and Pause
3 Take in last Ll3 of breath and Pause
4 Exhale 2/3ts of a breath and Pause
5 Exhale last L/3 of breath

Exercise No. 5

t- This exercise may be done only after Exercise No. 4 has

been mastered
2 Inha1e full-y and Pause
3 Exhale fully
4 This exercise must be done for three months
Exercise No. 6
1- After Exercise No. 5 has been completed, this exercise may
be done
2 Inhale for l- count -- complete inhalation
3 Exha1e for 3 counts -- complete exhalation
Exercise No. 7
1 This exercise may be done only after Exercise No. 6 has
been mastered
2 Inhale for,L/2 count -- complete inhalation
3 Exhale for 3 and I/2 counts -- complete exhalation
Exercise No. I
l_ This exercise may be done only after Exercise No. 6 has
been mastered
2. Repeat Exercise No. 7 with a faster tempo
Exercise No. 9

t_ This exercise is for those who need help breathing from

the diaphragm area
2 Put hands on stomach with the niddle finger tips on the
navel
3 Spread fingers over stomach
4 Push stomach out without breathing
5 PuII stomach in until ttyou touch your backbonefl
6 Repeat steps 4 and 5 while breathing
 10

7 Try to establish a range of motion

Do this quite a few times a daY
The use o? the hands is to ensure correct motions -- nerve
<'
9
impulses alone from this region can be rnisleading
Exercise No. 10
This exercise is to help the player learn to develop air
pressure without large muscle contractions
1_

2 Inhale fully
3 Begin to exhale rapidly through partia.Ily close_d llp=
4 Coniinue to blow, but btock lips with finger held sideways
5 Do not change anything n btowing muscles
6 rrPoprr finger a\day and continue to exhale

The following exercises are designed to help the player learn to

use Iarge quantities of air while remaining relaxed:
Exercise No. Ll
L Take a large breath
2 Count out loud, pausing after each number the throat
rnust remain open during Pauses
3 Use very little air whIe sPeaking

Exercise No" L2

InhaIe
Exhale in the most unrelaxed manner possible
1-
)
3 Inhale
4 Exhale as relaxed as Possible
5 Transfer the quality of step 4 to the instrument
Exercise No. l-3
t Hold a book at arm's length
2 Blow the pages apart
Exercise No. 14

t_ Hold a lit match at arm's length

2 Blow it out
Exercise No" L5
Irnagine holding a drinking straw with a bean inside it
Blow the beanrl across the room
1_

2
 1L

nything that improves the vitality of the brass player will

improve his or her playing and mentaL attitude. Exercises such as
running, swimming, etc" are very good. It should be realized that
exercises tike these contribute to the player's general heal-th, but
they do not transfer directly to the breathing skills needed by
brass players. Only exercises of the type listed above will do
that. An excellent overall test to determine that breathing is
correct and involves large volumes of air is to take three ful-I
breaths in close succession. If everything is correct, this will
produce the first stage of hyperventil-ation"
If hyperventilation is encountered during these exercises, the
player should breath into some type of bag, recycling his or her
ov/n air. This will enable the player to continue practicing them
for a longer period of tirne.
 L2

Facial Characteristics

Good Features

Neutral Fetures

small overbite
small underbite
crooked teeth
dislocated front incisor

Bad Features

Teeth

protruding corner
extreme spacing
overbite
single front tooth
very crooked teeth
overcrowded teeth
inward slanting teeth
extremely protruding jaw

Lips

short upper lip

very stiff lips
excessively hanging down fleshy part of upper lip
hidden flap on uppper lip

Better on low brass

Lips

heavier, thicker
short upper
hidden layer of flesh
some response problems

Teeth

open bite

Muscie Texture
 l_3

Brass Class Introductory StlCies

James Buckner
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 29

J,,ZZ TRU}.PET: HOTV HIGTT TS IIIGH ENOUGH?

one of the most excitinE aspects of trumpet ptaying is hearing

someone perform really well in the high range. There is nothing
quite like hearing a high trumpet played in tune, with good tone,
and nusical-ly expressive" Names like Doc Severinsen, Maynard
Ferguson, Cat Anderson, Bud Brisbois, Bill Chase, and. Jon Faddis
immediately corne to nind some of the greatest trumpeters who
have ever played"
In our desire to reach our potential it is easy to single out a
single aspect of playing and focus all of our attention and effort
on just one area" There is probably no aspect of trumpet,'playing
where this is more true than the upper ranqe.
High notes provides an easy comparison of playing abilities
Player One is better than Player Two because Player one can hit F
above high C while Player Two can hardly reach the D. No matter
that the first player can't play in tune, has limited technique and
musicianship, and can't play below low C. Too often Player One is
considered better because of this one aspect of playing"
Considered in this perspective it, is easy to see the lack of logic
in such judgements.
Of all the instruments, the upper range is probably the greatest
problem on the trumpet. It takes physical strength, skilJ-,
coordination, practice, and natura gifts to play in the extreme
upper range. It is most easily produced by musicians who are
blessed with a lip that vibrates easily at high frequencies, have
the abiJ-ity to move large amounts of air very fast, have a great
deal of natural lip strength, and have lips that are not sensitive
to the abuse of pressure that frequently accompanies the upper
range. Such players are born, not made. For them to hit a double
high C is no more diffcult than it is for most trumpeters to play
high c "
f don't expect you to accept this without proof. Maynard Ferguson
started playing trumpet when he was thirteen. Within one year he
was pl-aying double hgh C's. Many consider him to be the greatest
brass player of the century because of the ease with which he plays
in the upper range.
Cat Anderson, who performed with Duke Ellington, discovered only by
chance that he could play extremely high" As a young man Cat was
once in a jam session with a number of other trumpeters. They $/ere
trading solos, and the other trumpeters began to get very angry at
him. It wasn't until later that he discovered they were mad
because he was playing everything an octave higher than they r,rere.
He didn't even know that he r/as playing high! I have seen high
school saxophone players pick up a trumpet for the first time and
play notes way above high C. This is obviously a gift,, not
something that takes years to develop"
 30

This is not to say that a trumpeter cannot develop a good range.

Almost every trumpeter can learn to play high C and D with strength
and good tone quality. Wit,h proper development and practice, many
can learn to play even higher. The higher you play, however, the
more critical it becomes to do everything correctly, both
physically and mentally. This process just seems easj-er for some
people than for others.
It is important to keep the high range in perspective. It is a
very excit,ing, but narrow' aspect of trumpet playing. Doc
Severinsen has said that over 9OZ of his playing is belotr high C,
and he is one of the most gifted high trumpeters around" Jon
Faddis, who has tremendous upper range, has told me that it is of
primary importance that a young trumpet player develop all of the
Xiffs need.ed in pla.ying and not focus exclusively on high notes.
Work in the upper range is a necessary part of trurnpet playing,
whether it ia classical or )azz. What must be avoided is
emphasizing this to the detriment of all other aspects. A good
rule of thumb is that only ten percent (e.9", about six minutes per
hour of practice) should be spent extending the hiqh range. This
is suffiient to promote good muscle development without danger of
injury to the musces from e.xcessive mouthpiece pressure.
It is usually a good idea to work on high notes only every other
day. The principte is the same as in weight lifting" Muscles tear
down when we work them hard. frlhen they rebuild, they build back
stronger than before. Practicing the extreme range every other day
al-Iow this normal devel-opment to occur" Daily practice in the
very high range frequently causes excessive tearing of the muscles
and prevents tfrern from rebuilding properly. tte often get carried
a\^ay and use excessive mouthpiece pressure, forcing out notes that
we renrt quite ready to play. Alternating days of extreme high
range practice with normal practice also helps rnninize the
likelihood of damage to the liPs.
It rnight seem logical, then, to practice only on odd days of the
month and not practice at all on the even days. This night' help
build range, but only at the loss of flexibility (the ability to
move around the instrument freely). Daily practice is required to
master all of the aspects of playing.
What do we practice to extend our range? The key to a good upper
range is a relaxed. middl-e range. Think of it this way: high C
takes twice as much effort as tuning C. If a tuning note takes too
much effort, high C wil-I take twice too much effort. At a certain
point a trumpet.r is using all his or her strength to ptay a high
note, and there is sirnply no place left to go.
The upper range should be an extension of the middle range' The
goaJ- is to move air wth great speed, but not great pressure" When
we think of air pressure, or airrsupportril almost all of us tend
to tighten the stomach muscles so much so that !'e lock these
muscl-es. In reaction to this, the throat also tightens. In doing
 31

this, w tire more quickly; cause the high range to go sharp; make
the tone smaller, more forced, and brighter; and Eenera}ly limit
how high \/e can PlaY.
High notes do require more air pressure than lower notes" IL is
infortant to know that air pressure is generated by a change in the
boyrs shape. The blowing muscles must be free to move so that we
can compress air" A simple analogy may be of help. Imagine a
basketbll full of air. If vre want to change the air pressure
inside the basketball, we must squeeze it and make it smaller. If
we instead. surround it with six inches of concrete, the basketball
doesnrt change shape, and there is no air pressure ehange" Lockng
our stomach muscles is the same as putting concrete around the
basketball -- t,here is no change in air pressure"
When you play with great. tension in the stomach and then relax, You
frequntfy viiff Ee a 'rhead rush"r A trumpeter playing with too
*u"li tens-ion blocks the blood supply to the brain. When the
tension is released, the blood flow suddenly increases, bringing
more oxygen to the brain. The effect is sinilar to
hyperveniifating" (Trumpeters have been known to faint as a result
oi- this, somet-im"s. f aing of f risers many f eet' in the air.
Obviously, playing this rn/ay poses certain hazards that are best
avoided by proPer technique. )
Okay, so we aren't going to get too tiEht in the stomach -- how are
v/e ioing to get the high notes to come out'? The player must think
of it !p""4. The higher the note is, the faster the air rnust
move" tfrinX of the air as having more momenturn when it. is fast"
.Ihich has a greater irnpact, a car hitt.ng a wall at l nile per hour
or the same car hitting it at 100 miles per hour? Speed makes a
difference. By thinking of air speed you will generate the needed
air pressure wlthout excessive tension in the stomach muscles.
A tj-me-honored aid in the upper range is to think of high notes as
farther away" Try to blow out a candle t'hat is ten feet away" You
will instintively blow very fast. HoId your stomach really tight'
and try to blow out the candle -- t will not even flicker!
There are several types of musical exercises that are particularly
good for the proper development of the upper range" Lip slurs are
.,i"ry helpful " They f orce the proper development of the embouchure
and air flow and they prevent the use of too much roouthpiece
pressure. The lips cannot move when they are pinned in place by
excessive pressure.
Slurred scales are quite good, provded they start from the middle
register. Remember, tfre upper range should be an extension of the
rniAte range, and it snouid be as relaxed as possible. Start in
the rnid-r.g. (between second*Iine G and fourth-space E) and hold
the startin note f or a second or two. Ask your.se.If , f, I rel-axed
and blowing freely,-It oF am T too tight' and anticipating !h" high
notes to fol1ow? is very important to descend back into the
niddle range after playing the high note" This ensures that the
 32

embouchure is not distorted to play high and that it is possible to

descend afterwards. Arpeggios, or broken chords' are also Very
good, but they r" somew:nat more difficult than scales because of
n" Xips betrieen notes. When slurred scales and arpeggios can be
played ery well, try tonguing them'
play melodies up an octave. This helps to keep playing muscal.in
the high range.- And remember, only-t"l percent of the practice
session shoul ne spent extendinE the high r.ange' More t'han that
and the lips are Likty to be bruj-sed from using too much pressure'
The trumpeter can als get used to blowing thehard-and t'oo forcing"
If this *urrn""-i playiq carries back into middle register,
the player wilt become too tight, making the upper range more
difficult
Be patient; do not be in a hrurry to build range' It will develop
only as fast as it can it canot be rushed. Consistent, daily
prti"" is the key. Adding a half-step every two or three months
is excellent Progress.
No\,{, to answer the question posed by the title of this article: how
hith is high .noug? There as many ans1nlers and to this as there are
trumpeters. A t,rupeter can only experiment see what he or she
is capable oi- pi.yinq. It is impoitant is to excessively constantly monitor
aII apects ot tt*pt playing" By focusing on th9
high rnge, - a musician nay lole ground in the other aspects of
pivi"g. ior range is fre[uently 1?=! because it is ignored". (A
good low range is iot incornatibl ti.tq a good upper range --. it is
a d.ifferent set of muscles-" Just listen to Doc Severinsen!) Lip
slurs may nelme sluggish because the lip muscles are strained"
i;; qrr.iity can beco tfrin and strident -- the sound \,/on't blend
with that of other trumpeters, eit'her' Frequently he lips ?re
bruised or ""C V L*.ur""ive pressure. This only shortens ptaying
life and delays the development of range'
Und.erstanding is required of band directors as well, play
especialllr
to
those who .t not tiurnpet players. You have to trumpet
;;-tfre pain ana frustrat,in tfat come from trying to play notes
that are beyond your range or that are no longer possible because
the lips ur-tir6" rt is tempting to program pro_fessional )azz
.rrangements, with all of the high notes in the lead trumpet part,
;;;;"ify if competitors are fortunate to have trumpet players who
can hit those nirr notes. It is very important to_ remember that
this type of prt \^/as written for professional- players
developing j-t.
Yho
spci"f1z" in the upper range and have. Jpent years of music before they
etting a young *rr=i"i.t't up against.this type school
.r* r"dy is te equivalent oi putting a hgh some football can
team
against rofessiont players" There wlI be Young trumpeters who hold
teir ow, but they wiff be in the minority.of range until they
should not be held to professional standards
are ready.
Please remember that ease in the extreme upper range seems to be a
pV=i""r qift" How do you turn an alto into a soprano or a bass
 33

into a tenor? You can't. Trumpet players cannot be forced to

develop range that is not within their potent.iaJ-" If it irnportant
to play a pice with very high parts, frequently the trumpet chords
can be- reJtructured to place them in a more reasonable range"
A director musL not take undue advantage of someone with very good
upper range. It is the teacher's responsibifity to be sure that
teir students aren/t pressing too hard and to listen to them play
in the middle range. Be certain that they are not hurting other
aspects of their PlaYing"
It is wise to avoid the use of shallow cup mouthpieces" These
rnouthpieces are frequently employed by.professional- musicians who
have learned how to overcome the deficiencies inherent in 'Shallow them in
order to have an easier upper range and a bright.er sound.
cup mouthpieces do not play as well- in tune as standard
*oittnpi."e, they make the low range very difficult (if lot
irnposiUfe , ana ihey have a very b.right tone" I have heard high
scool trumpeters use these mouthpieces in concert band. To say
that they d not btend well is something of an understatement.
A good, standard mouthpiece will enable a trumpet player who is
pIying properly to play a solid high C and higher when necessary.
nc a- Lrurnpetr is ale to do this, it would be possible to
consid.er using a shallow cup mouthpiece, but its gse should be
-)azz
restricted to playing, not concert band. The rims of the t'wo
mouthpieces should be as similar as possible to help the
trumpterrs accuracy. Until the trumpeter can play well in the
upper range on a regular mouthpiece, the shal1ow cup nouthpiece
soufd be regarded as a rrcheaterr mouthpiece which gives notes that
arenrt reall-y tnere. They do not help everyone, either. rrCheaterrl
rnouthpieces ave never ext,ended my range more than a half-step, and
not for any length of time, either.
I hope this article on the trumpet's high range in jazz is of some
nenelit. Trying to write abou developing the upper register is
very difficult a young trumpeter must find a good teacher,
Iisten carefully, and practice intelligently. It is of utmost
importance to dvelop all of the skills necessary, to be a good
mrri"iu.r. Vtho will hire a trumpeter with a double high C who can't
sightread, s1ur, tongue, or play in tune,? Be a well-rounded
*uiciun.' lVork on range and try to improve it, but don/t be
dominated by it!
 34

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 Basic l-ip Slurs
36

Play E,ach Basic Fattem With the trndicated FinserinEs

On thc Indicated Pitchs
James Buckner
9 9

-@--

I 2 3 4 5 6 7 B

(r23) (n3)
9 10 11 T2

(23) (r2) (1) (2) (0)

B

l3 I4 l5 16 I7 t8 L9

B
) 9

_v-- _@_-- -#-- *@-- ___

20 27

28 2 31

123 ( 13) (12) (1) (2) (0

32 JJ 34 35 36 37 38

C
Itr try I

39 40 4l 42

(123) (x3)
43 44 45 46
(2 3) ( 12) (1 ) {2} (0)

47 48 49 50 5t 52 53

Allow Suffieient Rest!

 37

Multiple Tongue Fractice Aids

Learning Process:

speak

whisper

blow

play

Aids

firm corners

long notes

continuous air

start at single tongue tempo

don't let the "T" go bad

tip of the tongue

practice

TKTK
KTKT
KKKK
change ,ffi to JT and ffi
Good uses for "K" in the middle (triple tongue):

arpegglos ffir
TKTT

before rests ffi

TKT
3
 38

ClIAPTER

DE'/ELOP iNG INTCNAT IOI!

One of the most important consderations of any rarching band is tcne'

Gai.ning clarity and beauty of fone is impossible vithout good inEonation'
Good Eone and intonati-on are inseparable. Cne must be present for the other
to be there.
Another iinporlant consiCeration affected by poor incnation is vc l-ume and
pos,er. The overtcnes produce<i by nsrrulents playing in Lune vrill greatlY in-
crease the volune and projection of fhe band.
The deve lopment, cf go{.:'d intonation should start t the botrorn f the band'
brass family with the tubas. The tubas set thc fundamental pitch of thein-
If the tubas are out of tune they can destroy the clarity of all of theper
struments playing above them. Bcause of the fev number of vibraions or
second in che t.ubas micidle and low registers, a t,uba just slighti;r sharp take
fIat can be a q;arter-Lone oi.f.. For this reson tuba should be urged to
all care possible to insure good intonation'
fany marching banci arrangements score the baritones in octaves with the
tuba section. This octave scoring demanrs Ehe tubas and britcnes pay special
attention to one anothers pitch. Encouraging the bari'tones and tubesand to Ineef
a few tirnes a week for a fer, minutes just before or after rehearsals
practice scales slowly in oceave, ot ptuy unson Passges frcm the musc will
gret1y help the intonation.of the botiom of the band'
The singte most inportnt devse in developing excellenc-e of intonaEion
is developing an awareiless and a concern among the students for intonation
problerns. Stating thaE a student is out of tune 1s not enough' The st:ldent
guided
must
experience the feeling or sound of playing in tune. He then must be by
his own ears and not the directors to develop his sense of hearing. Non-complex
slov moving mterial in t.he form cf unison scales, chords and chorales are
ex-
cellent devices tc develop intonation arareness '
In the beginning, the students do not need to be aware which direction
they
of beats
are sharp or fiat. The primary concern is tha they become aI^'are or the other"
creat,ed by poor intonaticn, and f-hat they must move one direction
If the beas geg fastcr, the studen has gone the wrong direction' If the
beats
get slower, the studenu has gone thc rigbr di:ection'
To further increase intonstion a\^rfeness the use of the slrcboconn or
strobctuner should be encouraged tc help establish a basc pitch' before I^lhen the
band meer-s outside, section leaders should be encouraged to meet the
rehearsal begins uod a basic pitch" They should then rerurn to their
"rtablish grouP" !'urther intonation checks by the
sections nd tune individualty or es a
secti':n leader shoul'J be encouraged thrrughout the rehearsal '

cn tuning'
The outs ide l:emperture should have nc ffect on the enphasis lack of hearing
Since intDnation Probierns with most students are n()t caused by a
abiliry but from a lack of e\rareness and crtncern rhe e'rPhs is on intcnaEion
under all circumstances is extreme ly impor t ant .
 39
2

Intonticn D:.screpancies of Brass Instruncnts

The manufacluring of a brass inscrurnent is a compromise c;cating many
built in pitch problems. Most of the prcblems are slighc and are easly and
naturally adjusted. But, here are four rcas thet should be brought to he
ttention of bress players and will require ccnsiderable adjustment to be
played in Eune. These four areas can be scen bracketed on Ehe intonarion
charE on Pge " The solutions to each of these four areas are listed
be lov:

Areas I and II - Alt 1-3 and L-2-3 fingering combinaions re very sharp"

A. Trumpets and cornets should extend their third valve slides. If

the lyrc interferes with che third valve slide moveraenr, the pitch should be
pulled dorn with the first valve trigger or with rhe embouchure. (If the
third valve slide sticks a combination cf puma stone and vasoline should be put
on Ehe slide" Work the slide in and out several huadred t,imes. Clean che
instrument completely. The slide should now worit casily).
B. Four vaLve baritcnes and tubas should play all 1-3 combinations
4 and all l-2-3 ccnbinations 2-4"
C. Three valve baritones and tubas must pull the pitch down with the
embouchure. If the beritone has a spring attachrnent on the tuning slide, it
should be extended to compensaEe for the pitch,

D. The french horn can lower the pitch by moving the palm ot his
hand closer to the bell"

rrr - The notes in the fifth hrmonic are noicable frat.

Area

A. These notes must be pulled up with the embouchure. If a student

continues to play flat he can try playing c l-3, c-sharo 2-3 and D l-2" These
fingerings should, raise the pitch but are not as desirable as using the em-
bouchure.

B. The trombone should shorten the slide position of C and C sharp

and play D in shrrt fcurth whenever feasible.
Area IV -- The high register tends to be forced sharp"
A. The high register due r: pinching, forcng and generai lack of
scrength has a definite r-endency to be.laygd very sharp. As can be noted
on the chart this is not so much the fault of the instrumenE as it is the
fault of the player. The pitches F and G are the ptches that arc affected
the worst" If the student cannot pulI the pitches dor"rn with his embouchure,
F can be fingered 1-2 and G can be fingered 3"
 40

Brass instrumens alsc have a tendency t) become sharp as Ehe volume

increases. To correct this endency the sze of the aperture must be in-
creased, the throat kept open and relaxe< and the oral cavity opened up.
Some bands have develr:ped a habit of playing with a quiet, hushed sound
even in sections calling for FF" These bands have found that by playing with
a soft non-suPPorEed scund instruments will not sound as badly out cf tune.
In fact, pitch problems will actually be cuncealed. This is a critical err,rr
in the development of fine brass players. It is an improper tone prcducticn
technique causing the student to learn irnproper playing habits and never
develop a solid, alive sound. The study of any fine professional symphonic
brass player will immcdiately reveal that such an approach tn brass playing is
inccrrect.

0
 4T

SOLOS AND CONTEST: TIOW TO DO YOUR BEST

Solo contests challenge us to do our very best. The critical

element is preparation, or programming your mind so that you have
the greatest chance of success. If you are playing a solo for
contest, the time to start \,forking is NOW! Don't procrastinate
if you have picked a solo which is truly challengitg, you need tine
to learn the music, develop skills which you may not have, polish
skil-ls which are weak, rehearse with your accompanist, and acquire
confidence in yourself and your abilities" On the other hand, do
not underestimate how much you can accomplish in a short time. In
a single practice session you can frequently make good progress,
and i a few days you can work wonders if you practice carefully
and inteIIigentIY
The first thing you should do with a neht piece is study it. Check
out the key signature, the time signature, look for accidentals,
volume chagesf neter changes, slurs, and any other details which
you can fi;d. Study the form of the piecer or how it is put
together. Look for sections that are repetitions of earlier parts
of the piece. Check to be certain that the repetition is exact and
that there are no changes in rhythn, pitch, articulation, dynamics,
etc.
You are now ready to start practicing the piece. It is okay to run
through the piece once or twice to get a feel of what you are up
againt -- se where the easy places are and where you will need to
send a lot of time practicing. It is inporta,nt that you do not
play the dif f icult passages too often at this speed, horalever,
becuse it is very easy to get a false impression. If you have
trouble with a passage a number of times, Yo begin to label it in
your mind: I'Her comes the spot I can't play.rr Once you do this, it
makes the job twice as hard.
ff you are careful that your first impressions of a passage are
coriect, you build on that correctness, and it becomes very
difficult - to play it wrong. If you are haphazard in your
preparation, you begin to practice mistakes. Now you must unlearn
Lne-mistakes efore you can create the correct image in your mnd.
With this in rnind, it is much better to go slowly when first
tearning a passage. Be especially careful that you play aII the
articuLtios correctl-y and don/t miss any accidentals"
After you play a passage a few times, you begin to play more and
more by memory" The notes merely Serve as memory cues -- you are
no longer watcning as intently as you did at first. A slur in the
wrong ptace quickly sounds correct -- you no longer know that it is
wrong,- and ii is quite a surprise when your teacher points out the
erroi. Now you ave to undo some of your work and replace it.
This takes time. In the long run you wiII save a great deal of
time by learning a passage slowly, plus you avoid the confusion of
having practice it two different v/ays: the wrong way and the right
way "
 4Z

Some passages are hard no matter how carefully you approach thern"
These passages wiII usualJ-y succumb to one of two approaches. The
first of these invol-ves the use of the metronome" (Most of us have
a good seRse of rhythm, but not as good as that of the metronome.
It is a good idea to practi-ce frequently with them, particularly
nov/ that they can be purchased quite cheaply and they are very
smalI and portable. )
The first step is to pl,ay the passage as slowly as necessary So
that you can play it without a single rnistake" This is usually
about hatf of the clesired tempo, but sometimes even one-third tempo
is necessary" Most of us make a mistake by not starting out slow
enough. Our egos get. in the waY, as if we are too good to have to
play this slowly
Once you have established your starting tempo, turn on the
metronome. Practice the passage until you can play it three times
in a rohr without any mistakes" Move the metronome up one notch
(about 52 faster, if you have a digital metronome) and again
practice until you can play three times in a rohr without error.
ontinue this unt,il you reach fuII tempo. Sometimes this takes
minutes, and sometimes it takes days, depend.ing on how hard the
passage is. Do not be surprised if you hit a dead end before you
get to full speed. Simply slow the metronome down several notches
and begin again to work your way toward tempo.
So, no$ you've got it up to speed and your done, right? !{rong!
Atthough you have learned the passage, Yo have not over-learned
it.. Over-learning is necessary to ensure that you will be abLe to
play the passage under pressure and to give you the confidence in
yourself so necessary to good playing. To over-learn the passaEe,
go back to your st,arting tempo -- all the way back. After playing
the passage correctly three tmes in a row, advance the roetronome
two notches. Continue until you have reached full ternpo. Back to
the slow starting tempo again, and move the metronome up three
notches, etc. Do this until you are skipping about seven or eght
notches" At this point you shouldrownrr the passage and never have
troubles again" If you do, simply go through the process again"
I find it very helpfut to practice difficult passages slowly from
time to time even after I know them. This is just insurance to be
certain that I don't let them get sloppy.
Be careful that your rhythn is steady throughout the piece" Bad
rhythm is not musical, and it hurts your internal timing, which
frquently results in coordination problems. Many times a person
has trouble with a passage because of bad rhythm, not because of
inadequate technique.
The second approach to learnng an awkward passage invoLves
rewriting the rhythm of the music. If the passage is in eighth
notes or sixteenth notes, dot the first note of each pair" This
results in a long-short, J-ong-short, Iong-short rhythn. Now
reverse the rhythm and play short-longn short-Iong, short-Iong"
After playing each pattern a number of tirneso try the passage as
 43

written. Frequently the problen wil-I go away. Tf the passage is

triplets, try the equivalent of: 1) an eighth and two sixteenths,
2) two sixteenths and an eighth, and 3) sixteenth, eighth,
sixteenth.
Endurance is critical when playing a trumpet- solo, and, you must
practice this aspect of the piece as well" Susan Slaughter,
principal trumpeter in the St," Loris Symphony Orchestra, tauqht me
to start practicing the end of a soo first. fn this way you
approach the ending with strength and confidence, not tired out by
atl the notes coming before" Once the end sounds rea1ly good, move
back to the section right before t.he end, and praetice a1l the way
to the end of the work" Be certain that you end with strength and
with confidence in your abil-ity to sound great" Now back yet
another section, and. play to the end, etc" By doing this, the
farther you get into the piece the more you have played it, and the
more confidence you have"
Another technique for working on enduraRce is to double the number
of rests you have written. Play through the solo" If you have
trouble getting through the piece, then triple the number of rests.
Once you have established what you need to gt through your solo
and sund great all the way, begin cutting back on the number of
rests you have added. Perhaps just one or tLro at, a time"
nventually you will get down to the number of rests indicated.
Donrt stop -- keep cutting until you can play the piece really well
with on-y-have as many rests as you are allowed. !{hen you play it
with piano, it will seem easy! (If a rest is only a measure or two
longn don't cut it down" You need to practice the timing of your
trrettr. Just cut down on the longer rest, Iike three or more
rneasures. )

It is wise to build your endurance to the point, that you can play
a solo twice through with only a short pause before the repetition"
This gives you confidence in your endurance. Under performance
pressure a person frequently plays with more enthusiasm and
excitement than in practice, which requires more strength than
normal.
I have been performing for thirty-three years. During that tirne T
have come to realize that nervousness is a normal part of
performance" It simpty means that you !{ant to do a good job. The
mount of nervousness you experience is largely proportionate to
how wel-l you are prepared. Slow practice of difficult sections and
good endurance will do a lot, to diminish these feelings.
ervousness also gives you an edge for concentration, if you use if
properly. Focus on the music and how you want t,o sound, and be
ur you actually listen to the sound you are making. Avoid
thinking about the audience and guessing what they are thinking.
First of aI], you will probably guess v/rong; secondly, the only way
to get the results you have practiced for is to keep your mind on
youi business" The sounds that come out of the belI are a direct
reflecton of your thoughts if the thoughts are different, Yo
wil-l not be likely to Eet what you want. Concentrate on the
 44

smal-Ier details of the music, such as playing each note in tune in

precisely the right place with good tone. You won't have time to
think about the audience!
Experience in performing is the best way to deal with performance
anxiety. I^Iith very little effort. you can come up with a number of
places to perform your solo: for your friends, for your farnily, for
your band, t a retirement homen t church, etc" If you can
schedul.e a perf ormance about a week or ten days bef ore sol_o
contest, yo wil-I get a chance to discover which parts of your solo
you really knov and which parts you only think you really know.
This gives you adequate time to work out the rough places" Simp1y
by ptaying your solo before contest, yo wll :robably be able to
make a fifty percent improvement in you contest performanqe.
Good luck (which you won't need if you practice properJ-y!), and try
to enjoy this experience which is helping you to become a better,
more experienced, more competent and confident performer.
 45

R.ecommended Methods

Trumpet/Euphonium treble clef

Arban Complete Conservatory Method -- pub. Carl Fischer

Clarke Technical Stwlies -- pub. Carl Fischer
Gower-Voxman Advanced Method, Volumes I and II -- pub. Rubank

Horn:

Clarke Technical Studes

Gower-Voxman Advanced ufethod, Volumes I and II
Kopprasch 60 Seleued Stwdies -- pub. Carl Fischer
Pottag Preparatory Melodies -- pub" Belwin

TromboneiEuphonium bass clef:

Arban Complete Cowervatory Method (especially euphonium)

Bordogni/Rochut Melodious Etudes, Volume I -- pub. Carl Fischer
Clarke Technical Studies (especially euphonium)
Gower-Voxman Advanced Method, Volumes I and II - pub. Rubank

Tuba:

Arban Complete Consewatory Method (use trombone down an octave)

Bordogni/Rochut Melodious Etudes, Volume I (use trombone down an octave)
Clarke Technical Studies (use trombone down an octave)
Gower-Voxman Advanced Method, Volumes I and II - pub. Rubank

Selected Studies (Rubank) is available for all brass instruments Inu'rl |t'b^
- +
Concert an^d Contest Selections (Rubank) is available for all brass instruments

there are good, representative solos at the end of the Rubank Advanced Methods (6 solo per
volume)
)t
r1!yr,r'{t
1/ { ho'" I / i"n
1

I
 TRTTVTB ONE MO UT{PCE CTMPA.RXSON CT{,ERT
s t- CUP OIAMETEF CUP OIMETEB
JE wtcK ot MARCINKIEWICZ SN OE RS ,{ M INCHES
t06
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2E.50
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1 1.122
l/4G I ? 28_00
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3 27.
2AL 1.083
27.OO '|.063
3AL .75 f .c53
3G 26.50 1.043 I

4G E2 lAL-
6E 26.25 r.033
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6-1/2 1 ALUM &I/zAL 1.004
6-3/4C 47 SIUDIOS 7CS 1.000
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15 LOPER
12C 46 URBIE GEEN 12CS .974
tvlCOOt Gt-
17C 45| .965
19 .955
434 .945
1 .925
408 .906
11 22.fi .886

'K'RUn/f X)T MTUTX{PIECE Ct fuflPAR.XSON CX{,ER.T

H scHt LE JE-TO RD IH CK w R PU
I ANET I CUP DIAETER
EEV RCCZ SAfi
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tc tc t7 .69 0
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 --,-flWu;,&
L,*A$; idt*Tffi; ;JGt ;YS;dffVT

lst Number = Cup Diarncter

Cuo
1st Letter = Cup Depth/Volume diamter Rim thickness
2nd Nunber = Rirn Contour
2nd Letter = Backbore lnner edge of
Rim contour
rim (bite)

volume
Yamaha mouthpiece models *'ith only a number
in<licatc tlre following: "C" or sranclaci cup, "3", Shoulder
or stadard rim, "c" standad backbore.
Example: A #11 mouthpiece is actualy an Throat
i 1 C3c.

RIM TI-IICKNES9
Special mouthpieces are numbered as follows: An essential consdeation ier ftexibNity aald
endurarce,
(example "14A4a").

1.4" - lst number - CUP DIAMETER

Cup diarneter is expressed by a figure Backbore

ranging ftom 5 to 68, with the larger

numbers signifying the larger sizes.

r, r..ri:!is:S=. :|=t. ir+u.ajallJ*i+i:pi :#-.rrr'- :

Shank
1st letter - CUP DEPTH/VOLUME
A. Small
B. Mc<lium Small
C. Medium Standad
EACKtsORE
D. Medium Large Sizes and flares for different levels of
E. Latge brightness and blowing esistance.
RIi CONTOUR
A key to blowing ease and c[ar!{y of attack.
2nd number - RIM CONTOUR
i. Round
2. Scmi-Rouncl

wffiffiffiffiffi'
3. Standard
4. Semi-Flat
5- Slightly Rounded YAMAHA CORPORAT'ION OF' IIMRIC
Band & Orchesrral Division
3M5 East Paris Avenue, SE
a 2nd letter (small print) - B.ACKBORE P.O. Box 899
a. Tight Grand Rapids, MI 49512-0899
b. Straight
c. Standad
d. Slightly Curved Out
e. Large CUP DIAMETER CIJP DEPTH
A primary determinani of sound volurne and An !mportant facor ir tonal brightness and
playing endurance. darkness. Flay the very best you can!1]4

Specifications subject to clnnge without notice \
 VAfuTA"A EffiASS fuTUT{PIFC OfuTPAR8SON GHART

YAMAHA Approximate CRgE no equivalent

Model No Size Equivalent cR1 1C4-7C Bach 7C
cR1 1 E4 Wick 48 SL45A Bach 1 2
TR5A4 Bob Reeves OES 69 cR1sE4 Bach 6C rim with V cup sL45C2-1 2C Bach 12C I Giardir elli 5C
TR6A4a Schilke 6A4a I Bach .f 1c CR 16E no equivalent SL46B Bach 1 1 C rim with 12E cup
rR7 A4 Purviance 1 / Jet Tone 5,6,7,&B CF16E4 Bach 1 1/2C rim with deeper cup sL46C2 Bach 11C
TR784 SchilkeTB4 ce RErr Wlflf l-O[G SHnlf(., .,, ,- , , S 147 Schilke 47
-cF9C4
'

TRBC4 Bach 10 1/2C / Giardinelli 10C Bach 7C with smaller cup diameter SL48 Bach 6 1/2 AL
tsach 7C wlth smaller cup diameter -cR1 1C4-7C Bach
TR9C4 7C SL48A Bach 6 112 AL rim with 11C cup
TF11A4 Bach 81/2C i Schilke 1144 .cR1384 Bach 6C SL4BD Bach 6 1/2 AL with deeper cup
TR11A5 -CR
Bach 7EW 1484 Bach 3C SL51 Bach 5G
TR1 B4 Bach 7D .cF15C4
1 Bach 2C SLs1 B Schilke 518
Schilke -cR16C4 Bach 1 1i2C slsl c4
TR-1 1 11 Bach 5G with shallcwer cup
TRl 1C4-7C Bach 7C / Giardinelli 7C .cR 17C4 Bach 1 C SL51 D Schilke 51D
A13A4a Schilke 13A4a / Bach 7C ,,li;:li;.;.j.FUEGES-IEtFl${:.:.:,:i:.:,:,:.:.:.:.t,:,,',,,,,,,,,r,,.,,','.t,,.,.,,,t',,::.,'..,1 SL52 Between Bach 5G and 3G
TR1 384 Bach 6C FH1 1 F4 lno equivalent
TB 1 3D4 Bach 68 FH12F4 no equivalent
TR1 3E4 Bach 6 FH1 3F4 Giardinelli 7 -S147 Schilke 47
TR 1 4A4a Schilke 14A4a / G!ardinelli 6S
|._
FH14F 4 ll:, "SL48 Bach 6 1/2 AL
TR1 484 Bach 3C / Schilke 158 :'::]-:j:::'.',:,':':':'':',]:j:l
-gsyrynlsll
,,..,,''..:fui[EoFnp5, ' ""
,,',: : :: :: :: :::: : .S L48 D
Bach 6 1/2 AL with deeper cup
TR1 4C4 Bach 5C / Giardinelli 5C MP26C4 "SL5i Bach 5G
TR 1 4D4 Bach 58 ',,. ','ALIS,JOH$' '''.' '" ,
-SL5] B Schilke 51 B
TBl 584 Bach 2C with shallower cup AH37C4 standard -SL51C4 Bach 5G with shall:wer cup
TRl 5C4 Bach 2C LC tt_, Schilke 51D
TR1 5E4 no equivalent HR27 Schilke 27 -SL52 Between Bach 5G and 3G
TR1 6 Bach 1 1/4C Schilke 16 HR29C4 Bach 1 0 -S L53 Bach 3G
TRl 6C4 Bach 1 1/2C I Giardinelli ST-2 HB29D Alexander 5 ',.,#4S9 'fl9.tjlBQNE'
TRl 6D Bach 1 1/2C with deeper cup HR29D4 no equivalent B 158 Bach 2G
TR 1 7C4 Bach 1C / Giardinelli 3C HR3OB Giardinelli S14 BL59 Bach 1 'll2 G
TR 1 7D4 Bach 1C with deeper cup HF30C4 no equivalent BL60 Bach 1G / Schilke 60
TR 1 8C4 Bach 1 HR3OD Alexander 8 BL6OB lno eouivalent
TRSC4GP Bach 10 1/2C i Giardinelli 10C HR3OE Schilke 30E
TR1 4A4aGP Schilke 1444a / Giardinelli 6S HF318 Schilke 318 BB65
TR 1 4B4GP Bach 3C Mega TonerNl HR31 D4 Schilke 31D4 BB66 Schilke Hellbero
TR1 4C4GP Bach 5C Meqa Tone / Giardinelli 5C HR32C4 Schilke 32C4 BB66B Schilke 66 with shallower cup
TR1 6C4GP Bach 1 1/2C Meqa Tone HR32D4 Schilke 32D4 BB66D4 Bach 24AW
TRI 7C4GP Bach 1C Meqa Tone / Giardinelli 3C HR33C4 Schilke 33C4 BB67 Bach 22
HF33D4 Schilke 33D4 BB67B4 no equivalent
cF7D4d Wick S BB67C4 Miraphone C3
CRBD2 no equivalent BB68B Schilke 69C4
Size approximations only. Specifications subject to change without notce

@

HLTffiN F"&RKS ffiffigzuH ffiR- ffiffiUTHp3ffiffi
NOW ,AVALABLE tlN 5X DNFFERE\T CUP 5U5
Designec per'sonally c the einent Fhilip Far<as, they combine fine ser:
Frkas French hcrn ^r:uthpieces prcvice the hcrnisi with unusua .rccirti::: ::ayring ccwer, anC icrr:l c:ior is at his
c:rnrncl,
HOLTON FARKAS MCEL 5C (shailow e up
- )
Aeclium-'ice com-
jcrtable cushion
rim ccn'bined
,vith a mccerarel,T shallcr.v cup and
rarro\^/ bcre give tlris rOuihpiece
n extren ely Ecod hrgh register,
th a r-irrging, 1riiliant, but not
:lriclerrt, tone. ldeal for extrernely
high, rechnical oassages.
HOLTON FARKAS MODEL Me ( nredium up
- e )
MeCium-'iCe cush-
ion rim with redium cup and
rediurn bcre. A rnost pcpuiar mod-
el which has no extree eatures
and is well su ited for the profes-
sional rst and third hcrn players.
Resonant, mellcw tone and excel-
lent respcnse in all registers.
HOTTON FRKAS-MODL MDe (medium deep eup)
Medium nrrow rim,
sensitive but comfortabfe. Fairly
Ceep cup and medium bore result
in a rescnant, velvety tone and fine
response in entire range.
49
ir-y,uifh excellent tcrl c:arctelstics.
HATTON FRKS _* MODEL DC (deep cup)
Meci;nr cushion rinr,
desicned for acc,.;rac.; as well as
comicrt. Cup is ceec and bore is
mcc:rately larEe. Preouces large
heroic tone anC becavse of its fine
resoonse in all rar:ges, can be useC
with equal succsss by both high
ani low horrr pla'.,er's.
* M0t
HOITN FARKAS VDe (very deep eup)
Norrcw rim is com-
fortable in spite cf irs excellent sen-
siviry. Large bore and very deep
cup produce large Tentonic, vel-
vety tone. For the rcbust, meture
['{OLTON FARK5-MDt Xe (extra deep eup)
Mcierately narrow
rim combines acc!rcy with com"
fort. Extremely deec cup nd very
large bore produc3 a rich, heroic
tone. For rhe player who wishes to
play in the granC manner and is
willing to work for the big style.
 1IUNING AID VALVE SITDES

The purpose of the various slides on the trumpet- are to allow the
instrument to be tuned and to correct intonation problems built
into the instrument. The tuning stide should be gresed so that it
moves smoothly with only a minirnal- amount of ef f ort and will
normally be pulled about one-hal-f inch. The precise amount varies
from player to player and depends on the tuning of the ensemble as
well.
Thrd Valve S1ide
The third valve slide needs to be extended about one-half inch to
correct intonation for the valve combination 1--3 and about one inch
for the valve combinaticln L-2-3. The only notes norrnal-ly f ingered
1-3 are low D and row G, and the only notes norrnally fingered L-z-3
are row c-sharp and low F-sharp. on many instruments, however, the
low G and low F-sharp are too low, and end up being more in tune
with the third varve slide pulred art the vray in. on these
instruments only D and C-sharp need to be corrected. you need to
check with a tuner to find out which notes to correct. rt is
important that you use your slide to play these notes in tune.
Many trumpeters do not realize that they are playing these not,es
sharp, and they become brain-washed into hearing them out of tune.
rn tme they no longer realj-ze these notes are sharp. some
trumpeters choose to lip the notes in tune and not move he valve
slide. while this produces an in-tune pitch, the tone coror
suffers because the trumpet is still sharp and the player is
bending the note down into tune, which results in a deterioration
of tone quarity. rf you are practicing lip srurs with either 1-3
or 1-2-3, You should extend your third valve slide as well since
all of the overtones of these combinatons are also sharp. These
intonation probrems are not design fraws, but the result of
acoustics combined with mechanics. All trurnpets have this problem.
First Va1ve Slide
The first valve slide can be used to lower notes played with the
first valve or the L-2, r-3, or L-z-3 combinations. This is
particurarly helpful in lowering fifth-line F's, high A's and high
B-flat's that are sharp. (Another vay to help an A is to
substitute third valve. This works for any 1--2 combination - just
remember that rt1 and 2 makes 3rr and your11 know when you can try
this substitution. ) Many times the proper choice of lalve slid
can sinply the t,echnique of a given passage. For exanple, a trilr
from low D to low E-f1at: using the third valve to coriect the low
D would require that it be pulled in for the E-flats and pushed out
fgr the D's, just as fast as the trirr. However, by using the
first valve slide to correct for the Drs, the E-f1ats re stirr in
tune because no air goes t.hrough the first valve slide during the
E-f1ats. (If you find this hard to believe, remove the first valve
slide entirely you can stirr play the row E-frat, or any other
note that doesn/t require the first valve. )
 51

At first it may seem quite awkward to use your valve slides, but in
time it becomes very natural. The great trurnpeters use their
slides so should you!
 52
Miscellaneous
T le To e Scale P T et Intonation Tendencies
and Comm on Alternate Trill F ermgs
Jurues Buckner
3 3 3 3
{:J-is--P- P t-J d h-

3 3 3 3

Trumpet Intonation Tendencles

(But lJse Your Ears First!)
Corrections listed in general order of preferenoe '

Check with tuner -- often

sharp, but not on Bach Strad
trumpets; if sharp, correct
with lst or 3rd valve slides;
G often REALLY sharp on
E-flat trumpets
Slightly sharp -- lip it,
unless 3rd of major
chord, which might
require 3rd valve slide
Somewhat sharp -- lip it
down or use thumb trigger
or 3rd valve Okay

D > lcr rcr @

G} rct
#

Very Sharp!! -- Use 1" of Sharp! -- Use ll2" of Slightly sharp -- lip it,
lst or 3rd valve slides or lst or 3rd valve slides; unless 3rd of major Somewhat sharp -. lip it
combination; correct correct whenever chord, which might down or use thumb
whenever possible! possible require 3rd valve slide trigger or 3rd valve

Slightly sharp -- lip it, unless

3rd of major chord, which Somewhat sharp -- lip it
might require 3rd valve slide down or use thumb trigger
or 3rd valve
Okay

Slightly sharp -- lip it,

May be sharp on the C
trumpet -- lip it or use 23
unless 3rd of major chord,
which might require 3rd
valve slide
Flat! -- Lip it or use Flat -- lip it or use 23,
13
with 3rd valve slide especially on the C
extended about ll2" trumpet
 53
Sharp -- use ist valve Sharp -- lip it or use 12 or 3
Flat -- lip it or use 12,
slide; may use 13 if no lst or use 13 with 3rd valve slide
especially on the C trumpet
valve slide extended
Sharp -- lip it

Sharp -- use 3rd valve Sharp -- lip it or use thumb Can be sharp -- lip it or Okay, but may have
slide or lst valve trigger or 3rd valve use thumb trigger to lip down
@ b* .e. @

Generally okay if you are playing relaxed, but willbe sharp if you are tight -- might
need to use alternate fingeringswith slides extended
2 2 0 I ) 0
0

#
' g bg !e $L $ r0.

=
(r2) (1) (23) 12

Common Atrternate Triltr Fingerings

extend lst valve
13-3 23-3 extend lst valve slide l" slide 1/2"

C}
@-G #c

l3-3, extend lst valve 123-23, extend lst

slide l/2" 23-3 valve slide 1" 0-3 23-3

23-L23, extend lst 13-3, extend lst 13-3, extend lst

valve slide I " valve slide 1/2" 0-3 valve slide l/2" 12-l

0-3, or lip trill on 13

(extend lst or 3rd valve
lip trill on 123, extend l st slide 1/2") or lip trill on
r2-2 or 3rd valve slide 1" 0-1
12or3
b* D

lip trill on23 lip trill on 12 lip trill on I

23-3
@ b* b* 6, -e. b*

V/hole-step trills starting above this are usually done as lip trills.
 F e and Alternate Fin erln S
54

Fingerings are listed in the approximate order of intonation. The first fingering given is the normal
fingering. Some fingerings affect the pitch slightly, and others affect it severely. Anytime the 7th, 1lth,
13th, or l4th partials are used there will be intonation problems.

r23 13 23 T2 3 1 2

t @ @ o' ry

#
0 r23 13 23 12,3 1

> C}

2,I23 0, 13 23 12,3 I 1 23 2, 13

0 23 12,3, 123 I IJ 2,23 0,12,3,123 I 13

2,123,23 0, 13, 12,3 123,I23,1 n.3.13.2 _

tI,23,123,0 2,I2,3,13,I23
e Gt' _(.

0, r,23,13 2,12,3, L23,23 0,1,13, r23,12 ) ')" 123,13,1

>
#
> -0. be

t,12,3,13,23,2 t, 1 23 23 12,0 2,13,I23,12,I 0,23,13, 1, 2,123

@ # -e.

= =

vertone Series
+

+
g -e. @.
b -e @ -e.
_e
=
=
-KF

2
345678910111213141516
Partial I 7th partial is flat; 11th partial is sharp; l3th partial is flat; l4th parrial is sharp
 Tuning the F{olton Farkas
By Philip Farkas
lndiana University
Schocl of Music
Start by tuning the open notes of the F horn
f _ to a well-tuned piano, a tuning bar or fork, or
E
a strobe tuner. The ideal note would be the F
just above middle C on the piano. (This is the nore
written as the C in the third space to those of us who
play "Horn in F".) When the pitch of this note agrees
perfectly with the concert F of the band, orchestra or
other instrument with which you will play you have
made the frst mportant step. Of course while adjust-
ing this intonation you will keep in mind that pulling
the man tuning slide flattens the horn and pushing
the slde in will sharpen the horn. All these adiust-
ments must take place with the right hand in the
bell of the horn exactly as it will be held while playing.
ffi Next tune the Bb open horn to the now_in_tune
open F horn by matching the same F concert
8 (played as a C third space by the horn player)
by slurring from the open F horn to the open Bb horn,
simply putting the thumb valve up and down and
comparing the pitch of the same note as played on
both the F and Bb horns. Leave the main tuning slide
alone and adjust the Bb horn to the F horn by pulling
the main Bb tuning slide if the Bb horn is sharp. li
the Bb horn is flat push in the main runing slide slight,
ly but pull the main F tuninE slide out an equal dis-
tane to bring the F horn back. to where it was in
ptch. The F horn and Bb horn should now be in tune
together as well as in tune with the other musicians.
But notice that we have only tuned the open notes.
Now comes the painstaking job of tuning the
q lst,2nd and 3rd valve slides on both the F and
Qds Bb horns so that our scales and intervals are in
tune with our now well-adjusted open notes. This,
too, can be accomplished by tuning to a good piano or
strobe, but tuning by ear while critically listening dur-
ing the operation is the best way. After all, we
going to have to play in tune always by critical listen_
are
ing and adiusting. What better wy to start than in
tuning your own horn 'to itself I The instruction here
given for tuning the lsi valve on the F horn
should
55
ouble French Horn
There are two phases to tuning the Holton Dcuble French
horn:
frst to tune the general pitch to that of the organization or
instruments with which it will be played, and second, to tune
the various intervals of the horn so that the instrument is
"in tune with itself".
serve as an example and once you have grasped the
principle involved you can simply apply that principie
to all six valve slides.
ffi You could tune the first valve by playing the
g open middle C on your. horn (sounding F con-
cert below middle C on the piano) and then
playing the D one step higher, which is played on the
lst valve. But this interval of a major second is hard
to hear, so instead we use the same principle as that
used by the piano tuner-we compare bigger intervals
as fourths and ffths. So after playing your
-such
mddle C, which we must assume is in perfect pitch,
play the F in the first space-a fourth above your
middle C, but also played on the lst valve. Now you
can readily hear whether the slide is too long or too
short because that interval of a perfect fourth is much
easier to judge critically than is the interval of a major
second. The same principle can be applied to the 2nd
valve. You could tune it by f udging if your 2nd valve
B natural is exactly a half-step below the open C. But
this interval is very dificult to udge correctly. The
better way would be to play your middle E (frst line)
on the open F horn, which again we must assume to be
perfectly in tune, since the frst thing we did was to
tune the open notes. Next play the B natural ( third
line) which is a perfect fifth above that E. Now wecan
hear if the second valve needs shortening or lengthen-
ing, because that interval of a fifth is a very good one
to iudge critically.
And so we proceed, through all the various slides, al_
ways comparing fhe intonatin of the valve slides to
the well-adiusted open notes on both the F and the
Bb horns. But we compare them by playing large inter_
vals,ffths, fourths and even octaves, and not by small
intervals, half-steps, seconds, etc.
5w There are three things well worth remembering
5 in tuning your horn: first, the horn was designed
Wn ro that ideally it is in tune when all the slides
are pulled out a slight distance. This is ideal since we
then have the flexibility to shorten or lengthen the
 I-,ocation of Slides
Main "F" Tuning
"F" Valve Slides
on Top
"Bb" Valve Slides
on Uaderside
sldes. Were the sldes designed to be pushed all the
way in under perfect conditions the player would then
be limited to only flattening the pitch and would have
n-o wy of sharpening the horn. So do not be dismayed
if all the tuning slides are pulled out slightly when
the horn is in tune. This result was intentionally de-
signed into the horn.
Second, remember that tuning an insirument is a
matter of compromise. lf an nierval is out of tune
perhaps one of the notes should be sharpened slightly
and the other note flattened slightly. This compromise
is often much rnore successful than tunng one note
drastically and leaving the other note,,as-is,,. The
compromise should be aimed at having all notes quite
well in tune as opposed to having one note perfect and
another very much out.of.tune. lf all the notes are
close to being in tune, our careful playing plus the
great flexibility of the horn are going to permit us to
play very well in tune.
Third, please remember that great thought, experi_
mentation and expense has gone into the production
of a Holton horn, which has superb intonation. There-
fore, if you fnd that your four main tuninq sliCes are
pulled out to n extreme degree
7ou must a"ssume that
you are not using enough "cover,,with your right
56
Main "Bb" Tunine
Slide
Maio Tuning Slide
Slide
Auxiliary "F"
Tuning Slide
hand. More covering of the bell with the hand will
definitely flatten the pitch. And since dozens of the
world's fnest professional horn players have agreed
that the horn is well-in-tune with their particular use
of the right hand you must assume that you are not
conforming to this hand usage if your intonaton dif-
fers widely from theirs. Conversely, if you seem to
be too flar, even wth the slides all the way in, you
must assume that you are puttin your right hand too
far into the horn bell.
tr Finally, you must realize that there is no such
thing as perfect intonation, snce the very same
ffi*
wI
note must sometimes be played flatter in one
chord and sharper in another. We must also play with
other instruments which have the opposite tuning
characteristcs, and finally we must play with singers
and string players, who play or sing an ,,untempered,,
scale which is not the same intonation as used by our
so-called "tempered-intonation" instruments. The im-
portnt thing in playing with good intonaton is to
tune the instrument as well as possible, remembering
that there is no such thing as "absolute,,intonation:
and then play in tune using all your skill, your lip,
your ear/ and your heart. While you play_LISTENI
 57

R,enrcving Water frcm thre l{olrcil Farkas

Double French Horn
by Philip Forl<os
.i -'i rie prcblerns io which I gave serious considera.
::'.;n ir.r the Cesign of the Holton Farkas nrodel French
hcrns was the one of removing the water from the
complex maze of tubing quickly and effciently.
This prcblem has been very well solved through the
adCirion of the separate Bb tuning slide, which besides
being a mosi'aiuable tuning aid, makes possible this
f:t re,.ncval of weter from the entire horn.
The principle involved in remcving this water lies in
the fact that water always runs down-hill. Bearing this
in mind, logic will show you that it takes only a few
deft twists of the horn tc run the water out of all six
valve siides (valves .,2 and 3 of both the F and Bb
horns) and into two of the main tuning sliCes. Here it
can be eliminated quickly and easily along with the
additional water which has accumulated in these two
main tuning slides normally. Thus, instead of labori-
ously renroving all ten slides individually, only four
slides need be removed, and these are the big, easily
aCjusted ones.

q Hold the horn on your lap, in the sme manner you wourd hold it in
f, repose, that is, with the circfe of tubing in a vertical plane and the mouth-
pipe pointing toward the ceiling. one might say ro hold the horn with the
left hand as though the horn were the steering wheel of a car.

r'9 4i-
z2

Slowly turn ths horn until valve slides ars pointing up.

Turn this "steering wheel" fairly slowly to the right (crockwise as seen by
ffi
g the player) three-quarters of a turn, until the varve srides are pointing to
tu6 hq ceiling and the mouthpipe is almost horizontal and pointing to the
player's left. The obiect of this turn is to "untwist" the water from the six valve
slides, particularly the 3rd valve slides, and allow it to drain into the Ist,2nd
and 3rd valves. Bear in mind, however, that the water will not drain into these
valves yet, since the keys are not depressed and the valves therefore are n
"open" position but actually closed to the valve slides. Now depress all three
valves several times-"ripple" them, still, of course, holding the horn with the
slides pointing upward. This is to turn the valve openings into the valve slides
and allow the water to enter the valves.

& Then, with the valves "open" (the keys not depressed) turn the,,steering
wheel" of the horn back again to the left (counter-crockwise) a little more
@ lhs Lyr. tqrn ths
horn back. ds than half a turn, so that the mouthpipe is pointing over the right shoulder.
 {emcving Vater {contnued} 58

Now remove the water from the small

e&
il
Bb tuning slide which comes out of the
thumb valve. Then, while holding the
horn in the same position, remove the water
from the main F horn slide on the underside
of the horn. You have now removed the water
from all sx valve slides. A little practice will
enabfe you to make these two twists quickly
and deftly. However, don't make the move-
ments too fast--don't "rush" the water; it
takes a little time even for water to flow. The
entire operation should take about ten
seconds.

lake the wstr out of srnall Bb , . ard ett of tire man F

tuninE slido tuning slde.
ffi To complete the job, remove the water
Don't forget that the Flolton horn has a wate, koy. Uso t o6terx. Frequent
use of thjs water koy wll prevent much of tha waeer from goinE faithi
Yb
SdE
in the normal way from the main tuning
nto the interor of the horn. If one plays ,,stoppod horn,, with he right ,lidu and the little F runing slide which
I
hand held tight n the bell of tho hrn'just s tne water is blown ut comes out of the thumb valve, and you will
/ through the open wator key, the water wili be ejected more forcefully aJ
have completely cfeared the horn of water.
i completely and, surprisingly, more quietly.
Once in a while it is also a good idea to twist
Remernber to keep the horn cloar of water. Many, rnany cracked nots are
the result of water !n thE horn and not the fautt of'the player lexcepi the horn to the right for several complete
it is s fauft that there s wter in the horn)! revolutions, which will remove ny water
1
that
which might have gathered in the bell branch.

are rf
h Vaves
Ground in with very few
sandths of an inch tolerance,
the
vaives of the Holton Double French
horn are the tightest valves on any
horn produced today. Th is tight-
nessof val ves gives this French
orn some of its greatest characteristics. Because there
; alrost no air leakage around the rotors all the air
goes into prcducing the very purest horn tone. Also
hecause of this tightness, the intonation of the double
r-errch horn is the most perfect of any horn, with a
. ifo.rrnity o{ tone quality and intonatibn throughout
rT
ts whole range.
I Incared for,
these tight valves could cause problems,
ut when you follow these three simple steps in the
,re of the valves, they will work eas'ily all ihe time.
Collection of moisture wll cause the valves to become
probleln if not properly Iubricated. The broken valve
ring, which is the most common repair problem, is
usually caused because the valve has become stuck,
due to condensaiion. The player usually attempts to
",'rce it f ree by depressing the iever. DO NOT EFRESS
iVER.
'lhe fingers should grasp
the valve by the sr,vivel arm
or stop arnr head, and rotate.
\e are of friction on a rotary valve is not, as with a
By Louis Stout
University of Michigan
School of Music
thou- piston valve, on the sides but rather at each end on the
area called the bearing shaft or "bearing surface,,.
Some players attempt to lubricate their valies by pull-
ing out the slides and squirting valve oil down the
tubing with the assumption thai this will free a slow
or sticky valve or provide proper lubrication. AII it
really does is coat the sides of the valve and allow very
iittle.if any oil to.get to the surface where it is vitally
required, on the bearing surfaces.
The proper method of oiling is:
t. Locate the large screw (swivel arm head screw),
unscrew it and squirt key oil into the opening. (Note:
DO NOT USE VALVE OtL FOR TH|S AREA). Roraie
the valve. Replace the screw.
2. Remove the valve cap and place key oil in the
small hole located in the center of the exposed shaft.
Rotate valve again. Coat the threads of the casing as
well. Replace velve cap.
3. A small amount of vaive oil can then be placed
down each of the valve slides and in the mouthpipe.
This will place a thin film of oil on the inside surface
to prevent retarded oxidation.
4. Depress the levers rapidly while turning the horn
in all directions at the same time. This wll cause the
oil to flow to all surfaces.

'Ahbougb it my be raecessarg to oil. rke ualaes of yoa d,oable Frencb born eaerg day,
NO?'E;
wlter you d.a tbis, yo tuill be relurded. by baing one of tlte finest-soand,ing,
best-perf armi.rzg Frerzcb borns n the xaorld,
 e-;' 59

vALvE L'tlBRIcAqeN PRqg*qURE

CAUTTON

ofisture wil-l cause the v alves to become a

Co llection mo
The bro len valve string'
pr olem if noL PrcPerl-Y nlubricated "
repair Problemu usuallY caused
1e

wh ich is t']re mCIst col'ffno due to'c onciersttion " The-

i:e cause the val-ve ha s become stuckn
praY er usuallY atfemo ts to force
it free bY depressing t'he
DO t{oT DEPRES S T,EVER.
i r
Iever
the swivel arrn or
"

The fi t E* siroulcl qraP

the vatr-ve bY
arm he du and rotat.e
(sge diaqram)
st,op "

t-
Theareaoffrict'j.ononarotaryvalveisnotoaswith-a
rathei at each end on prayers the area
piston valve, r, "n. sides--b" robearing surfacem" some
called. the n**ri*'shaft.or bv pr-r'ling out the slirles
a*empr ro :-"".'""ir"ir-"tr"i
oil- dow"-ln-t'unig witkr the assurnptiorr
and. squirr.ing-;;i;" vIve or provirle proper
ii*o a slow or Sticky
that this will -Ai1-itl the sides oi the
Iubricarion. really oes is coat to the srface
varve and allovr very r-i6r i-"v-"it -trre to 9esrfaces
where ie is vital)-y ".qot"al-on
hearing
-
- -The ProPer rnethod aE oiling i's:.
arm heacl screw) t
1" -T"ocate the large screw (swiveL oil- into he pening"
-l.lflscrew it "liq"irr. \gy TiTTg REA) '
(Not,e: DO NOT USE VET,VE--POR, :screw"
,Rotae +h valve" RePlace t'he
-Rer.rove the valve cap and place key -oii- exposed
in t'he
small hole fo.t"A in again' the- center. f tirg
-shaft," not*t-oi" Coat the threads
;;-ut casi-ng as well"" Reprace valve caP"'
:l
.l
/
...t
a A small .arnount of valve oil 'can then be placed tlown
i,l )6

eacir.of the ""1" slides andof .n the mouthpipe-

o1 .on the.inside
4

: ; :.1
.rhis wil_t p1;;;"; ht; f ilrn
z- JI
n -surface pi"tnt-retarded'oxidat'ion'
.1
el, "" l:
the horn
; ,,
4. epress tTe Ldvers rapidl-y r*hile t'rerning
"'
l:'l will cause
'-t,{,'1
-in al-L directions at' eixe saTe 'tirne' ' Ths
'it**il eo f low -t,o -J-!':surfaces:' . '-.-
'c' :
't
:.
:-j t.,
'l I

,l

t
I
 60
:t

Swlvg L ARf i4p 5e Rvl

SWtvL_'R R/Ai6
t
I
t

VALV E 8tL

/.-

{,t at
i VALVE''P,i, '
I
t
.t
t

,lI
:t
jl
1i
.n
.-!
:l_l
,ri
'i
.t!
 61

REFERENCE BOOKS FOR TEACHING BRASS INSTRUMENTS

General
APPLIED )fUSIC CURRICULA, Gale L. Sperry, University of South Florida
ART 0F BRASS PLYI{G, Philip Farkas, l^lind Music - not f or students - too
analytical and detailed in physical processes
ART 0F MUSICIANSHIP, Philip Farkas, Musical Publications
BRASS ANTHOLOGY, Instrumentallst, 1984
BRASS 800K, Moore, G. Lebianc Company
BRASS ENSEI4BLE METHOD FOR TEACHER EDUCATION, Norman J. Hunt, hTilliarn C. Brown
Publishers, 1963
BRASS ENSEMBLE MUSIC GUIDE, Paul- G. Anderson, InsLrumentalist, I978
BRASS FACTS, Beilamah, Southern Music
THE BRASS INSTRUMENTS, iames H. I{inter, Al1yn and Bacon, 1964
BRASS INSTRUMENTS IN CHURCH SERVICES, Oden Augsburg Publishing
BRASS IN Y0UR SCH00L, Lawrence, Oxford University Press
BRASS MUSIC FOR THE CHURCH, John Devol, Harold Branch Publications, 197 4
BRASS PERFORMANCE, Robert lleas, McGinnis and Marx, 1965 - good
THE BRASS PLAYER, Charles Colin, Charles Colin
BRASS PLAYERS' GUIDE, Robert King Musj-c Sales
BRASS S0L0 AND STUDY MA,TERIAL MUSIC GUIDE, Paul G. Anderson, fnstrumentalist,
L97 6
BRASS \,{IND ARTISTRY, Severson and McDunn, Accura Music
CONTEMPORRY BRASS TECHNTQUE, Leidig, Highland Music
THE EMBOUCHURE, lufaurice Porter, Boosey and Hawkes, 1967 - don'L recommend
EMBOUCHURE AND MOUTHPIECE MANUAL, Vincent Bach
ESSENTIALS 0F BRASS PLAYING, Fox, Colunbia Pi.ctures Publications
GUIDE TC TEACHING BRASS, l'{orman J. Hunt, 3rd edition, William C. Brown
Publishers (care of instrumenE, enbouchure, breathing, tonguing'
vibrato, methods and solo literature lists for all brass, fingering
charts, intonation problems, mutes - rather physical approach to
methodology) basic reference source
INSTRUMENTAL MUSIC GUIDE, A. Harold Goodnan, Brighan Young University Press,
L979
KEYS T0 NATURAL PERFORMANCE, Robert Weast, McGinnis and Marx
MATERIALS FOR I',IISCELLANEOUS INSTRUMENTAL ENSEMBLES, Music Educators National
Conference,1960
MUSIC FOR THREE BRASSES, Richard G. Decker, Swift-Dorr Publications, L976
PLAYING AND TEACHING BRASS INSTRUMENTS, Robert Winslow and John Green,
Prentice-Hal1, \961 (for ensenble playing; assumes nusical training)
PRACTICE METHODS FOR BRASS PLAYERS, Belfrage, trrrilhelm Hansen Musikforlag
PREVENTIVE MAINTAINANCE FOR PISTON INSTRUMENTS, I^Jeisshaar, Belwin-Mills
SELECTED WIND AND PERCUSSI0N MATERIALS, University of Iowa (so1os, meLhods,
ensernbles : graded )
SURVEY 0F MODERN BRASS TEACHING PHILOSOPHIES, Bellamah, Southern Music
A TEACHER'S GUIDE T0 THE LITERATURE 0F BRASS INSTRUMENTS, Mary Rasmussen,
Cabinet Press (Brass Quarterly), 1968 - good
TEACHING TlE SUCCESSFUL HIGH SCHOOL BRASS SECTION, Merrill Brovn, Parker
Publications, 1981
VITAL BRASS NOTES, Charles Co1in, Charles Colin
I.iIND AND PERCUSSION LITERATURE PERFORMED IN COI,LEGE STUDENT RECTALS
(L97L-72), Merrill E. Brown, Instrumentalist, I974
 Reference Books (2) 62

Trumoet
ADVANCED }1ETHOD. Roger Grocock, Argee Music Press
THE ART 0F TRU'PET PLAYING, Vincent Bach, Vincent Bach Corporation, 1969
THE ART 0F TRUI"IPET PLAYING, Keith Johnson, f or+a State University Press, 1981 -
very articulate, well thought out, trained in "Chicago" rnethodology
ARTISTIC TRUMPET TECHNIQUE AND STUDY, Bush, Highland Music
BASIC GUIDE T0 TRLMPET PLAYII'IG, Autrey, M. M" Cole Publi-shing
BRASS PLAYING, Fave Hanson, Carl Fischer - analytical
COMPARATIVE MOUTHPIEE GUIDE, Gerald Endsley, Tromba Publications
CORNET PLAYING, D'th, Boosey and Hawkes
EMBOUCHURE ENLIGTENMENT, Young, Tromba Publications
S0L0 LITERATURE F0R THE TRUMPET, Thcmas Hohstadt, F. E. 01ds Musi-c Education
Li b rary
TEXTBOOK F0R TRUMPET, Daryl Gibson (repertoire list)
THE TRUMPET, lilfredo Cardoso, l/i1fredo Cardoso (Vo1" 1 & 2z High Trumpets,
Vol. 3 & 4: Ascending [valve] Trumpets, Vo1. 5-8: ilow To Play In
Symphony Orchestra)
A T0 ORCHESTRAL EXCERPTS, Linda Anne Farr, The Brass
TRUIIPET PLAYER'S GUIDE
Press, 1978, revised
TRUMPET PROFILES, Louis Davidson, Louis Davdson - quesLionnaires
TRUMPET TEACHER'S GUIDE, Gordon Mathie, Queen City Brass Publications
(indexes I44 trumpet nethod books by technical and musical problems) - good
TRUMPET TECHNIQUE, Delbert A" Da1e, Oxford Press (?), L965
TRUMPETER'S HANDBOOK, Roger Sherman, Accura Music
TRUMPETER'S SUPPLEMENTAL GUIDE, William Pfund, William Pfund
TRUMPETER'S TREASURY 0F INFORMATION, Bellamah, Southern Music
TWENTIETH-CENTURY MUSIC FOR TRUMPET AND ORCHESTRA, Norbert Carnovale, The
Brass Press , I975
T\^/ENTIETH-CENTURY MUSIC FOR TRUMPET AND ORGAN, Cansler, The Brass Press

Ho rn
ART 0F FRENCH HORN PLAYING, Philip Farkas, I,{ind Musc, 1962 - good
A CREATIVE APPROACH T0 THE FRENCH H0RN, Harry Berv, L977
THE FRENCH HORN, Brchard Coar, Coar, 1947 (some pedagogy)
THE FRENCH HORN, Morley-Pegge, ErnesL Benn Linited
THE HORN, A Comprehensive Guide, Robin Gregory, Praeger, L969
THE HORN, THE HORN,. Merewether, Paxman of CovenE Garden
HORN BIBLIQGRAPHIE, Bernhard Bruechle, three volumes, I{einrichshofer
Wilhelmsharen, 1970 and I975 (in German)
A HORN PLAYER'S GUIDE T0 ORCHESTRAL EXCERPTS, Linda Anne Farr, The Brass
Press, 1978
HORN TECHNIQUE, Gunther Shu11er, 0xford University Press, 1962
INDEX 0F FRENCH HORN MUSIC, !{ayne Wil-kins, The Music Register, I978
PHOTOGRAPHIC STUDY 0F HORN PLAYERS' EMBOUCHURES, Philip Farkas, hrind Music
PLAYING THE HORN, Barry Tuckwe11, Oxford University Press, 1978
A PRACTICAL GUIDE T0 FRENCH HORN PLAYING, Yancich, \{ind Music
 Reference Books (3) 63

Trombone
ANNOTATED GUIDE T0 BASS TROMBONE LITERATURE, Thonas G. Evererr, The
Brass Press , I97B
ANNOTATED GUrDE T0 TROMBONE SOLOS ''/rrH BAND AND ORCHESTRA,
Verne Kagarice,
Studio P/R, I974
ART 0F TROMBONE PLYIllG, Edward Kleinhammer, Summy-Birchard,
MODERN TR0MB0NE, Dempsrer, unversiry of caifornia press
1963 - very good
S0L0S FOR THE STUDENT TROMBONIST, An Annotated Bibliography, Verne Kagarice,
et. 1., The Brass Press, IgTg
THE TROMBONE, Robin Gregory, praeger, Ig73
TROMBONE CHAMBER MUSrc, An Annoraied Bibliography,
Harry J. Arling, The
Brass Press, I978
TROMBONE TEAclirNG TECHNTQUE, Donatd Knaub, Accura
Music
TROMBONE TECHNTQUE, Denis I{ick, 0xford universiry press,
rg7i-
THE TROMBONIsfls HANDBOOK, Reginald H. Fink, Accura Music
, rg77'
Euphonium nd Tuba
THE ART 0F EUPHONTUM pLAyrNG, Arr Lehnan (wirh recordings)
THE CONTEMPORARY TUBA, Cumnings, t{haling Music
ENCYCLOPEDIA OF TUBA LITERATURE, I^/il1ia Bel1
EUPHONTUM MUSrc GUTDE, Earle L. Louder and David R.
corbin Jr. ,
Instrumentalist, IgTB
EUPHONIUM MUSIC GUIDE, t{inrer, l,halimg Music
THE LOi'd BRASS GUTDE, John R. Grif f irh, Jerona Music, 1
980
sruDrO cLASS MANUAL For Tuba and Euphonium, Rose, roa Publications
THE TUBA FAMILY, Clifford Bevan, Faer and Faber, I97g
lyPA HANDBOOK, J. Kenr Mason (reperroire lisr)
TUBA N{usrc GurDE, R" l{insron Moriis, rnsrrumenralisr, t97
3
 64

d
#
*I
M

ffi
U
ffi) ffiJ
M
d\4 n
**4

MM @
d*
\fu
Fd
F&

ffi n

\#
IJffi X
&n &Y
-w 4

ffiK
MP @
*F
4
w
&

h
 65

Bross Clqss Topic Check Sheet #1

Nome
'l . Bosic Approoches/Pedogogy
2. Posture
3. Breothing
4. Embouchure
5. Mouthpiece Plocement
6. Mouthplece Buzzing
7. Articulotion
8. Motching Students to lnstruments
9. l-{olding Posifions
10. lnstrument Core
1 1. Worm Up Routines

12. Ronge -- l-ligl'r

't3. Ronge -- Low
14. Enduronce
'!5. Pressure
16. Broces
17. Flexibility
18. Vibroto
19. Multiple Tonguing
20. Flutter Tonguing
21. Reloxotion
22. lnner Tennis
23. lnitiol Attocks
24. lntonotion
25. Problems

Comments:

Grode: (4o/" per topic)

 Brsss Clsss Topic Check Sheet #z
Nome

1 . Mutes
-['ronsposition
2.
3. Mouthpiece Choice
4. Mouthpiece Numbering Systems -- Bcch
5. Mouthpiece NumberinE Systenrs -- Schilke
6. lnstrument Selection
7. Trurnpet
8. Trumpet lntonotion
9. Trumpet Trills
10. Horn
11 . Tuning the Horn
12. -{orn Lip Trills
't3. n'{orn: Boss Clef
14. Flocement of Horns in Bond
15. Stopped Horn
16. Bross lnstrument Repoir

Comments:

Grode: (6% per topic)