Professional Documents
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The 1st thing that you will notice is that the first few
weeks has LOTS of tonguing.
If we don't get the tongue crisp and clean then we waste the
air pressure that builds up.
As the weeks progress you will get tips from all of my books
and some that are not in my books yet.
Yes but it goes up every week. Master the low ones and the
higher ones are easy.
This week the instructions are sections from Tongue Arch and
Aperture Tunnel.
Enjoy and get going. This stuf starts getting hard pretty
quickly.
Pops
Physical Actions
99% of the people who try to play trumpet FAIL. 95% quit
completely and the other 4% play but well below the level of
successful players. Common for trumpet is FAILURE. We don’t
want common.
Anchor Tongue / Floating Anchor Arch
When we tongue this way the pedals and low notes are tongued
with the tip hitting the gap between the teeth. The syllable
sounds like thu thu thu. The reason I do this instead of a
pure anchor tonguing is because this gets the tongue
slightly lower and allows the air column to spread slightly
wider which benefits the production of low notes.
At low C, I keep the tip of the tongue pointed down but at
the gap between the teeth. I now start tonguing by using the
top of the tongue against the top teeth. The syllable used
is doo doo doo.
If you say TOO loudly then the tip of the tongue hits the
teeth and slides down. We do NOT want this to happen.
Saying doo puts the tongue hitting the teeth with the top of
the tongue. With practice you can do many oo syllables this
way including too. This means that with practice you can do
many different styles of tonguing so don’t worry about that.
The doo doo doo tonguing goes for 1 octave from Low C to 3rd
space C. The tip of the tongue is pointed down and stays by
the top of the bottom teeth at the tooth gap. The doo is the
top of the tongue striking the teeth.
You start with the thu, doo, dee siss syllables but in an
hour or 2 you switch to thu too tee and tiss because these
make crisper articulations. The doo dee siss were only used
so that you could get the feeling of the position faster.
The forward arch against the teeth helps to focus the air
stream. The sides of the tongue hits the teeth and seals the
air making the stream follow the groove in the center of the
tongue. The higher the note, the higher you tongue and the
more the air is focused.
The tongue makes the most forward jaw movement of any of the
arch types and causes a larger change in the embouchure.
This is for all notes under Low C. Some players extend this
up 2-3 notes.
The tongue is low and flat. The air stream is not directed
or focused.
Now you see that the higher notes like C to the top of the
staff are tongued using the TOP of the tongue instead of the
tip.
As the note goes higher, the tongue tongues higher on the
teeth, the gums and above.
The arch is against the teeth and the tip aims the air at
the lips.
They are now tonguing with the TOP of the tongue well above
the gums. I tongue up on the ridge inside my mouth.
They approach the notes the same as higher notes, and the
notes bark out.
Some people don’t realize that just a little more arch would
do it and so some people start adding facial tension or
compression here and it is easy to hear sound shifts from C
to D, E to F and G to A.
There comes a point for everyone where you HAVE to make lip
to lip compression to keep going higher. This can happen
anywhere from A above the staff to F above High C but it is
going to happen and you have to add a different tool.
http://www.mallstore.biz/TC/arch/addinghiss.wmv
Video about hiss in playing.
http://www.mallstore.biz/TC/arch/hiss2.wmv
More hiss and playing.
Sadly many people use their lip compression too low and they
even use facial tension in the middle register and so they
have NOTHING left to use.
T T T T
9
T T T T
Mouthpiece Buzz
Ç
Ç Ç Ç Ç T Ç @Ç Ç Ç Ç @Ç Ç Ç @Ç
17
Play
Ç @Ç Ç @Ç Ç Ç Ç Ç
Ç Ç Ç @Ç Ç Ç
25
@Ç Ç Ç Ç Ç Ç Ç T
32
Ç Ç @Ç Ç @Ç
Sunday Fingers
Pops
K @ K K @ K
@ K @ K @ @ @ K @ K @ @
5
T
9
K @ K K @ K
11
@ K @ K @ @ K K @ @ T
13
»
15
@
17
@ @ K T
19
Tue Dynamic Control
Pops
Ç Ç Ç Ç
Ç Ç Ç Ç
Ç Ç Ç Ç Ç Ç
ppp slow crescendo
Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
9
Ç Ç Ç Ç T
slow crescendo fff
Ç Ç Ç Ç Ç
Ç Ç Ç Ç
17 Ç Ç Ç Ç Ç
fff slow decrescendo
Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
25
Ç Ç Ç Ç T
slow decrescendo ppp
Ç Ç Ç Ç
Ç Ç Ç Ç Ç
Ç Ç Ç Ç
33 Ç
every note even and the same
Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
41
Ç Ç Ç T
Sunday Slurs
Pops
@
@ @ @ @ Ç
valves 2-3
@ @ @ @ @ Ç
11
1-2
@ @ @ @ @ Ç
16
1st valve
@ @ @ @ @ Ç
21
2nd valve
@ @ @ @ @ Ç
26
open
Ç
31
Arban Scales +
D
Arban/Pops
Ex 1
Trumpet in B @
9
17
25
Ç
Ex 2
33
37
41
45
©2012
Arban Scales +
Arban/Pops
D
Ex 3
6
8
10
13
16
Ç »
©2012
Arban Scales +
D
Arban/Pops
Ex 4
Trumpet in B @
3
5
7
9
11
13
15
Ç
©
Arban Scales +
D
Arban/Pops
Ex 5
Trumpet in B @
8
12
Ç
Ex 6
16
20
24
28
Ç
©
G Major Studies
Pops
Ex #1
Ex #2
6
Ex #3
11 Ç
Ex #4
17
Ç
20
Ex #5
22
25
27 T
2012
G Major part 2
Pops
Ex #6
T
7
Ex #7
Ç
13
Ex #8
19
24 Ç
Ex #9
31
34
T
4 Major Scales
Pops
Single tongue one day and double
tongue it the next day.
B @ Trumpet
@ @ @ @ @
@
@
@ @ @
@ @
@ K
@ @ @ @ @ K
@ @ @ K
&OLQW
3RSV
0F/DXJKOLQ
Wed Interval Arpeggios
Pops
@ @
@ @
T
@ @ @ @
@ @ @ @
7 T
13 T
20 T
@ @ @
@ @ @ @
26 T
32 T
39 T
K
G
G Ç K
G
Ç
G Ç
( ( (
(
K K
G
G Ç
G
G
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Ç Ç Ç
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K
G
G Ç K
G
G
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