yf Nis flaBal Ll Bai Lin was born in Qiqihaer, China, in 1935. After studying music at Northeast LuXun Art and Music College from 1951 through 1954 he went to Hungary in 1955 for futher study at the Franz Lisct Academy of Music. There he studied trumpet with Imre Lubik and composition, with Andre Szervanseky, graduating in 1962 ‘ He returned to China to teach at the Central Conservatory of Music in Beijing and soon became Chairman of the Wind and Percussion Department. He has played with the Chinese Modern Peking Opera Orchestra and has published “Selected Trumpet Solos” in China and has also composed pieces for brass ensemble. He has many students from all parts of China and has been involed in trumpet pedagogy in many areas of the world includ- ing acting as a judge in 1964 in the 22nd International Budapest “Trumpet Competition. He has often been a professor and judge at the Bares International Brass Chamber Music Camp (Hungary) and made exchange visits to the Debrecen Conservatory of Music in Hungary as well as the Tokyo Arts University. He is now ‘Trumpet Professor and Chairman of the Wind and Strings Department of the Central Conservatory of Music in Beijing HAR IOI EAT PROD A © 1950 FF ah a Ra HE EE EA © 1955 FAL DA ALG + TATRA ATE Te EP Hd EBA PEE + RLLAE? ARREA- SREMAALS Sw e 1902 FAME ZY REE HM > EO BRIT IL PRE BB BAR NE RERMERA SRPARAEBEAL ERs PE TERRE EERE PARMAR DRRAA BHRMT DRAMA” AP RE BBE NRA AREA TRB EERO ST 1984 5% IR Gh = HBA AE PR BE LE Ze LRFRM #° 1990 FAQ FMM RAT HED aA JRA Bh a) EE A AIS BT TE fo Gb > vA BL MEPL IEA SE aE © ROSE PRG EE A HUE © feePreface oe “This book was written forthe trumpet students ofthe Central Conservation) of Music in Beijing, China. I hope the aan pas of tis book can help students in developing their lip lexbitity and their ability to play the trumpet. have tried hard to include all aspects of slurring technique and to tae the progression from the beginner to the crave ed level. Therefore, the contents ofthis book are very helpful for the elementary as well as the advanced players, From my own practice and teaching experience T have seen this as useful to all my students. During practice sessions your embouchur, throat and fongue should e natural relaxed and flexible. The air ear ng i riuent and steady (consisten). Always try to produce your most beauiful one If you feel your embouchure is ring or is uncomfortable, you shoul choose an.easier section to practice. Do not amp to playin too high a egister. This will avoid hurting your embouchure or learning to play incorrectly. “The best way to practice these exercises isto concentrate only on the appropriae S=oEOr according to your level of development, Payers according to ther diferent embouchure conditions and requirements can choose appropriate portions of this book to make their own daly practice routine, believe these exercises can ereate a positive influence in your playing. ! have ‘experienced such benefit from them in my own playing for many years. Professor Bai Lin, Professor of Trumpet, Central Conservatory of Music, Beijing, China, 1996 professor Bai Lin, Chairman of the Winds and Strings depariment and Professot of Trumpet at the Central Ress ettary of Music in Beijing invited me to presenta series of masterclasses and stite recitals in Beijing and Shanghai in Jone of 1995, During the month I spent working with trumpet students from the conservatory and the Seareres pool, T was repeatedly impressed by the high level of performance these Sudstis had achieved due to aaa gedication and to uniformly excellent instruction. The person responsible for this excellence is Professor se Ge ihe brings tremendous energy and dedication to all aspects of his work atthe Conservatory. Bai Lin's effective teaching achieves a balance between working on literature and perfecting the fundamentals of playing the instrument. Central to this work on fundamentals are the HP flexibility exercises presented in this book. Since my return from China, 1 ave worked using these exercises in my own PATS practice and with all of my sindents, They are now part of our daly routines and have become a valuable addition 19 Schlossberg, Remington, Irons and Clarke for the development of tone and flexibility My thanks to my good friend and student, Dsi Zhong Hui, for helping to arnee all aspects of my trip to China aespeting as. interpreter and guide, to Rob Roy McGregor and Balquhidder Misit for taking on the task of publication and. most importantly, 1 thark my respected colleague and gra0us host Professor Bai Lin for aaeaGving tnese unique exercises. 1 recommend them highly and assure you they will Pe a valuable addition to ‘your personal and teaching library Boyde Hood, Trumpet, Los Angeles Philharmonic “Adjunct Professor of Trumpet, University of Southern California February, 1996Lip Flexibilities for all brass instruments 1 Bai Lin Ne Se | ae te ‘© 1996 Bi Lin, Published by Bukjubidkler Musie, PO Box 856 Montrose Cailfornis 91021 USA. All Righls Reserved, 6 poe : me Re Pg REP |ee 3 1 & 1 ra eee 3 e ie i 2 eee 3 g& 1 eee ig ie 101BWit1925VI. (31) — EO EEO aoe ne a a a, | i fin = “ft 2 4 at Hal (aia a |g ay | Sy ae a aya aD i i ia [) op thy | Hie ih ‘} i # ee fe ze ££ sh == “ttt =ae ee pie e ccs rE & eeiy — ee = é be Bee ye ee eter acsPatrimonio bocurmental assvetsg39