TRUMPET
| BY MICHAEL DAVIS
with performances by
PHIL SMITH
BP SAENGER Ini
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contents
INTRODUCTION ...
1 AIR IT OUT.
2 SOUND
3. TONGUING
4 EXTENDED SLURS
5 BASIC FLEX
6 FLEXING THE STH...
7 INTERVAL FLEXIBILITY
8 BROKENTRIADS ..
9 OCTAFLEX
10 INTERVALATTACKS 00...
11 STH CONNECTION
12. CHROMATIC 4THS
13 SUPER 9THS
14 CONTROL
15) PEDAL POINT.
BIOGRAPHIES
PHIL SMITH —sranpet
MICHAEL DAVIS—Aeybcardi
SHAR] FEDER eyduands and programming
cower desigye ANNE DEMARINS
track numbers
fect pereine pth
16
2a7
SAS
419
621
722
- 924
1025
11/26
1207
19/28
. 1429
15/50{
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introduction
Welcome to the 20 Minute Harr-Up Routine. This bool/CD i designed
to give you 2 daily routine that will do move than just wast you up.
Irwill challenge you and enhance your skills as a brass player.
Thope you find these exercises to be a creative and inventive way of
focusing on the most important elements of brass playing: sound, time
and pitch, As you will notice, the 20 Minuer Warm-Up Routine is 2 more
advanced set of exercises than its predecessos, the 75 Minute Warm-Up
Rouzine. If you're like me, you'll find it advantageous to alternate between
the nwo routines. On days when my chops feel fresh and J want more of
aworkout in my warm-up, I'll use the 20 Minute Routine. On days when
my chope are tired, perhaps rom a long gig the night hefore, 1'Ml opt for
the 15 Minute Routine. In general, find it beneficial ro vary my warm-
up. These nvo routines will give you that flexibility.
For those of you who have been using the 15 Minute Warm-Up Restine,
wwe heave structured the 20 Minaie Werm-Up Routine in a very similar way.
‘The first 15 tracks will include a demonstration of the exercises by cither
Phil Smith (trumpet), Chris Komer (french horn), myself (trombone) or
Gene Pokorny (tuba). These tracks will give you a model or guide ro
‘work from. I find these demonstration tracks to be an extremely valuable
point of reference, Tracks 16-30 are the same tracks as 1-15 minus the
demonstration performance. These are the trucks you will spend most of
your time practicing wich. I believe by playing along with this CD, you
‘will increase the productivity and enjoyment of your daily routine.You will notice char there are no dynamic snarkings in this book. This is
done for a very specific reason. J believe it is important to vary the
dynamic levels in your warm-up. It is vital that we as brass plavers be able
to play in time and in mune no matter what volume we are playing at,
Additionally, I find that when my chops are tired, a softer warm-up is,
more beneficial, Conversely, when my chops feel strong, 2 louder warm-
up can be more helpful. The lack of dynamic markings in this book
should encourage you re add as much dynamic variery to your warm-up
as possible,
Lastly, 1 would like to emphasize how important the use and velocity of
our air stream will be in playing these exercises. Although J have indicated
where breaths should be taken, these are merely suggestions. FEEL FREE
TO BREATHE AT ANY TIME DURING ANY ONE OF THESE,
EXERCISES. I would much rather you throw away 2 couple of notes,
and maintain a good fall sound, then eek oat notes with a less than desir-
able sound, Especially for Taba plavers, the theme of this book is breathe
when necessary
Michael DavisTrack 1/16 Air It Out
4 CLICKS IN FRONTTrack 2/17 Sound
4 OLieks IN 20NT
o=6b
) : a
oe
durack 3/18 Tonguing
4 auicus IN eeONT
o=87
2 &
#Track 4119 Extended Slurs
4 CLICKS IN FRONT
280ie
aTrack 5/20 Basic Flex
4 CLICKS IN FRONT
#400 eeTrack 6/2 Flexing the 5th
4 OuIeS IN FRONT
o=%
3Bmara Interval Flexibility
4 QUICKS IN FRONT
o=8 —Track 8/23 Broken Triads
GaLious IN econ
e805 PeoTrack 9/24 Octaflex
CLICKS IN FRONT
o=84 ee eeeTrack 10/25
4 CLICKS IN EOONT
oT
Interval Attacks
d poe = > > > >
Ce Se 2
= + + =
ee == te
> > = > > s
oe ie
o- = seat == — =
e 2 i
Sete > 2 > Z aS
ce = : 4
Ge SI ————
ties) a l - be
—— SSS SS Zz =t
SS ? ; oe 2
b> > be : ee.
2 : =
oeTrack 11/26 5th Connection
4 OLieus IN FEONT
et _
pe te he de im
& 5, = :
or Lt
19i
:
3S
2
4
&
2
‘
7
&Chromatic 4ths
Track 12/27
4 cuicks IN FONT
eM
— ——
bo.
pi Tg geet ee i
Gone = Se, E
ba ie +f St Ss be
ITrack 13/28 Super Oths
4 aLicks IN FRONT
e006 ——eas Control
4% CLICKS IN FONTTrack 15/30 Pedal Point
This exercise can also be played as written
4 OLleus IN FOONT
en
Bye THEDUgHOUT
Seer eee eat eeeeeeeeeeeeeeeea
g | = = 2 ———
3 eo o e
5 ——————— $
= = =F at
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biographies
‘Trombonist-composer MICHAEL DAVIS docs it all, Hailed as one of today's
premier instrumentalists, he has established himself as a Btst-call sideman, both
in the studio and on the concert stage, for the entertainment world’s biggest
stars, including Frank Sinatra, Tony Bennett, Bob Dylan, Michael Jackson and
the Rolling Stones. In the field of music education, he has served as a clinician
esteemed instrac-
around the world, while also authoring 2 number of high!
tional books and band arrangements for musicians of al ages and abibities
For the past ton yeats Davis has been forging ahead es an entrepreneur, with
Hip-Bone Musi, « growing business that presently handles his publishing
activities and work as a recording artist. Dedicated ro inereasing the popularity
and stature of brass instraments and emphasizing “how hip, cool and fun it is to
play music,” Davis said Hip-Bone Music is ser on expanding its educational
focus and making it a viable avenue for other brass artists.
‘A native of San Jose, Californiz, Davis received his musical training at the
prestigious Eastman School of Music in Rochester, New York, Upon graduation
he hooked up with the Buddy Rich Band for a rwe-year stine that brought
an immeasurable amount of bandstand experience and a wealth of professional
friendships that continue to thie day. He settled in Manhattan in the mid-1980s
and before long was being regarded as one of the top trombonists around,
As testimony to his versatilcy and wide regard, the list of jazz and pop
luminaries he has worked with over the years reads like a who's who:
Sarah Vaughan, Sting, Harry Connick, Ir, Beck, Branford Marsalis, Aerosmith,
Bon Jovi, Shery! Crow; Lyle Lovert, Terence Blanchard, Bob Mintzer and scores
of others.
A multiple recipient of awards from the Nasional Endowment for the Ars,
Davis maintains his own ja2z groups and projects 2: well. Through Hip-Bone
Music, Davis has documented his efforts on five solo CDs— Trumpets Eleven,
a showcase for L1 virtuosic trumpet masters; New Brats, 2 meiding of jazz and
classical brase styles; Brass Nation, a gathering together of 35 of the work's
greatest brass players; Boncfowan, a pairing of Davis with LA bate trombone
maestro Bill Reichenbach; and AAsolute Trombone, yet another musical conclave,
this time with 18 New York City-based trombonist.
Acknowledged by popular musicians, fellow educarors and audiences around the
orld 28 an immensely talented musical artist who's committed to setting the
highest standards possible for bath jazz and his instrament, it is no wonder that
legendary Rolling Stones drummer Charlie Watts was moved to comment,
“In this ‘bone-dry’ era, itis essential to have Michael Davis aroune.”PHILIP SMITH joined the New York Philharmonic as Co-Principal Trumpet
in Ocrober 1978 and assumed the position af Solo Principal Tramper in
June 1988, His early teaining was provided at The Salvation Army and
continued under the tutelage of his father, Derek Smith, himself 2 renowned
coxnetist. He is a graduate of The Juilliard School, having studied with
Edward Treatel and William Vaechiane, former Principal Trumpet of
the New York Philharmonic. In January 1975, while silat Juilliard, Mr, Smith
‘was appointed to the Chicago Symphony Orchestra by Sir Georg Solti,
Me. Senith by
former and
appeared regularly as soloist, recialist, chamber orchestra per-
jcian, He has heen featured as a soloist with the Philharmonic
performances under conductors such as Zubin Mehta,
in more than 7
Kurt Masur, Erich Leinsdorf, Leonard Bemstein, Neeme Jirvi and Barnwell
‘Tovey: He has heen 2 guest soloist with the South Dakota Symphony,
Edmonton Symphony, Newfoundland Symphony, Columbus (Indiana)
Syphon, Pensacols (Florida) Symphony, Hartford (Connecticut) Symphony,
and Beaumont (Texas) Symphony,
‘An avid brass band enthusiast, Mr. Smith has been guest soloist with the
United States Army Brass Band, Goteborg Brass (Sweden), Black Dyke Mills
and Ridged Containers Bands (Brittin}, Hannaford Steeet Silver Band and
Intcada Brass (Canadal, and numerous American and Salvation Army Brass
Bands, He has also performed and recorded with the Canadian Brass, Empire
Brass, Chamber Music Society of Lincoln Center, Mostly Mozart Orchestra,
Bargemusic, and New York Vircaos) Chamber Symphony,
His solo recordings include My Song of Songs with the New York Staff Band of
"The Salvation Arsny (Triumphonic); Copland’s Quiet Ciey (Deutsche
Grammoghone); News Vark Legends (CALA); Orchestral Excerpts for Trumpet,
(Suinmit}; Ellen Vaatfe Zwilich's Concerto for Trumper and Five Instruments
(New World); Bach Brandenburg Concerto Ne, 2 (Koch); and Walton: Fagade
(Arabesque).
For clinie, concert and commission
nformation
or to order a free Hip-Bone Muse eataloge
«all toll frce at 1-888-633-BONE; few at 212-769-2155
or email at: bip-bone@nycrrcom
Visit ous website avs www.hip-bonemusie.com
Ze
www. bip-bonemusic.com
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