Benj i hike ptism Music ee eee : Saree Pivot Publishing Editions benjatrompeta@anail.com Im_* Focal Point acentered approach to embouchure develapment -beginning-of-your-playing-day warm ups and routines designed to build range and endurance | while improving overall technique by Rich Willey Trumpet in Bb Boptismn: Music Publishing 23 Oakwood Road 4 Candler, NC 28715 4) baptism.co:Benja Blanes benjatrompeta@gmail.com Boptism Music Publishing Pivot Publishing Editions [D] Focal Point a centered approach to embouchure development Revised edition beginning- of-your-playing-day warm ups and routines designed to build range and endurance while improving overall technique by Rich Willey Trumpet in Bb Boptism Music Publishing + 23 Oakwood Road ¢) Candler, NC 28715 4) boptism.comBenja Blanes benjatrompeta@gmail.com EN ro ce PrvoT PUBLISHING a subsidiary of Boptism Music Publishing 5M Boptism Music Publishing, 23 Oakwood Road, Candler, NC 28715 + 828-665-9107 Copyright © 2008 by Pivot Publishing, a subsidiary of Boptism Music Publishing All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Published by Pivot Publishing, a subsidiary of Boptism Music Publishing www: boptism.com Printed in the United States of America Engraving, typography and design by Rich Willey Proofreading and editing by Nick Mondello and Janet Willey ‘Music font: Don Rice’s Golden Age ‘Text font: Janson with Janson Oldstyle Figures Display font: Goudy Handtooled, Goudy Oldstyle First printing 2008 Revised edition First Printing 2012, 10 «9 «8 7 6 5 4 3 2 1Benja Blanes benjatrompeta@gmail.com Contents Forward! Reminders Exactly what is your facal point What Will Help Me Get The Most From This Book? Section EJ Warm Ups .. Section EJ Embouchure Stabilizers Section EJ Single, Triple & Double Tonguing Section EJ Cantabile/Performance Studies “Technical Studies, Section Section [J Compression Studies. Focal Pointers—Onward and Upward! About You and This Book Some of the most important attributes of the successful brass player are determination, dedication, enthusiasm, ‘optimism, and patience. Nobody ever picked up a trumpet for the first time and sounded like Maurice André. (Even “Maurice sounded like a beginner when he first started!) It okay to set high goals for ourselves, but unrealistic expectations merely lead to frustration and discouragement, Playing trumpet teaches us how to accept delayed (rather than instant) gratification. ‘To sound like a mature player takes years of dedicated practice and performance. There are no Shortcuts to learning to play a trumpet, but there are smart ‘ways to practice and develop, and the importance of the way wwe start every playing or practice day is what is specifically addressed in this book. I is our focal point (the first notes of each playing session) that decides how our embouchure is going to develop over time. If, every time we pick up our horn, we play a low C, then over a long period of time, that is going to become the most comfortable note for us to play. Many would argue that ‘we want our chops to be relaxed and that the low register is the foundation of our range. Don't we need to have strength to be able to relax without collapsing? The answer is “yes.” Strength training on trumpet is much like most any. athlete’ strength training (there isan athletic aspect of playing ‘trumpet after all). Weight lifters go at it hard the first day, chill out the second day. ‘They hit it hard again the third day, and take the fourth day off, etc. ad infinitum, When they get really strong, they're good for heavy lifting every day of the week, every day of the year. On trumpet, we know that we pretty much have to play every day of the year, particularly if we have a busy performance schedule. If we've been playing trumpet for more than a couple years, we are probably good to go for “heavy lifting” every day. As stated on page 17 of this book, some of us will eel a “jolt” the first time we play out of this book. For those who, do, the second day we will do well to chill out and take it easy, maybe do our usual practice routine. Then the third day we can go at it again out of this book, and alternate “hard days” and “easy days” until the strength required to work out of this book permits us to start our day with itevery day. Here's something based on what a French physician used to prescribe to all his patients back in the early nineteenth century: it an affirmation that is said out loud. Fach time you take the horn off your face, especially if you're having a iess-than-perfect playing day, you say, “Every day in every way Pm getting better and better and better.” Affirmations are a way of being your own cheerleader, and saying them out loud really does change your “self talk” over a long period of time. Yes, say it out loud, even if you just whisper it so you can hear yourself. Trust me, it far better than kicking trash cans and shouting the negative affirmation “I suck!” I've done both, and the positive affirmations definitely help me stay calm and patient. Out of the go years I've played trumpet, up until the last 14 or so I did the negative affirmations, After I read ‘The Foelfth Angel by Og Mandino, Lhave been using the positive affirmation, and I recommend it wholeheartedly. ‘The principles in this book have been around a long time, they have just never been put together all in one place quite like they are now in this book. ‘This book won't make you a better player. Your time spent diligently working out of it the first thing every possible playing day is what will make you a better player. Happy trumpeting and good luck! — Rich WilleyBenja Blanes benjatrompeta@gmail.com Special thanks as akzays to almighty God, my Heavenly Father, and for all the great people He sends into my life including (but not limited to) Dr: Donald S. Reinbardt, my incredible wife Janet, my parents Carolyn & Leonard, ‘my extremely musical uncle Richard M. Gilchrist, my frst band director and music teacher Donald W. Hacker, ‘my first trumpet teacher Jobn Baker, my friend, fellow trumpeter and marketing consultant Nick Mondello, and pretty much anyone and everyone who has touched my life and shaped my musicianship. Oh, yes, and another thank-you to Chris Buttistone who helped me come up with a name for this book. WW WW CFE ECF OF OF “’ve always been open to different schools of thought regarding methods with which to develop as a trumpet player and brass instrumentalist. With this philosophy asa basis, P've always encouraged my students to explore as many methods and ideologies as possible, but not ‘put all their eggs into one basket.” [ personally have developed my own approach to playing by assimilating pieces of many methodologies: keeping the parts that work for me, and discarding those that do not. “Because of the many established brass playing methodologies already engrained in the multitude of ‘students that come to me for private lessons, I have made a point of exploring and understanding as many approaches to playing the trumpet as possible. I do this in an effort to expand upon the student's current playing skills nd to introduce them to my philosophies through a personalized avenue. In doing this, | of course do a certain amount of experimentation with these different methods. This gives me an educated reference point for my approach to teaching each individual student. “have been aware of the teachings of Dr Donald S Reinhardt for years. I even own a copy of Reinhardt’s tome, The Encyclopedia of the Pivot System, which I have read in its entirety. I even had David Sheetz ‘type’ me a number of years ago. Lam a IIIA. © “A year ago, one of my students gave me a copy of Rich Willey’s book, Focal Point, a centered approach to embouchure development, and I started working out of it, coupled with the guidelines Reinhardt suggested for a typical IIIA player: “was very impressed with my results from working out of Rich Willey’ book. I do a couple of his ‘suggested exercises from the book two or three times a week when I start my playing sessions. It has made me an even more efficient player than I was. As I said in my book, Clinical Notes on Trumpet Playing, a student must understand there are other viewpoints to consider. With regard to gathering information, “it all good.” “L highly recommend Rich Willey’s book, Foca! Point. Ifa student reads and understands all the text in Rich’ book, then the application of the exercises should prove to be very beneficial.” Roger Ingram, Jupiter Music Performing Artist, bttp://awa.rogeringram.comBenja Blanes benjatrompeta@gmail.com FORWARD! ‘Thank you for purchasing this book and for putting your faith in me, and, thus, in the man I consider the greatest brass teacher of alltime, the late Dr. Donald S. Reinhardt. I’m confident that by buying this book you have made the first of two important choices: the first is to become a better, more efficient trumpeter. The second choice is what comes next, and I hope that you choose to commit yourself to the plan presented in these pages. No book is a shortcut or a panacea, and even. the best book is uscless if the student doesn’t make the commitment to practice out of it diligently. There are very few embouchure problems or hurdles that I haven't encountered in my 40 years playing a brass instrument. In fact, I'm a guy whose journey as a trumpet player has been bumpy, a veritable crusade to overcome difficulties including faulty embouchure, injury, impaired technique, Bell’s Palsy, and a fourteen-year “detour” on low brass instruments. My journey has nor been that of someone whose playing has always been peachy keen. Learning to overcome an incredibly generous share of challenges has resulted in a guy who knows how to get past seemingly insurmountable obstacles, a guy who has learned to be content with delayed gratification. This book is not intended to replace any other book or even to improve on any other book. ‘Writing this book was motivated by my experiences teaching trumpet and trombone students after years of studying and practicing things I learned from Dr. Donald S. Reinhardt. “Doc” told me that his ultimate goal was for me to learn how to teach myself and to be able to figure out for myself exactly what I need to practice to improve steadily. He also encouraged me to teach other students, and he helped me learn how to troubleshoot and solve their various embouchure problems. The students I teach in college and classroom settings do not come to me specifically to study Reinhardt’s methods, In fact, most of them don’t think that they have any real problems with their embouchures, Its my job to meet them where they are and give them materials that will help them improve with a minimum of practice time. What they need isa plan to get them practicing smart. | devised routines to start out your practice day at one of four focal points—you choose which one you think will comfortably help raise the “hub” (or center) of your range. These routines will positively impact the way your embouchure develops, and they also cover the basic elements of brass playing Doc told me needed to be worked out during every practice day: something high, something low, something tongued, something slurred, something loud, something soft, some sustained (cantabile) playing, some multiple tonguing and some compression drills. All these areas are presented in this book, and at a pace and at the facal point that you choose. By simply starting each playing day covering each of these areas in an organized manner, students have the tools to enable them to build real chops and embark on a lifetime of playing that gets better every year. Ifyou do the suggested number of drills out of all six sections of this book at the beginning of your playing day, you will begin to notice that your chops are performing better and better for you later in the day when you do your “normal” playing (gigs or rehearsals). You are not “on your own” now that you have this book. Anytime you need some assistance oF encouragement, please click on the Pivot Publishing FAQ link at www.boptism.net and you can post questions or send me a private email. Pll post questions and answers as they come in, and we can all move forward together in our quest to improve as trumpeters and musicians Your fellow trumpet student, Rich Willey April 2008 (revised June 2012)Benja Blanes benjatrompeta@gmail.com Reminders 1. This book is not intended to be your total practice regimen, however, itis intended to be the first thing you play on a playing or practicing day. 2. The earlier in your practice day you can get through this material, the better. Even if you only have time to do a few lines out of each section, it will help you reach the eventual goal of Focat-Por that is, another day further along in raising the “hub” of your range (see pg. 3) 3. Whatever pitch you use as your focal point in this book is the pitch that you're planning to play every time you pick up your cold horn, either in the practice room or warming up in the dressing room before a gig. 4. Be smart in choosing your focal point. IF you have excellent range and choose G3 as your daily focal point in this book, have the good sense to stop before you get tired, and also have the good sense to set your focal point lower if you find that you're straining to play the G3 exercises. 5. Ifyou find that working out of this book is a “joie” on your chops, you may want to do these routines every other day at first. The first day, work out of this book. Then, the next day do your “usual” routines and ease into working out of this book daly after a couple of weeks or once your chops have made the adjustment. 6. When you are comfortably getting through this book with favorable results, then you might ‘want to start trying to raise your focal point to the next higher one. Use care when taking this step; avoid the Superman Syndrome (see pg. 17). You might want to ease into the next focal point in the manner described in point #5 (above). 7. The low chromaties at the bottom of pg.2 are something Reinhardt recommended for trumpeters to relax their chops (rather than pedal tones). Another thing that is very effective at keeping your chops from getting too tired is simply putting the horn down and resting, Don't overlook this point. 8, When resting between sections you might want to read (and reread) the text elsewhere in this book, specifically pages it, v (this page), 1, 2, 3, and 17 9. Remember, you can ask any questions you may have about this and other Pivot Publishing Editions, by going to the Pivot Publishing FAQ link at www:boptism.net — if you don’t have any questions, write and let us know how you're progressing, okay? 10, Reread all these reminders often,Benja Blanes benjatrompeta@gmail.com 1 Exactly what és your focal point? Your focal point is the pitch you decide upon to start every playing session of every playing day. This book provides you with a choice of four" focal points in each section so that you can gradually raise the “hub” or center point of your range. *You get five choices in the Cantabile/Performance section.Benja Blanes benjatrompeta@gmail What Will Help Me Get The Most From This Book? #1 Hypeatioy & Hycuent — Before your daily practicing, drink at least two 8 07. glasses of water: Also, wash your lips with Ivory soap (or some other brand that contains no skin softeners) and wash out your mouthpiece with soap and a mouthpiece brush, Starting every practice day with all the same clean surfaces and with your body hydrated promotes consistent progress. #2 Chores & Movrnpiece Ptacemet— Dr, Donald S, Reinhardt taught us to place, inhale, and play: Additionally, he taught us to bbuzz the lips with no mouthpiece, and to place the mouthpiece on an embouchure formed with Pu2zing firmness (a wet embouchure is preferred over a dry embouchure). He also instructed us not t0 disturb our mouthpiece placement when inhaling, and he always recommended mouthcorner inhalations or nose breathing. 8B P Reinhardt used to talk about two primary playing factors; you cant get a trumpet sound (notes) without 1) ar, and you can’t get a trumpet sound without the 2) vibration of the lips, but you ci get a sound without using your tongue (secondary playing factor). So he had us play the first notes of the day using breath attacks (HOO no tongue “attacks”). #4 Bea MARY PLavING FACTORS 1N¢ — There are many players (and teachers) who swear that air and breathing are the keys to successful brass playing. Fig.t When, on a given day, your chops are feeling great, i's because the response factor is particularly good that day: For instance, cone day you notice that your single tonguing is especially agile and quick — Reinhardt would say that its because your response is at a heightened level that day. Breath attacks at the beginning of your playing day and intelligent rests while ‘warming up will do wonders to increase your response factor. [A very basic response-oriented warm up is as follows: play the notes in Fig. 1 using all breath attacks (HOO) and insert a whole rest between each note #6 Resr Pratops — The importance of intelligent rest periods cannot be overemphasized. Most of these studies give you rests equal to the amount of time you just played, and this isa good guideline. In fact, encourage my students to do “buddy system” practicing so they can take turns and essentially rest as much as they play. Depending on the difficulty of the n being practiced, this is a good rule of thumb, Building endurance is accomplished this way rather than by constantly playing until the chops are totaly “shot” before resting Think about it this way: if you play until you've beaten your chops to a pulp and then put the horn down, you'll pick the horn back up later and your chops “remember” that crushed feeling. If you always rest when your chops are still feeling good, when you pick the horn back up after a little while your serial = << fe 2 apm “Most of them never encountered great difficulties in lea play the trumpet, so they never had to work on much else. For the rest of us (the vast majority of players) all the correct breathing in the world never got us the range and ease of playing we've seen in truly outstanding players. Here are a few breathing points to bear in mind: 1) don’t lift ‘your shoulders when inhaling, 2) inhale as slowly as possible to avoid tension, 3) take in only the amount of air you need to play the phrase at hand (do you really need a full breath to play a one measure phrase?), 4) avoid excessive mouthpiece movement during quick, mid-phrase inhalations, Additionally, Reinhardt told us to start playing at the peak of the inhalation without delaying the attack. When you say “Hello” to somebody, you don't inhale, wait abit, and then blurt out “Hello.” At the peak of your inhalation you speak without delay, and trumpet playing is no different. #5 Rrsroxse (Vimearion oF tie Lies) — This primary playing fictor is the key to progress in all departments of trumpet playing. ing to chops “remember” that fresh feeling. When practicing, get in the habit of resting before you're tired. #7 Rrcanpine Pent Tosts vo *Retax"— Dr: Donald S, Reinhardt used to instruct trumpet players “Psitiely no peal toes wile under my ‘urelag” Granted, there are players who have played them for years with no bad side effects (and even claim benefits), and there a reason for that In Reinhant’s Piet stem, he categorized various éembouchure types, and of the four types and five subtypes of éembouchures he catalogued, there is only one subtype that seems to get away with pedal tones. For the other types, the majority of players, pedal tones can interfere with embouchure development and cause embouchure distortion difficulties. Using pedal tones is your choice. (I played them for years and my chops were only getting worse every year. haven't done them since 1978, when I first saw Reinhardt) For pedal tone players who don’t seem to be able to develop a powerful high register, try this instead: when you feel a need to relax and loosen up, play some low chromatics (Rig.2 below). Rapid slurring, many times in one breath Fig2 PpFig. Note names and subsequent octaves in this book are based on this aga > ol C1 @2 Benja Blanes benjatrompeta@gmail Co spell epesnte = = The lowest G is GI, the lowest #8 Your Foca Por — Dr. Donald S. Reinhardt used to instruct his students to raise the “hub” or center of their range. Think about it—if you want your comfortable range to be from F#L to #4 (sce Fig.3), then logic would suggest that you would want to make the “hub” of your range C2 (concert By tuning note). C2 is in the exact center between F21 and F#4. Now, if you always pick up your cold horn and play C your first note of the day/first note ofa practice session/first note of your warm-up, you eventually make that the most comfortable note to play on your trumpet. You've chosen C2 as your facaf point, and eventualy it will be the “hub” of your range. For those players whose embouchures are not developed to the point where they ean easily make C2 the foeal point of the Spiderwebs presented, each study has the option of using G2 as its focal point. [The G2 drills can oceasionally be useful for advanced players on days when its necessary to “take it easy” after grueling playing schedule, but generally speaking, it’s best for them to start no lower than the C2 drills. The drills in this book are divided into sections as follows: ction EI Warm Ups. 4 ction EJ Embouchure Stabilizers ve Section I Single, Triple & Double Tonguing 2 Section EJ Cantabile/Performance Studies somnmmnenne 39 Section By Technical Studies essen Section IC Bach section has drils centered around four® focal points— G2, C2, E2, and G3—as in the “Spiderweb” diagrams in Fig. mpression Studies 56 Figa G2 ning cram a oe ao ober se text on 13) CC, the second G on the horn is G2, ete drills, the Spiderweb approach is an excellent way to build various aspects of brass playing while developing range and endurance in the process as this book demonstrates, In Fig. , notice that ascending chromatie scales use sharps and descending chromatic scales use flats. This is musically and rotationally correct; however, this book does not always “think” that way. Many choiees of accidentals are to assist in the player's ease of reading and thinking. Isn’e this just a Reinhardt book in disguise? “Many elements of this book are right out of the teachings of Dr: Donald S. Reinhard. The underlying Reinhard principle of this book is that it is embouchure compression and not the low register that is the foundation of all registers, Breath attacks for enhancing the response factor, tonguing before slurring (when working on tongued and slurred drills together), Spiderwebs, the deb-geb syllables for multiple tonguing, and the concept “erescendo-while-ascending/decrescendo-while-deseending” are just a few examples of Reinhardt “embedded” herei Make no mistake, this book was not written by Reinhardt, only influenced by Reinhardt, “Doc” told me that he grew to regret using the term “system” when he named his brand of teaching The Pivot System as he discovered that there are 3s many “systems” as there are students “This book isn't a “system” — its an approach to warming up and practicing that, over a long period of time, will ebuild your chops “from the middle out” rather than “from the bottom up.” It really works if you pat in the time and effort. ‘Tae rma re a eT Ta PT a #9 Tue “SPIDERWEB* — As shown in Fig.q (above), the “Spiderweb? (@ term coined by Dr. Donald S. Reinhardt) consists of wo chromatic seales starting at the same center point and moving alternately in different directions (up and down simultaneously). ‘When used asa series of starting points for various types of “Five focal points in Section EJthe Cantabile/Performance Studies. 4 Ifyou start your practice day with this book and do the recommended number of drills out of each section for a long period of time (weeks or months), your playing will become noticeably better in all departments. Keep chugging away — you'll be glad you did. Good luck! bh ‘bs (hei,Benja Blanes benjatrompeta@gmail.com 4 Section BE Warm Ups: sare your day with any one ofthese warm ups, then move on to Section 2. For your initial attack, use a HOO “no tongue” attack, then two legato notes (DOO), softer as you descend and louder as you ascend. Storsly (1=60) @ HOO poo OO. 2 Hoo pee peo 2 la. up-mf 5 al 3 # fa simile 2 2 2 fe © lear cD she al 3 is = ind a a Tad 7 7 Teel a tS er a = TT i co Play some ow state (ertome ofp) and Res Slowly (J=60) C2 HOO DOO poo 2 HOO DOO DOO 2 mpm trap : ‘ a simile 2 2 2 7 Tost m 7 Tissot ° = Tosa 7 = teed 7 3 io ca i ist 4 ties 7 = Tred +. = tired a ra test 7 = ies o a iss 7 = Tavsel i te Tere & 7 ier fs = fest = cm Tiel 7 inter os © er % eT I ve tbesar 2 2 2 Play some os sbromats (atom fn 2) and Re rs 2 brat 7 ae boredBenja Blanes benjatrompeta@gmail Os Ifembouchure development permits, make your focal point no lower than C2. Do not tolerate strain! Slowly (J=60) £2 HOO poo poo 2 H00__pE0__ DOO 2 ‘mp-mf 7 fl . © a ie * lel . = iar 5 iva Ip i ot 5a = = a my = Torsad Ply same ioe chrom (tom ‘of pg 2 and Re * ia a = tra Slowly (J~60) G, 100 p00 poo A 00 p00 OO > 1d. mpm + ira . : ‘ear simile 2 2 2 7 Tat 7 " treat * © Tosa 7 % isa = = trowel - = tered * teat be PT 7 cn iret Ply some ie bron (btto ‘fg 2 and Ret i ca Toro 7 7 TorvedBenja Blanes benjatrompeta@gmail.com © Hilfor your initial attack, use @ HOO “no tongue” attack, then three legato notes (DOO) and then slur the remaining notes. Slowly (1263) G2 HOO DOO DOO DOO a oO HOO _DOO DOO DOO a Oo simile oO a a a a Play me kerma ————$ = — “2? hemor. 3) and ——— boBenja Blanes benjatrompeta@gmail.com 7 Reminder: Make your focal point (starting note) as high as possible for your stage of development. Slowly (J~60) Q HOO Doo Poo DEG, ——__™ A__He0,e0 e000 A Ply sme fs chromatice. —— (baton of pe 3) ond RestBenja Blanes benjatrompeta@gmail.com 8 BE These warm ups (2a, 2b, 2c & 2d) are a variation of Reinharde’s “Legato Tongue Spiderweb Warm Up.” Slowly (160) RD 100 Doo DOO PEG_\ C A "eEEEPE0DEG__ a 67 7 3 Pleysome lw cromancr, — (Gotta ofp. 3) and RestBenja Blanes benjatrompeta@amailcom Slorwly (J=69) o> 100 DOO DOO DOO 100 DOO OO DOD a @ 2d. a 5, — ma 35 Pay sme rama SSS (stone ofp 2) nd RestBenja Blanes henjatrompeta@gmail.com 1O [fj This is a “quick” warm up for days when you are pressed for time. Start with HOO breath attack, erescendo 2s you ascend and decrescendo when you descend. Do these as slowly as possible while playing the whole drill in one breath. When slurring (or tonguing) wide intervals, strive to keep your head as still as possible. Bobbing your head up and down when slurring or tonguing wide intervals is like shooting at moving targets. Moving targets are much harder to hit than stationary targets. Keep the “weight” on your lower lip, particularly when slurring wide intervals. Slowly 396) @ 3a. Ply me es chromatics (ut of 2) and Rest ly ome i cromtics (atom af p.2) and est Slowly E2 3c. ° e a 2 "5 Pley ome lw chromate (eta pg.2) and est 5 5 a 5 13 Play ome ke cromatis (Guten ofp. 2) and estBenja Blanes benjatrompeta@gmail.com “This dril is meant to be played very slowly (J=6o or so). Your focal point needs to be played at a fairly constant moderate) 1 volume that is softer than the higher notes yet louder than the lower notes. The higher you go, the louder the note, and the lower you go, the softer the note. This develops aperture control and is an extremely important factor in developing range. Keep this in mind when doing the following drill. Again, you need to only do one of these warm ups a day. If you're able to comfortably make C2 your focal point and skip past the G2 drills altogether you are encouraged to do so. As discussed on the previous page, when slurring (or tonguing) wide intervals, strive to keep your head as still as possible. Slowly (3=60-96) GQ 4a. Slozly (J=60-96) 2 oe — Play some chromate. (bottom of g.2 and RestBenja Blanes benjatrompeta@gmail.com n a scceure sizes not something we can control using sheer willpower. We can tain our embouchure to contol aperture size by keeping in mind the following fact: when you play (on a transparent mouthpiece) Cl at pp, C2 at mf, and C3 at f,an observer can plainly see that the aperture size is approximately the same size forall three notes. Therefore, during our practice time, when we decrescendo when descending and crescendo when ascending, we are correctly training our aperture and are increasing our chances of developing consistent range. Its hard to be consistent when we're blowing on a wide open aperture. Slowly (J=60-96) R2 ——. 4 7 Ie 2 aI 4 Play some oo cbromatiy (Gott 9.3) and est I cs rs 4 ley ome es chromatic (betta of p.3) and RestBenja Blanes benjatrompeta@amail.com Breath attacks throughout this warmup. a Play just fast enough to accomplish each line in one breath. If debopmen peri, play these dvi a per his mel. u » 85 6 are} 4 (6a) 4 Ths-88) lay some low chromatic (bottom of pg.2), and Rest.Benja Blanes benjatrompeta@amail.com “uo Breath attacks throughout this warmup. Sb! Play just fast enough to accomplish each line in one breath. a 4 Sb. ° ° 3 T5356) lay some low chromatic (bottom of pg.2), and Rest.Benja Blanes benjatrompeta@amail.com Breath attacks throughout this warmup. Play just fast enough to acct nplish each line in one breath. 7 * “ lasa8) 4 lay some lowe chromatics (bottom of pg:2), and Rest.Benja Blanes benjatrompeta@amail.com | He 9 Breath attacks throughout this warmup. sd. iP Play just fast enough to accomplish each line in one breath. If deselpment permit ply these dvi a per the abuse made b —— Gs 4 Sd. bb Fs 7 4 i lay some low chromatics (bottom of pg.2), and Rest.Focal Pointers—Onward and Upward! This is just a bunch of stuff that I had trouble fitting elsewhere into this book, Bear in mind I'ma devoted, long-time student of the late Dr, Donald §, “Doc” Reinhardt, and pretty much everything you find in here you'll find in his teaching, ‘writings and publications. For instance, vibrato. Vibrato is great ‘on the gig, but leave it out of the practice room. And when you do use i, develop a hand vibrato. The last thing you want is to be one of those elderly trumpeters who has ‘been sing a jaw vibrato so long that he cane shut it off This page is also a place to drive home points made elsewhere in this book, like the matter of resting as much as you play ‘when practicing, For instance, set your ‘metronome at 2=69 for the Cantabile section of this book. When you're done playing Finlandia, sing it to yourself (or ‘out loud if you like) at te same tempo (same amount of time you just played) and then dl i in the next key. Sustained work can be very demanding on the chops, so rest is extremely important here A practice log is a huge help for those ‘of us who don’t readily see progress. When wwe track our practicing (including start and Bish times, number of practice sessions in a day, exact exercises played, metronome ‘markings, how far we got in the various technical studies, ete.) we are far Les likely to get discouraged, Dental impressions! Doc Reinhardt recommended that, at our next dentist visi, ‘we get full dental impressions ofall our teeth, upper and lower. If we ever have an accident resulting in los of teeth, dentists simply give us new teeth that “look good.” But they might not be so good for our playing. Ifthe dentist has a model to go by, hhe can give us replacement teeth that will be close to those that were lost, lessening the chances that we'll plummet into a playing spin from which we'll never recover. Granted, the time and trauma caused by having teeth knocked out will require time off the horn, and for most of. us, coming back from a long layoffs very difficult in itself, even befire considering the healing that would have to take place after an accident. But coming back after all ‘that time off on dlfferent teeth is apparently 4 gamble that Reinhardt knew was not worth taking, and thats why he told his students at their Oriewtation and Analysis eri to get dental impressions made, He told us to do this every 7 years because we {go through a complete dental cycle every 7 years, and essentially our teeth are different ‘enough in 7 years to make the kind of | difference that would stack the odds of that gamble against us. “Mouthcorner inhalations: these are very important to the well-being of our cembouchures, Reinhardt found that most ‘of the chop difficulties his students had were due to the way they took a breath, especially those quick, mid-phrase breaths ‘Once you get your mouthpiece into playing position, breathe wirbour disturbing the placement. The less you move your ‘mouthpiece during a breath, the less work your chops have to do getting back into position to play. Players who essentially take the mouthpiece off the lips for every breath have to put it back again, and when that happens for many quick, mid-phrase inhalations, the player is “hitting himself” in the mouth with his mouthpiece again and again, Ifyou keep it right there when breathing (without changing your horn angld), your endurance and range will improve. It ‘might not happen immediately, and it may feel a little funny or restricting at first, but ‘once you have made that a normal pare of your playing, you will be glad you did, Embouchure compression is quite frequently misunderstood. Itis the “pinching power” necessary to hold the li together so they ean buza at any Frequency. To produce a low note or a very high note, the lips must be together so the air can ‘make them vibrate. Reinhardt used squeakers, the Putty Ball Routine, the “pencil tick” and buzzing to strengthen and refine the vibrating points so they will develop the ability to vibrate at higher frequencies. “Babies grow up” is one way to think of squeakers. When you first start dloing them, ies hard to imagine how this will ever lead toa better high range, but when done consistently over a long period of time (months and years), you will definitely notice that you're able to “throw your gut” into some of those notes you ‘used to only wish for. Stay with itt Buzzing the lips without the horn or ‘mouthpiece is how Reinhardt had us do it. ‘When you put the mouthpiece on your lips, youte sore of “pinning” the lips down against the teeth, and even a faulty” ‘embouchure can produce a buzz through the mouthpiece. But when you buzz. with ‘no mouthpiece, it up to your muscles 10 ‘maintain that strength necessary to hold the lips together so the air can make them vibrate. There’ no place to hide, and you really work out the muscles necessary to develop and maintain real chops. ‘The Superman Syndrome afilcts many ‘trumpet players, and this book requires you to get honest with yourself I'you take on ‘more than yout stage of development can handle and then start having wouble with this book, chances are you'e fooling yourself. You think you're Superman but Benja Blanes benjatrompeta@gmail youre not. Take it easy, do some of the ‘ills chat aren't quite as demanding (hey, ‘even I start on the G2 drills sometimes) and resta litle more, Do those lov ‘chromaties very sofily many times on one breath, and maybe do that more than once. You have my permission to be human, ‘This book’ title, “Poca! Point? refers 10 the first notes of your day. Raising the “hub” of your range requires time and patience. Itcoudd take months, especially if ‘youre one of those who has alway’ picked up the horn and played Cl as the first note ‘of your day If you've been playing that way for years, this book emul be a shock to your system. You may want to doa “hard dayeasy clay” schedule at frst with this book; thavis, play out ofthis book on Day I using G2 as ‘your focal point, then on Day? star with CL ‘or whatever youre used to and do your “usual practice stuff” Alternating days eases the ‘change. We dont want to jolt our system; we wane to gradually reprogram itso tha the ‘comfortable center of our range is higher Exercises 3 and 4 in Section 3 are not ‘written out completely for a couple of reasons. First, it would have taken probably. an additional twelve pages to cover all you are to do, and second, I'm not sure how I ‘would've notated any more notes on one line than what you see there. Please don’t ‘wuss out on those drills just because they leave something for you to figure out. Its just adding notes chromatially for you to double and triple tongue. Also, its probably bette if you don’ always star ‘your chromatic multiple tonguing on the same note, so taking those litle chunks through the Spiderwebs is good for that, Part of this book (the Tecbnical Studies) ‘was really written for me, For the past few years I've had a terrible problem training the ring finger on my right hand, and although the Clarke’ book is terrific, 've played those so many times in my life that at 52,1 just had to have something els. ‘The plus for everybody else is that you get to spend more time in the minor keys and maybe even learn the key signatures for them. Oh, yes, the point about this is that Reinhardt taught us to lay our fingers fat across our valves, but P've had trouble with ‘making that my “normal” way of playing. Ifyour fingers are just sluggish, my suggestion isto not mess with their position, just spend more time playing technical studies very slowly at first so that you develop good habits. Always use a metronome when doing technical studies! For more discussion on this hook, go to sww:boptism.com (Piva Publishing FAQ link). Ask questions and get answers. — Rich WilleyBenja Blanes benjatrompeta@amail.com 8 Section FA Embouchure Stabilizers pray any so dvitls out of this section then move on. The purpose ofthese is w play tongued slaved, high, lov, loud and soft all on one eabouchue seting, Donor pause to “switch gear” between tonguing and slurring. As these drills become more strenuous, feel free to increase the duration of the rests. The natural tendency while playing these is to play the closer intervals at a faster tempo, and then gradually slow down for the wider intervals. “This iso 2s og a you play eath line as one continuous exercise witht svoping. Crescendo as you ascend, and descrescndo a8 you descend. Alias avoid stain, Also, do these: frst time pp J=96-120 — ff and on the repeat: ff — a la. 158-601 Pty some ow chromatis (etme ofp. 3) and estBenja Blanes benjatrompeta@amail.com c to increase the duration of the rests. Always avoid strain. [J 19 = ff and on the repeat: ff —— As these drills become more strenuous, feel Also, do these: first time pp om a oe : 1b. ” ae » eT 36 a - 5 T6401 Ply some ls chromate (Geto of 2 and RestBenja Blanes benjatrompeta@amail.com In the practice room, when you crescendo as you ascend and decrescendo as you descend, you develop aperture control. —— ff and on the repeat: 7 ————————pp. Also, do these: first time yp — J-96-n0 E2 a, le. — 3 30) * . . 5 158-60) Play sme fs coma. (tine af 3) and estBenja Blanes benjatrompeta@amail.com polite — get up from the table while you're still hungry.” Rest before youre tired. J 21 ———— ff and on the repeats. ff —————————— pp. 3 As “Doe” Reinhardt used to s Also, do these: first time yp —— Jeo6-20 B 1d. ‘ vo} ” © ie e 7 so) e 7 (S51 Pay sme fi crams (ata ofp 3 and ReseBenja Blanes benjatrompeta@gmail.com and on the repeat: ff — # 1 ——P Pn BY Pay some ew —_ Faroe Cart When embouchure development permits, try making your focal point no lower than C2, 1062) and Rest 2 2b. —~ : =. 1 SS a a fe) and Ret f 1 i emis (tom ‘pg and Ret Play some fs chromatic bottom ofpg.2) and RestBenja Blanes benjatrompeta@amail.com Here’ quick version going up (and down) in whole tone increments B3 — ff and on the repeat: ff — Also, do these repeated: first time pp 2-96-120 f (orrionat: nevEar excirTH NOTES) Pp. a t y 5 Play some sre chromate boron of 2) ‘and Ro Ply ame dee cbromatce eto of 93 ——— ‘and Res Ply some de chromate Ply some de cbromatics bento a 9g 3) ‘and ResBenja Blanes benjatrompeta@gmail.com This drill was assigned to Donald S. Reinhardt by Madame Longee Miguelle at Curtis Institute in Philadelphia in the early 1900s. Here's an example of how to do this using 4a.—[1] do the minor second starting on G2 (tongued then slurred on the repeat) [2] do the ‘minor second starting on G42 (tongues! and slurred on the repeat; [3] do the minor second starting on Gb2 (tongued and slurred on the repeat). Continue through the G2 Spiderweb (linea. below) in this manner with plenty of rest. Next time you do this, do major seconds and do them through the Spiderweb as explained above, One interval per day through your focal point's Spiderweb is sufficient. Ako, when repeating: fre ime pp fan on the starred repeat: pp. @ 4a, Jep-m 2 4b. J minor second Tongue the fre rime and sur the repeat cee he ft time and lage ripe. Taig fee inary major second =>. 3B a x =p" = rerey poiettiereye ior tied be met = terre Sete eee major third Gee Pee ibe yg tie heetey: (SSeS Serta mee perfect fifth minor sixth ieee it major sith + 2 minor sevent be major seventh eS Si eee 7 . Ply soe es chromatic (bottom of pg.2) and RestBenja Blanes benjatrompeta@amai Ht Bs LE sere °RGNEssene L301Benja Blanes benjatrompeta@amail.com 26 By 4 ioe] Play some le chromates (tottom of ng 2) and Rest. ce c eas u mp-mfBenja Blanes benjatrompeta@amail.com a 7 Issa) % % om oF Toys)Benja Blanes benjatrompeta@amail.com Play some le chromates (tottom of ng 2) and Rest. Se. mp-mip > $ + 29 ” # Bet a a rs 4 Tas)Benja Blanes benjatrompeta@amai So ° 3 oF Io3-06) Tan) Play some lors chromaties (bottom of pg.2), and Rest.Benja Blanes benjatrompeta@amail.com 8 a [ners PERNMEasone 3 5d. mp-mf 5 s $ 9 1° in # Ts961 ro # a 4 Tesi)Benja Blanes benjatrompeta@amai oF rap) ns m4 15 16 Tana) Tao) Play some low cbromaties (bottom of 6.2), and RestBenja Blanes benjatrompeta@amail.com ¥ Section Eq Single, Triple & Double Tonguing do any ne dvitl in this section and move on ‘This is a very demanding routine, both on the chops and the tongue. Lengthen rests as necessary to stay fresh, Even if your focal point is G2, start with the C2 drill to help shorten your tongue’s back stroke. Once your higher tonguing is responding, work on your lower tonguing keeping the tongue back stroke as short as possible, Use a clean, pointed deb for single tonguing, @ la. a SS a Single ‘Tongue Staccato (Ternary Farm) Single ‘Tongue Staccato (Binary Form) § =e cs ae mee. ” Also do this triple tongued (deb-deb-geb). Also do this double tongued (deb-geb). emeeae > ——- a 1b. Single Tongue Staccato (Ternary Form) Single Tongue Staceato (Binary Form) theca se wo tbegeereereeere « ‘Also do this triple tongued (deb-deb-geb). Also do this double tongued (deb-geb). eae 2 fe 2 #2 = Single ‘Tongue Staccato (Ternary Form) Single Tongue Staccato (Linary Form) Also do this triple tongued (deb-deb-geb). Also do this double tongued (deb-geb). ue mm @ tka oe fe 2, = fe 2 fe 1d. Single Tongue Staccato (Ternary Form) Single ‘Tongue Staccato (Binary Form) pgeetensense # € i Siti a fpsearacaraae PES) a Also do this triple tongued (deb-deb-geb). Also do this double tongued (deb-geh). Here's an abbreviated way of working through the above Spiderwebs (any of the four, not just C2 as shown): (0p). Allegro (Ghort, pointed note, with short length of tongue back stroke) 1 To be applied | >, (mf) Moderato hort, pointed note, with medium length of tongue back stroke) " the above 3. (ff) Adagio Ghort, pointed note, with long length of tongue back stroke) routines— rotate through)? Fst poi not, with graded length of ong back seek) these daily { 5 f= Por, pointed nore, with graduated length of tongue backstroke) 6. p——=_ f —— p Gohort, pointed note, with graduated length of tongue back stroke) ‘This page is a modified version of Day 9 in Tbe Reinbardt Routines—a total plan for embouchure development. In the Reinhardt version, this started on C2 and went up chromatically to C3 and back down chromatically to C2 again. Then the next phase of it started on C2 and went down chromatically to C1 and chromatically back up to C2 again. The version on this page permits you to start on your focal point and work upward and downward in Spiderweb fashion. Play some loo chromatics (bottom of pg.2) and Rest upon completion of this workout.Benja Blanes benjatrompeta@amail.com y ch deb-geh for double tonguing. Make sure the deb is a pointed ‘” sound. Use of these syllables will give [E33 you very clean double tonguing over time, will shorten your tongue’ back stroke, and will also prevent your tongue from moving forward between the teeth and/or lips. Lengthen rests as necessary to ward off fatigue. Also, at the bottom of each Ex.2 page are guides for using that page as a model for adding single tonguing and triple tonguing (use deb-deb-geb syllables for triple tonguing). A solid flow of air (consistent air speed) will foster cleaner tonguing. Let your multiple tonguings “float” on your airstream. lay some low chromatics (bottom of pg-2) and Rest upon completion of this workout. d=100-132 single and duble tongue @ 2a. Rotate through dynamic at bottom of page 20. s Triple tongue using the deb-deb-geb syllables as below. You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately. = Triple Tongue ~ ‘Single Tongue - ~~~ Double Tongue- ~~Benja Blanes benjatrompeta@amai Play some low chromatics (bottom of pg.2) and Rest upon completion of this workout. 100-132 single and double tongue orate through dynamics at bottom of page 20. # ‘Triple tongue using the deb-deb-geb syllables as below. = » 3° You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately. 2 eee a pple Puna cEPPPEE es EE CPFESEEL ORES SEEECOIERSSSEEEOCOEEE S$ Single Tongue ~ = Double Tongue ~ Triple Tongue ~Benja Blanes benjatrompeta@gmail.com Play some los chromatic (bottom of pg.2) and Rest upon completion of this workout. 10-132 single and double tne 2 2c. Rotate through dynamics at bottom of page 20. ‘Triple tongue using the deb-deb-geb syllables as below. rs 3° You can also modify this drill to include single, double and triple tonguing in one phrase (below). Play quickly but accurately. b obesie 3 sieedeei 3 - Single Tongue Double Tongue ‘Triple TongueBenja Blanes benjatrompeta@amail.com 36 lay some low chromatic (bottom ofpg.2) and Rest upon completion of this workout. Bl 4100-132 single and dahl tongue 5 clerterereplerteres = 2d. = = 3 + Rotate through dyna at bottom of page 20. ftettetiveretteres a geeaerniepecer eres = ee # = ; ___tpbeterteeretterees Fn ——I oT 7 2 , — ‘seteeeeceetectes = s he deb-deb-geb syllables as below. tif tttece Sse Play quickly but accurately. Single Tongue - = Double Tongue- = Triple TongueBenja Blanes benjatrompeta@amai ‘This drill has three lines shown; you are to continue adding notes in the same manner as notes were added to the frst line to make the second and third lines. There are two options to practicing this page: 1) the first line can be taken through your focal point’s Spiderweb, or 2) the first line can simply precede the second line (followed by the third line, then add notes to make a fourth line, etc.) If you choose option 2, you will want to keep track of your starting note so that on subsequent days, you can use this procedure moving your starting note through the Spiderweb based on your focal point. Play some los chromaties (bottom of pg.2) and Rest upon completion ofthis workout. “To work some triple tonguing into this drill, also do these as shown in this modified version of 3b (measure 2 below): d=100=132 single and double tongue @ 3a. Play through the G2 Spiderscb or mave on toner line a a See directions aloo. aA Conte a dct (aber) 2100-132 single and double tongue A A Play rough the C2 Spiderweb or move onto next line See directions above. aA Conte as directed (above). 100-132 single and double tongue a 4 32 sing a 3c. Play through the E2 Spidersveb or move on to next line a See directions abore. a Conte a dred (abo) dJ=100-132 singe and dnb gue G 3d. Play through the G3 Spidered or mace onto next line See directions abooe. ym = Gontne as dred (abo)Benja Blanes benjatrompeta@gmail.com 38 This drill ean be accomplished with the same two options as Drill 3 on the preceding page. Be smart—practice long enough to get a workout, but rest often enough and call ita day early enough to always be building up, not tearing down, ‘Many players find it helpful to alternate “hard” practice days with “easy” practice days (every other day). @ 4a. a E2 = ea = t 2 te £& ue mm) le Gp ofohe = ote | 2) fe, 2 #2 £ 2 Here are some double tonguing models. These are presented in one key; play each through your focal point’s Spiderweb. 10-132 single and double tongue 3 ete, — continue adding nates inthis fashion Here are some triple tonguing models, These are presented in one key; play each through your focal point’ Spiderweb. J 2 single and triple tongue 5 ere. — continue adding notes in this fasion Ply sme bs chromatc(btom of p:2) and Rest.Benja Blanes benjatrompeta@gmail.com Section EJ Cantabile/Performance Studies Piay any three or four of these as musically 39 as you can. Balance your practicing: if you've played mostly in the upper register today, chen play some ofthese in the lower and middle register, and vice versa. Use as many breath attacks (HOO) as possible, and make your legato tongue sound as smooth and gentle as possible. Do not underestimate the importance of including some cantabile work in your daily practice. Record yourself often and see just how beautifully you can play this melody. A good quality recording reveals much about how we sound that we cannot hear ourselves when were actualy playing, so dont take this poin lightly. Play ome la cbromatits (bottom of pg.2) before frequent rests during this section. Finlandia Jean Sibelius =69 1900 cl 1 dolce, legatoBenja Blanes benjatrompeta@gmail.com 4© El Finlandia was chosen because it can be played very beautifully and only spans a major sixth, Feel free to use other tunes with about the same range span for your cantable work. A wider range span (especially more than an octave) will make the transposition to several keys far more challenging, so that’s up to you. Due to space limitation, only the first four keys of each Spiderweb are shown. Continue past those first four keys if you wish. This is the only section of the book using a Cl Spiderweb. This is to help balance the high register drills some players may have overplayed (you know how trumpet players are). Finlandia Jean Sibelins| 900 de6gBenja Blanes benjatrompeta@gmail.com Do not overestimate your endurance. Play it safe! Stop when your chops still feel good. The higher you play when doing Ei 4 your cantabile work, the longer your rest periods must become. Over a long period of time you'll notice that your endurance is improving and that your chops feel good just about all the time. IF you are always beating your chops to a pulp when practicing, you are invariably doing far more harm than good. You want trumpet playing to feel good; stop and rest while it still does! 1900 dub Finlandia Jean Sibel a Ib. dolce, legato®Benja Blanes benjatrompeta@gmail.com Finlandia sea Sis 269 _——— — dolce, legato : ; +Benja Blanes benjatrompeta@amail.com Finlandia Jean Sibelius Ei 43 1903 dolce, legato" * 7 +Benja Blanes benjatrompeta@amail.com 4 Section Ef Technical Studies ‘ty to complete one full Spiderweb for one of these technical studies per practice day. These are minor key technical studies—most players have mastered their major key technical studies. These are presented using the G2 Spiderweb; on the second page ofeach are the other three Spiderwebs if you choose to use one of them for this work. Every key has been shown, so if a higher octave is needed you can read from the one an octave lower. Play some lw cromatis (bottom of px.2) before frequent rests during this workout ‘These are Dr. Donald S. Reinhardt’ Tizelve Standard Articulations, use them with these technical studies. » DD + 1 + 1 FTTVITT) pinharit used say, “Become your oon +O s Tn & « GoaD «TT iia” 3706 9 TNT TT orem) TT certain time spells CONTROL? Uve a firm lefi-band grip to keep your orn from moving; this keeps the mouthpiece on the chops and helps clean up your technique. pers @ la. simileBenja Blanes benjatrompeta@amai ml ue ulBenja Blanes benjatrompeta@amail.com .00.aM xan » TIM Use Dr. Donald S. Reinhardt’s _ — ~ “Twelve Standard Articulations 2. ITT) 5. FTD2. . 3 TID with these technical studies: | » ARTA wom) pe TT pears a simileBenja Blanes benjatrompeta@amai lay some loo chromatics (bottom of pg.2) before frequent rests during this workout. a r) iv Ip iF 0 Fas 1c. ib i ii GB < 2