Boptism, Music Publishing | Pivot Publishing Edlitions | The Reinhardt Routines total : embouchure development plan ty Dt, Donald & Reinhanlt compiled and assembled by Rich Willey consultation and editing by David H. Sheetz Trumpet in Bp Toh Boptism Music Publishing 4? 23 Oakwood Road 4! Candles NC 28715 2 baptismcoms) Boptism Music Publishing Pivot Publishing Editions The Reinhardt Routines a total embouchure development plan by Dr. Donald S. Reinhardt compiled and assembled by Rich Willey consultation and editing by David H. Sheetz Trumpet in Bb Boptism Music Publishing + 23 Oakwood Road ¢) Candler, NC 28715 4) boptism.coma IS coke PIVOT PUBLISHING a subsidiary of Boptism Music Publishing . 2 Boptism Music Publishing, 23 Oakwood Road, Candler, NC 28715 + 828-665-1405 Copyright © 2007 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 Music Font: Don Rice’s Golden Age Text Font: Horley Oldstyle Display Font (cover): Goudy Handtooled & Goudy Oldstyle irsthprinting; 20075 05 (978 St 575 66) = be a4 382:‘Table of Contents Foreword How to make the most of this book Attitude Toward Music evi Daily Prologue: The Pivot Stabilizer wl Oe 2 Day 2 ceccccccccccceccecsceseseseseesessseseesesssnsssessssussessssussessasusissssesesieessssesiensacsnsuessasessusisisessusisisessesusisessisucssessesicisossessisensesesseente 6 BS 10 Day 4 ceccccccscccssscsscssesenscsevscneesecscsecsccecsesecavsessceevsessseecsescaesecesaceseeesaserccessseteeecssreeecasteeseasireesasatersessieseseavaesesegeaseesaeersnes 12 UN 15 Way,0. i @hambets TO 18 False Fingerings ........c.cccccccccccescecccescsescscsesceeececscscscseseseeseecscecscsesesesescscscscseseseessvesscecseesseseecsessesesenseseseesseseeeees 19 Day 7: Tongue Placement and Breath Focus Day 8: Breathing / Synchronization of the Tongue and Diaphragm Levels Day 9: Attack and Tongue / The Length of the Tongue Stroke .......ccccceeesesesesceeesesesesesesceseenesseseeeseeeseeessteseseaeseseeses 25 Conclusion of Daily Workouts: Advanced Form Studies ........c:c:cccccsccscccsseseseseseescseneesesesescecseenenseseseseseesieseseeseseasaseeeenes 26 Modes of Form Study Practice: A New Key A Day w..c.ccceccscesessessesssnescsesssnescsesesneasscenssassceessaseessssasecensnsasecenenseseceees 27 Supplemental Routines ce 28 (Warm )pi5¢; art OTe 29 Warm Up #57, Part TW ....cccccccccccccseceseeeeseesscscseseseeceesssecseseseneeseecevesecsesesescecevacseseneseseesecacecieneeseseeeasssasienenseseseaeaeaeenens 30 Warm Up #57, Part Three ......ccccccc cece cece cscscesesesecesecscseseeesseecscscscseessescscesecscsesessssescssssseseesessesesesssesesenesscseseeeaeeeees 31 Warm Up #57, Part Four ......cccccccccccc cece cscsescseeeeecscssscseseseseseevscssscscsesesesevscesssscseeseessessssecessesessesessssisisiesesseseseseiseeees 32 Warm Up #57, Part Five ..c.cccccccceccccsesessesesesesesesenesceceevsesesesenenceceecesecsesenenseasevesecieeensseseasesaseceenenseseseasasceeesnseseseasaseeeees 33 The Track Routine ........cccccccesceseseseseesesesesnesssesessessscsesuessscsesuessscsesusisscsesusisscsesusisscsesusisscsesusisscensisissssestecsssssieusssessiticisee® 34 Compression Drill II] / Air Chambers For Trumpet ......0.0.0.0ccccesessscsccceeesesescececscseeesesesesescesseessesesesssseseesessesessenneseenes 35 Form Studies In G: Three Octaves .......::ceccecssessessesieseeseesseseseesesesiesessssesesssssssnssnssssssessesssessessseiseessersseissesseeasesserenencents 36 Daily Finger Dexterity Drills... ccccccceeseseseneneneesesesesesesenensesesesesesesenensesevaseceesensnsesessesesecensnseseaeasaseceenenseseseaeeseeeeees 37 The Shake ... Elasticity Routine with Transition Eraser .. 39 Tongue Gymnastics: Single Tongue, Double Tongue and Triple Tongue . 40 The Complete Air Pocket Routine 41 (Cantabile Playing: |h0o%, Buttery tr 42 IVIg ViclaniChOly DaDVi 42 StAvdust .....cccccccccccccecccteeseseeteseseseseseseseesesessssssssssessssessesssieisesssisisessnssisessnsesssiseesesisesessesieesessesieeees 43 Him Getting sentimental Over Vou 44 Memories of You ...cccccccccsececssesssssseseseseseseseseseseseseserenenseecsescsesesesenseesesvsesesenenseesseesesesenenensseveseseesenentets 44 iiForeword Donald S. Reinhardt: “Where does his greatness lie?” Those who will be reading this Foreword today and in years to come will, I am sure, have their own answer to this question. If you've had the privilege of studying with him either in his studio in New York City during the 1940’s or in Philadelphia during the decades to follow until his passing in 1989, this “up close and personal” experience may answer the question thusly: “He was a genius,” “He changed my life forever,” “I owe it all to this great man,” “T would not be playing today,” “He brought me to my full potential as a brass player AND a musician.” (These are just a few of hundreds of testimonials collected throughout the years in conversations and correspondences sent my way.) Others not so fortunate to have this experience, notably the second generation students of the aforementioned, have the “torched passed on” to them as they teach and/or perform using his principles, techniques and knowledge. Here lies the future of the Reinhardt Legacy, manifested in the on-line website of the newsletter Pivolalk’s stated purpose, “Keeping Alive the Teachings and Spirit of Dr. Donald S. Reinhardt.” To the young and old of you who discover Dr. Reinhardt for the first time through this book, to the tried and true of you who studied with Dr. Reinhardt, and to those of you studying and applying your learning from the latter, I, as a student of Dr. Reinhardt for almost 60 years now (I was 15 years old when I took my first lesson and am still studying “with him” to this day), wish to answer the question “Where does his greatness lie?” as I think it to be. It is not found in the list of great players who have studied with him — yet it is! It is not found in the many written works left behind for all of us to study, such as The Encyclopedia of The Pivot System, the Mechanisms books, the Concone Studies or the Pivot Manuals — yet it is! This is what I think: It is found in myriad brass players throughout the world who are playing, and playing well, in their own communities, teaching in their schools, expressing themselves to the fullest of their potential with a workable (and in most cases, exceptional) embouchure, discovered through The Pivot System and the genius of Dr. Donald S. Reinhardt. It is in the “unsung” and the “unknown” and the “amateur” and the “average joe/joan” in his/her day-to-day playing situations, (and not exclusively the “greats’’) that I find the answer to my question: The playing joy that each discovered for themselves through the legacy of Dr. Reinhardt. Therein lies “his greatness.” This publication, “The Reinhardt Routines,” subtitled “a total embouchure development plan” is the closest thing I have found to expressing the genius and greatness of Dr. Donald S. Reinhardt. Used as a method book, rivaling (in my opinion) Arbans and Schlossberg, any sincere student will find an uninterrupted, progressive development of his or her embouchure, encompassing all aspects of brass playing and techniques necessary for the well-rounded performer. Welcome to the world of Reinhardt. David H. Sheetz August 28, 2007How to make the most of this book The Nine Day plan in the first twenty-seven pages of this book has been used, in some shape, manner, or form, in Dr. Reinhardt’s teaching since 1942 and has always been very successful when practiced diligently and intelligently. The cardinal rule in practicing Reinhardt’s Routines is two-fold: (1) Rest as much as you play, and (2) Never tolerate strain. For best results, keep a practice log. The first time you go through Day 1, you will play it exactly as written. During the varied rest periods marked (+) which occur on the first three days, DO NOT ALTER, MOVE, OR ADJUST THE MOUTHPIECE CONTACT PRESSURE UPON THE LIPS. In short, become a SPHINX or MUMMY-LIKE as far as mouthpiece placement and pressure are concerned. 1. Set the tempo of each drill so that it consumes one complete playing inhalation; the suggested tempo markings are approximations. Always INHALE SLOWLY! This is necessary to eliminate any “nervousness” or “quiver” in the sound and will be an invaluable skill when taken to the performance. 2. In all advanced playing concentrate on control to the very end of the playing breath. 3. When strain is experienced from insufficient rest periods or the high register becomes too rugged physically, place a pencil mark where you stopped and take a rest. After the brief rest period, leave the day’s work and move on the the Advanced Form Studies. When you pass through the book again, try to work past the various marks and in this way you can keep score on your progress. Carry this out whenever necessary. Note these stopping points in your practice log, also. 4. At the end of each daily exercise turn to the ADVANCED FORM STUDIES (pages 26 & 27). When completed, take ona new key. This is intended to create CONTROL and cover every conceivable articulation. 5. At the end of Day 9, return to the beginning and repeat. Go through many times and then “weed out” the drills that mean the most to you. Now work on these drills for several weeks, then go back and keep repeating the entire process. 6. In passing through Day 1, 2, and 3, each time gradually increase the duration of the (+) rests—for instance, the second time through this book, Day 1 will be one beat longer on the (+) rests, Day 2 will be two beats longer, and Day 3 will be three beats longer. The third time through Day 1 will be two beats longer on the (+) rests, Day 2 will be three beats longer, and Day 3 will be four beats longer, etc. Keep track of these gradual increases in your practice log. 7. USE NOSE AND MOUTHCORNER BREATHING. 8. AMBITIOUS STUDENTS CAN TAKE THE ENTIRE BOOK ONE OCTAVE HIGHER THAN WRITTEN. 9. Under each group are important reminders that need to be Looked Over, not Overlooked. 10. Throughout the day, and EVERY day, away from the instrument, THE TRIO OF DAILY CALISTHENICS is a necessity in your embouchure development. Do not take this lightly. This work has been “time-tested” for many years and you will certainly be rewarded “playing-wise” for your efforts in this regard. Here are some concepts from Dr. Reinhardt you might want to apply to your practicing: * The Stagger System is a good way to practice. On the first day, “dive in with both feet.” On the second day, “cool it.” If you alternate your hard and “easy” practice days, over the long run your progress will be steady. * The Touch Upon Procedure is the best way to keep many facets of your playing alive. If you “touch upon” all the playing points you feel you need to work on every day, you'll prevent any one area from getting a little rusty. + Every brass playing day, balance the following areas of playing: something high, something low, something tongued, something slurred, something loud, something soft, some sustained (cantabile) work, some compression work (squeakers), and some multiple tonguing. If you can maintain a balance of these areas, your embouchure development stands the best chance of proceeding smoothly.Attitude Toward Music Dedication, not frustration, is imperative for all successful students. It has been said that there are no great teachers, only great students. If a percentage can be applied to the teacher/ student's success ratio, it may possibly be, at most, only 20% on the teacher side. The study, teaching and performance of music has no place for selfishness and personal aggrandizement. Your attitude must always be one of cheerful cooperation with your teacher and fellow musicians or you cannot partake and receive the endless benefits of which music is capable of giving. You should always feel that it is not what music will offer you but what you are capable of offering it. This identical principle is vital for the successful undertaking of any artistic endeavor. The feeling of giving rather than taking develops and maintains mental repose and a deep inner satisfaction. In addition to the factors just mentioned, self discipline, cheerfulness and, above all, a sense of humor are musts in the playing and teaching categories of the music profession. viNote: this drill is very strenuous. Daily Prologue: Mr stipe Sa fj = first, adding it weeks or months later Th e Piv ot St abilizer ‘as embouchure development permits. 1. When executing descending slurs, always keep the “weight” on the lower lip. This prevents the unwanted “jaw drop” for the lower register and is the key to all-around correct brass playing. 2. Make certain that your entire embouchure formation has sufficient lubrication; that is, use a wet (not dry) embouchure. It is better to over-lubricate than to under-lubricate. From time to time, use a handkerchief (not your sleeve) to wipe the pore oil off your lips. This is especially important when playing outdoors or under hot stage lights. Saturate the front of your upper and lower teeth — the corners of your mouth — and the entire outer embouchure with saliva. Carry this out in the exact order as presented and do not deviate. Above all, do not neglect the saliva lubrication of the front of your upper and lower teeth; check on this throughout your playing. 3. Strive to find the core of the sound; then and only then make any necessary pitch adjustments. 4. Think of the vowel sounds ah for the lower register, ooh for the middle register and ee for the upper register while slurring. When returning from low to high, pronouncing slight “w” helps eliminate the possibility of a “bump” (ooh — ah — wee). 5. Diligent mirror observation must prevail during your initial playing; however, on the repeat, keep the eyes closed to enhance the all-important “feel” factor. 6. Because the lip aperture (the space blown open) is approximately the same size for a pianissimo third space C as it is for a forte second leger line above the staff high C, it is obvious that it is both mechanically and musically correct to crescendo while ascending and decrescendo while descending. Remember, the longer the ascending slurred interval, the “thinner” the lower note must be. This principle is vital in order to teach your embouchure “aperture control.” ~ . Strive to minimize and eventually eliminate all unnecessary movement. 8. After each repeat, rest for a few moments at the (@)). Rest as much as you play! DOALL DRILLS (0), (2), (1), & (1-2) — USE BREATH ATTACKS (no tongue) AND NOSE BREATHING ON THIS PAGE Lento na a a ) HOOO (no tonguey > HOOO (no tongue) <> ) simile TT nm oe oo rN Optional . i) Se Segue to the page of the““Day” you're up to. «@ The Trio Of Daily Calisthenics This group of studies must be accomplished right forefinger in vertical fashion against the center _ time for the jaw protrusion. Many performers have without the use of the mouthpiece or the instrument. of the embouchure formation and inhale a normal achieved thirty seconds in a few weeks in this regard. ‘The three drills presented may be carried out at any playing inhalation via both mouth corners, never from 3. The Pencil Trick This workout is quite time, not necessarily during the practice period. This the center of the embouchure. At the peak of the strenuous and must not be overdone. Its purpose is to work is quite strenuous; therefore, initially, do not inhalation, remove the right forefinger contact and increase the performer's embouchure compression or spend more than four minutes on any single routine. simultaneously buzz a higher pitch for the duration of _ pinching power. An unsharpened, wooden pencil with However, after several weeks of adjustment, the time your playing breath. Carry this out in the identical an eraser is required for this study and practice. Place periods may be extended. The embouchure area must —_ manner three times and each time strive to buzz a either end of the pencil against the upper part of the be thoroughly lubricated with saliva throughout this higher pitch, then rest. After the rest, buzz four upper teeth. Fold your saturated embouchure around practice. This presentation is over seventy years old measures of any ballad of your choice. Do not use a the pencil and strive to support its weight in as near a and thousands of performers have attested to the tongued attack for this routine. Simply form your forward horizontal position as possible. Initially, do not playing benefits from the consistent daily usage of embouchure and blow. attempt to sustain the pencil in this position more than this procedure. Do not take this lightly. 2. The Jaw Retention Drill This drill is to four seconds. Remove the pencil and rest. You will feel 1. The Buzzing Routine This routine is to strengthen the muscular structure of the jaw. With the __ the results of this work in the entire chin area, also develop and maintain a firm embouchure area, firm membrane (the red) of the lower lip slightly inward and _ underneath the chin. Over a period of many weeks mouth corners, and maximum embouchure vibrating _ over the lower teeth, protrude your jaw as far as build this up to about twenty seconds. I repeat, this is fluency. In the manner prescribed by the Pivot comfort will permit. Do not tolerate strain. Sustain this _ strenuous and you are not from outer space; therefore, System, sustain a buzz of a middle, concert Bb to the —_ protruded jaw position for ten seconds, then drop the _ take heed to this warning. None of the three routines fullest extent of your playing breath. A split second _ jaw, open the mouth, exhale rather forcefully and rest. should receive more than four minutes of your time at before the sustained buzz has terminated, place your Over a period of several weeks, extend the amount of _ the outset; build up the time factor by degrees. Copyright © 2007 by Pivot Publishing Co., Candler, NC, USA, a subsidiary of Boptism Music Publishing International Copyright Secured, All Rights Reserved, Duplication without express written permission of the publisher is a violation of US Federal Law.2 — The Reinhardt Routines Day1 Remove the mouthpiece fro Andante HOOO ihe fe whan ewhanpeone HOOO (no tongue) + 2 (no tongue) rN * 1. Pp —— pp pp ——___. p —— simile + 2, ON * 2 —_—_—_—_— =——_=._ ——_—_—_—_—_—_—— ———— REST’ During rests marked (+) do not breathe or raise the mouthpiece pressure. This develops breath control. Start playing very softly using minimal mouthpiece pressure against the lips. Do not tolerate a pinched, nasal tone quality. Always inhale slowly—use nose breathing at the outset of your playing day. At the (7)), decrescendo while maintaining control to the very end of the playing breath. Largo HOOO . (no tongue) lanl * simile rm * to * . — ann focal — —— p—pp——p — eS SS = = TT ~_S_ REST eS ee eS Remove the mouthpiece from the lips when (2k) appears. Always 1. Place your mouthpiece on an embouchure formed with buzzing firmness, 2. Inhale slowly (use nose breathing or mouthcorner breathing to avoid embouchure distortion under the rim of the mouthpiece), and 3. Play. Again, when you come to the (@)), decrescendo while maintaining control to the very end of the playing breath. Largo HOOO (no tongue) * simile lan * tr * : — ae —_—_— (an > > 1S os a = REST a — —_ Maintain a good soft tone quality in the lower register by slightly increasing the quantity of air. Avoid any form of strain when starting daily practice. Use just enough mouthpiece pressure against the lips to insure a firm lip contact (the “hermetic” seal), but use a minimum of pressure at all times. At the (7), decrescendo while maintaining control to the very end of the playing breath.The Reinhardt Routines — 3 Begin “mixing up” your initial attacks using HOOO, DOOO, and TOOO from this point forward. Largo > > > > " REST > > - > > ‘. REST = > - > — ‘. REST hd = = ea a i REST =< = a = = = ; REST So oC 7 > : o Ss : REST pp —. . —_— ———__ di ws * So = Mm * t mn * a ° SI See REST ea > re a aa =< FF During rests marked (+) do not breathe or alter the mouthpiece position. Remove the mouthpiece from the lips when the (*) appears (you may also add beats to these measures as needed to prevent fatigue). Follow the (1) Place (2) Inhale (3) Play procedure on the preceding page. Do not allow a bump or jolt between the slurred notes in the above drill. The level of the tongue and the level of the diaphragm moves up to ascend and down to descend in a slurred passage. Largo + > ON * Se i — (GN * 5. simile + co *% — + = nm * In all drills, crescendo while ascending and decrescendo while descending as this is musically and mechanically correct. Observe the (+) and (s*) markings exactly as you did in previous exercises a REST4 — The Reinhardt Routi eee Remove the mouthpiece from the lips when the (2k) appears. Use standard fingerings and/or those indicated below the notes. a Largo | me sm mn * - mn * 6. mf>p —— > > Pe sop tooo oe i - REST 123--------7-- Make sure to observe the brief rest period after the completion of each drill. Frequent rests are every bit as important as the parts played. Largo _ ON * emmle ON * 7. ° 2 mf = p—————-_ nf > ——_—_ SYS = x —————O * \ «x REST 1-3 1-2-: ———_—__ ae a — —___—_ — ___— Avoid letting the mouthpiece position shift or bob when playing intervals. Strive for smooth slurs and an even tone quality. Largo _ rr m™ * ne Py —m * 8. nf= f——————_ p= mf>p ——————— i = ® oO * 1 REST ——_—X—a—a—s—s—s—s—s—s—S—XX—X“—___ ——————S—S—S——————— Nothing can be accomplished by straining; in fact, straining may cause permanent damage to the embouchure. Additionally, avoid excessive mouthpiece pressure. Largo oO CO = b, ba. * = : * 9. Oo SS a _ To > —— = —_rREST Rest periods must become longer as the drills go higher; stop if the lips show the slightest fatigue. Use diaphragm pressure, not lip pressure.mA cy The Reinhardt Routines — 5 OC * a * 12 0 0 Tit. 23 2 2 A —————_————— rit, a rit. ay teeta 12 i —————— OOOO ———-_ | a loee Upper Register Fingerings (Memorize) Experiment to find out which fingerings give you the best results. Every instrument is different; check for timbre, pitch, and “slotting.” 10. o | 23 2 | 12 ol 2 | 23 0] 12] 3 113 2 | 23 o| 13 Ifa great deal of mouthpiece pressure on the lips is necessary to produce your upper register, then use the “hands off” policy for all tones above top C until you have reached a further stage of development. Study these fingerings carefully before attempting drills 11 and 12. Omit 11 and 12 if your present register does not comfortably permit their execution. Nothing can be accomplished by straining! Play 11 and 12 three ways: (1) slurred no tongue, (2) repeat legato tongued, and then (3) marcato. Your rest periods must increase now. ee * -_——_— « Ziastee he ete 11. p——_f p———f p———f p——_—f Do not attempt to ascend beyond your comfortable range. Positively do not overbreathe when playing in the upper register. ON A~Lo— 2 be + t poe = P Se pp — a —_—_— Playing soft, chromatic low tones following high tones promotes necessary relaxation mentally and physically. SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 «16 — The Reinhardt Routines Day 2 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 2” workout. Largo HOOO (no tongue) t ~~ * simile + a * \Be EO REST During rests marked (+) do not breathe or alter the mouthpiece position for six beats on Day 2 (two extra beats). Remove the mouthpiece from the lips when the (2) appears (you may also add beats to these measures as needed to prevent fatigue). Largo HOOO + ‘ (no tongue) oN * simile y oN * 2. P—— pp pp-—P -————_ Pp —_—_— ——_—_ t lo * 13 + 1) fen ee is + 123° (\ * SS ae a" REST Use standard fingerings and /or those indicated below the notes. Play these drills with a straight tone; save your vibrato for later in your playing day, and develop a technique for hand vibrato rather than “lip” vibrato. Too many older players possess a “‘lip” vibrato that has become involuntary and thus uncontrollable. It is far easier to develop a good habit than it is to break a bad habit. Largo re * » simile Ty * 1 ON * fn (nee 8 fay 13 nr * 123 in * REST See Se —————————— CU Keep the “weight” on the lower lip while executing descending slurs to avoid the unwanted “jaw drop.” Remember to think of the vowel sounds ah for the lower register, oh for the middle register and ee for the upper register while slurring.The Reinhardt Routines —7 * simile + — * REST Begin “mixing up’ your initial attacks using HOOO, DOOO, and TOOO from this point forward. Do not practice immediately after eating. Practice without concentration is just a little better than no practice at all. L argo. GN * ~ simile ee D * i REST SS => > Do not play with the legs crossed; serious physical injury may be the result. Largo m- . a 6 oS * us > gO * 6. mf =P p—mf——p =—_—— = —— meee * ae Too. ON * a> ili = OO * —= = — ——_ REST Regardless of whether you play a wet or dry embouchure formation, you must learn to master the feeling of relaxation.8 — The Reinhardt Routines 8. See * —— * cae continued on next pageThe Reinhardt Routines —9 23 7 * ms ON * a DO NOT INHALE, ——. DO NOT INHALE =e> Iss | _ ae >> > fS=E Eo = nf f>mf>mmf— > . —= = mfmf—— — ~ simile Tu >>> >>> f= oS = <== ss == —— —_. = “te —_ 4 a oA > > > > > > f= = —— LF SS OE Cé*REEST 10. Lip slurs very softly using fingerings indicated. 0 — Presto ay * 1. co pp ——____ “Fe “tT —_—_—_— REST SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 110 — The Reinhardt Routines Day 3 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 3” workout. Largo HOOO (no tongue) +2 Cr * simile +2 (ae *k P—=—ppP Ppp

> mf —_._ f_ ——_ rf simile SS aX a ; . a . > > > a Fe cae REST ——_[STS SO _——— ee When dynamics are observed, range and endurance will benefit immensely. If dynamics are ignored, embouchure damage may result. Play up an octave if this is within your range and no strain is involved. DO NOT INHALE 7 ———~ | ass =F a a eee 6. f———_ nf ——— f f—_ of —— Ff simile or >> a * lO * ss eS —————— —_—_— —/ _—__ REST continued on next page Key fluency is a must. Pitch and third valve slide technique are of the utmost importance. Starting slow and being patient are crucial.12 — The Reinhardt Routines ee FeeE rr REST ——_—- O—_—_ _—_—_— — SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 1 Day 4 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 4” workout. =O m_* Qn (uae —_== —_— == ————— ===. a A a en a ee ee: —_===. ——— —_=_ < oe REST oe — Alternate between pp p mf f —test frequently. Remove the mouthpiece from the lips when the (:) appears.The Reinhardt Routines — 13 =f ee a 2. A —_—_— oer —_—_— 7 CN ———— —=> Ma? 2 ; nn * KE = x ~~ ——=—_— SS —=—_— ————__—i*RREST Do not attempt drills beyond your register. Do not tolerate strain. On long, ascending slurs, start softer and crescendo on the upper note. ON oN 5 oN ASSO AO ESF So —" * 3. SS } lw: * h | | ) al ial ——————— REST14 — The Reinhardt Routines = DO NOT INHALE DO NOT INHALE Optional Optional > a Optional p> = te : * Z te * tional Optional = a > > > REST Breathe only at the rests. Do not allow the mouthpiece to shift or bob on its lip contact. Stop short of fatigue, as this builds up playing reserve, but strain will destroy endurance and range. DO NOT INHALE >t > * fe z % 5. = = # cm = , Zo og 3° 3 z 3 tional > -s * - -e # ~e « = = (optional) = (play) £ -+@ « > = a * £2 a = ae fe t 1 = oe 3 so REST Co Strive for equality of tonal timbre in the different registers. Tenths properly studied promote lip contact, equality of tone, intonation accuracy, etc. Breathe only at the rests. > > SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 1D ay 5 The Reinhardt Routines — 15 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 5” workout. HOOO (no tongue) 1-3 (aN 23 tr ON ON a a p< mf —p simile ——~ — ———_ ——_— ON ON 12 ON ON BS G22 s sees Second Week Third Week ‘ourth Week Fifth Week Sixth Week Also do these tongued first and then slurred on the repeat—do not stop to “switch gears” when going from tongued to slurred. This is a must! Eliminate bumps or breaks in slurred groups. Use minimal mouthpiece pressure. The tongue level necessarily changes while slurring. Allegro {i ce } as many times as the breath will permit. Rest frequently as you go higher. Nothing can be accomplished by straining. lanl * 2. REST simile Cl * Enharmonic REST * REST REST REST f * REST continued on next page16 — The Reinhardt Routines REST Enharmonic lm Enharmonic # Enharmonic (Optional) # (Optional) (Optional) REST * REST Positively do not attempt any drill beyond your register. This must be built up over a long period of time; any strain prevents progress.The Reinhardt Routines — 17 —~ * Allegro { $izecato | as many times as the breath will permit. 4. REST simile a * REST REST REST REST REST When commencing your practice day, always start by playing softly and increase in volume gradually until all dynamics have been covered. Never practice immediately after eating. Whether sitting or standing to perform, from the hips up, maintain the same slightly arched spine (backward), and keep the head slightly back as this is the correct brass playing posture. SEGUE TO PAGE 26 wer18 — The Reinhardt Routines Day6 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 6” workout. Air Chambers It is the purpose of this section to give you a more thorough understanding of the relationship between correct false- fingering and the “air chambers” of the instrument, thereby showing the proper use of the false-finger combinations. When speaking of an air chamber, we are referring to the seven original chromatic finger combinations used to descend from low C to low F sharp: (0) —(2) —(1) — (1-2) — (2-3) — (1-3) — (1-2-3). Starting from any open tone on the instrument and descending six semitones (half tones), using the above finger combinations in the same order, constitutes one air chamber. If this fingering is used to descend chromatically from all open tones on your instrument, every possible finger combination will be covered, with the exception that the tones produced by the (1-2) finger combination can also be played (3). Generally speaking, all (3) valve fingerings are entirely too flat, and the (3) fingering is not considered a part of the air chamber. Faulty intonation prevents the use of some of the finger combinations prescribed in the following drills; however, a thorough knowledge of this subject is absolutely essential. You should use false-finger combinations for the following reasons: 1. (Convenience) 4. (Intonation) to simplify awkward finger combinations that to aid intonation in certain keys. The smallest arise in the playing of certain progressions in a degree of pitch recognizable by the unaided rapid technical passage. human ear is called a comma. A diatonic whole tone, for instance C to D, consists of nine 2. (Closer Air Chamber) commas. A diatonic half tone, C to D flat, to facilitate better slurring through using a consists of four commas, and a chromatic half finger combination that provides a closer air tone, a C to C sharp consists of five commas. chamber to the next tone to be played. If you Hence C sharp is one comma sharper than D slur from middle E (0) to high B (2), and then flat. To the average good musician, the ear takes repeat this using E (1-2) to high B (2), you will care of these petty deviations. The notice that the latter fingering makes the slur Tempered Scale, as found on all fixed-pitch significantly less difficult. When you use the instruments, (piano, etc.), is void of these (1-2) finger combinations for the middle E, you differences; therefore, the Just Scale is the only are using a part of the G (above the staff) air true scale. This can be easily proved on a chamber, thereby making the slur one air chromatic stroboscope. chamber less. Because middle E is slightly sharper when played (1-2), relax and blow 5. (Adaptation) slightly flatter. By adopting a fingering in a to perform in certain keys where the open closer air chamber, you can often prevent instrument (0) would be found too flat in pitch. cracking or breaking of the slur, especially when your lips are fatigued. 6. (Ease Of Execution) to produce rapid or smooth execution on any 3. (Better Blend) passage that is played softer than a forte to blend tonal color: for example, a phrase may end top line F to fourth space E, in which case it is better to use the (1) to (1-2) finger combina- tions (not breaking air chambers) than to use the (1) to (0) finger combinations breaking the air chamber. Also, the tonal color does not change since both notes are in the same air chamber. The slur will be noticeably smoother as well. dynamic level. When the false finger combina- tions are played too loudly, the tone sounds nasal, stuffy and choked. A false finger combination should seldom be used when a tremendous volume of sound is desired. originally written by Dr. Donald S. Reinhardt in 1942The Reinhardt Routines — 19 False Fingerings Do these (1) Slurred as shown (2) Staccato (see form on page 20). 0 lal O12 [A Ogee [\ 1 oO 1-2 0 23 Oo 13 0 1-2-3 ex a a Use indicated fingerings throughout this entire routine. o 0 lanl 0 2 rN ot tN 0 12 0 23 0 13 0 1:23 REST Be extra careful about intonation when using false fingerings. 0 ; 5 5 Cs Va 0 12 1 0 23 1 0 13 (aN 0 123 (en REST This group of studies is extremely difficult to execute properly. Do not underestimate the importance of this routine. 0 » {2 1 4. REST Use a minimum of mouthpiece pressure at all times. 0 ON 0 : 0 F ht es be iit eS het whe 5. 0 ON 0 ON 0 . | pee fh bees bei bo REST The Bbis entirely too flat with an open instrument, but this is to be mastered as well.20 — The Reinhardt Routines 0 | | | be 2 et 6. 0 ee | | ow He) 10. 5 2 eS © 0 6 REST Rapid Single Staccato Tongue A The purpose of this routine is to acquaint you thoroughly with the false fingerings on your = instrument. False fingering is valuable in certain rapid passages, and assists in ironing out a tose toe smooth, flowing melody. Of course, the intonation must be checked at all times. When playing This staccato form is to be applied to all fortissimo, it is a good policy not to use false fingerings as the tone quality suffers considerably. aleemunaaee SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 wrThe Reinhardt Routines —21 Day7 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 7” workout. ‘Tongue Placement and Breath Focus (Tongue and Diaphragm Levels) Attack Illustration > = > > I, These two a TOOO TEEE TOOO TA illustrations i are not intended Slurred oe as part of your < : playing day o o TAAA® S222 OOO BOAR] ] EEE BRAD OOO BRAT AAA P f P 1, By enunciating the above syllables, the tongue is positioned at different levels, thereby gauging the size and speed of the airstream as it passes between the level of the tongue and the roof of the mouth. Tongue level helps eliminate any undue strain on the entire embouchure formation. Remember, this must be kept in mind at all times until the entire process becomes a habit and part of your “normal” way of playing. 2. The tongue level and disphragm level must be coordinated at all times. In other words, if the tongue level moves, the diaphragm level must also move up to ascend and they both must move down to descend. This entire process must be synchronized (up to ascend, down to descend). 3. Crescendo while ascending and descrescendo while descending. 4. Practice in both standing and sitting positions and always guard against faulty posture. 5. Keep the head back and the spine slightly arched, regardless of whether you are standing or sitting. Do not overlook relaxation, but remember: relax does not mean collapse. 6. Always avoid unwanted tongue penetration between the teeth or the lips. Play the following (0), (2), (1) and (1-2). Play each line as a continuous phrase and do not stop to “switch gears” for slurring. Alle; ‘TO Don’t forget to also play 8 cc T_T herse (2), (1) and (1-2) TT REST > —_——————————__ ff soa?pp ff 3 3 3 3 3 3 3 3 (GN REST PP_—$—$—$— ff pp ff OO REST (PP —<—$———— fh pp ceo ee Se REST continued on next page PP_—$—$—$— ff pp ff22 — The Reinhardt Routines Be sure to also play these (2), (1) and (1-2) 5. 3 3 3 3 3 3 3 3 REST Pp-——_——— ff pp ff Pp —<—<——————————— fs pp of aad 12. a OPTIONAL . Tee et —>S Be... 0 13. 2 OPTIONAL 2 x _- a REST 22 $< i This drill is quite strenuous; as these drills go higher, your rest periods need to become longer. Keep in mind the tongue levels achieved by TAAA, TOOO, and TEEE, and remember that the tongue level changes when slurring even though no direct attack is made. Advanced players should repeat each line (before the whole note) two to four times on one breath. Increasing the length of this drill will increase the benefits of this drill. Remember to avoid strain! SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 1The Reinhardt Routines — 23 Day 8 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 8” workout. Breathing (Synchronization of the Tongue and Diaphragm Levels) Do not breathe or lift the mouthpiece position during the rests in this drill except when the (*&) appears. Lento > ST * nm 000 p—— f——p ff, ff f_ p—— f——p REST Practice standing and sitting utilizing correct posture. Lento > a 7 - ' am Ze — =—E—-_—— ay iy ay p——_ f——p REST In the realm of brass playing, nothing productive can be accomplished by strain.24 — The Reinhardt Routines Lento > 3. fF Lovee fe p—— f——P TAAA TAAA ff REST p——_ f=? ff f. p——_ fp We are working to build up, not tear down — do not attempt any drill beyond your comfortable register. Make sure you always have more “weight” on your lower lip, and keep your mouthpiece from slipping from its anchor spot whenever you are playing long interval skips. Lento > ES * 4. > ff SF p—f——p o> ff if Fe kA 2 oT E NER >—f——" ff ff Lf rP——_f——?p REST 1. Remember, do not breathe or lift the mouthpiece position during the rests in this drill except when the (2) appears. As the attack is made on the upper tone, the level of the tongue and the level of the diaphragm move up to the TEEE position. The upper tone is produced by the tongue level moving up in the mouth when TEEE or EEE is enunciated, and simultaneously the level of the diaphragm must move in and up. This entire process must synchronize. If high tones are played in this manner, the mouthpiece pressure on the lip is greatly reduced. Concentrate on diaphragm pressure, not mouthpiece pressure. The tongue level also changes when slurring (TOOO—EEE-OO0O), etc. 2. Use minimal mouthpiece pressure at all times, although slightly more pressure is needed to play a tongued passage than a slurred passage. 3. Rest frequently as Day 8 is very strenuous. SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 1The Reinhardt Routines — 25 Day 9 Be sure to commence your practice day with The Pivot Stabilizer (page 1) before moving on to your “Day 9” workout. Attack & Tongue (The Length of the Tongue Stroke) Remove the mouthpiece from the lips for a momentary rest when the (2#) appears. Andante = - .= bB aS > * > *> *k> *K> KS KYS Ke * *eo xP * x= 1. ep fp fp fee fee fee fp fee fee fp ep fp fe = S 4S bo 2B 4bB xs eye xe ke > xe ee #D fee fp —offep ~—sffp fp fp fp fp fp fp fee fp ff Single Tongue Staccato (Ternary Form) Single Tongue Staccato (Binary Form) 2 = —— etc., ascend and 3 — = — = = etc., ascend and . . Ere E descend as in 1 descend as in 1 Ascend and descend as in 1. Ascend and descend as in 1. This form may also be used later in This form may also be used later in triple tongue fashion (deh-deh-geh). double tongue fashion (deh-geh). Andante > *# > *€> KK > KS K> KS K> KF > K> KS K> K> *K 4. TE ———™— fp frp fe —sffzp fp > *k#> * > * > * > > * > > *> * > * > * > xD x Ss fee ep fp fp Sp tee fp fp fp fee fp fp i Single Tongue Staccato (Ternary Form) Single Tongue Staccato (Binary Form) 5. = = etc., descend and 6 = = etc., descend and . eee : ascend as in 4 + ascend as in 4 Descend and ascend as in 4. Descend and ascend as in 4. This form may also be used later in This form may also be used later in triple tongue fashion (deh-deh-geh). double tongue fashion (deh-geh). 1. (pp) Allegro (a short, pointed note,with a short length of tongue stroke) 2. (mf) Moderato (a short, pointed note, with a medium length of tongue stroke) ° ve a 3. (ff) Adagio (a short, pointed note, with a long length of tongue stroke) ‘0 the above tonguing routine /p—_ Ff (ashort, pointed note, with a graduated length of tongue stroke) . f = ? (ashort, pointed note, with a graduated length of tongue stroke) .p——____ f ——— ashort, pointed note, with a graduated length of tongue stroke) au SEGUE TO THE ADVANCED FORM STUDIES ON PAGE 26 «@-26 — The Reinhardt Routines Advanced Form Studies (Conclusion of Daily Workouts) Time spent daily on these Form Studies utilizing the Tivelve Standard Articulations is essential work for the dedicated brass player. It may require some time to accomplish this important drill, but persistence will indeed pay off. - Inall articulated studies, become your own severest critic, . Avoid sloppy articulation. Snap your valves down regardless of the tempo you are doing at the time. One Play in two octaves wherever embouchure development permits. 5. Nothing can be accomplished by straining. At the first sign of fatigue, take a short break. To make yourself do a certain thing, in a certain manner, at a certain time, spells CONTROL. G Major (Drill) — also 8va G Major (Scale) G Major (Arpeggio) E Minor (Natural) E Minor (Harmonic) Editor’ note: The first note of any slurred group is accented and the last note of a slurred group is shortened, not chopped. For example, twoslurred, twoslurred would havean accent over the first note ofthe first two, with a dot over the second note of the first two, etc., foreach twonotephrase.Itis"implied’ rather than written when readingmusic. For instance, in articulation #8 (below) in the four slurred notes in succession, the first note is accented and the last note is shortened. Reinhardt alwayssaid that “distanceaddstoduration,” meaning that articulation must be precise, with the accent and short ending of the articulated phrase so the person in the far back of the room will still get the clarity of the articulation. Thus, distance adds duration. David FH. She * Twelve Standard Articulations * 1. Cots oe E Minor (Melodic) E Minor (Arpeggio) 8. G Chromatic OLis2 10. 11. 12. Continue through the keys on the facing page. Play one key per day, or you could play one key per week. There are no difficult keys, there are only less familiar keys. Key fluency (familiarity) is vital. The time to get familiar with all the keys is now.