nee omen Te nr “af Ne | yn GRADED LIP and TONGUE TRAINERS BRASS INSTRUMENTS CORNET oz TRUMPET EP AHP IMIR DAADDOE EL GRADED TONGUE TRAINING GRADED LIP TRAINERS > Grade , Beginner and Teach: Grade 1, Teachers and Pupil am NTIS) wisi) Grade 2. Expect Single Tongu- Grade 2. Busing Pl ng WISI) se NI620) Grade 3. Double ond Title Grade 3. Fi en Tenguing (W612) Se as Exercises for strengthening and Irain- Pere fortron nen io ore aI Teaches the lip to function correct to'the bility of the player. For slow °F ll pottages. A trang and we or rapid ploying, the tongue must tained lip i: prerequisite 10 expe be train technique. ‘THE TRUMPETER’S DAILY STUNT Twenty minutes 2 day of Lip, Aniack, Tongue dnd Scale practice. Keeps a plover ai his best form (W1623) TROMBONE or BARITONE GRADED LIP TRAINERS Grode 2 (W629) 443 ewer ewe eee esse aa 2 se CARL FISCHER2 w 1616 Tongue Training Grade I ‘The tongue of the Trumpeter must be trained for strength and speed by specific exerc: Use only the extreme tip of the tongue. Do not poke it out between the lips. Try back into the mouth with s sharp quick, easy movement. Keep the face and throat a you can. Listen for a clear tone with no windy quality at the beginning. Do not shut tone with a FUTT, FUTT sound. The action is like spitting » seed from the tip of the tongue Try not to be stiff or awkward. Just do plenty of work and learn each number very we + fore taking the next one. Firm but not noisy out, $e Eee SSS No.2. No. No.4. Copyright MOUXIY ty Carl Fischer, Ine. GradeT 0 Copyrtent Renewed.Not drawled Distinct Short notes- strict time sos a ro c=} wi & a Grade T so 3 4 TIIITARTRIVIRRRKKK SKK SPP eee ee eereeeeeeeeeeeceDont hurry No. 10. No.1 GradeI 3092eee R SRS SS SSE ES LTTE TELE GREET ERER No. 12. No. 13. No.14. 6 __Not burried - so — N05, See ee a ee e Grade I sosszMaestoso Marcato « No. 16. = Lr No. 18, eaea4L444KLALELEEALAEAAREREREREEEA=. — =o=F7 at = ae soe pe SSS Sr — Ere aim sexes Sa = No. 49. 2 e No. 21. z TETREKCKRRTRTTTRIRTRRART RRR RR RRR RR RR RRRRRKRKEHPSPSSSSVSESSEESCESO SS SESSOS DESO SESDEOSESEVESESELEI Lf | i | H > he y pope wt Gee ge eeere ae Grade { a0ss3 a R Ss z30832 S & s % Grade I 3 ot S * RETTRRRCRRARRRRKRRKRKKKRRRKRRRRRVIRIRRIRAIAAIRIKKees0saa & DJ Grade 1eR N ATA S AH SSSSSS SESS SS SSSSSIAIIIIIIIIIS V breathe == ror Carry this out by ascending semifones up to G. and down again Tempo di Marcia No. 30. t * iS Se oe aa 7 ‘STeye" oe = saseeee tf adel goseeSe eee ew WSUS SS SCESTEAHHGtaAtngSeegeegeagans Theory Of Tongue Training The office of the tongue in playing Brass Instruments isto mark the Rhythm. Rhythm in- 5 tempo - Speed. Speed comes by the application of Power. Power or Strength comes from Exercise, muscles grow strong by getting tired, The unit of action in Tongue Exercise is a Single stroke with the extreme tip of the tongue. ‘hich must not be protruded beyond the edge of the lips. Power is acquired by increasing the Sumber of consecutive strokes between rests. . The activities of the Tongue in single Staccato canbe conveniently divided into three sections, ‘ston a single tone. 2nd with change of tone and fingers 3rd uneven stroke or dotted Rhythms, For double and triple Staccato we must practice to use the back part of the tongue as fla Fas the tip. The tip of the tongue uses the syllable TU and the back of the tongue uses KU. ADVICE Any difficulty becomes easy if you take it slow enough. Progress consists in learning what you cascot play. Improvement comes from thinking as well as playing. Skill results from. co-ordinating thought 35¢ action. It comes only by constant, patient, attentive repetition. Not by force. The chief obstacle to progress is haste, Not fast but often, not loud but neat, Eeep your lips trained! You can not work well with poor tools. There is no shame in playing slow and neatly. There is no pride in playing quick and slovenly. $ wasteful to wear out your lips to exercise the fingers. Hold the Intr: with Mouthpiece on se chin and practice the fingers alone, in strict time with very firm action. The fingering is the ardest part. Learn each number well before advancing to the next. ‘The quality of tone im Staccato must be a gentle, neat tap; not a crack, or push or shot, Never practice too loud. Copyright MOMXXI” by Carl Fiscker Inc., New York‘ THE SHUEBRUK SYSTEM : an Tongue Training a GRADE II ~ 4 Single Staccato « a Rams aoe CHAPTER I. : C major and A minor « Silent Finger Practice : a « 7 ‘ongue Tired € « ist degre , distpet-not too fast a thesame on 2nd degree | 3rd degree Ath degree 5th degree « then all over again backwards Sth, 4th, ard, 2nd and fst degrees Scale No.2: « SSS a —— 4 & Sa casos Sse re ee == Comyrirkt MCMIXW by Cort Feather Ine., ers ture esq Reeeen Grade 11STR SSSR RRRAAEAEGaS D.C.al Fine Seale DC.al Fine Chromatic Clear- neat - Short notes No. V-Breath sign siart 3 ‘3 o— i sient ‘Then do the same beginning on C sharp up and down one octave and thea on D E> Bh F FtandG and then down again to C. Take breath only at the signs after the first octave. Etude >> >> No.6: a tate P pest ite Se ~ Grade 11 D.Cal FineCHAPTER II. F major and D minor Silent Finger Practice Tongue Tired . ' Ast degree No.1. 2ad degree ard degseo, 2nd degree ist degree ' ‘7th degree 6th degree 5th degree Grade 11Chords Scale g & Grade 11 ye > oO ee 3 w CKREKEREKEKKKEREEEEER PERE REREREE PERE ER ERE REE EYChromatic Slow! clear distinct ates a No.5: ~ if ; were v = ee — wie Seoe she aye aye e oe ‘Then do the same thing beginning on Ab down and up one octave Then do the same thing beginning on At down and upon Bb on By and C. Learn to play it from memory. Take breath at the sigas V Etude > Grade iTste RRR ARS SRR AAAAAAAAAAAAARAAURRD CHAPTER III. G@ major and E minor Silent Finger Practice Tongue Tired No.l Then do the same thing in the same key a tone higher on A down and up one octave. ThenonB, C,B,A and G. Note the breathing signs. Scale No.2: Chords No.3: o 4 os Grade II10 a eT Chromatic No.5: y Repeat inone breath = — sper = ‘Then begin on C sharp and do the same thing up and down one octave. Carry it out on ea: semitone higher up to G and down again, Etude Lively No.6. Grade 11PARAM UT UR P TRUER VEER CHAPTER IV. B) major and G minor Silent Finger Prac Tongue Tired See verre ‘Then do the same thing inthe same key beginning on C up and down one octave. Thenon D,E* and F, then down on Eb, D,C and Bb, Seale No.2; ov . -2 * Scale Maestoso (Slow) Bis (twice) | ard degree Bis ; 4th degree Bis ‘ pth degree Bis tes EES SSS SSS | Then 4th degree 3rd 2nd and 1st degree again. ’ Chromatic 3 + #: + + J No.5 —————— SSS Seep wee Tee ere o TVintinel V 3 times in one breath woe dhs sae suey i= ‘Then do the same thing on Ab down and up one octave Al Bb By C. Etude ‘Tempo di Valse , eSiesers nie aS felicately Gea,RARRARADAAR RARER SERRA AAADA TARTAR TARR CHAPTER V. = D major and B minor Silent Finger Practice ‘Then do the same thing in the same key on E F# and down again. Note the breathing signs. Seale Grade 114 « Chords No.3. Chromatic 4 times - in one breath %) zs etc. oneach half degree up to G and down again NOTE: Whenthe student can do 6 octaves neatly in one breath he bas probably reached a speed a4 > = - sD aS al > - Copyright, MCMXXV, by Card Pischer Inc.y New Fork Nzo18 Tnturnationul Copyright Secured Copyright renewedNo.4. KK Clear firm notes Sas : Nona aaaacaacnar aaaaaaanaaePESTS TTTETTRT TET ETECE EEE T REET ERE TEER aE KT CHAPTER II Silent Finger Practice senileSBERSEREEREEHREERELUELULUULETEUYULUULEULY | ‘ i KTKT KTKT No.4. aS s aCHAPTER III Silent Finger Practice * Slow No. 1. TKTK OT KTKT TK KT 1K No. 2. TKTK KTK TKTEKT TKRTK KTK T KT™KTK SetK KTEK T TKTK KTK TKTKT OO ee ee ee ee = = T KT + KT TKTK xKTK D.C.al Fine = = saneSlow at first | Toth TE 7 = eS KTK 1 TK . TKT KTK TK TK te 71 TKTK TKT TK — KTK TK 7 KTK TKTKTRTW_KTKT Practice double and triple tongueing in the unfamiliar Ki You become abetter musician, you get finger control and you are forced to practice slowly. Do scales in single tonguei and double tongue in the same tempo as up single down double ete Every respectable musician knows all the seales and chords from memory. The habit de- velops freedom in performance. If you have not patience to learn these scales by eur, you should learn to help yourself by writ- ing them out in the same models PRACTICE SLOW and CLEAR Use this model for all Keys below E Flat as Db, C, BY,B>.A, Ab, G and Fe, Istdegree 2nd degree No.4. ARAARNRAARAARAARARAARRANRARANRARAARAARAATUTTE RRS RATA RRR AAA AAA AAD Use this model forall Keys above E Flat as Eh Ft, G, Ab, A, Bb, BS Ist degree 7th No.4., Also the following articulations TLTK TKTL TK ve Carry it up by semitones ete. te ? TLTrK As above Te TK As above, z PRACTI ‘SLOW and Easy For all Keys above D,E, F, F# and G. TKTE For all Keys below D, Di, C, B, Bh,A, Ab, G and Ft —=_. e225 sat SSS SS SSS e TKTK = = . Take one Key each week and var: = ¢ articulation each day.49 CHAPTER IV Silent Finger Practice Andante Grandioso = . dolce >< == = = rit. Sf Lt a Grito pp PC.al Fin 4 Allegro vivace T TK rese. Ur 5 Na038SITIIIS VDDD OEE PEPE erese, _S = KTK .KTK Allegro 3 PSE ® P = ee ee oS a ear os = 2 SS a ial estes Ses reat tres a o Fe 7 Ses = Silent Finger Practice 2 SSS o w ee Spiritoso A a ee = No.4: = Seas eee eel rit. DCal Fine Nooseu CHAPTER V ' Triple Tongueing The studeut should tearn double toucueiag befor he atlenepts triple tonene The difficult keys are for the purpose of makiag yon practice slowly, j Learn to play the syllables Tu Tu Ku clear, distizet aut firm with the monthpiece iss 2 brein hese exercises Leara cach oue very well before goiuss to the neat number: TIKTTK T TTKTTKTTKTRURRUEVERER ETE REE TERETE ETE 13 ee or Spy“ CILAPTER VI Moderato 2 24 No.1. 2% TTTKT TTK T TTKT ae ae TOIT T TTE fn 2038RURRURET RARER R ERRATA T RETR R REE RRR RRA 15 D.C.al Fine D.C. al Fine Allegro vivace J gz No.4. TTKSESS YUEEUEUYEYYEUEUEEEEEESESSSEEeeeeeeeseeeeyreve ' 1 \ Fine +) T TTK > f TIK Vivace Quiek March ™ 3 a 2088QURRA ATR R AT RRR RR RR RRR REE EEE EEE EES CHAPTER VII ae TKITK TKoTKT TT Vivace TK TKITKTNo.3. TTKT TIKT Allegro vivace 2 2 No.4. TTK TTK TKTK co D) TIETK TE »: 2 Nepas19 3 Tempo di Polka MRIIIIVTAIRIAIAAAIARARRARARRARAARRARARRARRERRERERERELAERERE20 CHAPTER VII Chromatic Scales No. 1.4 TTK TTK © — - =. oe Then the next descending beginning on Dj and the following ascending on E} and so on up and down toG or A. Plenty of s/ow practice. Keep strict time with fingers Diatonic Scales Take one Key each week Write them out or transpose by ear a half tone up. Model for Seales in E!and above — — SSS Se lee — ‘Trnspose in E}F Fe G ab Ar NooseSTURT STATA SARA R SSSA TA AAA R ATR AAA A AAAS Model for Scales in D and below TTRTTK Also in Dh C By Bb A Ab G Chords. A common chord is made from the 18 374 and St! notes of any scale. Syncopated Tongueing Learn to write music! Write this model (and learn it from memory) in every Key a half tone lower down to low G. p —— — No, 4. = eae == = So eyetertre 7 geese Tl TKTTET. TK TTKTTKT TW_TK i pata gate c = SS ou cannot transpose it by ear, write it out and memorize them from C to G higher by half from C to F¥ lower by half tones. ‘f22 Theme and Variations. No. 5. Var. I. Var. 5 Var.ITl. Var. Iv. 2OQRQRBAAAEAAAKAAKAAAAKEAEARAKBAAAARARARARAAAAAAAAAAAAMURR Rae RRR RRA ARTA AAR AAA RNA AAS BOOKS FOR BANDSMEN ——_}——_—_. SHUEBRUK’S ERICESem NET ce 50¢ PUBLISHED BY RICHARD SHUEBRUK 332 EAST Be en NEW yiAdvice to Beginners If you sorionsly wish to learn to play a Brass Instrument, it iswise to go to the best Teacher you can find 11 is quite impossible for you to learn to play properly by yourself. You mnay be ever so intelligent and industrious; those qualities will make good teach. ing of greater value to you than to a less gifted person. Be careful in deciding which Instrument to attempt. Your preference is not a sure guide. Consult some musician on that matter,for your teeth aud lips may be better suited to a Large mouthpiece than a small one, There are many important principles and methods of practice which are es sential to achieving skill in Instramental playing, but which are not subjects of general knowledge. Such valuable rules are acquired only after years of ex- it saves much time and many _re- grets if he be prevented by awise teacher from ueing the wrong habit or method. A necessary item of Instrumental progress is the criticism of your superi- ors; somebody (o tell you what to avoid and what to attempt. Also how and why todo it, How eax you get that valuable information, but by personal Tnstraction? The most talented are frequently in need of a demonstration; a chance to hear the thing done; a passage actually played the correct way How can you cone by that, without the presence of an rarnest Teacher? Especially in the be- ginning is this avital necessity. Kow can you tell whether you are playing the correct tone Galtho you may press down tie right keys) by reading about it? Can you know whether your Tongue action is correct by reading about it? If. you have not a keen sense of Rhythm, how will you know about Time and Ac. ‘cent? You must have ademonstration Cand many of them) from a good teacher. 11 is usually poverty or parsimony which deters a person from taking les- sons. The first is pity, the second very bad judgement Of course you can acquire enough toMget by” without a teacher; bat you sre «hindrance to the organization and a nuisance to the good player who” is too kind to tell you so. Think it aver. General Rules for Practice You cannot accomplish everything at o: beginner ones upon a time Stick to the hard spots; the easy places will take care of themselves.What you eamnot do is what needs your attention Progress is certain if you understand why you are doinga certain thing, uid do it slowly many times, Practice has two divisions; the learning and the doing. The knowing and th blowing Don't blow before you know All forcing is wrong. Practice gently but firmly. Dont quit easily, but rest when the Lips are tired. Tt will go better tomorrow, Regularity and perserverance make progress more permanent. It takes twodays 19 make up for one day lost Learn Musie with your cars pri eyes to find out, and the ears to remember. Learn as muchas you can from memory,but be sure to learn correctly. To learn fanlts from memory is foolishness; to learn correctly from memory in- creases your capacity and makes you free. It would be a miracie if you could play well the first time you touched an instrument. Te is just as much a miracte if you practice properly and donit learn to play. ‘The ultimate results are Facility and Endurance. Pacility comes trom re= peating the parts of an Exereise. Endurance comes from repeating the whole of the Exercise. ce. Everybody was a ‘pally, and not with your eyes. Use the aeaeeeeeeeeeaeaeeaeeeeaeeeeeeaeeae oe eee eee ee ee ea @GRR VUU UU V Raa RRR RRR RARE UUs Instructions for Grade I POSITION IN PLAYING. Stand upright. Hold the shoulders back and the head straight. Don't press the elbows to the ribs nor elevate them too much HOLDING THE INSTRUMENT. Grasp the instrument around the valves with the left hand; hold it firmly. Hold the instrument as near as possible at right angles to the face. The right hand must not be held against the Instrument, but the right thumb should be kept under the mouthpipe, and placed between the first and second keys. A person standing opposite the player should be able to see clearly under the right hand and discern the mouthpiece on the lips. Keep the little fin- ger free from any kind of ring or hook. Tip Instr. toward the right hand. These Exercises are designed to train the lips. However much or Little you can perform, you will always do {t better if your lips are pro perly trained Dorit blow hard. Try to get a gentle tone as easily as possible. Don't Squeeze or press anything at all, but hold the instrument firm on the lips. Stretch the lips across the teeth as in smiling. Feel the edges of the lips touching together. Place the mouthpiece as near the centre of the mouth as you comfortably can. Take breath and send the breath be- tween the Lips as though you were saying PU or POO. Youmay use the tongue to start the tone if you do it under a teacher, but otherwise you ave liable to push the tongue too far between the lipe and let some breath into the instrument before the lips begin to Vibrate,and thus get a-windy tone. It is safer to begin with PU or POO and later you may use the tongue to get a more precise, sharp utterance, Be sure to feel the lips touching. ‘The most common fault with beginners is working too hard, or blow- ing too violently. You may be certain that your method iswrong if you cannot get the first tone of Ex. No with euse after a few trials. Be Pa- tient «and do plenty of work; give the lips a short rest now and then. Stick to the exercises as they follow. Don't skip any. They are all ery necessary and are the result of many years teaching. Master One Nunber at a time, Dorit waste your time, and hurt your lips trying to squeeze out high notes. They are no good anyway,even if you get them If you keep to these Exercises you cannot help getting the highest notes on the Instrument, the same as you get strength to do anything else by regular oxevcise, or training. Read this advice over now and then, may save you some trouble and tiBegin from the mouth after every tone, and replace it on the last beat of the th the ATTACK. It is necessary to remove the instrument silent measure, to be ready for the next note. This trains the lips to find the place for the mouthpiece, and to take the proper form for the eeding tone, The object of all ATTACK practice is,to get the first tone accurately, therefore you have to take off the instrument, to make the next note a first note, or now ATTACK. Keep strict slow time by beating the quarters with the foot. This is no harm at first and can be modified or discarded later if you wish, but in the beginning it helps to mark the REYTHM. Playing in strict time trains you to deliver the first note the instant it is required Learn the first four numbers well before you take No.5. Be patient. ris good work if you can train the lips to vibrate on demand in aweek. When you are ready for No.5 you may also begin the next depart - ment, Intervals. In this department you should not ment, because the obj sue ove the Instru- of the Training fs to learn to go fromone tone to the next, higher or lower, You should try to understand that in or- der to get a higher note, you have to make the opening between the lips smaller by tightening the museles, but you need not think of that, all you try to dois, to get a higher tone not by blowing harder,but by pinching the lips tighter together. These Interval exercises are graded very carefully,so that if you work patiently at cach one you wil! develop the necessary power ve- ry soon. Now your daily preetice will be always ATTACK and INTER- VALS. Rest for a few minutes before you begin your book lesson. As you progress in these two branches, you will reach No.6 in T TRRVALS, then it ts time for you to add the third department of Lip training, and so you turn to No.1 “SLURRING.” Now your datly exevetse before you begin your Lesson, will be the latest number in each of the three branches of Lip Training ATTACK. INTERVALS. SLURRING These are the only three things the lips can ever do in playing the instrument. ‘These Exercises cannot interfere with any Teachers work or any Method or Text Book. The sole objeet is to Train the lips so that you may learn easier, and know how to preserve your Embouchure ify come a professional Player. abe-RRR SHUEBRUK'S GRADED LIP TRAINERS GRADE ONE det ATTACK ~ Read h i we ° . Read ee soe ort i det 1 dot notes sharp and bold, the long notes gently, hold it steady and ciear, not noisy and not tim. id. Ts deep breath before long tone. Remove after each tone and wait at the Pauses 7 ant pytight MCMXXIU be Richard Shebrole LIP Training G1 ternational Copyright Secured2 N28 For Attacking tones at various distances. Remove after each note. Keep time. Play yy confidence. et the broaks go by, never try 30 mend them bya second stroke. D0 B with the next one, ff ‘ yy PH a fer | te tiie) OT a” /& wey ne i 5 NO For Attack on the Up-beat. Observe the power signs p & f Sf op P y Ff wot 2’ v NOLO For Attack farther and farther apart. Observe the JS and ps. Remove at the restsand wait at the Pauses === © + oy Pf P shuite LIP Training G1,KA AVA AAR RRR RRR RRR RTT N11 For long distance Attack and three degrees of Power. Remove at rests. Good swell und diminish at Pauses. Work for clear Tone. = N12 To train the lips and ear to locate the different tones which can be sounded with the same keys. Speak the name of each note before playing It 1 7h Position 2 61 Position § 2 Teaming Gel.GRADE I Intervals Dont begin this Section until you have mastered Nos:1 2 3 4 in Attack INTERVAL Practice trains the lips to loosen and tighten for low and high tones. Keep st> Time. Play with confidence but not too loud. Do not remove the Instrument from the m Interval practice until you have finished the phrase. Take breath only at the Signs Y and + rests. Be careful not to shift the position of the mouthpiece or lips in going from one tone the next. Donlt worry about the breaks, make as few as possible; but if you wish to try ab note over again take the preceding low note also. Dont use any forcing or straining. Be pa- tlent. Don't be ina hurry to get to the next number; the better you can play one number the eas: the next one will be. Good tone, easy playing and Accuracy are the objects to strive for. Yo will surely not gain anything by hurrying through. You can only gain time by doing more work tel . intelligently wv att iid yh oy V Take breath at these signs Repeat many times Count the quarter rest and *2+ DNO2 NeQ breath at the rests Observe the quarter rest Keep strict time 245 NOB Observe the quarter rest = ‘Take breath there. Keep tim= y V try to do it twice or thrice in suecession Nos LLP Training @.1 L q \ . . . r i 4 4 ( { { { { ( ( ( ( ( ( i ( ( ( ( ( ( ( { ( ( ( ( ( ( 4 ( ( ‘ ‘RUVEETEETE Rae aaa aaa ATER RTARTA —GRADE I Slurring Don't begin this section until you have got to N06 in Intervals. The object of Slurring is to go from tone to tone without stopping the Sound. You must break a slur in order to take breath, Breathe deep before a long slur. Slurring with the use of the valves is easy enough, but slurring without the help of the & or with the Lips alone is a Special Study (See GRADE ID In slurring with the lips only (as in Nos 7-12) be careful not to blow hard to get the upp note. You must lift the higher tone into place by a very slight Inward movement of the lower Lip, not by blowing harder remember. Use the examples with dotted notes a great deal to hely you in this difficulty. Dost get impatient if the upper note does not come; just keep on ealinly working the same as if it did come, and do plenty of gentle easy work. Make the slurring sounc very smooth, not jolting or lumpy. Be sure to learn the Seven Positions from memory. NOWEE 1 Position eth1% Position Nos tes SH a 15t Position, 48! PositionVPUTUTTET TEETER EER A RAPA RATA AERA R RR RAAT 18 Pos, Do each slur in one breath LIP Teaiing2anes-it Theory of Training the Embouchure Anybody who wishes to do a special kind of work very well must give those parts of the body which perform the work a special kind of training. ‘All work is training in a sease, but certain kinds of work do more good than other kinds, therefore we should do those things the most which give the best and quickest results. Digging in a gar- den Is fine exercise; If one does enough of that work he will grow strong of course, but it will not train him to be an athlete. Special work requires special exercise and tbe training must always be kept up if the worker expects to keep hls ability. An Instrumentalist is a Specialist. In playing Brass Instruments with a cup-shaped mouthpiece, the lips do the principal work, because they must do the vibrating to make the sound. To train the lips properly a player must understand exactly what the lips are expected to do, and which kind of exercise will help him the most. ‘The lips do only three things. We may call these duties the “Punctions of the Embouchure”. There are only three, and each one is quite distinct from the other two and needs a different kind of exercise, or practice. ‘The first Function is called “Attack” practice. This exercise trains the lips to take the exact setting or position to produce any tone that the ear expects when it is the first note of a plece, or when the mouthpiece has been taken away from the lips. Ooprright| MONIT by Carl Pleches, Ins Mew Yosk Tateraational Copyright Secured Copyright RenewedPTET TST TTT TTT TTR TTR 29588—19 The second function is called “Interval” practice. This exercise trains the lips to loosen and tighten in going from low to high tones or the reverse. Both these functions require the sound to be stopped between the notes by ceasing the vibration. The third function is known as “Slurring” practice. This exercise requires a continuous, or uninterrupted vibration, and it trains the lips to keep stretched, in order to keep the sound going while pass- ing from tone to tone. ‘These three functions cover everything that the player ever has to do with his lips on the instrument. It therefore follows that if the Ups are trained in these three ways the player will develop a reli- able Embouchure. Attack gives Confidence; Interval practice gives Accuracy or Sureness; Slurring gives Flexibility and Endurance. A player may practice very regularly for hours every day and gain nothing more from his studies than momentary pastime, but when a student adopts a system like this, he gets control of his lips ia the same way that a good workman keeps his tools in order to do satisfactory work; if his tools are well sharpened he has confidence in his ability to do his work well, but if they are not in fine order the easiest job becomes a wearisome burden. Any person who hopes to attain excellence in anything must be intelligent as well as industrious. He must not only do certain things, but know why he does them. Unless he is intelligent and industrious he has no right to expect Success.29978 -9 General Advice for Grade 2 These Exercises are for training the Embouchure. Practising them cannot interfere with any other Instruction, or methods of practice. Keep your Lips trained and you can learn easier, and do your professional work with satisfaction. A probable mistake in using these Exercises will be, to go to the next cumber before you have learned the former one. There is sufficient training material here to last a good player for a few years. The special benefit of this work is to form such habits of daily Practice that the Embouchure may get to be very reliable. It is not expected that you will learn to play them and then neglect them. They will surely preserve your lips in good condition if you use some of them every day. Try to understand why you do a certain thing tm preference to something else. How much daily? -As much as you can; but if you give the first half hour of practice to your lips you can rest easy. Itis a good habit to begin with about 2 or 3 minutes easy Slurring, to “warm up" Never burt the lips by foolish, obstinate striving when the lips are tired. Take frequent short rests of about a minute. Remember, that blowing a Brass Instrument is simply muscular exercise. All mus- cles gain strength by getting tired and resting with regularity. Only strength will bring Speed and Accuracy. Too fast breeds confusion and too loud destroys control. The way to get Endurance is to very gradual- ly lengthen the Exercise. This is amply explained with the numbers as they follow, (See Intervals and Slurring) It is useless to try to devise “Safety Tricks” or to invent ‘Secret Ways of avoiding a difficulty. You must be bold and fearless in your private Fractice. You dare aot allow yourscif to be too cautious, or you will gradually become timid. Take a chance. Face the difficulty squarely and practise to overcome it in a plain way. ‘What you do frequently you will not fear; it is the strange thing that alarms us all. If the exercises were easy you need aot practise them at all and anybody could play them Persevere; and you will find, that when you are most discouraged. you are actually making progress. “The darkest hour is before the dawn It is just as hard for the other fellow. The only way he can beat you is by more work and intelligence.ERO 29378 -9 The Function of Attack ATTACK Practice trains the Embouchure to assume the exact setting, in conformity with the Pitch and Power of the Tone ex pected by the Ear, for the beginning of a piece of music, or when the instrument is replaced after a rest. To secure this condition it is essential to regard ‘every note as a first note; therefore it is necessary to remove thc instrument from the lips after each Attack. If the first tone is a high note the lips are closed tighter to- gether and if a low tone, they are not so tense or close. For expertness in this practice the tones must succeed each other at greater distances of pitch. The degree of power or loud ness of the tone must also be considered. A loud tone can only be played by sending the breath quicker between the lips, and viceversa for a soft tone. The difference of anticipated power tends to slightly change the setting of the lips and produce a different tone. Attack practice trains the lips to prepare for both these con- ditions of Pitch and Power with accuracy, at the same time. The tone quality, or the time honored exercise of “Long Notes” is therefore an entirely different thing from Accuracy of Attack, but this exercise for Quality of tone is amply attended to in the Pause Measures. It is an advantage to understand why you do certain things, but the knowledge will not supply the place of Practice. Only constant ap- Plication will bring concrete results. The student who conscientiously Practises these Exercises cannot fail to develop a reliable Embou chure and acquire Confidence in playing his instrument.* SHUEBRUK’S GRADED LIP-TRAINERS GRADE 2 ATTACK See Note “The Function of Attack” NO1 OBJECT To develop confidence and accuracy In striking the first ‘Tone INSTRUCTION Remove the instrument from the mouth on the second beat of the meas are and replace it om the fourth beat. This removing applies to 2:4 ‘Attack Exercises. Keep strict Time. On the first beat of the next me tore play a strong, bold, firm, clear, clean Tone; with no breathy windy sound before it. < “CAUTION, °°) Not too short, not too loud, and not cut off at the end with the tor: ay >" np cba > NO2 OBJECT Unaccented Attack. Degrees of Power. Tone Quality. INSTRUCTION Same as N01. Fine crescendo and diminuendo. Try to cultivate s steady, pure Tone. This !s accomplished by striving to get the felies® amount of sound with the smallest amount 6f breath. a CAUTION This Exercise requires many months of daily practice, and can alvar@ be used as a Standard Exercise. It contains all the fundamente Tone-Preduction. Of course do it from memory, and use your nation in producing effects; as Bold, Tender, Echo, etc. * * Wait at the double bar. f nf pp Ff uf 7 Copyrieat MCMXKIIN by Carl Pitcher Ive; New York < < 29978 -9 Interuatioual Copyright Sreuredvt nf pp => simite 2 AD Am N° 3 ORJECT To develop Sureness in Soft High notes after Loud Low notes INSTRUCTION See former Numbers. Make good contrast in power. CAUTION Don't mind the Breaks. Everybody makes them. Do the best you can all through, and try to do it better every day. If it were easy anybody could do it. Be sure to count the silent measure. Don't 0» Jy neglect NO 2. 1p) aoe S>> > 19 1a Sep op te ip hype PP PPR SS Ss La a Sores stinile > - = > > > - > = - 20976-9 - at —™——.. as above P nf = Ff rp ot <_ > as above P a —=fr— —s as above NO 3 OBJECT The Contrast between loud low,and soft high. INSTRUCTION Of course make the rests and pauses as long as you please. CAUTION Don't be discouraged. These are the kind of bits which come to annoy the Artists in the GRAND ORCHESTRAS. Make as many more as you lke for yourself. They are only suggestions. If you find a nasty bit in your part, work over it this way. Do the Passage in many different keys and Inversions, If we do a very difficult thing frequentlyits terrors gradually vanish. Transpose each line half tone up.NO 4 OBJECT For developing broad tone in the higher register, and for a) Attack in Planissimo, This is a good substitate for the rath “Long Notes” Practice INSTRUCTION Remove after each Pause, Bold and broad in Character. Dignified and heroic ip quality * pretty Echo effect CAUTION Biftve to do the three half notes in one breath. You are not ob semove before the Echo, but it adds to the training to do so practice both ways. Add one line after the other until you car all in one spell. Dark Dy a. > Sf po E = Sf pa Sf vee _f »=> fr oN Erer 7 = —fP apsas-13PUTT TET CETTE TERRE ERT TEER EERE R ERE RR RRR RRR RRR NOL 20588-18, OBJECT INSTRUCTION CAUTION GRADE III Intervals All Interval practice is simply to get the power to tighten the lips for high tones and slacken them, for low tones. Practise for good effect, noble style, clear fine tone and accent, with splendid repose and simple, gentle manner. Be carefulto get the notes in perfect tune, In ascending Intervals, inhale before a low tone only, in descending, before a high tone. Do any key inany Rhythm or Style Dont shift the lip or the mouthpiece. Dont move the head up or down, Learn one at atime, and then add them gradually together tocomplete a string of 6 keys without stopping. That is an Endurance Test. The Practice for the Low tones is in Grade 2. > etc. down to low G,Endon E flat Key note.Transpose ‘= Fs NO INSTRUCTION Breathe deep at the rests only. Get broad, full,sonorous low tone. CAUTION All these exercises in Grade 3 are intended for those who can 073 them with judgment, to develop Power and Accuracy and keep : lips in fine working order. They were never designed to be Exhib: Stunts. Use them to train your Emb.,and in this number be carefui nc: move the mouthpiece or lips for high or low Try to play them allas as you can by simply slackening and tightening the lips. Doitalso downxs if you wish ‘Transpose into D: by fusing Fsharp ac¢ © : sharp instead of t * SPP OPP Stiats zasea-t3PUU UCU UTTER RRR ETRE ry Transpose into Es by using BE.and A flat instead of 4 sharps. Goas highas you like Play them in success- ionfor Endurance. NOQ3 The earnest student will try to understand the effect on the Emb., also the special application of each exercise in training. The Octave Skip is always risky. It is un- wise to neglect it because it is seldom used, The Exercise helps you to do other things easier. (inGebeteeites SS ow ‘Transpose in B> by using Band E flat in- stead of 5 sharps same notes, 2as89-18Also in Ab, 4flats i+ stead of 3 sharps. also in Gs NQ 4 These Exercises are designed to form habits of Practice which will secure a reliable Emb. Many difficult Exercises may be undertaken which are seldom encountered in actual playing; to overcome such difficulties increases the confidence of the player and imparts ambition to reach greater Excellence. = A B also is c also iz D v 2esea-13 aeneee004000064064640640640646464646464646464644646444024444044444444VPUVVVTTTT PRP R RRR P PREP RRR R RRR RRREERE ET t8 Slurring Let it be recalled again that these Exercises are for training the EMBOUCHURE. Slurring is the third function of the Embouchure, and differs from the othertwobecause the vibration must be continuous. The lips can vibrate only when they are stretched thin e- nough; consequently Slurring exercise develops Endurance more effectively and quickly than the other two functions. Practise Slurring always to the point of pain in the muscles at the corners of the mouth, and you will always have a strong Embouchure: Slurring also develops a clear bright quality of Tone because it demands such rapid and instinctive adjustment of the lips without stopping the tone column, that the breath flows easily between the lips, does not interrupt the vibration and make the tone sound blurred or breathy. The player should examine Grade 2 for Exercises leading up to these 'NO4 OBJECT Facility in slurring ats, 5ths and etbs. INSTRUCTION Take it slowly at first. Do one Posit: ina breath. Keep out all inter- vening tones between the eths and sths — 18 Position 0 224 Position 2 4th Position 1 2 Sth Position 2 3 as588-186th Position 3 ee “erate as 1 ie pe 8 Flexibility in Long Range NOQ2 When it goes easy try to make It sound like an Arpeggio on the Piano. Dont scree on the Top Note. 18¢ Position 0 go fA £, — 2nd Position te a - = 2 ogee oS — = 2 3 orb == 4th Position 4 2 5th Position 2 3 6th Position 1 8 28683-19, BaeeaeeeeeeeaeaeeeaeeaeeeaeeaeaeeaeeeaeeaeaeaeeeaeaaadadSUV TT TUT T UU UT PUR U PUPP UDRP UDRP P PERU RR RRR RR RD Flexibility in High Register NO BINSTRUCTION It is just as useful to do it slowly, ‘Dont only go through the motions Get it good and clear. — , 2,2 ™— also in Bflat jalsoin JA flat _— - si also in se ip FES SSE ZAG tet BoS = + + + i s'——— e NO 4 Take it easy! Rest when the lips aretired. You can begin at 7 and go upwards to 1 Make many different Rhythms for yourself in eighths and sixteenths. Triplets, dot- ted notes etc. 4t,.EaX - <=, =~ essea—i9Practice A working Trumpeter needs from 15 to 20 minutes practice every day. These Exercises are designed as a sample daily routine. The player can make many 0: himself, but it is positive that they must be along these lines. (a) Lip work. Attack. Intervals. Slurring. Then Rest. (b) Tongue work. For Strength. For precision with Fingers. é (c) Finger work. Without using the EMBCHR: while resting. The Player !s recommended to examine the writers Lip Trainers (see Catalogue at back) Grace ands A word of advise may be weleome to the less experienced. Never play when the lips are tired If the lips are sore to the touch bathe them in water (warmer than the blood) and dorit play untt! the soreness is gone. Everything is easy to do if you take {t slow enough. You can practice a great deal without us- ing your EMBCHR: at all, by fingering any difficulty slowly and firmly in strict time,with the In. strument held Mouthpiece on chin. Take frequent short rests of about half a minute and practice the fingers. ‘The Tongue must be made tired every day. There should always be at least two hours time be- tween Practice and Performance. Pressure DEFINITION. The habit of pressing the breath too fast into the Instrument to makealoud sound. CONDITION. This habit causes the lips to open too wide, and makes vibration very hard, so the Player must press more breath throngh the lips to get a tone. CAUSE. The condition is caused by playing too loud or when the lips are too tired to respond,and also by pushing the Tongue too far between the lips to get a so-called “Snappy” Staccato. CURE. Any practice which will bring the lips closer together. REMEDY. Take a weeks rest if possible. Get Lip Trainers Grade I and practice those simple Ex- ercises as soft as possible without using the Tongue at all at first. Just breathing the tone. Be very Patient You will not get any tone at all for some time. You cannot hurry it. Youean only do plenty of very soft work. This forces the lips closer together. Do Attack. Then Intervals. All very soft Later soft easy Slurring. Then play easy Hymn tunes very softly until you get the ips vibrating Very easy. You have simply got to learn to play very softly and realize that though your work may demand loud playing, you must use your Praetice to counteract the effects of your work. The whole trouble comes from trying to play with the lips too wide open in order to play louder. 28081-6VUUUUTU TUTTE TTT TT TERETE ETRE ERR tlon The Trumpeter Daily Stunt Slurring Practice This practice makes the lips flexible, develops endurance and produces aclear Tone. The quality should be very easy and smooth. Not jerky or lumpy. Dont practice fast. This Exercise takes one minute for twice through, then rest and do the Finger Exercise holding the instrument with the mouthpiece on the chin. Press the fingers down hard and firm Ip strict tIme You must have @ood finger action, but why use your Embehr to get it? Make the fingers very tired each time. Get Grade 2. Natural Lip Trainers. See Catalogue at back. Ist Position eS See No.1, es 2nd Position i = > —— 3S = Sa ard Position — ee then continue Sth Sth 4th 8rd 2nd and ist again. et Silent Finger Practice ty SS Copyright 19: Taternat} by Carl Fischer, Ine. New York I Copyright SecuredInterval Practice ‘This practice trains the lips to loosen and tighten for high and low tones. It derelo} ey in Piteh. Dor't blow harder for the high notes. Pinch tighter. Practice with firmness ==: noisily. Take breath before a low note ascending and before a high note descending. If abigh note and wish to repeat it be sure to take the preceding low tone with it. Your ob} train the lips to go from Low to High. Do as much as you can and try to do more from day Silent fingers while resting the Lips! See Lip Trainers Grade 2 and 8, Firm, Slow at first. No.2. e t ¥ ror aL a Pent a ¥ a = be Transpose higher by half tones if desired eo yo - Silent Fingers No.2! Y until the tngers Vee a ad are very tired Sw eS 2wosi-6 RAARARARAARAARAADRRAADAAAADAAAAAAHOOOOOEHAEOOOOOOESRUTR TUT UTA T RETR TATU TTR Attack Practice Trains the ear to expect the correct tone and trains the lips to take the right position for:tat With confidence. See Lip Trainers Grades 2 and 3. This practice begets sureness in delivering the first tone at any time inany manner. You must Practice with courage and not with caution. You must not be grieved about the cracked tone buttry gain without the least timidity. Unless you practice with boldness you cannot acquires fine A:- tack. If you miss a note dont try to mend it. Make another new one. You miust remove the Instru- ment after each group to get another Attack. This is imperative. Pay strict attentionto the Power signs. The low notes are difficult loud and the high ones soft, so even when they are well done try again. This is the most diffieult branch of all playing. Dorit practice tlmidly. The form is but a suggestion. Of course you can change the rests,the power signs, or the up- beats to please yourself. But you must take the instrument from the mouth to get a now Attack, a ‘Take a few minutes rest.Tongue Practice ‘The Tongue must be trained to play a strong, rapid Staccato. All muscular speed c strength, and strength comes through making the museles tired regularly. The Tongu cle. Don't poke the tongue too far forward. Withdraw it from behind the lips with firmness guard against a windy quality of tone. The tongue must also be trained to work in fine precision with the Fingers. To dothis, instrument with mouthpiece on the chin. Move the fingers firmly in sfrict time and say TA every note. If you do not keep strict time with both fingers and tongue the Staccato cannot = To Strengthen the Tongue and Breathing 1st degree —: Nova —SSSSSSSS SS SSS eae or any other Seale. SSS SSS 2nd degree Srd degree 0000a4adaaadaae Ath degree 2S SS SS SS a79 74 SS SS SS = Ee ee Sth degree Then 4th 9rd 2nd and tst aga: Persevere! Do as much a you can and try more each day Single or Triple Tongue Repeat as mary times as you wish * Single or Double Tongue Do the same on each ascend B half degree of the Chroma S— Seale upto G and down aga 28031-8 \2eeee0 eee ee O4O44OOOOOOOOOA4EAHEee eee eEEe——eeeee—_——ee—E—e_——e——_——ee———_———_———eE——— eee eer eee eer eee eee Scale Practice ye the easy ones anly! All scales are the same for the lips and tongue, they differ only s. Take one at atime and get good mastery of it. Why should you play it fast? Make Exereisescwith no or few open tonesyout of each seale, and work on them with Silent Do your seale work with various Tongue action as Staccato, Legato, Slurred, Dotted, ble, or Triple Tongue. Always play scales from momory. It increases your confidence. ara the fingering of a difficult scale better by silent fingers thn by blowing it! Single or Double Tongue same notes Sagar =e —_ +eey Single or Triple Tongue S icon BE also in og BS also in SE a soinn B= SSS” also = = pplement this with Minor Seales. Also Chords Major, Minor, Dom. 7th and Dim. nd in any Standard Text Book) or any difficulty you encounter in your work