VOLOME ODKE eae PLAYING b's TECHNIQUES & PERFORMANCE STUDIES Facrmei moti Bersie Tectyatitess ansel Chncepis for Devetopinys er Solitt Fonurttartion HatsLeonarpeTeen nen) eae TABLE OF CONTENTS INGFOGUCHION. Foi 6s ake 8 ne ESDR tosh Gack Goo cheat taL: Ppl SE TCR oper © mine cay Mee DEBRCOTHING AIDGN o e'anie dle 3 oa oe eens Ee otis oak siden Sots oe oes PLAYING TECHNIQUES ¢ General Advicé........ x Se edt cg ghee he beens § wh ise ofa Lin eek 3 Ss PERFORMANC Fingering Chart..... pes a ate intl aaplPel lean Eo ee aeekees hate Awd Warm-Up voce c cece cc ccces fear yee Wise yadne ES adobe ahi waste Endurance eee eb eace eat ed eee kiss, edt ee 2 Articulotion. .3 2. 00006. 0 esc. aise § 5 Miia dake 1 x's Medes FA a 12 DRICCHIO Sein sea hew acess bs wienahlisees 2 epee caste git te Ni wen ae Staccato and Riythmic- Figures oo eC a www aes ria Se as CLTk oven e3 14 — Feria er AAs aa te Bs Articulations.) 2.0.06. 2.0 APES waa Oa gar vamaweba shad Seethe cae More Articulations...... 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Box 138619 MILWAUKEE, WI 53213 Copyright © 1995 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved For all works contained herein: a Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infringers are liable under the law. ‘STUDIES For Trumpet An Extension of _ Basic Techniques and Playing Concepts —Introduction ~All the exercises and music contained in this volume will be useful in preparing you for what awaits you in professional life. ; ‘There are exercises that will be of direct benefit to performance. There are pieces of _ music devoted to different stytes and also to develop a more general and ames f nUSI- cal vocabulary. | _ Keep lots of enthusiasm in your daily practice and don’t be dissuaded by those who try to overcomplicate the learning of this instrument. _ No one can deny that it takes a lot of effort and total dedication to become a highly polished trumpeter, but the dividends, rewards, and satisfaction you will experience when you reach your goals are immeasurable. The thrill of playing in a great orchestra, regardless of your musical background, is unlimited. That is because the trumpet has a voice with an unmistakable personality: a voice with power, energy, strength, and incredible dynamic possibilities. We should feel pleased to have chosen the trumpet as the instrument for our careers and love it. This devotion is the only way to learn how to play it and how to live with it. -_ My hope in these pages is to give you something of lasting value that you can contin- ue to draw upon throughout the years to come. I also want to devote this book to all the ‘great masters who have contributed to and been a positive influence in my Career, and I ~ hope will also in yours. | This work is dedicated to all those great musicians who have paved the way through- out their lives in order to improve trumpet techniques, to those whose single purpose was to build musical instruments of impeccable quality, and to those who have written music for trumpet. This book is for all of them, and for those who love music, the trumpet, and its sound. : Concerning Arban Since Jean-Baptiste Arban published his trumpet method in 1864, it has been the foundation for practically all the great trumpet masters of the past and present, and surely will continue to be into the future. With this in mind, it is with great respect and love that I have included his studies in my method. ~ Note that the Arban book has not only been present in our libraries, but his —— also resides in every refined trumpet performance. It is my opinion that no school of music should i ignore such a valuable work.General Advice | Remember, if you are in a good frame of mind wihel you smince and the dirideptioce stot, is filled with enthusiasm, the benefits will be more positive and you will enjoy it more. It is necessary to learn how to enjoy practice. Try not to view practice as an obligation, but rather as a daily need for your spirit and training, a REGEASATY part of your life. | Practice at all the dynamic levels that: are required to be played. I do not agree with the idea that one can practice at a single dynamic and then be able : to play instantaneously at all volumes on a job. If you want to play a at all dynamic lev- els, you must practice at all dynamic levels. Tt makes sense! _ Avoid the use of mutes in practice. Mutes distort the sound and the ‘octal response of the trumpet. , Avoid practicing in very “live” rooms with lots of cavarbedavions In echoing rooms, the sound appears to get bigger and rounder—in other words, more beautiful. Then when you face “reality” you realize, to your chagrin, how you ‘ve been deceived. Outside is a better place to practice! (For many years I practiced in a feathall staclivorn, I used to sit in the stands and pro- ject the sound toward the scoreboard. It worked well for me. Even though I did not play strongly, the sound flowed and I felt it stretch up to the other side of the field.) It is essential to practice not only at all volumes—piano, pianissimo, mezzo forte, for- tissimo-——but also to exercise the full range of the instrument by playing legato, stacca- to, triple- and double-tongued, with all the articulations at all the different intensities. 4 Hold the instrument firmly with your left hand, preferably with the four fingers just inside the trumpet, around the valves and through the third valve ring, and the thumb passing through the first valve “saddle.” The right hand should be soft, flexible, and yet dynamic, forceful, and ready to obey the commands epmiing from the brain direct- ly to the fingers with exact precision. : . , Take good care of your musical instrument. Keep it — inside and out. Especially keep the mouthpiece clean, for reasons of health. : | ‘The mouthpiece, valves, and slides should always be kept in “A-1” condition. | Avoid denting the bell or leadpipe: it could radically change the sound and pitch of the instrument. | Gig bags or soft cases ste very convenient for travel, but do not fealty Srotent the instrument. I personally recommend the use of hard cases. Music practice should be music reading practice. You need to develop the habit of playing what you see on the printed page. This also makes the discipline of practice stricter and more organized and helps you to keep a record of your progress by show- ing how much you have covered and what is yet to be done. Later, of course, improvi- sation and memorization will be necessary skills to include in your practice day, but reading well is of primary importance. Reading music should become second nature. In fact, consciously thinking about the mechanics of reading music will be detrimental to your performance; it will make you — sound much like a child does when. first learning how to read a book.Use a metronome. Use it as often as you can. This is crucial. In addition, learn to move your hands as drummers do, and learn how to hold the sticks and use a practice. _ pad, This is important not only for a general understanding of rhythm and coordina- _ tion, but also to adapt to the “feel” of drummers and percussionists. Listen to and play all types a music. Don. t discount anything; you need to learn all ~ you can about music. - Put into action the ‘ ‘golden rule” and do not artistes other musicians while they are ~ playing. Nobody enjoys ridicule or criticism upon committing a mistake. What counts 7 M is that the musical piece being interpreted is evaluated according to its true intent and . ‘that the audience enjoys and appreciates It. | A bit of advice for those playing i in an ensemble: Be courteous to the other members of the orchestra. Don’t turn your back during your colleagues’ solos, and keep a pleas- ant attitude toward the audience throughout their performances. . Your career demands the physical preparation of a high- performance athlete; there- : fore daily exercise is more than a need—it i is a responsibility. - ; Among the main physical concerns of a brass musician are the maintenance of the a respiratory system, keeping the diaphragm muscle in excellent condition and under _ control, and staying in good shape overall. | Drinking and smoking are bad for anybody, but for a wind musician they represent a disaster. Trumpet players in particular should avoid alcohol before a performance. Avoid any type a orugs’ eres. have desenngen many lives and potentially brilliant careers. — : ‘A word about iuprovieation Bach, Handel, Mozart—all improvised daily. Today, | BASED. on some badly mistaken suppositions, improvisation is reserved exclusively for “jazz” musicians. This is far from true. To improvise is to create music; it is to bring na _ forward all the musical ideas that have been collected throughout the years and to ~ share them with the audience at that very instant. I am also of a mind that improvisa- tion of a cadenza, even in a concert, is valid. Remember, improvisation is not only a “jazz’ ’ matter, it is.a musician's matter. A further example would be the aleatoric parts of avant garde music, or modern music, where improvisation on the musician’s part is ‘Tequired. This is normal repertoire in “symphonic” orchestras! Det on slay ' in a section and have respect for the lead player by fol lowing him or _, her. Don’t try to overshadow the lead voice. Your voice has its own important role in ~ the harmony and needs to be played with enthusiasm and care. Remember that in an orchestra with three or four trumpets, all the voices are impor- tant within the chord. Any missing voice will make the chord sound different. Learn to use all type of mutes. Always have all of them with you when you go to a recording session or whenever you're called to play. Byt the same token, learn to play the flugelhorn and the piccolo trumpet; the ability to “double” on both is expected of today’ s trumpet payers. Pay attention to and respect the conductor.Fingering Chart This page presents you with the fingering positions on the trumpet from pedal “C” to double high “C.” This information serves only as a reference for the preferred fingerings. _ There are several alternate positions for many notes, but the fingerings included here are the preferred ones. | nog ae -Warm-Up | I wanted to start this book with a simple but effective warm-up exercise.-Try to keep __. the throat in an open position, maintaining an even, steady breath and playing the indicat- ed fingerings. Many people have doubts about playing pedal tones, but I am convinced that they are advantageous in order to acquire a. correct embouchure. They are to be played with the same mouth position used in the rest of the normal trumpet range. After practicing pedal tones, especially during my warm-up, over many years, I have noticed how they help bring the embouchure to the exact position where the lips can vibrate - freely inside the mouthpiece. This 1s fundamental: Never try to adopt a faulty ' position when producing pedal tones. By faulty position I mean an embouchure that -. would never be used throughout the general range of the instrument. Test yourself by | playing the same note one or two octaves higher with the same embouchure. For exam- pie: ‘pedal Cc”: | : . _ When you rtilay pedal notes, the throat has to be very open. As you descend, imagine that yeu are actually singing: the note. | - “Slow aif 68) += Big Breath - ere eee eed re en rr ne . fz Bn a) a ele ee eer eh Fe HP ET TE SE AES Pcie fi a ma Cn Le Es a gi : ee og SS SE § a Se ee ae |e ae A a: cen : — itt eB ct i | : ® : This symbol indicates recorded example. |G) 2. (Section I (A). ection I] L} & fa) Endurance © Watch Out! : ats Here is where the study begins! This is a very extensive Hihivanee : exercise for the - embouchure that continues for several pages. It’s a very useful study, and though It’ Ss ‘long | and tedious, the results are fantastic! The embouchure and the sound will both improve by praoti¢ing this study. Yes, itisa calisthenic exercise. It focuses on muscular development needed to withstand the “job” — the mouthpiece does against the lips. It is very important to lower the pressure of the — mouthpiece on the lips. How can this be done? By strengthening the muscles around the , lips. All the facial muscles contribute to increased endurance. : There is no real “secret” to endurance. It is nothing more than having prepared cor- | rectly so that the muscles respond and eolaborale to help: the. ApS Waleighanig the full: impact of the mouthpiece. Practice the entire exercise, but feel free to rest as much as you need if you eet tired along the way. In the middle of the exercise, before letter N of Section I, you will find a 10-minute break. Then continue through Section I] until you finish the: entire eXEICISe. After this s you should rest and relax for at least 15 minutes. “Be Section | (d= 68)a | Rest 10Section Il (} ‘ a 4 — mt Tae Cn ET ede to Pg eS en ee np ee | CP TT OT te H Rest at least co IS minutes12 Articulation “You will resume work on staccato with this sareeuatlie exercise in all the major Keys. - After playing the exercise staccato, practice it using all combinations of ar nculations: dtd eT ATT Ta TG TOT a Bde fe 2 pe tt yO hg swe eae oy — ge} eg 7-e—- Ll gl el hae ow”) ean: eT. OC Oe: Ul!DhUmOmhULDLULULhULWh”C_Tte Ff, ee ___ ee g . a . . : : *, ° simile | E be ed pats eee pe i 2 a ee ee er ee Poe | ly Ai) ls eo ea ying | oe | me ae a. — gt | - g r+ Lie CO es FG Facer Fe A en ne fore eee Cael i Oot te tt th oy RS = so a ee. re! | Le oe Oe a Oe MEE allie | | ee 0+ 0 FS a oe ee |)! pe eet ‘ate fi SS et eee anti nt ppg ene a Ae em) ee naa |__| | | ete eth e- Pt a | Lis nanfl Soot [ka ernbiemete | tt ttf iach epee cane) “Yael a 2 TIP eee ei Ce | OU lem 2 (9) 97 ee pt ee) ee ee TT aE it eee |__ TN ll I ill ee ee ap _______i h Fassia dp ahY eins) onsen ee fA int presi el ere | Ce) a Le” le oi te [en fH ~ atelectasis emenfcnmi pecct ef en p f tenaef Pee ce ed Foire COU heoridiinansinihinnsrnicsionteelpeneeagetiniaeneey sented henner hammer frm na aggg amen oerennddanneneemmee bom = tt ET eee13 a 8 8€=©)S hum , Pa ides . it o_o ae ee ee pre nl aaa Staccato — Staccato on repeated notes and on diatonic scales contributes to the development, of the tongue and results 1 in a clean and clear staccato articulation, a a , a a a re ee ee ee ee ee el a. A ee ees Sees te bis Vi ee Pee he tL Ln Ll eeenhmanesemen) —— 2 2. 0-00-00 3.-0-2-_0-2-2-2-2-0-—-2—— 3. ee ee eee ee ee ee sd ia a Ma MM MMe A ee 2 oo ee oe ae ae ee eae eae ees Oe Ce a a 5 aaa C5 rent — semen — pep nn perenne elect enainteeeeranipierde—pucpa jeanne eee ey | Sn aya ON aE a a a Le — hl — a — a — al — tt14 atiy © Eel ce arent eee eee bern erred mare | mena --ad.}..t...1 |_|] ee eee ee eee | a 7 |_| yt Pt le a eee ee it St | lve agit ae | eT ee ae bib TT ed ee a Led Lerererraeimntere tienen fl a i ct le ge LI rene nef el TT Staccato and Rhythmic Figures : ~ Here I begin a series of studies from the Arban book that I consider some of the most important. This group is dedicated to the staccato style and also to various eighth-note— and sixteenth-note rhythmic figures typically found in quarter-note time signatures. These types of lessons should always be included in your daily practice. They are “good medi- _ cine” for the embouchure and the tongue, Furthermore, they help solidify your rhythm. ~ Above all, strive for a clear and clean performance. Number 19 is an original piece based ~ on the Arban studies and serves as a review of the preceding exercises. | - Allegro moderato (s = 92) f} af Se nel % Bel Li i el Ry pee ee Ce oe * ifldgggeemamve | acenaee) ih? OE 8 nee eee 2 | | rd Sg? El a ee Oe Gd a fe erie penn A ieee | a al a |. a Se cer aie go PE a a c3.7"0 se faa Mth A Oe a “ . Eo Penne Se Pres i ee ee Picea item fay eet 2 Fg ee Oe ee ) re HoH ot oe 7 Eee oe Cage = ee —_ ° : i : fe @Moderato (¢ = 68-1 16) f) ‘i. oe, j . . yy * ey Oye , ses Oe | ill ll ee at emote (eo a...) 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[| [ ¥: 7. .UUL.LULUD LU dd ee | dd CO l—e ue SY bg eerste ——7——-——- part pasa gd —— | — tl ———r—— 8 C+ @ = ee ———— er EES! 7 — foot ae pe aman e - © oo er nT aT CON ; RRO, 5 a \é G te me nmr fee re fee ef ef erent el erererernrremernammee Pi - Re a ae a re ese ||| dd fa ae | wr Pen tna? wt a ee ee ee 2 eee fe ee aN] ecg ag eed ee es te a ‘_ Pee22 In addition to playing this exercise staccato. play it using the following articulations : aera oo STTi dgedsacdeeece ind oe ee ue o's ddidddaddivuar sae , | ~~. =i. -_ on : ee ee ee TT a a a ee ee — ee ee a (Ha el tera na ae a rralena L ———— — A | eeapeasmsaeng ————|—£ ins A et f’ a a ——n var: eyie ae ee i Tt ++ — a: @ be ee eg ge OS A" a en eh ah neh nelle aed lh oa to oo oo patel reer ed —o— 64 | | of ort Fa et EEE Ge eee =e ee eee:“This section on intervals and flexibility begins Win: lone % tones. with éreseendos: and decrescendes, Pay particular a attention te. the movement of the tongue, which i iS crucial for ‘ fexihity, Lee ee eh ae UR eT py es ee cates ~The fundamental rol of ihe tongue is to move the pitch ol the t tones + upward or r down ward simply by pronouncing the syllables “A-E-I": : A. (Ah) = father — E (Eh) = ted .T (Ee) = ~~ pizza ) (“A” for low- register notes, “E” for medium, a for high.) By pretending you aie singing these vowels mentally, yoy will move the: tongue to the correct Position tor the desired pitch. | 4: If the lips alone were involved i in change pitch, you. would achieve only hp fatigue, S _and the resulting intervals would have a poor sound and be out of tune. | . The tongue is in charge of pitch, and the: ‘efore of intonation. | : Numbers 28 and 29 are well- known meeyOUity exercises taken from the Arban book. _ BigBreath@/=80) mp Coa Pg ek —) eee tere inert orenenttteesinntthettitane— Pa Ll pe ee uar tLe ie ee rF biti Ei A ain a aN ae, “GPE eee Egg reg aD fe ey ae vitesse | nef — =e“ E aesGo pl an nner ig Lc he i eee el SS 7 Oeste pene A he id i i nm pr rnin nin repr a a be wae ba I af OY ne ee eee ee ee ee es ee ee A oe Re Pee | ATL ee a Ll — Fp nee ld mcrae Ce Enema Lh Pin an . 2 a a f) ——— a anon nen at es ee moet ———— . | —— pe a er) ee | erent eee | ee A itm | lL maT TCU gg P|} —___+-§ |__|} +g | ft gt tT pg tg re tt le CS. gg gg gg tg P I {+ o_o o_o o_o — a 7 : TT a eel ft | em yereenedjrannsfeemnamenarn ripening afar ooe EO aap} Fnac ainsi cn MP I a | ee pe od] ee a i I nn lt gg eg gh nl a fl eee nerf eran eel cone fl cine ee ee ee I an gp ed ee ed ee TT A [ee —— el nt —— eee eter Pe +} 4} gg tt gg gE ee | ee an ann ip eeepc Fn bic accede Bi ee “= i o i ds “= 116) 2 24. | (fa]-fe]) i Pre toan fll isaideenonanf i fe OO OP ee ?! Th Le Sr?! CO. vor ' COS ca Na et : ‘ag msaonempeemnad -—— hahaa corre ~~— titers jemenecorrancrmrnt enfin ome ———~ pment honest ——-— pene ten pe ———- pa rn i a rel a G . ad sos bol Q . "i" 3°. > = he = : nae nfl a5 : : + ot Oe ete a ee nn i ff sats[pes ee ae nn a ae SS | emer vend -rinienaane a Sgt giggle ghgttge egti LOS Rammneesh Te: : Fe eeraeerenceftlhconrr eran a as caanece lh arnaer eases alllt be sneer iat [a | ee bccn | fap i bene bre learn deh beef | Lae eet fl eerie Lig a shel Sali eee efi | a ee a peevncinripaencscersnil octet naan coma Oyen SPARES ECE tt ee mt ee re rr os ay Set aa fe ages ge (Sil NE! A SR Na Ca eid +— z agp iB ll gl gd a rept Psos Gor EERE mene ere PB sea a ee a a iM Tn EM BR OA -e—- r ; Ltn enter nye poe cc elie cae poeta cepa ae fd Noe | De ee ee pple bat ee Ee ee Le an ST he Oe ee }—— teens —_—_fearaianeetenen, [Seimei | fee an sy ben enne ren mwenfemerd ee ee ee ee le ee a Le ee epee ee pee eed ee fof ee eee eee eee ee ee eee ee bmg A Pn SEE Se Ae 2 ee SO ee al ea sg a Ne a rR el BS A Sa S| ee ee TE ae oe WA ee TE ht as Te ? 7 = = / 2s Pee ee eee aa Si Sn a Sa a Se Se RE OER A A NY ee eH CR Pa ee es fe br te a el cameramen nc en ge ca ee ce a Lge | ogee foam fe ce eo We ere ee ER A Od st . ADL en ee eee ed PN | a ee PG A eR ce ac ae PEN echoed ties an dee Pad ewe ee ee [oe oe Pee na eee qe Eee meme Pe es as as Ue“ es a es a de | SS dT TC~—CSS ss” U6“ ee” r=“ ee CO “eps Sr Fr pl wi Rana i soe Ate87> | i | A Di i epee pj ej ee teen ae en mp = a gp ne Pe et Nd oth Hog —S Yee a a a) ag 8 gt pe _—e— Po —o— bes shacriail es EN a Pecans si chm seine aaa ed cence el a fnensnnd | we SN a ag nL elf iad Ce , ig ral gd Es ——# , a i] A ee Pisani asreeoeceeneeh aR oe tance ae cr es on a Fen al eed el a ec Dee ee ee] St a a ap nf ef nf fro A SS et / fps Le TT eee eee EE eee ee ot eg Oy ey 6 OO Oe eB yoy oy Oo oy ee OB yg cy /) | OE pe | 3 3 3 3 — 3 3 3 [ penser ——— pps ——— gS ——— epee -—~} ——- A ——~ sp ———— pr — Per ge ieee eT WN a eae ae ee eee ac ee aa cee ee a il a I Lee ee eens PN ne ee ee ee a an rt Bercy see ae) Ce te oo ee oe oe tote eg Out gee e to #e hr} Sum, oO a S + er if | _— a eee _—_—_feenfa —f SS ee Latent tT > | Yo -@- | a | P _ a ye } « to Fo...) a | | | ge ee Fe feared A Se a ee ee a ae a ee a aee eee ee ee eee | Se ee Le Lt tee a el lel NO er nl SEEN DE Te SA bp fap pe ee i nf a fe eel b | eT ae nn ee ee a ON ii cd a Le ee pe ee Oe pepe ep ae a a Le ee ee Seed reer Te popes eS ee eg y' kh a esas pr Oe a ee eee ) eg a ere inne ns SE A A a ae eS a a a ee ee | eee heed fennel el fe | q q q ¢ a a or cy ge ge or . oe rr ee geen, aun] Settee eenidienmenedl L itetetetel sc cnaeemmeteniitaieininnthine isin ial a i ed Neha laanc a a dp el ee erreeepriee poe nt bee anf ee ee |i) A «3 A MANN DACA NR SON CRRA STEERER f Petre bbe edemeeeninrtereel pe See ee eee) rere ane reefers nell CN a a a | A ne TE ee nme bh MT SS ee a ee ee ee ee ee ee ee Fe a I core oa - . i - oF . _ 9 i ek Bp Ae ae De, te et fo Dei eae um Pe EE ag Sy Pi ep pe ae MM i aa Po) A eee i a Oe ed Eee CL OEE ea (seen ot ot et OO —ET—E—O~=Z{NnT oT pa OT dL Ta Se et eo Ee a 8 OD ct et 0 a SE : o- Se os i = i ; | 3 DP = et tt tp a To ~~ ee LA oral eevee Ld [| li co a ns tn Nd — Pe fh rn eR ee | ieee cof oe fe el me gf Te Fd Dd i... eee) Le ee ge Sif 9 ES” A SO - pm mn fe jen mre ‘pacino tamed teh a — + Also practice this exercise staccato,, 2 ge ooo a TT > —eE<@ Tt oO FB eo 7. Ae ee eee eo eS eo eee | hl... eg LL ee oo ea OSS IS 7 ee 2 oT fe oe Tet et A bl ee TT EET Ee Tra 2... | Oe =e Te eee ae fle | Fe Re re er ed ee ree eee tf i I a Os ee | Ls Syste ——— Pi UM 2 os ee TT TTT Pb ee ‘aa ia | . ft ui... _| 1 | || & |. Fee ee eee) eet | Ue eee Pe TO ee Po ee eB a ee BB cl ee ee en | RN ee A ee el ere eel care ig pt meg} —} —— i ee wf A = ae an . aie on hr a on rp mm oh | ae he gg Eee = ee el ee ee ee ai | _f\ —— ee | pce a pe | ly . a yp TTT tT eee x UL eel lg Pere a amaeal pT dT hmdT ds Ure LT TT PTT —“"=eeewe l,l dT te Ds i Gin! «=A Ae...“ eee = 6 ee pt PT dt tt Fee ee | pt Ce —— rt 2 ~ e....— —— Sa a aiff oa ' a pt Loewen SG 7 Se aaa 4 anefa] (« = 96) f’) et P| ee el pr eoc — _. 2 ee eee eee ee eee ee "eee ee ee ee eee eee ee 2 4 22 ee 2“ ee "ee 2 ee 22 eee i hp tp —_o—_ 0_—_0—_|-_-4§—_ 8 —_ 9 —_ 0 —_ o_o | #0 +11 o_o —_9 _*_*++ +e __+ en Oe ee Oe ew Oe ee Le ee eee gg agg ay a gs ay to A ee ee ee Le a ed oN ae aa ee 20mm rt arf F EE EE Lj oS ot 1 0-9 —_ 9 9 [9 — 07 1 8 9 beat Le ee ll i ete fine ee one ane pcellseel niedl ease cine mee id J oo a ne gn “a | i} | ai —f..—_—_#_.| Prt a | 2 ant... se he lle ee” ee ee Ll lee TULF LULU pW. ff... $1 i ae SO Bt 8 Seer YT TE TO OK OO ed Sa Ce a a sl Ls Ct f Ye | ay See ee eee aoe CC a00>unuuu“~un---’--"- [L___ 2! oN BG fe a a | | hod d!lUlUCDAClLUCUVCCML LD S!hUDPDLhlUCmDMa Oa ee ea Oe Oh UP UP POPUP Cp ae a et te ee | | | | ff ££. iii. ro Lf nam ft} ff a Ls Lo fa pane 2 2 J..5 90 8 as as 2a Oo 6 gie* 2 - -_— - | {0 @— _9—__®— on a or oe ee | ere er hLTLTLMTLTTL!LLULUdlhUuvrmmhLhlhUe mf a o-——_9@—|—_|_»___|_#—__@-_-# eee dee dt oe o+—_9-—|- 9-8 7 1 Ot 8 8 eH 2 eee ee eee re ae ae eee eee Paes ed Cen cements veweeeeeerreenennereeenenpasammmamnatasse} Settee canna reer ei | | 3 } 3 po - O. 5 ne Pe ee OLE Oe ae eT Oe TL tof i oa. o- »@._»-_ sa. ita? a |e i re a! TE r?rF— oe ee ee eee el $f an pr permenant en nnn ol yf ieee Pe Ps ee EE pO iit [ee [nee deg a A AS Dd ed Ll esperepenesnnn-——- pena! Sor sh os aetna neice nnn we: Fl eh Um6hLULLhULma O_O a eg ca ae yl Ce tT ee POP

. (py Tr — or Pere Dd ar eh Sep Emil hg 2a pete ans a i i get see marl Be aid gad po pa gel eg ES a A SE ie — >? —7———7?— eetas ee (¢ = 100-120) (8 ee rer ee eT aa Oe TE eae te ini ee Eh ce pee (acl saad cl pecan eta ogee A ee ee Preece ate cee eer lh sel reser west. Ae.|..otth ; a vj ee a as SO a a eee ee ee ee (d= 100-120) fh Ld fie l L (? 5 tka ett | od — HT * ae. po) Po Ts i 33. ane fe eT Le i ea. | 2 2 © eT i | ba ee ee — prem ef ol ee peneronramertaniad Ld ny _— eed Pe) ee = Tp ln dein dene delenit ¢f ee iii eee {| $e Ps Pr me a wee ———— | eereneernrerel een AE] Pl tt ee ee Td a ' 2 Oe ef Lee ee eg tt OOS, pe ie te Pg io 8 Te et “gs oot eo Pe SY ST eae ue Ue! Ce Ce a Pe ert — aa | Leelee | atl "hd" Ee fT Oe ie eo = — oF SS tee ee et Oe Oe Oe ~~ 0 0 6 ott foe or et fet fe oe PF ee Oe eee tt ott Sg enna) ee i Oy Pe! SU eo OTP Fe mi toe ref PM pete sae pet tt bt fee lererer airgap ee fail nh bn pa | | TT SSC~=*” I deere ET] a np pemowetcictat 5-4 —-} -£ Pe. | Ee een een eae —— perenne pereneeesnnntney—————-————-— psoas ———~sep a nec nd ig iil sted i Aa mt sim i a i ee Po ee ee ee NN crete errr |e a I fg ge SE | 4 nent nen Frf\_ # es UL a pty a Brena ramnninan} . fost A? a SE etree enna neff bu. .-|___ 1... |.____ i» _|. AL... ... | Os eo Oe sae 5 Bas Ca ee eo rE pte creed. ee Ee sa ee a Lea 4] ee More Articulations _ Here is an exercise using a variety of intervals and articulations, © (d = 92-112) en OO aS ri ep Dest A iit oO abe | ET dba eS FTI) ee te ey Se BO le A LO dd CU] N3 Y | bod ed dS La panne Game eseeepelemeeee en a es | EE oe ppm md i] Ae Ee eb eS Le Lenin Pinan gl tt gh ae fT Ll edie he LN el“ ll Se ee TT ee er ee eae te Pan th i loa eed Pg 8 See Pild a a ks Fp rerereainalataS | iii se Er tnt gg ae .- * . 7 * ae ag el eed i ————— fc ee ee ec] Ce eee OE ES SO se ee te ag ee ; = fot gt gg a NP er HE rit dae TE Po — Play e) . ) : | 1 ——$§ areeennenmnpennan ———~ erases} — ——————— i fe Pog P| Cee eee Dine hie cd a bd cette Cd SC C5 tt 2 a Lh dh UD Ee Pa SY Cg gt ete tte et ot Eg | lp nenerpe —t ans Ce, * y fj * ig : ~~ |? be DP ,* z y o I oe 7 — ¢ ww” 4k -* 3 _ fe ee bt ashe ge he Ne Po UC | a LT", CL oD” hh tt ACO Ee Ee ee es ee Ht — tt gg tt ge rt 45 —__ tg ACY Pt ge PT ee ee rie, eee Ll) hee Oe CCT hh er SP eg fangs naam tS el gm eed pits gg gd po, CLC ULE OO Ure 6 A ET 4 : La : ; : : . — . ste