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Brandt Trumpet 34 Orchestral Etudes Book and demo Cd

These Etudes are constructed upon thematic material from world famous composers: Capriccio Italien, Scheherazade and several others are represented. In our estimation these are "must have" etudes. Hunt's CD performance is unique and will shed new light and musicality upon these seminal Etudes! Every etude is played in its entirety.

Clyde E. Hunt, Trumpet book and CD bundle only = $12.95 + $3.95 shipping

All orders usually shipped, via media mail, the same day they are received!
Orders received on Saturday or Sunday, are shipped on Monday.

Clyde E. Hunt has performed each of the 34 Etudes in it's entirety!

A word about the stereophonic recordings from B-Flat Music Production. Our recordings are produced using a pair of Crown PCM Pressure Zone Boundary Mics, which enable all the musicians to sound as if they are all equally close to the mic. The resulting signal is fed into a stereo Tascam mixer. Our first processor was an outboard two channel unit, recording direct to digital audio on a Beta Video Machine. When the Akai Dr4d Hard Drive recorder became availabe we switched to this newer format. As a matter of principle, we allowed no further tampering with the signal, except for a "room size" digital environment: No compression, limiting, or dolby noise reduction.

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Trumpet Vassily Brandt 34 Studies book and Cd

THE FIVE MYTHS OF TRUMPET PLAYING extracted from SAIL THE SEVEN C's MYTH #1 Only special freaks can play in the high register. Don't waste precious time trying to duplicate their efforts. There are plenty of notes below high C upon which to devote your time and effort. FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player. MYTH #2 If I could find just the right mouthpiece, I too could be a high note artist. FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped. Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach #1. Don't get into the drawer full of mouthpieces syndrome. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register. MYTH #3 I need a special trumpet. FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece. MYTH #4 Playing and practicing in the high (G2 to C5) register will ruin the middle and low registers, and make my tone brittle and laser-like. FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints. MYTH #5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips. FACT: I don't disagree in principle with the above statement. But I believe it has been widely misinterpreted because of semantics and/or insufficient explanation. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops. Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.*s Clyde Hunt Extracted from SAIL THE SEVEN C'S (C) Copyright B Flat Music Production.

HUNT TEACHES BRANDT

My comments will be kept to a minimum as I would prefer that my performance speak for itself. However, from time to time it seems appropriate to comment upon a specific technique.
No. 5 measure 7:
Try playing the "A's" with the third valve, for greater smoothness.

No. 5, 15 measures before the end:
Try playing the "D's" with first and third valves - don't forget to extend the third vale slide.

No. 9, two measures before the end:
Try playing the first line "E's" with the third valve, for greater smoothness.

DISCLAIMER: No. 10: Circular-breathing....I can't do it!
Because of the compelling harmonic motion of this study we "assembled" some sections via "studio magic".

No. 24:
This study could benefit from the ability to circular-breath. Since I can't do it, I simply choose to breathe at any point which seems to "make sense". (No "studio magic" used.) No. 34:
raises several questions in my mind. My edition (ed. Robert Nagle) suggests using a first and third valve combination on the first trill. It isn't clear (to me) whether he wants the trill to be valved, using the first valve on "F" with first and third valves on the "G", or if he intends for us to use "one" and "three" on both the "F" and the "G". But the "one" and "three" lip trill sound would be inconsistent with all the other trills, which are valved trills. I don't believe the lip trill is an acceptable substitute for a valved trill trill (nor vice-versa). It is possible to valve that "first" trill just as evenly as all the others. Finally, in measure #25 I believe there is an error. The "B" in the grupetto should be "natural". This is deduced from the use of an (unnecessary) accidental (B flat) in the next measure. Furthermore, this solution is verified in measure #29. Thanks for listening! Clyde E. Hunt

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