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HUNT, Best Call and Response Beginner Trumpet Book and Cd

best Call and Response Beginner Trumpet Book and Cd
Music Link click to play: Narration and Trumpet by Clyde Hunt - mp3

Download Free, Lesson One

Four Lesson Exercise Book and 50 minute Cd recording = $12.95 + $3.95 shipping

A "Call and Response", follow-the-leader, audio recording and text which enables the
beginning trumpeter to determine whether or not he is playing the correct tone. The
instructor continually reminds the neophyte, regarding essential matters, as they play together.
"The next best thing to having a "live" competent teacher at your side!". Developed especially
for the public school trumpet student who does not have access to a private tutor. It is equally
effective with adult beginners as a "home-teaching" tutor.

Preface - To The Teacher One of the great problems confronting the beginning trumpeter,
when he leaves his teacher and goes home to practice, is that of knowing whether or not he is playing
the correct tone, according to the written note. With the GRIFTON SCHOOL AUDIO TEACHER, much
insecurity and bewilderment is eliminated. The GRIFTON SCHOOL AUDIO TEACHER is a programmed,
graduated tutor which enables the child to read and play instantly. Fingering, note names, breathing,
tonguing, and other fundamental techniques are stressed when appropriate. Crutches, such as fingerings
and written note names, are gradually deleted so that the student should not become dependent upon them.

Daily use of the GRIFTON SCHOOL AUDIO TEACHER will:

The teacher should become quite familiar with the GRIFTON AUDIO RECORDING before issuing it to the students.
Furthermore, you should play the CD for the students during the FIRST lesson, in order to be certain
that each student understands the methodology. It will be beneficial to your students if you reinforce
the terminology used in the recording. Typically, the teacher will find that the first lesson can be
mastered during the first week, while two weeks should be sufficient for LESSONS TWO and THREE. LESSON
FOUR should be used as a warm-up routine, DAILY, and before each lesson! Assignments should be made
concurrently in a conventional method book of your choice - after LESSON ONE has been mastered.And
finally, I recommend that you play Lesson Four as a daily warm-up. Long after you decide that you no
longer need the book and cd! (grin!)

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


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