Trumpet Schlossberg Daily Drills Technical Studies Cd only
Printed music publ. by M. BARON Inc.,West Mystic, CT
FINALLY! A brilliant recording of these legendary Studies!
This information from the International Trumpet Guild
Between 1910 and 1936 Schlossberg was a member of the New York Philharmonic.
Schlossberg has by many been called the Founder of the American Schools of Trumpet Playing.
In his book East Meets West, Edward H. Tarr has described how Schlossberg brought the
trumpet tradition from the East (Russia and Germany) to USA. Tarr also stated the following:
"Max Schlossberg became the master teacher of his time. Virtually all the professional
players of the following generation studied with him at one time or another." (page 231) In an
article about William Vacchiano (ITG Journal, May 1995, page 11 - 13) there is a section called
Studies with Max Schlossberg:
Schlossberg lived on the fifth floor corner apartment of 811 Walton Avenue in The Bronx,
in the block situated between Yankee Stadium and The Bronx County Court House, both of which are
visible from the corner of the street intersection overlooked by his studio. The Schlossberg
apartment was entered at the front of a long hall. Students were usually greeted by Mrs. Schlossberg,
Jenny (1879-1947). On either side of the long hall following the entrance to the apartment were
several doors opening into their respective rooms. The teaching studio was at the end of the hall
facing directly the main entrance to the apartment. There was a small anteroom in which students
arriving early deposited their belongings, and in which they and their parents could wait. The
studio was placed at the external corner of the exterior of the building, as far from the general
living quarters of the Schlossberg neighbors as was possible.
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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