I was 'concerned' that a less than adequate player might be trying to get through all that material
(trumpet method books) in one lifetime. But you make it work!! Congratulations again on such a terrific
and helpful adventure. I know you've put a great deal of time and effort into it.".....Bill Bing, Los Angeles
William Bing is band director and trumpet artist in residence at the California Institute of Technology
Clyde E. Hunt Sr. Plays the exercises for you: Arban Conservatory Method * Bousquet 36 Celebrated Studies *
Charlier 36 Transandentals * Clarke Characteristic Studies * Clarke Technical Studies * Concone, 32 Lyrical Studies
* Hering 30, 32, 40 Progressive Etudes * Hunt, Twelve Etudes * Sabarich, Dix Etudes * Schlossberg Daily Drills *
W. Smith, Top Tones for the Trumpeter * Sousa Bugle Calls ..and more!
My accompanying CD prevents students from thinking, or believing ...."Man! Nobody can play that stuff"!
We offer my "life work" as being: 58 Classical Compositions, 26 Classical CDs, 20 Jazz CDs, 19 Small Band Jazz Compositions,
18 Big Band Jazz Compositions, 9 Jazz DVDs, 21 Hunt Pop music........ several that available now, from "B-Flat Music Production"
You are reminded that several of our publications are available as "downloads" from Payhip.com
Our "sound" is entrusted to "Taiyo Yuden" CDs, exclusively!
PREFACE to Sail The Seven C's,
It is with humility and even a bit of embarrassment that I offer to you, dear trumpeter, yet another method book
- generically known as "how to blow the trumpet". For I am reasonably sure that: (A) I have no unique exercises.
(B) I have no access to previously unknown "truths". (C) I am not the originator of any of these principles.
(D) All players with a very great range play in essentially the same way, so that the only unique aspect of this
book is the manner in which the information is presented. I had the good fortune, a few years back, to gain access
to the trumpet literature "stacks" at the Library of Congress. There I was able to examine virtually all of the method
books which dated from well into the nineteenth century, through the early 1980's. I came away from the project, in some
ways, even more confused than when I began it. There were books which were nearly illiterate, and others which really
didn't attempt to verbalize.
The assumption seems to have been that the exercises were enough in themselves. However, I did leave the library
with a much better idea of which questions are the important ones. I was especially intrigued by authors who attacked
each other's premises, but seemed to me to be wholly in agreement - In other words, they did not disagree on
"how to do it", but their explanations seemingly clashed. I began by compiling a list of "the most often mentioned
parameters", and proceeded to again go through each book in an attempt to see what the author had to say on the matter.
The results of that compilation are available within these pages. When we first heard Stan Kenton's
ten-man brass section at fortissimo in the high register, with Maynard Ferguson's trumpet screaming an octave above
in the altissimo register, our hair stood on end and the goose bumps sprang forth!
The high register, like the proverbial mountain, is there and so we must climb. The charts have been expanded to G3,
with A's, B's, and C4's being used at endings - so it is clear that a full octave has been expanded to the trumpet
literature from 1940 to 1990. But alas, we were told, as young players, that we would ruin our 'chops'
if we attempted to play above high C" (C3). "There are many good notes between middle C and G2, and you should
concentrate on mastering them". The truth is, very few people possess the know-how to ascend into the alt register,
let alone teach young people how to do so. It becomes quickly apparent that the brute strength approach will not
master the instrument. "There must be an easier way to play the trumpet" It is the author's premise that all
good players play essentially the same way, but due to human variation both physical and mental,
no single approach will be effective for all players. I have further hypothesized that the greatest stumbling blocks
to teaching "what to do" while playing are : (A) A lack of scientific evaluative techniques.
(B) A lack of standardized terminology, and (C) the difficulty of trying to externalize, or verbalize,
a process which is essentially internal. In other words, most disagreements regarding playing techniques are
a result of several differing verbal descriptions of the same physical much akin to the proverb of the blind men
who gave conflicting descriptions of an elephant based upon the examination of a particular appendage.
The range of the trumpet, as well as that of all other brass instruments, is contingent upon the chops of the player.
To this end, we brass players have to devote considerable time to the physical development of our embouchure.
I doubt that anyone can promise that any amount of practice will enable everyone to play the above-mentioned
seven octave range, anymore than we can guarantee that every jogger will eventually be able to run the four-minute-mile.
It is not given that all should be able to do so! But I can promise that everyone who seriously and conscientiously
follows the regimen prescribed in this book will be able to improve his range and endurance considerably.
The high register will not capitulate to casual practice - but it will yield to those who correctly persist!
In this trumpet player's guide I have attempted to define, describe, and label those "questions" which did not
seem to be addressed in previous publications. At least they were not explained in a way which made sense to me.
What this guide offers, I hope, is a unique personal approach which consists of: (A) A defined terminology to
codify and label the parameters of brass playing. (B) A consistently programmed series of exercises which
will address both the calisthenic and some of the musical needs of the player. (C) A demo CD or cassette.
While lecturing on the principles of playing the trumpet in both the upper and pedal registers,
it became apparent that few people really have any idea whatsoever of what all those ledger lines,
both above and below the staff, feel like, or sound like. Use of the recording also allows immediate feedback
as to the success of the practice session. The recording uses the "call and response" approach, which
automatically provides the correct amount of rest, with the mouthpiece off the "chops". Also, the student
is verbally reminded of the importance of: deep breathing, compressing the airstream, using the "silent whistle",
and lessening the mouthpiece pressure. The essence of good teaching lies with the articulation of information
in a manner which the student is likely to understand. This means that the teacher should make every effort
to say the same things in as many ways as possible. One never knows which one will "ring the bell".
It is my sincere hope that some aspect of this guide might trigger the "aha" situation within the student.
You, dear reader, will have to be the judge of the extent to which I have succeeded. Clyde E Hunt Sr.
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