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There has always been a lot of controversy re. the "order" of these studies. 1. I would always warm-up using Section One.
2. The Scales, section VI, next.
3. Section IV, Lip slurs
4. Section II , Intervals
5. Section III, Octaves
6. Section VI, Etudes
I would opt for a page or so from EACH of the six sections, daily! Don't push "too far too fast" especially in the intervals and octaves section. They can "eat your chops alive" if you are not patient. I believe that many of these exercises hold the key to development of the upper register - that is, from G 2 to C 4, as well as all other facets of trumpet playing. Not every note of every page was recorded, because many of the exercises are exactly the same, except in several different keys. We have, however, recorded examples from every genre type. In the case of the Etudes, all are played. Additionally, because the range requirements are too limited for the modern player, Hunt has selected certain exercises for expansion into the altissimo register - from High C (C 3) to above "double C" or C 4!! We are certain that both students and teachers alike will be delighted with this unique, demonstrated "Audio Teaching Tool"
"We don't simply tell you how to play.... Daily Drills and Technical Studies for Trumpet-Schlossberg.....we show you how!".
"Clyde - thanks for the new Schlossberg CD ! I have (via the wonders of pause on my CD player) turned it into a "play and response" method" - Alan Wallace
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 available 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.
This information from the International Trumpet Guild
Between 1910 and 1936 Schlossberg was a member of the New York Philharmonic.
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.
Max Schlossberg has by many been called the Founder of the American School of Trumpet Playing.
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.