Helpful Information for North Allegheny High School Trumpets
High School and University Audition Repertoire
Methods and Studies
Lower - Intermediate Level Studies
Cavally, Original Melodious and Progressive Studies
Berbiguier, 18 Studies
Soussmann, Progressive Studies, Op. 53 (Vol. 2 of the method)
Koehler, Exercises, Op. 33, Book I
Pares, Technical Exercises for Flute
Intermediate – Advanced Level Studies
Cavally (ed.), Melodious and Progressive Studies
Anderson, 24 Studies, Op. 33 \
Anderson, 24 Studies, Op. 30
Koehler, Exercises, Op. 33, Book II
Karg-Elert, 30 Studies, Op. 107
Maquarre, Daily Exercises
Moyse, De la sonorite: Art et technique
Moyse, 24 Melodious Studies
Advanced Level Studies
Anderson, 24 Studies, Op. 21 (Op. 30, 63 & 15 are also widely used)
Boehm, 24 Caprices
Barrere, Flutist’s Formula
Moyse, Tone Development through Interpretation
Moyse, Ecole d l’articulation
Moyse, Gammes et arpeges
Soussmann, 24 Grand Studies (Vol. 3 of the method)
Paul Jean-Jean, Etudes modernes
Standard Methods
Solos
Level 3
Balay, Petite Piece Concertante, Belwin
Barat, Andante et Scherzo, Leduc
Barat, Fantasie in mi bemoll, Leduc
Clarke, The Carnival of Venice, Warner Brothers
Handel-Fitzgerald, Aria con Variazoni, Carl Fischer
Levy, Liberati, et. Al., Ideal Collection of Famous Cornet Solos, Carl Fisher
Ropartz, Andante et Allegro, Carl Fischer
Soloist Folio (cornet solos), Rubank
Level 4
Balay, Prelude et Ballade, Belwin Mills
Bennett, Rose Variations, Presser
Chance, Credo, Boosey & Hawkes
Charlier, Solo de Concours, Belwin Mills
Clarke, The Debutante, Warner Brothers
Gabaye, Boutade, Leduc
Gaubert, Cantibile et Scherzetto, Cundy Bettoney
Goedicke, Concert Etude, MCA
Haydn, Concerto in E-flat, Universal
Hovaness, Prayer of Saint Gregory, Peer International
Kaminski, Concertino, Israeli Music
Kennan, Sonata, Warner
Latham, Suite, Presser
Purcell, Sonata No. 1, King
Riisager, Concertino, Wilhellm Hansen
Simon, Willow Echoes, Carl Fischer
Level 5
Arutunian, Concerto, International
Bellstedt, La Mandolinata, Southern
Bozza, Caprice, Leduc
Brandt, Concertpiece No. 1, International
Hindemith, Sonata, B. Schott
Hummel, Concerto in E-flat, Universal
Ibert, Impromptu, Leduc
Peeters, Sonata, C.F. Peters
Stevens, Sonata, C.F. Peters
Stradella, Sonata, King
Tartini, Concerto, Selmer
Torelli, Concerto in D, G. 1, Musica Rara
Torelli, Concerto in D, G. 8, Musica Rara
Level 6
Bitsch, Four Variations on a Theme by Scarlatti, Leduc
Campo, Times, Dario Music
Casterede, Sonatine, Leduc
Davies, Sonata, Leduc
Enesco, Legend, International
Freidman, Solus, Brass Press
Hertel, Concerto in E-flat, Brass Press
Honegger, Intrada, Leduc
Jolivet, Concertino, Durand
Lovelock, Concerto, Southern
Molter, Concerto in D, No. 1, Brass Press
Mozart, L., Concerto in D, Billaudot
Neruda, Concerto in E-flat, Musica Rara
Planel, Concerto, Editions Musicale Transatlantiques
Telemann, Concerti in D (di Melante), Sikorski
Tomasi, Concerto, Leduc
Turrin, Caprice, Brass Press
Selecting a Step-Up Trumpet
Selecting any step-up instrument should be a personal and hands-on process. The same instrument will feel and play differently for musicians. Try a number of instruments out before you purchase one. Often instrument makers will allow you to order instruments on consignment so that you can try them out before you buy. I know a lot of musicians that actually go to the factory to try out and purchase their instruments. Below is a guide to buying intermediate and professional model instruments, it is in no way a complete list and only a few recommendations to get you started.
Intermediate Trumpets
Bach 200 Series
Besson 1110
Yamaha YTR4335GS
Getzen 590S Capri
King 2055T Silver Flair
Conn 52BSP CONNstellation
Professional Trumpets
Bach Stradivarius 180S37 Series
Yamaha YTR8335RG Xeno Special Series
B and S Challenger II Series
Stomvi 5335 Elite Series 330
Getzen Eterna 900S Classic
Selecting a Mouthpiece
1. Rim: Narrow rim greater flexibility, less endurance
Wide rim greater endurance, less flexibility. Players with soft fleshy lips find this useful.
Flat rim comfortable, but holds the lips keeping them immobile
Medium-wide rim greatest compromise between flexibility and endurance
2. Bite: Sharp bite greater accuracy, less flexibility, but less endurance
Round bite greater flexibility, greater endurance, but less accuracy
3. Cup Diameter: Wide cup low register easier and upper register more difficult
Narrow cup upper register easier and lower register more difficult
4. Cup Depth: Deep cup darker sound, lower register more responsive, upper register flatter, and more difficult
Shallow cup brighter sound, upper register more responsive, and lower register less responsive
Recommended Mouthpieces
The following is a complied list of recommended mouthpieces for the beginning to the advanced brass player. It is VERY important to remember that a mouthpiece is a very personal choice and the student should try a variety of mouthpieces out before purchasing one. As the student progresses there will be the need for the student to purchase a different mouthpiece. For example a junior or senior in high school that has been playing since fifth grade should NOT be playing on a beginner mouthpiece as this will affect the student’s tone, intonation, and air usage. This is only a partial list.
Trumpet
Beginning to Intermediate- Vincent Bach 7C (medium)
Advanced - Vincent Bach 5-1 (large)
Intermediate to Advanced- Vincent Bach 3C
Intermediate to Advanced- Vincent Bach 5C
Other Recommended Trumpet Mouthpieces
Schilke 14 or 16
Yamaha 11C4 or 16C4
Vincent Bach Megatone
Most Frequently Used Mutes
Cup Mute- Used for special effects in jazz ensemble, solos, orchestra, and band. It has a mellow sound.
Straight Mute- Used in jazz, solo, ensemble, orchestra, and band. It has a more strident quality and plays sharp.
Harmon Mute or “Wa-Wah”- Used most exclusively in jazz and for special effects in all other idioms. It comes in two parts, with the stem and without. The stem inserted gives the instrument a second bell. Using the hand to open and close the stem bell, a “wa-wah” effect is produced. If the stem is taken out, the tone has a “buzzy” quality.
Plunger Mute- Used in jazz and all idioms of music to open or close the sound. It is often a small toilet plunger without a handle. In a piece of music, a “+” means to close the plunger over the bell, while an “o” means to open the plunger by pulling it away from the bell.
Whisper Mute- Used to play extremely soft, allowing a musician to practice “on the road” in a motel room or other places where normal volume would be prohibitive. It looks like a straight mute with holes.
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new an better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. Then determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together. This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, The International Trumpet Guild at www.trumpetguild.org. They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.