FOR THE MODERN IM PROVISOR

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L LAURIE FRINK & JOHN M C N EIL

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 Laurie Frink & John McNeil

O m niToneFress
500 2nd Street Suite 2
Brooklyn, New York 11215-2503
www.OainiTonePres5.com
flcxLis@OniniTonePress.com

Copyright © 2003 by Laurie Frink & John McNeil

Cover Design: Frank Tafuri

Interior Design: Andrew Green

Notice of Rights
Ail rights reserved. No part of this book may be reproduced or
transmitted in any form by any means, electronic, mechanical,
photocopying, recording, or otherwise, without rhe prior written
permission of the publisher.

ISDN 0-9748544-0-9
A bout th e A uthors

L a u rie Frink

Laurie Frink lias been a freelance trumpet player in New York City since
the 1970’s, In add i Lion to extensive recording work, die has played trum­
pet with Benny Goodman, Gerry Mulligan, Mel Lewis, Maria Schneider,
Andrew Hill, Dave Liebman and Kenny Wheeler She is a member of the
faculties of New York iJniversity.Thc New School and the Manhattan
SchoaJ of Music.

J o h n M cN eil

Jolin McNeil is a j a z z trumpet player living iis Brooklyn, New York. He has
played with Horace Silver, Gerry Mulligsn,The Thad Jones/Mel Lewis
Orchestra and many others.John lias led his own groups since Lite late
1970's and his recorded many critically acclaimcd CD’s. He is also an
active writer/p rod uce r on the New iftwkJazz scene.
U U lU V U U U U U U lU t U

CONTENTS
INTRODUCTION
G 5

FLEXUS 7
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PRACTICING 8
o
HOW TO USE TH IS BOOK 10
n PRELIM iNARY STUDIES: Long S e tting 12
a FLEXIBILITY 18
a ONE • BASIC F L E X IB IL IT IE S ....................................................... ........... 1 8
G T W O ■ F L E X A N D O ................................................................................... 2 4
T H R E E • A D V A N C E D F L E X IB IL IT IE S ........... . ....................................2.3
G
FO U R • IN TER V A L S TU D IE S .............................. . . 4 4
O ETU D E O W E ......... . ........ *........ *...................... . . . ....................... . . ..........*19

□ ETUDE T W O ...................................................................................... 5 0
ETUDE T H R E E ........................................................................................ 5 2
D ARTICULATION 54
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O N E * S L U R R IN G / T O W G U ÎN G ...................................................... 54
H ETUDE F O U R .................................................................................................5 9
T W O * D E V E LO P E D S C A L E .................................................................. 6 0
1

Ü THREE • A R P E G G IO S /D IR E C T fQ N C H A N G E S ..............................7 4
1

£} ETUDE F IV E ........... „ .................................................. . ........ ...................... B £ '

VVVW VVVVl V IIV

Q P E D A L T O N E S ________________________________ 84

y Q U I C K R E G I S T E R C H A N G E S __________________ 9 0

O N E » C O N S IS T E N T IN T E R V A L S ........................................................ 9 0
O
T W O » S PID ER S . . . ..................... * ....................... ....................................9 8
u ETUDE S IX . . . . . . . . ............................................................ *.......... ..... *.1 0 4
THR EE - C H R O M A T IC D lS F’ L A C E M E W T .......................................1 0 6
FOUR • T A R G E T P R A C T IC E ........................................................1 1S
o FIVE * O C T A V E D IS P L A C E M E N T ...................................................... 1 2 2
ETUDE S E V E N ............................................................................................ 1 2 6
o
ETUDE E IG H T ..................................................... ...................................... 1 3 0
c ETUDE WINE ...........................................................:......... ........... ......... 1 3 2
E TU D E T E N .,,.........................................................................-f .................. 1 3 4
D
CD CONTENTS 135
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As an improvising trumpet player,you face unique physical challenges:

* You are none often than not operating at the limits of your technical ability.

* The mouthpiece is on die lips for long periods of time, creating endurance
problems.

* Emotion can take over, making you play louder and with more intensity.

* in an improvised solo there is often a dizzying array of articulations,

dynamics, register changes and tone variation!;.

Ail of these conditions are difficult to duplicate when practicing,

In preparing a written piece, even a very difficult one, your body learns to
accomplish the consecutive muscular demands of the piccc di rough repeti­
tion. The improvising musician doesn't have this luxury- By definition,
improvisation is spontaneous and unrehearsed. Such unrehearsed,unplanned
movements tan icave the body scrambling to coordinate itself, which invites
extraneous motion and can exacerbate existing bad habits.

It’s a tact that the content of your improvisation Is determined in large part
by your technique. Yuu tend no I to conceive ideas that are physical ly beyond
you, Therefore, to expand your vocabulary, you must improve your instru­
mental skill.

Although you can ’t practice inspiration, you can prepare your b»dy w
execute what you are inspired to play. Therefore, to improvise music with a
wide variety of elements, you have to practice a wide variety of techniques.
As in all things, musical, consistent practice is necessary for consistent
performance.

FLEXUS contains a wide range of technique- and endurancc-building exercises

that address all of the fundamental elements necessary to play the trumpet
freely and easily.It is designed to help improvisors in ail musical idioms— jazz,
classical and any others. FLEXUS synthesizes the teaching techniques of
Laurie Frink,John McNeil and Carmine Caruso, and represents an evolution
in trumpet practice that combines time-honored exercises with new and
unique concepts to create a technical approach for the 21st century.
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FLEXUS
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To improvise effectively, the physical act of playing needs to be a conditioned
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LJ reflex—freedom of expression is only possible when the physical demands

□ of playing arc tinder control. To this end, FLEXUS asks the student to momen­
tarily put aside the study of music itself and instead practice the muscular
movements involved in playing the instrument.
m

Lemming comes through exposure and repetition—you expose yourself to

what you w ant to learn and then repeat the exposure- The great brass teacher
Carmine Caruso used the analogy of a baby learning to w ilt; the baby expt>
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riences nothing but failure in its attempts until the first successful step It
G does not judge itself for its failures, but simply tries again. It is the repetition
of an action with judgem ent attached that achieves the desired result. No
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schedule or time frame is necessary. With enough repetition, any movement

becomes a conditioned reflex
□

Timing and coordination are 100% of trumpet playing. Vi'hat wc call coordi­
nation is just the synchronized movement of muscles in time. When given a
D consistent tempo, musclcs coordinate much more easily. This results in
„ muscular balance, which leads to greater facility and endurance. To put it
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another way, a balanced embouchure functions effortlessly and allows you to

move freely and easily, whereas muscles tliat are our of balancc work harder
than they need to and thus get tired Sister. Playing or practicing with incon-
C..: siscent time also greatly reduces your accuracy— it's like trying to hit a
moving target while you yourself are moving.
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g It is also of utmost importance to feed a steady stream of air to the lips. No

matter what the physical demands— wide leaps, accents, quick movements,
etc,— the air stream needs lo be consistent and constantly' moving to main­
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tain good intonation and flexibility. If you don’t concentrate enough on
keeping steady air, the muscular movements of the emhouchure and tongue
can interrupt the air stream, resulting in an unfocused sound and inconsistent
performance.
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t-. When undertaking a new course of study, the temptation is to abandon one’s
existing trumpet routine. We advise instead that new exercises be worked
u into a practice routine over a period of several weeks. Throu&h performing
the right exercises daily, poor habits will gradually be replaced as the muscles
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o naturally^ find their most efficient balance.

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PLEXUS

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 PRACTICING
The studies in PLEXUS should be viewed as calisthenics and played with
abandon. Because the demand* are muscular rather than musical, no
musical value judgements need apply. Fven the etudes, though compo­
sitional in nature, should he approached as physical skill builders.

This book will often push you to the limit of your abilities or beyond. As
a result, tone quality may suffer while exercises are being performed.
Don’t ier the sound or feel of an exercise affect how it is practiced.

T h e Flight M e s s a g e
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To practice efficiently, it is necessary to maintain a consistent approach
and insist that the body conform to it. It's better to practice at a very
sIgt* tempo that petmits playing everything in time than to attempt a
faster tempo that necessitates slowing down for difficult passages. To
intermittently slow down sends the message that slowing down is B
acceptable and tliat it's not necessary to acquire the shill to perform the
passage in time. Conversely, if a steady tempt) is maintained, the body and Pi
the subconscious are given the message that slowing down is not per­
mitted and they need to acquire the accessary skills to perform the pas­
sage at that tempo.

Similarly. Long Setting exercises (sec page 12). by not allowing multiple
readjustments, give the message that the entire range of the trumpet
can be played with a single embouchure set.

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P R A C T 1C J P J G

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Timing and Subdivision
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Timing is the most basic element of trumpet playing, and to develop con­
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sistent timing, the body needs to be involved in the timekeeping
a process. For all exercises in this book, tap quarter notes with one foot
and use the up/down motion to mark off upbeats and downbeats.
G Starting each exercise with four preparatory foot taps will help ensure
secure attacks.
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In addition to foot tapping, the focus of the conscious attention should
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be on mentally subdividing each beat into sixteenth notes to help guar­
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U antee steadiness of pulse. Subdivision narrows the window in which

muscular movements can take place, and makes it more likely that the
G proper muscles will move together. This makes everything from wide

n leaps to lip trills easier to execute. Practicing studies while consciously

subdividing eventually results in subdivision becoming a subconscious
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□ habit. Subdivision can even help with performance anxiety by taking the
focus off of execution and putting it on timing.
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Singing
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Learn to sing any exercise that is difficult to hear or has complex
o motion. This is especially advisable with octave displacement exercises.
Accurately singing an exercise dramatically increases the odds of play­
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ing it correctly. In addition, material that you can sing shows up in your
□ improvisations more easily.

o PLEXUS is meant to be used as a supplement to other kinds of practice.

Many of the exercises in this book are physically’ strenuous and arc
□
designed for practice days, not performance days. Also, play these
Li studies at or near the beginning of a practice session when the
embouchure is fresh. NEVER play these exercises when fatigued
U Practicing on a tired embouchure invites manipulation and forms bad
habits very quickly.
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 PRACTICING

H OW TO U SE TH IS BO O K

In a typical practice (Jay, play at least one cxcrcisc from cach scction in the
order presented, although the first exercises in one sec Lion can often he
paired with the first exercises in other sections. Personal ex|jerience should
JieJp dictate the exact" course followed in a given day.

Preliminary Stu d ie s
The exercises in this chapter are meant to be played in order. When Exercise
One can be played comfortably, replace it with Exercise Two, then Exercise
Three, etc. Only one of these exercises should be played in a single day.

F le x ib ility
Section One * Basic Flexibilities, pages 18 through 25
These exercises move quickly from one harmonic series to the next.Tlirec or
four daily.

Section Two * Flexando, pages 24 through 21

These exercises require a Consistent,ever-moving air stream from low to high
and vice versa. One or two daily.

Section Three 'Advanced Flexibi lilies, pages 28 thru ugh 43

An assortment of more challenging flexibilities that require and develop a
variety of skills. With the possible: reception of The studies on pages 40 through
43, the exercises in this section should be attempted only after Sections One
and Two can be played comfortably Depending on your still level, play sev­
eral of these exercises daily.

Section Four * Interval Studies,pages 44 through 48

These exercises require slurring over consecutive fourths and fifths moving
in the same direction. One or two daily

A r t ic u la t io n
Section One * Shirring/ Tonguing, pages 54 through 5ft
Maintaining the same tongue position whether slurring or tonguing over the
entire harmonic scries. Play every exercise in this section daily.

Seal on Two * Developed Scale, pages 60 through 70

Starring and then tonguitig scale fragments and/or diamnic internals. These
gradual iy lengthen and widen in scope,while the time in wrhtch they must be
executed stays the same. Exercise Eleven is a different format, but is a useful
compliment to Developed Scale exercises. Only one Developed Scale should
be played in it single day, and can be combined with Exercise Eleven.

io p ilo u s

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 PRACTICING

Section Three • Arpeggios/Direction Changes, pages 74 through 81

A scries of arpeggiated chords which begin and end with a common tone.
The exercises on page 81 teach repeated rapid change in direction.
Depending on your skill level, play up to six a day.

Pedal Tones
Pages 84 through 89
In addition to the preparatory exercise on page 84. play only one other study
from this section in a given day.

Quick R e g i s t e r C h a n g e s
Section One * Consistent Intervals, pages 90 through 97
Exercises that gradually accustom the embouchure to rapid changes in regis­
ter through the use of consistent intervals. Three or four daily.

Section Two • Spiders, pages 98 through 103

Expanding interval exercises built around a central tone. One or two daily.

Section Three • Chromatic Displacement, pages 106 through 117

Descending chromatics within a standing pattern. Four or five daily.

Section Four •Target Practice, pages 118 through 121

Connecting the registers by playing the same thrcc-note figure across four
octaves.Three or four daily.

Section Five • Octave Displacement, pages 122 through 129

Displacement of one note, up or down,within a mclodic line in both tonal
and atonal exercises. These are the most challenging studies within Quick
Register Changes. Your skill level will determine the number of exercises
practiced.

T H I N G 3 TO R E M E M B E R :

• A b a l a n c e d e m b o u c h u r e is t h e r es u l t o f b a l a n c e d p r a ct i c e.
T h e r e f o r e , d o n ' t play t h e e x e r c i s e s f r o m a n y o n e c h a p t e r t o t h e
exclusion o f other chapters.

• T h e i n s t r u c t i o n s f or o n e c h a p t e r d o n ’t n e c e s s a r i l y appl y t o a n y
O ther c h a p te r.

• B e c a u s e e v e r y o n e l e arns at their o w n p a c e , t h e d e c i s i o n t o
m o v e o n t o t h e n e x t e x e r c i s e h a s t o b e a n individual o n e . It's
n ot unusual t o spend a couple of m o n t h s on o n e exercise.

• W h e n d o i n g s t r e n u o u s e x e r c i s e s , r e s t a s m u c h a s you play.

• l o n g S e t t i n g is on ly t o b e u s e d w h e r e i nd ic a t ed .

FLEXUS TT
'l'hc preliminary studies on pages 13 through 17 are used to stabilize the
cmbOUchurc and allow it to conic into focus before adding motion or
other challenges. They are adapted from Carmine Caruso’s original six-
note exercises.

These exercises are played without removing the mouthpiece from the lips
and are referred to as "Long Setting" exercises. All hreadis are taken through
the nose, leaving the embouchure unbroken. These exercises resell the lips
to move from one note to the next inside the mouthpiece, and to maintain
the same setting throughout the full range of the instrument. Ijong setting
practice reduces extraneous motion when moving between registers, and
automatically increases endurance and accuracy.

By practicing this way, the body learns the relative position of each note.
In Exercise One, whatever adjustments are made to get from G to C have to
be undone to get hack down to ti on the repeat, thus making the notes feel
closer togeiher. Exercise Two extends this relationship to low C, and so on.

Note: Long setting cxerciscs arc not isometric. Mouthpiece pressure ant]
tension in the corners should be relaxed during the measure rest.

Exorcise One should be played once daily for approximately two weeks
before replacing it with Variation I. Likewise, continue writh Variation 1 for
two weeks before replacing it with Variation 11. When you replace Exercise
One with EixcrciseTwo, foilow the same timetable before moving on to the
variations. As stated on page 1 1, the number of weeks devoted to each exercisc
and its variations will vary with each individual. Move on only when you can
play a study easily. Oner of these exercises .should he a part of your daily
routine as long as you continue to play the trumper,
ttu ttt

PRELIMINARY STUDIES
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REMEMBER:

H 1, U s e f ou r p r e p a r a t o r y f o o t t a p s t o s t a r t e a c h e x e r c i s e ,
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2, S u b d i v i d e e a c h b e a t int o s i x t e e n t h n o t e s .
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3, F e e d s s t e a d y s t r e a m o f air t o t h e fips.
4, L e a v e t h e m o u t h p i e c e o n f or t h e d u r a t i o n o f t h e study.
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Breath attack
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Lip B e n d L ip B e n d
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□ Lip B e n d s

Ü A lip bend is achieved hy using the lips instead of die valves to lower Lhe
pitch. The pnoccss of bending lhe pitch down and then returning enables
0 the embouchure to find the resonant center of the pitch.

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PRELIMINARY STUDIES

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PRELIMINARY STUDIES
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PRELÏMiNARY STUDIES
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FLEXUS 17
 FLEXIBILITY
O N E * B A S IC FLE X tB JLITIE S

Flexibility is the most fundamental trumpet skill. Maintaining a steady

aitsfteajin is necessary fur good flexibility; and flexibility studies in turn
develop a consistem airstream.

Hie flexibility studies in this boyk begin at a fairly advanced level. If you
have nut worked out the basic mechanics of lip slurs and trills, you
need to do so before attempting these exercises. Leave The mouthpiece
on for the duration of each two-line segment.

One

Two

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of each tw o 'iin e s e g m e n t
 Leave th e m o u t h p i e c e on f o r the duration
r", of each tw o-line se g m en t.
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Leav e th e m o u t h p i e c e on for t h e duration

of e a ch tw o-iine s e g m e n t.
 FLEXIBILITY ONE

Leave th e m o u th p ie c e on for the duration

Of e a c h t w o - l i n e s e g m e n t .

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FLEX u s 23
TWO * FLEXIBILITY

T W O * FLE X A N D O

The go ai tif these exercises is tu maintain a. continuous air stream from

beginning tu end—right through the change of direction. Aim for the
final note to keep the air from stopping or faltering at the halfway
point.
 FLEXIBILITY • TWO

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FLËXUS 25
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TWO » FTEXI BILITY

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S E
1 -r-r r J : ll
C o n t i n u e up t h e h a r m o n i c s e r i e s a s in E x e r c i s e O n e ,

- a -------*
1 *

C o n t i n u e up t h e h a r m o n i c s e r i e s a s tn E x e r c i s e O n e ,

F iv e

fad

2G i i i . 1i
 FLEXIBILITY * TWO

n
a

C o n t i n u e up t h e h a r m o n i c s e r i e s a s în E x e r c i s e O n e .

-LE X U S 27
T H R E E “• F L E X I B I L I T Y

T H R E E * A D V A N C E D F L E X IB IL IT IE S

R e s e t a f t e r e a c h l i n e.

> >
k . 1* p r * r r- * f~ ^ \ 1---------------
41UL.L.M - :--^-r-p r
3
4

-l

> > >^. _ ■ >

= k i. r ^ f • r ' ■'1
^ e -P —i- ] f 1— o— ------
— —---------
— u ftU J
> > _.__ >
-J- -* i-- H 5“ f r f
------------ r r - ■- r. r ir ■
-#
1 -------- : ^ ' -1— 1
>2 > > >
----- ---f _ _V
-!_* I
\— u-------- -
h id -j *ip
2
3
> _ > > >
- -\ ■*■1 r * '-r^---f p —
2 r >■L1-^-°------
---____------
¿ B lP ijl- i f *
i 3
>__^
j ~\ -1»: --- f — .'. * -f : 1--o------
1 =2= L
 R e s e t a f t e r e a c h li ne.

u
Two ---- ^ __^ -
i e ^ '^J>Mff " 4
j f j i - S r j Efi-J----r - J - T f r S r f f f i i ■■■ ji
D -------- ---------- i =
4
- ■
□
> ^ >_^ >^-—
n a r, ^ ■ f f ,Ti ri rr -
c Hi*—
i LJ EJ---- —i Jfffr
--------- — — L-L 1

G g i ^ - - r 3
D
O

o
n ■v^ >___ _ > ' >,
□ * * * ■*■a
-T u r r
p
r r i 1— -u—
■
i J fJ r #
D 1= S — = ^ iJ= v---------
r L
a
u
o
u
□
p

** a
u
u
□
O

U
F .FXUS 29
□

Cj
Sr\
THREE * FLEXIEELITY

R e s e t a f t e r e a c h l i n e.
T u i u m i m i
FLEXIBILITY * THREE

The following exercises are a cominuuiiun Of thust (in pages IS through 22.

L e a v e t h e m o u th p i e c e on fo r th e duration
V of e a c h tw o-line se g m e n t.

a 3 3 3
-A i. ~ -------------
H ~= m
- —P;-#
■ j---m
j ----
—7'a---------
^¿M---*-- -
v bw ' j
\t ^ --- *---
m
IP
THREE * FLEXIBILITY

Leave the m o u th p ie c e on fo r th e duration

of e a c h tw o -lin e s e g m e n t .

2 1
3 3
Three

~ t\
ip=B3 1
ip -

-9— — m— ■ ------------- \
* > a * - ||— —
m - _ J L _ ^ -------------------------- \
------------

3
— j 1
— r r —tw
, b
/ f H ■ Y 1*L— — F P = ^ —
---- •- V a«-+■t > S J E B X - J
---- 1 'Siu J g j

~~ n
yf —|a h i F S ------ ii
---- H r-» — N- L—
ts p j
M

> 3
> - — — i
~ tfc\ r -t - ■ a f=
w — ■— - ¿ T fP -
p— ^■^-.0 f *----
— 4H ■
4#
-

— T- "i
H - -jl
j ------- J
4 « d

32 i■

P H P . W ' : . V ' 1 ” 1'. '.iT - r r r - % - -l. i

n FLEXIBILITY * THREE
n
Leave th e m o u th p ie c e on for the duration
of each tw o-line se g m e n t.

F iv e
P
iiJL
□
T
□
n 2 pit

i)
■ Li ■~LV"" -- B? —i— ■
D ’Si"— --- P*--- - ■1— F--- !—

* e *
□
Six

E3
*
a
e
□

□ t
£ 1 i- ^ —
3 3
c Vf ^ rs
3

iS
o
Q
P S
G
*>. |
1'/Tp * -II r ~
C
- s s b~ ^ £J —LSf ^ L._
G
a S even
2
3
T
3

¡J
1— L
ii ii r
□
"3
□
3
j - j ---- * ‘p.
~& —
=W— "
------- -] " |: k --------
._ „-r. _L--------- -i
* ^ !|* W n y FLEXUS 33

■ wc^ h
THREE * FLEXiBIUTY

Leav e the m o u t h p i e c e on for th e duration

of e a c h t w o - l i n e s e g m o n t .

2 i i
3 3 3 3
am

•-----, ----------- “ I
f = ------- ^ ,-h I - J - j j ---* —

¿J j
— — r — jH

—j / - ----------- * - m' ' O’

ttJ t! .—
* -
— i-
t r iH ■ - J
n H Ed

n U — J— u u - } — r
— M
-'■ 1 b“m.---- ----- _w
______________
* ^H \f-rn

Ten

i P £

= E
if
¡ M
3^ i 11
i i u u u u u u
FLEXIBILITY • THREE
Leave the m o u th p i e c e on for th e duration
of e a c h tw o-line s e g m e n t.
m

T w e lv e

¡m
m

Fi * -------
W

2 — T.
3- 3

lirteen -------------
p. 4 J id J
-* T T T S tf-\ + L
¡p

» b#
9
3

= * =
b* [V b* b0
----
- !
- — k— — f
------- -------jj
*J b?
L_j r
*
C J

FLtXUS 35
THREE * FLEXIBILITY

One f>f the problems faced by brass players is maintaining flexibility ül loud
volumes. Hie fOUuwin^ exercises address tills problem. First, play an entire
scries softly, WtlCü tliis tan he accomplished easily, add a very pcopüunced
crescendo/decrescendo as marked. These exercises will tench the lips to
remain focused ;md flexible at all volumes.
 FLEXJBiLlTY * THREE

Two

U_
$ *
/yv*
JJJ PP jÖ 7

* /W
JÖ7
fe g * ;
_ a Z Z Z E 3

J 3P
j fe'

■
----- /W
— JR 7
1

s 3?=

JÖT = -.e p

:
*7 m
^y~/i------ m. $
x r
fj
JJJ
/W -
PP JJJ
PPP

T L t X US 37
THREE + FLEXIBILITY

&
U U U U U L W lU U i

FLEXIBILITY • THREE

Four

jc l
fefeggf-
___ jW
----- JJT

*> jfe *
* ■/ ---- jo __ =__ ::
~ /J * /i f /J * \j */
«
-w>—
> mvi . /w *
/Z /

* " * * * ' X / Xi

—“ yW
— J7J

FLEXUS 39
THREE * FLEXIBILITY

These exercises involve iivu complimentary skills: 1) maintaining ¡t pircii

while moving the Stives and Z) moving the pitch without ¡using the valve«.
Practicing the materia} in this section will dramatically increase your flex­
ibility in a very short time.

Begin by playing Exercises One and Seven several times each. When these
can be played comfortably, add rixcreises Two and Light, then Three and
Nines etc. Eventually, exercises 14 through 23 should form a daily routine,
with earlier exercises reviewed from time to time.

i>[> ■ — — J — V — — ------------
t r ------------------------ i------------------------------------------- 1
---------------------------------------------
Five

4
S ix

f~ [ ^p^*p— " ^ F - --p— o

L ip B e n d

_t>.

ii
 FLEXIBILITY * THREE

Eight

I
N in e

Ten

(1 1
- 1 -r— ft* r*------------- 0f —
------------------------------- i-------- - L - 1- .............. - — ...........

Tw elve o

g=itr ir— r ttr tt"

Thirteen

i¥ r*— v jfJC

The fo][owing exercises are more advanced and require you to have
mastered One through Thirteen,

Fourteen
0
*—
— r - f— r r ft— ^
F ifte e n

# = m------ * — *------ 0 . ----- t» *

-F-------- -------- hi------- ----------
— r i 1 1 1 -------H

As soon as Fuurtecn anil fifteen tan be attempted, they should be

flayed every day
PL=XUS 41
T H RE E * F L E X I B I L I T Y

Seventeen

—5---------- *— g*— h- - i * -m -ï *- J: *.----- Q--------------- -

& — i — " ...I— T - j- - V - -

Eighteen o

_o_

C o m b in e 1 9 thro u g h 2 3 with 1 4 and 15

N ineteen

4=~r T T T r r r r * ------g

Twenty o
- t t

[M * --*m Mi *— •—
U
1

\----J----|----
■-

\----- —
Tw enty! 0

* »

* »

ff- -
Tw enty3

42
Î *»----------* —B ** Ji.
 FLEXIBILITY ■ THREE

F i n g e r Eb m a j o r , b u t p l a y D m a j o r
O ne

i ■ ai*-
v r .T r F -f^

#
Three

fee fy—3ifr-==| E
3 3
I ' j '

-11-------U----- ljj— X

s
2 1
3
. a. ^r~Tr f. ;• * br = F Y ^
3

#
4f
0 m
i-
.
Mr r i — ° ------------------- n
t ------------ 1— - 4 !
plexu s 43
FOUR * FLEXIBILITY

F O U R * IN T E R V A L S T U D IE S

T ile following exercises accustom you tu slurring over consecutive

fourths and fifths. Play each line sevenii times without stopping. T ry to
maintain a steady airflow throughout.

O ne

0 ----C-*

_ 3
rV
Li

i I
#

_—-. r - tt* ,
# 1 i,J — K Li * ji... ■ - ■
;I - ____ ...
-9tH -------- --------------- 5. — - - — w— i— —

#T^L=V o-

44 M KXU'-i

!"■ L
 FLEXIBILITY • FOUR

p f
,
m W

-----m— am
=#1 1*— * --------- ---- ? *— r -■ ¡t------------------
— ----*----
# * m — >»^ 1

- fr ■ ----- --------- r * *p-j>

■— — _ _ f .......... ...........
L=?t*=^— — i
-jJ jJ

p *j •

•
l?jr: ‘ ' - ’ e ~---
¡ft — F =, | i--------- ■[
- ■ ^ -41 i---- r,----------- 1

FLEXUS 4-5
r

FOUR » FLEXIBILITY

Three

--/H ----------- ~ ' -■ |---------— ---

™J- —
¥T
4 J ' \— -----------
■»
t XT
.F

b
7&1 - r - L J F -* *---^T ------ - f------------------
Jw - —■1----------------- ^
bi* IR **^ PS*'

IT" «* ’ :* - . s ------ . 1----- ------------

= fk p—
- I ------------u j — - T 1------------------
y J V -+ M O
JP

* f * ~—
-J \ ■■ ■—“I LJ L,d” ==_1
*
w

k. P-
• ----------- j
= fc I— f --- p -& f
= m ± r —
— !---- —1£M— r—
i_L
,t
N ■ J Ipr.

.*. b
f»
■ b- W-----
—r 1------- '
r. |. _-- 1------------
1
■

I '“ '. ■■ g^'IJ

*-

46
i t

FLEXIBILITY * FOUR
m

Four
u m

— *— r— jn
r P O’
L -J 3 '
c

n
m

& n , j j i
iP
□
m

□
n m

cj

o
. f e jf e z k
r:
P
m

□
r * • » H f -h
r c m u i r m m n n T u m

¿;
L:
itJ
5=1 4 ^ TT

C
Ej

t:
c

FLEX US 47
FOUR * F L E X I B I L I T Y

* b

¥ ÍÑp _ ^
—

----------------------
i..

^
- . <

;t
=

b<>

I — -»

--------- flr V = — - i t ----------— ---------

SJ
-^ -1 - V
U ^ '— ’ • j
- ‘

0
-------- p — !— ï ~i>s - ■1-----------------
= É r ^ -4>J ~ k^ ---- 1 --------------- 1
Á
- ïf J b* — --m \ra

£ #
ÜH------- ¡i---- ^* - 4 . M f= i : *11— ----------
T v If—
-Ptyl 0 -

tJ .-4 #-—L— -+*1 cJ

 ETUDE * FLEXIBILÎTY
ETUDE ONE

— ^ w 1*: 1 i d -14-J —^ = F?:

-*-1----------
eJ
# -- ------ Jri
— ------
«
--v»
■ J—------------------- *fT*
L_r r r ^
i r - ^ '
- f i — : } : j " \- * - £ # — t ------------ ----------4 ~i « - * » —
* * --» --4 ^ ¡ à
L I T J J >

—i------------------------ ■------- W--------- ;■

—m m

-
t j 1 H L -U
3

- i — ---------------- , i *1 m _ _ |_ - &
»-*-------—J ---------- n , w ------ -m — i---------
-»5 — #■—
= • ' ‘ [^ J é"
t
= H

-1__ Il f e §
J] * ~ÿ !.^T

b* * 3. ¡l

iü = p

----
i*
?w I
■ » -»
!± ___
ê

- - ^ r k n^] ï::: ---- O------- ------- }

■ f- U j * J t|
FI.E’/ U S ^9
E T U D E • FLEXSBI Li TY

ETUDE TW O

ür ^ - j T
f f
h*r
■
T
c p | il a
------- ü »
t 1 ' 1 ' r 1 Æ w

■—‘-^•l
0
3 _
3 va*
- v w

V(TV -■ -
B i
¿ ij i l »
-----
-
1— 1—

9 ■» - *
Æ

I K " |
------------i»
»
- 3 ------ -------------
~3 '
l, -7
 ETUDE • FLEXIBILITY

-------- I

-¡L -Il — : * -------------------------f

■h t ----------* --------- u r . %
7 /
-ft? $ -■ j -------- n ---------
'b i
w p S i ' . I
™ / /

y 1» h i ^ T* u ---------rf= |
*— *— = ¿3
i t -------------------- ----------- ir ~ : f “ F- "I
-----1
-----1---- !
f

ARTICULATION
O NE * S L U R R IN G /T O N G U IN G [ÿij

Trumpet players usilally play more efficiently when shitting—the airstneam

is uninterrupted and therct are fewer moving pans iu coordinate, The ten­
dency of many players is to have one tongue position and iilrstream for
slurring and another for tonguing—in effect two fcompîetdy different
appreaches to playing the trumpet. The exercises in tins Section are
designed to develop a unified approach by juxtaposing slurring and
tonguing. Hie slurred roles coordinate the action (j!1lips and air.Then,
while thé pi tcft-prod udng motion tontln ues, the longue is lidded¿'fate p
gya! is to keep the identical setup anil feel when ilurriny or tongLilng.
z

Leave the m ou th p iece on throughout. B reathe -through Q

the nose, aefding a s m any b eats re s t a s n ecessary ,

S o m e t i m e s u s e l e g a t o t o n g u in g . s o m e t i m e s s t a c c a t o .

O ne

y
W m - > —* :Ê =
VO m .
^
BTM □
. -S * --------^ w ' f p_ ----- — m
W ~ \ ---------------------------------
i ,

( L L J ------------------------J
= d - l i s b H Ü Ï

9 *
f ' » . F -

- -■

BTN
* -
m
« —r - ■ V
m r —m t iH — ■ —.
3 — —
U ü i J U J= â -Ç É £

E4 i i I.,,- ü
U i i i u u u i w u u u u i v i
1

OME - A R T I C U L A T I O N

Leave th e m o u th p ie c e on throu gh o u t, E rea th e th ro u g h

t h e n o s e , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

S o m e t i m e s u s e le g a t o t o n g u i n g , s o m e t i m e s s t a c c e t o .
 ARTICULATION * ONE

Leave th e m o u th p ie c e on through o ut. B rea th e th ro u g h

t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

S o m e t im e s u s e le g a to to n g u in g , s o m e tim e s s t a c c a to .

F LEXU S
ONE * ARTICULATION

R e s e t a f t e r ev ô ry line.

S o m e tim e s u s e le g a to to n g u in g , s o m e tim e s s ta c c a to .

F iv e { * ’ )
- - sim.
~ *L m
*S | g g p Ü P

i —

- J f - t j r " * * !* '#'
»
p Nï r f r f r f p
<
i-M
r
-
t— n — - • —
* ■ # — — 0 --------------- tM

3
t= M " -------
—J r —" - i» L— ' -* f * r * r ^
,-XiLT—j_ J . ----- --- 9 --- * — —m— _.----------
d> « a
H i

Û ± t

50 LEXU S
 ARTICULATION * ETUDE
ETUDE FOUR

.* _

fs J fr f1
'

" ïf j 3 3
3
j j J L *—
T |
i m m
jF f - n ha .. m
l
«p . \ 'jm
T 7 ----- *
4 v j ■~T", —î ~ i r - V b » :
m f m
T WO - A iRTi C U L A T EO N

T W O * DEVELOPED SCALE

The following exercises are written with a C Dorian mode but should be
applied to as many stale types as possible. If these exercises ure too strenuous
as written, reverse direction at G on top of Ehc staff or play the entire exercise
in a lower fccy. fcxcrciscs One through Ten extend the Developed Seale in the
interval of a 5th. It should he further extended ihruuyh 6ths, 7ths ¡inti octavcs.
Play only one exercise from this scction in any one day.

Leave th e m o u th p iec e on throu g h o u t. B rea th e through

th& n o s s , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y . U s e le g a t o
t o n g u i n g u n l e s s o t h e r w i s e in d ica ted .
O ne

*J *
*-J;==_==
=fa
4
.,
L,Jh—— —— !—u=>= j
—»_W_ m m * +i
¿s —t ----------------! * rr -
- ,:v
"kfrfcrf¿;c£J££cf I S
 ARTICULATION • TWO

Pi:iy the previous exercise with each of the following vïtriittiorla:

1 A 2 3

'à
W i t » i

= p
m * s r

]n Che following variations, exaggerate the accents.

’W'lien playing four consecutive tongued notes, introduce this variation as well:

19 20 21 22

É
'^—à - ■j -■
j j *j jJ J ^ 5

FLEX US 61
TWO * ARTICULATION

Leave tho m o u th p ie c e on th ro u g h o u t. B re a th e th rou gh

t h e n o s e , a d d in g g s m a n y b e a t s r e s t eg n e c e s s a r y .

tw o
 ARTICULATION • TWO

-Jf —
.----------— r ~ ------------ n
J-J- ~~iy -— l = ------ -—-41
i* U

Piay the previous exercise with m ch of the fnJIiiTving variations:

h 'L ilx u S 63
T . VO * A R T I C U L A T I O W

Leave th e m o u th p ie ce on th ro u g h o u t. B re a th e throu g h
t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

T hree

j — l
p “ i
= » H J j - * — -- -j —
... ■ _ . K —L — i - p — i— r . ..
- t S ) — » - 1— » ■ ¡ d

S4 F LEXU S
 ARTICULATION * TWO

Play the previous wfercise with each of the fallowing variations:

f l Fy 1
jS
TWO - ARTICULATION

T h e fo llo w in g e x e r c i s e a n d its v a r ia t io n s c o m b i n e E x e r c i s e s T w o
a n d T h ree ,
L eav e t h e m o u t h p i e c e o n t h r o u g h o u t . B r e a t h e t h r o u g h t h e n o s e ,
ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .
Four

V a r iâ t ion 1 V a ria tio n I I

V a r i â t icin Ml

Five

C o n tin u e s e q u e n c e up to:

C e n t, s e q u e n c e d o w n t o :

ee
 ARTICULATION * TWO

Play the p rev io u s excnd&c w ith each o f th e follow in g variiilions:

f l Ex US 67
T WO • A R T I C U L A T I O N

Leave th e m o u th p ie c e on th ro u g h o u t. B rea th e through

g jx t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

' 0 - ft. ML 1 ^ fl _

C o n t i n u e s e q u e n c e up t o

iM l
. . . ^
C o n t. s e q u e n c e d o w n to:
$ - -H r -m
V f * ■#

Play the previous exercise with each of the following variations:

 ARTICULATION • TWO

1
10
1

- -
~C0 " 1 m-
---
---
---
--j j . i . J ■ , H i
* * > 0 # * ♦ >

12
Im X é"

13 14 15
rj
--------- — 1— 1— 1— H
■j — J_ i 41
it 4 ■ -* ■m ■m • «1 y
" r 4
16 17 18 19

§Ê ~ ~
+
~
+ 7 -m~ -m-

T h e fo llo w in g e x e r c i s e a n d its v a ria tio n s c o m b i n e E x e r c i s e s

Five and Siw,
Leave t h e m o u th p ie c e on th r o u g h o u t. B r e a th e th r o u g h t h e n o s e ,
adding a s m a n y b e a t s re s t a s n e c e ss a ry .
Seven
Etc.

V a ria tio n i V a ria tio n ! I

~3~ r - J .M

V a r i a i io n l I !

-à

F LEXUS 63
TWO • A R T I C U L A T I O N

L eave th e m o u th p i e c e o n th r o u g h o u t. B r e a t h e th r o u g h
E ig h t n o s e , adding a s m a n y b e a t s r e s t a s n e c e s s a r y .

C o n tin u e s e q u e n c e up to:

C o n t. s e q u e n c e d o w n to:

Play the previous exercise with each of the following variations:

 it
n N ine ARTICULATION * TWO
a
[■
J - L J" ( J | ■
— J' J»
m— - J — jj J F I p# ■ ^ ~
F
I* ■
# ' m E * -----^
I I

I
h h h iz .
S
1 ¿2

G
»6

:? £
*
n

h
hI C o n t. s e q u e n c e d o w n to:
4*---- #---- v ---
i
u
The; follO’iVkig ccerdsc arid Its variations crimbine Extremes Highi and Nine.

1
Leave t h e m o u th p iec e on throu g h o u t. B re a th e th ro u g h
t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

<?

i3
i

i -+

V a r i a t i o n |!l
5

F L E X 'J S 71
TWO * ARTECLfLATIQ^

Exercise Eleven should lie played in tandem widi a Developed Scale exercise.
The goal is to product- an A above the staff efficiently and then maintain the
same feel and sound while approaching the A from progressively lower
degrees. A above the staff is significantly different in timbre from G a whole
step below and generally feels like the beginning of the upper register.

Ultimately this entire exercise should be played with one setting; however,
begin by removing die mouthpiece from the lips and resting after every two
or three lines.

E le v en

sim .

BIN

¥ P

BTN

1 — -
¥
ARTICULATION * TWO
THREE * ARTICULATION

TH R EE • A R P E G G IO S / D IR E C T IO N C H A N G E S

Leave th e m o u th p ie c e on th r o u g h o u t e a c h e x e r c is e . B r e a th e th ro u g h
th e n o s e , adding a s m a n y b e a t s re s t a s n e c e s s a r y . T h e first-line
sh ou ld b e slurred t h e first tim e and to n g u e d on t h e rep eat.

■ 3 3
* m
3 3w
-0— 0- m— j i f a -- * -----
N M ¡4*5 =
------------ -----
m L u

3 QM £
f ■r -
S E x>-

Two Slur 1 st x. t o n g u e 2 n d x

£ '
p 9 >J|Ü I m

3 3
A im

ARTICULATION * THREE

L eave th e m o u th p ie c e on through out. B re a th e th ro u g h

t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

T hree S lu r 1 s t x, t o n g u e 2 n d x

Four S lu r 1 s t x, t o n g u e 2 n d x

fle x u s 75
r

THREE • ARTICULATION

Leave th e m ou th p iece on th ro u g h o u t. B reath e throu gh

t h e n o s e , a d d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

F iv e S lu r 1 s t x, t o n g u e 2 n d x

if

3 ti \>± *

m m m fftl
p i « fctiL

in

S ix S Ju r 1 s t x, t o n g u e 2 n d x

i
m

3 3 ■» {
: . '

76 Fl.EXUS

i 'i.l
 ARTICULATION * THREE

Leave th e m o u th p iece on throughout. Breathe through

the nose, adding a s m any beats rest as necessary.

Seven S lu r 1 s t x , t o n g u e 2 n d x

*4f
i f-rJ T— m —
----- ---- r|
'L— U t I.. . ! * *
... T^-_— * -

- * lib __i
^ j
HP- -r r * P“ ---- i_----
■-[—■n-* -■ r j —=1
J II- £i i -
rL m . .
—— 1 f

J| - 3
BE I m
Ê m
ÜO

E ig h t S Ju r 1 s t x, to n g u E 2 n d x

£f 1

•J t*4
3 j
3
— 0 _ i 1—1
V J . r ~ — j— ?— — i
■ ■ = T # * * * j
— r ~ r ; u 1 ------- -4--------* --------- — —
--------* ----------------- ---------------- r s- î j ~ —
m J J J 3
3
3
û s ■
— — . ; sr J
------- m---------
( o __i --------- -------- 1-------- « —
— — , • • * — *
y V
* >
j 3
? >— T— 1 ,* * * J - “ l— i —

f. r r ^

FLEXU S 77
I

THREE • ARTICULATION
N in e S lu r 1 s t x , t o n g u e 2 n d x

J J
j
---- '
'— T - f f J J --- ■
--- M----
----
-i W
h ’ J 77?--- J ---------
* ■m
J

3
rT H
iS E jr
\jr 7£F
 ARTICULATION • THREE
Eleven Slur 1 x, tongue 2nd x

: t
#=i o

T w e lv e Slu r 1 s t x, t o n g u e 2 n d x

— Jm
3 m__
; 9

7¡----- at-------

— . J . L. .. . * ^ ------- i ----------- ---------------

ñ f -------- - ---- ---1--- *
F ^ t = i

4 iS V — * = f=
J
TW DfT
#

J J
* , Í , *
3 ____

~/r T — — '—M—— — —
i—
r ^ H — »—
i---------------
'■ ' <
1
■---- * -----
# 3 — P“ '
«

FLEXUS 79
THREE • ARTICULATION
T h irtee n

# É P 9
- j --- i—.----- ---2
. , ift------ f . f b‘ :. ft i. 3

I f i ~i?—[—--------
ap— --------------
;--------*- i— — — r— i~_c
J—_- — —*--------
3 3
------- «------- «--- E--------^
J
f- '■ J tf* m * ! r 1— t*— h- *. ..
m ™ m
— =i— -— ~d—
L .1__ L-
j j j
—-H
m ■ ■#
« i----*--- w r~ ~ * ¥•— 1 r # * m. _aL. — jH^
d------
J •* \>l J j j
_ "p
5«
= * = l -T“ —1J*-------
M --——~ri—"i~
_* r~ ^ z — > r—.«—-J- d .
»-------j kl»
Fourteen
S hr — , , n‘ • »»1 *■ t 1” r* r.vrtrr.-A..-* __
i ir» •
-=: ----1 —rJ
U JJ Ü J * M
w

■1 " ]---------— *------ i * J * J J

y ------
— "ITT ' >-------------
--- ---- é
”
\
r r F r f , =f= '
-- -’--~
■— * -
P ~
hsN= - j --------- 1 >

f 1 - J r 3

= iN ------
te— r
^-3T— r------------ t
~t ’
r
f
— )?--
r
r i ^ r — J-
_ m

* j j 3
- 4 — -------------
------- , J W--------1
-t----- --- (•------------- #--- p. - r . . i
— H --- J---- 1
1
r P
'
F = f = ------ p
— J
1---- “
3
* 3 3 r
=rf=F ......... . #- . -------
_■---------— 4i
y i ■r-f-u .t,. ---- k■J. —1--- 1------- *— » 1 o J
30 F Î.E X U 5
 A R T1C U LATSO N * T H R E E

n whether slurring or tonguing, repeat'd chans«*; ir direction are very

challenging to execute. Le;im to exccute H^trcises One through ¡-'our
before attempting Exercises Five through Eight,

S l u r e a c h e x e r c i s e a t l e a s t t w i c e , t h a n s in g le t o n g u e it s e v e r a l t i m e s .
One
n
'7
m r m »
t H 1 - i — • !1 *9 i zm h— -
m m
- * <p- j— 1 u -
a *h
h i d J L - a t b
Two
n
B B -« j j - — —*—
p
-ft? H i ml
* W
r - . r ~ ^ J— «- *— * t H f-----I-
n
y *
± e =
Three
i:
- S. ,- * ft •- *-
¿ : ~ L ^--* ■-- ; ft . , «-----ft -Q 3 = d ftf .. ^# iff ■|-0 ■
— «—*—* -
Q •— M 0 ~
■■[ r i r 1
U
Four
n ! £ ft.
* ft . ... ----
*— «
n
—r ‘ i 4 - " - .— «- ------ H -° —
-4----- i
? - r L - * ---T L _ L ------- =E
n t± J d
F iv e
G

O ■ J- fe j-
! in

D
Six:
n

LI
p nrn i
jf ft* ^ U | f'lf " “»---B -* .1 3 0 -

U
--- *-
*
k _ f r i - r i r p _Exi s
, ¡JH II

a E ig h t

4 - 'i
n=T»r
Lc__
ifeas r ¿j>r ja .

T O
F?.exu£ 31
ETUDE • ARTICULATION
ARTICULATION * ETUDE

FLEXUS E3
 PEDAL TONES
Pedal tones can be a useful addition to any trumpet routine. They aid in relaxation
and reinforce the concept that the lips—not the instrument—form the notes.
Because pedal tones increase the flow of blood to the lips, they also help to reduce
swelling and relieve stiffness on the day following a strenuous performance. They
can be used as a warm down immediately after a performance as well.

Overuse of pedal tones can have negative effects. Symptoms such as a flabby, dead
tone, poor intonation, and loss of range or flexibility are the cue to suspend pedal
tone practice and seek the advice of a teacher, With the exception of the
Preparatory Exercise, it is important to practice only one pedal tone exercise in a
Uivcn day.

Since pedal tones can change mouthpiece placement and jaw position, they should
be immediately followed by a scale that covcrs most of the range of the instrument.
This refocuscs die embouchure and leaches the body to maintain the relaxation of
the pedal register when moving into the upper register, resulting in increased range
and endurance. Pedal tones should be played in the middle of a practicc session,
since playing them at the beginning can confuse the embouchure.

P r a c tic in g P e d a l T o n e s :

1. Play e a c h e x e r c i s e slowly.

2. U s e Long S e t t i n g .

3. Play a t a m e z z o - f o r te d y n a m ic.

4 . D e s c e n d a s lo w a s p o s s ib le , a llo w in g t h e m o u t h p i e c e
t o m o v e w h e r e v e r it w a n t s .

5. F in g e rin g s a r e o p tio n a l—u s e w h a t e v e r fin g e r in g s are

essiest.

The following pedal tone exercise can be used as a warm down at the end of a prac­
tice day or performance. This particular exercise can be used freely in conjunction
with other pedal tone exercises. If you have trouble producing pitches in the pedal
register, this exercise will help develop that skill.

34. FvLfcXUS
 PEDAL TONES

Leave the m ou th p iece on throughout. Breathe through

the nose, adding as m any beats rest as necessary.

P re p a ra to ry E x e rc is e

O' w

, 1 I

y s e bi
n 3 = o

É
f

One
BTM

irsz
-9-m-
: / r

BTM
-S ^ T i #------------------------------
-fe r ----- ¡# tm ’ .. . ! . . — r — o ---------------

BTM
/i ^ " T “
- y i y V — » ---------------- t— — : ■ -* »* kc ---------------- -----------“ ----------
po
1 M -------------- * h b J j — - i

C o n tin u e th e p attern d o w n c h ro m a tica lly a s fa r a s p o s s ib le .

R e s e t a n d c o n c lu d e w ith th e fo llo w in g s c a le :

= * r . d * - __________________

i- . ¡.J _ - " - r y « jd

FLÉXUS 65

Li
PEDAL TONES
Leave the m o u th p iece on throughout. Breathe through
the nose, adding as m any b eats rest as necessary.

Two

¿*>:*j i*. . - - * 1— i—
r------------ * !r— i*— ■i-'■--------F
■■■r — = ■ 4b=J *

m r r r r r r
.L

- T.71 f- f
il

-- - T
* w

./ i -*--- ■ * r r it ----------- |-------- ---i---(»— *—

1 1
'

f . ' » J • - i r r=i
\

-t-’— i*— i*—

yi i1 r r f r r _ g_ »_ .|*_ ^ - --:~l -- m
ii
i

# • 4 — lp ^ ¡ - r r ^= ■
C o n tin u e e x e r c i s e a s
high a s p o s s i h i e

'iy. i - F r .* » ;
r— |- ' If 3

v j u-,^r E.f--------
TS - ..5
—J---1
,. - ■-j•-*>----
N i■- -, - ;--T
---f---z
------ ^— *r. ■< --- 1
-- í
C on tin u e e x e r c is e a s
higJI a s p o s s i b l e
as ni
h PEDAL TONES
U Leave the m o u th p iece on throu gho u t. B rea th e th rou gh
t h e n o s e , ad d in g a s m a n y b e a t s r e s t a s n e c e s s a r y .

One
R ep ea t 3 or 4 tim e s

n
h
D Two
R ep ea t 3 or & tim e s

D
□ m mi f J.f
Hi

G t -1
G T hree
R ep eat 3 or A tim e s
U

R E Z J: J ~ •!!
n mf

i s
¿j
Four
Ü R e p e a t 3 or 4 t i m e s

L; |[: r ^ v 9! j i _ 4

■P

FLGXUS 37

>!jT'r'*' ¿SfcHc^v^r<r^ i.~fass&uJa

PEDAL TONES

Leave the m outhpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

One
BTN

£
üH ü§ -777.

.• A BTN
0---- 0 --
= 0 1 m * - . ------ 1 + U - —
-- --- ------- 6
3* J 4H
---- t = J
C o n tin u e d o w n t h e h a r m o n ic s e r i e s t o lo w F P.

Two
BTN

C o n tin u e d o w n t h e h a r m o n ic s e r ie s t o lo w Fjf.

T h ree 0
m ETN
w~r # 1 ~ 0
--- 1--- »
■-
f t p: ~l 1
— 1 w— 1 = 1
a
= i= * = * --- 1—*
—

C o n tin u e d o w n t h e h a r m o n ic s e r i e s t o lo w Ft*.

S3 f lè x u S
 PEDAL TONES

Four

■
. pfNÊpÊP
----- \---Í---1- 1 1 1 '
.
BTN

_ F 1 ----- — — fc—--- 1—J---------!---- - 1 9: * « ,J -

= G F = r-l -----f-----*
Ï i ?

C o n t i n u e d o w n t h e h a r m o n ic s e r i e s t o l o w Fjt.

F iv e

Ï -
$ m
BTN

2L X u ?—
$

C o n t i n u e d o w n t h s h a r m o n ic s e r i e s t o lo w F fl,

S ix

C o n t i n u e d o w n t h e h a r m o n ic s e r i e s to l o w F Í.

C o n t i n u e d o w n t h e h a r m o n ic s e r i e s to lo w F f.

T h e p a t t e r n e s t a b l i s h e d by t h e s e e x e r c i s e s s h o u l d b e
c o n t i n u e d a s high a s p o s s ib le .

p le x u s 39
Q

c
REGISTER CHANGES
K O N E • C O N S I S T E N T IN T E R V A L S

The prevalence of wide intervals and angular melodic lines in contemporary

music makes it absolutely necessary to be able to shift registers quickly and
efficiently. However,changing registers quickly is probably the hardest thing
to do on the trumpet. Many factors such as air speed, tongue position, lip ten­
sion, ctc . must be coordinated in order to do this effectively and without
embouchure distortion or extraneous motion.

The initial exercises in this section gradually accustom the embouchure to

rapid changes in register through the use of consistent intervals. Exercises
One through Eleven, pages 90 through 93, are built around diminished
seventh chords, which divide the octave evenly into minor thirds. The exer­
cises on pages 94 through 97 arc based on augmented triads, which divide
the octave evenly into major thirds. Practicing these exercises will help you
develop a fluid connection between registers.

Rubato

Two

90 F L tX L JS
GUäCK REG ISTER CHANGES • ONE

Fl-EXUS S1
ONE • QUICK REG IS TER CHANGES

Nine

S2 FLEXUS
 QUICK REGISTER CHANGES * ONE

T ra n s p o s e th e p a tte r n a s c e n d in g c h ro m a tic a lly . O n th e t r i­

to n e s a n d d im in is h e d a rp e g g io s , d e s c e n d to th e lo w e s t
c h o rd to n e p o s s ib le . E v e n tu a lly , a rriv e a t th is fin a l v e rs io n :

FLEXUS 93
F

OWE * QUICK BEGSSTER CHANGES

One

Two

Th ree

f-------
''rmait
- ?
. I—
_P------ -------- .----- —TP # t# s S i^ y =
|«

--------- ..... - j .---■— -

*
m~-
m

P *
-i .! 3 i

^ ■ !__! ===== . = =
-w—r . - . ... i ' -J * "J
J #J bJ -
 QUICK REGISTER CHANGES • ONE
I
I
Four

L
S
I É
/TS
-J2— r I ---------- — 1 — T— t — F = --------1
--------i------- J----- L _
— ¿ = * --- ----- «
• 1 -J m

« V • . . . * ...'

3 3

a * j ------ J 3

I
B
Q

D
F iv e
P
0 s
¿ ä lirJz *
Ê
□
r. /T\ ■O
1 —_ —.---------- ---- ---- ^
-----------
■p ....
f; #— " « — a----!----
R * --- m
d J r ^
I
V" J J
3
3

■ jp - 4 ^ 7 1 = : = = — =
■f • *
--------- -------------------------- — J

f
é te • * J ■ H j H

u
I

V
f1^
L
FLE XUS 95

1
f

ONE » QUICK REGISTER CHANGES

S even

— fcj— ¡~.— |— I—= F ^ = 5------- +------_ -, I-A *J> J In ^------- 4—

# * = t= s =

~ ~ ~ — ■—-<c\ j—
# . - z ± =
------------- t--- m----f ---------
# * - . -I m 1 ' [ _ / = !' ■

3
2 — ^ &
====== f g ~ ~ 3 ^ ~ : —
- r |J J J * - - M X -
4 J ^ J 3 -^ T J «T
T r a n s p o s e t h e p a t t e r n a s c e n d i n g c h ro m a tic a lly - aH
a rp e g g io s, d e s c e n d to th e lo w e s t ch ord to n e p o s sib le .
TWO • QUICK R E G I STE R C H A N G E S

TW O • S P ID E R S

These exercises are Long Setting. Breathe through the nose, adding as many
beats rest as necessary. Practice the first part of each exercise (up to the coda
sign) until it can be played comfortably; then add the coda, resetting in
between. Keep a continuous air stream through the center point of eadi line.

Exercises Seven, Eight and Nine are based on Diminished Scalcs. Exercises
Ten and Eleven arc based on Whole Tone Scales. Twelve is based on a C Major
Pentatonic Scale.

I
B e g in a t * = 6 0 ; d o u b le tim e w h e n c o m fo r ta b le .

Ore

f#
___ i|>

-m—-*—P * t r r i i T ^ T fT
$

98 T LEXUE
 QUICK REGISTER CHANGES * TWO

Two S lu r t h r o u g h o u t

»— - i __ * J i» J
F
------ 0- —
^ fc = -— p =i - - -4 ■
TÊ---- * ..* ' *— 1 ■:'a — r 1
3 — * -h i J â “ -h i -------

J T ^
J hJ |jJ “kJ

\*m ! I r # # #— f e r - ^ n f r -C ——L—l-H
* ?M - J - A J — H — :----------
^ W ;:W ÿ ?m

Three Slur T h ro u g h o u t

----- L---
- / — —? —Ji—
U3M, — 4s- J -p- ï= ] la
— H * r —r'i■— *= *f—« ->
*—tr

5: r = -

-p-

I # ' ---- V ' ■m-------- *

5 Tïâ-

A
li _ 4 f — Î *
= £ = ^ r t n- : * ¡ v i r .
_j l .
- • w ; —
= » = H— t= N -

PLEXUS 99
TWO * QUICK REGISTER CHANGES

Four Slu r th ro u g h o u t

Æ k — U— U— ii p . m -a Ltm1 .._ —. .._ —

— * —i— j---- p— ---
Vn~ i 1 =*=**=1=

—p---- *
U - 1------^ -------- ----- , J E - . .
TO \ J f - ' i ... f - - J ' f = ^ = F = ■ JH f—
0
w
— “ p“ H r ---------- ' Hr=-------- =--------- 1— H
—
T T J r r i r■ M
= t ■ n j i

♦ i. ^
J - -r h •— S f ^ • «■ *
w y t f * \-v*- - f • d- É- ... .0—
; ¡J T 11

F iv e Stur thr&ui?hout

0 m 0 • Î/* * !t-« - •— - -------------

1 F T - F - f~ *
\ f. p . f..
r r
— \ +— f — - t :% L-

— r ------- ■ ■—
-Z— b f-------- ------ --- -
J . • ,
• ffi r f f » 3 = f— * 4 — h 3 r
o $

f . , . *• — r—

Irr j r- = 1= + - :------1- 'j i

_ j L-
--gÎF- r ••■ . *
1 >. 1= * " «— ^ i i =
f -— ft
i * i r>* ' M — *— ?*—
rJ i ri - , \ *ir
1
u —
* *

ti I 1 \ 1
 QUICK REGISTER CHANGES * TWO

S ix Slu r t h r o u g h o u t

r r rV r
1M1

m 0- m-
*------ H t m— -—— _----1
—
___ " * l
* N M M = *H M = M -JP H M M M iL 4 —
/7\ ®

à
h t t r - ' : *

0. r Z0
-!-?>■*-
Ê
i S5 ^T

(E x e r c is e s 7 th r o u g h 9 a r e b a s e d on d im in ish ed s c a l e s )

Seven Slu r t h r o u g h o u t

*— ?* » ■» - 4 - ■
■F-^F*— ■ ^ r - ^ r - ■
m 1
7 "h r
-
---
---
--J--— «
- F; ' 1
= M M != * = > h #
M = ^

r-' r s r '-N
-e . w - t ----- ar

,Cv
£
-4“
■—

1
i]»

I PLEXUS 101

- *■
!?. 7.V7^3ETTjÆ c‘ v ■T~ m‘-?py 5 H Ë ffffifiS ! ’ T v S 'v .-T "
TWO • QUICK REGISTER C H A N G E S

E ig h t S lu r t h r o u g h o u t

V---- l----- - . 1 -f- —é -

l [ r . r.
m■ bg = = = fe= A =
If—=4 ■ ■ *
4H f^ r #Î 1--“
if1 T 'h"
V r - =1= ^- * 4=
L.—
Trr]^J_
!—M--- «}#^fe=F
-^* / = ^ = »J
N in e S lu r T h ro u g h o u t
 QUICK R E G I S T E R C H A N G E S • TWO
( E x e r c i s e s 1 0 an d 11 are b a s e d o n w h o l e t o n e s c a l e s )

É
Ten S lu r t h r o u g h o u t

’ r F
i— < m
6
I

#
E le v e n s ju r through out

* w ■ -■ j m r m J
--- 1— J —
-
r ■ i [
/Tv
I
m US

©
' te
T [~ t
â
i
F |i

T w e lv e S lu r t h r o u g h o u t ( E x e r c is e 1 2 is b a s e d o n a p e n t a t o n i c s c a l e )

p B

FLEXU5 103
 QUICK R EGISTER CHANGES * ETUDE

p »p tl * hm. *

==fc * --
M '-~l
1r *
m
H r ~

P
=*t=#* - - 4m--- -0---- ^ J — —0--- .#
—»--j --—1
---------—
# IP- -t ;*
# = —fl ------- *— t H

-I Lfi

S?
mp

I m
P

- $ = ....*—]_jj J- czVt -™hnr—------- p—

—
4 = *
----- J— =(H ■#----üJ T ' _
mf

— !----------- Tili I — ^— -

m b-W ^ V #»
f P B
Kit.

PLEXUS 105
THREE * QUICK REGISTER CHANGES

T H R E E * C H R O M A T IC D IS P L A C E M E N T

These studies are designed 10 conncct the registers, resulting in frttr move­
ment throughout the entire mnye of the instrument. Exercise One should be
practiced ibr at Jeast one week before adding Excrcise Two. Hoth exercises
should be practiced for at least a week before adding Exercise Three, etc. As
execution improves. additional exercises should be added. When pages 106
through 112 can be executed comfortably, make selected exercises part of
a diiily routine.

Do cadi exercise lliree limes:

J^ 9 0 J ^ = 780 «^ = 3 60

Leave th e m o u th p ie c e o n th ro u g h o u t. B re a th e
t h r o u g h t h e n o s e , a d d in g a s m a n y b e a t s r e s t
a s n e c e ssa ry . R e s e t for e a c h te m p o c h a n g e .

O ne

m m m s M

Two S lu r th r o u g h o u t

n - 4 -- 1--
0 ^ fcvjf>'! 0 H + F —j j> — = b
4 —
W+ ■m^ & u * J -m • ■0 ■m -m' » ■■m P =
■a n i * its

i
. = - .b
H - 1 m m — =
- - . -
4 4 1J * 0 * ■-m « ■V* * * n ■9'■I»» * . . . = ■
s * LÜ* 3

106 plexus
 QUICK REGISTER CHANGES • THREE

Leave t h e m o u t h p i e c e o n th r o u g h o u t. B r e a t h e
th ro u g h t h e n o s e , ad d in g a s m a n y b e a t s r e s t
a s n e c e s s a r y . R e s e t fo r e a c h t e m p o c h a n g e .

a T hree Slur t h r o u g h o u t

n _rrn
n i *— H
«
:f at:

□
-#a - - . - .
p =s= h = K - J m-\id , ■
1 1 1
a • f = * \ ---------------------------- * * - « J J — IrJ * J

a
c
Four Slur th r o u g h o u t
n

□
J-JV
n
o

D ÿ - - ■; « j ■ »'
T 1
? 1 ' . T l U -
-m J J i J
c

IS
* -------*
D

a
Q

D
G
FLEXUS 107
f'ï
THREE QUICK R E G I S T E R CHANGES

Leave th e m o u th p ie c e on th ro u g h o u t. B reath e
t h r o u g h t h e n o s e , a d d in g a s m a n y b e a t s r e s t
a s n e cessa ry . R e s e t for e a c h tem p o ch a n g e.

F iv e S lu r t h r o u g h o u t

T0 3
r

: * -
QUICK REGISTER CHANGES * THREE

W h e n th o f i r s t p a r t o f t h i s e x e r c i s e c a n be
p layed c o m f o r t a b ly , a d d t h e c o d a .

Lea ve th e m o u th p ie c e o n th r o u g h o u t. B re a th e
~* th r o u g h t h e n o s e , a d d in g as m a n y b e s ts re s t
as n e c e s s a ry - R e s e t f o r e a ch te m p o c h a n g e .

Seven Slur t h r o u g h o u t

1
j a é 4 « j a nj 4 -#J li i
JT ~ ~ m 4*

3 ■* J 3* i 2- J «

_7 « d 1 « -
n J™ t»■ —« 13
> -
■

n
¿J « *

D ■ I
Q m Jm * a
-f*
'Æ a 1 m ■^ m « - - * — ■In " ■
-X
i$ v -j -------- ^
4 — ........
*

rp r *
□
i
u

G
■■■ —- U J-J— ^ -J-tW - *T ._ 4 _ Æ . .. .
u o? —
w
tj * ----------------- i h - d — J - J — .
a

Li
i
□

'o

u
FLEXUS 10 3
u

a i* rWJ :v.. -f v
THREE • QUICK REGISTER CHANGES

B r e a t h e t h r o u y h th e n o s e , a d d in g a s m a n y b e a t s
r e s t a s n e c e s s a r y . R e s e t for e a c h t e m p o c h a n g e .

10 » J 9
-af- ■- J fl4 = mmm J_ ■a J fl mF .
■
1
*
**- * J

N in e S lu r t h r o u g h o u t

J m 0 J —I—J
=#= -J --*
tH 4^-*■ -J ■ *
4* * Y*
-HÏ m
4*
 QUICK R E G I S T E R C H A N G E S • THREE

B r e a t h e th r o u g h t h e n o s e , ad d in g a s m a n y b e a t s
re st a s n ecessary . R e s e t for e a c h tem p o ch an g e.

Ten Sfu r th r o u g h o u t
vu nu

l=LEXJS 1T1
T H R E E • QUICK R E G I S T E R C H A N G E S

E le v e n Slur t h r o u g h o u t

=#= m J m m rÄ_ *
■Jy=
m « j .
;
« -m ■m w -J ■J «w ■
-m hJ -mN . . bJ

T w e lv e Slur th r o u g h o u t

* ► #
i* r
'Hi
I#— - f
r . r
-#— • •

■■ ■ — - ^« m

i r -

*■ r * 0
Zÿ?—pi 1• m
. 0 * - m 0--- * m' 1»— m • r

#= -b*~- *
r
■#i* *-Hi
=#=|M — .
.
-■
- y -m~\0 *
u**.» *
# io
f kr !r f
112 il ■
 . QUI CK R E G I S T E R C H A N G E S • T H R E E

Maintain a consistent airstream through the initial chromatic

figure and the processively widening intervals.

One As fa s t a s p o ssib le .

These exercises should also be played with this tonguc/slur pattern:

PLEXUS 113
THREE * QUICK REGISTER CHANGES

Two

—*-

s
m m hJ f

i s

s W - JtZ
" 7 >

J j .

&É
É ! I j;*.

/Tx

1W FL Ej<OS
 X
QUICK R E G I S T E R C H A N G E S • T H R E E
I
X
h
h *
Three
X
—
' ÿ
I
kz
i H i ft 1
Y
n

b
r
P H./ I r -f r * SEEi
'“ f c

a •
—. ----- +------H r 4------ " .-iF f f l- f r 4
■ y = frl J ----------£H
T *>
□
- « _ > ‘
G
P

D :, »J— ^■—
J
-3". .g»
..i—.—f t *
.7^77 0 - kJ
- - -g---^
!
m

c
I

THREE * QUICK REGISTER CHANGES

Four

Ê = ¿ = * = 1 ^ = ,

,
tt-

i
i

. ij o.

1 16 Pl e x u s
I
QUICK REGISTER CHANGES * THREE
b

h
F iv e

h (s s e S 36
b
r
n
rn

Q
r~
C

□ ~tr ==ä - T -
__ 2
— ,

Q
A
n it J

^ —r*- -
---
---
---
-
Ir '

.... J --
---
---
--^ b ^ ^ - J j --j ii~ J
Ü J j j ^ 31
-
---
---
---
---
---
---
---
---
---— é

o
c
J
Ü = K h = = ^ ■ft«- h a - ~ _ ----- ----1—1----
E * T' 1 ■ JT —0!*
-------1
r y iv r * n • jî Li*
= 5 = = = — - — dj j K ----
.J .
c

L>

U
D É S *= F E *

f ?

Ü
G
D
a
FLEXUS 1 1 ?
□

d
FOUR * QUICK REGISTER CHANGES

F O U R • T A R G E T P R A C T IC E

When first doing these exercises, play a ylissando between registers

as En the following:

The glissiiiKlo teaches the body to fccl the distance between registers
accurately. Once the correct movements art established, liie glisses
can be removed and the siurs played cleanly.

Transpose each line to G#. A, D5\ D and C before moving oil to the
next line. Reset between each transposition.

O ne

Two

T h ree

11S ■"-
 QUICK REGISTER CHANGES * FOUR

Four Sfur T h ro u g h o u t

- f * i
-i -à-------» «
s *3

F iv e Slur t h r o u g h o u t

Ê # 4P—
-—*' J
----- r --------

S ix Slur t h r o u g h o u t

; p Hr - i --- j-----J— fi *__ r—#■

r— -
:Ji

Seven Slur t h r o u g h o u t

Û r f
t
rr
E ig h t Slur t h r o u g h o u t

-a * -------- r -
É eee:

F LEX U S 779
FOUR * QUJCK R E G IS T E R CHANGES

N ine S lu r t h r o u g h o u t
- te r
• ■ — := — := — E — 0 Ü. — 0 ------------I
ä

-
è & p i

Ton S lu r t h r o u g h o u t

£ te Ë
u

E le v e n Stur t h r o u g h o u t

X - ________ M l r—
•
& 1 ,N n 5 s »
y i s — j -— ■—»
V i *

120 F!. FlX U Ü

 QUICK REGISTER CHANGES • FOUR

T w e lv e S lu r t h r o u g h o u t

1
-
ß

± = * '• f I I 1 II

T h irtee n S lu r t h r o u g h o u t

— I •■ 1 - - i— ÿ ----------- —-----------------
- ^ - i — I— W - — rA ------- j 4 - - f — = — ■ -\
* - ftJ *
■ #J 4 »

P -------r
# = | tesaaag 1— = f= S ft= j
--------- 1 i--------- —m------- ^--- - # +
4 = J H i' J

PLEXUS 12 1

i-n,— jlw.w.
FIVE • Q U I C K REGISTER CHANGES

FIV E • O C T A V E D I S P L A C E M E N T

Octavc displacement is a common technique used to ercatc the angular

melodic lines often found in contemporary music. However, considerable
skill is neeeded in order to make it a part of your impruvisational reper­
toire. To develop this skill, begin with an exercise that is tonal and easily
heard, such as the one below. Once you have developed the ability' to
comfortably play Exercises One through Three, atonal exercises such as
those on pages 128 and 129 will be easier to execute.

Exercises One through Three are based on the following line. The first four
pitches are dien displaced whenever they occur—first up, then down.

f f f p p TT 1
4 m m

One
--------- 1
H*—• — 4 — i
--------- ----- --------------
— 1— ■------------- ------------- * --------------- i l ------------- ^ ---------------------

ill? ±J 1J U ------------- :------------------------7

fa r '
tß i J
-LÂ-- - 1- I .
-
H
M --------- I ------------ — [

1 * *L
m ■ *
'
'
— ^ U

# 1 I—*-J 1
hJ - — .— —- ----------- - - - - - - - - - - - -
-a*
1 --L I

H s lt —j - j —¿ -j- ^- - - - o- - - - - -

122 FLftCLlS
 QUI C K R E G I S T E R C H A N G E S * FIVE
p

G
n
n » r i h—’
. 4*=*-1 m

c =£if— - M r i_ F ------ —
It— * --■ V 1 o ^
r 'i

a - J — ^ » -
n 3=E±i
n

n
*— - : - - f r ^ F i ■ — » tf— ®— i
Ü ~ W £ Ä_I" I ----------------------- --— i
*J
n

□ Ï # ..g -
=*=3
___ 1
o

c
u

G
a
G

Ü FLËXUS 123

LJ
FIVE • QUICK REGISTER CHANGES

Tw o

124 Fl Ex u S
 QUICK REGISTER CHANGES • FIVE

Three

-w4' :i3 •
'■■1" - j -^f j J [ } ■^1 j==f—1.®---:
.
\ = À —» -----‘«=7---- f_J Ul—— -
m 0 ■.-- ■ *
- -4 1
*
y L A --- I--------- = f
4^-1 r_ ■_ «
if“ ■ —■
w— ■
—p îl * ' t ^ T T --- h
1

“ s-
—
Wl—4*—%= rp
-rrfr-*
! —1»-
i
l —f ■1 r

L ------ #- ---- — l

ip>- f-* *3^ tf=f: |■■

»
. [
|
n=N 1 .. _J _ ______

= f^ - U
h— r -
■
_ ^ | --------------

-¡¿t’
# =
r
F . i-
—
—
| X *
r—
— p-
'
T H
J ;<>---- -
I j
Jr

Ë L E iU S 125
 ETUDE * QUICK REGISTER CHANGES

ETUDE SEVEN

J - 76 Rubato

'-i * • _ I !>
I S ] ï
m
m f

r_J*„1*--
■—p— JkL J
[J m * ^ ■ 1
/? —: tf-1 F—■•
--»— b— ri ~—m;—
— n
=thvj
\-
— — *— U : —— t f f— * .
— *4
J

■=m = \ nr ■ï

¡d^ 1»— ï»—i _ .

^trtbi" &\ mp m
Jj3

=j*=4ä r-n.-ni-Fln rW W
=4«*
*
]'
&f
m f -
»
y ¿
«Hr \à
^---/^ —

T f ^ — lp V ' ~ r n
p~F
* P> ni»h
4 L-
=L4?J " \
X j
■■ - Ö
J- Eg

i
" m/
flj

t2 6 fllxu s
r-"
u_

¡FT .l"’"' ' *”> ' "f

lv
r 11
7
.. f -.- ■- ■ -T-iv v -11
-
 QUICK R E G I S T E R CHANGES * ETUDE

*■ 5îj m n _Q_
#T=1 =j•*= ------- ^ 1— — ------
0 \

—M --15-- ^-- JVJ V * # X

G Lf L —J . flip
n
ri
L'J

n
□

□
b | {Iff^ *—r ^ f-e —{*._ L- - - - -
n -/£—f... _ P-ir» qr — & r-£
- — - H . Lf-- F - E J - ■ ^ m

o
□
*
n “ ^ r ~ r : •
---------* — ---------------- |
-------- ---------L— ■— -------------------JU_____ 1— .-----.------------------------------
□ -------- M - 1 i-------- ! ---------------- "

□
c
EJ
□

o
FLEXUS 127
Ü
Ü

u
I VE • Q U I C K R E G I S T E R CHANGES

One device used to organize modern improvisation is die 12 tone row.

When using this material, octave displacement is often employed to add
variety and interest.Unlike the exercises on pages 122 through 125, octave
displacement of atonal material presents challenges because of the diffi­
culty in anticipating the sound of the next pitch.

When improvising, not knowing the sound of the next pitch can result in
the embouchure using extraneous motion to coordinate itself, and often
missing the pitch entirely. For this reason, it is essential to learn to sing the
tone rows and as many of the exercises as your vocal range allows.

These exercises use octave displacement of the following 12 tone row.

Practice very slowly at first, and gradually work towards playing the exer­
cises as fast as possible.

O :o
IE
T3Z
:t t

These first two exercises displace every other note up an octave. Use a variety
of tongue/slur patterns. In general, try slurring any interval of a fifth or less.
Tliis would mean that the second line would contain no slurs at all. You can
and should try to slur an occasional wide interval such as a seventh or ninth.

O ne

P------------------
1
••- ....... t p
fr 1 rfe* hm ■ > ---------
r 1 f. _ - y — i
■ P J

Two

R e m e m b e r t o k e e p 0 s t e a d y a irstrea rm t h r o u g h o u t .
 QUICK REGISTER CHANGES * FIVE

This exercise displaces ihe first note of alternating groups o f two and
Three notes. Another interesting possibility would be to arrange the
octave displacement in groups of two, two and three notes.

T hree

t J
M 5 £ ¥
-I 1=__ —__ J L_
o

n
4 4 — & --------- 1— £ — — Im ----- k *-------- f = i
m ------------4 -------- -- . ' --------- m «
□ ------- 1---------- != # J

7?“* ¥ |-br -i t=M s=^ l'

1
— ----- —M — — —
------- ------------

#1
m
--------- 1----------a — a —■
— =# ■
O
O

G
w P
n
o
*
— f i= = ^ #- .-■r ,i r . -^-i
id —L r —* i'■T ^
I
e

n
a Practice octave displacement, both up and down, with the
ft>Urawing tone rows. Begin by displacing every other note,
D then every thtrd note, etc. Use combinations of two- and
tlirte-note groups as in Exercisc Three above.
c

□ .!>o .
"ii fl»
isjz
it . . JU JL
c
IZ A f
o i L
it“ Hw
u ^ !T n ¿U ~
—o— —
—e—— —

G
C —■O t>o~
Q----- &>0-
"K¥--- T D
C f »
FLEXUS 129
ii
U

f?
ETUDE • QUICK R E G IS T E R C H A N G E S

e t u d e efg h t

I *r |; -s i# ----------- - t
a

y -
4 --- - Jh ? — . 14 J
‘ 7~C

0 f7 ]
, * ' ^ Tn
J tyj J ~~ J= t
* =
i

1». * »■ ■ »
*— * p Ê . *

_/£ f[ ttr ^r~ M M .* , .......

:■ r
j y ..
~~
777/ ÏÏÎ1I — — V > 9*L
 QUICK REGISTER CHANGES • ETUDE

— Î* — ■
%_ 5 - t e r— e m ; r *

G > > fr* - — * g •

a
■ ■- jr *

n
r'"v
feTTI
□ h
7--
SP# L IÏ
0 f f

G b#

n = i
G 5.
c

G
G

□
□

G
O

U FLÉXUS 131

Ü
w ^ w m k m .»»uLiraKagaBHBg

TsAIvAl-"- ■•*rrw<&
 QUICK REGISTER CHANGES • ETUDE

ir

m.
1 T g . - I n r * -------------------1 * -
.— L- ' !------ —I--- E-------------- 7 |
L---------- A — ...........
'W ' K £7*

- — P

F L É XU S 131
ETUDE * QUICK REGISTER CHANGES

ETUDE NINE

J =120
A
p it*
4 - j * r^ ~ 1 ^ ;i^ = ^
m f
/
r 1J
i ------ —j------
P"
l ê i f — r^t------ --- - #• . ..» 4
—J----J -----* — 4 ^ — Ç -4 — ^
nip

■- •+»-(»--- f e — p - ! £—L*
fty 4 - f —
3 ^ 4 - F jj« L # L j j •*

J- -n J•—t
lü 7 ^ = -i-l- A ------= ^ R ---- , -
v ' * ---d— — - J ----- ____ - i 1" J - i
3
— = /
Oc/rt?
^----------- —H ------ ~£------------J r ? ---------- 1-----------1
H SM ^ ----- ■ ’
d U
mp

hi .. - - ^ i --^----- M------ --- Ö¿5- -

=Î*â------' J ---------- : r y -
— ----------- —
* t np
r
QUICK REGISTER CHANGES * ETUDE
r~r

r-‘

G i*
Cp ■ -

n cresc.

TT

# P
m /
/

Î f >
/
T 7 -T
>
n --
é
Ü ST
G

C
e
m p
G
f 1

G
C
PLEXUS 133
Li
U
ETUDE • QUICK REGISTER CHANGES

ETUDE TEN
i J
v m

CO CONTENTS
u m

INTROD UCTIO N

TRA CK
1 THOUGHTS ON PRACTICING
2 HOW TO USE THIS BOOK
t t i m

3 WHEN TO MOVE ON
4 HOW TO APPLY CALISTHENICS TO MUSIC
P R E L IM IN A R Y S T U D IE S

fi THE LIP BEND

F L E X t El L I T Y

C3 6 B A S IC FLEXIBILITY Exercises 3 and 4, page 1 9

M

7 Exercise 11, page 23

n
S FLEXANDO Exercise 3, page 26
n g ADVANCED FLEXIBILITY Exercises 6 and page 34
m

10 Exercises 1 and 2, pages 36, 37

11 INTERVAL STUDIES Exercise 1. page 44
12 ETUDE # 1: D iscussion/alternate fingerings page 49
m

A R T IC U L A T IO N

13 SLURRING/TONGUING Exercise 1, pages 54-55

m

14 DEVELOPED SCALE Exercise 2, pages 62-63

a 15 ARPEGGIOS/DIRECTION CHANGES
Exercise 1, pegs "?4
n Exercises 1 and 5. page 81

□ PEDAL TONES

16 DISCUSSION/DEMONSTRATION pages B5, 87-33

G
Q U IC K R E G IS TE R CHANGES
C
M CONSISTENT INTERVALS Exercises'3 and 4, page 91
L.J
IS Exercises 2 end 3. page 94
□ 19 SFIDÈRS Exercise 1, page193
20 CHROMATIC DISPLACEMENT Exercise 3, page 107
21 TARGET PRACTICE pages 113-119
22 OCTAVE DISPLACEMENT pages 122-123
23 ETUDE 47, D iscussion pages 126-1 27
Ü 24 TWELVE TONE STUDIES: Discussion pages 128-131
Ü FLEXUS 136

Ü
L>
U
o i'

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