Brass Gym Trompa

34
I I I I I Bras A Comprehensive Daily Workout for rilFOCUS RMUSIC Copyright © 2008 Focus on Music, LLC All Rights Reserved Edited by John Ericson e Photos by lvfichae1 Woodall» Art Direction by Kathleen Harrison The music, text design and graphics in this publicationarc protected by copyright IHw. Any duplication or transmission, by any means, electronic, mechanical photocopying, recording O[ otherwise is an infringement of copyright. Horn in F For a comprehensive listing of Focus on Music, LLC publications, please call 1-800-332-2637 or visit us online at www.focus-on-music.com

description

French horn and brass

Transcript of Brass Gym Trompa

Page 1: Brass Gym Trompa

•••••~

I

I

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BrasA Comprehensive Daily Workout for

rilFOCUSRMUSICCopyright © 2008 Focus on Music, LLC

All Rights Reserved

Edited by John Ericson e Photos by lvfichae1 Woodall» Art Direction by Kathleen HarrisonThe music, text design and graphics in this publication arc protected by copyright IHw.

Any duplication or transmission, by any means, electronic, mechanical photocopying, recording O[ otherwise is an infringement of copyright.

Horn in F

For a comprehensive listing of Focus on Music, LLC publications, please call 1-800-332-2637or visit us online at www.focus-on-music.com

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Note from the Editor

Welcome to "The Horn Gym!" It has been my pleasure over the last year to work with Samand Pat to "translate" The Brass Gym, which was originally developed for tuba/euphonium,for French horn. The result is simply the best comprehensive horn workout available! A fewnotes for the horn player:

• Start low. This routine starts with a more extended workout in the mid and low rangethan typically seen in horn warm-ups. This is by design and is a key to this routine, as thissets up great sound production and airflow and provides a deep, longer lasting warm-upfor a day of playing horn.

• Play it with some non-horn friends. While this version is set up to work well on the horn,it may also be used very effectively in mixed brass situations. Several of the exercises asprinted will sound a fourth or fifth away from the other instruments, which can also be anexcellent way to wake up the ears of all involved.

• Try rounds. Several of these exercises work wonderfully played as rounds with otherplayers in a group setting or with the CD, especially "Smooth Air Movement," "BeautifulSounds," and "B Bells." Rounds are also excellent for development of the ear and groupintonation.

• Work out "the break." "Schwarmaaaaaa" is perhaps the best exercise ever to develop astrong "break range" on the horn. While the most benefit is derived from the completeexercise, it may be shortened into bars of 3/4 or even 2/4. The middle two pages asprinted are the most essential. Also, exercises like "Slamma Legato" are wonderful fordevelopment of flexibility across the break.

• Light, fast tonguing. While all the fast, tongued exercises may be performed multipletongued, as presented in this volume all exercises are intended to be single tongued. It isvery important to develop a fast, light single tongue. Over train!

• Trills are fast flexibility studies. For development of trills "Lip Flips" can't be beat.

While you can jump around in these materials, I personally find it best to play the routine aswritten to "Beautiful Sounds" before moving to the more focused technical studies.Structured use of this routine will certainly increase your technical level on the horn. Enjoy!

John EricsonEditorArizona State University

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Sam PilafianAuthor

Patrick SheridanAuthor

Note from the Authors

Everyone who performs or exercises or participates in an extreme activity always does someform of a warm-up. Soccer players stretch out, racecar drivers take a few warm-up laps andmusicians play scales. Those people who excel at their activity, in addition to warming up, gothrough a routine of fundamental exercises and activities that allow them to perform at thehighest level.

The following method is not just a warm-up. It is a comprehensive set of exercises that,if done properly and on a consistent basis, will provide substantial growth in all areas of amusician's ability. Please take into consideration the following points before you begin usingThe Brass Gym.

• Always remember the Law of Accommodation: "What is difficult today, becomeseasier with practice." In this Daily Routine, this can apply to tempo, range, flexibility,articulations, and many other facets of playing a brass instrument.

• These exercises are not intended to be played without pause. They are designedto have stretches, breathing exercises and other activities inserted as short breaks.Many of the breathing and stretching exercises are discussed and explainedin The Breathing Gym Series by Patrick Sheridan and Sam Pilafian which can be foundat www.focus-on-music.corn,

Thank you for choosing The Brass Gym. We hope you learn from the information providedin this book and allow it to help you reach the ultimate goal of making great music!

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Table of ContentsINTRODUCTION & OVERVIEW 6

PRE-WORKOUT 7

WORKING OUT WITH A PARTNER OR GROUP 8

GLOSSARY OF TERMS 9

MOUTHPIECE WORKOUT 10

CHROMATICS 14

SOFT TOUCH 18

SMOOTH AIR MOVEMENT 20

TONGUE COORDINATION 24

SHWARMAAAAAA1 26

BEAUTIFUL SOUNDS 32

BRRUUMMMMl 36

BRRUUMMMMl IN SIXTEENTH NOTES 44

BUGLES 52

BUGLES: LAST LINES 66

OLD SCHOOL FLEXES 68

LIP FLIPS 82

UBU BELLS 104

HOW TO USE THE CD 108

CD TRACK L1STI NG 109

ABOUT THE AUTHORS 110

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Q. The Brass Gym - A Cornprchcnsiic Daily Workoutfor Brass Players

The key to any workout regimen is consistency.

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playing. It can also be used as a warm-upactivity as the exercises are ordered in agentle "ramp up" with demand increasingthroughout the workout.

The key to any workout regimen IS

consistency. We are dedicated to finding pathsto performance success that allow for ajourney of life long improvement. After theage of 25 our bodies start to atrophy if notexercised regularly. This concept relatesdirectly to the physical nature of playing awind instrument. The Brass Gym workoutprovides a framework in which your ability toimprove is directly related to the consistencyand dedication to excellent form that youbring to your practice sessions- EVERY DAY!

The Brass Gym is the cornerstone to ahealthy and ever improving musical life!This workout is an environment in whichthe basics are taught. Achievement of thesebasics actually allows for the workout NOTto be necessary in its entirety some days iftime constraints occur.

Introduction & Overview

The Brass Gym contains a daily basics routinedeveloped from a synthesis ofour experiencesfrom more than 50 combined years of touringas performers and educators throughout theworld. In light of the increasing number ofwind instrumentalists that find it difficult tostay healthy as a player throughout theircareer, we offer this workout which has keptus healthy and improving every year.

The Brass Gym workout has morphed manytimes over the years into its current format,which we find to be the most effectiveapplication of these exercises. Many of theexercises found in this book are similar innature or adaptations of famous exercisesfor brass players. The importance of thepedagogies of Herbert L. Clarke, EmoryRemington and Arnold Jacobs are universalin the brass world. The exercises presented inThe Brass Gym continue the tradition ofthese influential pedagogues.

The workout consists of exercises that covercomprehensively the basic aspects of wind

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Pre-Workout

There are some activities that should be done before playing the first note of this routine.It is highly recommend that stretching and breathing exercises be performed before begin­ning this routine. It is also recommended that these exercises be revisited during the workout.Detailed explanation of these exercises can be found in our book and DVD series,The Breathing Gym.

Air makes Buzz makes Sound.This is why we breathe before we play.

It is highly recommended that stretching and breathing exercises beperformed before beginning this routine.

Horn in F Z

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li The Brass Gym ~ A Comprchens;ic Daily Workout for Brass Players

Workout in a group is fun and puts additional emphasis on intonation and time.

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Performing this workout in a group willalso add the elements of intonation, blend

and ensemble.

Make a priority for group practice in your

improvement journey! A socialstructure of

support in your practice life will pay huge

dividends. AND -it's fun!!

Working out with a Partner or Group

The Brass Gym workout is designed to

be performed by an individual or ina group setting. There is great advantageto practicing your basics in a group.Most importantly, like going to the gymto work out with a trainer, the groupelement provides an excellent foundationfor mutual support.

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Glossary of Terms

WIND PATTERNTo wind pattern an exercise or song is to blow air (without buzzing the lips) out ofyour bodyin the rhythm of the music. Begin just by blowing the correct rhythms without the resistanceof buzzing. As your facility increases, add all the elements of the music to the sound of yourwind pattern. (i.e. dynamics, articulations, crescendo/decrescendo, releases, etc.)

HALF VALVEThis technique refers to playing on your instrument with your valves depressed half way forevery note. The result is a "plugged up" tone to your playing. This makes the instrument"fretless" and increases the strength ofyour ears. It is an intense exercise and should be doneinfrequently and with discretion.

BREATH ATTACKThis term refers to executing the beginning of a note without the use of your tongue. Anypitch can begin by using airflow only. By eliminating the tongue, a smooth, even wall of aircan be delivered without interruption. Exercising in this wayan a note or a phrase stabilizesthe pitch and resonance of a player's tone and improves a player's oral shape.

FLOWTo move air in a manner that simulates breathing patterns used in playing wind instruments.The goal is to move air without resistance or tension, sometimes quickly and sometimes overlonger periods of time, to make the most music possible in each phrase.

LAW OF ACCOMMODATIONWhat is difficult today will become easier ifpracticed! Continue to lift the level ofdifficulty andpractice until this becomes easier. Repeat this process until the desired virtuosity is achieved.

SINGING GROOVEInternalizing tempos is extremely important for all musicians. To perform with others wemust have a unanimous opinion about the pulse to be used. The accurate execution ofall musical rhythms is based on this internalized pulse. We strongly recommend singingimaginary drum beats (groove) to the suggested tempo of any selection you are practicingfor several minutes to gain a tempo steadiness and recall of that tempo in the future.

TEMPO OF THE DAYThis term applies to the speed of the articulation studies used in our daily workouts. Theseexercises (with the exception of "Soft Touch") are progressive and will escalate in speedusing the Law of Accommodation. The tempo of the day should be moved upward in smallincrements when comfort at "today's" speed has been experienced for several days. Then itis time to move up the tempo and grow!

Horn i11 F 2.

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Daily practice of this routine willpromote air efficiency of your BUZZ.

routMouthpieceAfter spending some time motivating your air via breathing exercises, mouthpiecebuzzing is an excellent first musical application ofyour airflow. Buzzing in the middleto low register at a specific pitch is an excellent way to start. These exercises are tobe performed with glissando between the notes. Performing these exercises withglissando will fill in any holes in your buzz spectrum. This "filling in" will increaseyour abilities for micro intonation. These exercises will also promote more rich,beautiful, resonant tone as there will be a true buzz for each pitch.

If the keys presented here are too low to buzz, then choose keys near the lowest part ofyour current buzzing capability. A good place to start may be a fifth higher than theseexercises.

Buzzing is an intense exercise. Care needs to be taken not to overdo the amount of timespent buzzing your mouthpiece. For every 30 seconds of mouthpiece buzzing, rest forat least 1 minute. (You can fill this minute with stretching, breathing or singing!)The main point of buzzing your mouthpiece is to create vibration with less resistancethan the horn provides. So, buzzing your mouthpiece is an air motivator! Each part ofthe mouthpiece exercise should take a maximum of 1 to 2 minutes!

Tips and Suggestions

• Always glissando evenly between the notes.

• On alternate days, replace Part II, III or IV with 1 to 2 minutes buzzingsimple melodies such as The Star Spangled Banner, Silent Night, Brahms'Lullaby, Yankee Doodle or Take Me Out to the Ballgame. Try buzzing themelodies accurately and cleanly. As an alternative, try buzzing the samemelodies while creating glissando between every pitch.

• Play Part III and IV on a mouthpiece rim for promoting buzz underless resistance than the mouthpiece. Continue to glissando between notes.

• Each measure should be performed in one breath eventually. In the beginning,breathe where necessary to stay comfortable.

10 The Brass Gym - A Comprehensive Daily vVorkout for Brass Players

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Horn in F 11

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Notes:

The goal is a big, full, efficient BUZZ!!

Hom in F 13

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Chromatics

Inspired by Herbert L. Clarke, these soft chromatic passages are an outstanding wayto start a day of playing. Movement first thing in a workout promotes finesse andflexibility throughout the day. The indicated soft dynamic range is imperative inorder to access the benefit this exercise offers.

Tips and Suggestions

• Smooth air movement - constant and even walls of musical air!

• Air is always moving. Use the entire rest to inhale evenly in an "Oh" shape.

• Clean and smooth connections between each note

• Confident fingers - in order to avoid rough slurs, use marcato fingers in legatomusic. Armando Ghitalla described it as "pounding the valves."

• Stay within the indicated dynamic range throughout the exercise.

• Imagine playing this exercise as smooth and connected as a fine pianist,then change your sound achievement by imagining this exercise performed ona fretless string instrument such as the cello or string bass.

Perform this exercise softly to gain access to fluidity early in your workout!

14 The BraJJ· Gym - A Comprehensive Daily Work,out for Bruss Players

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18 The Brass Gym - A Comprchcnsiue Daily Worl(out for Brass Players

Soft Toue

This exercise should be performed as softly as a clean articulation can be achieved topromote a soft, clear articulation right from the beginning of the day.

Remember: Tension kills tone!

Playing softly is not holding air back. Rather, it is blowing air slowly. Relax in allregisters to stay resonant on every note.

Tips and Suggestions

• Try wind patterning this exercise first. Use your hand to monitor the quality ofyour air movement and timing.

• Always perform this exercise staccato. Take time to direct your attention to

your ears by imagining the perfect staccato from other instruments like anoboe, muted trumpet or xylophone. Do this imagination exercise before eachscale is performed.

• Choose different keys every day and vary the type of scales to stay fluent inyour harmonic knowledge. Do at least two to three different scales eachworkout.

• Perform this exercise as soft as controllable. Remember the LAW OFACCOMMODATION as you improve. If you are comfortable at your presentdynamic, try to go softer.

Wind pattern this exercise to promote ease of air delivery.

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(i) CD TRACKS 3 - 5

"Major" J= 50- 70

41 . . .. . . .. . . .. . .,. . ...pp

'- . .., . .... . ...

Use these types of scales as a starting point for working out your ears beyond major scales.

Choose different keys and types of scales every day!

"Natural Minor"(etc.)

J.-~f,f,~~

(etc.)"Harmonic Minor"

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"Melodic Minor"(etc.)

J.-~[ili~! ~~

(etc.)"Diminished" (whole step first)

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"Whole Tone"

!. . . . . .... . .. .... .... .... ....

(etc.)

Horn in F 19

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20 The Brass Gym - A Comprehensive Daily Workout for Brass Players

The goal of breathing exercises that mimic the flow encountered on your instrument(FLOW EXERCISES) is to produce air movement that is even and constant throughan oral shape of"Oh" with smooth transitions between inhalation and exhalation. Thisis an exercise in TONE! This is basically a "4 in, 12 out" wind pattern put to sound.

The range used in this exercise incorporates the highest amount of airflow used by aplayer. Achievement on this exercise will produce smooth low register playing that istension free. Treat every line like a musical phrase that is played ever more beautifully!

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Tips and Suggestions• Stay III constant motion in this

exercise. Air is either moving in orout of your body.

• Ultra legato thoughts will produce ultralegato sound.

• Confident fingers in order to avoidrough slurs, use marcato fingers inlegato music.

• Breathe before you NEED it to remainrelaxed always.

• Try HALF-VALVING a line of thisexercise to ensure your ears hear thispattern.

• Try WIND PATTERNING a line ofthis exercise occasionally throughoutthe routine to promote a high volume ofrelaxed airflow.

• This is a musical exercise. Make flow­ing music!

• If the bottom note of this patternbecomes too low, flip up the bottomnote an octave as indicated in theexample below.

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ovemen

Smooth Air Movement

Smooth Air

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Tongue Coordination

The pursuit for technique at high velocity requires tongue coordination. This startswith single tonguing. Increasing single tongue coordination is a progressive activitythat requires a lot of patience! It is a skill that improves slowly in small incrementsand only gets better with consistent practice. Increased coordination has the obviousbenefit of improving quick articulated passages. The added benefit ofthis coordinationjourney is highly improved clarity on articulations at much slower speeds!

Tips and Suggestions• This exercise should be practiced using three styles of articulation:

staccato, marcato and legato.

• Choose different keys every day and vary the types of scales to stay fluent inyour harmonic knowledge.

• Perform this exercise three times:lst time -1lJI[1

2nd time - JTif3rd time ----f

• WIND PATTERN this exercise with attention on moving air throughbeats 3 and 4.

• Use a quick breath after the two eighth notes in each bar.

• Practice this as a wind pattern.

• Further improve coordination by working on quick breath exercises.

• The quickest and cleanest technique comes from excellent air.Use the articulation, tOH, rather than Toh.

• Remember the LAW OF ACCOMMODATION! Start slowly and increase

speed in small increments no larger than 4 bpm. Once tempos above J= 136are attained cleanly, decrease the increment of change to a 2 bpm increase.

WIND PATIERN this exercise.

24 The Brass Gym - A Comprehensive Daily ·Workout for Brass Players

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26 The BrassGym - A Comprehensive Daily ~Vorl(outfor BrassPlaYC1:i

-. Shwarmaaaaaa!

The following flow exercise has multiple benefits for our ears and air. On brassinstruments, the majority of our favorite notes (the "good" ones) are right next to the"bad" notes that are "difficult" to play. By moving through this exercise in half stepswe learn to clone the sounds of our favorite notes. This will homogenize the soundyou produce on your instrument.

The lips bends in the second bar allow younger players to gain more control in theirembouchure. For more advanced players, the bend forces a scrambling of the tone andpitch which must be declared in the third and fourth bar. These lips bends are thebuilding blocks of micro intonation. The lip bends will also open up your tone.

This is the most important tone building exercisein this workout regimen.

Tips and Suggestions• Stay in constant motion in this exercise. Air is either moving in or out of

your body.

• This is a "4 in, 16 out" WIND PATTERN in sound. Practice your breathingform on this pattern to increase your achievement in tone.

• Breathe before you NEED it to remain relaxed always.

• Try wind patterning a line of this exercise occasionally throughout the routineto promote a higher volume of relaxed airflow.

• Go as low as you are able in this exercise. Very low range practice promotesgreater response and control throughout the entire range.

• Try lip bends in both directions to increase micro intonation abilities

Shwarmaaaaaa??

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Notes:

Stay in time or the Time Cops will get you!

Hom in F 31

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5. Play thephrase

4. WindPattern

3. Buzz ona rim

nds

2. Buzz on amouthpiece

1. Sing thePhrase

Beautiful

Tips and Suggestions• Before any line in this sequence, it is advisable to sing, buzz on a mouthpiece,

buzz on a rim, or WIND PATTERN this musical phrase.

• Wind patterning each line prior to playing it promotes smooth, legato soundwhen the line is performed.

• Ease is the key to beautiful sound - large volumes of air, small amount ofbody effort.

• Imagine your favorite musical sound to make music more easily.

• Try to improve on every line of the exercise.

• This is a "4 in, 16 out" wind pattern in sound. Practice your breathing formon this pattern to increase your achievement in tone. Quick breathingcoordination will be necessary to access ease and beauty on this phrase,in the extreme low register.

• Play this exercise much slower by doubling the length of the notes to quarterand double whole notes. This will provide a challenging environment for thestudy of sustain.

Inspired by our teacher, Arnold Jacobs, this Beautiful Sound exercise promotes thesmoothest possible air movement while using your most beautiful tone. Use variabledynamics and tempos to access greater facility with a sustained and steady airflowat slower tempos and smooth movement through the phrase in all registers at fastertempos. This exercise is your model for achievement in sound.

32 The Brass Gym - A Comprehensive Daily vVorkouttor Brass Players

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Brruummmm!

This extremely quick slurred exercise works to develop confident fingers and slurredtechnique at high velocity. Daily execution will teach you to think and move everquicker and will give you confidence when you encounter difficult technical passages.Smooth, even airflow is the key to success on this exercise!

Tips and Suggestions• The reference tempo (tempo of the day) for these patterns is your current

personal tempo for a series of clean single tongued sixteenth notes.(See "Tongue Coordination" on page 24)

• Be sure to have confident fingers.

• WIND PATTERN this exercise to promote sustained airflow while movingyour valves quickly.

• It is more important to move at speed and allow the detail to become clearervia repetition than it is to slow practice this exercise.

• Variable dynamics are suggested.

• Make up your own patterns to keep this part of the workout fresh and creative.

• Relax your fingers and your arms - a lack of tension in these limbs is necessaryto access excellent technique.

36 The Brass Gym - A Comprchcnsiuc Daily 'Workout for Brass Players

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18 -

Reference the tempo ofyour clean sixteenth note single tonguingfor an appropriate

tempo for this exercise. (See "Tongue Coordination JJ on page 24)

Key Cycle: F B~ It A~ D~ G~ B E A D G C

"One5" ~

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71y these scale variations to challenge your fingering finesse and stay harmonically fit!

(etc)

"One 5 - Lydian" (#4)

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"One 5 - Minor" (~3) (specify which type of minor for extended patterns)

(etc.)

Hom in F 37

"One 5 - Whole Tone" (#4, #5)

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These exercises are the same patterns as Brruummmrn] except this is another singletonguing coordination exercise. Finger and tongue coordination is the goal. Strive fora smooth airflow while engaging just enough tongue to make each articulation clear.

The faster the tempo the more light the tongue should be.

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IBrruummmm! i

Tips and Suggestions• The reference tempo for these patterns is your current personal tempo for a

series of clean single tongued sixteenth notes.(See "Tongue Coordination" on page 24)

• Be sure to have confident fingers

• WIND PATTERN this exercise to promote sustained airflow while movingyour valves quickly.

• Stay relaxed. Avoid getting too excited which results in over tonguing.

• If difficulty arises as the pattern goes along, alternate tonguing and slurringon each line.

• Variable dynamics are suggested.

• Make up your own patterns to keep this part of the workout freshand creative.

• Relax your fingers and your arms - a lack of tension in these limbs is necessaryto access excellent technique.

44 The Brass Gym - A Comprchensioc Daily 'Workout for Brass Players

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Key Cycle: F B~ E~ A~ D~ G~ B E A D G C

"One 5"

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Try these scale variations to challenge yourfingeringfinesse and stay harmonically fit!

"One 5 - Lydian" (#4)(etc.)

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"One 5 - Minor" (b3) (specify "whichtype of minor for extended patterns)

(etc.)

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"One 5 - Diminished" (b3, bS) (whole step first)(etc.). '. . "

~~~~~~!:~~... .. . . .p-f

"One 5 - Whole Tone" (#4, #5)(etc.)

p-f

Horn in F 45

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52 The Brass Gym - A Comprchcnsiic Daily "VVorkoU! for Brass Players

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evenness

Bugles

Many brass legends started their musical careers as buglers. The study of theovertone series that makes up our brass instruments is an excellent platform forpromoting evenness in our sound throughout all registers. In these exercises, rangebuilding is also accomplished, Fingerings for bugle exercises on the longer partof our instruments (23, 13, 123, etc) are particularly challenging to execute smooth­ly in the middle and upper register. We ask you to make your best sound in a bad,tight situation. After completing a bugle exercise, play in the low, middle and upperregister with your optimal fingerings and you will find your sound to be more cen­tered and open.

Tips and Suggestions• Use the same fingering throughout a bugle exercise. (i.e., on page 53 the

entire excercise is performed with the open fingering on the horn.

• Play each phrase as smooth as possible. Strive for fluid connectionsascending and descending each bugle.

• Try to play each phrase as far as CC)MFC)RTABLY possible in one breath.

• Try not to breath after the second octave. (fifth quarter note of each phrase).

• Play each line as written and do not dwell on the upper registernotes. It is important to move from low to high AND back to lowagain when range building.

• Alternate between the study of 3 - 4 complete bugles per day andperforming only the "last lines" of each exercise. This is presentedon pages 66 and 67.

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Bugles:o

I

Here is the last line ofeach bugle exercise.Play through this seriesfor the ultimate range building challenge! Stay smooth and relaxed!

Key Cycle: F B~ It A~ D~ G~ B E A D G C

"1" Last Line"

~...~

(2 or 4 beat breath)

(etc.)ltB~ Last Line"

~/

"A~ Last Line"

66 The BrassGym - A Comprchcnsiuc Daily rVorkout for Brass Players

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68 The Brass Gym - A Comprehensive Daily Workout for Brass Players

Old SchoolFlexibility exercises are crucial to a daily workout to encourage fluidity on yourinstrument. Often, players avoid this type of workout because they have determinedthat flexibility exercises wear them out creating tired, ineffective chops. This situationCAN occur, which is a result of extra muscular efforts. Flexibilities must be executedwith great ease! These exercises are not an overly muscular event, but rather FLOWexercises with slurred technique.

Begin the study of these exercises slowly. The achievement headline is smoothness.When smoothness has been achieved, gradually increase the velocity. As in the TongueCoordination exercises, do not increase the tempo until mastery is achieved at eachtempo. As the fingering combinations lower throughout each exercise make suresmoothness is always addressed.

Tips and Suggestions• Muscular fatigue in your embouchure is an indication of poor breathing form

rather than a lack of stamina. Put your thoughts on airflow and RELAX!

• Check your ears by singing each exercise accurately.

• HALF VALVE each exercise to ensure airflow is smooth and tension free.

• Practice these exercises using a varied range of dynamics.

• Perform these exercises as smoothly and cleanly as possible.

• Relax! Using smooth airflow and listening carefully will produce excellencein flexibility!

• There are t\VO \vays to perform these exercises in the group workout setting.

• Alternate your workout routine daily between Old School Flexes and Lip Flips.

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...............

.....tJIII!tJIII!......................,....

Lip Flips are another form of flexibility exercise. These exercises are the seedsof ease in flexibility. Achievement in this chapter will help to produce fluid,even lip slurs and will develop into a fine lip trill with practice. Rernember theLAW OF ACCOMMODATION! .As each tempo becomes easy - slowly increase thespeed. Push yourself to new limits of velocity without tension.

The first eight exercises presented are shortened. They represent the common buglesacross the most common keys of brass instruments. ( B\ E\ F and C) These are suit­able for performing in unison in a group setting. Their abbreviated nature makes airmanagement for these exercises easier. Achieve excellence on these exercises first. Asyour ability increases, proceed to the full Lip Flips. These exercises (starting on page86) visit the entire overtone series. The length of these Lip Flips will require quickbreathing coordination for air management]

Lip Ii

82 The Brass Gym - A Comprehensiic Daily 'Workout for Brass Players

Page 28: Brass Gym Trompa

(etc.)

n!

Tips and Suggestions• Do not increase the tempo until smoothness is achieved.

• Muscular fatigue in your embouchure is an indication of poor breathing formrather than a lack of stamina. Put your thoughts on airflow and RELAX!

• Check your ears by singing each exercise accurately.

• Half valve each exercise to ensure airflow is smooth and tension free.

• Practice these exercises using a varied range of dynamics.

• Relax ! Using smooth airflow listening carefully will produce excellencein flexibility.

• Alternate your workout routine daily between Old School Flexes and Lip Flips.

• Try this simplified version of the exercise to adjust to new tempos.

• Reverse the direction of the exercise as an alternate version.

Hom in F 83

Page 29: Brass Gym Trompa

" B"Here is an exercise to affirm the effects of vour workout routine .l\ND

~

to instill confidence In a variety of dynamics and articulations for theperformance day.

Each exercise is performed three tirnes:

1- mp legato (can be executed slurred or legato tongued)

2- ff marcato

3- pp staccato (using four sixteenth notes per beat of the exercise insteadof quarter notes)

By changing key centers and chord qualities as suggested on page 105, the player willmernorize the architecture of these exercises and be able to play each line with betterlinear intonation in all keys, more even tone quality at all dynamics, and a morematched articulation throughout the instrument's registers.

Tips and SuggestionsExaggerate all dynarnics and articulations!This exercise is for control and confidence. Challenge yourself!

Try these exercises with section or group members before rehearsals andperformances to build unanimity of dynamics, articulations and balances.

On a "heavy workout" day, play each line to the top note i\NDreturn to the first note by playing backwards! (Double your FUN)!

Try singing each 1ine for ear training and the prograrnming of yourmusical intent to plav the written dvnamics and articulations.

~ .,

104 The Brass Gym -,4 Comprchcnsioe Daily vVorkout for Brass Players

r

Page 30: Brass Gym Trompa

BONUS!

When playing this exercise with others, three formats are available for an interestingexploration of intonation and balance:

1. Play the exercise in unison as an exercise for better intonation and achance to agree upon the dynamic levels used in each key.

2. If t~TO people (or two teams) are playing "B" Bells, team 2 shouldplay each line as a round starting on team 1's third note. This provideswonderful two part intervals sounded together throughout theexercise line, culminating in a unison fermata ending. Intonation andbalance can be improved simply by providing an environment inwhich the players try to best execute the vertical intervals presented.

3. If more than two players are participating, a round can be made ofeach line in these exercises by starting each player one quarter noteapart until all are playing. The rich harmonic environment provides achance to fit each note into the tonality being sounded, culminating ina unison fermata at the end of each line.

sure u or

Horn in F 105

Page 31: Brass Gym Trompa

108 The Brass Gynl - A ComprehensiveDaily T<Vorkout for Brass Players

How to use the CD

~­~~~

~

~.,.....~

~.,..~

~

~

~

~

~

~

~..,~~

~

~~

~

=

exercises are intended as demonstrations and

should be mastered beginning with slower

tempi that progress to quicker tempi. The

ren1~unlng exercises are presented at their

optimal tern po.

Have fun performing with the authors and

have a great workout!

One of the unique features of the CD is the

drone tracks. (Smooth Air Movement (Track

7), Shwarmaaaal (Track 15), and Beautiful

Sounds (Track 17)) The primary purpose of

the drone tracks is to provide a pitch reference

point throughout the exercise. The performer

should utilize these tracks to measure each

interval against the drone.

The CD that accompanies The Brass Gym is

designed to demonstrate the exercises in the

book and serve as a helpful practice tool.

Patrick Sheridan and Sam Pilafian, the

co-authors, perform the exercises on the (~D.

The majority of the exercises are performed

in octaves by Patrick and Sam, which allow

the listener to perform the exercises in

an environment that will promote better

intonation, time and blend!

Every exercise on the CD is preceded by a

description and accompanied by a click track

throughout to promote rhythmic stability.

The tempos on the CD for the Tongue

Coordination, Brrurnmmm, and the flexibility

Page 32: Brass Gym Trompa

CD Track Listing*

1. TUN ING NOTE - BI>

2. CHROMATICS

3. SOFT TOUCH - C MAJOR

4. SOFT TOUCH - BI> MAJOR

5. SOFT TOUCH - F WHOLE TON E

6. SMOOTH AIR MOVEMENT

7. SMOOTH AIR MOVEMENT - DRONE

8. TONGUE COORDINATION - C MAJOR J = 100

9. TONGUE COORDINATION - BI> MAJOR J = 100

10. TONGUE COORDINATION - C MAJOR J = 120

11. TONGUE COORDINATION - BI> MAJOR J= 120

12. TONGUE COORDINATION - C MAJOR J = 144

13. TONGUE COORDINATION - BI> MAJOR J = 144

14. SHWARMAAAAAJ

15. SHWARMAAAAAJ - DRONE

16. BEAUTIFUL SOUNDS

17. BEAUTIFUL SOUNDS - DRONE

18. BRRUMMMMI - "ONE 5" J = 120

19. BRRUMMMMJ - "TWO 5'S AND A 9" J = 120

20. BRRUMMMMJ - "ONE 5" J= 144

21. BRRUMMMMI - "TWO 5'S AND A 9" J = 144

22. BRRUMMMMI IN 16TH NOTES - "ONE 5" J= 100

23. BRRUMMMMI IN 16TH NOTES - "TWO 5'S AND A 9" J = 100

24. BRRUMMMMJ IN 16TH NOTES - "ONE 5" J= 120

25. BRRUMMMMJ IN 16TH NOTES - "TWO 5'S AND A 9" J = 120

26. BRRUMMMMI IN 16TH NOTES - "ONE 5" J = 144

27. BRRUMMMMI IN 16TH NOTES - "TWO 5'S AND A 9" J = 144

28. BUGLES - C

29. BUGLES - BI>

30. BUGLES - GI>

31. OLD SCHOOL FLEXES - ROOT

32. OLD SCHOOL FLEXES - THIRD

33. OLD SCHOOL FLEXES - FIFTH

34. SLAMMA LEGATO

35. REMINGTON'S MOGULS

36. LIP FLIPS - MAJOR 3RD

37. LIP FLIPS - PERFECT 4TH (ALTERNATE VERSION)

38. LIP FLIPS - WHOLE STEP

39. "B" BELLS - BI> MAJOR

40. "B" BELLS IN CANON - BI> MAJOR

* All track titles are in concert pitch.Horn in F 109

Page 33: Brass Gym Trompa

110 The Brass Gym - A ComprchcnsiucDaily }Vorkoutfor Bra:;:; Players

bout the A th rs

Sam Pilafian (left) is perhaps best known as a foundingmember of the internationally renowned Empire BrassQuintet. He has also recorded and performed with theBoston Symphony Orchestra, the New YorkPhilharmonic Orchestra, the Orchestra of St. Luke's,the Metropolitan Opera Orchestra, the Duke EllingtonOrchestra, Lionel Hampton, and Pink Floyd. As a solojazz artist, Sam has recorded fifteen CI)s. Solo recitaland concerto performances during recent seasons havetaken him to Canada, Spain, Sweden, Switzerland,Japan, Italy, Austria, Gerrnany and England. As anarranger, corn poser and recording producer, Sam hasrecently produced and written for Joseph Alessi (NewYork Philharmonic), the Boston Brass, the Brass Bandof Battle Creek, the Academy (of Drum CorpInternational), and the United States Air Force Band.Sam is the coauthor with Patrick Sheridan of the bestselling pedagogy text "Breathing Gym".

In 1967, Sam won the concerto competition at theNational Music Camp in Interlochen, Michigan,becoming only the second tubist in over fifty years todo so. He subsequently won fellowships at DartmouthCollege and the Tanglewood Music Center. While atTanglewood he was invited by Leonard Bernstein toperform on-stage in the world premiere of Bernstein's1vlASS, which opened the John F. Kennedy Center forthe Perforrning Arts. He is currently Professor ofMusic and I)irector of the ABU Jazz Reparatory Bandat Arizona State University, having previously servedfor twenty years on the faculties of Boston Universityand their summer Tanglewood Institute. Sam has wonthe Walter Naumberg Chamber Music Award, theHarvard Music Association Prize, the University ofMiami's Distinguished Alumni Award, the BrevardMusic Center Distinguished Alumni Award, the

Robert Trotter Annual Visiting Professorship at theUniversity of Oregon, the annual Outstanding TeacherAward for the College of Fine Arts, Arizona StateUniversity, and a 2006 Spirit of Disney award forcreativity and design awarded by Drum CorpsInternational. Sam is a former president and chairmanof the board of the International Tuba EuphoniumAssociation. Sa111 is the Co-Director of the Institute forPerformance Success, Associate Conductor and ChiefArranger with the Salt River Brass Band, and ,IS adesign consultant for Jupiter Band Instruments.

Patrick Sheridan (right) is one of the most celebratedtuba soloists in his instrument's history. He hasperformed more than 3,000 concerts in over 50countries in venues ranging frorn the White House toNBA half-time shows to the Hollywood Bowl. He is aformer member of "The President's Own" UnitedStates Marine Band and has been featured on NBC's"Today Show" and NPR's "All Things Considered."Beyond his busy performing life, Patrick'scommitment to education is extensive. His windstudents occupy positions in major internationalensembles. In 2001, Patrick founded The Institute forPerformance Success. This unique educationalresource is dedicated to bringing fresh and innovativelearning technologies to performers and educators insearch of peak performance. Patrick currently serveson the music faculties at Arizona State University andUCLA. He is a design consultant for Jupiter BandInstruments. In the community, Patrick is also theMusic Director of The Salt River Brass and theconductor of the Sonic Winds, Patrick is a member ofASCAP, an honorary member of Kappa Kappa Psi anda Trustee of The International Music Camp.

Page 34: Brass Gym Trompa

ras

JOIN TWO OF THE WORLD'S MOSTPROMINENT MUSIC EDUCATORS AND PERFORMERSin their daily basics workout developed to put you on a path to an ever improving musical life!Created and developed for their own performing careers, Sam and Patrick show you a fun and creativeapproach to practicing the basics.

Go get your horn and let's workout in The Brass Gym!

........

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.................................

This is THE teaching method on breathing your way to musical success!These exercises for Band, Chorus and Orchestral Winds will have you and your students stretching,breathing, moving and having fun with two of the world's greatest wind players!

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Find out why thousands ofmusic educators and performers

the world call The Breathing Gym "revolutionary!"Available on DVD and VHS

with method book.

For more information about us,

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www.focus-on-music.com