Online Trumpet Lessons

练习什么

下面这些内容描述了如何应用前面的文章“如何练习”。既然铜管乐器的演奏是一项身体的体验，那么一个人在没有自己亲自练习的情况下，是不可能完全理解第一篇文章里提到的7个基本要素这些理论的。有些人会说，他们确实尝试了一些练习，但发现这种方法不适合他们。但事实上，他们根本没有真正理解他们所尝试做的练习。当我们在练习的时候，我们就是在建造一个基础，这个基础能让我们以后取得成就并使我们能够很轻松的演奏。 

那些对基本练习没有耐心，并只想演奏一些高级独奏曲的人，只会变的倒退。这就好象一个建筑工人想盖一栋大楼，但对所有这些看不出来的“无聊”的步骤不耐烦，偷工减料，或马马乎乎的将工作做完。当这个大楼建好，并涂上漆后，可能看起来很漂亮，但是正是这中间看不出来的建造步骤决定了这个楼迟早被别人职责或以后需要花更多的时间来修补。

千万不要没有耐心！每个人在不同的项目上进展的速度都不一样。即使是那些优秀的演奏家们都一样会在练习时或人生中遇到挫折。不要为你自己找借口。时间是你最宝贵的财富， 你怎样用它将显示出你的心真正在哪里。将你的注意力放在：一定能够成为伟大的演奏家并享受实现这个愿望的过程。尽量避免听那些消极的人的话：这条路太难，太长。没有任何成就会来的那么容易。多了解一些成功人士的经历，看看他们是如何克服困难的。

练习内容大纲：

当很多本书摆在你面前时，你应该从简到难地把他们编上顺序。记住，你每天练习的内容对你来说应该能够很轻松的完成，并在完成后应该感觉很好。节拍器应该经常使用。你的练习应该是逐渐进步的，逐渐增加难度，在每一个练习上面应该花费足够的时间以至于你能够很轻松，舒服的完成。很多练习至少都需要一周的时间，有些练习则需要几个月，有的甚至要几年。要有耐心！

每一项的顺序至关重要。
你必须将练习的内容写下来并 每天 坚持练习。
对于一个演奏者来说，没有暑假这个概念。

呼吸训练 (这是为了练习“深呼吸，胸抬起来”这个习惯。)

参考 Physical Approach..., 12, 23 页 和 Brass Playing..., 18-19页。
5 组 10次呼吸 (练习的时候手掌打开，两肩稍微向后。)
5 步 (至少走 1000 米)
5 步，每一步用鼻子吸入等量的空气
5 步保持吸满空气的状态
5 步，每一步用嘴呼出等量的空气
5 步保持没有气的状态
每个月增加一步，直到10步。然后改成慢跑，从5步增加到10步。

开始灵活性的练习(也就是舌头等级位置) 同时也要用“KTM”单吐。

Daily Trumpet Routines (31页前) 用所有的模式(发音)
阿尔班 125-130 页(至少用4种模式。)
St. Jacome 15, 19, 24, 49, 68 页(使用7种指法，连音和吐音)
157-165 页(必须用所有的模式加上K吐)
Walter Smith 的 Lip Flexibilities (首先前10课，连音和吐音)
Earl Iron 的 Lip 27 Groups of Exercises
Del Staiger 的 Lip Flexibilities
Charles Colin 的 Advanced Lip Flexibilities (练习曲加上踏板音。)
Bai Lin 的 Lip Flexibilities(这个和Charles Colin 的 Advanced Lip Flexibilities 差不多)
Schlossberg 的 Daily Drills (这个需要更多的控制。)
Claude Gordon 的 Tongue Level Studies
Collichio 的 New Art Technical Studies (琶音的舌头等级位置练习)

运舌

将这个看做是一个单独的项目，或把它和舌头的等级位置或技术学习放在一起。

参考 戈登 的 Tongue Level Studies 学习“被修正的K吐”。
阿尔班 13-16页, 练习11-27 (首先按照练习要求演奏，然后把这些音符改为十六分音符演奏。)
两遍克拉克的 Technical Studies 练习后，接着继续克拉克的 Setting Up Drills 第38首练习曲。
St. Jacome 的 Grand Method
Earnest Williams 的 Modern Method

手指的技术练习("果断敲击，高高抬起！") 和 气息的控制

每天练习半音阶和全音阶练习
阿尔班 76-86 页, 全音阶在 59-75 页, 小音阶在 75 页。
克拉克的 Technical Studies (每年都必须练习一遍。)
在戈登的 Systematic Approach 中的指法练习 20, 22, 24, 26, 和 30 页。
用4周的时间练习每一课：
第一周: 单吐(“被修正的K吐”)
第二周: K 吐
第三周: 双吐 (TK) 或 三吐 (TTK)
第四周: 连音
第 2-8 课后面的练习曲必须用“如何练习！”这种方式练习。
第一次要用 mf 音量！
记住 “高音时将空气踢出来。” - 克劳德.戈登
重复练习这个本书，将速度稍微加快，并在一口气内演奏更多遍，千万不要吹的比能得到一个准确的音弱。
如果演奏的舒服，可以将音再提高一些。
这里有几中方法练习克拉克的 Technical Studies:
每个音用3吐来演奏3遍
每个音用双吐来演奏2遍
每天练习整本书
每天不同模式
每隔一天练习其中的一些练习
每隔一天练习整本书
用这个代替音域练习

克拉克的 Setting Up Drills 应该在练习 Technical Studies 数遍后练习。
同时可以练习其他的音阶练习：小音阶 (自然, 和声, 旋律), 布鲁斯, 全音, 减和弦, 大小音阶模式
优秀的音阶练习在其他书中也可以找到。

练习曲

练习曲的时间应该不超过总练习时间的1/3。
Sigmund Hering 的练习曲 (应该循序渐进的练习)
克拉克的 Characteristic Studies
你必须用 “如何练习！” 这种方法来演奏克拉克的练习曲，直到把整本书练习完为止， 
然后使用节拍器逐步加快速度。
Gatti 的 Grand Method (音阶练习使用所有大调和小调指法。)
Aaron Harris 的 Advanced Studies (音阶练习使用所有大调和小调指法。)
Walter Smith 的 Top Tones (练习使用30种大调和小调指法)
Gatti 的 Studies in Perfection
Arban 的 Complete Conservatory Method (由 Carl Fischer 出版)
Earnest Williams 的 Method
St. Jacome 的 Grand Method
Charlier 的 36 Studies (抒情和技巧练习曲)
Bordogni 的 24 Vocalises (抒情练习曲结合调式的变换)
Bitsch 的 20 Etudes Pour Trompette
Petit
Clodomir
Maxime-Alphonse

独奏曲 (可根据时间自由选择)

练习独奏曲不能影响基本的练习内容。
独奏曲最多占总练习时间的1/3。
你所练习的独奏曲在难度上对你来说应该足够简单。
如果需要的话你可以使用 “如何练习！”。
独奏曲不可代替系统的练习内容。

学校作业 (可根据时间自由选择)

只练习有问题的段落。
当你的技巧不断提高的时候，你不需要花很多时间来准备这些。
如果需要的话你可以使用 “如何练习！”。

交响乐曲 (可根据时间自由选择)

不要太频繁的更换指法不同的乐器。
我建议在演奏高音小号时使用同一个号嘴。
在演奏前，将完整的乐章多听几遍。
有问题的段落使用 “如何练习！”。(见说明)
学习标准的演奏方法。(比如 吐音方式，用什么样的乐器)

爵士即兴演奏 (可根据时间自由选择。请看关于这个独立的文章。)

音域练习 (Down Routine 和 Up Routine)

这个必须每天练习一次以达到你的极限。
尝试演奏你能达到的最高音不要超过3次。“尝试3次然后停止！”- 克劳德
这个练习即可以放在整个练习的开始，也可以放在最后。但是你要确保在这个练习后一定要休息至少60分钟。
在练习之间的短暂的休息 (10-15 秒) 也应该确保。
“延长音” 必须正确地练习。
踏板音 必须正确地练习。
Physical Approach to Elementary Brass Playing (克劳德)
Systematic Approach To Daily Practice (克劳德)
30 Velocity Studies (克劳德) 使用所有模式练习。
“放松嘴唇”
这是一个 2 个八度 (或更多) 大调琶音练习。从5线之间的C到 Pedal C (或更低)。 这个适用于小号。
这个是在音域练习完成后的一个放松的练习。
这个练习可以减少嘴唇的任何紧张，并帮助演奏者放松，解决由于演奏高音带来的问题。
其他铜管乐器如下：
圆号 (再低五个音)，长号 (再低一个八度)， 大号(再低二个八度)

每天只需要将整个内容练习一遍。
注意不要过度练习，及练习之间休息不够。
“逐渐增强，不要伤害。” - 克劳德

这个日常练习内容适用于所有的铜管乐器：
次中音号
将所有的内容比 Bb 调的小号降低一个八度练习。
将低音谱号降低一个全音。
第4按键必须使用。(就是说：4=13，42=123)
其中的一些书也有低音谱号版本的。
长号
将所有的内容比 Bb 调的小号降低一个八度练习。
练习 Pedal Eb 到 B，不要追加F。
其中的一些书也有低音谱号版本的。
高音谱号应该和中音谱号一样练习，只不过中音谱号要降低一个八度。
其他的练习曲也应该作为替换。
右手应该准确迅速的移动，手腕要柔软。
大号
和次中音号一样，只是要低2个八度。
第4按键必须使用。(就是说：4=13，42=123)
圆号
小号的舌头等级位置练习。 
Bb 调的号应该低5个半音，指法一样。(全部不按代替 拇指&1&3，2 代替 拇指&1&2&)，演奏的比Bb调的小号听起来要低一个八度。
练习曲
左手手指应该一样用指肚按键。
右手在喇叭口的位置也相当重要。

Additional Information:

Alternate fingerings serve a primary purpose of improving each finger’s action independant of the other fingers. Some fingerings will be more difficult and not the typical choice in a playing situation, but essential in the practice room. The results will be obvious if practiced properly, striking the valves hard and lifting the fingers high.

Testing Pedal F through C#

“How You Practice!” was a phrase Claude Gordon would use to refer to a specific way of practicing certain etudes in reverse order. The purpose was to practice consistently accurate so many times in a row that the chance of any kind of mistake was virtually impossible. Begin by playing the last beat four times in a row perfectly, removing the instrument from you mouth between each attempt. Next back up one beat from the end and play up to the first note of the last beat four times in a row perfectly. Next play the last two beats four times in a row perfectly. Continue in this manner until you have done one or two lines for the day. The second day play the new material up to the first note of the material from the previous day. When the second days material is done then link it to the end four times in a row perfectly. This is very tedious, but if you are very critical of all mistakes (i.e. cracked notes, bad attack, unclear tone, clumsy fingers, etc.) then you should never make a mistake again. This must be practiced with correct hand position and remembering to “Lift Fingers High, Strike Valves Hard!” Failure to do this will reinforce bad habits.

Pedal tones are to be played with a full free sound. Their purpose is to correct and improve your embouchure resulting in a freer vibration. Don’t play them too loudly. Playing pedal tones correctly will result in being able to turn more air into sound which will make everything better (i.e. sound, endurance, power, range, control, accuracy and comfort). This will also result in playing more relaxed and less tight. Mouthpiece buzzing and “long tones” tend to do just the opposite. If you learn how to play easier, then endurance will no longer be a worry. Those who play correctly can play for hours without the slightest fatigue because of this. At first notes from Pedal C to Pedal F# tend to be very flat for most everyone (on trumpet only). Do not worry about playing them in tune! If you play them in tune with a buzzed kind of sound you are doing them wrong. Do not use different fingerings (i.e. 123 for Pedal C)! Notes from Pedal F down to C sharp may tested an octave higher to hear the pitch because those notes never lock into a “slot.” Pedal tones are to be played as part of the range study only once per day. In time pedal tones will become just another part of your playing range and should not be thought of as “false tones.”

Mouthpiece Buzzing is something I oppose just as Claude did because it does not feel like playing the instrument and it tends to make people tighter. This practice also results in a preoccupation with the lip as producing the higher notes with more tension instead of coordination of the Tongue Level and Wind Power. There are some fine players and teachers that promote buzzing. But their amount of buzzing in comparison to their total playing on their instrument everyday usually is insignificant. Playing the instrument feels different than buzzing because of a variety of factors. The one positive thing from buzzing is ear training, which can be better developed by singing and some knowledge of piano and harmony.

Long Tones as practiced by most people tend to be stagnating and stiffening. Some believe Long Tones help your sound, but a player’s sound is improved as the they play easier and more flexible. The “Long Hold” markings serve a different purpose as a means to develop Wind Power, when they are done correctly as an isometric type of exercise to squeeze out all possible even after the sound stops to the point your muscles shake from the forceful squeeze. You will also notice that all the “Long Hold” markings in the Gordon books (i.e. Physical Approach To Elementary Brass Playing, Daily Trumpet Routines, andSystematic Approach To Daily Practice) and Clarke’s Setting Up Drills (p. 6-7) are after some movement around the instrument and are always in the middle to lower register. You are to never play high notes with less than half full of air.

Control over your sound is a by product of correct easy playing. A mouthpiece or some other piece of equipment will not do as much as your concept in your head and how well you can make the instrument work. The tongue’s shape in the mouth plays a big role in being able to change things for the desired sound. If you want a bright sound to play lead trumpet, you will not get it by a smaller mouthpiece. Small equipment just inhibits the free flow of air and the free vibration of the lips, resulting in a thin small sound. You must listen to the best players to know for what you are striving. 

Claude Gordon was a great at knowing just what to say and what not to say. The following were some of the most repeated phrases that stated things concisely.

Claude Gordon’s frequent phrases explained:
“It’s how you practice that counts.”
“Without technical proficiency there can be no music.”
“Think when you practice.”
“Always practice in a happy frame of mind.”
“Brass Playing Is No Harder Than Deep Breathing.”
The title of Claude Gordon’s book and taken from Clarke’s Elem. Studies, p. 3.
“99% correct is still 1% incorrect!” (From Clarke’s “How I became a cornetist” book)
“Let The Air Do The Work.” (See Wind Power and Wind Control in first article)
“Let The Air Save Your Lip.”
“Fill up all the way.”
“Step On The Gas When Going Up.”
“The Air Does The Work, The Tongue Channels The Pitch.” (Wind Power & Tongue Level)
“Hit It Hard And Wish It Well!” (Don’t be afraid of missing and don’t make excuses!)
“You Must Drive All Fear Out Of Your System.”
“Don’t Worry!”
“Forget About Your Lip!!!” (Claude’s students were never allowed to talk about their lip.)
“You could have a lip strong enough to lift a piano and still not be able to play.”
“Breath with your lungs, not your stomach!”
Would you say eat with your lungs? Why say breath with your stomach?!”
(This was to illustrate the thoughtless falacy of diaphragmatic breathing.)
“Big Breath, Chest Up” (This was rubber stamped onto every sheet of music.)
“Watch The Tongue” (Stamped onto every Tonguing, Tongue Level, and Range Study)
“Three Strikes And Out!” (Make only 3 attempts at highest note in daily Range Study.)
“Lift Fingers High, Strike Valves Hard” (Stamped onto every scale and arpeggio study)
“KTM” or “K Tongue Modified” was his term to describe how to single tongue as if doing K tonguing (in middle of the tongue) modified to the front middle of the tongue, with the very tip lightly touching the top of the bottom teeth always, when tonguing or slurring.
“You must use models.” (See St. Jacome’s page 157.) This trains your tongue.
“Rest as much as you play.” (Forget the no pain no gain way of thinking!)
“If you feel tired you failed to rest enough along the way and are tearing down.”
“You play by feel not by theory.”
“Too much analysis causes paralysis.”
“A baby crawls before it walks” (Keep this in mind always, especially with range.)
“More teachers have ruined students than helped them.”
“Nobody can make you a great player. I can only show you how to practice.”
“It is not crowded at the top. It isn’t hard to make a living when you are at the top.
It’s crowded in the middle level of mediocrity.”
“Don’t stop where I have, but go further.”
“Get the sense of things.” (Study every book to get the author’s intended meaning.)

Don’t skimp on buying books. If you are serious as a player you must develop a complete library of books and recordings. They are your most valuable assets if used properly. Don’t repeat others mistakes and struggles, learn from the great methods. Use your brains in understanding the purpose, approach, and application of each book into your practice routine. Some books require more than just a sequential order through the book. Find a good teacher, listen, think and practice. Be humble, yet discerning!

Where to buy music:
Your local music store should be supported first and foremost so that they stay in business and supply quality products and services to promote all music development in your area. The world needs good musicians on all instruments.

If things are difficult or the local store refuses to stock things you request try these stores:

www.rkingmusic.com
They have a very large selection.
They are the exclusive importers of the Leduc books.
Charlier, Bordogni, Petit, Clodomir, And Bitsch are published by Leduc.
They do not have a voice number and only take orders by internet, fax, or mail.

Sheet Music Service 
(800) 452-1133
They also have a big selection.
Great to deal with in giving you 15 days to pay on small orders.

www.tapmusic.com
They offer a very big selection of recordings you will not find anywhere else.

© 2002, Jeff Purtle

Other articles to read: How To Practice, Brass Playing Frequently Asked Questions