ye ye GRADED LIP and TONGUE TRAINERS BRASS INSTRUMENTS CORNET oz TRUMPET SC ES AAAI DAA DARA DOS By GRADED TONGUE TRAINING GRADED LIP TRAINERS > Grade 1. Beginnen ond Teach- Grode 1. Teachers and Pupils ern CW1616) “wiets) Grade 2. Expest Single Tongu- Grade 2. Busigets Players Ing. - €W1617) (wi620) Grade 3. Dovble and Triple le 3. elt Men Devble and Tinley Grade 3. Fint Ch brian for strengthening and irs!"- Teaches the lip Jo function correct rod ty of the player. For slow OP Se A strong and we or rapid playing, the tongue must tained lip is prerequisite to expe Go trained, 70 Se lonave west ve : THE TRUMPETER'S DAILY STUNT Twenty minutes a day of Lip, Attack, Tongue cond Scale practice. Keeps a player at his best form (W1623) ‘TROMBONE or BARITONE GRADED LIP TRAINERS Grade 2 (W1622) 443 oo eer rere eee ee Se S422 2 Sa CARL FISCHERWw 1616 Tongue Training Grade I ‘The tongue of the Trumpeter must be trained for strength and speed by specific exere ‘Use only the extreme tip of the tongue. Do not poke it out between the lips. Try back into the mouth with a sharp quick, easy movement. Keep the face and throat a: you can. Listen for a clear tone with no windy quslity at the beginning. Do not shut tone with a FUTT, FUTT sound. The action is like spitting a seed from the tip of the tong ‘Try not to be stiff or awkward. Just do plenty of work and learn each number very we fore taking the next one. Firm but not noisy > No.1. No.2. No.3. No.4. Copyright HOIXEV ty Carl Fischer, Inc. Copyright Renewed. Gradel sossa ~-asa anaemia nnn in in tr tn to tte ta hapanceeoeaeeagngagaaaaea®POET AEA EEE | Not drawled Py 2 on ie iat onion, Distinet 2 2 x Short notes- strict time No.8. wv GradeT aosszDont hurry, No. 10. No. 11. GradeT sosa2PUR R RRA S SSS SSE EELEEEEEELEELELEL GEL No. 12. No. 13. No. 14. Not hurried No.15. eS e Grade I soss2 saeMaestoso Marcato eevvvvvvvvvuvVVVT eve ae eee eee sosea s a Grade I : 3 a30882 No. 20. s S es wa TRRRRRKLRRRRRT TTR RVR IIRIRIRTTRR RRR RRR RRRIRRRLEVPROSSELELESEEEET HSHOPEEEEDE LESSEE EESEEEEEDYE i. | == vous =P = ey st R Ss a Grade 1 sossa et wa—_—— 30882 Grade 1 s an S a No, 25. GETLTTRRRKRRLVRKKSRRRKKRRRRRRRVIRIRRIRIRIAWIRIeKeeees0892 n 2 2 a : ° 4 4 10 Grade ISARA ARAAAERAAARESASSS SSS SSSSSSSSSRSAIGIIIIISG ES wv 2 \ breathe = 4orr eencoh SS eS Carry this out by ascending semitones up to G. and down again Tempo di Marcia No. 30. ov 7 e e srsseee — se ee eee wee SS er P PP mf Grade tT sosezera ww VSS SCUSETHAHHHGNAtNEeSEEECEGEARA Theory Of Tongue Training The office of the tongue in playing Brass Instruments is to mark the Rhythm. Rhythm in- aes tempo - Speed. Speed comes by the application of Power, Power or Strength comes from Exercise, muscles grow strong by getting tired. ‘The unit of action in Tongue Exercise is a single stroke with the extreme tip of the tongue. *E:ch must not be protruded beyond the edge of the lips. Power is acquired by increasing the Sumber of consecutive strokes between rests, The activities of the Tongue in single Staccato can be conveniently divided into three sections, ‘ston single tone. 2nd with change of tone and fingers Srd uneven stroke or dotted Rhythms. For double and triple Staccato we must practice to use the back part of the tongue as flu- Sctiyas the tip, The tip of the tongue uses the syllable TU and the back of the tongue uses KU. ADVICE Asy difficulty becomes easy if you take it slow enough. Progress consists in learning what you caccot play. Improvement comes from thinking as well as playing. Skill results from co-ordinating thought 32¢ action, It comes only by constant, patient, attentive repetition. Not by force. The chief obstacle to progress is haste. Not fast but often, not loud but neat, Keep your lips trained! You cannot work well with poor tools. There is no shame in playing slow =d neatly. There is no pride in playing quick and slovenly. it ls wasteful to wear out your lips to exercise the fingers. Hold the Intr: with Mouthpiece on © chin and practice the fingers alone, in strict time with very firm action. The fingering is the “ardest part. Learneach number well before advancing to the next. The quality of tone imStaccato must be a gentle, neat tap; not a crack, or push or shot, Never practice too loud. Copyright MCMXXH" by Carl Fischer Inc., New York,: THE SHUEBRUK SYSTEM an Tongue Training ee GRADE II Single Staccato aia CHAPTER I. C major and A minor Silent Finger Practice dk 4 1/Y “Tongue Tired | | \\ “ist degree, dist \ct-not too fast No.1 Ss decses sees ss the same on 2nd degree | 3rd degree 4th degree 5th degree « then all over again backwards Sth, 4th, 3rd, 2nd and ist degrees Scale Copyrieht MCMXXY by Cart Feacher Ine., dee turn ‘Ceoprigh Recewed Grade ITeee RSE RLIS DC.al Fine — — Phe gg pares Sg Sy ee eS Se 4 DC.al Fine Chromatic Clear- neat - Short notes Noi: V-Breath sign aie 3 —— start ‘Then do the same beginning on C sharp up and down one octave and thenon D E> Eh F F¥andG and then down again to C. Take breath only at the signs after the first octave. Etude t crese. op crese. ———— Grade IL D.Cal FineCHAPTER II. F major and D minor Silent Finger Practice Tongue Tired ‘ |‘ Ast degree No.1. 2nd degree ard degree, 2nd degree ist degree ‘ ‘7th degree 6th degree Sth degree Seale Grade 11Chords Seale & Grade II > CHEEK KEERKLEEKREREEREREREREVEREREP ERE EE EeeChromatic Slow! clear distinct notes Oe , wf i 2 sete Y, ; Sass SS ‘Then do the same thing beginning on Ab down and up one octave Then do the same thing begianing on At down and upon Bb on Bk and C. Tearn to play it from memory. Take breath at the signs V Etude No.6: Grade ITeee RRA RRA AAA LETS CHAPTER III. G major and E minor Silent Finger Practice SS =a Tongue Tired No.1 Ey ve tase Baee Fee Then do the same thing in the same key atone higher on A down and up one octave. Then on B, C,B,A and G. Note the breathing signs. Z F Zo ¥ Scale Chords10 Seale No.4. y Repeat inone breath a ee seen = aE ‘Then begin on C sharp and do the same thing up and down one octave. Carry it out on ea:t semitone higher up to G and down again. Etude Lively Grade ITPARR RUARUEEE APOE EEEE TEETER CHAPTER Iv. Bb major and G minor Silent Finger Pract Tongue Tired No.t. + peewee ‘Then do the same thing inthe same key beginning on C up and down one octave. Thenon D,E+ and F, then down on Eb, D,C and Bb, Scale No.2: cy 7. ee 412 Scale Maestoso (Slow) Bis (twice) Nok = Seas Ast degree eae —————_, 2nd degree Bis 8rd degree Bis Ath degree Bis sth degree La ee ‘Then 4th degree 3rd 2nd and tst degree again. Chromatic 2 2 No.5. Vea, V 3 times in one breath Sebw Shs Sys oper Then do the same thing on Ab down and up one octave Ay Bb Bk C. Etude Tempo di Valse - — No. iaaee eee —=RARRARRR RAAT TREE ELA ERRATA RRAVAVIUIA CHAPTER V. 7 D major and B minor Silent Finger Practice ‘Then do the same thing inthe same key on E F# and down again. Note the breathing signs. Seale a ——— ad Joe Se o — = Grade IT14 « Chords No.3. oy aa Chromatic = 4 times - in one breath No.5: oot etc. oneach half degree up to Gand down again NOTE: Whenthe student can do 6 octaves neatly inone breath he has probably reached a speed >: 116. Thenit istime to goto Double Tongue Grade ItERE RR ERE REE REESE ERE EES) Etude Moderato = Grade IT Pritt. Fine Ni D.C.al FineN2o38 Double and Triple Staccato GRADE 01 To Learn Double and Triple Staccato 1, Learn to make a strong sharp sound, with the mouthpiece only, but using the back part of the tongue as in pronouncing the syllable Ku. 2. Do the same practice with the instrument on any single tone in the middle register of the instrument. 3. Practice simple short pai ges with the syllables Ku Tu at first, inorder to get equal emphasis for both syllables, then lengthen the passages 4. Learn to reverse the articulation from Ku Tu to Tu Ku. at will, This is very important 5. Practice exchanging single tongueing and double tongueing at will su as to pass from one to the other skillfully. The object is to make the change ss unnoticeable as possible. So practice double tongueing little slower than single tongueing. Speed comes easy e- nough when you have control. If the double staccato gets uneven do plenty of Ku Tu- reversed articulation 6. It is advisable to use the difficult Keys because you are forced to practice slower. 4OO0O0O0O004444444404440444404444404040400460404040444404048IORI e EREE EE E RR SRRR w1618 2038 Short notes CHAPTER I Silent Finger Practice (When resting the lips), Many Times Get distinct articulation. Do it very well indeed, before advancing Copyright, MCMXXY, by Cart Fischer Inc., Netw York International Copyright Secured (Copynene renewsClear firm notes None ue i 3 3 a aPPRRASERRRSEEERSRESERSSESEREE SESE SESE SERED) CHAPTER II Silent Finger Practice simileSBERSTEREEHEEHOURELUOLUEEBEVUVGVEVEVLEVELEULEULLUELTE q ee + 2038HIV V GGG DDD DDD ddd DDD DDD DODD OB CHAPTER III Silent Finger Practice Ss Slow No. 1. TKTK T KTKT TK KT TK No. 2.. TKTK KTK TKTKT TKTK KTK T KTKTK PRTK KTE T TKTK KTK TKTKT T KT iT} et TKTK xTK D.C.al Fine 2038aaa Slow at first 4 ; T.TKT_ TK hea a a TKT KTK bouts TK TK TK 7 TKTK TKT TK oa KTK T KOKTK TKTKTR TW_KTKT Practice double and triple tongueing in the unfamiliar Keys. You become abetter musician you get finger control and you are forced to practice slowly. Do scales in single tonguei and double tongue in the same tempo as up single down double ete. Every respectable musician knows all the scales and chords from memory. The habit de- velops freedom in performance. If you have not patience to learn these scales by eur, you should learn to help yourself by wri:- ing them out in the same models PRACTICE SLOW and CLEAR Use this model for all Keys below E Flat as Db, C, Bt, Bb. A, Ab,G and Fe Istdegree 2nddegree Nod, 4 es = TK _ TO TK ard ath ath AAAARARANRAARANRARANAARANRARAARAAAAAA TOTKT $2088TTT TTT TTT RETREAT RAR RRA RA AAA TAA AAS Use this model forall Keys above E Flat as By B F#, G, Ab, A, Bb, BY Ist degree 7th No.4. Also the following articulations . eae eee As above, A common chord is made of the I$t, 34 and 5th notes of any scale. Write them out inthe various Keys by these models, you will learn them easier and save your lips._ E PRACTICE SLOW and EASY For all Keys above D,E, F, F? and G No.6. TKTE = For all Keys below D, Ds, C, B, Bh, A, Ab,G and Pt. TKTK —_>= Take one Key each week aud vary the articulation each day.* CHAPTER IV Silent Finger Practice z Vivo pea SSS EEE pp . ¥ “Tee TKTK Andante Grandioso erese, 2p Allegro vivace No.2.; TTK crese. hr x N NoneHIIIIS = > = 2 = = = = = > > > > > = = = = = Sper Allegro No.3. Ses = crese. K i wf Silent Finger Practice Spiritoso No0a8® CHAPTER V ‘ Triple Tongueing The difficult keys are for the parpose of makias yon practice slowly Lewrn to play the syllables Ta Tu Ku clear, isticet and firm with the mouthpiece whos next number, bewin those exercises Learn each oue very well before going tu th [nonewnS kp RMR ESTE : time until the articulation is firm and even, Play it 4 to 6 times through by eact: Repeat in sh , No.2 2 Ser 2 TTKTTKTTKT o 2 - No. 3.:RRMAURURT ETE TEETER EET 43 Tempo di FoxTrota CHAPTER VI Moderato su z No.1. TTTKT TTK T TTKT ea ane D.C.al Fine Vivace No.2. TTK Perret ets N2038RURURRUP ETRE RARER REET TEETER Raa D.C.al Fine D.C. al Fine Allegro vivace JZ 2 TTKSYEVEVEVLEUEUUEUYEULEUVEUYEULULEULELELELELELESTEEEVeve ' [ | Vivace Quick March = f TTK é a NandRUST R UTTER TTA T TERR R REE E ERT ER EEE TK aTKT TT Vivace eee CHAPTER VII TKITKT SD.C.al Fine18 No.4. Na038 TTKT Allegro vivace 2 TTK 2 TTK TKTK TIKT TKTK TTK TKTKT49 TTK 2S ae 2 KS 3 g 7 a S e E & = —— ntxe-es K < TT SEES Dey 3 a ~p. ae > HMRRARIIIAIAIRAIRARAIRIRRAARIRARARRARARRRRERAREEREARRALREEE20 CHAPTER VII Chromatic Scales No. 1. TTK TTK * , ® Then the next descending beginning on Dy and the following ascending on Fj and so on up and down toG or A. Plenty of slow practice. Keep strict time with fingers Diatonie Scales Take one Key each week Write them out or transpose by ear «half tone up Model for Seales in Ehand above No. 2. a TTKTTK + vase ‘Transpose in EX F Fi G Ab A: 2038SUT T eee ee RRR R SSSA TATRA RATATAT Model for Scales in D and below TTETTK Also in Db C Bi Bb A Ab G Chords A common chord is made from the 1%t 3° and 5t! notes of any scale S No. 3: Syncopated Tongueing Learn to write music! Write this model (and learn it from memory) in every Key * half tone lower down to low G. No. 4. si syereres 7 - TO Pertet. TK TTKTTKT TW_TK = o ors If you cannot transpose it by ear, write it out and memorize them from C to G higher by half tones; from C to Ff lower by half tones.VUVUVUUVUUVUUEVUEVYEVUEVEETeOeeSeeeeeeeeeeeeeeeeeer Variations. Theme and V Var.III. Var. IV. Var. II. 22MUUUUR ETUDE RRR Raa Raa ARR R RRR RRA AAAS BOOKS FOR BANDSMEN — ++ ee a «> PR CEksipsiiaamaig NET Price &0¢ PUBLISHED BY RICHARD SHUEBRUK EAST 877TH STI NEW YORKAdvice to Beginners If you seriously wish to Learn to play a Brass Instrument, it iswise to go to the best Teacher you can find. It is quite impossible for you to learn to play properly ty yourself. You tay be ever so intelligent and industrious; those qualities will make good teach- ing of greater value to you than to a less gifted person Be careful in deciding which Instrument to attempt. Your preference is not a sure guide, Consult some musician on that matter for your teeth and lips may be better suited to alarge mouthpiece than a small one. There are many important principles and methods of practice which are es sential to achieving skill in Instrumental playing, but which are not subjects. of seneral knowledge, Such valuable rules are acquired oily after years of ex perience and association with good performers. Many of these things the clever- fest Student cannot discover for himself, and it saves much time and many re: srets if he be prevented by a wise teacher fromusing the wrong habit or method Annecessary item of Instrumental progress is the eriticism of your superi- ors; somebody to tell you what to avoid and what to attempt. Also how and why todo it. How ean you get that valuable information but by persotal Instruction: ‘The most talented are frequently in need of ademonstration; a chance to hear the thing done; a passage actually played the correct way. How ean you come by that, without the presence of an earnest Teacher? Especially in the be- isting is this a vital necessity, How can you tell whether you are playing. the correet tone (altho you may press down the right keys) by reading about Ht? Can you know whether your Tongue action is correct by reading about it? If you have not a keen sense of Rhythm, how will you know about Time and Ae cont? You must have ademonstration (and many of them) from a good teacher. Itis usually poverty or parsimony which deters a person from taking les- sons. The first is.a pity, the second very bad judgement Of course you can acquire enough to“get by"* without a teacher; but you sve-a hindrance to the organization and a nuisance to the good player who. Is too kind to tell you so. Think it over, General Rules for Practice Re patient. You cannot accomplish everything at ouce, Everybody was a beginner once upon a time Stick to the hard spots; the easy places will take care of themselves. What You eanuot do is what needs your attention Progress is certain if you understand why you are doinga certain thing, td doit slowly many times. Practicw has two divisions; the learning and the doing. The knowing and the Blowing. Dont blow before you know All forcing is wrong. Practice gently but firmly. Douit quit easily,but rest when the lips are tired. It will go better tomorrow Regularity and perserverance make progress more permanent, It takes two days to make up for one day lost Learn Music with your ears principally, and not witnyour eyes. Use the eyes to find ont, and the ears to remember. Learn as muchas you can from memory, but be sure to learn correctly. To learn faults fiom memory is foolishness; to learn correctly from memory creases your capacity ald makes you free. I would be a miracte if you could play well the first time you touched an instrament. Tt is just as mucha miracle if you practice properly anddont learn toplay The ultimate results are Facility and Endurance. Facility comes trom re- peating the parts of an Exercise. Endurance comes from repeating the whole of the Exercise ae2e00eeeeeaeaeaeeaeeaeeeaeeeaeaeeaeeaeeaeeaeeeeoeaeeeeeeePRVUUUUU REUTER EEE E RRR Instructions for Grade I POSITION IN PLAYING. Stand upright. Hold the shoulders back and the head straight. Dorit press the elbows to the ribs nor elevate them too much. HOLDING THE INSTRUMENT. Grasp the instrument around the valves with the left hand; hold it firmly. Hold the instrument as near as possible at right angles to the face. The right hand must not be held against the instrument, but the right thumb should be kept under the mouthpipe, and placed between the first and second keys. A person standing opposite the player should be able to see clearly under the right hand and discern the mouthpiece on the lips. Keep the little fin- ger free from any kind of ring or hook. Tip Instr. toward the right hand. These Exercises are designed to train the lips. However much or little you can perform,you will always do it better if your lips are pro- perly trained. Dor't blow hard, Try to get a gentle tone as easily as poss Doxit squeeze or press anything at all, but hold the instrument firm on the lips. Stretch the lips across the teeth as in smiling. Feel the edges of the lips touching together. Place the mouthpiece as near the centre of the mouth as you comfortably can. Take breath and send the breath be- tween the Lips as though you were saying PU or POO. You may use the tongue to start the tone If you do it under a teacher, but otherwise you are able to push the tongue too far between the lips and let some breath into the instrument before the Lips begin to Vibrate,and thus get a windy tone. It is safer to begin with PU or POO and later you may use the tongue to get a more precise, sharp utterance. Be sure to feel the lips touching. ‘The most common fault with beginners is working ton hard, or blow- ing too violently. You may be certain that your method iswrong if you cannot get the first tone of Ex. No.1 with ease after a few trials. Be Pa tient and do plenty of work; give the lips a short rest now and then Stick to the exercises as they follow. Dorit skip any. They are all very necessary and are the result of many years teaching. Master One Number ata time, Dorit waste your time, and hurt your lips trying to squeeze out high notes. They are no good anyway,even if you get them. If you keep to these Exercises you cannot help getting the highest notes on the Instrument, the same as you get strength to do a regular exercise, or training. Read this advice over now and then, it may save you some trouble and time, vthing else by" Begin with the ATTACK. It is necessary to remove the instrument from the mouth after every tone, and replace it on the last beat of the silent measure, to be ready for the next note. This trains the lips to find the place for the mouthpiece, and to take the proper form for the succeeding tone, The object of all ATTACK practice is,to get the first tone accurately, therefore you have to take off the instrument, to make the next note a first note, or new ATTACK. Keep strict slow time by beating the quarters with the foot. This is no harm at first and can be modified or discarded later if youwish, but in the beginning it helps to mark the RHYTHM. Playing in strict time trains you to deliver the first note the instant it is required. Learn the first four numbers well before you take No.5. Be patient. good work If you ean train the lips to vibrate on demand in a week When you are ready for No.5 you may also begin the next depart - mont, Intervals. In this department you should not remove the Instru- ment, because the object of the Training is to learn to go fromone tone to the next, higher or lower. You should try tounderstand that in or- der to get a higher note, you have to make the opening between the t you need not think of that, all you try to do is, to get a higher tone not by blowing harder, but by pinching the lips tighter together. ‘These Interval exercises are graded very carefully,so that if you lips smaller by tig! tening the muscles, work patiently at each one you wil! develop the necessary power ve ry soon, Now your daily preetice will be always ATTACK and INTER- VALS. Rest for a few minutes before you begin your book As you progress in these two branches, you will reach No.6 in IN- TERVALS, then it is time for you to add the third department of lip training, and so you turn to No.1 “SLURRING” Now your daily exercise before you begin your lesson, willl be the latest number in each of the three branches of Lip Training ATTACK INTERVALS. SLURRING ‘These are the only three things the lips ean ever do in playing the instrument. These Exercises cannot interfere with any Teachers work or any Method or Text Book, The sole object is to Train the lips so that you may learn easier, and know how to preserve your Embouchure if yoube- come a professional Player. ~-_ne anaemia ahhh hhh hhh h hhh hhh hhnmannhDkk SHUEBRUK’S : GRADED LIP TRAINERS GRADE ONE dew ATTACK Read Instructions GRADE I 1 Ny eta NF Np a4 ‘é S55 eS € : eee N@7 Begin to use the Tongue here. Dont push the tongue between the lips. Strike the quarter notes sharp and hold, the long notes gently, hold it steady and clear, not noisy and not tim. id. Ts deep breath before long tone. Remove after each tone and wait at the Pauses ane Pies fa o Copyright MCMXXIIT by Richard Shucbrok LIP Training 6.1 International Coprright Secured2 N28 For Attacking tones at various distances. Remove after each note. Keep time. Play with bly confidence. Let the breaks go by, never try to mend them by a second stroke. Do bette: with the next one, y i ge fain et ey het fen ? F B @ b 4 6 “ NOO For Attack on the Up-beat. Observe the power signs p & f° P P F P a a 1 a “oF a a N10 For Attack farther and farther apart. Observe the fS and ps. Remove at the restsand wait at the Pauses. f Pf sinileKA VVAA ATTA VA REAR AK KET TI IATA G RRR N21 For long distance Attack and three degrees of Power. Remove at rests. Good swell and diminish at Pauses. Work for clear Tone. N212 To train the lips and ear to locate the different tones which can be sounded with the same keys. Speak the name of each note before playing it. 1 7b Position # 5 _ 6th Position § g _SthPosition ¥ A 4h Position § 64S eee af a } p 3% Position + Geet LIP Teatning @.1“53 NOB GRADE I Intervals Dont begin this Section until you have mastered Nos:1 2 8 4 in Attack. INTERVAL Practice trains the lips to loosen and tighten for low and high tones. Keep stz.>7 Time. Play with confidence but not too loud. Do not remove the Instrument from the moxtt Interval practice until you have fintshed the phrase. Take breath only at the Signs ¥ rests. Be careful not to shift the position of the mouthpiece or lips in going from one tone the next. Don't worry about the breaks, make as few as possible; but if you wish to try a b note over again take the preceding low note also. Dorit use any forcing or straining. Be pa- tient. Don't be ina hurry to get to the next number; the better you can play one number the easi=r the next one will be. Good tone, easy playing and Accuracy are the objects to strive for. Yo will surely not gain anything by hurrying through. You can only gain time by doing more work intelligently ino. Boe V Take breath at these signs “" § Repeat many times HSI NOQ Y Count the quarter rest and + “~ 3 breath at the rests Observe the quarter rest Keep strict time Observe the quarter rest ‘Take breath there. Keep tim y v \ try to do it twice or thrice in succession Nos Gas ev LIP Training G.1MURREREEREE EET Eee aaa eRe a aaa NO1g D LIP Training G.1GRADEI Slurring Don't begin this section until you have got to N96 in Intervals. The object of Slurring is to go from tone to tone without stopping the Sound. You must break a slur in order to take breath. Breathe deep before a long slur. Slurring with the use of the valves is easy enough, but slurring without the help of the key= or with the Lips alone is a Special Study (See GRADE ID In slurring with the lips only (as in Nos 7-12) be careful not to blow hard to get the upr= note. You must lift the higher tone into place by a very slight inward movement of the lowe? lip, not by blowing harder remember. Use the examples with dotted notes a great deal to you in this difficulty. Dor't get impatient if the upper note does not come; just keep on calmly working the same as if it did come, and do plenty of gentle easy work. Make the slurring sou: very smooth, not jolting or lumpy. Be sure to learn the Seven Positions from memory. LIP Teaining G1STREET A TETRA TETRT RETR For long and short breaths Bt position—o oth1 Position 78 Position eS = AESBERBER RBBB BBREEE CE CELELELLLS EE 45 Pos, Do each slur in one breath a] a cose LEER wn Bee € =Theory of Training the Embouchure Anybody who wishes to do a special kind of work very well must give those parts of the body which perform the work a special kind of training. All work is training in a sense, but certain kinds of work do more good than other kinds, therefore we should do those things the most which give the best and quickest results. Digging in a gar- den is fine exercise; if one does enough of that work he will grow strong of course, but it will not train him to be an athlete. Special work requires special exercise and the training must always be kept up if the worker expects to keep his ability. An Instrumentalist is a Specialist. In playing Brass Instruments with a cup-shaped mouthpiece, the lips do the principal work, because they must do the vibrating to make the sound. To train the lips properly a player must understand exactly what the lips are expected to do, and which kind of exercise will help him the most. The lips do only three things. ‘We may call these duties the “Functions of the Embout 7, There are only three, and each one is quite distinct from the other two and needs a different kind of exercise, or practice. ‘The first Function is called “Attack” practice. This exercise trains the lips to take the exact setting or position to produce any tone that the ear expects when it is the first note of a piece, or when the mouthpiece has been taken away from the lips. Copyright| MOMXXITI vy Cas! Pischas Ina Now York Tateraational Copyright Beenred Copyright RenewedERR R ERRORS ES ESSE EES CECE ROSELLE Le 25588 13 The second function is called “Interval” practice. This exercise trains the lips to loosen and tighten in going from low to high tones or the reverse. Both these functions require the sound to be stopped between the notes by ceasing the vibration. The third function is known as “Slurring” practice. This exercise requires a continuous, or uninterrupted vibration, and it trains the lips to keep stretched, in order to keep the sound going while pass- ing from tone to tone. These three functions cover everything that the player ever has to do with his lips on the instrument. It therefore follows that if the lips are trained in these three ways the player will develop a rell- able Embouchure. Attack gives Confidence; Interval practice gives Accuracy or Sureness; Slurring gives Flexibility and Endurance. A player may practice very regularly for hours every day and gain nothing more from his studies than momentary pastime, but when a student adopts a system like this, he gets control of his lips in the same way that a good workman keeps his tools in order to do satisfactory work; if his tools are well sharpened he has confidence in his ability to do his work well, but if they are not in fine order the easiest job becomes a wearisome burden. Any person who hopes to attain excellence in anything must be intelligent as well as industrious. He must not only do certain things, but know why he does them. Unless he is intelligent and industrious he has no right to expect Success.29378 -9 General Advice for Grade 2 These Exercises are for training the Embouchure. Practising them cannot interfere with any other Instruction, or methods of practice. Keep your Lips trained and you can learn easier, and do your Professional work with satisfaction. A probable mistake in using these Exercises will be, to go to the next umber before you have learned the former one. There is sufficient training material here to last a good player for a few years. ‘The special benefit of this work is to form such habits of daily Practice that the Embouchure may get to be very reliable. It is not expected that you will learn to play them and then neglect them. They will surely preserve your lips in good conditica if you use some of them every day. Try to understand why you do a certain thing in preference to something else. How much daily? -As much as you can; but if you give the first half hour of practice to your lips you can rest easy. Itis a good habit to begin with about 2 or 3 minutes easy Slurring, to “warm up’ Never burt the lips by foolish, obstinate striving when the lips are tired. Take frequent short rests of about a minute. Remember, that blowing a Brass Instrument is simply muscular exercise. All mus- cles gain strength by getting tired and resting with regularity. Only strength will bring Speed and Accuracy. Too fast breeds confusion and too loud destroys control. The way to get Endurance is to very gradual- ly lengthen the Exercise. This is amply explained with the numbers as they follow. (See Intervals and Slurring) It is useless to try to devise “Safety Tricks” or to invent"Secret Ways” of avoiding a difficulty. You must be bold and fearless in your private Fractice. You dare not allow yourself to be too cautious, or you will gradually become timid. Take a chance. Face the difficulty squarely and practise to overcome it in a plain way. ‘What you do frequently you will not fear; it is the strange thing that alarms us all. If the exercises were easy you need not practise them at all and anybody could play them. Persevere; and you will find, that when you are most discouraged. you are actually making progress. “The darkest hour is before the dawn It is just as hard for the other fellow. The only way he can beat you is by more work and intelligence.TT TTR 2eare-9 The Function of Attack ATTACK Practice trains the Embouchure to assume the exact setting, in conformity with the Pitch and Power of the Tone ex- Pected by the Ear, for the beginning of a piece of music, or when the instrument is replaced after a rest. To secure this condition it is essential to regard‘every note as a first note; therefore it is necessary to remove the instrument from the lips after each Attack. If the first tone is a high note the lips are closed tighter to- Gether and if a low tone, they are not so tense or close For expertness in this practice the tones must succeed each other at greater distances of pitch. The degree of power or loud ness of the tone must also be considered. A loud tone can only be played by sending the breath quicker between the lips, and vice versa for a soft tone. The difference of anticipated power tends to slightly change the setting of the lips and produce a different tone. Attack practice trains the lips to prepare for both these con- ditions of Pitch and Power with accuracy, at the same time. The tone quality, or the time honored exercise of “Long Notes” is therefore an entirely different thing from Accuracy of Attack, but this exercise for Quality of tone is amply attended to in the Pause Measures. It is an advantage to understand why you do certain things, but the knowledge will not supply the place of Practice. Only constant ap- plication will bring concrete results. The student who conscientiously practises these Exercises cannot fail to develop a reliable Embou chure and acquire Confidence in playing his instrument.* SHUEBRUK’S GRADED LIP-TRAINERS GRADE 2 ATTACK See Note “The Function of Attack” O41 OBJECT To develop confidence and accuracy in striking the first Tone. INSTRUCTION Remove the instrument from the mouth on the second beat of the = ure and replace it on the fourth beat. This removing applies to ‘Attack Exercises. Keep strict Time. On the first beat of the next me: ure play a strong, bold, firm, clear, clean Tone; with no breathy windy sound before it. © ‘CAUTION Not too short, not too loud, and not cut off at the end with the to ee np realy aaaannaaaeaaeaaeaanad v ¢ NO2 OBJECT Unaccented Attack. Degrees of Power. Tone Quality. ‘ INSTRUCTION Same as NOI. Fine crescendo and diminuendo. Try to cultivate s steady, pure Tone. This Is accomplished by striving to get the fulles amount of sound with the smallest amount éf breath. « CAUTION This Exercise requires many months of daily practice, and can alve be used as a Standard Exercise. It contains all the fundament Tone-Preduction. Of course do it from memory, and use your nation in producing effects; as Bold, Tender, Echo, etc. * a * Wait at the double bar. f nf PP t af ‘< Copyright MCMXEIIT by Carl Fiseher, Ine; New York < 20378 -9 tnrerunsigoal Coppeisht Serared <eee eR R RUUD St uf PP == simile = - S ws Ss NO 3 OBJECT To develop Sureness in Soft Iligh notes after Loud Low notes. INSTRUCTION See former Numbers. Make good contrast in power. CAUTION Don't mind the Breaks. Everybody makes them. Do the best you can all through, and try to do it better every day. If it were easy anybody could do it- Be sure to count the silent measure. Don't 2 Ten veplet NOH) -~- - - ee ene ee ep ep ip Pp hy pf pp PP UTP SSsor simile 1s » S se = be be “= ete. ¥ 29a78-9NO4 OBJECT To develop Accuracy and Control in the High Register. INSTRUCTION This requires a long time to learn, but all the time you are strength ening the Embouchure, and gaining confidence. Remove at every quarter rest. Pay attention to the Power signs. Vary it— 2 eighths or triplets. CAUTION ‘Take breath as silently as possible. Try not to puff or grunt o make any distressing sounds with the throat aaa mf P PP REMARK This is the Danger- Zone of all Playing. To place the Instrument on the moxt! and get any tone required, in any manner, is the Supreme Achievement. If thes! Exercises will not accomplish it then there is nothing that will. Nobody absolutely sure always, but some are nearly so. The regular practice of hese Exercises makes the player so accustomed to the difficulty that the Danger gradually vanishes. This is Lowever positive (and should encourage the Player that he who practises such things, must certainly get more sureness and con fidence than another player who neglects this work. amb OAEAKAAAEAEEAEARAREREARAAEARAAAAAMRGOOOOG s9a7ssee Tee General Instruction for Interval Practice Interval Practice trains the lips to slacken and tighten, (to make the opening between the lips larger or smaller) for low or high tones. A low tone is made by loosening the lips a little and the high tones are not obtained by blowing harder but by pinching the lips tighter togethe: The difference of high and low in the scale is of course assisted by a relaxing and tensing of of the body generally, but the lips make the whole difference in pitch. Gradually the practice develops control in the degrees of tensing the muscles, and the player attains a sure lip, so that he will rarely make a break in jumping the longest distances. This is the department where the player learns to play the all coveted High Notes. But he usually is very thoughtless in the practice, and thinks of the High notes only. The true Exercise is to go FROM Low TO High, or the teverse. Trying to play high notes without connecting them with the lower ones will only hurt the lips and destroy whatever sureness of embouchure may exist; besides spoiling the quality of the tone in general. If the student wishes totry a high note over again, he should always take the preceding low tone with it, and practise the leap. That was what he missed. Besides there is no special glory about High notes. Everybody can get them without fail if he does regular and intelligent Interval Practise. Practise these Exercises also with Legato and Staccato tongue, andin varying degrees of speed and power but never very fast or very loud. Be careful not to move the mouthpiece or the lips in going up or down. Inhale before a low note going up and before a high note going down. Don’t move the head up and down. NO1 OBJECT (See above) INSTRUCTION Learn all these from Memory. This gives freedom to attend to the Quality. Fine clear Tone. Confident manner. Observe the breathing Signs V. Practice NO 1 B loud, full Tone. CAUTION Don't blow harder for the high notes. Pinch tighter with the lips Don't mind the breaks, make as few as possible and do better gradually. It is the Exercise you need and not that particular tone Avoid all contortions of the face. When you can play NOIA three times through without pausing you may safely go to NO2. This a _ should be your rule for advancing. A is 4 Vv Vv Vv V V Vv Vv10 S92 INSTRUCTION Transpose this also into D natural by omitting all the flats a: tuting Fsbarp and C sharp. CAUTION Rest the lips when they are tired, all forcing is harmful have learned these two keys, play the Exercise in C, D flat an ter A) without stopping, before practising N° 4, When yr. A eo ee 2s 2 = B Gey == = SSS SS SS Se ¥ Sos eee eee S's Fe FSF NO3 Read the general Instructions for Intervals. Transpose N03 also into E sat ovhen you can play it in E flat three times without stopping) and then pract's::: do it in C, Dflat, D, E flat, and E without stopping. You are sure to injure y lips if you will NOT be patient in going to the next number. Don't grieve at the High notes, Everybody can get them if he practises with good judginent The Key of E natural has | sharps, F,C,G,D. Use the same notes A (femal Vea tT Toe "oa ‘ NO4 Commit all to memory. Interval practice is the sure cure for broken notes. the Low Intervals diligently. They are just as useful,and help to improve your quality more than the High notes. Finally learn to do all six keys in succe: You should be satisfied to accomplish this department in one year. These cises are extended in Grade 3. Make higher Keys if you wish nante-9DRURR RARER ESTEE TULLE Eee aaa GRADE 2 " Slurring These Exercises apply only to Lip Slurring. It is the exercise by which the player gets strength in the muscles at the comers of the mouth ‘The lips must be stretched thin to vibrate. Slurring demands continuous vibration, hence the constant contraction of the muscles, and therefore the power to play longer. Slurring practice consequently is the Exercise which best develops Endurance. This Ex- ercise also renders the Embouchure very flexible and the lips are thus enabled to adjust them selves readily to the various tones, in this way the vibration is not disturbed, and the tone grows clear and brilliant. The practice can be safely carried to the point of pain in the muscles; a sign that the strength is growing. One should not practise Slurring very fast, as the lips are thus deprived of much val- uable exercise. The characteristic quality is extreme smoothness. The tones should sound as though they slipped into each other. Try to gradually lengthen the Exercise by adding the next number to the former one, un til all four can be played in unbroken succession. When that is attained, the Player has a Standard Endurance Test, which he can use every day to keep his Embouchure in fine condition. Never neglect Slurring, whatever else you may overlook. NO41 OBJECT (See abovey INSTRUCTION Play slowly at first. The lower lip does the work. Not loud. If the exercise is too long take only one Position and add the next when you can. You must learn the 7 Positions. CAUTION Don't force. Be patient. We all had the same trouble! You are only wasting time by blowing hard. If you will not do it even and smooth it is useless. Only patient persistent work deserves to win out. Deep breath at the rest. ast Position SE = = = SS Open nd Pos.12 NO2 In this Department the stadent can begin at either one of the Exercises, as :he: ply Inversions of the common Triad. Some can train better by beginning at N° have usually used the order here given. The plan is to take one (or part of « time and gradually join them together in one long Exercise. Always take a deep at the eighth rest, and keep strict Tempo. RECEARAAAAAAEARARAARADREARARARARARAERAAAAAAaARichard SHUEBRUK First Chair Men PEPER KE y » Y ? Cornet or Trumpet PRUETTTURP Pee ae 28588 -18 Preface to Grade III This System of Embouchure Training is an attempt to solve the Problems which confront most of the players of Brass Instruments. Unfortunately, a large majority of our colleagues are but little in- terested in the subject until the trouble comes, then annoyance (and possibly alarm) makes us too impatient and nervous to theorize, or reason about the subject. If the reader cares to know what are the Functions of the Em- bouchure, he will find an explanation in the chapter “Theory of train- ing the Embouchure” He may not accept the ideas there set forth,but hasty denial is no refutation. My inquiries among the best players that I have known have con- vinced me that few have given any thought at all to the subject farther than to adopt the Time honored habit of practising Sustained Tones, The Standard Text Books, old or new, show no signs that the writers have given consideration to the special functions of the Em- bouchure, or analyzed its distinctive duties. They have provided ex- cellent material for attaining skill in playing music, but have not for- mulated any series of Exercises for developing Strength and Accuracy inthe lips as a distinct department of Study. Yet I amsure they would allhave recognized the value of such Classification. Thave used this System with very satisfactory results; so that I can confidently offer it to professional Teachers and Players, know- ing that it will be of much help to those who have sufficient interest to understand these simple theories,and enough energy to adopt and practise the Exercises, The practising of Sustained Tonesis excellent as far as it goes, but it affords no training whatever that can impart Confidence in Attack, Accuracy in long Intervals, or Flexibility of Lip. The Pause measures in EXMPL:2 of Grade 2 supply all the Exercise necessary to develop steady and pure Tone Quality. The practise of “LONG NOTES" need not be underestimated, but one should not forget that the actual functions of the Embouchure are left undeveloped by its exclusive use. These Exercises are devised to gradually train your Embouchure to the utmost that your individual Physique will allow. You should try to construct others for yourself; any experienced musician can make plenty of them. All development is gradual. You cannot make the Trees grow! The Tesult from the use of these practises is absolutely certain. | They should not be only practised,and neglected. You shouldget the habit of using what you need daily. If you do that conscientiously you will always be able to rely upon a fine lip.28688-18 Theory of Training the Embouchure Anybody who wishes to do a special kind of work very well must give those parts of the body which perform the work a special kind of training. All work is training in a sense, but certain kinds of work do more good than other kinds, therefore we should do those things the most which give the best and quickest results. Digging in a gar- den Is fine exercise; if one does enough of that work he will grow strong of course, but it will not train him tobe an athlete. Special Work requires special exercise and the training must always be kept up if the worker expects to keep his ability. An Instrumentalist is a Specialist. In playing Brass Instruments with a cup-shaped mouthpiece, the lips do the principal work, because they must do the vibrating to make the sound. To train the lips properly a player must understand exactly what the lips are expected to do, and which kind of exercise will help him the most. The lips do only three things. We may call these duties the “Functions of the Embouchure”. There are only three, and each one is quite distinct from the other two and needs a different kind of exercise, or practise. The first Function is called “Attack” practice. This exercise trains the lips to take the exact setting or position to produce any tone that the ear expects when it is the first note of a piece, or when the mouthpiece has been taken away from the lips. a Copyright MCMXXITI Wy Carl Fischer lne Internatioual Copyright SeeNANNY q eR RRR RRR RRR ERR The second fuaction is called “Interval” practise, This exercise trains the lips to loosen and tighten in going from low to high tones or the reverse. Both these functions require the sound to be stopped between the notes by ceasing the vibration. ‘The third function is known as “Slurring” practise. This exercise requires a continuous, or uninterrupted vibration, and It trains the lps to keep stretched, in order to keep the sound going while pass. ing from tone to tone. ‘These three functions cover everything that the player ever has to do with his lips on the instrument. It therefore follows that if the Ups are trained in these three ways the player will develop a rell- able Embouchure. Attack gives Confidence; Interval practise gives Accuracy or Sureness; Slurring gives Flexibility and Endurance. A player may practise very regularly for hours every day and gain nothing more from his studies than momentary pastime, but when @ student adopts a system like this, he gets control of his lips in the same way that a good workman keeps his tools in ordet to do satisfactory work; if his tools are well sharpened he has confidence in his ability to do his work well, but if they are not in fine order the easiest job becomes a wearisome burden. Any person who hopes to attain excellence in anything must be intelligent as well as industrious. He must not only do certain things, but know why he does them. Unless he is intelligent and industrious he has no right to expect Success.6 Sheet Music Edition Ww. 1624 Grade III Attack N04 OBJECT To develop Confidence and Control. INSTRUCTION Always remove at the Rests and double bars. Observe the power signs. Try to play the exercise with some expression and effective style. Make the unaccented notes very and distinct, Each 4 measures constitute a single study. CAUTION Never neglect Attack Practise for along time; it is the mainsta Confidence. Don't expect perfection. This is,and will always be TEST for every Brass Player. It is just as hard for the other fellow Grade Il prepares the student for these Exercises. Copyright 1923 by Carl Fischer, Ine Taternational Copyright Seca! 2588-18~ 2 OBJECT To train for sudden Pianissimo after Crescendo: INSTRUCTION Notice the Stace: and Legato, and slur signs. CAUTION Try to get fine expression. Seventh SYMPHONY? oe — ‘Transpose halftone higher, then the next as above as above as above NO 3 OBJECT The Contrast between loud low, and soft high. INSTRUCTION Of course make the rests and pauses as long as you please. CAUTION Don't be discouraged. These are the kind of bits which come to annoy the Artists in the GRAND ORCHESTRAS. Make as many more as you Uke for yourself. They are only suggestions. If you find a nasty bit in your part, work over it this way. Do the Passage in many different keys and Inversions, If we do a very difficult thing frequently its terrors gradually vanish. Transpose each line half tone up. aNO4 OBJECT For developing broad tone in the higher register, and for a) Attack in Planissimo. This is a good substitute for the rather %:7 “Long Notes” Practice. INSTRUCTION Remove after each Pause. Bold and broad in Character. Dignified and heroic in qualit pretty Echo effect. CAUTION ere to do the three half notes in one breath. You are 60% ot semove before the Echo, but it adds to the training to do so practice both ways. Add one Jine after the other until you cot all in one spell. a Dark 2 A Tome. of elt CZafr—> Be 2.3 3 g 9,3 a a tt 22 = - ° ® SF ze eS 2—f = ¢—fr——zt f == fP—— a # a > B 2 eS a w-) D ¥ op ga Def a Les Bm i= > 2 a > > Bs £ ae 2.42 2 2 E Fae pa SLs we oa ao om oO oO om Oo ~ Lerrk 2 eaek 2.22 2 = F i tes SSS] a ae a ee a58a—13 fw wg pe eee een eneaanaeaaeaeaeaeaeaa?’gPUTTTTTC TCT T TERE REET TERR RETR RRR R RRR RRR RRR NOW 28688-43, OBJECT INSTRUCTION CAUTION GRADE IIL Intervals All Interval practice is simply to get the power to tighten the lips for high tones and slacken them, for low tones. Practise for good effect, noble style, clear fine tone and accent, with splendid repose and simple, gentle manner. Be careful to get the notes in perfect tune. In ascending Intervals, inhale before a low tone oniy in descending, before a high tone. Do any key inany Rhythm or Style Dont shift the lip or the mouthpiece. Dont move the head up or down Learn one at atime, and then add them gradually togethertocomplete a string of 6 keys without stopping. That is an Endurance Test. The Practice for the Low tones is in Grade 2. S > #2 etc. down to low G.Endon E flat Key note,= z£ [Transpose := F - = = e N@Q INSTRUCTION Breathe deep at the rests only. Get broad, full, sonorous low tone. CAUTION All these exercises in Grade 3 are intended for those who can them with judgment, to develop Power and Accuracy and keep * lips in fine working order. They were never designed to be Exhibit Stunts. Use them to train your Emb., and in this number be careful nc move the mouthpiece or lips for high or low Try to play them allas as you can by simply slackening and tightening the lips > ftp Do it also downwarts {f you wish = Dae AAR AKRARABRAARAARAAAARAAAAARAARAAAALAA ‘Transpose into Di bs jusing Fsharp and © sharp instead of 5 flats 2a683-19SPURTE RECT ERE EERE tL Transpose into Es by using B.E.and A flat 7 Instead of 4 sharps, vo Goas highas you like. Play them in success ion for Endurance. NOB The earnest student will try to understand the effect on the Emb., also the special application of each exercise in training. The Octave Skip is always risky. It is un- wise to neglect it because it is seldom used. The Exercise helps you to do other things easier. o ‘Transpose in B> by using Band E flat in- stead of 5 sharps, same notes,NO4 Also in Ab, 4 flats iz- stead of 3 sharps. also in GS These Exercises are designed to form habits of Practice which will secure a reliable Emb. Many difficult Exercises may be undertaken which are seldom encountered in actual playing; to overcome such difficulties increases the confidence of the player and imparts ambition to reach greater Excellence. fee also in also iz also in 18 eaeuneeeeeeeneaedadadaeaeeeeeaeaaeaeaa4adaaaeeaeaeaeaeaeaaeaaaaaVUTTTVUETERTR ERE R EPR P PPP P PERE R RRR ER Teas Slurring Let it be recalled again that these Exercises are for training the EMBOUCHURE. Slurring is the third function of the Embouchure, and differs from the other twobecause the vibration must be continuous. The lips can vibrate only when they are stretched thin e- nough; consequently Slurring exercise develops Endurance more effectively and quickly than the other two functions. Practise Slurring always to the point of pain in the muscles at the corners of the mouth, and you will always have a strong Embouchure: Blurring also develops a clear bright quality of Tone because it demands such rapid and instinctive adjustment of the lips without stopping the tone column, that the breath flows easily between the lips, does not interrupt the vibration and make the tone sound blurred or breathy. ‘The player should examine Grade 2 for Exercises leading up to these NO4 OBJECT Facility in slurring aths, 5ths and eths. INSTRUCTION Take it slowly at first. Do one Posit: ina breath. Keep out all inter- vening tones between the eths and sths, aa 18t Position 0 224 Position 2 3rd Position 4 4th Position 4 2 5tB Position 2 3 2a6s8-186th Position 1 3 ‘7th Position 4 2 3 Flexibility in Long Range NQ2 When it goes easy try to make it sound like an Arpeggio on the Piano. Dont scree on the Top Note. 18t Position 0 2nd Position 2 814 Position 1 4th Position 1 2 5th Position 2 3 6th Position 1 uv 3 7th Position 1 2 8 26683-18, Beraaaaaa~aa~a1~aaaae_eeeeaeaeaeeeeaeeeeeaeeeeeaeeaadae eaeSUT TTT UU RRR UU UU UU UR R RRR RRR RD ts Flexibility in High Register NO BINSTRUCTION It is just as useful to do it slowly. ‘Dont only go through the motions Get it good and clear. —,..2,2 —™~ alsoin Bflat alsin JAflat jalso in G flat NO 4 Take it easy! Rest when the lips aretired. You can begin at 7 and go upwards to 1 Make many different Rhythms for yourself in eighths and sixteenths. Triplets, dot- ted notes etc. 26588-13Practice A working Trumpeter needs from 15 to 20 minutes practice every day. These Exercises are designed as a sample daily routine. The player can make many ott himself, but it is positive that they must be along these lines. (@ Lip work. Attack. Intervals. Slurring. Then Rest. (b) Tongue work. For Strength. For precision with Fingers. , > 7 7 , , > > > > Seale Practice Fractice the easy ones anly! All scales are the same for the lips and tongue, they differ only ers. Take one at a time and get good mastery of it. Why should you play it fast? Make Exercisescwith no or few open tonesout of each scale, and work on them with Silent Do your scale work with various Tongue action as Staccato, Legato, Slurred, Dotted, e,or Triple Tongue. Always play scales from memory. It increases your confidence. he fingering of a difficult scale better by silent fingers than by blowing it! ». Single or Double Tongue fpametniaies 7 * qo tor oes oad * wv “if also in aie ——. = a, B SS ao BE € — — See o 4 ett, — cB SS Se also incs = = Sages as ns SPE iA ao ne BS od 4 Single or Triple Tongue a eres 232 — stitie, z Fe rea = =] aioinnr a ‘jement this with Minor Seales. Also Chords Major, Minor, Dom. 7th and Dim.