TrumpetStuff Homestead（TrumpetStuff家园）.pdfVIP

TrumpetStuff A Collection of Articles, Notes and exercises This collection of trumpet performance art icles comes from many sources. I am presenting them here together so that trumpeters can read what other trumpeters are saying and doing in their quest to improve trumpet playing. Some of these articles you will find useful and will apply to your situation; others will not. I do not represent these as my philosophy of trumpet playing as I agree with some suggestions and not others. You make up your o wn mind and use what makes sense to you. These are only a few of the available writings on trumpet playing. There are probably as many different approaches as there are trumpeters. Good luck in finding solutions to your needs and remember that you are your own best critic and teacher. Notes on a Warm -up Vince DiMartino Most teachers and performers agree that some form of warm -up is necessary to facilitate performing. The types of materials employed in these warm -ups, however, sometimes seem to be at opposite ends of the spectrum up on casual observation of related materials. In order to evaluate this or any other warm -up one must define what end we are trying to reach with these materials, as we have in the first line of the former paragraph to performing, and what are trying to warm- up. Most people agree that setting the embouchure is a very important part of the warmup. To me, the embouchure is more than just lips or face muscles. It is the balance between the supported air column, the muscles of the lips and the tongue positi on. It is also the ability to play any note, in any order, at any dynamic, at any speed, at any time. Therefore, when you warm -up, you must use a total embouchure on all notes. No flabby, unsupported low notes or squeezed and forced high notes. If a warm -up satisfies these criteria, it is technically a good one. With this in mind, the most important par