E E NTIA

Bb TRUMPET BOOK 1

E LEMENT
IPLILAS
Di~

COMPREHENSIVE BAND METHOD

TIM
LAUTZENHEISER
JOHN HIGGINS
CHARLES
MENGHINI PAUL
LAVENDER TOM C.

H A L • L E O N A R
ESSENTIAL
ELEMENTS
COMPREHENSIVE BAND METHOD

TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI

PAUL LAVENDER TOM C. RHODES DON BIERSCHENK

Band is... Making music with a family of lifelong friends.

Understanding how commitment and dedication lead to success.
Sharing the joy and rewards of working together_
Individuais who develop self-confidente.
Creativity—expressing yourself in a universal language.
Band
Strike up the band,
Tim Lautzenheiser

T he origins of the trumpet can be traced to ancient Egypt,Africa and Greece. These"natural"
valveless trumpets were made of wood, bronze or silvei-. In the Middle Ages (500-1430),these
instruments played only lower notes. During the Renaissance era (1430-1600), they perForrnecl at
many ceremonial functions. Gradually, piayers began to deveiop their higher range,especially in the
Baroque era (1600-1750).
Heinrich Stôlzel intráduced a valve trumpet in Berlin in 1814. By 1830,the BI, Corriet was
introduced in Europe. Valves rnade it possible to play all the notes of a chromatic scale on these
two closely-related instruments.
Cornets.arid trumpets are the highest pitched members of the brass family. As one of the
primary instruments In the sound of concert bands and jazz ensembles,they play melodies,
harmonies and solos. A trumpet is longer than the more conically shaped cornet. In this book,
we refer to the 136Trumpet, but the instructions apply to both instruments.
VIrtually all important composers have written MUSiC for the trumpet, including J.S. Bach and
W.A. Moza rt. Some famous performers are Maurice André,Adolph Herseth, Doc Severinsen and
Wynton Marsalis.

ISBN 0-634-00320-8
Copyright © 2004 by HAL LEONARD CORPORATION
International Copyright Secured Ali Rights Reserved

HALLEoNARD®
mi c C) P' C) FZ ATIoNI
7777 W. BLUEMOUND RD. 1.•0•13ox 13819 M€LWAUKEE, wl 532f3
2

Posture
Sit on the edge of your chair, and always keep your:
 Spine straight and tall Taking Core Of
 Shoulders back and relaxed Your
 Feet flat on the floor instrument
Breathing & Airstream Before putting your instrument
Breathing is a natural thing we ali do constantly. To discover the correct airstream back in its case after playing,
to piay your instrument: do the following:
 Place the paim of your hand near your mouth.  Use the water key to empty
 inhale deeply through the corners of your mouth, keeping your water from the instrument. Blow air
shoulders steady. Your waist should expand like a bailoon. through it.
 Slowly whisper"tah"as you gradually exhale air into your  Remove the mouthpiece.
palro. Once a week, wash the
The air you feel is the airstream. it produces sound through the instrument. Your mouthpiece with warm tap
tongue is like a faucet or valve that reieases the airstream. water. Dry thoroughly.
 Wipe off the instrument
Producing The EssentiaI Tone with a clean soft cloth. Return the
"Buzzing"through the mouthpiece produces your tone. The buzz is a fast vibration in
instrument to its case.
the center of your lips. Your embouchure (ahm '-bah-shure) is your mouth's
position on the mouthpiece of the instrument. A good embouchure takes time
Trumpet valves occasionally need
and effort, so carefully follow these steps for success:
oiling. To oil your trumpet valves:

BUZZING  Unscrew the valve at the

 Moisten your lips. top of the casing.
 Bring your lips together as if saying the letter"m."  Lift the valve half-way out
 Relax your jaw to separate your upper and lower teeth. of the casing.
 Form a slightly puckered smile to firm the corners of your  Apply a few drops of
mouth. special brass valve oil to the
 Direct a full airstream through the center of your lips, creating exposed valve. a
buzz.
 Carefully return the valve
 Buzz frequently without your mouthpiece.
to its casing. When properly
MOUTHPIECE PLACEMENT inserted, the top of the valve
should easily screw back into
 Form your"buzzing"embouchure.
 Center the mouthpiece on your lips. Your teacher may place.
suggest a slightly different mouthpiece placement.
Be sure to grease the slides regu-
 Take a full breath through the corners of your mouth.
larly. Your director will recom-
 Start your buzz with the syllable "tah." Buzz through the center of
mend special slide grease and
your lips keeping a steady, even buzz. Your lips provide a cushion for the mouthpiece.

MOUTHPIECE WORKOUT
Using only the rnouthplece, forni your ernbouçhure carefully. Take a d9ep breath without -raisIng- your shoulders. Begin
buzzing your lips by whispering"tah"and gradually exhale your fuil airstrearn. Strive for an even tone.

REST REST
"t h" "tah"
 3

valve
sV
mouthpiece receiver 23
hoo
mouthpiec

third
valva slide
valve

first valve water

secand volve
third valve slide

Gettin To ether
Throughout this book, a!l instructions apply to both cornets and trurnpets because
they are played exactly the sare way.

Step 1 Put your Ieft thumb and fingers around the Step 5 Always sit or stand tall when playing.
valve casings and pick up the trumpet. Your Ieft Hold the trumpet as shown:
hand supports the weight of the instrument.

Step 2 Place your left ring finger inside the ring of the
third valve slide.

Step 3 Hold the mouthpiece at the wide end with your

right hand. Gently twist the mouthpiece into
the mouthpiece receiver.

Step 4 Arch your right hand to form a backwards "C."

Place your thumb between the first and second
valve casings. Place your little finger on top of
the hook.

dentify and dravv each of these symbols:

Music Staff Ledger Lines Mensures & Bar Lines

Measure Measure

Bar Line Bar Line Bar Line

The music staff Ledger lines extend Bar limes divide the music staff
has 5 tines and 4 the music staff. into measures.
spaces where Notes on ledger tines
notes and rests can be above or
are written. below the staff.
 4
To begiNwe'll use a special "Long Tone" note. Hold the tone until you
teacher tells you to [-est. Practice long tones each day to develop your
sound.

1 . THE FIRST NOTE

Hold each long tone until your teacher tells you to rest.

0 0 0 1 2 3 "G"is played with open volves. Just rest REST

your fingers lightly on the volves. REST

The Beat .T.. Notes And Rests

The beat is the pulse of n lusic,and like your heartbeat it should
- Notes tell us how high or low to play by their placement on a line
remain very steady. Counting aloud and foot-tapping help us or space of the music staff, and how long to play by their shape.
rnaintain a steady beat. Tap your foot dal» on each nurnber and up Rests tell ias to count silent beats.
on each "&."
One beat = 1 & Quarter .Note. 1 beat
Quarter Rest 1 silent beat

2. COUNT AND PLAY

-O___0 -
0
0 O O 0
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
Tap: J T T 1" T T tJT T T T J T J 1` t T

3. A NEW NOTE
Look for the fingering diagram under each new note.
REST REST
•UCA

The black cirdes tell you which volves to push down."F" is played with I st volve.

4. TWO'S A TEAM

Count& Tap: 1& 2& 3& 4& 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

5. HEADING DOWN
Practice long tones on each new note.

REST REST

6. 40 • MOVING ON UP

Count& Tap: & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &