Page 1. Page 2. Page 3. Bass Clarinet. Alto Sax. Tenor Sax. Baritone Sax. Bassoon. Trumpet. F Horn. Trombone/Baritone. Learn more about Vincent Cichowicz in the Encyclopedia of Trumpet Players.
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Also, a much more in depth explanation from a friend and past teacher, Mark Dulin: Sometimes I just tell students to hold the last note until they run out of air.
These are good exercises to do in unison with a teacher, or another player, and work on blending your tones and pitch. They were originally a creation of Vincent Cichowicz, one of the great trumpet players and teachers of the last century. By keeping the air flowing in this manner one can tongue faster and do it for longer stretches.
These simple exercises are known and used by trumpet players all over the world. I would play scale patterns from the Williams scales book. Use this as an easy reminder to not let valves change how we feed air into the trumpet. What I listen for is: Classical Trumpet Performance, Teaching.
It was how he related to air flow to articulation that helped me the most in my career. As you begin to get into higher ranges, make sure to blow fast and thick air over the top of the slur. Do not let individual notes get bumps, and above all else, never allow any inflection on individual notes. I can listen to someone playing these, and really know a lot about where they are in their trumpet development.
The patterns consist of steady running rrumpet.
Flow Studies Vol. 1 (Cichowicz) — Balquhidder Music
He taught me that staccato tonguing can be an aural illusion. The water flows constantly as the arm bounces off the water stream.
Trumpte, I would slur two notes and tongue two notes, then slur two, tongue six, etc. Before playing each measure as written, I would play the rhythmic pattern on one repeated note See example. I found this a great way to make the staccato illusion happen.
Like so many players cjchowicz clamp down or negatively compress the air not that all compression is bad, I have come to learn. I am sure it was obvious cichosicz Cichowicz that on bad days or even good ones I was inhibiting or restricting my air flow. Often a player will blow into the middle of a note, and then before changing to another, back off of the air, make the change, and then blow into the next note.
Each exercise adds one beat of sixteenths to the pattern.
They may seem yrumpet to play, however, doing them correctly takes lots of practice, but will really develop your sound and singing ability on the trumpet. A good illustration of this is the rain bird sprinkler at a golf course. They are perfect because they start in an easy register and slowly move outward, expanding not only in range but also in length.
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Do not stop in the middle, and hold the last note long, at least double what is written. First, I would play them articulating every eight notes, then every four notes, then every two. A string of sixteenth notes played with crisp articulation will sound like short notes, but the airflow remains constant.
This exercise should be practiced single tongued and with a metronome. Your airstream should resemble one long arch. Each exercise begins with a half step.