No.9 tes pedates Nomieasas sont is mths pore suriqu ui pr leet tava ses ots pals pour den eC syste est ton pour abart quit sect & ‘at dea poton lane de Temboucurt Cat 9- Drestxage st tice et put prendre Guang. fat ‘spscuenirqué les nots ene Fa cise grave et Dope ‘di (ourlatompete) ben qr importants, ont souvent ignores, (Voir paragraph “Trav si es as graves dare troduction p, 9} Le emscendo ole asa aier 2 alae ts aes grave. 1 Sitnpassaguan grove sts bouget'amborehomat et prebiématce, on restr sla dea ute Jeuable, jeg’ aque es Keres se conractent {abandonest eu habia ot bre a surat, “51 en sicabteporsstt pose descenda 20 bo fala, ossayer aver une exerting “amon”, tne nioncte. No.9 Petal nes Many ihre syste encourage the use of petal {es and Fagroe wh suchan apprcach,Howeve pedal ‘opesmustbe played wt aie ambouctue sing! ‘This fet and may ks a eonsidrabie aout of thet ear, Rereber ht the notes beeen lw F- ‘sharp and pata, though aes aways gncted ae ‘tery importast. (Retr to ‘Pacing Lom Nots'n ‘ha iredctory secon, page 8) ‘Again, llth eroscendo help sth the lor notes. cia tn eras parece = tennant abn uonmmaargenee Neg ed ‘Viel tbosen um pil dere Tne epee ‘de Abit an an Padaen. Ach ich! edo: dle Pe ae son eatin Asatepoetonausge- ‘it werent Das st nit Wich od kann Zeit ras hr. Obwol de Hoten ashes fis nd fo Pelion ‘rem wc cin, warn st rit nore. (V9. Abscrit “AbeL mi fen Ale” Inder Eretung e9) + Amc bi: ae Cresta st sb don afer ‘entopanot und dor Tox “kama” Bel chiro beit Abin un Peon & tam in“ Dimer (Si yetciassn) ‘venaunet ween. Aalto lnc dscantat ag haope ehe ot el(a proegor! oan = ‘utube Scanian stor, ta cael roo it one een we! Cum” aE P (nn deat pursue ave saree 10 ats su ants qe lrsge as notes pales sorte & pari ‘une poston cre, Cest wat cndtionabrove rant abodes ents pas us, On coasraen lara finer agi roi pdae. TP 216 crese. bs e ‘Oe soul corte wih Exares 10 and beyond o- ‘iy wre tho poda tone can be gaye wih he coeet ‘sang Ths a precequish forth higher eases. owere, coninus wart to rene and expand te petal register. cea et simile ‘oung 10 un gene erst an began, wenn i Po (tint er etlgen Potion esi werden Dies ‘a lo metnslee Vorusctrng fi den Bagi der ‘ipungen im biberen Berch. as Podaogister narnich weber elem nd nti, ”PIERRE THIBAUD METHOD FOR THE ADVANCED TRUMPETER METHODE POUR TROMPETTISTE AVANCE ‘Balquhidder MusicK Le Positif-négatif - The Positive-negative Les exercices suivant doivent permettre de ressentir oc que Jappelle le positinégatif Je compare le jeu du trompettise au ‘mouvement quopére Ia baguette dun timbalier. Le posiif, est Timpact sur la peau. Le négatif, le retour de Ia baguette aprés impact. Si Yon immagine une échelle de 10, Timpact (le positif) représeate | et Je retour (le négatif) représente 9. Ce systéme permetta i instrumentste de jouer plus longtemps sans fatigue excessive. En travaillant ces exercices, il faut simmaginer que, Torsque une note grave est liée & une note age, Tair doit aller vers le plancher, lorsque une note aigie est lige & une note grave, ‘air dot aller vers le plafond. fo ON a (gi a a aD IPF? Fp TP sf Pity Py Pep FP ep + en teces eprésentent a dzection de Fir. |The arrows represent th direction ofthe air snide ge wteta’ The following exercises should allow you to sense what f call the positive-negative. I compare the trumpeter's playing with the action of the drummer's stick on the drum. The positive i the impact of the drumstick on the drum head. The negative is the retura movement after hitting the drum head. If one can imagine this action on the scale of 10, the impact (the postive) represents | and the return action (the negative) represents 9. Tris approach will enable the player to play longer without undue fatigue. When working this exercise, the player should imagine the air going down towards the floor when a lov nore 1s followed by a high note. When a high note is followed by a low.note, he should imagine the ar rising towards the ceiling. DA aN a A AA a a a se so > & = ey EF pS ours execces sivas, wtiser es sept postions chaque liaison se fait sans changement de doigté). a oD om 4 Pe Pe PG PG PE PT ¢ FBS BS On the following exercises, use all seven positions. Each slurred note is played withoua changing the fingering, a las ON oO