SP MNYLUKAPEB AMEPTYPA A3bIKA ®opmupoBauve u pa3sBuTue npu urpe Ha Tpy6e TONGUE APERTURE METHOD Formation and development for trumpet06 aemope... “ coxpansctes MocTOsiO HesapMcHMO OT sHaNaz0Ha (pute. 10). dsr SninUNERGRANENG HbGD dTUbATAR TAGGED GsTUGaGUTEG AY & Ferrier rer ir PIE A ° Surg ae fe detache staccato simile Fig. 14 1 - Apex; 2 - corpus; 3 - radix, a) the low register ») the middle register; ©) the high register. WARM-UP II In the lips and exhalation (in each first and second bars) there remains the feeling of the long notes. While articulating hij, di. the tongue muscles must not be tense, the articulatory movement of the tongue takes place only in the front part ~ in the tip of the tongue. The pedal notes in the small octave must be produced by the fingering in the higher octave. The pedal notes in the small octave must be produced by the fingering in the higher octave. The pedal notes in the lange octave must be played openly (without using valves) and with greater filing increasing the exhalation, The mouthpiece support while producing pedal notes mostly passes on to the lower lip. That will let the upper lip vibrate more fieely and with greater amplitude while producing sounds of the maximum low register. Pralleism in the lips and «elasticity modulus» remain constant irrespective of the range (see fig. 10) 39Se Ts Oana TT iS sia a aT as 40: bees p too 9 o Paros GE =eid di dGfi do oi di asd eGaus ze 43"pap oP ap wp beai di ai ai ww == 45ai ad didi ai 46ai aia a a di ai oa —— 1. 1. . 7 47re RL ® ~ BuGparo saurKom - Motu stamska orHocHTeNBHO cuoGoutor. Coxpansifire omyutennte HiKKteH HoTBI Ha Npowwxente ncex yrpaxkienuit NeNE2-14 #- Tongue vibrato - the tongue muscles are not tense, keeping the feeling of the low note for a period of the whole exercises ##2-14 a é& SSE : = © 7 7 Fs + o> = = 5 #3 & ——— i ve —o SS 48ARIEHTH HENOUIT TOTKO BBNOXOM 6e3 ysAcT HU ssiKa. Clem SL YCTOHMMHOCT IO MITTOHAUNH i Kavecrsom rew®pa sayka. Meats sabKa or HoctT~ ebHO cHobomE Coxparstitre ouyUeHM HiEARIel Morita nporsLxcHHH Celt dpa The accent must be played only with the exhalation without using the tongue. The performer should con- trol the intonation stability and the quality of sound timbre. The tongue muscles are not tense, keeping the feeling of the low note for a period of the whole phrase, ore simile HSS = 2 simile 49in n ele 2 (it oo Se ee === Le _ GL Sate SS SSS 3 (Se SS b= SS Gor a et ee SS Get tar: = ee a Se état Bess St tet == ee $e re ja 50— —= (SS = 2 = aS ea See = a SS — tH AT555660LONOAHHTEJIbHBIE YMPAAKHEHHA Onmses meray sarepiianom (noarbtoRKoe serio), MOXHO NpHCTYTIETe XK cAeIVROUIENY | — seperoranie nrpst legato — staccato. Tpit nowrope Qpan staccato coxpansTs omyutenne Ipst lgaro 8 Ty6ax iH moitoxe. JIswxeHHe sOBIKA MPH staccato vnnancanrioe it TombKO Ber nepeme cis Thouars mpuxociioseriin sosika x sya M_Heby earten nocroaiion (eM. exp. 12 pac. 8). Ispix co! 8 THX YOpAKHEHIIX PaceMATPHAT HE KAK oporcce, ¢ Kak paaieneHoe HEAOTHENTHE aByKS. EU eee eee ees) Having mastered the above material (the positional le- gato) the performer may proceed to the next step al- ternation of playing legato - staccato. While repeating the phrase staccato the performer should keep the feeling of playing legato in the lips and exhalation ‘The tongue movement while playing staccato is mini- ‘mal and takes place only in its front part. The area of the tongue touching the teeth and the fore alveolar part remains constant (see p.12 fig. 8). The touch Staceato in these exercises must be regarded not as a short but as a separate sound production. = ‘Iipu noamope uepame staccato. (To play while staccato repeating) be simile 6163Yop. 19 passuisaeT menuewnyio cRoGony s8IKa MpHt APTHKYTAIDIOHHOM BUXEHHK «mB MOMENT. aByKOM- SmIeHe, ‘Sisuikoooe wuGparo MenoMsTe apnaKyTApys! rmacHyio © (o-0-10-1...) Tesinle mecTHameTtix. BO BTOpOM TaKTe ApTUKYEMUET 10 NepeXOUET B cHor 310 — Mpowexyrostiast nomyaraka MEKAY ABLIKORBIM BAEPATO (o-0-0) K umpuxont detashe (d10-d'0-di0). B weanoxe Ny6ax certerem oulymenNe BbUIep:KANIHOrO sByKA Ha Mowmxerim —1pex Taxron, — ApTKY»t-iptowtnMne BOKEHS OBIKA He MewUaIOT BEULOXY H He Hapyuaror SyKOBLICOTHOME TosHUULH B ryGax (est, exp. 11-13), 77 = seikon0e Bx6pato (10-10-10...) TT = nnyaraxa (510-310-20...) pee oe ~ detashe (d10-10-d'0...) Exercise 19 develops the muscular fluency of the tongue in the articulatory movement at the moment of sound production. The tongue vibrato_must be played articulating the vowel Ad (hd-Ad-hi-hil..) in the tempo of semiquavers. In the second bar the ar- ticulation i turns into the syllable zi — the half- attack between the tongue vibrato (hi-hi-hij) and the touch detache (ai-ci-dia). In the lips and exhalation there remains the feeling of a long note for a period of three bars. The articulatory movements of the tongue do not hinder the exhalation and do not break the sound-pitch position in the lips (see p. 11-13). TTT = the tongue vibrato (hit si-hd..) << - the half-attack (2i-20-27..) See whit tise ¢ee7 3 BIT AAS : nie ee SSS SS ] 65OV w do do > V ao do do o — % am = + 7 “4a 4PA3IEJ IIL PA3BHTHE BEPXHETO PETHCTPA CHAPTER IT DEVELOPMENT OF THE HIGH REGISTER PACS Stet US ere |i 0 _ Nee B eyOax u euidaxe nocmossno ocmaémcs owyuenue cpus legato, = ead Inthe tips and exaation there ceetteh fepeneetitee 1(Cage tbctteteeresEe wo cielsttet ict tating aatttth te 7 Set Sere eats Petter ees 5 * freee Seaae eee peters Ge ee ee ee 8 Ge SS - Ap ft ay oT 70Ppt eer. 71id While repeating the phrase non legato keep the fealing of playing legato in the76eee fe rf e ’ TBS eects len TE . pipet tt tebe . p ° aoe ee el = ee 9 ae Fee siete t sien tet e ee f £, iete rf 2 geePACCAABAEHHE Lae e MEY pu nosmope ¢pa3e portato coxpanatime ougrue- While repeating the phrase portato the performer me uzpa legato 6 evax, nseuce u anidoxe. should keep the fealing of playing legato in the lips, tongue and exhalation. > thea. Te > init pp toe ere ts4S portato "6 = = ‘ She = +S (eeloe = -COJEPKAHHE 4 Menuet sseixa 5 @opmnponarine Hrposoit nosmunM EKA nosocrit pra 8g Aneptypa siabika apniekyssiust u aykonsmnevene 15 PASIEILT TOTOPbI OKTABBI 16 Paswiuixa 1 18 Coeannenne pernierpos yamponanunte suykit 27 ‘Slspixovoe mMOpaTo 28 Apruxyanuns 38 PASIIEJL I JIBE OKTABbI Coeannenite HiGKHeTO 1 BepxHero perHeTpOB: 39 Paswanka I 48 Ynpaxienns Ha aeraro 61 Jonosurrenwnsie ynparen 67 PASE IL PA3BHTHE BEPXHETO PEPHCTPA Paswusixa IL CONTENT 4 Tongue’s muscles 5 Forming the tongue playing position in the mouth cavity 8 Tongue aperture and articulation W Sound production 15 CHAPTER I ONE-AND-HALF OCTAVE 16 Warm-up I 18 Combination of register Long notes, 27 The tongue vibrato 28 The articulation 38 CHAPTER IL TWO OCTAVES Combination of the low and high registers 39 Warm-up II 48 Slur exercises 61 Additional exercises 7 CHAPTER TIT DEVELOPMENT OF THE HIGH REGISTER Warm-up III