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