Walter M.Smith - Lip Flexibility on the Trumpet - 41 Studies for Embouchure Development.1

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Up Flexibility
on the
Trumpet
41 Studies for Embouchure Development
W alter M.Smith
02398
Lip Flexibility
on the
Trumpet
41 Studies for Embouchure Development
V
W alter M. Smith
CARL FISCHER®
65 Bleecker Street, New York, NY 10012
Copyright © 1935 by Carl Fischer, Inc.
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Printed in the U. S. A. |S B N 978 - 0- 8258 - 2912-3
2
Preface
In p r e s e n t i n g th i s s e r i e s o f s t u d i e s t o t h e s t u d e n t i t i s my hope t h a t h e 
wil l f ind th e re - i n m a t e r i a l , a r r a n g e d in a c o n c i s e and m e th o d ic a l form, that w i l l 
be h e lp f u l in the d e v e lo p m e n t of a sm ooth and e f fo rt less lega to , a s well asan unusual 
d e g r e e of l ip f l e x i b i l i t y .
M a n y of the s t u d i e s i n c l u d e d in t h i s book are b a s e d u pon i d e a s given tom e 
at var ious t imes by many of my fo rm er teachers- , ideas,which to my k n o w l e d g e a t 
l e a s t , h av e n e v e r b e e n i n c o r p o r a t e d in a n y a v a i l a b l e p r i n t e d s t u d i e s . W i t h 
t h i s in mind I have simply tr ied to assemble u nde r one cov e r a g roup of such mate­
r i a l a s I have found t o be of g r e a t v a l u e in the deve lopm ent of this branch of tech­
nique, and p o s s ib ly to c a r ry on a few s t e p s f u r t h e r with some s u b j e c t s of which on­
ly a beginning h as h e r e to fo re been w r i t t e n .
This g roup h as been of i n e s t im a b le va lue to me in my own p ra c t i s e , a n d h a s 
proven a g r e a t h e l p t o many s t u d e n t s . T he n e c e s s i t y of the c o n t r o l of the back 
of the tongue in th is ty p e of p la y in g has never, to my mind, been p ro p e r ly stressed, 
and if the s t u d e n t wil l r e a d c a re fu l l y the e x p l a n a t i o n s I have wri t t en , I am c o n f i ­
dent t h a t he will be well r ew ar d e d for every effort he expends in th is d i r e c t i o n .
T h e s e s t u d i e s a r e no t i n t e n d e d fo r b e g i n n e r s or young p l a y e r s . O n l y the 
f i rs t few e x e r c i s e s in each group will be found to be of a d v a n t a g e t o suchstudents. 
I t has no t been my in t en t ion to w r i t e e x e r c i s e s fo r the d ev e lo p m e n t of the uppe r 
r e g i s t e r , bu t r a t h e r to deve lop a h ig h e r d e g re e of f l e x ib i l i ty in a l ip a l r e a d y suf­
f i c ien t ly s t r o n g to p r o d u c e , a t l e a s t in a f a i r d e g r e e , m o s t of the high notes found 
t h e r e i n .
I s i n c e r e l y t r u s t t h a t the s t u d e n t w i l l f ind th e s e s tu d ie s to be as helpful to 
them as the y h<»ve b ee n to me.
Walter M. Smith
26988 - 18
Forty-One Studies
F O R D E V E L O P I N G L I P F L E X I B I L I T Y 
on the
C o r n e t , T r u m p e t o r B a r i t o n e (in (£)
I. C H O RD S T U D I E S IN ALL SEVEN VALVE POSITIONS
WALTER M. SMITH
The following ten studies are des igned solely to develop the action of the l ips and t h e b a c k of t k « 
tongue unti l the utmost f l exibi l i ty and control of these members is attained.
The student should not attempt at f irst to pract ise all of these studie s at onet ime. I recommend 
rather that he work for a few weeks with the f irst four e x erc i ses , adding the others, one by one,asmore f le x ib i l i ty and en dura nce are gained.
The f in g er in g marked should of course be foil owed, as the s o l e object is to build a movement o f l ip s and ton gu e , not fingers. Observe also the crescendos, as it is necessary to swell the tone in ascending, 
and to diminish in descending. The back of the tongue should rise s l ig h t ly toward the roof of the mouth 
with each success ive step upward, as though p r o n ou nc in g the le t t e r E ,a n d the lower lip should be at the same time drawn upward and into the mouthpiece ve ry s l ig h tly , while the wind force is also increased 
to make up for the narrowed opening between the l ips. T h e se m u sc l e s should of course be relaxed again 
in descending. Do not a tte m p t to p l a y w ith o u t p re s su re , but try to play with a lig h t and uniform preMSUtt 
throughout.
The student should perform t h e s e e x e r c i s e s dai ly .
C opyrigh t renew ed
26988 -18
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11II. THE G L IS S A N D O
The G lissand o (or glide) as applied to the cornet or trumpet has two forms, the chord (or arpeggio) and the s c a le . The chord g lissando may be used wherever a major arpeggio permitting a uniform f in g e r in g (Or near ly so) may be found, but the sca le g lissand o is only practical in the extreme upper register as only In that register are the harmonics close enough together to approximate a scale. These scales are by no means al - ways complete or correct, but with sufficient practise such a high rate of speed may be attained that the effect of a complete and perfect scale is given.
The g lissando is regarded by many as a trick, or “stu n t’.’ W hile this m aybe so, its proper use is high­ly e f fe c t iv e in so los, and particularly in cadenzas; moreover the degree of f lex ib il ity and control g a in ed 
by this practise will never come amiss.
The student should first master the preced ing exercises, as the f lex ib il ity gained thereby will be very 
h e lp fu l, a fter which he should master the following stu d ies one by one, taking care that each note res ponds 
clearly. Do not attempt Number 5 until suffic ient speed has been attained to touch the notes in passing, as no 
speed will be possib le if a stop is made on each note. The student will soon accustom himself to the “knack " of doing this, after which the chord glissando becom es a simple matter of raising the tongue, closing the lower 
lip, and in creas ing wind force,and each tone will respond much the same as when a hammer is drawn 1 igh tly up and down a xylophone or set of bells.
Number 8 should be practised with extreme caution, and no attempt made to force the high notes. P l a y only as high as may be had w ith o u t s tr a in .
The sca le g l is sa n d os given in Number 9 and Number 10 are to be treated in the same manner,otherwise 
an injury to the l ip s may result. It is to be borne in mind that all the notes written in these s c a le s do not ac­
tually respond, but when a su f f ic ien t ly high rate of sp e e d is a tta ined , the e ffec t will be as written.
26988-18
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III. THE LIP TRILL 17
m
To a certain extent the name “lip t r i l l” is a misnomer, inasmuch as this ornament, although seem ingly performed with the lip , is in rea lity produced by the same movement o f the back o f the tongue described the foregoing instructions for practic ing the sev en -p o s it io n chord studies .
The student should strive to perform these studies without movement of lips or diaphragm, relying solely on the movement of the back of the tongue to produce and carry the trill. The motion is much the same as in ic/ust- l itig a tr i l l , and a great dea l o f pa instak ing practice is necessary to adapt this motion to the m o u th p ie c e 
instrum ent, n ev erth e less , when by perseverance and p ra c t ice the “knack” of doing this is obtained, liptrill. 
ing becom es v a s t ly e a s ie r and su r e r than any other form of trill.
T he student should beware of attempting to force the higher notes. The best and easiest trills to pro­duce a re those on F and G. Do not attempt higher trills until th ese have been m a stered .
I have included two cadenzas com bining the g lissand o and the lip trill in order to g ive the student an idea of the e f fec t iv en e ss of this type of p lay in g .
Do not be d isco u ra g ed i f you cann ot produce th e se e f f e c t s im m ed iate ly . Remember,nothing worth 
while is done easily . The r ea so n m ore p layers cannot produce th e se e f f e c t s is that they lack the p er­
severance to try, and try, and contin ue try ing until th e ir g o a l is achieved.
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P R A C T IC E P L A N N E R
L Ua
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G oals/C o m m en ts R emarks
P R A C T IC E P L A N N E R
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THE GENIUS OF CLAUDE GORDON
FOR TREBLE CLEF INSTRUMENTS
Daily Trumpet Routines (04945)
Physical Approach to Elementary Brass Playing (05017) 
Systematic Approach to Daily Practice for Trumpet (04702)
* Thirty Velocity Studies (05092)
* Tongue Level Exercises (05089)
FOR BASS CLEF INSTRUMENTS
Physical Approach to Elementary Brass Playing (05039) 
Systematic Approach to Daily Practice (04959)
Technical Studies (Clarke) (04968)
* Thirty Velocity Studies (05093)
* Tongue Level Exercises (05090)
* In English/A uf deutseh/En français/En español
Read What These 
Great Artists Say 
About CLAUDE 
GORDON'S 
Books.
Every student o f trumpet should have and use this method written by Claude Gordon. This is the one 
method that truly prepares the student as well as the aspiring professional for the demands in the high 
register endurance and facility that confront the modem businesstrumpet player.
Jonn Clyman , Former 1st Trumpet, Los Angeles Philharmonic and Hollywood Bowl Symphony Orches­
tras.
Claude Gordon’s SYSTEMATIC APPROACH TO DAILY PRACTICE has one of the most sound approaches 
to developing a tremendous range. His explanation o f the pedal register is excellent. In no other book has 
the practice of “k ’s” been given its proper importance.
Robert DiVall, Former Principal Trumpet, Los Angeles Philharmonic and Hollywood Bowl Pops Orches­
tras.
I have been associated with Claude Gordon for many years. I have played alongside o f Claude when he 
played first trumpet for the Columbia Broadcasting System. I have examined Claude’s SYSTEMATIC AP­
PROACH and find it very valuable for complete development to meet modem demands.
Ziggy Elman, Great Trumpet Star o f Television and Recording.
It has been my pleasure to have been associated with many o f Claude Gordon’s students, especially Stan 
Mark, my present lead trumpet. This speaks for itself.
Maynard Ferguson
I have known Claude for a number o f years. I knew him as a great trumpet player and also a great teacher. 
I think his new book should help everyone who is interested in being a good, strong trumpet player. 
Conrad Gozzo, Former 1st Trumpet, NBC Studios Television & Recording, Hollywood, CA
I started studying with Paul Witt (14 year Claude Gordon student) in 1991. Claude's method has made a 
200% improvement in my playing. I found that the saying BRASS PLAYING IS NO HARDER THAN DEEP 
BREATHING is fact, not theory. I f you put the time and effort into practicing Claude's routines correctly 
and consistently, it's impossible for your playing not to improve. I guarantee it!
Lee Loughnane 
Trumpeter & founding member of Chicago
g n e
Note: The tides listed below can be used in conjunction with the Sigmund Hering Trumpet Course. The level of difficulty is indicated by the number within parentheses following 
each title. Those titles without any book indication can be used after completing Book 4 of the course.
Zur Beachtung: Die unten aufgeführten Werke können in Verbindung mit Signmund Herings Trompetenkursus benutzt werden. Der Schwierigkeitsgrad wird durch eine Zahl in 
Klammem hinter jedem Titel angezeigt Die Titel ohne Buchhinweis können nach Abschluß von Band 4 des Kurses benutzt werden.
N.B.: Les titres énumérés ci-dessous peuvent être utilisés conjointement avec le Cours de trom pette de Sigmund Hering. Leur niveau de difficulté est indiqué par le numéro 
figurant entre parenthèses après chacun d’eux. Les titres non suivis de l’indication d’un livre peuvent être utilisés après avoir terminé le quatrième livre du Cours.
SIGMUND HERING TRUMPET COURSE 
A Melodic Method for Class, Private, or Supplementary Study 
SIGMUND HERINGS TROMPETENKURSUS 
Eine melodische Methode für Gruppen-, Privat- und Ergänzungsunterricht
COURS DE TROMPETTE DE SIGMUND HERING 
Une méthode mélodique pour études en classe, 
études particulières ou études complémentaires.
Book 1 THE BEGINNING TRUMPETER............................................................05136
Book 2 THE ADVANCING TRUMPETER...........................................................05137
Book 3 THE PROGRESSING TRUMPETER......................................................05138
Book 4 THE ACHIEVING TRUMPETER............................................................05139
TECHNICAL STUDIES • TECHNISCHE ÜBUNGEN • ETUDES TECHNIQUES
FORTY PROGRESSIVE ETUDES ( 2 ) .................................................................... 03309
THIRTY-TWO ETUDES (4)........................................................................................ 03226
TWENTY-EIGHT MELODIOUS AND TECHNICAL ETUDES............................ 04024
THE ORCHESTRAL TRUMPETER
A method for transposition......................................................................04747
ETUDES IN ALL THE MAJOR AND MINOR KEYS ( 4 ) .....................................04967
TWENTY-FOUR ADVANCED ETUDES.................................................................. 03442
FIFTEEN CHARACTERISTIC ETUDES................................................................ 03568
TWENTY-THREE ORCHESTRAL ETUDES
For the Advanced T runqjeter...................................................................05016
1Biography
RECREATIONAL STUDIES • ENTSPANNUNGSUBÜNGEN 
ETUDES RÉCRÉATIVES
FIFTY RECREATIONAL STUDIES For the young trumpeter (2 ) .................... 04745
SIXTY RAMBLES FOR TRUMPET
Recreational studies by Leon Lester-
adapted for trumpet by Sigmund Hering (4) ....................................... 04526
THIRTY-EIGHT RECREATIONAL STUDIES (4) ............................................... 04946
TRUMPET DUETS • TROMPETENDUETTE • DUOS DE TROMPETTES
MINIATURE CLASSICS 32 Easy duets ( 3 ) ...........................................................04207
MORE MINIATURE CLASSICS 32 Easy duets (4) ............................................. 04209
TRUMPETS FOR TWO 25 Intermediate duets from the Early Classics (4)..... 04458
BACH FOR TWO TRUMPETS 28 Short works...................................................... 04856
ENSEMBLE • ENSEMBLE • ENSEMBLE 
EARLY CLASSICS FOR BRASS ENSEMBLES
6 easy transcriptions for two trumpets, horn and trombone (3) .... W2357
COLLECTIONS • SAMMLUNGEN • COLLECTIONS
THE CLASSICS Easy pieces for the young trumpeter (2).................................... 04764
CLASSIC PIECES For the advancing trumpeter—Piano P a r t .............................. 04740
Trumpet Part ( 2 ) ....................................................................................04740A
SOLOS • SO U • SOLOS
CONCERTINO Trumpet solo with piano accompaniment....................................W2215
MOON SHADOWS (Polka) Trumpet solo with piano accompaniment............. W1865
BIOGRAPHY
Sigmund Hering was a graduate of 
the Royal Academy of Music, Vienna. 
Among his teachers were Rossbach 
(trum pet) and Schrecker (composi­
tion).
In 1923, he became the first trum ­
pet in the Cleveland Orchestra, and in 
1925 accepted a sim ilar position with 
the Philadelphia Orchestra under the 
leadership of Leopold Stokowski. Mr. 
Hering rem ained a member o f the 
Philadelphia Orchestra for forty years, 
retiring under the baton of Eugene 
Ormandv.
Mr. Hering was on the faculty 
of the Settlem ent Music School in 
Philadelphia and taught privately. His 
books of study have been published 
throughout the United S tates and 
Europe.
LEBENSBESCHREIBUNG
Sigmund Hering ist Absolvent der 
K.K. Musikakademie Wien. Zu seinen 
Lehrern gehören Rossbach (Trompete) 
und Schrecker (Komposition).
1923 übernahm e r die Erste 
Trompete im Cleveland Orchestra 
und 1925 eine ähnliche Position im 
Philadelphia Orchestra u n ter der 
Leitung von Leopold Stokowski. Mr. 
Hering gehörte dem Philadelphia 
Orchestra vierzig Jah re lang an. Er 
tra t während der Amtszeit von Eugene 
Ormandy in den Ruhestand.
Mr. H ering war Teil des 
L ehrkörpers der Settlem ent Music 
School in Philadelphia; darüber 
hinaus gab er Privat unterricht- Seine 
Lehrbücher sind in allen Teilen der 
Vereinigten Staaten und Europas 
erschienen.
BIOGRAPHIE
Sigmund Hering est dimplômé 
de l ’Académie royale de m usique de 
Vienne. Parm i ses professeurs il a 
eu Rossbach (trompette) e t Schrecker 
(composition).
En 1923, il est devenu premier 
trom pette de l’Orchestre de Cleveland 
e t un 1925 il a assum é les mêmes fonc­
tions dans l’Orchestre de Philadelphie, 
sous la direction de Leopold Stokowski. 
M. Hering est resté membre de cet 
orchestre pendant 40 ans e t a pris sa 
retraite alors qu’il se trouvait sous la 
direction d’Eugène Ormandy.
M. H ering a été professeur 
à la Settlem ent Music School de 
Philadelphie e t a donné des leçons 
particulières. Ses livres d’etudes ont 
été publiés partout aux Etats-Unis e t 
en Europe.
THE
RAFAEL MENDEZ
COLLECTION
Transcriptions, Arrangements and Original Works for BbTrumpet and Piano
Dubbed the "Heifetz of the Trumpet", celebrated 
Mexican trumpet player Rafael Méndez wasa leg­
endary figure in the era of Hollywood and the Big 
Bands. Now 37 of his most popular contributions to 
the trumpet repertoire have been assembled in this 
superb collection. Highlights include Mexican Hat 
Dance, Habanera from Carmen, Zigeunerweisen, 
Ave Maria (Bach-Gounod), Jota, Danse Bohéme, 
and Scherzo in D minor. A Biographical intro­
duction by Ken Smith, a Discography and a per­
sonal note by "Doc" Severinson are also includ­
ed, making this book an essential purchase 
for every trumpet player.
Trumpet and Piano - 256 pp. 
Trumpet Solo Part 72 pp. 
ATF126
Favorite Solos with Piano Accompaniments on CD
Arioso
from Cantata N o. 156 
Johann Sebastian Bach
The Carl Fischer CD Solo Series is designed to help all levels of instru­
mental soloists improve their performances by making practice time 
more productive w ith the included "liv e " piano accompaniment.
The CD contains a beautifully recorded piano accompaniment performed 
by a professional accomt 
soloists of all ability level
by a professional accompanist w ith years of experience accompanying
2ls.
The C D Solo Series is an in va lu ab le teach ing tool and is presented 
in 3 graded levels: Beginning (Gr. 2), Intermediate (Gr. 3) and Advanced 
(Gr. 4-5).
As an added bonus, the faster pieces in the Be 
ond track w ith the piano accompaniment at a re 
the preparation of the piece.
Level have a sec- 
tempo to assist in
Works for Trumpet in Bt> and Piano
In the Carl Fischer CD Solo Series 
Grade 2 Beginning Level
W2592 Arioso from Cantata No. 156 Johann Sebastian Bach
W2593 Largo from the Opera Xerxes George Frideric Handel Edited by Timothy Morrison
W2594 Supremacy of Right Grand March Herbert L. Clarke
Grade 3 Intermediate Level
W2595 A Glad Tune Arthur Olaf Andersen
W2596 Contest Piece (Morceau cLe Concours) Giulio Alary
W2597 Concerto for Trumpet Leopold Mozart Edited by Timothy Morrison
W2598 My Heart at Thy Sweet Voice
Cantabile from the Opera Samson et Dalila Camille Saint-Saëns
W2599 Allegro (Allegro de Concours) Auguste DeBoeck Edited by Timothy Morrison
ISBN 978-0-8258-2912-3 UPC
9 78 0 8 2 5 82912 3
CARL FISCHER®
w w w . c a r l f i s c h e r . c o m 
02398 — $11.95 USA
7 98 4 0 8 02 912 8
02398 
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