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This is a re-post from one of many over at, a blog/website you should follow. Lots of great stuff over there! I should note that all of the below are filled with music, exercises, etudes, and all kinds of other great, great stuff.
I have almost all of these books memorized. Lagu ran dekat di hati. What these books don’t tell you are things like how to tongue, how to use your tongue for lip slurs, transposing, using mutes, double- and triple-tonguing, and lots-and-lots of other stuff about playing trumpet that you’d get from a great private teacher or, this book:. Click on it to learn more (be sure to check out the ““: free shipping in the US. Okay, here’s the Arban’s Method post Here’s a list of 25 of the Best Trumpet Books you need to become a great musician. Plus, there are free PDF downloads of studies, and – just look for the small links under the images. If there are other method books you think should be listed, let us know in the comments below.
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. Stamp, James Warm-Ups & Studies, w/MP3 Download Modern classic study book used by collegiate level trumpeters worldwide. Includes sections on breathing, a variety of warm-ups, slurs, trills, bending, octaves, scales, arpeggios and more. Piano accompaniments available for the exercises as a download direct from the publisher.cdp The Stamp exercises, perhaps more than other brass methods, emphasize musical principles as much as physical concepts to accomplish the desired technical results. Perhaps the most famous Stamp aphorism was that if it sounded correct (i.e. «in-tune») thenone was doing it correctly. Or, conversely, if one did not play correctly it would not sound correct.
Indeed, everything that has been said or written about Mr. Stamp and his teaching/playing concepts reinforces this basic idea.
To implement his concepts, James Stamp would play the Warm-Ups/ Exercises on the piano keyboard while the students would simultaneously play them on the mouthpiece or the instrument. This method imposed a certain discipline and minimized the need for an inordinate amount of verbal instructions and analyses since any problems would become known almost immediately and consequently could be addressed early in the training process.the publisher Accompaniments, formerly included on CD, are now available as a free MP3 download for Bb or C trumpet. (Breathing) (Preliminary Warm-Ups) (Basic Warm-Up) (Slur Exercises) (Scale Velocity) (Three for Stamp) (Bb Trumpet Accompaniments) (C Trumpet Accompaniments). Category: Trumpet Studies & Etudes. Item: 001502. Grade/Level:. Price: $28.95.
(usually ships in 24 hours). Brass Instrumentation Codes Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example: Description Price Copland Fanfare for the Common Man 343.01 w/tympani Item: 02158 $14.95 The bracketed numbers tell you how many of each instrument are in the ensemble. Data recovery with keys. The first number stands for Trumpet, the second for Horn, the third for Trombone, the fourth (separated from the first three by a dot) for Euphonium and the fifth for Tuba. Any additional instruments (Tympani in this example) are indicated by a 'w/' (meaning 'with') or by using a plus sign. Trumpet Horn Trombone.
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Euphonium Tuba Thus, the Copland Fanfare shown above is for 3 Trumpets, 4 Horns, 3 Trombones, no Euphonium, 1 Tuba and Tympani. There is no separate number for Bass Trombone, but it can generally be assumed that if there are multiple Trombone parts, the lowest part can/should be performed on Bass Trombone. Titles listed in our catalog without bracketed numbers are assumed to use 'Standard Instrumentation.' The following is considered to be Standard Instrumentation:. Brass Duo - Trumpet & Trombone, or 101.00. Brass Trio - Trumpet, Horn & Trombone, or 111.00. Brass Quartet - 2 Trumpets, Horn & Trombone, or 211.00.
Brass Quintet - 2 Trumpets, Horn, Trombone & Tuba, or 211.01. Brass Sextet and greater - No Standard Instrumentaion People often ask us about 'PJBE' or 'Philip Jones' instrumentation. This is a special instrumentation adopted and perfected by the Philip Jones Brass Ensemble. It consists of the forces 414.01, and often includes Percussion and/or Tympani.
In addition, there are often doublings in the Trumpet section - Piccolo and Flugelhorn being the most common. While this instrumentation has come to be common, it is still not 'Standard' as many Brass Dectets use very different forces, most often with more Horns than PJBE.
James Stamp Trumpet Method
String Instrumentation Codes Following many of the titles in our String Ensemble catalog, you will see a set of four numbers enclosed in square brackets, as in this example: Description Price Atwell Vance's Dance 0220 Item: 32599 $8.95 These numbers tell you how many of each instrument are in the ensemble. The first number stands for Violin, the second for Viola, the third for Cello, and the fourth for Double Bass. Thus, this string quartet is for 2 Violas and 2 Cellos, rather than the usual 2110. Titles with no bracketed numbers are assumed to use 'Standard Instrumentation.'
The following is considered to be Standard Instrumentation:. String Duo - Viola & Viola - 1100. String Trio - Violin, Viola, Cello - 1110. String Quartet - 2 Violins, Viola, Cello - 2110. String Quintet - 2 Violins, Viola, Cello, Bass - 2111.
Many of my colleagues, and indeed trumpeters the world over, swear by the practice routines of James Stamp. I hear lots of players warming up to these exercises and repeating them all through the day. Personally, I don’t like to get tied to any particular list of exercises, the reasons have been stated many times in other posts on this blog. I bought the Editions BIM Stamp book when I was at school at fifteen years old. I tried it for a while but didn’t stick with it.
I revisited it at college for a few months and several times over the years for extended periods. I also bought Roy Poper’s excellent book explaining the studies more fully.
Some trumpeter colleagues of mine went over to Loa Angeles to study with the widely respected pedagog Boyde Hood, himself a student of Stamp. Boyde’s routine is said to be written with Stamp at the end of James Stamp’s life and are considered by many to be Stamp’s definitive routine.
I copied the routine for myself, including the extensive mouthpiece routines. I haven’t included the mouthpiece studies here, but would willingly post them if requested. This time, I stuck with the routine for ages. I gave up on the mouthpiece routines first. I realised that for me, and I do a little mouthpiece playing at the onset of my playing day (and a little throughout the day’s work), I would rather play mouthpiece studies of a more musical nature.
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I do a little mouthpiece ‘solfeg’ out of the Kodaly book or I may play some hymns or anything really. This works better for me. The full Stamp routine, pictured in full at the end of this post, simply took me too long and even after a year or two my chops were quite stiff, sore and my mouthpiece never felt good on my chops etc. Things really improved when I gave up the routine altogether. I also began to be ‘addicted’ to the routine and would struggle to play unless I had laboriously gone through all the pages! For me, the full routine has too many pedal tones, covers too much range unnecessarily in each exercise, and the studies aren’t especially musical.
So I stopped! From time to time I do a much shortened version just to get my chops going – I do this as a change so that I don’t do the same exercises every day and get stuck in a rut. I only go down to low F sharp and as high as top C. No pedal tones! Then I get straight to the music; maybe a solo piece, then I work on what I have to learn for work. I am fully aware of the many top players whop do the full routine every day. It just doesn’t work for me.
James Stamp Trumpet Book
Here is my short version followed by Boyde Hood’s full routine.
Contents. Background Stamp was a professional musician from the age of 16, starting in the Mayo Clinic Band. After having played in different Minneapolis theatres he was asked to play 4th trumpet in the. Playing 4th trumpet didn't allow for enough performances and the first trumpet player treated him like a valet. Later, after an argument with the 1st trumpet he was asked to play the 1st part on the Brahms 2nd Symphony while on tour to Cincinnati. He was then given a contract as 1st trumpet for the next season immediately after the concert. James Stamp held a position with the for 17 years playing under conductors such as, and his favorite.
Later after left the Orchestra and became conductor the orchestra's finances were not very good. So, in 1944 he decided to sell his house and move to California. Mitropoulos tried to talk him out of leaving, but the house was already sold and he had made his decision.
Stamp relocated to, where he was immediately asked to play in studio orchestras in, as well as radio and television programs. He suffered a in 1954, after which he devoted more time to teaching. He wrote an instructional book, Warm-ups + Studies which was first published in 1978. He died on December 22, 1985., former Principal Trumpeter of the said, 'I believe James Stamp was one of the finest teachers in the world. His approach was so flexible that I have never seen him fail to improve a player, whether it be an established symphony musician, jazz or lead player or a twelve-year-old student.' Bibliography.
Warm-ups + Studies: trumpet & other brass instruments in treble clef, CD in C and Bflat (1995) Articles Articles in the Brass Bulletin, International Magazine for Brass Players:. Brass Bulletin 39, III-1982 (p. 14-21), Alfred Willener, Subtle Teaching. Brass Bulletin 53, I-1986 (p. 3-4), Jean-Pierre Mathez/Thomas Stevens, Editorial 'Homage to James Stamp'. Brass Bulletin 100, IV-1997 (p. 59-65), Jean-Christophe Wiener, James Stamp, Master in Listening part 1 References.
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