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