Building Blocks for Tone and Technique
Free Sample Pages | Order
Done with your beginning book?
Not quite ready for advanced books?
Here’s your answer!
In this book (130 pages) you’ll find:
• Lip Slurs – to refine embouchure control
• Pattern-Building – for facility and understanding
• Lyrical Legato – to build a beautiful singing sound
• Varied Articulation – for clarity and technique
• Simple Tunes – for enjoyment and ‘key sense’
Not just a copy of the trombone book! Trumpet-specific elements include:
- Fingering exercises
- Lip bending exercises
- Extra practice with the chromatic scale
“This book is useful for private teachers looking for organized weekly assignments that cover all fundamentals and techniques necessary for the intermediate trumpeter’s development.
Thank you, Brad Edwards, for giving the trumpet community this new resource to bridge the gap between our beginning and advanced methods.”
Ashley Hall-Tighe, Trumpet Soloist, Educator and Life Coach
Duet parts for 100 of these etudes are available to purchase as a download.
Free Sample Pages (duet parts) |
Purchase (duet parts)
If you have the trombone duet parts, no need to purchase these duet parts. They are largely the same.
Kudos
“This is so beautifully written and organized, congratulations! I love that you have an index that recommends what exercises to practice daily.
One thing I talk about with all players is the importance of both fundamentals and repertoire, which you have clearly thought through so elegantly.”Ryan Gardner, DMA
Professor of Trumpet, University of Colorado Boulder
President, International Trumpet Guild“I think this book is a great resource for young students who tend to struggle with materials that get difficult too quickly. At a first glance, there are many details that I find it very interesting and pedagogically useful. For example, your suggested plan of study, the use of “d” syllables to play legato (I have also thought this, but I don’t recall any book that actually describes it!), the use of “m” to leave out some notes on rhythmic figures, the same passage written in a different time signature, just to name a few.”
Oswaldo Zapata
Assistant Professor of Trumpet
Brass Area Coordinator
The University of Texas at San Antonio