In writing this book, it has been my main intention to create intervallic exercises which are well suited for trumpet players to execute with relative ease. Melodic development and not rhythmic was the main consideration in this book. Having said that, the exercises within this book could be used as a source of melodic and improvisational material by anyone playing a melodic instrument. The rhythmic creativity is left up to the instrumentalist.
I have chosen the title Set Works for Trumpet because the exercises and etudes are all based on intervallic “sets” of notes, which are sequenced according to certain conventions of melodic manipulation in composition. The term “set” in this case is similar to “motif”. A musical motif has a specific order of successive intervals between notes, just as a “set” in this book. For the purpose of this book I preferred the word “set” because the exercises are more about using the original grouping of notes to generate new patterns as the original intervallic set is sequenced through a given scale. The motif itself becomes less important than the outcome of the manipulation of the original “set” or motif. There is a strong analogy between human language and music itself. In this comparison the “SETS” used in this book are analogous to WORDS (smallest units of language). It is left to the player to develop musical “SENTENCES” from these “sets” by linking different sets or variations of one set together. Consider these “sentences” to be equivalent to musical PHRASES. Musically speaking, multiple PHRASES which are interrelated for unity, and are exhibiting some level of complexity beyond a simple random order should be used to create MUSIC in an artistic sense.
In closing, our highest goal in the end is to create art and not just something mechanical. The player should utilize this book and be aware of the creative processes within as facility and fluency with the material increases.
How to Practice Using This Book:
1. Go through the first several pages to get the idea of constructing 2-note sets from various scales. Study the Sequencing technique on p7 to compose your own variations of exercises on pages 1 – 6.
2. Make sure to practice basic exercises in all keys, if they are not transposed for you in the book.
3. Try playing the exercises over different chords shown in the text and also look for chord possibilities not mentioned in the book.
4. Start to compose your own exercises finding new sets not used in the book.
5. Do not try to run straight through the book in one sitting! Instead, pick a certain chord type you would like to work out with, and find appropriate pages in the book for that particular chord. Play the exercises for that chord in all keys. Sometimes many chords may apply to one exercise. First try using the supplied chord lists. Then search for other chords which might work. That should be enough for one practice session with this book.
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