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(1)

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(2)

THE NOT

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PREFACE

MODERN TRUMPET

PLAYING

DEMANDS GREAT POWERFUL EMBOUCHURE,

RANGE

IN

EXCESS OF

A

PICCOLO TRUMPET AND MORE BRILLIANT

TONE.

MANY PROFESSIONALS PLAY JOBS THEY CAN JUST

FINISH.

MOST TRUMPET TEACHERS

HAVE

NO IDEA WHAT THEIR STUDENTS HAVE TO

PLAY.

THESE TEACHERS

CAN-NOT

IMPROVE

A

WEAK

EMBOUCHURE

WITH

SCALES

OR SLURS. YOU

MUST

CHANGE THE WAY YOU HOLD YOUR LIPS, SO THAT THE LIPS ARE VIBRANT AND NEVER ABUSED.

I

HAVE SPENT. THE LAST"ELEVEN YEARS USING MY OWN EMBOUCHURE AS A LIP LABORATORY. AFTER TEN YEARS

I

COULD PLAY LOUD DOUBLE HIGH "C"S.

I

KNEW

THAT MY

SOUND SHOULD

BE

FREE

AND

LESS

STRAINED.

THE

LIPS

WOULD NOT TAKE THE AIR, AND THE REAL ENDURANCE WAS NOT THERE. ONE YEAR AGO

I

BEGAN WHAT

I

CALL MY METHOD "TRUMPET

YOGA''.

THE MUSICAL

EXERCISES ARE THE PROOF OF WHAT I PRACTICE. ALSO IMPORTANT IS THAT MY WARM.UP CAN BE DONE ON THE BANDSTAND TO REFRESH YOUR LIPS.

THE

MOST IMPORTANT FEATURE

OF

"TRUMPET

YOGA"

HAS

BEEN

(3)

PREFACE

,.*

.-

_,..._...{

i.{

HAD ONE BAD PLAYING

DAY.

NO TRUMPET TEACHER HAS EVER TOLD ME HOW

TO

DO

THIS.

I

BELIEVE THE WAY YOU START YOUR

DAY,

HOW YOU PLAY IN

USING YOUR EMBOUCHURE NO MATTER

IN

PERFORMANCE OR PRACTICE, WILL

SHOW YOUR LIP

HEALTH.

THE WHOLE STORY lS HoW YOUR LIPS FEEL; CONFI-DENCE, CONTROL AND POWER COME FIRST WITH FEEL.

I

HAVE WRITTEN THE EXERCISES FOR TRUMPET DEVELOPMENT, NOT FOR PERFORMANCE. "TRUMPET

YOGA''

IS WRITTEN FOR

THE

BUSY ON THE ROAD

TRUMPETER. WHO CAN TAKE THIS ONE BOOK AND KEEP EVERYTHING IN SHAPE.

IF

YOU CAN PLAY TWENTY MINUTES OR FIVE HOURS A DAY, YOU WILL DEVELOP

ALL THE POWER AND CONFIDENCE NEEDED TO PERFORM TODAY'S MUSIC. I HAVE

ENJOyED EVERy NOTE OF PLAYTNG "TRUMPET YOGA", SO WtLL yOU.

PRIVATE LESSONS AVAILABLE . . . ALSO YOU MAY TELEPHONE FOR ANY

INFOR-MATION ABOUT TRUMPET YOGA.

JEROME CALLET 128"10 FRANKSTOWN ROAD

PITTSBURGH,

PA.

"15235

TE LEPHON E 412-s21 -6682 or 41 2-42'1 -97 3"1

ALSO SEE THE

AD

FOR CALICCHIO TRUMPETS

ON THE

BACK PAGES

OF

THIS

BOOK.

FOR THE TRUMPET MEN WITH REAL CHOPS . . GET A CALICCH]O TRUMPET FOR "THE SOUND NO ONECOVERS".

(4)

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OTVS

{

.:

TRUMPET

YOGA

IN

DOING

THIS

BOOK YOU MUST PLAY EXERCISE NUMBER ONE, TWO AND

THREE AS BOTH YOUR DAILY WARM.UP AND LIP CONDTTIONER. THE FIRST NOTE MUST

BE

EXERCISE ONE

tN

THIS

BOOK.

NEVER

VARY, THIS IS

FOR YOUR LtP

FEEL

AND TO COMPARE YOUR

DAILY

PROGRESS. YOU SHOULD ALSO REPEAT

THESE MANY TIMES DURING YOUR PLAYING. I TRY TO REPEAT AS MANY AS TEN TIMES

A DAY.

THE FEEL YOU

WILL

BEGIN TO GET IS WHAT

I

CALL "THE

FAT

FEEL".

MANY OF YOU HAVE NEVER EXPERIENCED A GOOD FEELING IN THE LIPS,

NOW YOU CAN.

EXERCISE NUMBER ONE IS STARTED BY PLACING THE MOUTHPIECE SEVEN

EIGHTS ON THE TOP

LIP_

VERY LIGHT ARM PRESSURE

_

BEGIN TO UNROLL BOTH LIPS

OUTWARD. THIS LIP

ACTION

IS

CALLED

UNFURLLING.

THE

LIPS ARE

STILL

AGAINST

THE

TEETH BUT ARE UNROLLED TO

THEIR

FULLEST EXTENT.

TEETH OPENING, FOR THE PEDAL REGISTER, SHOULD BE ONE

HALF

INCH, AND

MIDDLE

AND

UPPER REGISTER SHOULD HAVE

AN

OPENING OF

AT

LEAST ONE QUARTER

OF

AN

INCH.

UPPER

AND

LOWER TEETH

AND

JAW

ARE

PARELLEL.

TOP

LIP

FEELS, AS

IT

UNROLLS,

LlKE IT

IS BEING PULLED DOWN.

BEFORE PROCEEDING, STUDY THE PHOTOGRAPHS

_

PHOTOGRAPH NUMBER

ONE

SHOWS NORMAL LIPS

_

PHOTOGRAPH NUMBER TWO SHOWS UNROLLED

LIPS (NOTICE TOP RED IS DOUBLE THICKNESS)

_

NUMBER THREE PHOTOGRAPH

SHOWS LIPS

IN

THE DOUBLE PEDAL

"''C''

INOTE SEVEN EIGHTS ON TOP LIP AND

soFT

TNNER RED

oF

roe

r-irf

-

wrrH

EMBoucHURE

vrsulrzER

-

pHorocRApH

NUMBER FOUR SLlDING DOWN TO REGULAR EMBOUCHURE FORTY PERCENT TOP, SIXTY PERCENT BOTTOM

-

PHOTOGRAPH NUMBER FIVE SHOWS LOOK OF DOUBLE HIGH

"C".

START

ALWA.YS START EXERCISE NUMBER ONE ON THE DOUBLE PEDAL C, GO SLOI.^,/,

(5)

-,NS

TRU

CT

IONS

KEEP PUSHING THE LIPS TO THEIR MOST UNROLLED POSITION. THE TONE ON THE DOUBLE PEDAL

"C"

WILL BECOME VERY

BRILLIANT.

I DO NOT PLAY IN THE SINGLE PEDAL REGISTER (LOW

F

TO

C#).

YOU

WrLL

BENEFTT MORE

tN

THE

DOUBLE PEDAL REGISTER BECAUSE OF THE UNROLLING OF THE LIPS,AND THE

FREEDOM OF YOUR LIPS TAKING ALL THE AIR POWER YOU CAN PUT THRU YOUR TRUMPET.

TRY TO MAKE YOUR AIR STEADY AND FREE NOTE VOLUME MARKS. NOTICE

WHEN THE LIPS

ARE

UNROLLED HOW THE SOFT INNER RED OF THE TOP LIP IS EXPOSED TO

AtR

(SEE PHOTOS). TOP LIP SEEMS TO OVERLAP BOTTOM

Lrp

EVEN

THOUGH TEETH ARE EVEN. THE TOP LIP MUST BE RELAXED IN THE CENTER AND UNROLLED ACROSS THE ENTIRE TOP LIP ON EVERY NOTE YOU PLAY.

DO NOT FEEL UNEASY ABOUT HOW MUCH

AIR

IT TAKES, REMEMBER THIS IS

A

DIFFERENT EMBOUCHURE. WHEN YOU GO INTO THE LOW AND MIDDLE REGIS.

TER YOU SLIDE THE MOUTHPIECE DOWN TO YOUR REGULAR EMBOUCHURE POSI.

TION

EXCEPT YOUR TOP LIP IS KEPT UNROLLED. THE LIPS SHOULD ALWAYS BE

WET SO THAT YOU CAN SLIDE WITH EASE THE MOUTHPIECE POSITION.

IF

YOU SLUR FROM THE LOW

"C''

TO THE DOUBLE PEDAL

"C''

YOU WOULD SLIDE THE

MOUTHPIECE UP TO SEVEN EIGHTS ON THE TOP

LIP.

YOU WILL NEED TO KEEP THIS UNROLLING INTO THE MIDDLE AND HIGH REGISTER. REPEATTHIS MOUTHPIECE

SLIDE

-

THE MORE YOU TRY WITH THE UNROLLED LIPS THE STRONGER THE LIPS, JAW AND ArR POWER BECOME.

STUDY PHOTOS

AND

DRAWINGS

-

REMEMBER UNROLL BOTH LIPS

_

CHECK

TEETH OPENING (THE UNROLLED LIP HELPS KEEP TEETH OPEN) MUCH MORE AIR

POWER CAN BE USED WITH TH IS TYPE EMBOUCHURE

-

ACTUAL CENTER LIP TOUCH

AND APERTURE WILL BE CLOSER FROM

SIDETOSIDE...

THE LIPCLOSE FORTHE UPPER REG]STER WITH LESS ARM PRESSURE. TRY PUMPING AIR WITHOUT THE

MOUTHPIECE

-

FIRST FORM YOUR OLD EMBOUCHURE

-

PUMP AIR IN FRONT OF A MIRROR

-

NOTICE HOW WIDE THE APERTURE IS FROM SIDE TO

SIDE.

NOWTRY

THE TRUI\4PET YOGA

WAY.

WATCH THE TOP LIP THICKEN AS YOU UNROLL

-THE RIDGES IN -THE TOP LIP ABOVE THE RED TOP LIP DRAWS IN SIDES UNDER THE

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(6)

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. .a

NOSTRILS OF YOUR NOSE

-

LOOK IN

TURE IS SIDE TO SIDE

-

THIS MEANS

,fVSTRUCTIONS

''a _4

'|{'r''

THE MIRROR, SEE HOW THE SMALLER APER-LESS ARM, MORE RANGE AND ENDURANCE

WHEN

YoU

ARE

PLAYING TRUMPET YOGA YOUR ToP LtP (wHtTE

AND

RED)

ALL

THE

WAY ACROSS

WILL

BECOME

THICKER.

THE THICKER THE TOP

LIP

IS

BEFORE

YOU

START, THE BETTER

AND

STRONGER TRUMPETER

YOU

WILL

BE.

THIS WARM.UP AND PRACTICE WILL KEEP YOUR EMBOUCHURE

-THICK

AND SOLID.

1 KNOW WHEN

I

DO EXERCISE ONE, TWO AND THREE, WHICH TAKES LESS THAN TWELVE MINUTES

I

CAN PLAY

EVERY

DAY

DOUBLE PEDAL

"C"

_

LOW

"C"

_

MIDDLE

"C"

-

HIGH

"C"

-

DOUBLE HIGH

"C".

THESE TONES MUST BE COMPACT

_

BRILLIANT

_

PURE

AND FULL,

NO FUZZ OR GRINDING IN THE TONE

_

ABILITY

TO HOLD OUT YOUR TOP NOTES.

EXERCISE NUMBER TWO

_

STARTWITH REGULAR MOUTHPIECE PLACEMENT

-KEEP UNROLLING TOP LIP

_

DO NOT STOP THE SOUND WHEN GOING FROM MIDDLE

REGISTER

TO

DOUBLE PEDAL

OR REGISTER.

SLIDE THE MOUTHPIECE UP TO

SEVEN EIGHTS ON THE TOP LIP IN THE DOUBLE PEDAL RANGE.

THIS EXERCISE

WILL TAKE SEVERAL WEEKS TO GET PROPER FREEDOM OF SOUND.

NUMBER THREE

IS THE

ULTIMATE TEST

OF ANY

TRUMPET PLAYER'S

EM-BOUCHURE. DO NOT BE

DISCOURAGED

IF

YOU CANNOT GO HIGHER THAN A

MIDDLE

"C''.

MAKE SURE THAT YOUR JAW STAYS

IN

ITS FORWARD POSITION.

WET LIPS

_

VERY

LITTLE

ARM PRESSURE

-

SLIDE MOUTHPIECE DOWN AS YOU

CLIMB HIGHER

To

YOUR REGULAR

PoSlTloN.

KEEP LOwER

[tp

MoVtNG Up AND

HUGGING TEETH

-

LowER t-ip'rEe

I-s LIKE

A

RouND

pAD

-

Top

Ltp rs

srrll

uN-ROLLED

_

TRY TO KEEP THE PEDAL FEEL IN TOP LIP.

THE REASON

I

CALL MY

METHOD "TRUMPET YOGA" IS THIS

_

TRYING TO HOLD THE UNROLLED LIPS IN

A

FIXED FEEL

-

IS MUCH LIKE

A

YOGA HOLDS A POSTURE SUCH AS

A

HEAD OR SHOULDER

STAND.

THE YOGA HOLDS STEADY

-THE LIFE FORCE IN "TRUMPET YOGA'' IS THE WIND POWER. YOU WILL FIND THAT YOUR NEW LIP SET

IN

MANY CASES

WILL

REQUIRE TWO TO THREE TIMES THE

AIR

FORCE OF YOUR OLD SETTING. KEEP USING MORE AIR.

r,;,:-. d!,.

(7)

,'VSTRUCTIONS

.,a 'a

r--.

IN

REVIEW

-

MAKE SURE THE UNROLLING

OF

THE LIPS BRINGSTHE SOFT INNER RED

OUT.

NEXT PUSH THE BOTTOM LIP SLIGHTLY FORWARD AND THE

TWO UNROLLED LIPS WILL FORM

A

STRONG LOCK IN THE SIDES OF THE LIPS IN THE DOUBLE PEDAL REGISTER

_

YOU MUST START

HERE.

THE TWO LIPS ARE STILL HELD AGAINST THE TEETH IN

ALL

REGULAR PLAYING.

I

HAVE REPEATED MANY TIMES SOME OF

THE

INSTRUCTIONS

_

THEY ARE

VERY IMPORTANT. IF YOU DO THESE ROUTINES AS

I

DO,

I

KNOW YOU WILL GET

GREATER RESULTS THAN YOU WOULD EVER HOPE FOR.

YOUR NORMAL BOTTOM

LIP

IS MUCH STRONGER THAN YOUR TOP

LIP.

A GOOD EXERCISE THAT

I

DO TO DEVELOPE BOTH LIPS AND SIDE LOCKS. LOOK AT PHOTOGRAPH NUMBER TWO

-

TRY TO UNROLL TOP LIP AND BOTTOM TO THETR

FULLEST

_

PUSH JAW FORWARD

_

CLOSE TEETH

-

BITE WITH UNROLLED LIPS

(PUSH LIPS TOGETHER

-

FEEL SOFT INNER RED TOP

AND

BOTTOM PRESSING

TOGETHER HARD, HOLD TEN SECONDS). NOW DO THE SAME UNROLLING BUT

OPEN TEETH ONE QUARTER INCH

AND

PUMP

AIR

THRU THE LIPS AS IN PHOTO.

NOTTCE tN PHOTO NUMBER THREE,ON THE DOUBLE PEDAL ,,C", HOW STRONG

THE LIPS ARE LOCKED IN AT THE SIDES

-

HOW MUCH TOP LtP MUST BE USED TO

GET THE PROPER UNROLLING OF BOTH

LIPS.

DO NOT PUSH THE BOTTOM LIP UP

AND

UNDER WITH

A

RECEEDED

'AW.

ALSO, NEVER PLAY THESE PEDALS WITH

YOUR REGULAR EMBOUCHURE. LOOK

AT

PHOTO NUMBER FOUR, LOOK AT HOW RELAXED

A

MIDDLE

"C''

SHOULD LOOK

-

NO

STRAIN.

NOW COMPARE PHOTO

NUMBER FIVE SHOWING

A

LOUD DOUBLE HIGH

"C''

EMBOUCHURE

,

STILL

UN-ROLLED ONLY SLIGHTLY MORE TENSE. YOU CAN STILL SEE SOFT INNER RED

-IN TOP LIP, AND AS IN

ALL

MY PLAYING I AM READY TO SLIDE THE MOUTHPIECE

UP TO SEVEN EIGHTS TOP AS IN PHOTO THREE TO PLAY LOUD DOUBLE PEDAL "C''.

THE DOUBLE HIGH

"C"

IS BEING MADE WITH LESS ARM THAN MOST OF YOU USE

oN

A

MIDDLE

"c".

I cAN

PLAY HUNDREDS

oF

DouBl-E HIGH

"cs"

EVERy DAy,

AND SO CAN ANYONE WHO REALLY WANTS TO.

I

HOPE YOU HAVE GAINED AN UNDERSTANDING OF WHAT

I

AM TRYING TO

TEACH IN "TRUMPET YOGA''.

(8)

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PHOTOGRAPi"i

No.

ii

UNROLLED

LipS

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No.

!!!

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Introducing...

(48)

The

Calicchio

Trumpet

THE CALICCHIO STORY starts back in the year 1916 when a young man named

Domenic Callicchio began making custom brass. Thru the years, until today, 1971, he has been perfecting this priceless art. The present Calicchio trumpet is the fruit of his many years of artisticand creative

work...

The fine hand

made, one-piece bell and smooth feel

of the

most balanced trumpet ever made.

1n.1970, Jerome Callet, a trurnpet teacher from Pittsburgh, pennsylvania,

joined with Calicchio to make this trumpet available to rhe public. Before

us-ing the Calicchio Trumpet, Jerome Callet owned more than 50 of the worlds finest trumpets, including almost all models of the custom builders, and was

never satisfied with their playing qualities until the Calicchio that plays free

over entire range of five octaves.

Calicchio Trumpets are better in tune, more free blowing, richer qual-ity of tone, faster attack and slurring, more powerful, more range, better en-durance, better balance.

Now to the key word, balance. This is the most important poi nt to all

trumpet players. Many of our young players today are shorting their playing life because of unbalanced trumpets making them over blow trying to get a bigger tone, more range or projecting over electronic lnstruments.

Now as to Calicchio Models-we can build Bb, C, D, Eb and piccolo Bb

trumpets, also Flugelhorn and tenor trombones. We can build more than twenty-five different Bb alone. The

two

bore sizes

for the

Bb are medium-large bore, .460 and large bore, .468, and the most perfect balance of the Bb

trumpet would be the medium-large 1-S bell with a number three leader pipe.

This has been the choice of the pros.

For a slightly more free blowing, less resistance,

A

number two leader pipe with a 1-S bell.

For a tighter, more brilliant tone you would use a number one bell.

The valves are not plated but monel metal-three times the wear of or-dinary valves. All trumpets come with first and third slide rings, also first and

third slide locks.

_

.You may have.-a short wait because you cannot buy a custom made Calicchio Trumpet in your music store but the pure pleasure of this horn will

last a lifetime.

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(49)

Price

in Gold

Lacquered

Brass . $43s.00

Price

in

Burnished Silver

Plate

.$475.00

All instruments shipped cash in advance or C.O.D. only-with a five

day trial, money back guarantee.

lrn,A r lr

- La a

f-JtK\J,Vlt LnLLt l--

Dtstrbutor'

femrne

1ollet

References

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