BASIC COURSE TABLE OF CONTENTS LOUIS MAGGIO INTRODUCTION TEACHING AIDS be w. ne 1 B Me 1, we THE PLAYING Position’ THE EMBOUCHURE POSITION OF MOUTHPIECE HOW TO TAKE A BREATH RELAX THE WARMUP THE PEDAL TONES MIDDLE REGISTER . EXTREME HIGH REGISTER SYLLABLES THE stu THE TONGUE FINGERINGS - S130 INTONATION ATTHTUDE, SOUND POSITIONS MAGGIO AND THE BRASS FAMILY MAGGIO WARKUP A, MAGGIO WARMUP 6 LESSON | PRODUCTION OF SOUND LESSON It THE sug LESSON I THE TONGUE LESSON IV. EXTREME REGISTER LESSON V_ ENDURANCE MAGGIO FROTOGRARASINTRODUCTION You 00 WHAT [TELL YOU, SONNY, I'LL MAKE YOU PLAY BEAUTIFUL,* THIS WAS LOUIS MAGGIO'S OPENING STATEMENT TO IME IN 1987 AS A YOUNG CONFUSED AND MISGUIDED TRUMPET PLAYER. HAVING NOTHING TO LOSE AND EVERYTHING TO GAIN, I PROCEEDED TO FOLLOW HIS ADVICE AND FOUND EVERY SINGLE THING NE SAID TO COME TRUE. LOUIE TOOK THE TOTAL BURDEN OF MY LEAINING HOW TO PLAY A TRUMPET (PREVIOUSLY BY TRIAL AIND ERROR, RUMORS AND HEARSAY) OUT OF 1A HANDS He EECAME THE MOST IMPORTANT INFLUENCE OF MY LIFE, AS HE DID WITH SO MANY ‘OTHERS, HIS INGENIOUS SYSTEM FOR BRASS BOTH SHAPED AND EXAPHASIZED MY PLAYING AIND TEACHING CAREER, CONSEQUENTLY, IN THE HOPE THAT THE PROFOUND TEACHINGS OF THIS GREAT MASTER SHOULD NOT REJAAIN IN THE GRAVE WITH ITS CREATOR, I HAVE DEDICATED MYSELF TO PASSING ON HIS PRINCIPLES TO NEW GENERATIONS . LOUIS MAGGIO'S ORIGINAL SYSTEM FOR BRASS IS SIMPLE AND QUITE DIRECT, HE LEFT NOTHING UP TO CHANCE, HIS INSTRUCTIONS COVERED THE ENTIRE CONCEPT OF BRASS PLAYING. THANE ATTEMPTED TO DOCUMENT THE BASIC MAGGI FUNDAMENTALS AS, EXACTLY AS | REMEMBER LOUIE GIVING THEM TO ME, THE WARMUPS, LESSONS, EXAMPLES (ILLUSTRATIONS) AND TEACHING AIDS ARE DESIGNED TO ANSWER ANY QUESTIONS YOU MIGHT HAVE ABOUT THE SYSTEM, ‘YOU WILL FIND THAT I REPEAT MYSELF ON OCCASION, THIS [5 NOT NERELY REDUNDANCY, GUT RATHER AN INTEGRAL PART OF MAGGIO'S METHOD, IT 1 IN (ORDER TO EMPHASIZE CERTAIN BASIC TEACHINGS. ALSO, TO KEEP THESE RULES BN YOUR THINKING. FOR AN EXAMPLE ~ THE WARMUP, WHICH 1S AMUST, 15 ‘COUPLED WITH A SERIES OF PHOTOGRAPHS. THEIR PURFOSE [5 TO INSTILL IN YOUR IMINO THE IAPORTANCE OF PLAYING THE SAME WAY EVERY THE, THIS WILL HELP TO DEVELOP CONSISTENCY. THESE EXERCISES AME DESIGNED FOR THE BEGINNER TO TE FROFESIONAL. | HAVE STUDENTS FROIM FOURTEEN TO OVER SKTY PLAYING FROM DOUBLE PEDAL C 10 DOUILE HIGH C AND ABOVE, THIS PROVES ONE THING, ~-= THA OTE FORGE > {AS NOTHING 10 DO ITH 3° AT'S ALL I KNOMING: HOW? — —eer re qt cea THE LOUIS MAGGIO LIP FORMATION Reproduced from en actvol photograph in Lovie Moggio's studio, this picture rows tobe favalvabls in assisting stu orosp the ideo of placing the fips ia © forward postion. . kssiaelinlglgi arti [uaa RL EE | erp aE eye A be ee Serio nS LEFT ~ A rore specimen of the music ‘writing of Lovts Moagio.THE LITTLE MAN WITH A BIG MESSAGE NEVER BEFORE HAD THE BRASS WORLD BEEN AFFECTED SO STRONGLY 8Y ANY ‘ONE MAN THAN BY THE NOW LEGENDARY LOUIS MAGGIO, LIVING IN THE DAYS WHEN! COMUAUNICATIONS WERE SLOW AND THE DEVELOPMENT OF THE BRASS INSTRUMENT WAS IN ITS FORMATIVE YEARS, THE ARRAY OF PROFESSIONAL RESULTS HE LEFT EEHIND ARE A GREAT TRIGUTE TO HIS GENIUS. MAGGIO'S MASTER INSTRUCTIONS WERE NOT MERELY THE PRODUCT OF SOME BRILLIANT SUFERORAIN, SUT GREW OUT OF A TRAGIC ACCIDENT THAT CHANGED HIS ENTIRE LIFE. HAVING LEFT HIS NATIVE ITALY IN 1905, HE WAS APPEARING WITH THE ST, PAUL SYMPHONY WHEN DISASTER STRUCK IN 1919, Int SUSZERO WEATHER, WHILE RUNNING TO CATCH ASTREETCAR, LOUIE SLIPPED ON THE ICY PAVEMENT AND FELL, STRIKING HIS MOUTH ON A SAFETY ZONE QUITON, THE FORCE OF ‘THE BLOW LITERALLY SHREDDED HIS LIPS AND KNOCKED OUT SEVERAL FRONT TEETH, THE MEDICAL PROFESSION COULD NOT HEL? AND HIS CAREER WAS OBVIOUSLY ATANEND. ALTHOUGH DESPONDENT, LOUIE PURSUED THE CHALLENGE AND FOR THE NEXT YEAR COUNSELED HIMSELF, CONCEIVING AND DEVELOPING A TOTALLY [NEW CONCEPT OF BRASS FLAYING. TO THE AMAZEMENT OF HIS COLLEAGUES, THE SYSTEM MAGGIO HAD CREATED NOT ONLY ENABLED It TO RETURN TO HIS (CHAIR WITH THE SYMPHONY, BUT HE WAS FLAYING BETTER THAN EVER, HE HAD ACQUIRED A REGISTER UNHEARD OF IN THOSE BAYS (FIVE OCTAVES) AND HE NOW DISPLAYED A RICH, VELVET TONE THROUGHOUT ALL REGISTERS. WORD OF MAGGIO'S ACCOMPLISHMENT GRADUALLY SPREAD THROUGHOUT THE WORLO OF MUSIC, AND BELEAGUERED BRASS MUSICIANS BEGAN TO SEEK HIS HELP WITH THEIR INDIVIDUAL PROBLEMS, IN 1990, MAGGIO SETTLED IN LOS ANGELES TO SPEND HIS FULL TIME TEACHING, AND EVENTUALLY TO ESTAGLISH AN INTERNATIONAL REPUTATION AS THE ACCLAINED MASTER BRASS INSTRUCTOR, AMONG THE MUSICIANS WHO SUFFERED INJURIES SIMILAR TO MAGGIO'S AND CONSEQUENTLY SOUGHT HIS HELP WERE RAFAEL MENDEZ AND CARLTON MACBETH.MAGGIO WAS ADLE TO REBUILD EVERYONE THAT BROUGHT THEIR PROBLEMS TO LIM, IN ALL CASES THEY RETURNED TO THEIR PLAYING CAREER WITH EVEN GREATER STRENGTH AND MORE FINESSE THAN #2102 TO THEIR MISFORTUNE, SUCH WAS IS SUCCESS THAT AT ONE TIME ALMOST EVERY TOP STUDIO BRASS PLAYER ON THE WEST COAST WAS. AN EXPONENT OF THE JAAGGIO SYSTEM, LOUIS MAGGIO, AS A RESULT OF HIS TOTAL DEDICATION TO MUSIC AND TO HS STUDENTS, WAS MORE THAN JUST A GREAT TEACHER. HE BECAME A WAY OF UFE FOR ALL WHO CAME MIS AY. [AS YOU PROCEED THROUGH THESE PAGES INTO THE WORKS OF LOUIS MAGGIO, YOU MAY POSSIBLY SEE THIS "LIITIE MAN WITH A GIG MESSAGE" IN THE SAME LIGHT THAT HIS MANY GRATEFUL STUDENTS AND ADMIRERS SAW HIM ALTHOUGH THIS 1S A SELATED TRIBUTE TO A GREAT MAN, MAY IT HELP TO RING. ABOUT SOME OF THE RECOGNITION ANO ACCLAIM HE SO JUSTLY DESERVES .Ps THESE STUDIES ALSO BLOW THE CONCEPT THAT IT TAKES A LIFETIME TO LEARN TO PLAY A RASS INSTRUMENT, IT DOESN'T WORK THAT WAY. ALL THAT IS NECESSARY 15 AN HOUR AND A HALF TO TWO HOURS A DAY, SEVEN DAYS & WEEK FOR FIVE FULL WEEKS, PLENTY OF REST AND A CONSTANT AWARENESS OF THESE BASIC PRINCIPLES. $ WOULD RECOMMEND THAT YOU DO NOT PLAY PRIOR TO THE WARMUFS AND THE LESSONS. IF YOU HAVE AN EARY CALL OR ARE UNASLE TO GO THROUGH THE LESSON (OF THE WEEK BEFORE A PERFORMANCE, AT LEAST COMPLETE THE WARMUP. THEN, LATERIN THE DAY, MAKE UP THE LESSON, opgSMEAMBER, OVER THE YEARS YOU HAVE DEVELOPED 84D HABITS TO PERFECTION, 50 At LEAST GIVE THIS SYSTEM A GOOD FIVE WEEKS." — LOUIS MAGGIO. INCLUDED IN THIS COURSE ARE A SERIES OF TEACHING AIDS. REFER TO THEM OFTEN, THEY SHOULD ANSWER ANY QUESTION YOU MIGHT HAVE, IF, BY ANY CHANCE | HAVE LEFT SOMETHING UNANSWERED OR VAGUE, BO NOT HESITATE 1 WRITE AND GIVE ME THE OPPORTUNITY TO CORRECT ANY LACK OF COMMUNICATION, FOLLOW THE SYSTEM ATTENTIVELY, CONCENTAATE.OW THE FUNDAMENTALS — [AND THE RESULTS WILL CONTINUE TO AMAZE YOU FOR THE REST OF YOUR PLAYING CAREER. PRACTICE, SONNY, THEY'LL PEAT A PATH TO YOUR BOC —maccio baHiP, LOUIE. Qo din haSath,PRODUCTION OF SOUND VET LIPS. FOLLOW PHOTOGRAPHS, FOR ALL WARMUPS AND LESSONS. PHOTO 41 TAKE A BREATH LIKE A DROWNING MAN GOING DOWN FORTHE THIRD TUAE. 42 PLACE MOUTHPIECE DIRECTLY UNDER NOSE. 42 RELAX AND MOVE MOUTHPIECE DOWN UNTIL THE BOTTOM LIF OROPS IN PLACE, 4, PUMP AIR IN AND UP @IKE ROLLING A TUBE OF TOOTHPASTE FROM THE BOTTOM). MOUTHPIECE PLACEMENT SHOULD BE: 1, 2/9 UPPER, 1/8 LOWER. 2. CORNERS OF MOUTH IN TO EYE TEETH (AS IF TO vaRISTLE), 3, LIPS TOGETHER. 4. BOTTOM LIP SLIGHTLY UNDER AND BEEIND TOP LIP. 5, BUZZ DOWN. REFER TO TEACHING AIDS 2 THROUGH 7)TEACHING AIDS 1, THE PLAYING POSITION THE PLAYING POSITION CAN BE EITHER SITTING OR STANDING, | WOULD USUALLY SIT IN LOUIE'S STUDIO, BUT ON OCCASION WOULD STAND IN ORDER TO LOOSEN UP. ‘HE INSTRUKENT SHOULO BE HELD FINLY WITH THE LEFT HAND. THE RIGHT HAND | (GLIDE 08 VALVE IANO) SHOULD OE RELAKED, BUT STILL UNDER CONTROL. THE BELL OF THE HORN SHOULD BE TILTED SLIGHTLY DOWN TO ALLOW THE MOUTHPIECE TO FIT THE NATURAL CONTOUR OF THE LP 2, THE EMBOUCHURE “THE LIPS ARE LIKE REEDS. THEIR ONLY FUNCTION 15 TO ViBaAt MAGSIO I } OO ier ie (1 Some POSITION OF MOUTHPIECE REFER TO PHOTOGRAPHS PHOTO #2. PLACE IMQUTHPIECE DIRECTLY UNDER NOSE. PHOTO 43 MOVE THE MOUTHPIECE DO¥N UNTIL THE LOWER LIP FILLS ABOUT THE BOTTOM 1/9 OF THE CUP, LEAVING 2/5 ON THE TOP LIP, THERE IS ALWAYS THE DANGER (OF THE MOUTHPIECE SLIPPING DOWN TOO FAR ON THE TOP LIP, THEREFORE THE STUDENT MUSE KEEP A CONSTANT VIGIL AGAINST THIS HAPPENING, { 4, HOW TO TAKE A BREATH REFER TO PHOTOGRAPHS PHOTO 4) TAKE A BREATH LIKE A DROWNING MAN GOING DOWN FOR THE THIRD TIME," ——--- LOUIE HAGGIO LOUIE'S MEANING WAS TO GET AS MUCH Alf AS POSSIBLE INTO THE LUNGS IN THE SHORTEST AMOUNT OF TIME, | 2HOTO #3. RETAIN THE AIR AND RELAX, 's{t ON THE AIR WITH YOUR SHOULDERS , ALLOWING {T TO SHIFT TO THE BOTTOM PART OF THE LUNGS," =---- MAGGIO.TEACHING AIDS PHOTO AE PUMP AIR IN AND UP, LIKE: 1. BOLLING A TUBE OF TOOTHPASTE FROM THE BOTTOM, 2, AFORK LIFT. 3. ADOXER TAKING A BLOW IN THE STOMACH. 4. INAND UP. |f THE STUDENT FEELS SHORT OF OREATH OR LACKING IN SUFFICIENT Al, IT IS USUALLY DUE TO IMPROPER BREATHING OR EXCESSIVE LOSS OF AIR THROUGH DISTRIBUTION | (QHE LIPS ARE TOO FAR APART). TO SOLVE THIS PROBLEM, TAKE A SERIES OF SHORT BREATHS, AS FOLLOWS) INHALE. RELAX (RETAINING AIR). TAKE SECOND 8REATH. FELAX (ETAINING AIR). TAKE THIRO BREATHS. RELAX GIT ON AIR WITH SHOULDERS). PUMP AIR EXHALE). {86 SURE TO KEEP LIfS TOGETHER TO CHECK UNNECESSARY LOSS OF AIR. H 5. RELAX ‘THE BULK OF THE MUSCLES OF THE BODY SHOULD REMAIN RELAXED AS POSSIBLE AT ALL TIMES, NATURALLY, THERE WILL BE TENSION Int CERTAIY AREAS OF THE BODY (HE DIAPHRAGM, THE STOMACH MUSCLES AND THE EMSOUCHURE), BUT ONLY ENOUGH TENSION TO PERFORM THEIR FUNCTION. MaAGGIO. "WE A STUDENT {5 PLAYING RELAXED, YOU CAN HEAR IT IN THE SOUND." 6. THE WARMUP { THE WARMUP IS A MUST WITH THE \GGIO APPROACH, THE AIR STREAM 15 STARTED AND THE POSITION OF THE ENSOUCHURE AND MOUTHPIECE ARE ATTAINED, THE LIPS ‘ARE GRADUALLY INDUCED TO VIBRATE, AND GENERALLY BRING ABOU A MORE RELAXED APPROACH TO PLAYING. THE TWO MAGGIO WARMUPS INCLUDED WITH THIS COUISE ARE CESIGNED TO ACCOMPLISH THESE FUNDANENTALS, SWITCH THESE WARMUPS AS DIRECTED. NO KEEP WORKING YOUR WAY DO¥IN TO PEDAL C (Bb) UNTIL IF BECOMES FART OF YOUR RANGE.( SPECIAL INSTRUCTIONS POSITION CHART FOR BASS TROMBONE WITH “F* ATTACHMENT AND *E* SLIDE INDICATES VALVE IN USE { £ bee be _ 4, ) —— 7 fj — ee | 7 ae z % 1 2 3 | fetes tae pee eee Siete ce eH | aw ve v8 yA WS VG ve NB vi We : = = ————— } | { Zé 1 e 7 1 ¥ = = et = | ie Faeeeare cet eee rie ceeate eee cee Fee | fa veritive tive tee tye te vat iva Meet Ye ui E200 | = “ a + = ' 3 | re Sy F we = Go? a | we € suns | wE F F | ye wea € Su0 SINCE THERE ARE ONLY SIX POSITIONS ON THE SLIDE, WHEN VALVE IS IN USE THE "E" SUIDE ' [MUST 2€ PULLED IN ORDER TO PLAY THE LOW "8" NATURAL, THIS WILL MAKE ALL VALVE NOTES. ONE POSITION HIGHER, STUDENT SHOULD BECOME FLUENT INV BOTH "F" ATTACHMENT AND supe. | i FRENCH HORN THE SMIODLE LINE INTE (FRENCH HORN) 15 INCLUDED IN ORDER TO FACILITATE CLASSROOM { INSTRUCTION 181 THE MAGGIO SYSTEM, WHEN! PLAYING WITH TRUMPETS AND LOVER BRASS INSTRUMENTS, THE FRENCH HORN (F) SHOULD APPLY SYLLABLE CHANGES AS DIAGRAMAMED BELOW (SEE LESSON ONE THROUGHOUT THE COURSE = a ay Tee Tick rs { WHEN STUDYING INDIVIDUALLY, FRENCH HORN MAY USE THE TRUMPET (TOP) LINE 88 WITH THE CORRESPONDING SYLLABLE CHANGES,THE PEDAL TONES THE PEDAL TONE 8 CONCERT MAY SE ELUSIVE WHEN FIRST ATTEMPTED, IF EXERCISE ONE PROVES TO 9£ TOO DIFFICULT, PROCEED TO EXERCISE TWO, KEEPING THE LIAS TOGETHER, PRONOUNCE THE SY LLABLE "TAH" AND PLAY THE VIBRATION THAT RESULTS AELOW PEDAL 0D CONCERT. ONCE TIE NOTEIS ATTAINED THEN, WITHOUT TIGHTENING THE LIBS, INCREASE | THE AIRSTREAM VELOCITY UNTIL THE VIBRATION REACHES CONCERT 9. THIS WILL GIVE THE PROPER FEELING FOR THE NOTE SO THAT EVENTUALLY IT WILL BE MASTERED. EXERCISE ONE EXERCISE TS TAH-+ TAH TAH TAM EACH TIME THE ABOVE SYMBOL APPEARS IN THE COURSE THE STUDENT SHOULD PLAY THE FULL PEDAL TONE EXERCISE, { NOSE BREATH sé TEACHING AlDs ~ AbvaNezo suo!TEACHING AIDS 7. THE PEDAL TONES { ANY NOTE BELOW THE NATURAL RANGE OF THE INSTRUMENT [5 CALLED A PEDAL TONE. } THEY WILL PROBABLY NEVER HAVE ANY MUSICAL VALUE, HUI PEDAL TONES ANE THE YERY FOUNDATION OF THE MAGGIO SYSTEN, | WHEN PLAYED CORRECTLY, PEDAL TONES: 1, FORCE THE STUDENT TO ADHERE TO THE CORRECT EMBOUCHURE AND | ‘MOUTHPIECE PLACEMENT, 2. SET THE STAGE FOR THE EXTREME HIGH REGISTER, ONLY THE SYLLABLE (TICH) [AND TENSION (CORNERS OF MOUTH IN TO EYE TEETH AS (E TO WHISTLE) ARE DIFFERENT. 3, EAR TRAINING , BREATH CONTROL, ETC, REMEMBER TO APPROACH THE PEDAL TONES FROM AN OCTAVE ABOVE TO RETAIN THE PLAYING EMGOUCHURE AND TO INSURE ACCURATE PITCH, USE CORRECT FINGERINGS AND | SLIDE POSITIONS AMD ALLOW THE MOUTHPIECE TO CRAWL UP THE UPFER LIP. THE TONGUE | | SHOULD BE KEPT FLAT ON THE FLOOR OF THE MOUTH WITHOUT ANY ARCH. BE SATISFIED WITH ANY TYPE OF SOUND AT FIRST, AND CONCENTRATE UPON THE | PRINCIPLES (AIR, RELAX, SYLLABLES, ETC). 8. MIDDLE REGISTER i 2) “THINK OF BLOWING OUT OF THE BELL OF THE HORN INSTEAD OF INTO THE, i AROUTHPIECE FOR A MORE RELAXED AND RICHER SOUND, LOUIS MAGGIO THIS 15 THE MOST IMPORTANT REGISTER OF ALL, MAINLY BECAUSE THE MAJORITY OF | PLAYING 15 DONE IN THIS AREA, VE AFPROACH THE JIDDLE REGISTER ITH THE SAME { ‘CLOSED EMSOUCHUSE, THE PROPER SYLLABLE, AND A RICH, RELAXED AIR STREAM. 9. EXTREME HIGH REGISTER DURING THIS COURSE WE WILL AFPROACH THE HIGH REGISTER WITH THE FOLLOWING mosorny: 1. RETAIN PEDAL NOTE CHMDOUCHUE IN THE HOH REGISTER, : 21 "AH IC FAROAT AT ALL TaMES, | 3. FRONOUNCE SYLLABLE WITH THE TONGUE IN A HISSING FASHION TIC). | veo [PLAY SMALL AT FIRS, THEN LET THEN G 3 5. GO AS HIGH AS POSSIBLE EVERY DAY. PEDAL TONES SEIVEEN EACH ATTENET. 4. LOOK FOR A THIRD BELOW YOUR VERY TOP NOTE 10 EVENTUALLY BE YOUR j PRACTICAL BANGE. | 7. IMIS Is A REGISTER THAT COMES SLOW FORSOME AND FAST FOR OTHES. REMEMBER, IF ALL OF THE PRINCIPLES OF THE MAGGIO SYSTEM ARE CORRECTLY APPLIED, THE HIGH NOTES WILL ALL COME OUT.TEACHING AIDS 10, SYLLABLES THE PRONOUNCING OF THE SYLLABLE, BY FORMATION OF THE TONGUE, 15 THE HEART OF THE MAGGIO SYSTEM, "AH" INTHE THROAT AT ALL TIMES IS A CARDINAL RULE. THE SYLLABLES CREATE THE CORFECT AIR STREAMS FOR DIFFERENT FEGISTERS. THEY SERVE THE SAME PURPOSE AS THE OCTAVE KEY ON A CLASINET, THEY ALLOW YOU TO PLAY FINE FULL OCTAVES {DOUBLE PEDAL ¢ TO DOUBLE HIGH C) WITHOUT ANY CHANGE OF THE EGQUCHURE. NATURALLY, THEY MUST GE COORDINATED WITH ALL OF THE OTHER FUNDAMENTALS OF LOUIS MAGGIO'S TEACHINGS, AFTER A WHILE YOU SHOULD BE ABLE TO HEAR THE SYLLABLE DISTINCTLY IN THE SOUND, AMONG THE SYPRODUCTS OF THE SYLLABLE ARE ‘A MORE CENTERED SOUND AND INCREASED CONTROL OF PITCH. Vi. THE SLUR THE SLUR IS MOVING FROM ONE NOTE TO THE NEXT WITHOUT BREAKING THE Ab STREAM. 1. THE SLUR SHOULD a FLAYED ENTIRELY BY SYLLAALE AND AIR 2. THERE SHOULD BE NO VISIBLE CHANGE IN THE FACIAL MUSCLES. 3, COORDINATE THE SYLLABLE CHANGE, FINGER CHANGE OR SLIDE POSITION AND A SLIGHT KICK OF THE DIAPHRAGM, 4, MAINTAIN A FORWARD POSITION OF THE EMBOUCHURE. 5. NEVERSMILE, 12, THE TONGUE THE TONGUE HAS A MULTIPLE ROLE IN THE MAGGIO SYSTEM, 1, THE TONGUE CREATES THE SYLLABLE. 2, ON SINGLE ATTACKS FOLLOWED BY A SLURRED PASSAGE, THE TONGUE: ‘A, RESTS AT THE SASE OF THE TOP TEETH. B. DROPS TO RELEASE THE AIR TO THE FLOOR OF THE MOUTH AND THE TIF RESTS AT THE BASE OF THE BOTTOM TEETH. . BENDS IN THE MIDDLE TO FORM THE SYLLABLE, 3. WHEN TONGUING RAPIDLY, IT ACTS THE SAME AS A COBRA IN STRIKING POSITION ATTACKING THE BASE OF THE TOP TEETH, "THINK OF SLUBRING THE PASSAGE AND ADO THE TONGUE TO THE SLUR." mascioTEACHING AIDS 13, FINGERINGS © SLIDE POSITIONS THESE EXERCISES SHOULD UE PLAYED WITH THE TRADITIONAL TRUMPET FINGERINGS AS INDICATED, 1. CONCENTRATE ON CLEAN FINGERING. 2, THINK OF A FAST RELEASE AS WELL AS BANGING THE VALVES COW. 3, MEMORIZE AS SOON AS POSSIBLE IN ALL REGISTERS INCLUDED IN THE BASS CLEF BOOK AE SUGGESTED SLIDE POSITIONS, THESE ARE PLACED OVER THE NOTES TO ALLOW THE TROMBONE STUDENT THE FREEDOM NEEDED TO CONCENTRATE ON THE BASIC PRINCIPLES WITHOUF BEING CONCERNED Witt THE SLIDE. POSITIONS. (REFER TO "SPECIAL INSTRUCTION" PAGES REGARDING BASS TROMBONE AND FRENCH HORN) 14. INTONATION LAYING IN TUNED AND YOU WILL PLAY YOUR INSTRUMENT IN TU LOUIS MAGGIO PLAY YOUR INTERVALS IN TUNE TRIN OF THE PITCH YOU WANT, AND FOLLOW THE MAGGIO PRINCIPLES OF AiR, , THIS WILL MAKE POSSIBLE THE PITCH YOU ARE THINKING. 15. ATTITUDE 1s one 6 AAI TO ae ABTA 2 punter OUAYING, rue nacovo systema moDUCtD NON HEAT HAS NSTLAENTALS THAR ANY Snewbte en ~ Pog, TEYOU CAN FLAY BEYOND YOUR ABILITY ONCE IN A WHILE, THEN WITH | THIS COURSE BEAUTIFUL SOUNDS , CLEAN ARTICULATION AND SEEMINGLY EFFORTLESS [ Trois WL A vERYOAY OCCUFENCE = (ee [| { ' TEACHING AIDS f 16, SOUND "ALL OTHER THINGS EQUAL, THE SOUND IS STILL THE DIFFERENCE BETIWEEN A GOOD ‘TAD A GREAT INSTRUMENTALIST." e=--- LOUK MAGGIO \WE ALL HAVE AN IDEA OF THE SOUND Wi WOULD LIKE TO HAVE ON OUR INSTRUMENT. I MAY DIFFER FROM STUDENT TO STUDENT, ACCORDING TO INDIVIDUAL TASTE. ‘YET, THERE [S THE NATURAL FREE SOUND OF THE INSTRUMENT THAT 1S ALWAYS THERE. TIS IS WAKAT LOUIS MAGGIO ATTEMPTED TO BRING OUT IN HIS'STUDENTS, ONCE WE HAVE THE RICH, CLEAR, RAW SOUND OF THE INSTRUMENT PLAYED BY THESE PRINCIPLES , THEN WE CAN DEVELOP A PARTICULAR SOUND TO FIT THE TYPE OF MUSIC WIE WANT TO PLAY. ‘THE REQUISHIES OF A GOOD NAGGIO SOUND ARE: RICH AND BIG. DENSE CORE. CENTERED PITCH. RELAXED. FULLY CONTROLLED IN ALL REGISTERS AT ALL VOLUMES . MAGGIC & THE BRASS FAMILY ALTHOUGH LOUIS MAGGIO WAS ESSENTIALLY A TRUMPET PLAYER, HIS APPROACH TO BRASS PLAYING ENCOMPASSED ALL THE VARIOUS INSTRUMENTS, HE CONSIDERED THE TRUMPET, TRONGONE, TUBA, FRENCH HORN, BARITONE AND ALL OF THE OTHER RASS INSTRUMENTS AS ONE BIG BRASS FAMILY, HE TREATED EACH OF THEM IN THE SAKE YAY. MAGGIO'S METHODS HAVE PRODUCED SOME OF THE WORLD'S MOST ACCOMPLISHED TROMBONE AND TUBA PLAYERS, ANO HAVE BEEN THOROUGHLY PROVEN WITH THE } ENTIRE RANGE OF 8848S INSTRUMENTS. "IN ORDER TO PLAY TWVO INSTRUMENTS EQUALLY WELL, YOU MUST PRACTICE TWICE AS LONG EACH DAY," === LOUIS MAGGIO. THIS WAS LOUIE'S ANSWER TO THE DOUBLER ON BRASS, AND OBSERVATIONS OF (CURRENT INSTRUMENTALISTS ATTEST TO THE VALUC OF HIS THEORY’. cm.MOUTHPIECE PLACEMENT SHOULD DE: 1, 2/8 UPPER, 1/3 LOWER. 2, CORNERS OF MOUTH IN TO EYE TEETH (AS IF TO WHISTLE). 3, LIPS TOGETHER, 4, BOTTOM LIP SLIGHTLY UNDER AND BEHIND TOP LIP. 5, BUZZ DOWN. (REFER TO TEACHING Als 2 THROUGH 7) tat a a 8Theseesneeol Thanet Thccenenenecool{ “AH TA AHi 7 | j a TAA Thro TAH REST FIVE MINUTES{ afia[ afor[* fof? PRODUCTION OF SOUND SYLLABLES (THE PURPOSE OF USING SYLLABLES IS TO PLAY IN THE EXTREME REGISTERS WITHOUT MAKING A CHANGE OF EMBOUCHURE,) |, PRECEDE THIS LESSON WITH 2. THE THROAT IS IN AN "AH" POSITION AT ALL TIMES . 3, PRONOUNCE THE SYLLABLES WITH THE TONGUE, 4, IN THE HIGH REGISTER, A HISSING SOUND IS CREATED WITH THE TONGUE UP AND FORWARD, ‘5, BE SURE AND RELAX. (REFER TO TEACHING AIDS 8 AND 14) ‘SYLLABLES TO PRONOUNCE IN DIFFERENT REGISTERS SYLLABLES ae cae == All Bb Instruments F FRENCH HORN TROMBONE All C Instruments TAs ate jo AHLESSON ft 2622TAH Tho AVEEE TAH TassoAVEEE ats gos Ge 123 1 eon 8 TAH TA--AVE-EE-EE TAH TAX AYEEE-= 441 de 3333 TAH TACAYECEE-ICH TAH TheestEeeeICH TAH aeee eooe v F aw li) pega sy be 222 road ev eo LESSON 1TAH TAYE CH TAH TAYEE-o---1CH #: 43h ieee i TAYE == “ICH Bi ee 13 24s ue ee seQuce, TAH TeE===*1cH= ===TAH TAH TEEICHonsonone TCH nanan A228 ere TAH LESSON | TAH ast TeE-ICH @) 243 TAHTAH LESSON II THE SLUR, 1, PRECEDE THIS LESSON 2, CONCENTRATE ON: Ae b e o t. F PLENTY OF AIR. KEEPING LIPS TOGETHER WHILE CHANGING OCTAVES. “AK” IN THROAT, PRONOUNCE SYLLABLES WITH TONGUE. REST AS LONG AS YOU PLAY. RETAIN SAME EMBOUCHURE IN ALL REGISTERS , (REFER TO TEACHING AID 12) TAH TAH TAH LESSON 1LESSON ItTAH TAH TAH ve TAH TAH = “AH TAH TAH These Tee Para TAH-=--AYE TAnnsemAH TAcsenm-AH TEE LESSON It4 TAH LESSON 11 vs-AH TEE ICH —, 2, oy heel REST FIVE MAINUTES=A! TAH TAH SS | LESSON 11wy “AH TAH TAH. ¥ TheseeecoAH TAH TAH) TAsewsceAH TAY Bfsoe= TICHecoore= LESSON 11TAss--s--AH TAH TAH TAseeeeeAH TAH TAH TAssronem 3 Ga, hehe 3 hehe & —— LESSON IIWal AH TAH TAH) TAssomeosAH TEE-----ICH TICH-===o=-—~ sive HE 3 LESSON ttTHE TONGUE 2. CONCENTRATE ON: ‘A. ASTEADY STREAM OF AIR. 18, THINKING OF SLURRING EXERCISE AMD ADD TONGUE. C, RELAX. (REFER TO TEACHING AID 11) TAH TAH TAH TAH TAH TAH TAH TAH TAH TA~ TAH TAH TAH TAH TAH TAH TAH TAH TAH TAY: LESSON TILTAH TAH TAH TAH TAH TAH TAH TAH TAH TAY= z TAH TAN TAH TAH TAH TAH TAH TAH TAH TAY: Pa) (oa) a he TAH TAH TAH TAH TAH TAH TAH TAH TAH Tet iF LESSON IITTAH TAH TAH TAH TAH TAH TAH TAH TAH TEE AH TAH TAH TAH TAH TAH TAH TAH TAY TEE TAH TAH TAH TAH Tal Lesson 1thHH TAM TAH TAH TAH TAH TAH TAH TAY TEE b Tascos-AH TAH TAH TAH TAH TAH TAH TAY TEE TEE: 5 “AN TAH TAH TAH TAH TAH TAH TAY TEE TEE---ICH he 3S ee LESSON IISAH TAH TAH TAH TAH TAH TAH TAH TAH TEE TEE TICH & 2 fest FIVE AUNUTES TAH TAH LESSON UITThane ‘AM TAH TAH TAH TAH TAH TAH TEE TEE TICH—— fap # “AH TAH TAH TAH TAH TAH TAH TAH TEE TICH---o2- Bee ¥ TAs AH TAH TAH TAH TAH TAH TAY TEE TEE TICH- F333 (us) LESSON 111AH TAN TAH TAK TAH TAH TEE TEE TICH TICh ig OFs. HHTAH TAH TAH TAH TAH TAH TEE TICH TICH: BBE TAH TAH TAY TEE TEE TICH TICH, EST FIVE MINUTES LESSON 411cen TA TAM TEETCHTICHTIGN then TA TANTETICTCHTICH 3 g = ee er wo), 2 eee o & Gi,» Themen AH TAH TAH TICHTICHTICHTICH —TAcs-=---AH TAH TAH TICHTICHTICHTICH @ 2 oy 2 = > 323 8 2 q ww Fe F i, oS LussoN 111EXTREME REGISTERS 1. pascene rasL8 ~~" 2. ALTERNATE THE SLUR AND TONGUE FROM DAY TO DAY. 2. THE SLURIS USUALLY THE EASIER WAY TO PLAY THE TOP NOTES AND FEDAL REGISTER, “oo. MAKE A CONSTANT EFFORT TO INCREASE YOUR RANGE EACH DAY. “5, ONT BE DHECOURAGED ABOUT A SMALL SOUND IN THE UPFER REGISTER ATFIBT. SEE MAGGIO QUOTE, (REFER TO TEACHING AID 9) LESSON IVTAM TAH TAH TA ThA { { { | | TAH TAH TAH TAS } : t | { I { l | t f { , I | | | LESSON IV f {TAH LESSON IVTAH TAH TAsssorAH TAssse-A TA=-AVE TA AYE EE A AH TAcwonsAVE TA-AVE-EE TAY Ef LESSON IVTAH aH aH Dem Theat TA OAYE THAYESSE TAYEETICN ) eselll Theesath Theses TA ffm it ote wees ayy heave 1a a S e 2 4 ee S ‘a a LESSON IVTAR TAsssesoAYE+EE----ICH TAH oO fe Thee AV EofeslClag REST FIVE JAUNUTES LESSON IVTAH ve v oe TEE ICH TAH TEE--ICH=————-—--= { a 8 —3 a 6) #» LESSON IVLESSON V ENDURANCE 1. PRECEDE IHS LESSON a 2. PLAY THIS EXERCISE IN A VERY AGGKESSIVE FASHION. 3. REST BRIEFLY. 4. APPLY “LL OF THE PRINCIPLES USED IN THE PREVIOUS FOUR LESSONS . 5, DON'T OVER BLOW. 6. OBSERVE ~ AIR = RELAX ~ SYLLABLES . (REFER TO TEACHING AIDS WITH AINY QUESTIONS) AH LESSON VTia eee) Themen i | é Thanennecnnnecnannee nll TAcsesseneoeenltTAA LESSON V1. TA LESSON Vv 4Thesenceell A aannenneatt LESSON Vv Tacenierececnnecnenccnnne AHee a LESSON Vv I i & Theat 7? = TAH TAHLESSON VTas LESSON VvLESSON VTAY--AH--AVE TAH Th TAY--AH LESSON v Then AYETAY=-AH AYE TAY--AHAYE TaY-vAth AVE TheccoseeeeAY EeAincer-—-A TAY nA esenenn LESSON V | kTAH ThssovenenAll TEE~-Ali==m ] Lesson v fTherAHe-EE —TEE-AH-sennnonmmeefTEE-~AH: —— _—_—_—_——_— j t TEE--AVE-EE —TEE--AYE--AH-AVE-EE t LESSON V‘TEE--AYE=-EE TAH Then TEE~-AYE-AH=-AYE--EE Lesson v TEE~-AY Eo~AtfennoneneenAVEAEE Then--AYE-AH ee aie inet TEESAYE-AH-AYE-EETEE--AYE-AH~ inn ie be J TAH TAS-AYES-AH TAWCAYEVEE-AYE-*AH LESSON VTAH TASAYE-AH —TA*AYEEE“AYE--AH = TAAYESEE™ TAH TAGAYESAH — TAswAYEs=EE--AYE-“AH — TA=-AYE>nEE-ICH-EE-AYE--AH LESSON VvTAH Ta TicH--Ee--Iclt TAs EST FIVE HINUTES LESSON VTAH TAY“EE-AYE TAY-£6-———-——~ AYE TAY-BE--—-ICH-E TAH TAY--EE-AYE TAY-EE- NE TAY-EEaonICH “EE ----AVE —= TAH TAY=-EE-AVE TAYE as et i LESSON VPRD ga PANE RT RS iS RMN SRR TAH TER BE TEE=—ICHEE————TEeenlCHomeoneonst E———— htt 3 TEbema-ICHom ee TEBesceen8E TEE-=—-ICHFE oe LESSON V ‘TAH TeE-ICH=te TeE==-ICH b ox) Ge, TeE--IcH TEE-IC TAH TAH TEEICH-— by. TEE-ICH-— Lesson Vv TAH Lee” TEE-ICHonaomorTAH TEE--ICH TAH Tee-ICH-— oe © w) % w&. \ TAN Theos 4. TAH TICH: uu LESSON V TAH TEE=ICHem-——