There are many books written for the Piano, Violin, etc., entirely devoted to Technic. This Work is especially written to enable the Student, by practice and application, to overcome any obstacle which may occur in musical passages written for the Cornet. By controlling the Wind Power to play these Exercises as written, in one breath, the Student will acquire ENDURANCE without strain or injury. Train the Muscles which control the Lips, to make them elastic and strong, as only a slight pressure is necessary, and not brute force. The highest as well as the lowest notes can be played with equal tone quality if practiced according to the instructions that precede each Study. Every Cornet Player should have reached a degree of excellence before attempting to play these Exercises. To become an Expert on the Cornet, one should be familiar with as many Cornet Methods as possible, and so gain the experience of each. Every Exercise in this Book is possible, and not so very difficult if practiced slowly at first, and not too long at a time. I have used them for my daily practice for years, and they have been the means of my reaching the highest notes after playing a two-hour Concert, also of preserving my lips so that they never tire, and what has been a help to me is surely good for other Cornet Players. You cannot expect to attain the highest point of excellence without hard work and perseverance. Never be perfectly satisfied with yourself. Try to make some improvement each day, feeling that it is a pleasure to have conquered that which seemed an impossibility at first. Do not neglect to correct immediately the least fault you make. Bad habits are easily formed, but are difficult to remedy. There are few Celebrated Cornet Soloists, although thousands play the instrument. Most players abuse their practicing by not knowing the proper way, and neglecting to pay more attention to the elementary work. These Studies have been found to be excellent for Clarinet Players as well as Cornet Players. The Clarinet being a Wind Instrument also, all these Exercises will appeal to the Player of that Instrument by following the same instructions.

A complete pedagogical method for students of trumpet and cornet, this "brass bible" contains hundreds of exercises from basics to advanced. Includes the author's famous arrangement of Carnival in Venice.

Expertly written by the renowned trumpet virtuoso Allen Vizzutti, this comprehensive trumpet method provides a fantastic assortment of all-new intermediate to advanced-level exercises and etudes in all keys. It is organized into three volumes for greater study flexibility: Book 1, Technical Studies; Book 2, Harmonic Studies and Book 3, Melodic Studies. Available in SmartMusic.

Improve your pitch, flexibility, and range with drills and technical exercises by world-renowned teacher Max Schlossberg. Regarded as the gold standard of trumpet instruction at schools, universities, and conservatories for nearly a century, this compendium can be adapted to a broad range of playing levels from novice to expert. Especially useful in developing the upper register from G2 to C5, "Daily Drills and Technical Studies for Trumpet" provides a solid core for daily warm-ups. Schlossberg, often celebrated as the founder of the American schools of trumpet playing, devoted much of his life to teaching students with the individualized, handwritten drills collected in this book. See your playing improve dramatically after practicing these drills for only 20 minutes a day Max Schlossberg left more than the manuscripts that comprise "Daily Drills and Technical Studies for Trumpet"; he left a battalion of pupils whose position in the forefront of American music offers the most concrete evidence of his ability to impart his mastery of the trumpet to ambitious students. He is remembered for his infinite patience with the unique idiosyncrasies of his students, rather than teaching rigid methodologies. Born in Libau, Russia in 1875, Schlossberg received training at an early age under men like Marquard, Putkammer, and Adolf Souer at the Imperial Conservatory at Moscow. He later studied under the famous professor Kozlic in Berlin and toured Europe as a soloist under Nikisch, Weingartner, and Richter. In 1910 he joined the New York Philharmonic Symphony, where he remained for the last 26 years of his life. Soon after his arrival in the United States, he became a faculty member of the Institute of Musical Art and later the Julliard Graduate School.