Level: easy / intermediate Format: English / French / German Arranger/Editor: Thomas Stevens This book is a supplement to the original James Stamp Warm-Ups and Studies (Editions Bim, Switzerland), and all of James Stamp?s concepts and instructions presented in the original volume should apply to these studies as if they were included in this book. The Stamp Warm-up No.6 from the original book (page 10) constitutes the main body of these studies (II, 1-6, pages 18-35). In his studio teaching, James Stamp had his advanced students play No.6 in the natural minor, harmonic minor, ?jazz? melodic minor, whole-tone, and diminished scales, versions of which are included in this volume. The philosophy of the Supplemental Studies, to which James Stamp agreed many years ago, was to fill in some of the blank pages of his legacy, to wit: to show his advanced scale exercises and some of his pedagogical ?roots.? One cannot do this without mentioning Max Schlossberg (1873-1936), whom many consider to be the father of the American school of trumpet playing, and who had a great influence on James Stamp?s work. James Stamp was a student of professor Schlossberg, and he used, especially during his formative years as a teacher, some of Schlossberg?s original unpublished materials in his work. Schlossberg?s concepts also greatly influenced the development of the now world-famous original published Stamp materials (Editions Bim). The Supplemental Studies include four preparatory scale exercises (I, page 8-16) and five attack-air flow studies (III, page 36-39) used by James Stamp, both sets of which have their origins in the concepts of Max Schlossberg and the members of the so-called Schlossberg School. Thomas Stevens

Level: easy / advanced Format: English / French / German Embouchure building Studies Elementary Intermediate Advanced High register training In the 17th century there were no studies in the modern sense of the word. Of J. S. Bach, however, we know that he wrote pieces of a study nature for his pupils, indeed he made them spend months, and in his own words preferably years, practising exercises for touch at the keyboard, that is, daily finger exercises, on the principle: There is little point in getting fit if you do nothing to stay fit. From this point of view, relating it to our instrument and to the lips, you ought to look at the following embouchure-building studies. They are not intended as warm-ups, although that term is quite appropriate for some of these exercises. Taken together they serve to build the muscles, rather like an athlete's training. Like him, we too must increase our capacity gradually. The muscles and organs involved adapt to the greater workload, but only if the increase proceeds systematically and rationally. Try to complete the full distance of each study, gradually reducing the time, like a long-distance runner. Adding one exercise, or at most three, according to the difficulty, to your daily workload will be enough. You should only start further exercises when you have fully mastered the preceding ones according to the directions in my embouchure method and have reached a satisfactory standard in rhythm and sound. The deliberately simple fingerings make it easier to check the actions of the diaphragm, the lips, and the tongue inside the mouth cavity. Form a mental picture of their movements and compare yourself constantly to an artist whose principle is: There are no secrets, at best some small tricks, which can be learned.