Pietzsch 12
This Etude #12 exposes flaws in your fundamentals and intonation like very few etudes I've ever seen! And, if you can get to the last couple measures, they are super painful after everything you've been through throughout the etude. This is a great one to have your tuner on in such a way you can see it while playing.
note: the last measure of the third line page 2 I think should be an A…
Pietzsch 11
Pietzsch #11 features some close-interval slurring in the mid to upper register which makes this one especially tiring! The top of page 2 gave me some trouble with fingerings in the low register. I probably should have worked on this one more before recording it because I think overall it should be faster and smoother. Good Luck!
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Pietzsch 10
Pietzsch #10 is a nice one. It has some broad playing, orchestral dotted eighth-sixteenths, close-interval slurs and double-tonguing. A little something for everyone! In areas of lower register there are some nasty cross fingerings so start those areas slowly. The transitions from slurring sixteenths to double-tonguing is tricky. Work over the break of those transitions. It's easy to stop…
Pietzsch 9
Really only one thing to say about #9 - Double Tonguing. Well ok, I guess that's two things...
http://allthingstrumpet.com/wp-content/uploads/2020/03/Pietzsch-9.mp3
Pietzsch 8
Pietzsch #8 strikes me as a very "orchestral" sounding etude. Meaning, I want to play with a big, broad sound and play the dotted rhythms as squarely as possible. I don't mean square as in a non-jazz sense but I'm thinking the shapes of squares and rectangles when I approach these rhythms. Keep the corners of these shapes as sharp as possible. Keep the long notes in the phrases as stable as…
Pietzsch 7
This one is quite a physical workout. Lots of "Clark-like" slurring in the mid to upper register. It helps me to think of creating a really good foundation of air - "bedrock" - and focus on using my embouchure and aperture to manipulate the pitches. You may be tempted to arch the tongue and "hiss" the high parts out like you would if this were a lead trumpet part. Unfortunately, I don't think…
Pietzsch 6
This was kind of an annoying little etude, in my opinion. But, a good workout for triple tongue. Be careful that the occasional slurred triplet like the ones that occur on beat two of the first two measures stays a triplet and doesn't turn into two 32's + 8th.
http://allthingstrumpet.com/wp-content/uploads/2017/08/Pietzsch-6.wav
Pietzsch 5
I chose to do this one as a slow double-tongue but there would also be benefit in doing it as a fast single-tongue. I focused on relaxing the articulation to flow and try not to sound "pecky". About halfway down the first page there are some rhythms that begin on upbeats and I chose to use that as an opportunity to work on my TTK articulation. Some people suggest starting those kind of…
Pietzsch 4
This one incorporates some triple tonguing. For these moving triplets I used TTK. That seems to get a better flow for me where TKT creates more rhythmic emphatic-ness. Think of slightly crescendo-ing through the triplets. This will keep the air flowing to give your tongue something to bounce off of.
I have trumpet-player-friends who only use TKT and can flow and play "fanfare-ish" using…
Pietzsch 3
This one looks intimidating at first. But after you get into it you should find that it lies pretty idiomatically. There are lots of arpeggios, major, dominant and minor, that have a lowered half-step as the second note of the triplet. Good luck with the pedal C at the end!
http://allthingstrumpet.com/wp-content/uploads/2017/08/Pietzsch-3.wav