Louis Maggio Original System For Brass.pdf

ENGLISH,FRENCH, GERMAN EDITION

PLUS GROUP INSTRUCTION MANUAL

ORIGINAL

MAGGIO

SYSTEM

BRASS

by CarltonMacBeth

Original Louis JMaggio System for Brass

by Carlton MacBeth

A TRULY REMARKABLE

AND REVOLUTIONARY APPROACH

TO THE PLAYING

OF A BRASS INSTRUMENT,

CREATED AND PERFECTED

BY THE ACKNOWLEDGED

MASTER BRASS INSTRUCTOR,

LOUIS MAGGIO (1878-1957).

A DISASTROUS INJURY

TO HIS EMBOUCHURE EVOLVED

INTO AN AMAZING RECOVERY

AND A TOTALLY NEW CONCEPT

OF BRASS PLAYING

THAT PRODUCED MANY

OF THE WORLD'S FINEST

BRASS INSTRUMENTALISTS.

ONCE A LEGEND ONLY,

THE TEACHINGS OF LOUIS MAGGIO

HAVE BEEN COMPLETELY DOCUMENTED

BY CARLTON MACBETH,

STUDIO TRUMPETER AND TEACHER

ASSOCIATED WITH THE MASTER

FOR A DECADE DURING

THE HEIGHTH OF HIS

TEACHING CAREER.

BASIC COURSE

TABLE OF CONTENTS

LOUIS MAGGIO

INTRODUCTION

TEACHING AIDS

1. THE PLAYING POSITION

2. THE EMBOUCHURE

3. POSITION OF MOUTHPIECE

4. HOW TO TAKE A BREATH

5. RELAX

6. THE WARMUP

7. THE PEDAL TONES

8. MIDDLE REGISTER

9. EXTREME HIGH REGISTER

10. SYLLABLES

11. THE SLUR

12. THE TONGUE

13. FINGERINGS - SLIDE POSITIONS

14. INTONATION

15. ATTITUDE

16. SOUND

MAGGIO AND THE BRASS FAMILY

MAGGIO WARMUP A

MAGGIO WARMUP B

LESSON I PRODUCTION OF SOUND

LESSON ll THE SLUR

LESSON Ill THE TONGUE

LESSON IV EXTREME REGISTER

LESSON V ENDURANCE

MAGGIO PHOTOGRAPHS

4DVANCED STUDIES

TABLE OF CONTENTS

PREFACE TO ADVANCED STUDIES

'TEACHING AIDS :

THE WHISTLE APPROACH

THE NOSE BREATH

SHADINGS - DYNAMICS

DOUBLE PEDAL C

DIFFERENT ATTACKS

DOUBLE AND TRIPLE TONGUE

FLEXIBILITY

THE WALKING EXERCISE

PLAYING IN TIME

REVIEW OF THE PRODUCTION OF SOUND

MAGGIO WARMUP C

MAGGIO WARMUP D

LESSON VI

DIFFERENT ATTACKS

LESSON VII FLEXIBILITY

LESSON Vlll ROLE OF THE TONGUE

LESSON IX

SOUNDS AND INTERVALS

LESSON X

CHROMATICS

The author gmtefully acknowledges the contributions of Ernie Tack and Sinclair Lott

far supplemental material; Hehie Harper, Phil Gndreva and Irving Goodman for

Maggio photogmphs; Ralph "Diz" Mullins far music prepamtion and Jack Rose for

production supervision.

THE LITTLE MAN WlTH A BIG MESSAGE

NEVER

BEFORE HAD THE BRASS WORLD BEEN AFFECTED SO STRONGLY BY ANY

ONE MAN THAN BY THE NOW LEGENDARY LOUIS MAGGIO. LIVING IN THE DAYS

WHEN COMMUNICAI'IONS WERE SLOW AND THE DEVELOPMENT OF THE BRASS

INSTRUMENT WAS IN ITS FORMATIVE YEARS, THE ARRAY OF PROFESSIONAL RESULTS

HE LEFT BEHIND ARE A GREAT TRIBUTE TO HIS GENIUS.

MAGGIO'S MASTER INSTRUCTIONS WERE NOT MERELY THE PRODUCT OF SOME

BRILLIANT SUPERBRAIN, BUT GREW OUT OF A TRAGIC ACCIDENT THAT CHANGED HIS

ENTIRE LIFE. HAVING LEFT HIS NATIVE ITALY IN 1906, HE WAS APPEARING WlTH

THE ST. PAUL SYMPHONY WHEN DISASTER STRUCK IN 1919. IN SUBZERO WEATHER,

WHILE RUNNING TO CATCH A STREETCAR, LOUIE SLIPPED ON THE ICY PAVEMENT

AND FELL, STRIKING HIS MOUTH ON A SAFETY ZONE BUTTON. THE FORCE OF

THE BLOW LITERALLY SHREDDED HIS LIPS AND KNOCKED OUT SEVERAL FRONT TEETH.

THE MEDICAL PROFESSION COULD NOT HELP AND HIS CAREER WAS OBVIOUSLY

AT AN END. ALTHOUGH DESPONDENT, LOUIE PURSUED THE CHALLENGE AND FOR

THE NEXT YEAR COUNSELED HIMSELF, CONCEIVING AND DEVELOPING A TOTALLY

NEW CONCEPT OF BRASS PLAYING. TO THE AMAZEMENT OF HIS COLLEAGUES,

THE SYSTEM MAGGIO HAD CREATED NOT ONLY ENABLED HIM TO RETLIRN TO HIS

CHAIR WlTH THE SYMPHONY, BUT HE WAS PLAYING BETTER THAN EVER. HE HAD

ACQUIRED A REGISTER UNHEARD OF IN THOSE DAYS (FIVE OCTAVES) AND HE NOW

DISPLAYED A RICH, VELVET TONE THROUGHOUT ALL REGISTERS.

WORD OF MAGGIO'S ACCOMPLISHMENT GRADUALLY SPREAD THROUGHOUT

THE WORLD OF MUSIC, AND BELEAGUERED BRASS MUSICIANS BEGAN TO SEEK HIS

HELP WlTH THEIR INDIVIDUAL PROBLEMS. IN 1930, MAGGIO SETTLED IN LOS

ANGELES TO SPEND HIS FULL TIME 'TEACHING, AND EVENTUALLY TO ESTABLISH

AN INTERNATIONAL REPUTATION AS THE ACCLAIMED MASTER BRASS INSTRUCTOR.

AMONG THE MUSICIANS WHO SUFFERED INJURIES SIMILAR TO MAGGIO'S AND

CONSEQUENTLY SOUGHT HIS HELP WERE RAFAEL MENDEZ AND CARLTON MACBETH.

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