The purpose of the study was to figure out a good and an effective way to learn how to master extended trumpet techniques in order to be able to play the piece Solus (1975) by Stanley Friedman (b. 1951) for unaccompanied solo trumpet. To gain a deeper understanding of the composer’s intentions, the study also includes a music analysis of Solus. Various methodological approaches were used: sheet music and performance instructions, own practice, digital tools, recordings, literature and trumpet method books. The results of the study indicate that five different extended trumpet techniques were identified and analysed. They were slide glissandi, flutter tongue, pedal tones, singing and open trigger. For slide glissandi, it was important to separate the technique into smaller portions, to first practice without glissandi in order to embody the music and then practice glissandi separately. For flutter tongue, airflow and a relaxed tongue were essential. Pedal tones require time to master and using trumpet method books was a great way to improve the pedal register. For singing in the third movement of Solus, it was useful to practice singing and even screaming, both in private and in front of an audience. The open trigger technique was mastered by practicing with a drone, using digital tools, and to practice playing the open trigger notes with open fingerings. It was very rewarding to master the extended trumpet techniques in the piece Solus and it will be of great use for any performer.

This document examines the technical execution of extended techniques incorporated in the musical structure of Solus, and explores the benefits of introducing the work into the curriculum of a college level trumpet studio. Compositional style, form, technical accessibility, and pedagogical benefits are investigated in each of the four movements. An interview with the composer forms the foundation for the history of the composition as well as the genesis of some of the extended techniques and programmatic ideas.