TRUMPET SKILL BUILDING
Can you double tongue ALL two octave scales? Can you hit a double 'C' and higher? Do you have a beautiful warm, rich tone?
All of these playing styles (and more) can be MASTERED through Skill Building. Smart practicing and Skill Building is somewhat a lost art. All of us want to pick up the horn, have fun and play various music. But what are our goals? What are we trying to achieve? If we are just playing for enjoyment then THAT is the goal. But if your goal is to improve or get better, then you must add Skill Building to your practice routine.
What is Skill Building?
Begin working on a particular skill (tonguing, scales, range) in simple, attainable steps, then increasing the difficulty SLIGHTLY. Practicing that level for many repetitions UNTIL MASTERED, then increasing the difficulty. It may take hours, days or weeks to MASTER a particular level. Mastery is obtained when you can play a particular passage or selection 10-15 times at the given metronome marking with no mistakes.
How to do Skill Building:
Let's take the double tonguing example of two octave scales. (click for more information on double tonguing)(It is taken for granted that you have MASTERED double tonguing. If not you would do these exercises.)
1) MASTER single tonguing the scales in sixteenth notes from 40 BPM to 132+ BPM. (may take a two month period) Muscle memory and technique are being developed.
2) SLOWLY begin double tonguing the scales and MASTER each metronome marking.
3) Increase the tempo as each level is MASTERED (could take 6 months)
Now, after six months of Skill Building, you have MASTERED double tonguing two octave scales! If you had followed your normal practice routine, what would your skill level be on double tonguing two octave scales?
IT TAKES HARD WORK AND DEDICATION.
Believe me, I'm not perfect, there are days when I play for fun. To improve on a consistent basis add Skill Building to your practicing sessions!
The key to greatness is PATIENCE.
Double Tonguing and Single Tonguing
Can you WORK in a calm methodical fashion?
Can you be patient enough to allow yourself time to DEVELOP SKILLS and PRACTICE?
This information is truly the greatest gift. This is a process you can do with all of your music, begin working passages, exercises, pieces in a slow methodical manner. As you work the piece, you should also concentrate on the correct sound, timbre, tonguing, phrasing and musicality. After 10 or more repetitions of playing just 2-3 measures perfectly, increase the speed one metronome marking. THIS WILL MAKE YOU A BETTER PLAYER, FASTER! Can you be patient AND do the work?
To those of you that go for walks, I have the best-kept secret. Walking in a steady tempo is perfect for practicing tonguing! REMEMBER patience. For the first week of walking, each step should be a double tongue syllable. Step 'Ti' Step 'KA' Step 'Ti' Step 'KA' etc… IDEALLY, if you could do this for two weeks it would be FANTASTIC! (Think you can?) You want to be sure to clearly enunciate each syllable, a sharp 'Ti' and an equally clear 'KA' THAT's ALL and enough!!!!
The third week (You did do two weeks of 'Ti' and 'KA' RIGHT?) you should begin to combine the two. We walk at approximately 84 Beats Per Minute. This is a great starting tempo for double tonguing. Again, not in a hurry, but taking the time to practice and develop the skills, slowly and clearly say 'Ti - KA' to EACH step. Do this for THREE weeks. The rhythms need to be clean and precise, there should be NO difference between the 'TI' or 'KA'
AFTER FIVE WEEKS, of skill building now you can play popular double tonguing books and gradually increase the speed. FOR THE BEST RESULTS, go back to the third week exercises and practice slowly, cleanly and clearly.
If you are willing to DO THE WORK and be PATIENT you will succeed at double tonguing in just a few months!
Syllables For Single Tonguing TA, TEE, TOO, DA, DEE, DO
Syllables For Double Tonguing TI-KA, TA-KA, DA-KA, TEE-KEE, DEE-KEE
Or combinations from single tonguing syllables with a 'KA' or 'KEE' ending.
TRUMPET LIP BUZZING
ALL sound is created through vibrations!
On brass instruments the source for vibrations is the lips. A full, rich buzzing sound translates into a warm rich trumpet sound.
10 Minute Buzz Session
ALL sound is created through vibrations!
On brass instruments the source for vibrations is the lips. A full, rich buzzing sound translates into a warm rich trumpet sound.
(1) Take slow deep relaxing breaths, blow a large volume of air through the mouthpiece for six counts (repeat 10x)
(2) Flap Lips (horse lips) in relaxed fashion for 10-15 seconds (repeat 3x)
(3) Begin to buzz lips, buzzing tones in the pedal range – Relaxed and Full (2 minutes)
(4) Slides – slowly slide the pitch in the following fashion over 10 seconds. (4 minutes)
Pedal – Low (up and down)
Low – Middle (up and down)
Middle – High (up and down)
Low – High (up and down)
Pedal – High (up and down
(5) Slur simple tunes on your lips. (2 minutes)
(6) Buzz some of your etudes, studies and pieces (3-5 minutes)
To facilitate a richer buzz, try this: Lightly touch the tongue to the backside of the lips! It will dramatically help the lips to vibrate in a fuller fashion.
IMPORTANT: The tongue should never pass the teeth when playing the trumpet. The tongue is being used in these exercises to increase lip vibration. The car is a great place to practice (during your daily commute)
Through years of teaching, Mr. Droste came to the realization that students are trying to bypass Basic Skills to play songs. He wrote this book to teach others how to master all aspects of trumpet technique. With these Basic Skills mastered, one can successfully play all types and styles of music.
The Following passages are taken From The Ultimate Warm-Up for Trumpet by: Michael Droste. This 100 page, 10 chapter book goes through all aspects of Warming Up / Basic Skills. Included are: air exercises, lip buzzing, mouthpiece work, long tones, tonguing, flexibility exercises, scales, range and phrase studies, it's all there, with all of the information sequenced appropriately to optimize your practicing! This 100 page book is printed on 24lb. 25% Cotton Fiber Writing Paper. (archival quality, acid free) The book also contains a complete set of all the articles from TrumpetStudio.com. It is made to last the test of time. The Ultimate Warm Up: Practice Guide The first step in determining a practice schedule is to define your goals and level of commitment. The more time you are willing to devote towards improvement, the greater your results. It is my firm belief that many of us were never taught correctly. We were taught to concentrate on individual pieces of music for concerts, or exercises from band method books, and not on the basic skills that are required to play the trumpet! You must do the work from the following chapters in this specific order to obtain the highest rewards from your practice efforts. Above all, practice as consistently as possible and try to never skip more than one day of practice.
The following is a Practice Schedule for 30, 60 and 90 Minute Sessions BASIC SKILLS:
|PRACTICE SCHEDULE||30 Minutes||60 Minutes||90 Minutes|
|Part 1. Getting Your Air Moving||1 Minute||2 Minutes||3 Minutes|
|Part 2. Lip Buzzing||2 Minutes||4 Minutes||6 Minutes|
|Part 3. Mouthpiece Work||2 Minutes||4 Minutes||6 Minutes|
|Part 4. Long Tones||2 Minutes||4 Minutes||6 Minutes|
|Part 5. Tonguing||3 Minutes||6 Minutes||9 Minutes|
|Part 6. Flexibility||2 Minutes||4 Minutes||6 Minutes|
|Part 7. Scales||3 Minutes||6 Minutes||9 Minutes|
|Part 8. Range Study||2 Minutes||4 Minutes||6 Minutes|
|Part 9. Flow Studies||3 Minutes||6 Minutes||9 Minutes|
|Part 10. Etudes, Studies, Major Pieces and Trumpet Repertoire||10 Minutes||20 Minutes||30 Minutes|
2/3 thirds of your time should be spent working on Basic Skills. 30 minute practice session: 20 minutes on Basic Skills. 60 minute practice session: 40 minutes on Basic Skills. 90 minute practice session: 1 hour on Basic Skills. The other 1/3 of your time should be used wisely on etudes, studies, major pieces and trumpet repertoire. The warm up can also be adjusted to meet your various needs. You might have a weak area, and you may wish to increase time in that section. For example, your tone may be somewhat lacking in richness and warmth. As ALL sound is created through vibrations, your first method of attack would be to increase the minutes from the lip buzzing chapter until the desired results were achieved. Use of a metronome - There are metronome markings on each warm up in this book. Use them! The metronome is an invaluable tool and will help you to improve your internal rhythm. It will also allow you to gauge your progress. In the beginning, some of the long tones may be difficult to perform at 60 beats per minute. As time goes on and you are building endurance, it will be easier. A metronome will provide a consistent point of reference. The Ultimate Warm Up Table Of Contents Part 1. Getting Your Air Moving
Part 2. Lip Buzzing
Part 3. Mouthpiece WorkA. Mid-range to pedal tones buzzing B. Slow slides from medium to low to medium high Part 4. Long TonesA. Mid-range to lowest possible notes B. Mid-range to medium high notes Part 5. TonguingA. Mid-range to lowest possible notes B. Mid-range to highest possible notes Part 6. FlexibilityA. Mid-range to low lip slurs B. Low to medium high lip slurs extended Download Chapter 7 for FREE!
Part 7. Scales (All Keys)A. Major Scale (Two octave) B. Minor Scale (Two octave) C. Harmonic Minor (Two octave) D. Melodic Minor (Two octave) E. Brief Major exercise and one octave review Part 8. Range Study Part 9. Flow Studies Part 10. Addendum A. ALL articles from TrumpetStudio.com B. Fingering Chart The Ultimate Warm Up How To Use This Warm Up Book The entire book should be played at each practice session. If time does not permit playing the entire book, then play as much of each section as time permits. Do not skip any sections. You must do the exercises in order from beginning to end. (If the Ultimate Warm Up contains exercises to high for you, skip that section until your able and go to the next exercise.)
Part 1. Getting Your Air Moving Set your metronome to 60 bpm for these warm-ups. Air is the secret to great tonguing, range and tone production. It is THE most important aspect of playing any wind instrument. Think of your air as a continual stream of water flowing through your kitchen faucet. Always constant never stopping! Air Tips! -Low notes require a greater volume of air to produce a great tone. Imagine making an ‘ah’ sound in your mouth and directing the air into a large tube. Always constant never stopping. -High notes require fast air. Imagine saying an ‘e’ sound in your mouth and directing the air super fast into a small straw! Always constant never stopping.
Part 2. Lip Buzzing Set your metronome to 60 bpm for these warm-ups. For these exercises try to get a nice full, rich sound that is full of tone. What is done here is amplified by the mouthpiece and horn. Do not spend more than 5 minutes on this section. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 3. Mouthpiece Work Set your metronome to 60 bpm for these warm-ups. Hold the mouthpiece with the thumb and forefinger at the end of the mouthpiece. This is to keep you from putting pressure on your embouchure. The key is to keep the air constantly flowing. Go for a great sound! Listen to yourself, tape record your playing. Go for a warm, rich sound with a lot of tone. What you produce now is simply amplified by your instrument. If your sound is thin, this is the place to devote more work and energy. Play the exercises in a relaxed fashion, not loud or soft, but with a nice full tone slowly moving higher and lower as directed.
Part 4. Long Tones Set your metronome to 60 bpm for these warm-ups. Again, the key is to keep the air constant, always flowing. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing? You can make beautiful music by simply playing long tones, it is possible!
Part 5. Tonguing Set your metronome to 80 bpm for these warm-ups. The key is to keep the air constantly flowing. Think of the kitchen faucet analogy again, while the faucet is constantly flowing, imagine flicking a butter knife quickly through the stream of water. The butter knife quickly separates the water and the stream of water continues never stopping. The air flows on, but is lightly separated by the tongue. When playing these warm-ups use different syllables for tonguing. Use as directed: da, dee, do, ta, tee, to. Go for the most beautiful sound that you can create. Listen to your sound, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 6. Flexibility Set your metronome between 60 and 80 bpm for these warm-ups. Another key to playing the trumpet is flexibility. The ability to move from 2nd valve F# to 2nd valve B quickly and smoothly is essential. Along with other valve combinations, these simply have to be mastered. The key for successful lip slurs is to keep the air constantly flowing. When doing the extended slurs change the air flow! The low notes require a greater volume of air to produce a great tone. Imagine making an ‘ah’ sound in your mouth and directing the air into a large tube. Always constant never stopping. The high notes require fast air. Imagine saying an ‘e’ sound in your mouth and directing the air super fast into a small straw! Always constant never stopping. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 7. Scales (All Keys) Download Chapter 7 for FREE! Set your metronome between 60 and 80 bpm for these scales. The key to this chapter is to be Very Fluid. Keep the air constantly flowing as you pass between the different octaves. The air flows on, but is lightly separated by the tongue. Try sluring each scale, and experiment with different tounguing syllables from the chapter on tonguing. Go for the most beautiful sound that you can create. Listen to your sound, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 8. Range Study Set your metronome between 60 and 80 bpm for these warm-ups. I believe that the type of air needed to play lead is most closely related to a High Pressure Air Tank. You must tank up on the air and release the valve, releasing the Super Fast Air Stream. When playing lead one should ride this high pressure air stream and not force the lips. Let the High Pressure Air Tank and the subsequent Super Fast Air Stream do the work, NOT THE LIPS! Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 9. Flow Studies Set your metronome between 60 and 80 bpm for these warm-ups. These studies are meant to make your playing as musical as possible. Sing the music, yes sing it! Imagine the most beautiful voice singing the passage in your mind. Now go to the music and reproduce exactly what you hear in your mind. Exactly! Think of each line as a separate musical idea. The goal is to think across the bar line to the end of the musical phrase. This is why musicians play and practice! Why play the trumpet if you are not receiving a musical experience? Music is full of feelings and emotions, play all your music this way and you’ll never want to stop. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
New Music Added to Chapter 9: Piano And Trumpet 1. Bridal Chorus from Lohengrin - Richard Wagner 2. Rondeau Theme from Masterpiece Theater - Jean Mouret 3. Wedding March - Felix Mendelssohn 4. Trumpet Voluntary - Henry Purcell 5. Trumpet Tune - Henry Purcell Trumpet Part Only 1. Hunter’s Chorus (duet) - Weber 2. Hungarian Dance No. 5 - Brahms 3. Minuet - Luigi Boccherini 4. Sonata No. 8 in C minor - Beethoven 5. Bach Horn Duet - J.S. Bach 6. Introduction to Third Act form Lohengrin 7. Waltz in Ab - Johannes Brahms More...
Part 10. Addendum Complete article reproduction from TrumpetStudio.com Topics include: Skill Building - How To Play High Consistently - Mouthpiece Selection is Critical for Success - Double Tonguing and Single Tonguing - Lip Buzzing - Practicing For A Performance - Finding Time To Practice - Equipment - Synthetic Oil: Use With Caution - Braces - Endurance - Popular Method Books - Recommended Discography - Fingering Chart.
Trumpet MouthPiece Guide
Mouthpiece Selection is Critical for Success
Most musicians are playing on the wrong mouthpiece or choosing incorrectly when it comes to playing a specific job. Ultimately, it is a personal choice! My current setup consists of many different mouthpieces. These allow me to effectively play many styles of music. I've bought over 60+ different mouthpieces over the years - here are some that I've selected that will help you play different styles of music. They are not in any particular order - different mouthpieces for different jobs.
Yamaha 14B4 Trumpet Mouthpiece This is a great everyday mouthpiece that you would use for 60-80% of your playing. It has a nice tone, the flatter cushion rim (size ‘4’), combined with the medium smaller cup (size ‘B’) allow versatility between the octaves without sacrificing sound on the low notes. Nice flexibility capability. This might be your end-all mouthpiece, or at least a nice place to start your exploration. Order this mouthpiece
Bobby Shew Lead Trumpet Mouthpiece Bobby Shew is one of the greatest jazz trumpeters of all time. Equally at home in a variety of genres, he has played a powerful lead in many of the world's top bands, but is equally revered for his expressive solos. This mouthpiece gives that extra sizzle and high note clarity for playing lead parts. It features enough air compression for high range playing, but still allows a big open sound. Characteristics: Inner Diameter 16.54mm - Semi Round Rim - Shallow Cup - Throat 3.65mm and Narrow backbore. Bobby is a great guy and I got to meet him in Chicago at one of 'Tooth's (Frank Mantooth) recording sessions. Great player - great mouthpiece. This is also a fine mouthpiece for 2nd part player in a jazz/rock group. Order this mouthpiece
Schilke 12a4a is another favorite of mine - went through college jazz band and into the rock band with this one. it is a little smaller than the 14a4a listed below. This is a standard mouthpiece to explore stage work, lead playing, rock music, pop or jazz band or any kind of music where you want the trumpet to ‘cut’ through a group. It has a VERY bright sound and is designed to play in the upper register. The smallest size cup (size ‘a’) makes playing in the upper register much easier, it has the nice cushion rim for the lips (size ‘4’) and the smaller ‘tight’ (size ‘a’) backbore will give you that extra push needed for the upper register. This is also a fine mouthpiece for 2nd part player in a jazz/rock group. Order this mouthpiece
ALLEN VIZZUTTI is one of the most amazing trumpet soloists of our time. Equally at home in a multitude of musical idioms, he has traveled the world performing with a rainbow of artists and ensembles, ranging from Chick Corea to the Royal Philharmonic. In addition, for many years he was one of Hollywood's leading studio artists; he can be heard on more than 100 movie soundtracks. His extended playing range and incredible technique require a perfectly balanced mouthpiece. The Vizzutti mouthpiece offers a warm focused sound, accurate and centered intonation, and incredible flexibility. This is a PRO level mouthpiece. I really like this one. It is one of my favorites. Mr. Vizzutti is known for his amazing technical abilities. He clearly practices in a methodical fashion with goals and benchmarks that he sets for himself. This is a good idea for anyone! Order this mouthpiece
Bach 1c - This is also a mouthpiece that more refined and practiced players gravitate towards. It is has bigger cup and bigger sound. Order this mouthpiece
Schilke 17D4 - BIG Sound - Trumpet Mouthpiece I really like this mouthpiece. When you need to play a controlled - loud - forceful - (but not blasting tone) this is for you. This can also be played delicately as the air stream is 'forgiving' This is a little bigger mouthpiece, and a bigger cup size 'D' You might find use for this mouthpiece in a church, or in an orchestra - but don't let the musical choice sway you from using this one. I should of course mention - it has my favorite '4' semi round - cushion flatter rim ;) Order this mouthpiece
Yamaha 14a4a Lead Trumpet Mouthpiece This is a standard mouthpiece to explore stage work, lead playing, rock music, pop or jazz band or any kind of music where you want the trumpet to ‘cut’ through a group. It has a VERY bright sound and is designed to play in the upper register. The smallest size cup (size ‘a’) makes playing in the upper register much easier, it has the nice cushion rim for the lips (size ‘4’) and the smaller ‘tight’ (size ‘a’) backbore will give you that extra push needed for the upper register. This is also a fine mouthpiece for 2nd part player in a jazz/rock group. Order this mouthpiece
'Standard 7c' Trumpet Mouthpiece This is the mouthpiece that came with your trumpet. If you are looking to replace your first mouthpiece with a newer, non dented, non tarnished or scratched version :) this is the one you want. (see 3c also) Order this mouthpiece
3c Trumpet Mouthpiece I often play a 3c - just a nice all round mouthpiece, sharper rim than the 14B4, and a bit bigger cup than a 'standard 7c' this is a very nice mouthpiece - those returning to the horn might want to consider the 3c over the 7c. Order this mouthpiece
Trying different mouthpieces is an educational experience. It is also a necessary step for discovering how you can sound your best. Have fun!
PRACTICING FOR A PERFORMANCE
|Tips and guidelines to optimize your performance experience|
(1) Warm up thoroughly from lip buzzing, tonguing, flexibility, range and scales. PLAY from your lowest notes to your highest in your warm up. If someone handed you a lead to a Basie chart you should be able to play it easily after your warm up! The idea is: You should be able to PERFORM after your warm up. Make sure you do it correctly!
(2) Prepare the piece over many months, practice the hard parts completely until your lips and muscle memory can do it automatically.
(3) Practice the entire piece and be able to play it to 'performance standards' 3 times in a row.
(4) Performance Day - About 1.45 hours before the performance, you should begin air exercises. One and a half hours before the performance, play pedal tones on the mouthpiece for about a half hour. Slowly get the lips moving and allow for plenty of rest time. RESIST the urge to play high. By the end of this time your lips a pliable mush. Completely and Totally relaxed. An hour before the concert, get the horn and begin to play long tones, consciously going for the richest, warmest tone. Next, concentrate on tonguing and flexibility. Finally, as stated before, you need to warm up in the upper register to PERFORM in the upper register. Play various sections to gain confidence, without over practicing.
(5) Mental Preparation
If you have practiced the piece and are prepared to perform, these are some quotes that will have a deep mental impact. As you prepare for your performance, say many times to yourself:
Warm up the body/mind and your performance will shine.
- I will perform and play to the best my ability.
- I can’t wait to show my expertise on the trumpet.
- I know I play well and now is the time to show it.
- I’m excited about this opportunity to make music and create musical experiences for others.
- I am satisfied with myself and who I am
This list is a PARTIAL list and not meant to offend ANYONE. If you don't see YOUR favorite player, it's not because I don't like them or their music. (I Do) This is a list to get started with your exploration of other trumpet players and their sound / musical style. It is just the beginning of your quest!
BEGINNING LISTENING LIST FOR TRUMPET PLAYERS
CAT ANDERSON + SNOOKY
Best of Louie Bellson TRRACK LISTING 01. Sunshine Swing 02. Chameleon 03. Melody For Thelma 04. Intimacy Of The Blues 05. Movin' On 06. Niles Blues 07. Quiet Riots 08. I Wonder Why 09. Night Birds Date: Jan 1, 1987 Length: 46:41 minutes Label: FANTASY/PABLO Genre: JAZZ Category: Jazz Performers Cat Anderson: Trumpet Louie Bellson: Drums Conte Candoli: Trumpet John Heard: Bass Don Menza: Sax (Tenor) Blue Mitchell: Trumpet Ross Tompkins: Piano Snooky Young: Trumpet
Canadian Brass: 2 Centuries Of Hits Label: SONY MUSIC SPECIAL PRODUCTS Catalog: 28121 Canadian Brass: Ain't Misbehavin' Label: BMG/RCA VICTOR Catalog: 60979 Canadian Brass: All You Need Is Love Label: BMG/RCA VICTOR Catalog: 68970 Canadian Brass: Basin Street Label: SONY CLASSICS Catalog: 42367 Canadian Brass: Best Of Canadian Brass Label: SONY CLASSICS Catalog: 45744 Canadian Brass: Bolero & Other Blockbusters Label: BMG/RCA VICTOR Catalog: 68109 Canadian Brass: Brass Busters Label: BMG/RCA VICTOR Catalog: 68076 Canadian Brass: Brass In Berlin Label: SONY/COLUMBIA Catalog: 39035 Canadian Brass: Brass On Broadway Label: PGD/PHILIPS Catalog: 42133 Canadian Brass: Champions Label: SONY CLASSICS Catalog: 37797 Canadian Brass: English Renaissance Music Label: SONY CLASSICS Catalog: 45792 Canadian Brass: Essential Canadian Brass Label: PGD/PHILIPS Catalog: 32571 Canadian Brass: Fireworks! Label: BMG/RCA VICTOR Catalog: 68257 Canadian Brass: Go Baroque! Label: BMG/RCA VICTOR Catalog: 68107 Canadian Brass: Goldberg Variations Label: BMG/RCA VICTOR Catalog: 63610 Canadian Brass: Greatest Hits Label: BMG/RCA VICTOR Catalog: 4733 Canadian Brass: High Bright Light & Clear Label: BMG/RCA VICTOR Catalog: 4574 Canadian Brass: Live Label: SONY CLASSICS Catalog: 39515 Canadian Brass: More Greatest Hits Label: BMG/RCA VICTOR Catalog: 5628 Canadian Brass: Mozart Album Label: SONY CLASSICS Catalog: 44545 Canadian Brass: Noel Label: BMG/RCA VICTOR Catalog: 62683 Canadian Brass: Play Pachelbel Kanon Label: BMG/RCA VICTOR Catalog: 3554 Canadian Brass: Plays Bernstein Label: BMG/RCA VICTOR Catalog: 68633 Canadian Brass: Ragtime! Label: BMG/RCA VICTOR Catalog: 68110 Canadian Brass: Red Hot Jazz-Dixieland Album Label: PGD/PHILIPS Catalog: 32999 Canadian Brass: Red White & Brass Label: PGD/PHILIPS Catalog: 34276 Canadian Brass: Renaissance Men Label: BMG/RCA VICTOR Catalog: 68108 Canadian Brass: Strike Up The Band/Gershwin Label: BMG/RCA VICTOR Catalog: 6490 Canadian Brass: Take The A Train Label: BMG/RCA VICTOR Catalog: 63455 Canadian Brass: Toccata Fugues & Other Diversi Label: OMEGA CLASSICS Catalog: 3014 Canadian Brass: Village Band Label: BMG/RCA VICTOR Catalog: 4436
Rafael Mendez: Legacy TRACK LISTING 01. Severinsen Introduction: Samba Gitana; I Know That You Know 02. Warming Up And Practicing 03. Touring 04. Starting Sons On The Trumpet 05. Vibrato: Tico, Tico (Excerpt) 06. Musical Concepts 07. Lip Injury 08. Lip Injury: Mexican Hat Dance (Excerpt) 09. Developing Technique: Tico, Tico (Excerpt); Mexican Hat Dance (Excerpt) 10.Developing Technique: Bo, Bo Baila (Excerpt); Yuba (Excerpt) 11. Developing Technique: Arban Single Tongue Excercises 12. Czardas Date: April 22, 1997 Label: SUMMIT Catalog: 178 Category: Classical Artists MENDEZ (TRPT)/SEVERINSEN (NARR
Rafael Mendez: Legendary Trumpet Virtuosity TRACK LISTING 01. La Virgen de la Macarena 02. A Trumpeter's Lullaby 03. Mendez Jota 04. Czardas 05. Chiapanecas 06. Tico, Tico 07. Flight of the Bumble Bee 08. Dark Eyes 09. I Know That You Know 10. Yuba 11. Mexican Hat Dance 12. Farewell, My Granada 13. Danse Boheme (from Carmen) 14. Mendez Czardas 15. Mendelssohn Concerto 16. Bell Song (from Lakme) 17. Samba Gitana 18. La Rosita 19. Zigeunerweisen Date: July 14, 1995 Label: SUMMIT Catalog: 177 Category: Classical Artists MENDEZ (TRP)
Doc Severinsen: Trumpet Spectacular TRACK LISTING 01. Napoli - Canzone Napolitana Con Variazioni 02. Largo Al factotum From The Barber Of Secille, Act I 03. Trumpet Voluntary in D 04. Jesus, Jou Of Man's Desiring 05. The Flight Of The Bumblebee 06. A Carmen Fantasy For Trumpet And Orch 07. Medley Of Famous Tenor Arias 08. La Danza 09. Traumerei 10. Carnival Of Venice, Fantasia Brillante 11. A Trumpeter's Lullaby 12. Chaconne NOTES Date: 1990 Length: 65:28 minutes Label: TELARC Catalog: 80223 Genre: EASY Category: Classical Artists SEVERINSEN (TRPT) KUNZEL/CINCINNATI POPS
Doc Severinsen: Very Best Of Doc Severinsen TRACK LISTING 01. Begin The Beguine 02. April In Paris 03. Flying Home 04. I'm Getting Sentimental Over You 05. In The Mood 06. Georgia On My Mind 07. One O'Clock Jump 08. Stardust 09. Honeysuckle Rose 10. Poor Butterfly 11. I Can't Get Started 12. What Is This Thing Called Love 13. City Lights 14. Siciliano 15. Take The 'A' Train 16. Johnny's Theme (The Tonight Show Theme) NOTES Date: Sep 23, 1997 Length: 98:41 minutes Label: AMHERST Genre: JAZZ Category: Big Band
Wynton Marsalis: Classic Wynton TRACK LISTING 01. The King's March - Wynton Marsalis 02. Con in C, RV.537: I. Allegro - Wynton Marsalis 03. Entrada (from The Indian Queen) - Wynton Marsalis/Edita Gruberova 04. The Prince of Denmark's March - Wynton Marsalis 05. Tpt Voluntary - Wynton Marsalis 06. Let the Bright Seraphim (from Samson) 07. Rondeau (from Stes de Symphonies: Premiere Ste, Fanfares) 08. Brandenburg Con No.2, BWV 1047: III. Allegro assai (excerpt) 09. Prld from Te Deum, H.146 10. Tpt Con in D: II. Allegro moderato 11. Tpt Con in D: I. Adagio 12. Tpt Con in E-flat, Hob. VIIe:I: III. Finale. Allegro 13. Tpt Con in E: III. Rondo. Allegro molto 14. 'Tis the Last Rose of Summer 15. Vars on 'Le Carnaval de Venise' 16. Rondo for Lifey 17. Prayer of St. Gregory, Op.62b 18. Tpt Con: I. Allegro 19. Moto Perpetuo, Op.11 20. Flight of the Bumblebee (from Tsar Saltan) NOTES Date: November 10, 1998 Label: SONY CLASSICS Catalog: 60804 Genre: JAZZ Category: Classical Artists MARSALIS (TRPT)
Wynton Marsalis: Carnaval TRACK LISTING 01. Vars Sur 'Le Carnival De Venise' 02. The Debutante (Caprice Brillant) 03. Believe Me, If All Those Endearing Young Charms 04. Grand Russian Fantasia 05. Moto Perpetuo, Op. 11 06. 'Tis The Last Rose Of Summer 07. 'The Flight Of The Bumblebee' From Tsar Saltan 08. Napoli-Variations On A Neapolitan Song 09. Fantaisie Brillante 10. Sometimes I Feel Like A Motherless Child 11. Valse Brillante ('Sounds From The Hudson') NOTES Label: SONY CLASSICS Catalog: 42137 SPAR: DDD Category: Classical Artists MARSALIS (CORONET) HUNSBERGER/EASTMAN WIND ENSEMB
Fitzgerald*Ella /Armstrong*Louis: Complete Ella Fitzgerald &
Louis Armstrong On Verve TRACK LISTING Disc1 01. Can't We Be Friends? 02. Isn't This A Lovely Day? 03. Moonlight In Vermont 04. They Can't Take That Away From Me 05. Under A Blanket Of Blue 06. Tenderly 07. A Foggy Day 08. Stars Fell On Alabama 09. Cheek To Cheek 10. The Nearness Of You 11. April In Paris 12. Don't Be That Way 13. Makin' Whoopie 14. They All Laughed 15. Comes Love 16. Autumn In New York Disc2 01. Let's Do It 02. Stompin' At The Savoy 03. I Won't Dance 04. Baby, Ain't It Good For You? 05. Let's Call The Whole Thing Off 06. These Foolish Things 07. I've Got My Love To Keep Me Warm 08. Willow Weep For Me 09. I'm Puttin' All My Eggs in One Basket 10. A Fine Romance 11. III Wind (You're Blowin' Me No Good) 12. Love Is HereTo Stay 13. I Get A Kick Out Of You 14. Learnin' The Blues 15. You Won't Be Satisfied (Until You Break My Heart) 16. Undecided Disc3 01. Overture 02. Summertime 03. I Wants To Stay Here 04. My Man's Gone Now 05. I Got Plenty O' Nuttin' 06. The Buzzard Song 07. Bess, You Is My Woman Now 08. It Ain't Necessarily So 09. What You Want Wid Bess 10. A Woman Is A Sometime Thing 11. Oh, Doctor Jesus 12. Medley: Here Come De Honey Man/Crab Man/Oh, ... 13. There's A Boat Dat's Leavin' Soon For New York 14. Oh, Bess, Oh Where's My Bess? 15. Oh, Lawd, I'm On My Way NOTES Date: August 16, 1956 Label: PGD/VERVE Genre: JAZZ Category: Jazz 3 CD SET
Louis Armstrong: 1947-50 TRACK LISTING 01. Chinatown, My Chinatown 02. Swing That Music 03. Heebie Jeebies 04. Baby Won't You Please Come Home 05. I Can't Give You Anything But Love Baby 06. Ain't Misbehavin' 07. Back O'Town Blues 08. Storyville Blues 09. Panama 10. Royal Garden Blues 11. Dippermouth Blues 12. Mahogany Hall Stomp 13. Muskrat Ramble 14. St. Louis Blues 15. Rockin' Chair 16. Tiger Rag 17. Black And Blue 18. Confessin' 19. Stuttin' With Some Barbecue 20. Lazy River 21. You Rascal You 22. Save It Pretty Mama NOTES Date: 1947 Length: 68:34 minutes Label: FORLANE (FRA) Genre: JAZZ Category: Jazz Traditional FEAT. EDMOND HALL'S ALL-STARS CREDITS Performers Louis Armstrong: Trumpet, Vocals Sidney "Big Sid" Catlett: Drums Henderson Chambers: Trombone Buddy Cole: Piano Jimmy Crawford: Drums Nick Fatool: Drums Edmond Hall: Clarinet Earl Hines: Piano Peanuts Hucko: Clarinet Ellis Larkins: Piano Jack Lesberg: Bass Irving "Mouse" Randolph: Trumpet Pee Wee Russell: Clarinet Jack Teagarden: Trombone, Vocals George Van Eps: Guitar Joe Venuti: Violin
Louis Armstrong: All Time Greatest Hits TRACK LISTING 01. What A Wonderful World 02. Hello Dolly 03. Sittin' In The Sun 04. Mack The Knife (Theme From 'Three Penny Opera') 05. A Kiss To Build A Dream On 06. It Takes Two To Tango 07. That Lucky Old Sun (Just Rolls Around In Heaven... 08. Kiss Of Fire 09. (When We Are Dancin' ) I Get Ideas 10. Gone Fishin' 11. Skokiaan 12. La Vie En Rose 13. The Dummy Song 14. Chloe 15. I Still Get Jealous 16. When You're Smiling 17. Blueberry Hill 18. When It's Sleepy Time Down South NOTES Date: September 6, 1949 Label: UNI/MCA Genre: JAZZ Category: Jazz Traditional
Louis Armstrong: Louis & His Friends TRACK LISTING 01. Sleepy Time Down South 02. Royal Garden Blues 03. Blueberry Hill 04. Way Down Yonder In New Orleans 05. Basin Street Blues 06. Baby Won't You Please Come Home 07. Rockin' Chair 08. Back O'Town Blues 09. Steak Face 10. I've Gotta Right To Sing The Blues 11. I Get Ideas Right 12. Because Of You 13. Lover's Leap NOTES Date: May 26, 1970 Length: 40:46 minutes Label: GNP/CRESCENDO Genre: JAZZ Category: Jazz Traditional CREDITS Performers Louis Armstrong: Trumpet, Vocals Barney Bigard: Clarinet Nick Fatool: Drums Morty Korb: Bass Charlie LaVere: Piano Jack Teagarden: Trombone, Vocals
Louis Armstrong: Westend Blues 1926-33 TRACK LISTING 01. Static Strut 02. Cornet Chop Suey 03. Heebie Jeebies 04. Sweet Little Papa 05. I Want A Big Butter And Egg Man 06. Potato Head Blues 07. Struttin' With Some Barbecue 08. I'm Not Rough 09. Hotter Than That 10. Savoy Blues 11. West End Blues 12. Skip The Gutter 13. Beau Koo Jack 14. Weather Bird 15. Muggles 16. Mahogany Hall Stomp 17. I'm A Ding Dong Daddy 18. Confessin' 19. If I Could Be With You 20. You're Lucky To Me 21. Star Dust 22. Lawd, You Made The Night Too Long 23. Basin Street Blues 24. Mahogany Hall Stomp NOTES Date: Nov 21, 1995 Label: INDIGO (UK) -- DNA -- Category: Jazz Traditional
Bill Chase: Chase TRACK LISTING 01. Open Up Wide - Chase 02. Livin In Heat - Chase 03. Hello Groceries - Chase 04. Handbags And Gladrags - Chase 05. Get It On - Chase 06. Boys And Girls Together 07. Invitation To A River
NOTES Date: 1971 Genre: ROCK CREDITS Performers Jay Burrid: Percussion Bill Chase: Trumpet Dennis Johnson: Bass, Vocals Ted Piercefield: Trumpet, Vocals Phil Porter: Keyboards Terry Richards: Vocals Angel South: Guitar, Vocals Jerry VanBlair: Trumpet, Vocals Alan Ware: Trumpet
David Hickman: Plays Stevens/Kennan/Mendez/ TRACK LISTING 01. Credo - David Hickman/Pauline Soderholm 02. Son: Allegro Moderato - David Hickman/Pauline Soderholm 03. Son: Adagio Tenero - David Hickman/Pauline Soderholm 04. Son: Allegro - David Hickman/Pauline Soderholm 05. Rose Vars - David Hickman/Pauline Soderholm 06. Ste: Adagio 07. Ste: Adagio; Allegro 08. Ste: Allegro Vivo 09. Caprice 10. Son: With Strength And Vigor 11. Son: Rather Slowly And With Freedom 12. Son: Moderately Fast, With Energy 13. Son: Theme And Vars 14. Son: Andante Liberamente 15. Son: Allegro Spumente 16. Scherzo in d NOTES Date: April 30, 1996 Label: CRYSTAL RECORDS Catalog: 668 Category: Classical Artists HICKMAN/DALHEIM/SODERHOLM
Empire Brass: Class Brass-Classical Favorite Label: TELARC Catalog: 80220 Empire Brass: Class Brass-On The Edge Label: TELARC Catalog: 80305 Empire Brass: Firedance Label: TELARC Catalog: 80493 Empire Brass: Greatest Hits Label: TELARC Catalog: 80438 Empire Brass: On Broadway Label: TELARC Catalog: 80303 Empire Brass: Romantic Brass-Music Of France Label: TELARC Catalog: 80301 Empire Brass & Friends: Braggin' In Brass Label: TELARC Catalog: 80249 Empire Brass Quintet: King's Court & Celtic Fair Label: TELARC Catalog: 80380 Empire Brass Quintet: Passage Label: TELARC Catalog: 80355 Empire Brass Quintet: Royal Brass-Baroque Music Label: TELARC Catalog: 80257 Michael Murray & Empire Brass: Music For Organ Brass & Percus Label: TELARC Catalog: 80218
Blow: Jazz Trumpet Virtuosos / Various TRACK LISTING 01. Billie's Bounce - Vaughn Nark 02. Guaruja - Randy Brecker 03. Playing With Fire - Bobby Shew 04. Short Stop - Mike Vax 05. Tromba - Allen Vizzutti 06. Struttin' With Some BBQ 07. Been There, Done That, Got The T-Shirt 08. Rockin' Chair 09. Ronita's Fantasy 10. Amorado 11. San Miguel NOTES Date: October 20, 1998 Genre: JAZZ
25 GREAT JAZZ SOLOS
VARIOUS -Hot Trumpets: Hot Trumpets-25 Great Jazz Trumpet Solos TRACK LISTING 01. West End Blues - Louis Armstrong 02. Swing Out - Red Allen 03. Singin' The Blues - Bix Beiderbecke 04. I Can't Get Started - Bunny Berigan 05. I'm Free - Billy Butterfield 06. Fiesta In Blue - Buck Clayton 07. What's The Reason? - Bill Coleman 08. Heckler's Hop - Roy Eldridge 09. Swing High - Ziggy Elman 10. Just A Mood - Harry James 11. If You See Me Comin' - Tommy Ladnier 12. Five Point Blues - Yank Lawson 13. Swingin' At The Hickory House - Wingy Manone 14. Black And Tan Fantasy - Bubber Miley 15. Parkway Stomp - Punch Miller 16. Take The 'A' Train - Ray Nance 17. The Panic Is On - Frankie Newton 18. That's No Bargain - Red Nichols 19. Dippermouth Blues - King Oliver 20. At The Fat Man's - Charlie Shavers 21. Jazz Battle - Jabbo Smith 22. Baby Doll - Joe Smith 23. Relaxin' At The Touro - Muggsy Spanier 24. The Lion Of Judah - Rex Stewart 25. Cootie's Concerto (Echoes Of Harlem) - Cootie Williams NOTES Date: August 20, 1996 Label: ASV LIVING ERA Genre: JAZZ Category: Jazz Collections ARMSTRONG/ALLEN/BERIGAN/BASIE DORSEY/
HERBERT L. CLARKE
Herbert L. Clarke: Original Recordings 1907-21 TRACK LISTING 01. Bride Of The Waves 02. The Holy City 03. Sounds From The Hudson (Valse Brilliante) 04. Killarney 05. Caprice Brilliante (The Debutante) 06. Perhaps Love's Dream Will Last Forever 07. Carnival Of Venice 08. Ah Cupid 09. Bride Of The Waves 10. Once Upon A Time 11. Rondo Caprice (From The Shores Of The Mighty Pacific) 12. Aloha Oe (Farewell) (Hawaiian Love Song) 13. Russian Fantasie 14. The Palms 15. La Veta Caprice (Lillian) 16. Berceuse From Jocelyn 17. Sounds From The Hudson (Valse Brilliante) 18. Twilight Dreams Waltz-Intermezzo 19. Southern Cross 20. Love's Old Sweet Song 21. Showers Of Gold Scherzo 22. Macushla 23. Caprice Brilliante (The Debutante) 24. Killarney 25. Carnival Of Venice 26. Stars In A Velvety Sky NOTES Date: 1996 Length: 76:20 minutes Label: CRYSTAL RECORDS Catalog: 450 Genre: CLASS Category: Classical Artists CLARKE (CORNET) VARIOUS
Allen Vizzutti: Carnival Of Venus TRACK LISTING 01. The Carnival Of Venus 02. Elegy 03. Son No.1: Slowly 04. Son No.1: Allegro 05. Andante And Capriccio: Andante 06. Andante And Capriccio: Capriccio 07. Son No.2: Moderato, Freely 08. Son No.2: Andante, Freely 09. Son No.2: Allegro 10. Blue Rondo 11. Son: 1/4nt=93-98 12. Son: 1/4nt=48 13. Son: 3/8nt=68 NOTES Length: 59:17 minutes Label: SUMMIT Catalog: 188 SPAR: DDD Category: Classical Artists VIZZUTTI*A. (TRPT)/VIZZUTTI*L. TYZIK/STRING ORCH
Maurice Andre: Trumpet Concertos TRACK LISTING Disc1 01. Brandenburg Con No.2 in F: Allegro 02. Brandenburg Con No.2 in F: Andante 03. Brandenburg Con No.2 in F: Allegro assai 04. Ste for trumpet in D: Overture 05. Ste for trumpet in D: Gigue (allegro) 06. Ste for trumpet in D: Air 07. Ste for trumpet in D: Bourree 08. Ste for trumpet in D: Marche 09. Trumpet Con in D: Allegro 10. Trumpet Con in D: Grave 11. Trumpet Con in D: Arie 12. Trumpet Con in D: Grave 13. Trumpet Con in D: Vivace 14. Trumpet Con in D: Allegro 15. Trumpet Con in D: Andante 16. Trumpet Con in D: Allegro 17. Trumpet Con in D: Adagio 18. Trumpet Con in D: Allergo 19. Trumpet Con in E flat: Allegro 20. Trumpet Con in E flat: Andante 21. Trumpet Con in E flat: Allergo Disc2 01. Trumpet Con in D: Allegro - 02. Trumpet Con in D: Adagio-Presto-Adagio i 03. Trumpet Con in D: Allergo 04. Con in d, Op.9 No.2: Allegro e non presto 05. Con in d, Op.9 No.2: Andante 06. Con in d, Op.9 No.2: Allergo 07. Trumpet Con in D: Allegro 08. Trumpet Con in D: Andante 09. Trumpet Con in D: Allegro grazioso 10. Con for 2 trumpets, Op.46 No.1: Allegro 11. Con for 2 trumpets, Op.46 No.1: Largo 12. Con for 2 trumpets, Op.46 No.1: Allergo 13. Trumpet Con in C: Allegro moderato 14. Trumpet Con in C: Adagio 15. Trumpet Con in C: Allergo 16. Trumpet Con in C: Introduction: Larghetto 17. Trumpet Con in C: Allegro 18. Trumpet Con in C: Siciliana 19. Trumpet Con in C: Allergo giusto NOTES Label: EMD/EMI CLASSICS Catalog: 69152 SPAR: ADD Category: Classical Artists ANDRE (TRPT) VARIOUS TRACK LISTING Brandenburg Concerto No.2 in F major, BWV1047 Suite for trumpet & organ in D major Composer Handel, George Frideric Suite for trumpet & organ in D major Composer Handel, George Frideric Suite for trumpet & organ in D major Composer Handel, George Frideric Suite for trumpet & organ in D major Composer Handel, George Frideric Suite for trumpet & organ in D major Composer Handel, George Frideric Concerto for trumpet in D major Composer Telemann, Georg Philipp Concerto for trumpet & orchestra, No 1 in D Composer Haydn, Michael Concerto for trumpet & orchestra in E flat major, H 7e No 1 Composer Haydn, Franz Joseph Concerto for trumpet in D major Composer Torelli, Giuseppe Concerti à cinque (12), Op. 7 Composer Albinoni, Tomaso Giovanni Concerto for trumpet & orchestra in D major Composer Tartini, Giuseppe Concerto for 2 trumpets, strings & continuo in C major, RV 537 Composer Vivaldi, Antonio Concerto for oboe (or trumpet) & strings in C minor Composer Marcello, Benedetto Concerto for trumpet in C Composer Cimarosa, Domenico Concerto for trumpet in D major Composer Stölzel, Gottfried Heinrich
Vizzutti/Shew/Dimartino: Trumpet Summit TRACK LISTING 01. Bopzutti 02. Laura Joy 03. Dragonfly 04. Autumn Leaves 05. Daahoud 06. It's Only A Paper Moon 07. Moonglow 08. It's A Heavy Town 09. Bye Bye Blackbird 10. You Don't Know What Love Is 11. All The Things You Are NOTES Date: 1995 Length: 68:59 minutes Label: SUMMIT Genre: JAZZ Category: Jazz
Adolph Herseth, Ein Heldenleben-Richard Strauss, Chicago Symphony Orchestra with Fritz Reiner conducting, Adolf Herseth, Haydn Trumpet Concerto, Chicago Symphony Orchestra with Claudio Abbado conducting, Deutsche Grammophon 415 104-2
How To Play High Notes on The Trumpet with a Formulated Approach that Includes Free PDF Exercises
PLAYING IN THE UPPER REGISTER There is a systematic approach to playing high notes on a consistent basis. The four most important aspects are: (1) High Pressure Air Tank (2) Tongue Position (3) Lip Position (4) Super Fast Air Stream
(1) First, you must have air the reserves ready to be called up at a moments notice. I believe that the type of air needed to play lead is most closely related to a High Pressure Air Tank. You must tank up on a small quantity of high pressure air and release the valve, releasing the Super Fast Air Stream. When playing lead one should ride this high pressure air stream. Let the High Pressure Air Tank and the subsequent Super Fast Air Stream help do the work. It's not the QUANTITY of air, but the SPEED of the air stream. VERY IMPORTANT: Playing high notes actually requires quite a small quantity of air.
(2) Next, Tongue Position should also be addressed. Saying ‘ah’ lowers the tongue and increase the ‘VOLUME’ of air. We don't want volume, but a Super Fast Air Stream. Saying ‘ee’ arches the tongue and 'INCREASES AIR SPEED' for high note playing.
(3) Lip Position. Imagine you have a tennis ball in your fingertips - now squeeze! This squeeze or pushing of your lips together is needed to play high. I personally use what people have called the ‘Superchop Method’ I pivot to push the lips over the top teeth and arch my tongue to alter the air stream. My lower lip curls in over the top of the bottom teeth. The top lip slightly overlaps the lower lip. The lip compression comes from pulling all of the muscles in toward the center.
(4) Finally, one must use a Super Fast Air Stream. The key is to achieve an incredible velocity of air, not quantity. The velocity must be so fast that it screams through the horn like a Mach 4 fighter jet. I mean fast! You should not puff your cheeks at anytime, check in a mirror. If you are puffing your cheeks, take your hand and literally hold your checks in, until your muscles are strong enough to do it on its own. Your goal is to obtain this Super Fast Air Stream INSTANTLY. It is the air speed, combined with lip and tongue position, that will give you success in the upper register.
Using the Air Tank, Tongue Position, Lip Position, and Air Speed YOU must also practice high note playing EVERYDAY. I often take the Clarke Studies up to the next octave for practicing. Or perhaps you could practice the leads to your favorite big band or pop charts. Either way, nothing happens without practice and hard dedicated work.
Below is a pdf of the High Note High Range Playing Chapter from the Ultimate Warm Up Book.
Many older players returning to the trumpet have ‘lost it’ from what they remember being able to play in their teens and 20’s. Often times simply playing long tones - although very boring - is very effective to building embouchure strength. Long tones can 'fix' many mistakes: You have to have quite a bit of air, your air stream has to be constantly flowing, your embouchure has to be in the correct position, and we're working out the entire process to create strength.
Look to your playing and analyze your goals and what you would like to accomplish.
A) What are your intentions?
1. Playing for fun (we’re done, keep practicing and have a good time!)
2. Playing for a goal or purpose in mind, continue reading...
B) What kind of goal?
1. Are you trying out for a dance band or group?
2. Do you want to play professionally?
3. Do you want to join an orchestra?
C) What time commitment is involved to achieve your goal?
GENERALLY SPEAKING, to have any level of skill when you go to the horn, you have to have a solid base of practicing for many months/years. If you are starting over again, GIVE YOURSELF TIME to get your chops back. IT WILL TAKE LONGER for your lips and body to adjust to the new demands. Let’s face the facts, it gets harder to play, the older we get. A general rule for practicing is this: decide upon your goal and determine what it will take to reach that level of playing. You must practice every day, or you will ‘loose it.’ As stated by many: “The first day you miss practicing - you know it. The second day - the band leader knows it. The third day, the audience knows it!”
My personal practice routine is the following:
A) One half to two thirds of my time is spent ’warming up’ (from my book)
B) The Clarke Technical Studies Many exercises from chapter 2, 3, 4, and 5 - Great chop and finger calisthenics, (I especially need these as I am left handed)
C) Standard trumpet repertoire: Etudes, Pieces and Songs
The Ultimate Warm Up for Trumpet
(1) Air Moving
(2) Lip Buzzing
(3) Mouthpiece Work
(4) Long Tones
(8) Range Studies
(9) Musical Phrasing
New and Used Trumpet Recommendations
How to choose a new or used trumpet for your needs
TRUMPET EQUIPMENT - BEGINNER - INTERMEDIATE - ADVANCED
There are many different horns out there, at many different price levels. I started in 1970’s on a Holton student model, then owned a Schilke B1 through high school and college and then switched to a Calicchio R32. I am currently in search of a new horn and want to try something different. WARNING: Stay away from the cheap Chinese made horns - they make good lamps or can be sold for scrap metal - but that’s about it. If it’s not on this list DON’T WASTE your money.
Beginner Horns: $500 - $1000
A beginner horn is PERFECT for those starting out. You DO NOT need to spend a lot to get started. A beginner horn can last a good two to four years. THIS is where YOU START. (also see used horns at the bottom)
Conn - Example: Conn 23B "USA"
Getzen - Example: Getzen 390
Holton - Example: Holton T602
Intermediate Horns: $900 - $1900
An intermediate horns can be a fine lifetime horn when maintenance issues are addressed.
Bach - Example: Bach TR200
Jupiter - Example: Jupiter 1200S
Getzen - Example: Getzen 590S Capri Intermediate
Pro Level Horns: $2000 +
Bach - Example: Bach 180S37
Schilke - Example: Schilke B Series
Yamaha - Example: Yamaha YTR9445CHS Chicago Artist Orchestra
Calicchio - Example: Calicchio R32
Taylor - Example: Taylor Trumpet Chicago Standard
Used Horns / EBAY:
They are some great deals to be found. Things to consider:
• How many sales does the seller have? (at least 50+)
• Is their feedback rating above 95%?
• What is their return policy?
• How many musical instruments have they sold?
• How is the finish? Are there dents? Other issues?
• Why are they selling?
Keep these questions in your mind as you search, and you can get a good deal on used horn.
Whatever you purchase, I recommend a chemical cleaning from Dr. Valve It is worth it for the cleaning and fixing of dents and/or problems with used horns. (They are former Schilke guys and are a great group of people)
Below is a review of the Calicchio R32:
The horn is very well constructed and will last over the long haul. The left thumb U hook and right third valve loop are slightly oversized in width and really make the horn comfortable to hold. Through trial and error, I have found that large bore horns are not for me. I like the resistance of the smaller bore horns and want the horn to help play in the upper register. The Calicchio R32 has the smaller specialized Studio 2 Lead pipe that makes playing in the upper register, very easy, with no strain. The five inch R3 bell produces great projection from minimal player effort. Through its construction and the increase of copper in the horn, it has a very consistent feel as one plays from the lower octave through the upper octaves, very smooth.
The R32 valves are FANTASTIC! They are extremely fast. Due to the flat oversized finger buttons, I can actually play faster. The valves slot well, yet also allow for flexibility in jazz situations.
The horn slots well in a very smooth fashion. It allows for flexibility, but also locks in the pitch easily. The intonation is excellent and has not been an issue.
Because of the higher copper content, this horn gravitates towards a beautiful warm rich tone.
The R32 projects well and is extremely smooth and pleasing to the ear. It is very versatile for many musical styles. The sound blends well with other instruments: piano, organ and brass players.
The Calicchio R32 has all the features you have always wanted. It seems as though everyone’s wish list came together to make this one. It is a very flexible horn with a warm rich sound that you will enjoy playing for many years.
Synthetic Valve Oil: Use With Caution (except for MusiChem)
|Trumpet Valve Oil|
SYNTHETIC TRUMPET OIL
Although I am long time user of petroleum based oil, I decided to give synthetic oil a shot when I bought my new horn (a Callicchio R32). I couldn’t have guessed the effects this would have on my new horn. The purpose of this article is not to recommend synthetic over petroleum based, or visa-versa, rather it is to share my experience and suggest you carefully read the instructions on the bottle.
After about a week of using the synthetic oil, I discovered there was a great deal of corrosion on the third valve stem. I hadn’t noticed it throughout the week.
I couldn’t believe it, A BRAND NEW HORN WITH CORROSION! The synthetic oil caused a CHEMICAL REACTION . The bores and valves were turning black and the pads were changing from white to black. There was also a thin, dark, filmy layer throughout the entire horn. At this point I decided to submerge the valves in distilled vinegar thinking the mild acid would clean the black film. It didn’t work. As soon as I put the horn back together they turned black.
Finally I bit the bullet and took the trumpet to be chemically cleaned. The result? A fully restored horn that retained only small traces of the corrosion in the form of tiny blemishes on the third valve stem.
The repairman told me that my experience is not unusual. They routinely find corrosion in horns oiled with synthetic brands. I’ll tell you this, I sure wish I would have known this before I start squeezing synthetic oil into my new horn. My advice is to CAREFULLY read all instructions on whatever oil you choose.
Hey, you live and learn right?
I have found a new brand called Pro Oil from MusiChem It is THE best oil in the business! (yes I've literally have tried them all) Pro Oil is very long lasting, and dramatically makes your valves smoother, and faster. Be sure to read the articles on corrosion, and viscosity (very worthwhile) YOU'VE GOT TO TRY THIS FOR YOURSELF. Try a bottle, then you can email me a thank you note... BTW THIS IS Synthetic - But they know what they're doing.
Trumpet Players With Braces Are A Common Problem
My students have successfully used these. They are flatter than others and 'mold' to each individual. Watch, Be Careful so that you try to keep a 'trumpet embouchure'.
There is a tendency to change the form of the lips. Do not let that happen. This product might last a week or a month depending upon use.
The quick, dependable and reusable orthodontic shield that provides lip protection for musicians and all brace patients. Protects lips from cuts and irritation caused by dental appliances or sharp, irregular teeth. Enables an individual to devise personalized protection without professional assistance. Promotes healing by covering the major source of irritation. Stays in position until removed. Will not slip or slide. Feels like normal lip tissue. Lasts for weeks under normal use. Includes ample material in one kit to form several tissue protecting shields. Since no two dental braces or mouths are identical, neither should any two guards be identical.
What this product will do is GIVE TIME for the student to adjust to the braces, it is generally NOT a long term solution - there really isn't any - But it helps during the transition period so the student IS NOT FRUSTRATED and then the student can adjust over a few weeks to the braces.
Braces Solution for Trumpet Players.
You can also use dental wax, but it can get 'stuck' in some types of braces and it could take time getting it in and out - but it does work.
TRUMPET METHOD BOOKS
Below are a listing of popular method books:
Arban: Complete Conservatory Method, ed. Goldman and Smith (C. Fischer)
Arban: Methode complete, ed. Maire, 3 vols. (A. Leduc)
Clodomir: Methode complete, ed. Job (A. Leduc)
Saint-Jacome: Grand Method (C. Fischer)
Clarke: Elementary Studies (C. Fischer)
Gordon: Physical Approach to Elementary Brass Playing (C. Fischer)
Longinotti: l'Etude de la trompette (Editions Henn)
Ridgeon: Brass for Beginners (Boosey & Hawkes)
Robinson: Rubank Elementary Method (Rubank)
Wiggins: First Tunes & Studios (Oxford)
MEDIUM TO MEDIUM-DIFFICULT
Bordogni: 24 Vocalises, trans. Porret (transposition) (A. Leduc)
Bousquet: 36 Celebrated Studies, ed. Goldman (C. Fischer)
Brandt: 34 Studies and 24 Last Studies, ed. Vacchiano (Belwin-Mills)
Broiles: Have Trumpet . . . Will Transpose (transposition) (C. Colin)
Chavanne: 25 Characteristic Studies, ed. Voisin (International)
Clarke: Technical Studies (C. Fischer)
Clarke: Setting Up Drills (C. Fischer)
Colin: Advanced Lip Flexibilities (C. Colin)
Endresen: Supplementary Studies (Rubank)
Gallay: 22 Exercises, ed. Maire (A. Leduc)
Glantz: The Complete Harry Glantz (C. Colin)
Goldman: Practical Studies (C. Fischer)
Gower and Voxman (ed.): Rubank Advanced Method (Rubank)
Hering: 32 Etudes (C. Fischer)
Hovaldt: Lip Flexibility (R. King)
Kopprasch: 60 Studies, ed. Gumbert and Herbst, 2 vols. (C. Fischer)
Laurent: Etudes pratiques, 3 vols. (A. Leduc)
Maniscalco: Leonardo Maniscalco, trumpet player with the Rome Opera House orchestra, has published two books of trumpet etudes. La sonorità e la tecnica, vols 1 and 2. I really like these!!!
Pares: Scales (Rubank)
Salvation Army: 101 Technical Exercises (Salvation Army)
Schlossberg: Daily Drills and Technical Studies (M. Baron)
Skornicka: Rubank Intermediate Method (Rubank)
Smith: Lip Flexibility (C. Fischer)
Staigers: Flexibility Studies, 2 vols. (C. Fischer)
Stamp: Warm-ups plus Studies (Editions Bim)
Vacchiano: Trumpet Routines (C. Colin)
Zauder: Embouchure & Technique Studies (C. Colin)
Andre: 12 Etudes caprices dans le style baroque (piccolo trumpet) (Editions Billaudot)
Balasanyan: 20 Studies, ed. Foveau (International)
Balay: 15 Etudes (A. Leduc)
N. Bizet: 12 Grandes etudes de perfectionnement (A. Leduc)
Bodet: 16 Etudes de virtuosite d'apres J.S. Bach (A. Leduc)
Broiles: Trumpet Baroque, 2 vols. (piccolo trpt.) (Queen City)
Charlier: Etudes transcendantes (A. Leduc)
Clarke: Characteristic Studies (C. Fischer)
Duhem: 24 Etudes (C. Fischer)
Gallay: 12 Grand caprices, ed. Maire (A. Leduc)
Gallay: 39 Preludes, ed. Maire (A. Leduc)
Harris: Advanced Studies (C. Colin)
Hickman: The Piccolo Trumpet (Tromba Publications)
Longinotti: Studies in Classical and Modern Style (International)
Petit: 15 Etudes techniques et melodiques (A. Leduc)
Petit: Grandes etudes (A. Leduc)
Sachse: 100 Etudes (transposition) (International)
Smith: Top Tones (C. Fischer)
Webster: Method for Piccolo Trumpet (Brass Press)