TBBY2

Trumpet Building Blocks
Second Year
Overview of the Second Year
This book is designed as a continuation of my Trumpet Building Blocks: First
Year. I assume that you have worked consistently on this practice guide and are now
ready to expand your trumpet skills even further. The First Year laid the ground work for
consistent practice habits, better fundamentals, an awareness of the mental aspects of
trumpet playing, and, hopefully, confidence.
The Second Year book picks up in some ways where the First Year left off.
However, I see some major differences in focus for the second year. I want the second
year student to develop in tone quality. Additionally, he or she should begin to really
expand musically from the micro-phrase to the phrase and even to the movement.
Orchestral study will be a priority, as will a continually expanding etude
repertoire. Mastering a straight-ahead classical style is a priority of this method, but
specialization is encouraged. By now, the second-year student should know more clearly
what his or her strengths are. By this time, a jazz- or commercial-oriented student should
be in a real improvisation course. Nevertheless, there are still many benefits to studying
some improvisational materials for all students, and they will be included with some
frequency.
Equipment:
Trumpetsin addition to your B-flat trumpet, you should consider investing in a C
trumpet. Makers such as Bach and Yamaha are noteworthy.
MouthpiecesI recommend a medium to large size mouthpiece (such as a Bach 1-5C;
the following manufacturers are a representative (but not exclusive) list of good
mouthpiece makers. I recommend that you study mouthpiece comparison charts found at
many websites (such as the Kanstul Mouthpiece Comparator
www.kanstul.net/mpcJN/all_mouthpieces.shtml):
Warburton; Yamaha; GR Mouthpieces; Hammond; Greg Black; Laskey; Stork; Kanstul;
and many more. A great reference for mouthpiece design and selection is David
Hickmans Trumpet Pedagogy.
Accessoriesyoull need a metronome, a tuner, a good recording device, a computer
studiowhere you can practice with recordings and other types of accompaniments.
Study materials (* denotes a priority):
Methods:
*Jean-Baptiste Arban, Complete Conservatory Method for Trumpet
*Claude Gordon, Systematic Approach to Daily Practice
*Herbert L. Clarke, Technical Studies
1
*Clarke, Setting Up Drills

*Bai Lin, Lip Flexibilities
*James Thompson, The Buzzing Book
*(newly required) Max Schlossberg, Daily Drills and Technical Studies for Trumpet
*(newly required) James Stamp, Warm-Ups + Studies
Roy Popers Commentaries on the Brasswind Methods of James Stamp
*(newly required) W. M. Smith, Lip Flexibility on the Trumpet
*(newly required) C. Colin, Advanced Lip Flexibilities
*(newly required) R. Shuebruk, The Complete Shuebruk Lip Trainers for Trumpet
*(newly required) __________, The Complete Shuebruk Tongue Trainers for Trumpet
Etudes
*N. Bousquet, 36 Celebrated Studies
*Brandt, Orchestral Etudes
*Sachse, One Hundred Studies (transposition etudes)
Small, 27 Melodious and Rhythmic Exercises
Bordogni, The Complete Book of Vocalises (many different editions)
Concone, Vocalises (many different editions)
Charlier, Thirty Six Transcendent Studies
Bozza, 16 Etudes
V. Berdiev, 17 Studies for Trumpet
Orchestral and/or jazz studies
*P. Norris, Top 50 Orchestral Excerpts (Crown Music Press)
Rob Roy McGregor, Audition and Performance Preparation for Performance;
Orchestral Literature Studies, Volume I
*Rich Willey, Jazz Improv Materials Handbook Complete (great for trumpeters even if
youre not seriously pursuing jazz)
_______, Trumpeters Guide to II-V-Is in Twelve Keys
_______, Trumpeters Guide to Minor II-V-Is in Twelve Keys
*_______, Scale Force for Trumpet
David Baker, How to Play Bebop, vols. 1-3
Membership/journals
Join ITG as a student; consider joining the Historic Brass Society; consider subscribing to
a jazz magazine like Downbeat.
Software/other learning material
SmartMusic (software to work on solos and exercisesITG student members can get this
at a big discount)
Transcribe! (software to work on transcribing and learning pieces by ear)
Finale notation software (this is good for making your own arrangements or inputting
pieces that dont have a SmartMusic accompaniment already; this is the standard of
the industry and a software that all musicians should learn)
David Lucas Burges Relative Ear Training course and Perfect Pitch Ear Training
course. This is pretty expensive, but well worth the cost, because it is very well
organized and will really provide results in your ear training. To be a very good
trumpeter, you need to have very good ears.
Solos (try to select a wide variety of time periods and styles):

Baroque pieces
Bach, Rondeau et Badinerie
Corelli, Sonata VIII (for B-flat trumpet)
Fantini, any of his various sonatas
Fasch, Concerto in D (requires piccolo)
Handel/Fitzgerald, Aria con variazioni (for B-flat trumpet)
Tartini, Concerto
Telemann, Air de Trompette
Purcell, Sonata (requires piccolo)
Torelli, Sonata in D (the so-called Etienne Rogerrequires piccolo)
Torelli, Concerto, G. 1
Viviani, Sonata 1 or 2
Two of the following short pieces:

Alary, Morceau de Concours
Arutunian, Theme and Variations
Arutunian, Concert Scherzo
Balay, Prelude et Ballade
Barat, Fantasie in Eb
Barat, Andante et Scherzo
Barat, Fanaisie en Mi-flat
Bennett, Rose Variations
Berdiev, Elegy
Berghmanns, La Chenille
Bitsch, Fantasietta
Bloch, Proclamation
Bonneau, Fantasie concertante
Bonneau, Suite
Bozza, Badinage
Bozza, Caprice
Bozza, Lied
Bozza, Rustiques
Broughton, Olivers Birthday
Broughton, Folksong
Bernstein, Rondo for Lifey
Busser, H., Andante et Allegro
Chance, Credo
Copland, Quiet City (need English horn also)
Defaye, Sonatine
Enesco, Legend
Ewazen, Ballade for a Ceremony
Ewazen, Prayer and Praise

Gabaye, Boutade
Goeyens, AlAntica
Goeyens, Introduction et Scherzo
Hartley, Sonatina
Ibert, Impromptu
Koetsier, Sonatina
Kreisler, A. von, Sonatina
Kupfermann, 3 Ideas
Latham, Suite
Persichetti, The Hollowmen
Plog, Animal Ditties I and II (need narrator)
Turrin, Caprice
Turrin, Elegy
Turrin, Four Miniatures
Turrin, Intrada
Turrin, Two Portraits
Walker, Sonatina
Weber, F. D. Variations in F
One of these concerti:
Arutunian, Concerto
Boehme, Concerto in f-minor
Fitzgerald, Concerto
Giannini, Concerto
Haydn, Concerto in E-flat (works for B-flat or E-flat trumpet)
Hummel, Concerto in E-flat (works for B-flat or E-flat trumpet)
Riisager, Concertino
Wright, Concerto
Sonatas:
Peeters, Sonata
Emmanuel, Sonata
Holdheim, Sonata
Kennan, Sonata
Show stoppers or encore pieces:
Llewellyn, My Regards
An Arban cornet solo
Goedicke, Concert Etude
A Clarke cornet solo
Unaccompanied pieces:
Cheetham, Concoctions
Ott, Three Little Pieces for Trumpet and Tape
Persichetti, Parable
Tull, Episodes
Tull, Profiles
Organization
This book is organized into three main periods: two academic semesters and a
vacation. Each semester has 14 weeks. The vacation, or summer, practice is presented at
the end of this book as a cyclical, rather than a weekly, practice plan. The semester
material is presented in weekly grids. Each week is broken down into six practice days
with one day leftover each week to do something different (this could very well include
rest!). These six days should be arranged to suit the students schedule. A block
represents each element of practice. This grid is merely a suggestion. Consider
rearranging the material from scratch according to your own preferences.
By the end of each semester, the academic term, and the whole year, the student
will have achieved demonstrable improvement in fundamentals, basic musical
vocabulary, ear training, and musical literature.
These studies will gradually increase the students fundamental abilities in these
areas: strength, range, tone, finger dexterity, articulation (single, double, and more), lip
flexibility, accuracy, and air control. I have taken great care to plan these graduallyincreasing goals, so that the student will make a little improvement each week but will
not burn out from muscle fatigue.
This book will lay out basic musical material for improvement in rhythm, melodic
material, transposition, jazz vocabulary, and sight-reading.
This book will demand ear-training exercises of the student. They might be from
one of David Lucas Burges courses or some transcription of a live recording (perhaps
made easier by Transcribe! software (or some other software that can slow down an audio
track while maintaining the pitch level).
This book will help the student increase his or her musicality by assigning
appropriate vocalises, etudes, jazz tunes, orchestral excerpts, and solo pieces. The list of
suggestions is limited to what I consider the core repertoire of a classically-trained
trumpeter. These are the building blocks of a common musical language of most
trumpeters the world over who play in orchestras or bands or who are in academia. Feel
free to make substitutions of this literature based on your particular interests, availability,
and the opinion of your teacher.
Goals for the Undergraduate Student upon completion of four years

1. Tune impeccably
2. Play with a focused, warm, clear tone
3. Expand range to at least a high F above high C
4. Single Tongue to mm. 116
5. Double Tongue to mm. 160
6. Triple Tongue to mm. 110
7. Be able to lip trill
8. Have overall good lip flexibility
9. Be able to transpose from B-flat trumpet and C trumpet to the most commonly used
keys
10. Master about 80 etudes; 25 orchestral excerpts; and 80 jazz or Renaissance
improvisational patterns
11. Memorize 5 etudes, 8 solos, 16 orchestral excerpts, and 4 jazz transcriptions

12. Relative Pitch firmly in place
13. Perfect Pitch attempted
14. Develop four recitals worth of music (about 20 solos)
About 2 sonatas
About 4 concertos
About 8 short character types of pieces
4 show stoppers
1 unaccompanied piece
15. Develop an understanding of the soft zone and how to trigger it
Year Two, First Semester

Goals for the First Semester, Year 2
1. Work on 7 Gordon long-tone routines
2. Refine the slot of each note; beautify tone
3. Single tongue up to 106; refine sound and stability of attack
4. Double and triple tongue speed and stability
5. Lip Flexibility speed and dexterity
6. Master 28 etudes; 5 solo piece movements; 7 new orchestral excerpts; 14 jazz licks;
41 Arban Art of Phrasing vocalizes, and 13 transposition etudes
7. Clarke Technical Studies, Studies 1-8
8. Rich Willey Jazz Improv Materials book to page 96
9. Relative Pitch courseup through Level 4
10. Perfect Pitch courseup to about Masterclass 12
11. Learn the church modes, ascending melodic minor modes, harmonic minor, whole
tone, and the diminished scales for 5 keys
Reference Modes
The following four pages are for reference when practicing the Willey Scale
Force book, but they might prove helpful in other scales studies, such as Arban and
Clarke. I have written out the 7 church modes and 7 ascending melodic minor (AMM)
modes in all twelve keys. The idea is to practice the patterns designated for major scales
in Willeys Scale Force, but using a different set of accidentals to achieve the different
modes. You will not want to play all the notes printed in the Scale Force study in your
daily practice. Play only about 25% of the printed material while you SING and FINGER
the rest. This provides mental practice while maintaining freshness. One way to do this is
to play (as an example, go to p. 2, key of C, Thirds) mm. 4-5 and mm. 14-15 ONLY. The
rest is sung. Repeat this process throughout every interval and on subsequent pages
apply the same procedure.
10
11
12
First Semester
Week 1
Hopefully you have been practicing regularly over your summer break and are
truly ready to begin Year 2. If you are a little out of shape, then take it easy for the first
couple of weeks. Do less. Keep a trumpet-playing journal.
Assignments:
Long tones/Mouthpiece:
Mouthpiece: Buzzing CD to track 28 (2 blockson the minute drills, try to
use varying articulation: in addition legato t and k, and crisp t and k, try
incorporating triple and double tongue; try incorporating Scheherazade
tonguing; try quintuple tonguing)
Stamp, Warm-ups + Studies, Ex. 3 (on trumpet; abbr. Stp; 2 blocks)
Long tones: Gordon, Week 15, part I, II (2 blocks).
Minute Drills: Single Tongue=101; K Tongue=95 (3 blocks each)
Lip Flexibilities: Bai Lin Lip Flexibilities, Sections I, II, III and IV; OR Walter Smith
Lip Flexibilities, #1-4 (practice about 20-30 minutes per blocktry for greater
smoothness and security, not necessarily speed; 2 blocks)
Technical I: Claude Gordon, Week 15, part IV only, (Clarke Technical 4th study with
etude, vary articulation, 1 block).
Shuebruk, Complete Tongue Trainers, pp. 3-4 (STT; 1 block)
Technical II: Willey, Scale Force, pp. 2-3 (WSFsame as WD in C; play in 7 church
modes i-vii; 4 blocks)
Technical Literature I: Sachse transposition etudes #14 (try on B-flat and C trumpet;
ET; 1 block); Brandt, Etude #1 (Br; 2 blocks); Charlier Transcendental Etude
#1 (ChTE; 3 blocks); Arban, Ph p. 217, #88-91; Arban, Fantasie #1, p. 301
Beatrice di Tenda (AF)
Technical Literature II:
Orchestral Excerpts: Strauss, Ein Heldenleben (1st B-flat and 1st E-flat parts3 blocks).
Review previous excerpts on a regular schedule: see the practice chart (Top 33
Orchestral Excerpts) at the end of this book for a suggested method of practicing
the most asked for orchestral excerpts (2 blocks)
Jazz licks, Willey, p. 83, ii/V/I Melodies, #1 (2 blocks)
Literature: Solo(s) of choice (4 blocks) listen to recording(s) of your solos. Record
yourself.
Ear Training: Relative Pitch, Level 3, lesson 24 (5 blocks)
Perfect Pitch, work at your own pace (3 blocksPabsorb at your leisureyou will
probably progress at widely different speeds)
13
Suggested Week 1 scheduleyou plan your own practice

Day
1
Day
2
Day
3
Day
4
Day
5
Day
6
Day
7
L/MP
CG15,
I, II
MP to
28
MD
ST (101),
KT (95)
Stp3
ST, KT
Tech I
CT4
Tech II
Ear
P
WSF iii, iv
Tech Lit I
Tech Lit II
Lit
ET 14; Br1; Ph O: Held.
S
88-91; AF1
ChTE1
O review
(see chart at
end of this
book)
AF1
L: W 83, #1 S
WSF v, vi
Br1; AF1
ChTE1
O review
ChTE1
L, O
PR
WSF: 2-3: i, ii
CG15,
I, II
Stp3
MP
Flex
BL I, II;
OR Smith
STT p. 34
BL III, IV;
OR Smith
ST, KT
WSF vii
R24
P, R
Week 2
Getting physically fit to play the trumpet can boost your confidence. Basically,
waves of stress and recovery enable the body to get tougher and more fit. We need to
keep this in mind at many levels. For instance, on the yearly calendar level, we can have
about two or three seasons of peak performance, each followed by periods of rest. On the
weekly level, I try to alternate hard and easy days. During a single day, it is good to play
for chunks of time ranging from 20 minutes to an hour, each chunk followed by an hour
or more of rest. During each practice session, try to rest every five minutes or so. And at
the lowest level, it is necessary to alternate playing and resting every phrase or so (e.g.
when playing Clarke Technical Studies, play an exercise, then rest about the same
amount of time as that exercise).
Assignments:
incorporating triple and double tongue; try incorporating Scheherazade
tonguing; try quintuple tonguing, as in Stravinskys The Soldiers Tale,
Royal March)
14
Technical II: Willey, Scale Force, pp. 2-3 (play in the 7 Ascending melodic minor
modesAMM; 4 blocks; these will be modes i-vii of AMM)
Technical Literature I: Sachse transposition etudes #15 (try on B-flat and C trumpet; 1
block); Brandt, Etude #2 (2 blocks); Charlier, Transcendental Etude #2 (ChTE;
3 blocks); Arban, Ph p. 218, #92-93 (1 block); Arban, Fantasie #1, p. 301
Beatrice di Tenda (3 blocks)
Orchestral Excerpts: Strauss, Ein Heldenleben (1st B-flat and 1st E-flat partsreview
from last week; 3 blocks). Review previous excerpts on a regular schedule (2
blocks)
yourself. Are you playing a variety of styles and time periods?
Ear Training: Relative Pitch, Level 3, lesson 25 (5 blocks; exam; this and subsequent
assignments will be for 2 weeks per lesson)
L/MP
MD
Day
1
Day
2
CG15,
I, II
MP to
28
ST (102),
KT (96)
Day
3
Day
4
Day
5
Day
6
Day
7
Stp3
ST, KT
Tech I
Tech II
CT4
WSF 2-3;
[AMM] i, ii
CG15,
I, II
Stp3
MP
Flex
BL I, II;
OR Smith
STT p. 5-8
WSF [AMM]
iii, iv
WSF [AMM]
v, vi
BL III, IV;
OR Smith
ST, KT
WSF [AMM]
vii
Tech Lit I
Tech Lit
II
ET 15; Br2; Ph O: Held
92-93; AF1
ChTE2
O review
Lit
Ear
AF1
Br2; AF1
L: W, 84
#2
O
ChTE2
O review
ChTE2
L, O
PR
R25
P, R
R
Week 3
Remember that great trumpet playing is made not in a day, but daily. While there
will certainly be red letter days that a great trumpeter can look back on and say, that
15
was a good break for meI got noticed at that performance, the main reason for a great
trumpeters success is her consistency from day to day and week to week. Also remember
that wanting to be a great trumpeter is fundamentally different than wanting to do the
work of a great trumpeter. If you can find satisfaction in the work itself, then you will
surely succeed, but if you do the work only for the promise of success, then, ironically,
you will probably not succeed.
While it is true that progress from one day to the next is three steps forward and
two steps back, if the final analysis, you are going forward at least a little every day or
every week. Additionally, every now and then, you finally polish and sublimate a skill or
piece of repertoire so much that you will rarely have to re-learn that skill or piece.
Assignments:
incorporating triple and double tongue; incorporate Scheherazade tonguing,
quintuplet tonguing, and any other difficult tonguing)
Technical II: Willey, Scale Force, pp. 4-7 (WSF; 4 blocks)
Fantaisie Brillante (3 blocks)
Orchestral Excerpts: Mahler, Symphony No. 3 (Offstage Posthorn Solo; 3 blocks).
Review previous excerpts on a regular schedule (2 blocks)
yourself. Are you playing a variety of styles and time periods?
Ear Training: Relative Pitch, Level 3, lesson 25 (5 blocks; examreview as needed)
16

L/MP
MD
Day
1
Day
2
CG16,
I, II
MP to
28
ST (102),
KT (96)
Day
3
Stp3
ST, KT
Day
4
Day
5
Day
6
Day
7
CG16,
I, II
Stp3
MP
Flex
Tech I
Tech II
Lit
Ear
WSF, p. 4
Tech Lit
II
ET 16; Br3; Ph O: Mahl3
94-96; AF3
ChTE3
O review
WSF, p. 5
AF3
L: W85,
#3
WSF, p. 6
Br3; AF3
ChTE3
O review
ChTE3
L, O
PR
CT5
BL I, II;
OR Smith
(1-5)
STT p. 912
BL III, IV;
OR Smith
ST, KT
WSF, p. 7
Tech Lit I
R25
P, R
R
Week 4
This week, I have been reading John C. Maxwells Leadership 101. In it, he talks
about four phases of leadership growth. Heres my take on Maxwells concept: growth in
trumpet playing can be divided into four phases.
Phase I: I dont know what I dont know about trumpet playing. Most young
trumpet players dont know much about trumpet playing. They dont have many
recordings. They havent had too many lessons. They havent played alongside other
trumpet players who are really good.
Phase II: I know what I dont know about trumpet playing. At some point, the
young trumpeter realizes that he must learn how to play the trumpet. Successful
trumpeters are learners. Its an ongoing process. To learn you have to connect on some
level with great trumpeters.
Phase III: I begin to practice my trumpet craft, and it starts to become apparent.
When trumpeters recognize their lack of skills, and when they make a commitment to
daily, weekly, and year-round practice, great things begin to happen. They begin to win
auditions, and, more importantly, the hearts of their audience.
Phase IV: My skill has become automated. Here, the trumpeter is at the top of his
game, and the skills that he has spent so much time acquiring have become second
nature. He transcends his art. But to get here, the trumpeter must pay the price.
Assignments:
17
incorporating triple and double tongue; incorporate Scheherazade tonguing,
quintuplet tonguing, and any other difficult tonguing)
Stamp, Warm-ups + Studies, Ex. 3 (on trumpet; abbr. Stp; 1 block)
Long tones: Gordon, Week 16, part I, II (repeat from last week; 3 blocks).
Shuebruk, Complete Tongue Trainers, pp. 15-16 (STT read p. 14; 1 block)
Technical II: Willey, Scale Force, pp. 8-9 (WSF; church modes i-vii; 4 blocks)
Fantaisie Brillante (repeat from last week; 3 blocks)
Orchestral Excerpts: Mahler, Symphony No. 3 (Offstage Posthorn Solo; repeat from last
week; 3 blocks). Review previous excerpts on a regular schedule (2 blocks)
Literature: Solo(s) of choice (4 blocks) listen to recording(s) of your solos. Are you
trying out your memory? Playing from memory requires so much more practice
that you are bound to improve your solos!
Ear Training: Relative Pitch, Level 4, lesson 26 (new level! 5 blocks; 2 weeks for this
and next couple of lessons)
L/MP
MD
Day
1
Day
2
CG16,
I, II
MP to
28
ST (103),
KT (97)
Day
3
CG16,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp3
CG16,
I, II
MP
Flex
Tech I
Tech II
Lit
Ear
WSF 8-9; i, ii
Tech Lit
II
ET 17; Br4; Ph O: Mahl3
97-99; AF3
ChTE4
O review
WSF, iii, iv
AF3
L: W86,
#4
WSF, v, vi
Br4; AF3
ChTE4
O review
ChTE4
L, O
PR
CT5
BL I, II;
OR Smith
(1-5)
STT p. 1416
BL III, IV;
OR Smith
ST, KT
WSF, vii
Tech Lit I
R26
P, R
R
18
Week 5
I just want to quote one composers view for this week:
There is nothing to it. You only have to hit the right notes at the right time and the
instrument plays itself.
---Johann Sebastian Bach---
Assignments:
Mouthpiece: Buzzing CD to track 28 (2 blockson the minute drills, vary
articulation)
Lip Flexibilities, #1-4, 6 (practice about 20-30 minutes per blocktry for greater
Shuebruk, Complete Tongue Trainers, pp. 17-19 (STT read p. 14; 1 block)
Technical II: Willey, Scale Force, pp. 8-9 (WSF; Augmented Melodic Minor modes
[AMM; i-vii]; 4 blocks)
Variations on a Tyrolean Song (3 blocks)
Orchestral Excerpts: Wagner, Parsifal Prelude (3 blocks). Review previous excerpts on a
regular schedule (2 blocks)
Literature: Solo(s) of choice (4 blocks) listen to recording(s) of your solos. Are you
trying out your memory? Playing from memory requires so much more practice
that you are bound to improve your solos!
Ear Training: Relative Pitch, Level 4, lesson 26 (5 blocks; repeat from last week)
19

L/MP
MD
Day
1
Day
2
CG17,
I, II
MP to
28
ST (103),
KT (97)
Day
3
CG17,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp3
CG17,
I, II
MP
Flex
Tech I
Tech II
Tech Lit
II
ET 18; Br5; Ph O: Pars
100-102; AF4
ChTE5
O review
Lit
Ear
WSF [AMM],
iii, iv
AF4
L: W87,
#5
WSF [AMM],
v, vi
Br5; AF4
ChTE5
O review
ChTE5
L, O
PR
CT6
WSF 8-9;
[AMM], i, ii
BL I, II;
OR Smith
(1-4, 6)
STT p. 1719
BL III, IV;
OR Smith
ST, KT
WSF [AMM],
vii
Tech Lit I
R26
P, R
R
Week 6
Heres an interesting letter that every trumpeter probably will read. Of course,
Clarke didnt anticipate the surge in popularity of the trumpet, which completely eclipsed
the cornets prominence. Although this quote seems to point to Clarkes ignorance, it
cannot take away from Clarkes true legacy: his recordings, method books, solos, and his
arrangements.
Letter from Herbert L. Clarke Regarding the Cornet and Trumpet
Herbert L. Clarke, Conductor
Anglo Canadian Leather Co. Band
Huntsville, Ontario, Canada
Jan. 13th, 1921.
Mr. Eldon R. Benge
Winterset, Ia.
My dear Mr. Benge:Replying to yours of the 19th just received, would not advise you to change from
Cornet to Trumpet, as the latter instrument is only a foreign fad for the time present, and
is only used properly in large orchestras of 60 or more, for dynamic effects, and was
never intended as a solo instrument.
I never heard of a real soloist playing before the public on a Trumpet. Once
cannot play a decent song even, properly, on it, and it has sprung up in the last few years
20
like "jaz" music, which is the nearest Hell, or the Devil, in music. It polutes [sic] the art
of Music.
Am pleased that you are making improvements in your playing. Keep it up, and
become a great Cornet Player. You have an equal chance with all the rest, but you must
work for it yourself.
Wishing you all the best of success, I remain.
Sincerely yours,
Herbert L. Clarke
Assignments:
articulation)
Lip Flexibilities: Bai Lin Lip Flexibilities, Sections I, II, III and V; OR Walter Smith Lip
Flexibilities, #1-4, 6 (practice about 20-30 minutes per blocktry for greater
Shuebruk, Complete Tongue Trainers, pp. 20-21 (STT)
Variations on a Tyrolean Song (repeat from last week; 3 blocks)
Orchestral Excerpts: Wagner, Parsifal Prelude (repeat from last week; 3 blocks). Review
previous excerpts on a regular schedule (2 blocks)
Literature: Solo(s) of choice (4 blocks) listen to recording(s) of your solos. Use quality
control techniques, such as insisting on 3 to 5 perfect times in a row (depending
on the length of the passage or movement).
21

L/MP
MD
Day
1
Day
2
CG17,
I, II
MP to
28
ST (104),
KT (98)
Day
3
CG17,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp4
CG17,
I, II
MP
Flex
Tech I
Tech II
Lit
Ear
WSF 10
Tech Lit
II
ET 19; Br6; Ph O: Pars
103-105; AF4
ChTE6
O review
WSF 11
AF4
L: W88,
#6
WSF 12
Br6; AF4
ChTE6
O review
ChTE6
L, O
PR
CT6
BL I, II;
OR Smith
(1-4, 6)
STT p. 2021
BL III, V;
OR Smith
ST, KT
WSF 13
Tech Lit I
R27
P, R
R
Week 7
Barbara Butler, in a 2006 ITG Conference Seminar, listed some common traits of
her many students that have made it into principal positions:
These were the students with fierce determination and an incredible focus while
playing. All of them were in a hurry to be good and had a very fast learning curve.
And when it came time to try something new, they were the first to jump in line.
Not only did they work harder than others around them, they were their own
teachers much of the time. Their attention to detail and continuous effort gave
them the edge they needed to succeed. [from ITG coverage on the following web
page: http://www.trumpetguild.org/2006conference/thur/303.html]
Assignments:
articulation)
22
Technical II: Willey, Scale Force, pp. 14-15 (WSF; Church Modes, i-vii; 4 blocks)
Variations on a song Vois-tu la nege qui brille (3 blocks)
Orchestral Excerpts: Bizet, Carmen Prelude (repeat from last week; 3 blocks). Review
previous excerpts on a regular schedule (2 blocks)
Ear Training: Relative Pitch, Level 4, lesson 27 (5 blocks; repeat from last week)

L/MP
MD
Day
1
Day
2
CG18,
I, II
MP to
28
ST (104),
KT (98)
Day
3
CG18,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp4
CG18,
I, II
MP
Flex
Tech I
Tech II
Tech Lit
II
ET 20; Br7; Ph O: Carm
106-108; AF5
ChTE7
O review
Lit
Ear
WSF 14-15;
iii, iv
AF5
L: W89,
#7
WSF 14-15; v,
vi
Br7; AF5
ChTE7
O review
ChTE7
L, O
PR
CT7
WSF 14-15; i,
ii
BL I, II;
OR Smith
(1-4, 7)
STT p. 2223
BL III, V;
OR Smith
ST, KT
WSF 14-15;
vii
Tech Lit I
R27
P, R
R
Week 8
Try to remember the many tools to be your best.
Trumpet Practice Tools are the most obvious:
1. Isolation (fingers, air issues, tongue, buzzing, small passages)
23
2. Repetition (back to quality control--mental and muscle memory)

3. Use of tempo (speed of ease, slow progress over weeks and months)
4. Varying elements (rhythms, articulations, ornaments)
5. Recording for instant objective feed-back
6. Memorization
Also, General (life-skill) Tools can be very helpful and are requirements for very highlevel trumpeters, but they are very difficult to instill in a student:
1. Thoughtful organization and preparation of practice materials
2. A process-oriented approach to continued fundamental improvement (and a good sense
of how much improvement is really possible so as not to overdo certain aspects)
3. Desire to balance and vary materials
4. Habit of keeping a journal
5. Fierce desire and insistence for high quality
6. Willingness to try something new
7. Patience
8. Balance of intuitive and analytical styles of problem solving
9. Consistency of practice habits
10. Desire to be well rounded as musician (good ear, good rhythm, good improvisational
skills)
11. Desire to listen to a lot of good music
Assignments:
articulationuse your imagination!)
Technical II: Willey, Scale Force, pp. 14-15 (WSF; AMM modes, i-vii; 4 blocks; vary
articulation)
Variations on a song Vois-tu la nege qui brille (repeat from last week; 3 blocks)
24
Orchestral Excerpts: Gershwin, Piano Concerto in F (3 blocks). Review previous

excerpts on a regular schedule (2 blocks)

L/MP
MD
Day
1
Day
2
CG19,
I, II
MP to
28
ST (105),
KT (99)
Day
3
CG19,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp4
CG19,
I, II
MP
Flex
Tech I
Tech II
CT8
WSF 14-15
[AMM]; i, ii
BL I, II;
OR Smith
(1-4, 8)
BL III, V;
OR Smith
ST, KT
STT p. 2426
WSF 14-15
[AMM]; iii,
iv
WSF 14-15
[AMM]; v, vi
Tech Lit I
Tech Lit
II
ET 21; Br8; Ph O: Gersh
109-111; AF5 Piano C
ChTE8
O review
Lit
Ear
AF5
L: W90,
#8
Br8; AF5
ChTE8
O review
L, O
PR
WSF 14ChTE8
15[AMM]; vii
R28
P, R
R
Week 9
We can never really be prepared for that which is wholly new. We have to adjust
ourselves, and every radical adjustment is a crisis in self-esteem: we undergo a test, we
have to prove ourselves. It needs subordinate self-confidence to face drastic change
without inner trembling.Eric Hoffer (1902-1983), American philosopher and social
writer.
In my opinion, every time we start to learn a new solo piece, or try a different
routine, or make an embouchure change, we also have a radical adjustment. Trust
yourself.
Assignments:
25

Shuebruk, Complete Tongue Trainers, pp. 29-30 (STT; keep in mind that in this day
and age, we double and triple tongue usually a bit smoother than 90 years ago.
For example, we pronounce dah gah for the default double tongue.
Nevertheless, we eventually must master the crisper, earlier style tu ku.)
Technical II: Willey, Scale Force, pp. 15-19 (WSF; vary articulation; 4 blocks)
Cavatina and Variations (3 blocks)
Orchestral Excerpts: Gershwin, Piano Concerto in F (repeat from last week; 3 blocks).
Ear Training: Relative Pitch, Level 4, lesson 28 (5 blocks; just one week)
L/MP
MD
Day
1
Day
2
CG19,
I, II
MP to
28
ST (105),
KT (99)
Day
3
CG19,
I, II
ST, KT
Day
4
Day
5
Day
6
Day
7
Stp5
CG19,
I, II
MP
Flex
Tech I
Tech II
Lit
Ear
WSF p. 16
Tech Lit
II
ET 22; Br9; Ph O: Gersh
112-115; AF6 Piano C
ChTE9
O review
WSF p. 17
AF6
L: W91,
#9
WSF p. 18
Br9; AF6
ChTE9
O review
ChTE9
L, O
PR
CT8
BL I, II;
OR Smith
(1-4, 8)
STT p. 2930
BL III, V;
OR Smith
ST, KT
WSF p. 19
Tech Lit I
R28
P, R
R
26
Week 10
Psychosis (from the Greek, "psyche", for mind or soul, and "-osis", for abnormal
condition) literally means abnormal condition of the mind, and is a generic psychiatric
term for a mental state often described as involving a "loss of contact with reality".
People suffering from psychosis are said to be psychotic.
Trumpet players usually are not psychotic, per se; however, I do see perfectly
sane-looking trumpeters not in touch with the reality of their playing. Get in touch.
Assignments:
Stamp, Warm-ups + Studies, Ex. 6 (in all major scalessee instructions on p.
4; abbr. Stp; 1 block)
etude, try single and double tongued, 1 block).
Shuebruk, Complete Tongue Trainers, pp. 31-32 (STT;)
Technical II: Willey, Scale Force, pp. 20-21 (WSF; church modes, i-vii; vary
articulation; 4 blocks)
block); Brandt, Etude #10 (2 blocks); Charlier, Transcendental Etude #10
(ChTE; 3 blocks); Arban, Ph p. 226, #116-118 (1 block); Arban, Fantasie #6, p.
320 Cavatina and Variations (repeat from last week; 3 blocks)
Orchestral Excerpts: Brahms, Symphony No. 2 (look at both 1st and 2nd parts; 3 blocks).
Ear Training: Relative Pitch, Level 4, lesson 29 (5 blocks; just 1 week)
27

L/MP
MD
Day
1
CG20,
I, II
ST (106),
KT (100)
Day
2
MP to
28
Day
3
CG20,
I, II
Day
4
Day
5
Day
6
Day
7
Stp6
CG20,
I, II
MP
Flex
Tech I
Tech II
CT9
WSF p. 20-21;
i, ii
ST, KT
BL I, II;
OR Smith
(1-4, 9)
STT p. 3132
ET 23; Br10;
Ph 116-118;
AF6
ChTE10
Tech Lit
II
O Brhm 2
Lit
Ear
O review
R29
WSF p. 20-21;
iii, iv
AF6
L: W92
#10
WSF p. 20-21;
v, vi
Br10; AF6
ChTE10
O review
ChTE10
L, O
PR
BL III, V;
OR Smith
ST, KT
Tech Lit I
WSF p. 20-21;
vii
P, R
R
Week 11
I frequently hear from my students that I assign too much. I think that they mean
that they either do not have time or the lip to practice as much material as I assign on a
weekly basis. I am particularly interested in addressing the second possibilitythat the
lips simply get overwhelmed by all of the scales, lip flexibilities, long tones, etudes, and
other material in each lesson. I think we can all reduce our lip time while keeping up a
fairly extensive practice schedule. The important thing to remember is that we are
musicians first and trumpeters second. Being a musician means developing the ear, or
mind, first and foremost. Harold Hill, in The Music Man, was partially on the right track
when he proposed that the students of River City learn their music by the Think
System. Of course we need to practice actually on the trumpet with our lips and fingers,
but we cannot put in the kinds of hours that it takes to be a great musician on the
trumpetthe kind of hours that pianists and violinists routinely put in on the road to
greatness (remember in Trumpet Building Blocks, Year One, the subject of 10,000 hours
of practice, which leads to mastery?). The reason is because the trumpet demands too
much from our bodies to duplicate what the pianists and violinists do. Here are some
ideas that might help:
1. On long tone routines, try playing only every other phrase. During rests,
concretely imagine your tone playing the skipped material.
2. Spend up to about 50% of your articulation practice as vocalized study that
you do away from the trumpet. Try to alternate back and forth between
articulation on the trumpet and away from the trumpet. In this way, you will
better duplicate good articulation when vocalizing. Herbert L. Clarke did a lot
of this.
3. Practice every other Clarke study with trumpet in had while vocalizing the
study. This works equally well for other scale studies such as in the Willey
book. Try to stay on pitch.
28
4. Mentally practice some of the transposition studies with trumpet in hand or by

doing fingerings on another surface. Stay on pitch.
Listen to your solos and excerpts frequently for inspiration.
Assignments:
articulationuse your imagination, but have definite goals.)
etude, try single and double tongued and work on #185 and 186 triple
tongued, 1 block).
Shuebruk, Complete Tongue Trainers, pp. 33-35 (STT;)
Technical II: Willey, Scale Force, pp. 20-21 (WSF; AMM modes, i-vii; vary
articulation; 4 blocks)
323 Air Vari on a Folk Song: The Little Swiss Boy (3 blocks)Technical
Literature II:
Orchestral Excerpts: Brahms, Symphony No. 2 (repeat from last week; look at both 1st
and 2nd parts; 3 blocks). Review previous excerpts on a regular schedule (2
blocks)
on the length of the passage or movement). Juries are probably coming up quickly
now in the semester!
29

L/MP
MD
Day
1
CG20,
I, II
ST (106),
KT (100)
Day
2
MP to
28
Day
3
CG20,
I, II
Day
4
Day
5
Day
6
Day
7
Stp6
CG20,
I, II
MP
Flex
Tech I
Tech II
CT9
WSF p. 20-21;
[AMM] i, ii
ST, KT
BL I, II;
OR Smith
(1-4, 9)
STT p. 3335
ET 24; Br11;
Ph 119-121;
AF7
ChTE11
Tech Lit
II
O Brhm 2
Lit
Ear
O review
R30
WSF p. 20-21;
[AMM] iii, iv
AF7
L: W93
#11
WSF p. 20-21;
[AMM] v, vi
Br11; AF7
ChTE11
O review
ChTE11
L, O
PR
BL III, V;
OR Smith
ST, KT
Tech Lit I
WSF p. 20-21;
[AMM] vii
P, R
R
Week 12
It is good trumpet practicing to change bad behaviors. We look for them all the
timelate off ties, out of tune playing, tight sound, clumsy tonguing, mediocre work
ethics, not listening to our colleagues, and, of course, missed notes! But I wonder if we
are looking at the wrong thing? Could not the bad behaviors merely be a ruse, a smokescreen, or a symptom of an underlying problem that we may not even be consciously
aware of? I am not saying that it is okay to excuse these behaviors. We are still
responsible for what we do on the trumpet. We must suffer the consequences of our
behavior, which means that we do not meet the expectations of the composer, that we do
not move our audience, and that we do not win our audition. We must ask ourselves,
however, at what level can we actually change things:
Are we anxious about our study, practice, performance, or social environment? If
we are, can we address the anxiety?
Are our minds or environment cluttered? Does this inhibit our focus? Can we
clean up and get focused?
Do we need more or less stimulus, in the form of exercise or a calm practice
room? Lets treat our body right and give it the good stuff it needs.
Do we muddle through the day without accomplishing anything on the trumpet?
Do we spend enough time planning our practice? Keeping a practice journal can help
make us more aware of our practice.
Do we have the most basic musical skills masteredskills such as good ears,
good rhythm, good style(s), good memory, and good sight-reading? Remember that we
are musicians first and trumpeters second.
Assignments:
30

articulationuse your imagination, but have definite goals.)
Technical I: Shuebruk, Complete Tongue Trainers, pp. 36-37 (STT;)
323 Air Vari on a Folk Song: The Little Swiss Boy (repeat from last week; 3
blocks)
Orchestral Excerpts: Stravinsky, Firebird Overture (3 blocks). Review previous excerpts
on a regular schedule (2 blocks)
on the length of the passage or movement). Juries are probably coming up quickly
now in the semester!

L/MP
MD
Day
1
CG21,
I, II
ST (106),
KT (100)
Day
2
MP to
28
Day
3
CG21,
I, II
Day
4
Day
5
Day
6
Day
7
Stp6
CG21,
I, II
MP
ST, KT
Flex
BL I, II;
OR Smith
(1-4, 10)
Tech I
STT p. 3637
Tech II
Tech Lit I
WSF p. 22
ET 25; Br12;
Ph 122-123;
AF7
ChTE12
WSF p. 23
AF7
L: W94
#12
WSF p. 24
Br12; AF7
ChTE12
O review
ChTE12
L, O
PR
BL III, V;
OR Smith
ST, KT
WSF p. 25
Tech Lit
II
O Fireb
Lit
Ear
O review
R31
S
P, R
R
31
Week 13
Some trumpeters who are practicing with Trumpet Building Blocks probably
wonder why they need to practice so much, do ear training, keep a log, and listen so
much. After all, the naturally gifted ones rise to the surface anyway, dont they? Whats
the use of putting in all this time? Well, I can think of some very good reasons:
1. Youre cultivating a habit of practice thats productive in the long term and
the short term
2. Youre becoming cultured in your ears by working on ear training
3. Youre learning how to really organize yourself and become a disciplined
human beingoften, interestingly enough, the opposite of many so-called
naturals
4. Youre developing your style by listening to others
Even if each of us has a pre-determined range of capability on the trumpet, this is
far outweighed by the plasticity of our brain and muscles when trained really well.
ANYTHING IS POSSIBLE! Nevertheless, I am not just interested in seeing you succeed
on the trumpet. I am actually most interested in seeing you become a creative, capable,
organized and thoughtful human being. So, get going on being an authentic human!
Assignments:
articulationI try to practice half of the time vocalizing, rather than buzzing,
the articulation. This keeps my lips fresh for the rest of the day.)
Stamp, Warm-ups + Studies, Ex. 3a (1 block)
Lip Flexibilities: Bai Lin Lip Flexibilities, Sections I, II, III and VI (change from last
week); OR Walter Smith Lip Flexibilities, #1-4, 10 (practice about 20-30 minutes
per blocktry for greater smoothness and security; there must be tone between
the notes, and the movement smoothly and quickly settles after arriving at the
goal note; 2 blocks)
Technical I: Shuebruk, Complete Tongue Trainers, pp. 38-39 (STT;)
Technical Literature I: Sachse transposition etudes #26 (mentally practice some of the
transpositionsthis keeps the lips fresh; 1 block); Brandt, Etude #13 (2 blocks);
Charlier, Transcendental Etude #13 (ChTE; 3 blocks); Arban, Ph p. 229, #124126 (1 block); Arban, Fantasie #8, p. 327 Caprice and Variations (3 blocks)
Orchestral Excerpts: Stravinsky, Firebird Overture (repeat from last week; 3 blocks).
Jazz licks, Willey, p. 95, Blues melodies in C (2 blocks)
32
on the length of the passage or movement). Juries are coming up quickly now in
the semester!
Perfect Pitch, work at your own pace (3 blocksPIf you have already established
Perfect Pitch, then work on transcribing by ear and memorywithout writing
notes downjazz or classical solos)
L/MP
MD
Day
1
CG21,
I, II
ST (106),
KT (100)
Day
2
MP to
28
Day
3
CG21,
I, II
Day
4
Stp3a
Day
5
Day
6
CG21,
I, II
MP
ST, KT
Flex
BL I, II;
OR Smith
(1-4, 10)
Tech I
STT p. 3839
Tech II
WSF p. 26-27;
church modes
i-ii
WSF p. 26-27;
church modes
iii-iv
WSF p. 26-27;
church modes
v-vi
BL III, VI;
OR Smith
ST, KT
WSF p. 26-27;
church modes
vii
Tech Lit I
ET 26; Br13;
Ph 124-126;
AF8
ChTE13
Tech Lit
II
O Fireb
Lit
Ear
O review
R32
AF8
L: W95
P, R
Br13; AF8
ChTE13
O review
ChTE13
L, O
PR
Day
7
Week 14
Having priorities of your practice material will help you decide what to practice
when you cannot get around to everything in a week. Those priorities depend a lot on
what projects a trumpeter has on his or her agenda and also on how his or her chops are
feeling.
Here is how I might view my priorities in a typical weekly lesson plan:
1. Get at least 2 blocks of long tones
2. 2 to 3 blocks of Solo literature
3. Etudesdo at least one
4. Articulation exercises2 to 3 blocks
5. Ear trainingtry to get in at least 4 30-minute sessions a week
6. Technique (scales, etc.)at least one block
7. Lip flexibilitiesyou can get by without any lip flexibilities in a week
You should be finishing up with the semester. Take a small break, get ready for any
Holiday gigs you might have. Order new music. Try new things. Transcribe a new jazz
solo. Refresh yourself.
33
Assignments:
articulationI try to practice half of the time vocalizing, rather than buzzing,
the articulation. This keeps my lips fresh for the rest of the day.)
Stamp, Warm-ups + Studies, Ex. 3a (1 block)
Long tones: Gordon, Week 22, part I, II (play in this alternating fashion: on
trumpet, vocalize, on mouthpiece, vocalize, etc.with keyboard (or, less
helpful, a tuner) to keep your place!; 3 blocks).
Lip Flexibilities: Bai Lin Lip Flexibilities, Sections I, II, III and VI (repeat from last
week); OR Walter Smith Lip Flexibilities, #1-4; 2 blocks)
Technical I: Shuebruk, Complete Tongue Trainers, pp. 40-42 (STT)
Technical II: Willey, Scale Force, pp. 26-27 (WSF; AMM modes i-vii; 4 blocks)
Charlier, Transcendental Etude #14 (ChTE; 3 blocks); Arban, Ph p. 230, #127129 (1 block); Arban, Fantasie #8, p. 327 Caprice and Variations (repeat from
last week; 3 blocks)
Orchestral Excerpts: Review previous excerpts on a regular schedule (2 blocks)
Jazz licks, Willey, p. 96, Blues melodies in F (2 blocks)
Literature: If you are where I think you are in your studies, your juries are over, or,
almost over. Congratulations! Now, you should be considering new repertoire.
Order music if you need to. 3 blocks.
Ear Training: Relative Pitch, Level 4, lesson 33exam (pass exam)
34

L/MP
MD
Day
1
CG22,
I, II
ST (106),
KT (100)
Day
2
MP to
28
Day
3
CG22,
I, II
Day
4
Stp3a
Day
5
Day
6
CG22,
I, II
MP
ST, KT
Flex
BL I, II;
OR Smith
(1-4)
BL III, VI;
OR Smith
ST, KT
Tech I
STT p. 4042
Tech II
WSF p. 26-27;
AMM modes
i-ii
WSF p. 26-27;
AMM modes
iii-iv
WSF p. 26-27;
AMM modes
v-vi
SJ
Tech Lit I
ET 27; Br14;
Ph 127-129;
AF8
ChTE14
Tech Lit
II
O review
Lit
Ear
S new
P
R33
AF8
L: W96
Br14; AF8
O review
S new
ChTE14
WSF p. 26-27;
AMM modes
vii
ChTE14
P, R
R
L, O
review
S new
PR
Day
7
35
Year Two, Second Semester

Goals for Second Semester:
1. 7 Gordon long-tone routines
2. Single tongue up to 111
3. Work on other tonguing
4. Improve more in lip flexibility; work on lip trills
5. Master 18 etudes, about 5 solo piece movements; 6 new orchestral excerpts; 14
jazz licks; 20 Arban Art of Phrasing vocalizes; and 9 transposition etudes
6. Finish the Relative Ear training course
Week 15
I hope you are coming back to the trumpet and the new semester with freshness
and excitement. There is so much to do.
I am introducing this semester the Shuebruk Complete Shuebruk Lip Trainers and
the new things that are covered in the Gordon Systematic Approach as we continue to
piggy-back off of Gordons example: the Colin Advanced Lip Flexibilities (Complete)
and the Clarke Characteristic Studies.
You will continue to proceed very slowly through the Gordon (about two weeks
per lesson). Tonguing speed will increase at less frequent intervals. Some new things that
are introduced will seem easy, but if there are any weak areas in your ability, then they
will be exposed by the relative simplicity of some of these easy exercises (such as in
some of the Shuebruk Lip Trainers).
You will continue to learn the staple repertoire of etudes and exercises. Becoming
a good musician requires in part a large repertoire of music, and etudes help to fill that
need.
Assignments:
Mouthpiece: Buzzing CD to track 28 (2 blockssame as last semester. Vary
articulations. Vocalize.)
Stamp, Warm-ups + Studies, Ex. 3b (1 block)
helpful, a tuner) to keep your place; 3 blocks).
Lip Flexibilities: Bai Lin Lip Flexibilities, Sections I, II, III and VII (change); OR Walter
Smith Lip Flexibilities, #1-4; 2 blocks)
Technical I: Shuebruk, Complete Tongue Trainers, pp. 43-45 (STT; 1 block);
Shuebruk, Complete Lip Trainers, p. 6 (SLT; 1 block)
36
Charlier, Transcendental Etude #15 (ChTE; 3 blocks); Arban, Ph p. 231, #130133 (1 block); Arban, Fantasie #9, p. 331 Fantaisie and Variations on a German
Theme (3 blocks)
Orchestral Excerpts: Shostokovich, Symphony No. 1, 1st and 3rd parts (2 blocks)
Jazz licks, Willey, p. 97, Blues melodies in Bb (2 blocks)
Literature: Soloschallenge yourself. 3 blocks.
L/MP
MD
Day
1
CG22,
I, II
ST (107),
KT (101)
Day
2
MP to
28
Day
3
CG22,
I, II
Day
4
Day
5
Day
6
Day
7
Stp3b
CG22,
I, II
MP
ST, KT
Flex
Tech I
Tech II
Tech Lit I
WSF p. 28
ET 28; Br15;
Ph 130-133;
AF9
ChTE15
WSF p. 29
AF9
L: W97
WSF p. 30
Br15; AF9
SLT p. 6
BL I, II;
OR Smith
(1-4)
STT p. 4345
BL III, VII;
OR Smith
ST, KT
Tech Lit
II
O Shos 1
Lit
Ear
S new
P
R34
S new
ChTE15
WSF p. 31
ChTE15
P, R
R
L, O
S new
PR
Week 16
One other new we will be working out of (soon) is the Gekker Articulation
Studies and the Rich Willey Trumpeters Guide to ii-v-i's and Trumpeters Guide to
Minor ii-v-i's. Make sure by now, you are getting all of your new material for this
semester (solos, methods, etc.).
Assignments:
37
Lip Flexibilities: Colin, Lip Flexibilities, #1-5 (CLF; 2 blocks)
Technical I: Shuebruk, Complete Tongue Trainers, pp. 46-48 (STT; 1 block);
Shuebruk, Complete Lip Trainers, p. 7 (SLT; 1 block)
Technical II: Willey, Scale Force, pp. 32-33 (WSF; church modes i-vii; finger and
vocalize often in lieu of actual playing; 4 blocks)
Charlier, Transcendental "Etude #16 (ChTE; 3 blocks); Arban, Ph p. 232, #134135 (1 block); Arban, Fantasie #9, p. 331 Fantaisie and Variations on a German
Theme (3 blocks)
Orchestral Excerpts: Shostokovich, Symphony No. 1, 1st and 3rd parts (repeat from last
week; 2 blocks)
Jazz licks, Willey, p. 98, Blues melodies in Eb (try it mentally!; 2 blocks)
Literature: Solos. 3 blocks.
Perfect Pitch, then work on transcribing by ear and memorywithout writing notes
downjazz or classical solos)
L/MP
MD
Day
1
CG23,
I, II
ST (107),
KT (101)
Day
2
MP to
28
Day
3
CG23,
I, II
Day
4
Stp3b
Day
5
Day
6
CG23,
I, II
MP
ST, KT
Flex
Tech I
Tech II
SLT p. 7
CLF #1-5
STT p. 4648
WSF p. 32-33;
church modes
i, ii
WSF p. 32-33;
church modes
iii, iv
WSF p. 32-33;
church modes
v, vi
CLF #1-5
ST, KT
Tech Lit I
ET 29; Br16;
Ph 134-135;
AF9
ChTE16
Tech Lit
II
O Shos 1
Lit
Ear
S new
P
R35
AF9
L: W98
Br16; AF9
S new
ChTE16
WSF p. 32-33;
church mode
vii
ChTE16
P, R
R
L, O
S new
PR
Day
7
Week 17
38
One illusion that I sometimes entertain is that I, in all of my trumpet wisdom,

know just how to tease all of that talent out of every student. All they have to do is to just
follow my advice. Of course, this is a fallacy. No matter how organized I make my
assignments, or how clearly I demonstrate a passage of repertoire in a lesson, progress is
totally up to you, the student. Not me, the teacher. You need to make your own choices
about what is important to you and about how you are going to spend your time. That is
why I urge you to re-organize my practice suggestions each week and make it work for
your own particular situation. I also urge you to listen, listen, listen.
Assignments:
Long tones: Gordon, Week 23, part I, II (repeat from last week; play in this
alternating fashion: on trumpet, vocalize, on mouthpiece, vocalize, etc.with
keyboard (or, less helpful, a tuner) to keep your place; 3 blocks).
Technical I: Gekker Articulation Studies (GAS; read Introduction, work on #1,
alternate between the three styles (legato, staccato, marcato); Shuebruk, Complete
Lip Trainers, p. 8(SLT; 1 block)
Technical II: Willey, Scale Force, pp. 32-33 (WSF; AMM modes i-vii; finger and
vocalize often in lieu of actual playing; 4 blocks)
Charlier, Transcendental "Etude #17 (ChTE; 3 blocks); Arban, Ph p. 233, #136137 (1 block); Arban, Fantasie #9, p. 331 Fantaisie and Variations on a German
Theme (3 blocks)
Orchestral Excerpts: Gershwin, An American in Paris (2 blocks)
Jazz licks, Willey, p. 99, Blues melodies in Ab (try it mentally!; 2 blocks)
39
L/MP
MD
Day
1
CG23,
I, II
ST (107),
KT (101)
Day
2
MP to
28
Day
3
CG23,
I, II
Day
4
Stp3b
Day
5
Day
6
CG23,
I, II
MP
ST, KT
Flex
Tech I
Tech II
SLT p. 7
CLF #1-5
GAS # 1
WSF p. 32-33;
AMM modes
i, ii
WSF p. 32-33;
AMM modes
iii, iv
WSF p. 32-33;
AMM modes
v, vi
CLF #1-5
ST, KT
Tech Lit I
ET 30; Br17;
Ph 136-137;
AF9
ChTE17
Tech Lit
II
O AIP
Lit
Ear
S new
P
R36
AF9
L: W99
Br17; AF9
S new
ChTE17
WSF p. 32-33;
AMM mode
vii
ChTE17
P, R
R
L, O
S new
PR
Day
7
Week 18
I have been watching the 2010 Winter Olympics, and I heard Apolo Ohno, the
famous American short-track speed skater say this about his training regimen: Before
you go to sleep each night, ask yourself this question: Did you do everything you could
today to be at your very best?" I feel that is a very good question to ask yourself. Its a
simple litmus test of your practice for the day. Try it.
Assignments:
Stamp, Warm-ups + Studies, Warm-up III (stay down during ascending
passages and stay up for descending lines; 1 block)
Technical I: Gekker Articulation Studies (GAS; read Introduction, work on #2,
alternate between the three styles (legato, staccato, marcato); Shuebruk, Complete
Lip Trainers, p. 9-14 (SLT; just look at and absorb; 1 block)
40
Charlier, Transcendental Etude #18 (ChTE; 3 blocks); Arban, Ph p. 234, #138139 (1 block); Arban, Fantasie #10, p. 335 Variations on a Favorite Theme (3
blocks)
Orchestral Excerpts: Gershwin, An American in Paris (2 blocks)
Jazz licks, Willey, p. 100, Blues melodies in Db (try it mentally!; 2 blocks)
L/MP
MD
Day
1
CG24,
I, II
ST (107),
KT (101)
Day
2
MP to
28
Day
3
Day
4
Day
5
Day
6
Day
7
CG24,
I, II
StpIII
CG24,
I, II
MP
ST, KT
Flex
Tech I
Tech II
Tech Lit I
WSF p. 34
ET 31; Br18;
Ph 138-139;
AF10
ChTE18
WSF p. 35
AF10
L: W100
WSF p. 36
Br18; AF10
SLT p. 914
CLF #6-9
GAS #2
CLF #6-9
ST, KT
Tech Lit
II
O AIP
Lit
Ear
P
R37
ChTE18
WSF p. 37
ChTE18
P, R
R
L, O
PR
Week 19
Continuing with more 2010 Winter Olympic inspirations, I want to quote the
mens gold medalist in individual figure skating, Evan Lysacek, who speaks to his
dedication: "My life is pretty much the same every day," admits figure skater. "I wake up,
I go work out, I go home, I shower, I train all day, I work out again, have dinner and go
to sleep. Because it's an individual sport, I don't really interact that much with other
people; I don't see friends as much as I would like to." He was asked why he went
through his whole short routine on the day of actual competition (most of the other
competitors opted to only go over a portion of their routine, since they feared they would
be too tired), and he answered that it was not a big deal: he normally goes through his
routine four times every day. Thus, on the day of competition, going through once for a
warm up and then again for the competition is not that demanding. If we want to be a
good trumpet soloist, we have to have the same dedication as Mr. Lysacek. The fitness
that we want to achieve takes a really long time to build up to, but it is worth the
drudgery if we want to not fade in a recital. We need fitness to:
41
1.
2.
3.
4.
play louder, higher, and, interestingly, softer

practice more frequently (which translates to a more polished performance)
have stamina right up to the end of the performance
have confidence
The real trick is to re-frame the whole concept of drudgery. Repeat the following
as often as necessary: I am incredibly fortunate to be a trumpeter. Therefore, I get to
enjoy long practices throughout the day and week. Those that can wrap their brains
around that approach will succeed.
Assignments:
Minute Drills: Single Tongue=108; K Tongue=102 (3 blocks each); Or, as an
alternative, revisit the Shuebruk Complete Tongue Trainers at the tempos above.
Technical I: Gekker Articulation Studies (GAS; work on #3, alternate between the
three styles (legato, staccato, marcato; 1 block); Shuebruk, Complete Lip
Trainers, p. 17-24 (SLT; 2 blocks);
Charlier, Transcendental Etude #19 (ChTE; 3 blocks); Arban, Ph p. 235, #140141 (1 block); Arban, Fantasie #10, p. 335 Variations on a Favorite Theme
(repeat from last week; 3 blocks)
Orchestral Excerpts: Mahler, Symphony #2 (1st, 2nd, and offstage parts; 2 blocks)
Jazz licks, Willey, p. 101, Blues melodies in F# (try it mentally!; 2 blocks)

L/MP
MD
Flex
Tech I
Tech II
Tech Lit I
Tech Lit
Lit
Ear
42
Day
1
CG24,
I, II
Day
2
MP to
28
Day
3
CG24,
I, II
Day
4
StpIII
Day
5
Day
6
CG24,
I, II
MP
ST (108),
KT (102)
ST, KT
SLT p. 1724
CLF #6-9
CLF #6-9
ST, KT
GAS p. 3
WSF p. 38-39;
church modes
i, ii
WSF p. 38-39;
church modes
iii, iv
WSF p. 38-39;
church modes
v, vi
SLT p. 1724
ET 32; Br19;
Ph 140-141;
AF10
ChTE19
O Mah 2
AF10
L: W101
Br19; AF10
R38
S
ChTE19
P, R
R
ChTE19
WSF p. 38-39;
church mode
vii
R
L, O
PR
Day
7
Week 20
The famous pedagogue, Bill Adam, said in a 1975 clinic, As I have matured, my
thoughts have changed about the percentages in a well-balanced sound system. Many
years ago, I felt that the mind was probably responsible for fifty per cent of the playing of
the trumpet, and the other fifty percent was divided equally into twenty- five percent for
the embouchure [and twenty-five percent for the air]. A few years later I still had
retained the thought that the mind was responsible for fifty per cent, but the breath had
increased to forty per cent and the embouchure had decreased to ten per cent. Today I
believe that ninety per cent of all playing is mental and the last ten per cent of the
physical will be divided into nine percent breath and one per cent embouchure. I really
believe that the acceleration of the air has tremendous value as to the releasing of the
necessary tensions that make it possible for long time endurance and a beautiful sound.
Assignments:
Long tones: Gordon, Week 24, part I, II (repeat; 3 blocks).
Minute Drills: Single Tongue=108; K Tongue=102 (3 blocks each); Or, as an
alternative, revisit the Shuebruk Complete Tongue Trainers at the tempos above.
Trainers, p. 25-26 (SLT; 2 blocks);
Technical II: Willey, Scale Force, pp. 38-39 (WSF; AMM modes i-vii; 4 blocks)
43
Charlier, Transcendental Etude #20 (ChTE; 3 blocks); Arban, Ph p. 236, #142
(1 block); Arban, Fantasie #11, p. 335 Carnival of Venice (3 blocks)
Orchestral Excerpts: Mahler, Symphony #2 (repeat; 1st, 2nd, and offstage parts; 2 blocks)
Jazz licks, your choicemake up a blues lick (2 blocks)
Ear Training: Relative Pitch, review past lessons as needed (5 blocks)
Perfect Pitch, then work on transcribing by ear and memorywithout writing notes
downjazz or classical solos)
L/MP
MD
Day
1
Day
2
CG24,
I, II
MP to
28
ST (108),
KT (102)
Day
3
CG24,
I, II
ST, KT
Day
4
StpIII
Day
5
Day
6
CG24,
I, II
MP
Flex
Tech II
SLT p. 1724
CLF #6-9
CLF #6-9
ST, KT
Tech I
GAS p. 3
WSF p. 38-39;
church modes
i, ii
WSF p. 38-39;
church modes
iii, iv
WSF p. 38-39;
church modes
v, vi
SLT p. 1724
Tech Lit I
ET 33; Br20;
Ph142; AF11
ChTE20
Tech Lit
II
O Mah 2
Lit
Ear
P
R (?)
AF11
L your
choice
Br20; AF11
ChTE20
WSF p. 38-39;
church mode
vii
ChTE20
P, R
R
L, O
PR
Day
7
Week 21
This week (in March of 2010) I took in a few events at the National Trumpet
Competition. I heard a masterclass given by Ryan Anthony, Principal Trumpet of the
Dallas Symphony Orchestra, former member of the Canadian Brass and a dear friend of
mine. Ryan quickly grew into a very fine trumpeter at a very young age and would easily
be categorized as a natural musician. While he has a different perspective than most of
us he had some very important words of wisdom. He admitted he really only loved
performing and playing around on the trumpet, but that he hated practicing. It was only
for the love of performing that he submitted himself to the necessary drudgery of
practice. Since most serious practice deals with working on our weaknesses, he rightly
pointed out that we are usually in a state of depression when practicing this way. So, to
deal with this, Ryan tries to end the day with some sort of piece he knows he can play and
44
loves playing, so that he feels good about himself when he puts the horn away. I like that
idea.
Assignments:
Minute Drills: Single Tongue=108; K Tongue=102 (3 blocks each); or, as an alternative,
revisit the Shuebruk Complete Tongue Trainers at the tempos above.
Trainers, p. 27-31 (SLT; 2 blocks)
Technical Literature I: Sachse transposition etudes #34 (1 block); Brandt, Etude #21 (2
blocks); Charlier, Transcendental Etude #21 (ChTE; 3 blocks); Arban, Ph p.
237, #143 (1 block); Arban, Fantasie #11, p. 335 Carnival of Venice (repeat
from last week; 3 blocks)
Orchestral Excerpts: Mahler, Symphony #2 (repeat; 1st, 2nd, and offstage parts; 2 blocks)
Jazz licks, Willey, p. 102, Blues melodies in B (2 blocks)
Ear Training: Relative Pitch, Level 5, (work on any weak areas, 5 blocks)
L/MP
MD
Day
1
Day
2
CG24,
I, II
MP to
28
ST (108),
KT (102)
Day
3
Day
4
Day
5
Day
6
Day
7
CG24,
I, II
ST, KT
CG24,
I, II
MP
Flex
Tech II
Tech Lit I
WSF p. 40
ET 34; Br21;
Ph143; AF11
ChTE21
WSF p. 41
AF11
L W102
WSF p. 42
Br21; AF11
SLT p. 1724
CLF #6-9
CLF #6-9
ST, KT
Tech I
GAS #5
SLT p. 1724
Tech Lit
Lit
II
O: Mahl 2 S
ChTE21
P
R (?)
P, R
R
ChTE21
WSF p. 43
Ear
R
L, O
PR
Week 22
45
In my recent research I have become aware of the functions, abilities, and

limitations of different parts of the brain. The conscious brain is good at time concepts,
reasoning, logical decision-making, and symbolic thought. The subconscious brain does
better at emotions, rapid and intuitive decisions, concrete images and sounds, and
reflexive motion. Our conscious brain is like an adult. The subconscious is like a child
typically no older than ten.
Ironically, in our practice habits, where we should be using our conscious, highly
evolved part of our brain, we often act on emotion and habit. This results in
procrastination, linear stress, or linear recovery (each of which weakens our fitness), and
frustration. In our performances, on the other hand, where we should be relying on the
habits formed and replicated in the unconscious brain, we often try to force the music, we
consciously dictate details, instead of allowing the subconscious to integrate and
holistically present our work.
Lets reverse this tendency. Lets take responsibility for our practice. This is the
time to be an adult and make the right and responsible decisions. But during
performances, our conscious brain needs to relax, let go of the details, and allow the
subconscious brain to run the show. We need to have funlike a child would.
Assignments:
Trainers, p. 32 (SLT; 2 blocks)
Technical II: Willey, Scale Force, pp. 44-45 (WSF; church modes; 4 blocks)
Orchestral Excerpts: Schumann, Symphony #2 (2 blocks)
Jazz licks, Willey, p. 103, Blues melodies in E (2 blocks)
Ear Training: Relative Pitch, Level 5, lesson 39 (5 blocks; for two weeks)
46
L/MP
MD
Day
1
Day
2
CG25,
I, II
MP to
28
ST (109),
KT (103)
Day
3
CG25,
I, II
ST, KT
Flex
Tech I
SLT p. 32
CLF #1012
GAS #6
Day
4
Day
5
Day
6
CG25,
I, II
MP
CLF #1012
ST, KT
Tech II
WSF p. 44-45:
church modes
i, ii
WSF p. 44-45:
church modes
iii, iv
WSF p. 44-45:
church modes
v, vi
SLT p. 32
Tech Lit I
ET 35; Br22;
Ph144; AF11
ChTE22
Tech Lit
II
O: Schu
#2
Lit
Ear
P
R39
AF11
L W103
Br22; AF11
ChTE22
WSF p. 44-45:
church modes
vii
ChTE22
P, R
R
L, O
PR
Day
7
Week 23
"Writing about music is like dancing about architecture - it's a really stupid thing
to want to do."
--Elvis Costello
Or is it? Perhaps we need a little imagination in our music making. One way to
spice up our playing is to tap into our latent synesthesia, which is a neurological
condition where stimulation of one sensory or cognitive pathway leads to automatic,
involuntary experiences in a second sensory or cognitive pathway. So, for instance, we
can imagine our tone in terms of taste or texture: like chocolate, salt, orange juice, or
silky, rough, rubbery. Or, can we interpret a piece of music architecturallylaying a
foundation in the first part, then building geometrically upon this foundation? Why cant
we learn a little baroque dance, so that we can bring that to our interpretation of a minuet
or a gigue? Can we play orange, or blue, or red? What about changing color as we
progress through a phrase? If we play in a convincingly emotional way, can we evoke
that emotion or perhaps latent memories in the audience? This line of thought is really
endless. We can try to play the music of the spheres, the music of minutiae, the music of
science, the music of humours. We could play theatrically, poetically, historically,
psychologically, or wherever our imagination takes us.
Assignments:
47
Lip Flexibilities: Colin, Lip Flexibilities, #13 (CLF; 2 blocks)

Trainers, p. 33 (SLT; 2 blocks)
Technical II: Willey, Scale Force, pp. 44-45 (WSF; AMM modes; 4 blocks)
Orchestral Excerpts: Schumann, Symphony #2 (repeat; 2 blocks)
Jazz licks, Willey, p. 104, Blues melodies in A (2 blocks)
Ear Training: Relative Pitch, Level 5, lesson 39 (repeat from last week; 5 blocks)
L/MP
MD
Day
1
Day
2
CG26,
I, II
MP to
28
ST (109),
KT (103)
Day
3
CG26,
I, II
ST, KT
Flex
Tech I
SLT p. 33
CLF #13
GAS # 7
Day
4
Day
5
Day
6
CG26,
I, II
MP
CLF #13
ST, KT
Tech II
WSF p. 44-45;
AMM modes
i, ii
WSF p. 44-45;
AMM modes
iii, iv
WSF p. 44-45;
AMM modes
v, vi
SLT p. 33
Tech Lit I
ET 36; Br23;
Ph145; AF11
ChTE23
Tech Lit
II
O: Schu
#2
Lit
Ear
P
R39
AF11
L W104
Br23; AF11
ChTE23
WSF p. 44-45;
AMM modes
vii
ChTE23
P, R
R
L, O
PR
Day
7
Week 24
Continuing on with the synesthesia theme, I would like to make a small
homework assignment. I would like for you to imagine what color your perfect tone
would be. It can be any color, no matter how fancy. Paint, draw, or print this color on a
sheet of paper. Look at it while you do some simple long tones. Imagine yourself
providing a soundtrack for the color you just created.
48
Assignments:
Trainers, p. 34-top of 35 (SLT; 2 blocks)
240, #146 (1 block); Arban, Fantasie #12, p. 344 Variations on a theme from
Norma (3 blocks)
Orchestral Excerpts: Strauss, Also Sprach Zarathustra (2 blocks)
Jazz licks, Willey, p. 105, Blues melodies in D (2 blocks)
L/MP
MD
Day
1
Day
2
CG26,
I, II
MP to
28
ST (110),
KT (104)
Day
3
Day
4
Day
5
Day
6
Day
7
CG26,
I, II
ST, KT
CG26,
I, II
MP
Flex
Tech II
Tech Lit I
WSF p. 46
ET 37; Br24;
Ph146; AF12
ChTE24
WSF p. 47
AF12
L W105
WSF p. 48
Br24; AF12
SLT p. 34
CLF #13
CLF #13
ST, KT
Tech I
GAS # 8
SLT p. 34
Tech Lit
II
O: ASZ
Lit
Ear
P
R40
ChTE24
WSF p. 49
ChTE24
P, R
R
L, O
PR
Week 25
49
The second synesthesia assignment I would like to make deals with texture. I
would like for you to imagine what texture your perfect tone would be. It can be any
surface or feel. It is best if you can touch it while playing the trumpet. While playing
some simple articulation exercises (such as a minute drill at a slow tempo), feel your
texture object. Try to match the texture with your tone and articulation. Imagine yourself
providing a soundtrack for the texture you selected with an etude of your choice.
Assignments:
Trainers, p. 34-top of 35 (SLT; 2 blocks)
Technical II: Willey, Scale Force, pp. 50-51 (WSF; all church modes; 4 blocks)
Norma (repeat from last week; 3 blocks)
Orchestral Excerpts: Strauss, Also Sprach Zarathustra (repeat; 2 blocks)
Jazz licks, Willey, p. 106, Blues melodies in G (2 blocks)
Ear Training: Relative Pitch, Level 5, repeat any lesson as needed (5 blocks)
50
L/MP
MD
Day
1
Day
2
CG27,
I, II
MP to
28
ST (110),
KT (104)
Day
3
CG27,
I, II
ST, KT
Flex
Tech I
SLT p. 34
CLF #14
GAS # 9
Day
4
Day
5
Day
6
CG27,
I, II
MP
CLF #14
ST, KT
Tech II
WSF p. 50-51;
church
modes; i-ii
WSF p. 50-51;
church
modes; iii-iv
WSF p. 50-51;
church
modes; v-vi
SLT p. 34
Tech Lit I
ET 38; Br25;
Ph147; AF12
ChTE25
Tech Lit
II
O: ASZ
Lit
Ear
P
R (?)
AF12
L W106
Br25; AF12
ChTE25
WSF p. 50-51;
church
modes; vii
ChTE25
P, R
R
L, O
PR
Day
7
Week 26
The third synesthesia assignment I would like to make deals with taste. I would
like for you to imagine what taste your perfect tone would be. It can be anything tasteable such as food or candy. If aroma is a big factor in your selection, all the better. It is
best if you can have your object handy while playing the trumpet. Before playing some
simple flexibility exercises (such as a Bai Lin exercise), taste your object. Try to match
the taste with your tone and the legato movement from one note to the next. Pick an etude
that you think works well with your taste object and try to play all the way through,
focusing on that taste.
Assignments:
Trainers, p. 35No. 2to top of 36 (SLT; 2 blocks)
Technical II: Willey, Scale Force, pp. 50-51 (WSF; AMM modes; 4 blocks)
51

Norma (repeat; 3 blocks)
Orchestral Excerpts: Strauss, Also Sprach Zarathustra (repeat; 2 blocks)
Jazz licks, Willey, p. 108, Tritone Substitute Scale Study (2 blocks)
Ear Training: Relative Pitch, Level 5, repeat any lesson as needed (5 blocks)
L/MP
MD
Day
1
Day
2
CG27,
I, II
MP to
28
ST (110),
KT (104)
Day
3
CG27,
I, II
ST, KT
Flex
Tech I
SLT p. 35
CLF #14
GAS #10
Day
4
Day
5
Day
6
CG27,
I, II
MP
CLF #14
ST, KT
SLT p. 35
Tech II
Tech Lit I
ET 39; Br26;
Ph148; AF12
ChTE26
WSF p. 50-51;
AMM modes;
i-ii
WSF p. 50-51; AF12
AMM modes;
iii-iv
WSF p. 50-51; Br26; AF12
AMM modes;
v-vi
ChTE26
WSF p. 50-51; ChTE26
AMM modes;
vii
Tech Lit
II
O: ASZ
Lit
Ear
P
R (?)
L W108
P, R
R
R
L, O
PR
Day
7
Week 27
As you get closer to your juries, you will want to polish your pieces as much as
possible. One of the best ways is to memorize. First of all, in order to memorize, you
have to practice a bit more than you would otherwise, and that is always a good thing.
Secondly, memorization puts the musical information inside, instead of outside, your
brain. Then, if your sense of pitch is good, you can mentally sing through your piece
with the correct notesand reap huge rewards. The reward is to practice the pieces
without having to always physically play the horn. This gets us closer to the very
effective and commonly practiced visualization for so many top-tiered athletes.
Thirdly, because the music is internalized, we can be much more spontaneous with our
music making.
52
Assignments:
Orchestral Excerpts: Strauss, Symphonia Domestica (2 blocks)
Jazz licks, Choose your own (2 blocks)
Ear Training: Relative Pitch, Level 5, Lesson 41test (5 blocks)
L/MP
MD
Day
1
Day
2
CG28,
I, II
MP to
28
ST (111),
KT (105)
Day
3
Day
4
Day
5
Day
6
Day
7
CG28,
I, II
ST, KT
CG28,
I, II
MP
Flex
Tech II
Tech Lit I
WSF p. 52
ET 40; Br27;
Ph149; AF12
ChTE27
WSF p. 53
AF12
L (?)
WSF p. 54
Br27; AF12
SLT p. 35
CLF #1517
CLF #1517
ST, KT
Tech I
GAS #11
SLT p. 35
Tech Lit
II
O: SD
Lit
Ear
P
R41
ChTE27; Ph
WSF p. 55
ChTE27
P, R
R
L, O
PR
Week 28
53
Most very young trumpeters naturally understand that playing the trumpet is a
mere extension of their own inner musical voice. Unfortunately, the long and winding
road to technical mastery of the trumpet causes many to forget our own inner musician.
Even though technique and physical fitness for the trumpet is very important, we become
robots and slaves to these areas. One way to bring back a spark of creativity is to
compose music from the trumpet. Try to compose a short piece without any reference to a
keyboardonly a trumpet. What do you notice about your trumpet musical voice?
Assignments:
Long tones: Gordon, Week 28, part I, II (repeat; 3 blocks).
Technical II: Willey, Scale Force, pp. 56-57 (WSF; church modes; 4 blocks)
Orchestral Excerpts: Strauss, Symphonia Domestica (repeat; 2 blocks)
Jazz licks, Choose your own (2 blocks)
Ear Training: Relative Pitch, Level 5, Lesson 41test; repeat as needed (5 blocks)
54
L/MP
MD
Day
1
Day
2
CG28,
I, II
MP to
28
ST (111),
KT (105)
Day
3
CG28,
I, II
ST, KT
Flex
Tech I
SLT p. 36
CLF #1517
GAS #12
Day
4
Day
5
Day
6
CG28,
I, II
MP
CLF #1517
ST, KT
Tech II
WSF p. 56-57;
church
modes; i-ii
WSF p. 56-57;
church
modes; iii-iv
WSF p. 56-57;
church
modes; v-vi
SLT p. 36
Tech Lit I
ET 41; Br28;
Ph150; AF12
ChTE28
Tech Lit
II
O: SD
Lit
Ear
P
R41
AF12
L (?)
Br28; AF12
ChTE28
WSF p. 56-57;
church
modes; vii
ChTE28
P, R
R
L, O
PR
Day
7
Second Year Summer Practice

55
As in the First Year Summer Practice, I would like you to practice the
Schlossberg Daily Drills according to the same scheme: whatever the last digit of the date
is, practice all of the exercises in the book which in that digit (e.g., on July 21, you would
practice exercises 1, 11, 21, 31, 41, etc., to the end of the book).
In addition, I would like you finish up a couple of loose ends from the Second
Year regular practice weeks.
Scale Practice
This summer, I would like you to continue with the Scale Force bookfinishing
the book at the same pace that we had during the semester will require 7 weeks, but I
would like you to go back to the key of C when you finish and continue as far as you can.
We will continue with this book in the fall, and I would like for you to at least finish the
first cycle of fifths.
Although you might already be slurring and single tonguing these scales, I would
like for you to start incorporating double and triple tongue (for now, play one group of
double tonguetwo notesand one group of triple tonguethree notesfor every one
note that is represented in the scale study).
As was the case throughout the school year, you will not want to play all the notes
printed in these scale studies. Play only about 25% of the printed material while you
SING and FINGER the rest. This provides mental practice while maintaining freshness.
One way to do this is to play (as an example, go to p. 2, key of C, Thirds) mm. 4-5 and
mm. 14-15 ONLY. The rest is sung. Repeat this process throughout every interval and
on subsequent pages apply the same procedure.
Etudes
Since we didnt finish the full cycle of Brandts Orchestral Etudes and Charliers
Transcendental Etudes, we will continue with the next five Brandts, followed by the
remaining eight Charliers, or you can alternate first a Charlier, then a Brandt, and so on.
Orchestral Study
Follow the orchestral excerpt practice plan presented after the Glossary of
Abbreviations, below.
Glossary of Abbreviations
AF
Arban Fantasies at end of book

56
(A) Ph
A
BL
Br
ChTE
CG
CT
E
ET
JS
KT
L
LF
LT
MD
MP
O
P
R
SLF
SLT
ST
STT
W
WD
WI
WP
WSF
WT
Arban "Art of Phrasing" Studies

Arban
Bai Lin Lip Flexibilities
Brandt Orchestral Etudes
Charlier Transcendental Etudes
Claude Gordon
Clarke's Technical Studies
Etude
Transposition Etude (Sachse 100 Studies)
Jury-type scales (two octaves, with arpeggios, major and minor)
"K" or "Gah" tonguing
Jazz Pattern or "lick"
Lip Flexibilities
Long Tones
Minute Drill
Mouthpiece
Orchestral Excerpt
Perfect Pitch Ear Training Course
Relative Pitch Ear Training Course
Stan's Lip Flexibilities
Shuebruk Complete Lip Trainers
Single Tongue
Shuebruk Complete Tongue Trainers
Willey Jazz Improv Materials Handbook Complete [JIMHC]
Willey Dial Scale Studies (from JIMHC)
Willey Interval Studies (from JIMHC)
Willey Pattern Studies (from JIMHC)
Willey Scale Force
Willey Technical Studies (from JIMHC)
57
Top 33 Orchestral Excerpts (really just 28):

Optional Practice Plan for Second Year Students
(Add pieces as you go through this study; some of the top 33 excerpts are not
covered in this study, so only 28 of them are presented below; P=thorough practice;
R=run through)
Composer
Work
Mon. Tues. Wed. Thur. Fri. Sat. Sun.
1
2
3
Stravinsky
Mahler
Respighi
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
P
P
P
R
R
R
Moussorgsky/Ravel
Beethoven
6
7
8
9
Ravel
Strauss, R.
Mahler
Strauss, R.
Petrouchka
Symphony No. 5
Pines Of Rome
Pictures At An
Exhibition
Leonore Overture
No. 3
Piano Concerto In
G
Ein Heldenleben
Symphony No. 3
Don Juan
Academic Festival
Overture
Concerto For
Orchestra
Magnificat
Scheherazade
Symphony No. 1
Parsifal Prelude
An American In
Paris
Nocturnes--Fetes
Symphony No. 2
Symphony No. 2
Symphony No. 2
Symphony
Domestica
Also Sprach
Zarathustra
La Mer
Firebird
Piano Concerto In
F
Carmen Prelude
Leonore Overture
No. 2
10
Brahms
11
12
13
14
15
Bartok
Bach
Rimsky-Korsakov
Shostakovich
Wagner
16
17
18
19
21
Gershwin
Debussy
Brahms
Mahler
Schumann
22
Strauss, R.
23
24
25
Strauss, R.
Debussy
Stravinsky
26
30
Gershwin
Bizet
33
Beethoven
R
R
R
R
R
R
R
R
R
R
R
R
P
P
P
P
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
P
P
P
P
P
R
R
R
R
R
P
P
P
P
P
R
R
R
P
P
P
R
R
P
P
R
58

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What are some of the priorities and focus areas for a second year trumpet student?

What are some of the priorities and focus areas for a second year trumpet student?

What materials are recommended for a second year trumpet student to study?

What materials are recommended for a second year trumpet student to study?

Trumpet Building Blocks

*Clarke, Setting Up Drills

Solos (try to select a wide variety of time periods and styles):

Two of the following short pieces:

Ewazen, Prayer and Praise

Goals for the Undergraduate Student upon completion of four years

11. Memorize 5 etudes, 8 solos, 16 orchestral excerpts, and 4 jazz transcriptions

Year Two, First Semester

Suggested Week 1 scheduleyou plan your own practice

Suggested Week 3 scheduleyou plan your own practice

Suggested Week 5 scheduleyou plan your own practice

Suggested Week 6 scheduleyou plan your own practice

Suggested Week 7 scheduleyou plan your own practice

2. Repetition (back to quality control--mental and muscle memory)

Orchestral Excerpts: Gershwin, Piano Concerto in F (3 blocks). Review previous

Suggested Week 8 scheduleyou plan your own practice

Stamp, Warm-ups + Studies, Ex. 5 (on trumpet; abbr. Stp; 1 block)

Suggested Week 10 scheduleyou plan your own practice

4. Mentally practice some of the transposition studies with trumpet in hand or by

Suggested Week 11 scheduleyou plan your own practice

Mouthpiece: Buzzing CD to track 28 (2 blockson the minute drills, vary

Suggested Week 12 scheduleyou plan your own practice

Suggested Week 14 scheduleyou plan your own practice

Year Two, Second Semester

One illusion that I sometimes entertain is that I, in all of my trumpet wisdom,

Suggested Week 17 scheduleyou plan your own practice

play louder, higher, and, interestingly, softer

Suggested Week 19 scheduleyou plan your own practice

In my recent research I have become aware of the functions, abilities, and

Lip Flexibilities: Colin, Lip Flexibilities, #13 (CLF; 2 blocks)

Suggested Week 25 scheduleyou plan your own practice

blocks); Charlier, Transcendental Etude #26 (ChTE; 3 blocks); Arban, Ph p.

Suggested Week 28 scheduleyou plan your own practice

Second Year Summer Practice

Arban Fantasies at end of book

Arban "Art of Phrasing" Studies

Top 33 Orchestral Excerpts (really just 28):

Mon. Tues. Wed. Thur. Fri. Sat. Sun.

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