Notes on Technique

David Bilger
Philadelphia Orchestra

Trumpet technique can be broken down into 6 main headings: Sound

(tone production), Articulation, Flexibility, Agility, Range, and Endurance.
The following are ideas and examples of exercises and etudes that can be
used to improve these necessary trumpet skills. Ideas about how the
warm-up and practice routines will be offered later.
Sound:
Good tone production on the trumpet is a combination of a functional
embouchure and the proper use of air. Therefore, the following examples
will focus on improving embouchure strength and focus, or air flow (or
both!).
1. Long tones. Play sustained notes for at least 12 beats at quarter = 60,
making sure that the tone is full and that the pitch is stable. Continue the
same feeling of air flow that you got with the long tones while playing
Herbert L. Clarke Technical Studies (#1-5). I call these "moving long
tones", and the idea is to keep the free air flow that we achieve on regular
long tones. Also look at Schlossberg Daily Drills and Gordon Systematic
Approach to Daily Practice.
2. Flow Studies. These could also be called lyrical studies. Just as we
talked about keeping the air flow in the above "moving long tones", playing
flow studies continues to reinforce the feeling of always using enough air.
Materials to use for this purpose are Stamp Warm-up Studies (also used
for pedal tones), Concone Lyrical Studies, Bordogni 24 Vocalises (also
used for transposition). and Cichowicz Trumpet Flow Studies (examples
are in the addendum).
3. Pedal tones and lip bends. Using both pedal tones and lip bends can
strengthen the embouchure. Pedal tone exercises from the Stamp Warmup Studies and Gordon Systematic Approach to Daily Practice are a good
place to start. Lip bends will be discussed in depth at the class, and
examples will be found in the addendum.
4. Mouthpiece buzzing. All of the above etudes can be done on the
mouthpiece alone. Mouthpiece buzzing is an important part of sound
development because it forces the player to focus the notes instead of
relying on the trumpet to do it for you.

Articulation:
Articulation and response are completely interrelated. Both are a
combination and appropriate balance between the tongue and the air.
When working on articulation, a player must always concentrate on floating
the tongue on a foundation of air, and then work on tongue position and
easy tongue motion. Single and "K" tonguing are the basis for all
articulation, and must be practiced independently of one another. Without
a quick single tongue, smooth triple tongue is impossible. There is no
substitute for practice on articulation. The following are suggestions for
exercises, but literally every text has a section on tonguing. Try Charlier
36 Etudes (#14, 16, 22, and 25), Goldman Practical Studies (1-4), and
most of the Arban book.
Flexibility:
Flexibility actually impacts all aspects of trumpet playing, especially
articulation and range. Lip flexibility exercises are actually "tongue level"
exercises, since the tongue channels the air to produce the notes. The
Arban book is a good starting place, but other materials include Colin
Advanced Lip Flexibilities, Schlossberg Daily Drills, and Irons 27 Groups of
Exercises.
Agility:
Agility actually refers to the quickness of a player's fingers and brain.
Included in this topic will be dexterity drills, transposition etudes, and
sight reading texts.
1. Finger dexterity is extremely important, and often overlooked. To
improve dexterity, I recommend practicing major and minor scales,
chromatic scales, and arpeggios right out of the Arban Complete Method.
Nothing can replace these etudes. Other sources of challenging finger
benders are Nagel Speed Studies and Vizzuti Advanced Etudes.
2. Transposition is a necessary skill for any player with professional goals.
It is also one of the most overlooked, since it is hard work and is
unrewarding in the short term. Start with the Caffarelli 100 Studi Melodici
and Bordogni 24 Vocalises, and graduate to the Sachse 100 Etudes. Be
aware that transposition requires a constant long term investment of your
time (years!), and should not be overlooked.

3. Sight reading is a skill that can be practiced on a daily basis. Take out
any new, old or unfamiliar piece of music, and you have an instant text.
Sight read duets with a friend, or challenge yourself just for fun. Hickman
Music Speed Reading is a quality text with tips on improving your skills, as
is Dufresne Develop Sight Reading.
Range: Range (both high and low) are functions of embouchure strength,
tongue position, air flow, and centering. Many exercises that we have
already discussed will increase range, such as pedal tones, lip bends,
flexibility studies, flow studies, etc. Try practicing octave slurs while
making sure to change your vowel sound from ah to eee as you go from
low to high. Also make sure not to over-adjust by playing too small or with
too much pressure in the high register. Remember, if you don't practice it,
you can't do it--and this applies to high notes as well. Some things to
practice are Stamp Warm-up Studies, Gordon Systematic Approach to
Daily Practice, Smith Top Tones, and Vizzuti Advanced Etudes.
Endurance:
As is the case with range, endurance is also a combination of many of the
topics we have already touched upon, and will benefit from many of the
same etudes. The two other things that will most quickly improve
endurance are efficiency and loud practice.
1. Efficiency is a necessity for any brass player. Playing the trumpet is
extremely physical, and efficient playing will reduce the demands on the
player. Efficiency can be achieved by taking care of the following:
A. Always use a good volume of air, and high air speed
B. Always play with your embouchure set
C. Do not use excessive pressure
D. Practice upper body relaxation
E. Always think about what you are doing while you play
2. Loud practice is another part of trumpet playing that is often
overlooked. Remember, when practicing at loud dynamic levels, always
keep your sound from distorting, and never cause yourself physical pain.
Do not use excessive pressure! Orchestral excerpts are a good source of
loud material, as are the Brandt Orchestral Etudes. Perhaps the best
resource for loud playing is the Schilke Power Exercises. Playing 5 minutes
of these a day will be all you need to develop the necessary strength for
increased endurance. They are not published, but are outlined in the
addendum.

Notes on Practicing:
The first and probably most important part of practicing is the warm-up.
Warming up is a personal thing, and everyone will need to experiment with
what works for them, but the following are some ideas and guidelines for
establishing your own personal warm-up.
I think of the warm-up period as having two main goals, the first being to
wake up your chops (and brain), and the second to practice the basics of
technique. The warm-up should start you off slowly, and then move on to
include the six aspects of technique as discussed earlier. Of course further
specific practice of the problem areas in your playing will be required, but
a certain amount of all technique should be covered in the first session of
the day.
I like to begin with Clarke Technical Studies and Cichowicz Trumpet Flow
Studies. By the time I have played 5 or 10 minutes of these, I have
accomplished the first part of my warm-up. Sometimes I will continue with
Stamp Warm-up Studies, which I use as a "centering medicine" if I feel I
need it.
Then I continue with Ray Mase's 10 Week Practice Routine, which is a
simple compilation of technical drills from a number of sources. I believe
that Ray's book is an excellent example of how to put together a warmup/practice book. The book is unpublished, since it is a compilation of
copyright materials, but I have included the guide page in the addendum,
which tells you how to put the book together. You can also put together
your own book using the same principles.
Additional practice sessions should be dedicated to practicing
weaknesses, learning new etudes and excerpts, and learning solos and
other performance pieces. No matter what you are practicing, your
metronome should always be handy, since it can act as both the "rhythm
police" and the "practice coach." The metronome can help you become
aware of inconsistencies in your rhythm, and also help in your training by
making you practice things at more difficult tempi than are called for, so
that performances will seem easy.
Another sidekick should be a tuner, so that you get in the habit of playing
in tune with yourself. It is impossible for anyone to play in tune with
another musician if they cannot play in tune with themselves. The tuner
doesn't lie.

Chris Gekker (of the American Brass Quintet) wrote about practicing,
"Every player, no matter how good, makes mistakes, but the very best
performers do two things: they don't tolerate them in practice sessions,
correcting the slightest mishap in an unhurried, determined manner (also
practicing with concentration and slowly enough so that mistakes are not
learned); and in performance, they react to any error by immediately
raising their level of energy and concentration, staying loose and
aggressive."
Etudes should be a part of your regular practice, and a good way to
approach them is to perfect one a week. There are endless sources for
etudes, but some of my favorites are Arban 14 Characteristic Studies,
Charlier 36 Etudes, Bitsch 20 Etudes, Brandt Orchestral Etudes, Gates
Odd Meter Etudes, Reynolds 48 Etudes, Wurm 40 Studies, and Longinotti
Studies in Classical and Modern Style. Your teacher will be able to tell you
what books are most appropriate for your level, and professional level
players will benefit from all the books mentioned above.
The other advice I have on practicing is to invest time in training your ear
and your musical soul. Every player needs to develop an understanding
about that the trumpet's role is in each piece of music, as well as to
understand what emotions the music is trying to express. The best way to
achieve this is to listen to all kinds of music every chance you get, and to
experiment as an artist on your instrument. Polished technique is a means,
not an end.
Most of all, keep practicing, keep improving, and remember that only you
are responsible for how you play!
Notes on Performing, Recitals, and Equipment:
Every type of performing situation places special and unique demands
upon a performer. I have identified six ways in which you can meet these
demands, regardless of the style of music or performance situation. The
following are skills that you must develop to achieve excellent
performances.
1. Practice your part. Thorough practice not only improves your chances of
hitting the right notes, but will add to your physical conditioning. Your
"chops" can learn to pace themselves for individual difficult passages.

2. Learn the music. Every good performer understands the style of the
piece, as well as having a feeling about what the composer was trying to
say with the music. A musical approach can actually help technique, as
well.
3. Communicate with your colleagues. Communication is what performing
is all about. We communicate with our audience through the content of the
music, but more importantly, we must communicate with the musicians
with whom we share the stage. This is accomplished by listening (to
players other than yourself!!), leading when appropriate, moving your
body to dictate phrasing and pacing, and eye contact--both with other
musicians and the conductor.
4. Be reactive. Every good musician must listen and react to tuning,
ensemble, and style; especially articulation, note length, and phrasing.
5. Concentrate at all times. Most of the mistakes that creep in at
performance time are a result of a lack of concentration. Every player
should develop a few tricks that they can use to re-focus wandering
attention.
6. Play with confidence. Playing with assurance results in a proper use of
air and better technique, and is the first and best step to prevent nerves.
A well deserved belief in one's abilities (combined with good preparation)
will go a long way towards eliminating nervous reactions.
The majority of concerts that musicians participate in are planned for us.
The one major exception is the solo recital. Recitals may be required by a
university or conservatory for graduation, or they may be for profit or
merely for fun. No matter what the genesis of the recital is, one basic
question remains: How does one program for it?
The following are some ideas that have helped me to come up with
successful programs.
1. First of all, it is important to define the purpose of the recital. Is it
educational, a fee concert, or merely for the enjoyment of friends and
family.
2. Understand your audience, their special circumstances and
expectations or, if it is a student recital, what will you be gaining from the
experience.

3. Make a list of possible repertoire with timings of each piece, and be

sure to pick music you enjoy. I always make three separate lists: pieces I
already know, pieces I am learning, and pieces I should know but don't
yet. Once you have these lists, you can select from them to assemble a
workable program.
4. Select a good strong opener first. I prefer either something a bit flashy
or something for piccolo trumpet. Next, select your closer. I look for
something a little lighter or a chamber music piece, and then select the
major works (Sonatas or Concertos). Lastly I pick a few filler pieces that
will provide contrast and rest.
5. Write down some potential concert orders, taking into account how the
pieces flow from one to the next, what kind of endurance demands they
place on you, placement of specialty pieces (i.e. piccolo), and the logistics,
especially if there are stage changes involved.
Full Recital (30 min. per half)
Opener
Transition (Contrast)
Concerto or Sonata
INTERMISSION
Concerto or Sonata
Rest piece (Contrast)
Closer
Half Recital (35 min. total time)
Opener
Transition (Contrast)
Major work (Sonata or Concerto)
Closer
Equipment is the most highly personal and controversial aspect of trumpet
playing. I would not presume to tell anyone what set-up to play on, but I
can give some general advice. Remember that when you are changing to
something new, it should always sound immediately better than your old
equipment. The idea of "working into it" is bunk. There may be an
adjustment time, but there must be some immediate improvement. Also
make sure to play your new equipment in a couple of different rooms, and
always play for other musicians. Their ears may catch something in the

sound that you cannot hear from your side of the bell. Here are some
other ideas.
1. Identify your needs. Do you require a set-up for a specific style or job,
or do you need something more versatile? Do your chops tolerate
switching equipment for different repertoire? Do you need more than one
set-up to meet the demands of your playing? By answering these
questions, you can narrow your possible choices.
2. There are general tendencies in horns. For Bb trumpet, most people
use medium large bore. The weight of the bell is a matter of taste. C
trumpets are generally large bore. I prefer Bach trumpets for Bb and C
because they have a good balance between high and low overtones in the
sound. Many players are getting off track by trying to play too dark and
sacrificing the highs in the sound. To my ear, it then is no longer a true
trumpet sound. For small trumpets, look for quality of sound, response,
and ease of high playing.
3. Most trumpet players spend a great deal of time (and money) selecting
mouthpieces. I play on a Bach 1 1/4 C (or 1 1/2 C or 1B), and I have
found that most legit players favor this size of mouthpiece. The best idea
is to try a wide variety of mouthpieces keeping the following in mind:
A. Cup depth and shape affect the range, response, sound, and pitch.
Too deep a cup results in a weak high range, slow response, dead sound,
and flat pitch. Too shallow a cup tends to weaken the low range, thin out
the sound, and raise the pitch too high.
B. The size and shape of the rim must fit your facial structure, your dental
shape, and take into account the amount of pressure you use. Too flat or
cushioned a rim will slow response, too thin a rim will decrease
endurance.
C. Opening up the backbore and throat increase the volume and richness
of the sound, but can destroy the focus of the sound and flexibility. Most
orchestral players open up their mouthpieces.
4. Mutes are an often overlooked part of trumpet equipment. Every
serious trumpeter should own a wide variety of mutes, and be selective
about their use. I have loud and soft straight mutes, as well as in tune
ones and sharp ones. There are times all of the above come in handy.
Make sure to practice with your mutes, because "if you don't practice it,
you can't play it." A harmon mute without the stem can also be an effective

practice tool. Try to practice etudes while keeping the timbre (the amount
of buzz) the same.
5. Other accessories you should carry are:
A. Oil. Make sure never to mix valve oils. Some are incompatible and can
seriously gum up your valves.
B. Cleaning supplies--mouthpiece brush and snake. It also helps if you
use them.
C. Slide grease. Any non-water soluble grease will do. I use Vaseline on
my slides.
D. Pencil with eraser.
E. Aspirin or Advil (both for headaches and as an anti-inflammatory for
the chops).