LAMAR UNIVERSITY

TRUMPET STUDIO
COURSE PACKET
Contents:
Syllabus
Practice Compendium
Warm Up

Compiled and Edited by Dr. Brian A. Shook

Assistant Professor of Trumpet
Lamar University
This page has been left blank to facilitate page turns
 APPLIED TRUMPET
(MUAP 0200, 1237, 3237, 3437, 5210, 5220, 5230, 5410, 5420, 5430)

LESSON SYLLABUS
LAMAR UNIVERSITY

Instructor: Dr. Brian A. Shook Office Phone: 409-880-8070

Office: Simmons Music Building, Rm. 207 Mobile Phone: 602-762-0798
Website: www.brianshook.com E-mail: [email protected]
Office Hours: TuesdayFriday, 8:009:00 a.m. by appointment

COURSE OUTCOMES
Upon completion of this course, the student will develop and successfully demonstrate the musical and
technical skills required for performing a variety of music on the trumpet. These skills are essential not
only for performance, but also for displaying specific teaching methods. Through the diverse study of
technical methods, etudes, solo literature, band/orchestral excerpts, periodical publications, and recordings
the student will be able to demonstrate an appropriate knowledge of musical terms and concepts related to
trumpet performance and pedagogy.

REQUIRED TEXTS/RESOURCES
1. Complete Conservatory Method for Trumpet by J.B. Arban (edited by Goldman/Smith, Carl Fischer)
2. Technical Studies for the Cornet by Herbert L. Clarke (Carl Fischer)
3. Long Tone Studies by Vincent Cichowicz (Studio 259 Productions)
*If you do not already have these books, make sure you purchase these editions
4. Membership with the International Trumpet Guild (for $30/yr you receive four journals and free CDs
and sheet music) www.trumpetguild.org
5. Classical Music Library (Lamar Library Online) www.lamar.edu > Library > Databases > AZ Listing
> Classical Music Library (over 60,000 tracks for free!)
**Other texts and method books will be assigned at the discretion of the instructor
***ALL solos and etudes performed on juries must be purchased by the student

NECESSARY EQUIPMENT
All students are expected to have the following:

Trumpet in good working condition

Lubricants valve oil, slide grease
Cleaning supplies mouthpiece brush, snake brush
Mutes straight, cup, harmon, and plunger are the four basic mutes for most playing situations. All
music majors or minors are expected to own each of these mutes.
Recommendations:
Straight mute Tom Crown, Denis Wick, Jo Ral, TrumCor
Cup mute Denis Wick, Jo Ral, TrumCor
Harmon Jo Ral bubble mute, Denis Wick
Plunger traditional sink plunger (without handle)
Metronome
Tuner
Music stand (folding)
Music dictionary
Egg shaker (supplied by instructor)
Recording device (Smart Phone, mp3 recorder, etc.)
Etudes, solos, and other music books students have one (1) week to purchase assigned literature
 APPLIED TRUMPET
LESSON SYLLABUS
ATTENDANCE
At the beginning of the semester each student will sign up for a weekly lesson. Lessons will begin promptly
at the designated time. The student is to be warmed-up and on time for each lesson.
Late Attendance (one minute or more) = lowered letter grade for that lesson
10+ Minutes Late = no lesson and an F for that lesson
Unexcused Absence = F for that lesson
3 Unexcused Absences = F for the semester

If the instructor is more than ten (10) minutes late the lesson will be rescheduled. In most cases, a note will
be left on the studio door to indicate if the instructor has stepped out of the office.

*If the student is going to be late or absent for any reason (aside from an emergency), the instructor
must be notified 24 hours in advance. If you wake up sick on your lesson day, email or text ASAP.
Only excused absences (approved by the university/instructor) may be rescheduled. Lessons
cancelled due to university-mandated holidays will not be made up. No make-up lessons for student
sick days.

SCALES
Scales will be performed weekly in lessons and studio class from memory. Scales that begin on low F-
sharp through C (below the staff) will be played in two octaves. Scales that begin on C-sharp through F will
be played in one octave only. The uniform rhythmic pattern and metronome marking for all scales is
indicated in the Practice Compendium (chromatic scales are to be slurred in eight-note triplets, quarter note
= 120 bpm).

JURIES
A ten-minute jury takes place at the end of each semester in which the student plays a prepared solo, etude,
and/or orchestral/band excerpts for select faculty members. The etude/excerpt selections, given to the
student two (2) weeks before the jury, will be contrasting in nature and give the student the opportunity to
display a variety of techniques and developing skills. The jury is graded objectively by the faculty and is
based primarily on the expected level of proficiency for the students year in school. Scales are also an
integral part of juries.
*All scales will be played from memory during lessons and juries

Two weeks prior to the jury date, the student is to fill out the jury form (located at www.brianshook.com)
and a sign-up sheet will be posted in the music building. It is the students responsibility to sign up for a
time, making sure that the accompanist (if required) can also be present. The jury form is to be filled out by
the student (listing all materials covered during the semesterconsult the Applied Lesson Notes from
each lesson) prior to the jury. On the day of the jury, the student (wearing appropriate attire) will bring the
completed form along with five (5) copies for the faculty members. After juries are completed, the student
may schedule a time with the instructor to discuss his or her jury performance. Failure to appropriately fill
out the jury form will result in a lowered jury grade.

Appropriate jury attire:

Men dress pants (no jeans), dress shirt (tucked in), dress shoes, and belt.
Women Dress slacks, knee-length skirt or dress (no jeans), and nice shoes (no sandals).

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 APPLIED TRUMPET
LESSON SYLLABUS
WEEKLY ASSESSMENT STANDARDS
Characteristics of a solid musician who will grow rapidly and thoroughly (and earn an A for the
semester):
1. Enthusiastic and interested in his/her work
2. Consistently exceeds expectations
3. Prompt, thorough in all work, and usually free from instructors correction
4. Maintains healthy practice habits (reflected in the students Practice Journal)
5. Shows up to lesson/studio on time, warmed up, and ready to perform and learn
6. Arrives at lessons with working instrument, method books, solos, organized notebook, completed
Practice Journal, and other materials
7. Takes good notes during lessons
8. Records lessons (with a Smart Phone, etc.) for listening to instruction later
9. Exhibits the ability to associate and rethink problems and adapt to changing situations
10. Frequently researches and purchases professional recordings and actively builds a listening library
11. Purchases necessary music and frequently adds to a growing personal music library without prompting
from instructor
12. Applies learned ideas to new material without prompting from the instructor
13. Willingly volunteer for extracurricular musical responsibilities
14. Enthusiastically attends recitals (not just trumpet) and concerts as an active listener
15. Maintains a curiosity about music and frequently asks intelligent questions
16. Never gives excuses for unfinished work
17. Frequently sends the instructor mid-week mp3s of practice for tips
18. Maintains a positive attitude and is respectful at all times, despite specific circumstances

Characteristics of a musician who will grow moderately (and earn a B or lower for the semester):
1. Somewhat interested in his/her work
2. Meets expectations
3. Reasonably prompt and accurate in all work
4. Inconsistent practice habits (indicated in Practice Journal)
5. Shows up to lesson/studio on time, but often without warming up and/or is distracted
6. Forgets some of the necessary materials; Practice Journal is poorly filled out
7. Sometimes takes notes during lessons
8. Rarely records lessons for listening to instruction later
9. Retains general principles and applies them
10. Listens to professional recordings minimally, does not listen critically, and rarely seeks opportunities to
build a library of recordings
11. Purchases necessary music
12. Is attentive to assignments and relatively free from carelessness
13. Begrudgingly agrees to extracurricular musical responsibilities
14. Only attends required recitals/concerts
15. Has a limited curiosity about music and rarely asks questions
16. Often gives excuses for unfinished work
17. Rarely sends the instructor mid-week mp3s of practice for tips
18. Is often distracted by circumstances and has difficulty maintaining a positive attitude and respect
toward others

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 APPLIED TRUMPET
LESSON SYLLABUS
Characteristics of the student who is stagnant (and most likely earn an F for the semester):
1. Wavering interest in his/her work
2. Does less than is expected; does not meet expectations
3. Does not finish course work
4. Displays inconsistent practice habits (absence of Practice Journal)
5. Is often not warmed up prior to lesson/studio, frequently late, and easily distracted
6. Often forgets materials
7. Rarely takes notes during lessons
8. Rarely records lessons for listening to instruction later
9. Retains only fragments of general principles
10. Shows no interest in listening to professional recordings
11. Does not purchase necessary music
12. Is inattentive to assignments and often careless
13. Never volunteers for extracurricular musical responsibilities
14. Only attends some of the recitals
15. Shows no interest or curiosity about music and does not ask questions
16. Regularly gives excuses for unfinished work
17. Never sends the instructor mid-week mp3s of practice for tips
18. Is often disrespectful and exhibits a poor attitude

ADVANCING TO UPPER LEVEL

At the end of the students fourth (4th) semester, he or she will apply to enter upper level applied lessons. In
order to advance, the student must be able to successfully demonstrate the following: 1) correct
embouchure, 2) proper relaxed airflow, 3) lip bends and pedal tones, 4) clear and even tone in all registers
(F#3 to C6), 5) clean articulation and finger/tongue coordination, 6) major and all minor scales (natural,
harmonic, and melodic) can be played at MM=86, 7) consistent intonation in all registers, 8) control of
dynamic range from pp to ff, 9) perform a Texas UIL Class 1 solo, and 10) ability to sight-read advanced
high school or college freshman level etudes.

The application for upper level will take place during the final lesson before juries in that semester. Based
on that lesson and the final jury performance, the brass faculty will decide whether or not the student is to
advance to upper level applied lessons. If the student does not advance, he or she is put on probation
(scholarships may be withheld) and may reapply the following semester. (Note: being put on probation will
most likely delay the final graduation date)

RECITALS
All students will perform on at least one (1) Departmental Recital per year. The student and studio teacher
will select the literature together for each performance. Only two half-hour rehearsals with the staff
accompanist are allotted per performance due to the scheduling demands of the accompanist. Typically,
juniors and seniors will perform in the fall semester and freshman and sophomores in the spring semester.
Additionally, all music majors are required to perform a solo recital.

Bachelor of Music (Teacher Certification): Required to perform a half-hour recital (can be joint recital)
during the senior year.

Bachelor of Music (Performance): Required to present a half-hour Junior Recital and a one-hour Senior
Recital.

Master of Music (Performance): Required to perform one full recital, as well as write a research paper or
present a lecture recital.

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 APPLIED TRUMPET
LESSON SYLLABUS
For the degree recital, the student must choose the music (with direction from the instructor), contact the
pianist, and reserve the recital date at least three (3) months prior to the recital. The student must also play
a dress rehearsal with the pianist (and any other collaborative musicians) at least two (2) weeks prior to the
recital date. If this dos not occur for any reason, the performance will be cancelled (this could delay your
graduation date).

It is the students responsibility to submit program materials to the music office no less than two (2) weeks
before the recital, pending approval of the studio instructor.
*See the Recital Checklist (provided by the instructor) in order to follow the correct procedures.

If the student performs a Junior, Senior, or Graduate Recital, he or she is not required to play a jury in that
same semester.

STUDIO CLASS
Weekly studio classes shall consist of a variety of pedagogical and performance topics. These one-hour
sessions may include group rehearsals, master classes, and/or solo performances. For every class, the
student must be on time with his or her instrument(s) and a notebook (not music folder) to take notes on
clinics and file handouts. The instructor will review these notes during lessons. These materials will aid the
student in private practice time, as well as teaching in the field.

BORROWING POLICY
Throughout the students collegiate career, the instructor will frequently lend a variety of materials to the
student for his or her instruction. The instructor will document the date and material that is being borrowed
using the sign-out sheet on the back of the studio door. These materials must be returned to the instructor
before juries in order to receive a final grade. Any items that are damaged, lost, stolen, or not returned
will be charged to the individual responsible.

GUIDELINES FOR PERSONAL PRACTICE

Several brief practice sessions (totaling two or more hours a day) are recommended for maximum progress.
If the practice session is an hour long, be sure to only play the instrument for a total of 3540 minutes.
Rest as much as you play is the safest rule. While resting at regular intervals, do breathing exercises,
singing exercises (i.e. solfge), rhythm exercises, or any other type of practice that will aid in the overall
progress. For more information on the recommended daily routine, see the Practice Compendium.

GRADING
There are two (2) categories upon which the student is graded: weekly assessment (75%) and jury
performance (25%). Each week the student will be evaluated based on the standards and characteristics
listed above.

SUBJECTIVITY CLAUSE
The instructor reserves the right to raise or lower the students grade based on his or her overall attitude in
lessons and studio class. A positive attitude and consistent progress can positively affect the final grade.
Excessive tardiness, sleeping in class, texting or talking on cell phone, disrupting class, or lack of effort
could negatively affect the final grade.

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 APPLIED TRUMPET
LESSON SYLLABUS
MISCELLANEOUS INFORMATION
Email is the preferred method of communication with the instructor. Text message is appropriate for quick
correspondence on one topic. Phone calls are acceptable as well, but please do not text or call after 8:00 PM.
If you need to speak with the instructor, you may inquire between lessons. Please do not interrupt another
students lesson.

Concert/Recital Attendance If you are not playing on a particular concert, it is highly recommended that
you attend to support your friends, colleagues, and faculty. All students are to attend trumpet recitals. If the
student is unable to attend the recital due to a previous commitment, he/she should discuss this with the
instructor and attend the dress rehearsal.

Notebooks Each student is to keep a 3-ring binder containing the syllabus, Practice Compendium, lesson
and studio notes/handouts, and the Practice Journal. Notebooks are to be with the student at lessons and
studio class.

LEARNING DISABILITIES
It is imperative for the instructor to be aware of a student who has been clinically diagnosed with a learning
disability. Within the first week of class, it is the students responsibility to discuss his or her condition
with the instructor. Notifying the instructor at the end of the semester will not change any of the previous
grades earned by the student. The Disabilities Resource Center will also assist the instructor and student in
providing necessary accommodations.

Music Stores Websites

Swicegood Music Dr. Brian A. Shook
3685 College St. www.brianshook.com
Beaumont, TX 77701-4685
409-735-5608 International Trumpet Guild
www.trumpetguild.org
Dillon Music
732-634-3399 Trumpet Herald
www.dillonmusic.com/brass.aspx www.trumpetherald.com

Tulsa Band Instruments Trumpet Master

800-564-1676 www.trumpetmaster.com
www.tulsaband.com

Sheet Music Suppliers

Penders Music Company
800-772-5918
www.penders.com

Hickeys Music Center

800-HICKEYS (442-5397)
www.hickeys.com

Robert King Music Sales

www.rkingmusic.com

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 APPLIED TRUMPET
LESSON SYLLABUS

UNIVERSITY MANDATED STANDARDS

This course addresses the following Texas State Educator standards and applications for music:

Teacher Knowledge and Skills, Standards: I, II, III, IV, VI, VII, X
Applications: 1.1s, 1.2s, 1.3s, 1.4s, 1.5s, 1.6s, 1.7s, 1.8s, 1.9s, 1.11s, 1.12s, 1.13s, 1.14s, 1.15s, 1.16s, 2.1s, 2.2s, 2.3s, 2.4s, 2.5s, 3.1s, 3.2s, 3.3s,
3.4s, 3.5s, 3.6s, 4.1s, 4.2s, 6.1s, 6.2s, 6.4s, 6.5s, 6.6s, 6.8s, 7.2s, 7.3s, 7.4s, 7.5s, 7.6s, 7.7s, 7.8s, 7.9s, 7.14s, 7.15s, 7.16s, 7.19s, 8.1s, 9.4s, 10.1s,
10.2s, 10.3s, 10.4s, 10.5s, 10.6s, 10.7s

For a complete listing of standards and applications, see:

http://www.tea.state.tx.us/index2.aspx?id=5938&menu_id=2147483671&menu_id2=794

(This course complies with university policies on disabilities, accommodations, and academic dishonesty as printed in the Lamar University Student
Handbook and Faculty Handbook.)

Extended Statement on Disabilities

Lamar University is committed to providing equitable access to learning opportunities for all students. The Disability Resource Center (DRC) is
located in the Communications building room 105. Office staff collaborate with students who have disabilities to provide and/or arrange reasonable
accommodations.
For students:
If you have, or think you may have, a disability (e.g., mental health, attentional, learning, chronic health, sensory, or physical), please contact the
DRC at 409-880-8347 or [email protected] to arrange a confidential appointment with the Director of the DRC to explore possible options regarding
equitable access and reasonable accommodations.

Extended Statement on Academic Dishonesty

Students are specifically warned against all forms of cheating and plagiarism. The Lamar University Student Handbook states: Any student found
guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Punishable offenses include, but are not limited to,
cheating on an examination or academic work which is to be submitted, plagiarism, collusion, and the abuse of resource materials)

One aspect of the Handbooks definition of cheating is, purchasing, or otherwise acquiring and submitting as ones own any research paper or
other assignment. Students seeking guidance to avoid plagiarism should consult the course instructor, recent handbooks, or the University Writing
Center.

Punishments for academic dishonesty range from F in the course, to an F on the assignment, to re-submission of the work. Punishments are at the
discretion of the faculty member, and may be appealed to the department chair, dean, and Associate Vice President for Academic Affairs. Flagrant
or repeat violations may warrant further discipline by the university including probation and suspension.

Emergency Procedures
Many types of emergencies can occur on campus; instructions for severe weather or violence/active shooter, fire, or chemical release can be found
at: http://www.lamar.edu/about-lu/administration/risk-management/index.html. Following are procedures for the first two:

Severe Weather:
Follow the directions of the instructor or emergency personnel.
Seek shelter in an interior room or hallway on the lowest floor, putting as many walls as possible between you and the outside.
If you are in a multi-story building, and you cannot get to the lowest floor, pick a hallway in the center of the building.
Stay in the center of the room, away from exterior walls, windows, and doors.

Violence/Active Shooter (CADD):

CALL - 8-3-1-1 from a campus phone (880-8311 from a cell phone). Note: Calling 9-1-1 from either a campus phone or cell phone will contact
Beaumont City Police Dispatch rather than University Police.
AVOID- If possible, self-evacuate to a safe area outside the building. Follow directions of police officers.
DENY- Barricade the door with desks, chairs, bookcases or any other items. Move to a place inside the room where you are not visible. Turn off
the lights and remain quiet. Remain there until told by police it is safe.
DEFEND- Use chairs, desks, cell phones or whatever is immediately available to distract and/or defend yourself and others from attack.

Academic Continuity:
In the event of an announced campus closure in excess of four days due to a hurricane or other disaster, students are expected to login to Lamar
Universitys websites homepage (www.Lamar.edu) for instructions about continuing courses remotely.

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 THE

TRUMPET PLAYERS

PRACTICE COMPENDIUM

Compiled and Edited by

Dr. Brian A. Shook
Assistant Professor of Trumpet
Lamar University
[email protected]

(last revised 08-14-2014)

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2014 by Brian A. Shook www.brianshook.com
 THE TRUMPET PLAYERS PRACTICE COMPENDIUM

Table of Contents

Introduction ..........................................................................................................................2

Breathing Gym .....................................................................................................................3

The Four Ps.........................................................................................................................5

Warm Up, Daily Routine, and Warm Down........................................................................7

Intonation and Drones ..........................................................................................................9

Solfge and Buzzing ..........................................................................................................11

Scales .................................................................................................................................15

Transposition......................................................................................................................21

Recommended Literature ...................................................................................................23

Weekly Planner ..................................................................................................................27

Applied Lesson Notes ........................................................................................................28

Student Practice Journal .....................................................................................................29

INTRODUCTION

The role of a trumpet player in any ensemble is diverse and demanding. Careful attention
must be taken at all times to prepare for the difficulties and challenges that arise on a
daily basis, both as a trumpeter and as a musician. This compendium is designed to
enable the student to develop confidence in his or her abilities as a musician in solos,
ensembles, and on the podium.

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2014 by Brian A. Shook www.brianshook.com
 BREATHING GYM
Developed by Sam Pilafian and Patrick Sheridan

INTRODUCTION
Analogy: a car needs gas to make it move just like instruments need air to make sound. The higher the
quality of gas, the better the car performs. The same thing is true with air.

Breathing Gym is designed to give control and efficiency of breath by developing proper breathing
habits
o Improves tone, stamina, and all-around performance
o For ensembles, Breathing Gym:
! Promotes calmer, quieter, and more focused rehearsals
! Internalizes and improves group rhythm (always use a metronome)
! Gives more confidence and security to group entrances/releases

Breathing Gym can be used as part of a warm-up routine or a mid-rehearsal change of pace while
addressing specific issues such as dynamics, articulation, and phrasing

The Breathing Gym consists of five types of exercises:

o Stretches
o Flow Studies
o Therapies
o Strength and Flexibility
o Breathing for the Brain

Remember the LAW OF ACCOMMODATION:

o What is difficult today will become easier if practiced
! Work these exercises just past the point of ease and slightly into discomfort without
overexertion

PRELIMINARY CONSIDERATIONS
1. Maintaining a proper and consistent oral shape is essential for maximizing the benefits of these
exercises
a. During inhale/exhale, the inside of the mouth should feel like a big yawn
b. The back of the throat is to remain open and unobstructed
2. Monitoring each breath ensures correct execution
a. Inhale
i. Form the right hand like a karate chop, but fold the thumb flat against the palm
ii. With the right hand in this position, place the index finger just under the tip of the
nose (thumb should now be pointing forward)
iii. Open mouth as if to yawn (notice that the bottom lip is almost touching the knuckle)
iv. Take a deep breath quickly, letting the only resistance occur at the lips
v. If executed correctly, the inhale will have a deep sound like a vacuum with one
finger placed over the opening
b. Exhale (remove right hand before exhale)
i. Hold the left hand with palm facing the body at an arms length
ii. Exhale and feel the constant flow of air on the palm
c. The inhale and exhale are to be performed continuously with no break between, just like a
pendulum swinging
3. Light-headedness may occur periodically. If this happens, then sit down, inhale slowly through the
nose, and exhale slowly through the mouth; repeat until no longer light-headed.
4. All exercises are to be performed in a relaxed manner with no tension in the body

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2014 by Brian A. Shook www.brianshook.com
 Breathing Gym
Contd
THE EXERCISES
1. Stretches loosen up the body for better breathing flexibility
a. Trunk Twist
b. Flop Over loose arms, neck, and upper body
c. Two-Way Stretch
d. Wrist Grab
e. Whole Body Stretch
f. Neck Roll roll neck from side to side while looking down. Chin should touch chest. Never
tilt head back and look at the ceiling.
2. Flow Studies simulate regular breathing patterns used while playing. Monitor the air during these
exercises to ensure that the air is constantly and consistently moving in and out (comfortably full to
comfortably empty). Move air without resistance or tension.
a. 6-7-8-9-10 (11-12-etc.)
b. Shorten the Inhalation (in 4 out 4, in 3 out 4, in 2 out 4, etc.)
c. Shorten the Exhalation (4-4, 4-3, 4-2, etc.)
d. Shorten the Inhalation Variation (4-4, 3-5, 2-6, etc.)
e. Shorten the Exhalation Variation (4-4, 5-3, 6-2, etc.)
f. Shorten the Inhalation and Exhalation [4-4 (2x), 3-3 (2x), 2-2 (2x), 1-1 (4x), 8th-8th (8x), 1-1
(4x), 16th-16th (8x), 1-1, 2-2, breathe through nose for 20 seconds]
g. Quick Breath Exercise inhale on the last beat of a measure (i.e. 4/4, 9/8, etc.)
h. Bow & Arrow, Toss the Dart, Float the Paper Airplane
3. Therapies a counterpart to flow studies, therapies are used to inspire better airflow by deliberately
creating problems to overcome, such as resistance and suspension
a. Inhale Therapy fight for air with suction
i. Exhale all air (sizzle)
ii. Place the back of the hand against the lips
iii. Fight for air by creating suction for 430 seconds, but do not allow any air in
iv. After time is up, remove hand and inhale as much as air possible in one gasp (still
maintaining the yawn shape)
v. With lungs at full capacity, suspend the air while keeping the mouth and throat open
for a predetermined duration (1530 seconds) with shoulders relaxed
vi. After time is up, expel air in one big chunk down to a sizzle
b. Inhale Therapy Variations
i. Expand in Two Areas during suction, mentally feel your lungs expand toward your
chest and back
ii. Expand in Four Areas during suction, mentally feel your lungs expand in 4
quadrants: abdomen, lower back, chest, and upper back
iii. Slight Leak during suction, allow some air to leak
c. Oral Shape Therapy inhale/exhale with the yawn feeling in rhythmic patterns (8th notes,
quarter-note triplets, etc.) in a given meter to check consistency of air
4. Strength and Flexibility focus on expanding and contracting the lungs to their extremes
a. In, Sip, SipOut, Push, Push
i. In inhale to maximum capacity for one beat while lifting arms overhead
ii. Sip lift arms higher while sipping in more air
iii. Out exhale completely in one beat while pushing arms downward
iv. Push force the last little bit of air out
b. Power Breaths
c. Power Bow & Arrow
5. Breathing for the Brain
a. Follow Your Breath breath in through nose, out through mouthno metronome
b. In 6, Suspend 6, Out 6 (increase ratio: 1:1:1, 1:2:1, 1:4:1, etc.)
c. Energizing Breath 4 in through nose, 7 suspend, 8 out through mouth

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2014 by Brian A. Shook www.brianshook.com
 THE FOUR PS

The Four Ps are the essential building blocks of playing brass instruments correctly. They are:
Pucker (of the embouchure), Pressure (of the mouthpiece), Position (of the tongue), and Push (of
the air).

1. Pucker the formation of the lips muscles that create the embouchure

2. Pressure the amount of force that is exerted from the mouthpiece onto the lips (which is
met with an equal and opposite amount of force from the Pucker)

3. Position the tongue inside the mouth directly affects the pitch and sound of the
instrument. For the medium-low range, the tongue is flat (pronouncing the syllable
haa). In the medium-high range, the tongue is arched (pronouncing the syllable hee).
The flatter the tongue, the lower the range. If the tongue is more arched, then the pitch
will be higher.

4. Push the steady flow of air. Also directly affects the dynamics of the instrument.

The goal of using the Four Ps is to keep them in balance with each other. When a particular
facet of playing ceases to function properly (e.g. fuzzing out), then one or more of the Four Ps
is most likely out of balance.

The following ten exercises will help develop this balance:

1. Free/Lip Buzzing produced by using only the lips to buzz specific pitches without the
aid of a mouthpiece. Used to create firm corners of the lips by controlling and focusing
the aperture and buzz. Practicing free buzzing (for no more than five minutes per practice
session) will ensure proper embouchure formation, strengthen the embouchure, improve
endurance, focus tone, and increase range.

2. Lip Bends using the lips to lower the pitch by half step, whole step, or more without the
use of valves. To lip the notes down correctly, one must increase the firmness of the
embouchure (pucker) and force the pitch down while still maintaining a consistent tone at
a f + dynamic. If performed correctly, the bent pitch will sound almost exactly as if it
were fingered correctly. Practicing lip bends (no more than five minutes per practice
session) will result in a stronger embouchure, increased range, longer endurance, fuller
tone, controlled intonation, consistent airflow, improved flexibility, and better accuracy.

3. Pedal Tones any note lower than F-sharp below the staff. Attaining pedal tones is
accomplished by using an extreme puckereven more than for lip bends. While the
aperture does get larger, the embouchure must remain firm and flexed. Always play every
pedal tone with the correct fingering (as you would finger an octave higher). Some notes
slot better with other fingerings, but this will cheat the player out of the full benefit.
Practicing pedal tones (no more than five minutes per practice session) will result in a
stronger embouchure, increased range, longer endurance, fuller tone, controlled
intonation, consistent airflow, improved flexibility, and better accuracy.

5
2014 by Brian A. Shook www.brianshook.com
 The Four Ps
Contd

4. Breath Attacks a note beginning without the use of the tongue. There are two types:
gradual and immediate. The gradual breath attack is a slow, relaxed leak of the air until
the note sounds (almost a whisper). The immediate breath attack is a quick puff of air that
begins the note instantaneously (without being brash or out of tune). Practicing both types
of breath attacks in all registers will help focus the aperture, concentrate the airstream,
reduce fuzziness, maximize tone, eliminate neck tension, and improve accuracy.

5. Whisper Tones these are extremely soft notes (less than pppp) that sound like sub-tones
on a clarinet. The lips do not actually vibrate, but the focused air stream is what creates
the tone without using the tongue to articulate (all notes are slurred). To produce whisper
tones correctly, the lip aperture must be focused (like a laser beam) and relaxed. This is
the most effortless type of playing and will result in better accuracy, fewer cracked
pitches, better intonation, and purer tone quality.

6. Pop Tones the same principles apply as those of whisper tones, but these are articulated
instead of slurred.

7. Lip Slurs produced by simultaneously adjusting the embouchure tension, tongue

position, and air pressure to move from one note to the next that both share the same
fingering. Practicing lip slurs in all registers and dynamics will increase flexibility,
strengthen the embouchure, develop tongue position control, improve accuracy, and
inspire consistent airflow.

8. K Tonguing the k tongue is executed by articulating with the back of the tongue
instead of the tip (as in saying key). This is also used for multiple tonguing, but its
purpose is different in this context. Practicing just the k tongue will strengthen the
tongue muscle, which gives greater control of the arch, facilitates lip slurs, and increases
range. The k tongue can be used on any type of consistently articulated passage (like
the Clarke Technical Studies)

9. Flutter Tonguing produced by rolling the tip of the tongue as fast as possible while
playing. Initially, this may only be possible at louder dynamics in the middle or low
register. Eventually, be able to flutter tongue in all registers at all dynamic levels. Two
main purposes: a) help control the efficiency and consistency of airflow without strain
(long tone exercises and basic lip slurs), and b) increase single tongue speed. This is
accomplished by practicing basic exercises that alternate flutter tonguing and single
tonguing (e.g. play a scale while fluttering the odd notes and single tonguing 16th notes
on the even notes of the scale).

10. Breathing Gym (see previous section)

6
2014 by Brian A. Shook www.brianshook.com
 THE WARM UP AND DAILY ROUTINE
The warm up and daily routine are the two most important practice sessions of the day. A
sufficient warm up can last anywhere from 20 to 30 minutes and a daily routine is typically 45
60 minutes. They can be combined into one session with sufficient rest.

The Warm Up (2030 minutes)1

The warm up for brass players has a similar purpose to that of an athlete. One must limber-up the
muscles to guard against injury and allow for optimal performance.
*Remember the practice rule: rest as much as you play.

A proper and consistent warm up:

1. Increases blood flow to the lips this helps remove a build-up of lactic acid
2. Gradually numbs the lips to prevent swelling
3. Enables the muscles to function efficiently
4. Engages the brain to stay alert and responsive

A successful warm up is comprised of the following components:

1. Breathing better breath support = better tone
2. Ear Training sensitizes the ears to hear correct intervals and chords by singing and
buzzing simple scales/chords while playing the piano
3. Mouthpiece Buzzing slow and gradual mouthpiece buzzing in the medium-to-low
registers will facilitate blood flow to the lips and connect the ear to the buzz
4. Long Tones and/or Slow Flow Studies these will help build a solid tone with good
intonation
5. Soft Playing scales, chromatics, and arpeggios that gradually expand range
6. Lip Slurs early in the warm up, these are to be at a comfortable dynamic and in an easy
range. More difficult lip slurs will occur in the daily routine.
7. Articulation begin with soft articulations in the mid-range and gradually increase range
(high and low), dynamics, speed, and style (legato, staccato, marcato, etc.)

The Daily Routine (4560 minutes)

The daily routine is the primary building block for improvement on ones instrument.
Consistently practicing the fundamentals of trumpet playing will iron out weaknesses and
increase strengths. To ensure daily progress and tempo accountability, a metronome must be
used for all metered exercises. Keep a log of conquered tempos and material covered to track
progress and gain confidence.

While working on the daily routine, careful attention must be given to the practice rule: rest as
much as you play. During the periods of rest, one may choose to do breathing exercises, solfge,
rhythm practice with an egg shaker, or any other type of musical activity that does not involve
playing the instrument.

Feel free to logically change the order of exercise within the daily routine. This will help avoid
stagnant playing due to mental boredom. Some fundamentals may be easier than others. As
William Vacchiano used to say, practice your liabilities, not your assets. The goal of these
routines is progress, not perfection.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
The first warm up of the day is the longest. Subsequent warm ups before regular practice sessions or rehearsals
may only need to be about five minutes.
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2014 by Brian A. Shook www.brianshook.com
 The Warm-Up and Daily Routine
Contd

Fundamentals:2

1. Breathing
2. Ear Training
3. Phrasing/musicality every exerciseincluding long tonesmust be approached with
phrasing and musicality ever-present
4. Mouthpiece buzzing strive for a clear and consistent buzz in all registers
5. Long tones/intonation use drones to maintain pitch accountability
6. Lip slurs Bai Lin Lip Flexibilities, Irons 27 Groups of Exercises, etc.
7. Scales Arban Complete Conservatory Method, McGregor Daily Scale Builder, etc.
8. Chords/Arpeggios Arban pp. 142151, etc.
9. Finger dexterity Clarke Technical Studies, Nagel Speed Studies, etc.
10. Intervals Arban pp. 125131, Vacchiano Study of Intervals, Hoffman Advanced
Interval Studies, etc.
11. Articulation regularly practice various forms of articulations and accents: legato,
staccato, portato, tenuto, marcato, fp, sfz, etc. These can be applied to any study.
12. Single Tongue Speed the fastest single tongue must overlap the slowest usable double
tongue so that there is no break between the two techniques
13. Multiple tonguing Arban pp. 155187, Vacchiano The Art of Double and Triple
Tonguing, etc.
a. Both double and triple tongue are to be practiced on consecutive notes as well as
scalar passages to ensure an even articulation
b. Practice triple tonguing in three formats for greater versatility and faster technique
1. TKT KTK 2. TKT TKT 3. TTK TTK
14. Rhythm duple/triple/mixed meters, advanced rhythms
15. Transposition Sachse 100 Studies, Caffarelli 100 Melodic Studies, etc.
16. Sight Reading this is the final test that shows what fundamentals need more attention.
Always use a metronome unless the etude is unmetered or marked freely.
17. Range work into the extremes of the upper and lower registers by playing lip bends,
pedal tones, and bugles. Work on range briefly every other day to give the embouchure a
chance to repair the muscles.

Recommended Daily Routine Methods:

1. The Brass Gym by Sam Pilafian and Patrick Sheridan (Focus on Excellence)
2. How to Practice by Raymond Mase (unpublished)
3. Trumpet Routines by William Vacchiano (Charles Colin)
4. Systematic Approach to Daily Practice by Claude Gordon (Carl Fischer)

The Warm Down (57 minutes)

Especially after a long day of playing, it is imperative to relax the embouchure in a methodical
manner. This is accomplished by playing softly in the middle and low registers. Scales, whisper
tones, breath attacks, and pedal tones are great ways to warm down. Doing some light/soft
buzzing on a trombone mouthpiece also helps relax the lips.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
2
Some of these fundamentals may overlap with the warm-up and do not need to be addressed twice in one day
unless they are a liability. All of these fundamentals do not need to be practice every day, but they should be
practiced at least three times a week in order to improve.
!
8
2014 by Brian A. Shook www.brianshook.com
 INTONATION AND DRONES

Introduction
One of the most overlooked areas of instrumental practice is intonation. The process of training
ones ears requires patience and consistent attention. During daily practice of intonation, one
might not notice much improvement, but after several weeks the ears will become noticeably
attuned and more sensitive to pitch. A whole new world of sound is waiting to be unlocked!
*Remember: trust the process.
Watching the needle or lights on a tuner does not improve intonation. The tuner can be
beneficial, but the earsnot the eyesare what need to be trained. Using an aural tuner (i.e.
drone) is the single, most useful tool for developing good intonation. This not only trains the
ears, but also familiarizes one with the pitch tendencies on his or her instrument. In addition to
playing drones on the instrument, it is also very beneficial to sing the pitches while the lips are
resting.
Matching intonation with a unison drone is the basic starting point for learning intonation. Once
the ears have been sensitized to tuning the unison, one must progress to tuning all of the
intervals. All intervals (except for octaves) need slight adjustments (either sharp or flat) when
sounded simultaneously with another note. For example, an interval of an octave will be
perfectly in tune when the needle on a tuner is in the center, but for an interval of a major third,
the third of the chord must be tuned slightly lower (by 14 cents) to be perfectly in tune.
Pianos are tuned in equal temperament. This means that every note is equally adjusted in order to
be able to play equally well in tune in every key. Unfortunately, these notes are fixed and unable
to be altered to attain the perfect tuning of chords. The following chart describes the tuning
tendencies for all intervals.3,4
INTERVAL ADJUSTMENT FROM EQUAL TEMPERAMENT TO JUST INTONATION
(1 cent = 1/100th of a half step)

Minor Second: + 12 cents

Major Second: + 4 cents
Minor Third: + 16 cents
Major Third: 14 cents
Perfect Fourth: 2 cents
Tri Tone: 18 cents
Perfect Fifth: + 2 cents
Minor Sixth: + 14 cents
Major Sixth: 16 cents
Minor Seventh: + 18 cents
Major Seventh: 14 cents

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3
For a more detailed explanation, see Tuning Tactics by Chase Sanborn.
4
The + and symbols indicate whether the second note of the interval should be played sharp or flat to be in
tune.
9
2014 by Brian A. Shook www.brianshook.com
 Intonation and Drones
Contd

The Process
The following method is prescribed for sensitizing the ears to just intonation:
1. Turn on a loud drone (ff +)
2. Sing, buzz, or play (mf +) that same pitch in unison
3. Slowly bend the pitch sharp (listen for dissonance)
4. Slowly bend the pitch flat (listen for dissonance)
5. Now play perfectly in tune, until no dissonance can be heard
6. Apply this process to all intervals in the following order:
a. Unison h. Minor sixth
b. Octave i. Major second
c. Perfect fifth j. Minor seventh
d. Perfect fourth k. Tri tone
e. Major third l. Minor second
f. Major sixth m. Major seventh
g. Minor third
7. Choose a different key each day to get familiar with all registers and keys

The Application
In addition to the previous exercise, one will find it extremely beneficial to use drones while
working on etudes, excerpts, solos, or any type of music. The same basic principles apply, but
instead of playing (or singing and buzzing) the pitches as in the order above, one plays through
the music in the order of its melody. The melody (with a tonic drone in the background) can be
played slowly to determine pitch tendencies, but also at the marked tempo for performance
consistency.

Certain types of music may be difficult to assign a drone because of frequent modulation and/or
the absence of a tonal center. In these cases, one will want to pay close attention to tuning each
note with its preceding note, as to play in tune with ones self.

10
2014 by Brian A. Shook www.brianshook.com
 SOLFGE AND BUZZING

Solfge
To aid in the practice of singing intervals, scales, and melodies, one will find that assigning
syllables to each note while singing the pitch will result in better accuracy and development of
the ear. There are two types of solfge:
1. Fixed do each note-name corresponds to the same syllable
2. Movable do each scale degree has a separate syllable

The following syllables are to be used according to the fixed do tradition:

Note Syllable Pronunciation

C/C Do doe
D/D Re ray
E/E Mi me
F Fa fa

G /G Sol so
A/A La la
B/B Si see

Fixed Do vs. Movable Do

Music educators continue to debate which method is most effective. Both methods have intrinsic
qualities that help the student in various ways. For example, movable do develops short-term
relative pitch skills that focus on the tonic note and modulation, whereas fixed do develops long-
term relative pitch skills that are useful in tonal and atonal music. Both methods have redeeming
qualities and it is important to use some form of consistent vocalization while singing to develop
the ear and reproduction of pitch without the aid of an instrument.

Mouthpiece Buzzing
In addition to being a warm-up tool, mouthpiece buzzing is an effective method to use in
conjunction with solfge and drones. Oftentimes wind players rely on the instrument itself to do
more of the work than they should. The buzzing of the lips is what creates the tone and pitch; the
mouthpiece and trumpet only amplify the sound. Using the correct finger combination does not
always mean that the right note (or a good tone) will result. An efficient and vibrant buzz will
result in the best tone and intonation possible. When using just the mouthpiece, be sure to rest
frequently. Free buzzing (buzzing without a mouthpiece) can also be beneficial, but only in small
doses.

The following methods of mouthpiece buzzing are recommended:

1. The Buzzing Book by James Thompson (Editions Bim)
2. Warm-Ups and Studies by James Stamp (Editions Bim)
3. Supplemental Studies (w/ CD) by Stamp/Stevens (Editions Bim)

*The next three pages include a series of progressively difficult intervals loosely based on scales
that will help develop the ear. Both singing (solfge) and buzzing is recommended, but always
practice them with a drone or the piano.

11
2014 by Brian A. Shook www.brianshook.com
 Solfge and Buzzing
Contd

Solfege Patterns
(by John Schlabach)
Sing or buzz in all 12 keys, always with a drone or piano

&

&

&

&

&

&

&

&

&

&

&

&

12
2014 by Brian A. Shook www.brianshook.com
 Solfge and Buzzing
Contd

&

&

&


&


&

&

&

&

&
#

&

&

&


&

&
13
2014 by Brian A. Shook www.brianshook.com
 Solfge and Buzzing
Contd

&

&

&

&

&

&

&

&

&

&

&

&

&

&


14
2014 by Brian A. Shook www.brianshook.com
 SCALES

Introduction
Scales are the most fundamental element in music composition. A thorough knowledge of scales
will assist both the composer and performer in being the most complete musician. It is
impossible for a doctor to successfully treat patients Biology 101 The Cell was ignored. For the
same reason, musicians must train themselves to be well versed in scales of all types. Once these
scales have been mastered, sight-reading music becomes much easier as one notices the patterns
of scales found within any given composition.
The Scales
To avoid a long explanation of scales, they will not be discussed here in great detail. Instead,
they will be described and illustrated in the simplest terms to aid in the quickest memorization of
each pattern as it is applied to all twelve chromatic tones. Basic knowledge acquired from first-
year theory is all that is needed to understand the following information.
Major (Ionian) eight-note series in the following successions of steps: W-W-H-W-W-W-H
Natural Minor (Aeolian) major scale with 3, 6, and 7
Harmonic Minor natural minor with 7
Melodic Minor ascending: natural minor with 6 and 7; descending: natural minor
Dorian natural minor with 6
Lydian major with a 4
Mixolydian major with 7
Phyrgian natural minor with 2
Locrian natural minor with 2 and 5
Whole Tone the interval between each note is always a whole step
Diminished (half step) alternating half steps and whole steps (H-W-H-W-H-W-H-W)
Diminished (whole step) alternating whole steps and half steps (W-H-W-H-W-H-W-H)
*Another way to perceive the minor modes is to relate them back to the major scale. For
instance, if one is asked to play F Dorian, simply start on F but impose the key signature from
the major key that is one whole step below F (which would be E). The F Dorian scale would
then be: F, G, A, B, C, D, E, F. This way, the only pattern that needs to be remembered is the
key signature of all 12 major scales.
Dorian impose the key signature from a major 2nd below the root
Phrygian impose the key signature from a major 3rd below the root
Lydian impose the key signature from a perfect 4th below the root
Mixolydian impose the key signature from a perfect 4th above the root
Aeolian impose the key signature from a minor 3rd above the root
Locrian impose the key signature from a half step above the root
The second half of Clarkes Fifth Study (Technical Studies) assists in practicing minor modes

15
2014 by Brian A. Shook www.brianshook.com
 Scales
Contd

Scales

&w w w w w w w w w w
w w w w w
Major

& w w bw bw w Aw Aw w w Aw
w w bw w w
Natural Minor
(Aeolian)

& w bw Nw w Nw Aw w
Harmonic
Minor
w w bw w w Aw w w

& w w w w Aw Aw w
Melodic
Minor
w w Aw w w Aw w w

& w w bw w Aw w w
Dorian
w w bw w w Aw w w

&w w w w w w w w aw
w w #w w w w
Lydian

&w w w w bw w Aw w w w
w w w w w
Mixolydian

& w bw bw w w bw bw w Aw Aw w w Aw Aw w
Phrygian

w Aw Aw Aw
Locrian
&
w bw bw w bw bw bw w Aw Aw w

& #w #w w aw aw
Whole Tone
w w w #w aw w w w

& b w b w b w n w w bw w Aw w Nw bw Aw Aw
w bw Aw w
Diminished
(H-W-H-W...)

Diminished
(W-H-W-H...) & w w bw w bw bw nw w w w Nw Aw Aw w Aw w w

16
2014 by Brian A. Shook www.brianshook.com
 Scales
Contd

Trumpet Scale Routine

q

&c


C major

&

A natural
minor

# #
& # #

A harmonic
minor

# # N N
& # # N N


A melodic
minor

F major
&b

&b

D natural
minor

&b # a

D harmonic
minor

&b # n b
D melodic
minor n

& bb

B b major

&b
b



G natural
minor

&b
b
# #
# #

G harmonic
minor

17
2014 by Brian A. Shook www.brianshook.com
 Scales
Contd

b n # N A
&b n # N A

G melodic
minor

b
E b major
&bb

b
C natural
minor &bb

b n n
&bb n n

C harmonic
minor

b n n A A
C melodic
minor &bb
n n A A

b
& b bb

A b major

b
F natural
minor
& b bb

b n N
F harmonic
minor & b bb

bb n n b b
F melodic
minor &bb

b
D b major & b bbb


b
& b bbb

B b natural
minor

bb b b n n
B b harmonic
& b n n

minor

18
2014 by Brian A. Shook www.brianshook.com
 Scales
Contd

bb n n A A

&bbb n n A A

B b melodic
minor

b
& b bbbb

G b major

b
E b natural
minor
& b bbbb

bb n N
E b harmonic
minor & b b bb

bb n b b
E b melodic
minor & b b bb n
####
& #

B major

# ##
G # natural
& # #
minor

####
& #

G # harmonic
minor

## # a N
G # melodic & # ## # a N


minor

##
E major
& ##


####

&
C # natural
minor
# ##
C # harmonic
minor & #
# a

19
2014 by Brian A. Shook www.brianshook.com
 Scales
Contd

# ##
C # melodic
& #
# # n n

minor

##
& #


A major

##
F # natural
& #

minor

### # #
F# harmonic
& # #

minor

## # # N N
& # # # N N

F# melodic

minor

#
& #

D major

##
&

B natural
minor

## # #
& # #

B harmonic
minor

## # # N N
& # # N N

B melodic
minor

&
#



G major

#
E natural
minor &
# # a
E harmonic
minor &

# # n n
E melodic
minor & #

20
2014 by Brian A. Shook www.brianshook.com
 TRANSPOSITION

Introduction
In addition to drones, one of the best exercises to develop ear training is the art of transposition.
The purpose of transposition is to address the students overall musicianship by developing the
mind and ear. A note is usually cracked when the note is not heard prior to it being sounded. If
the player attempts to play a G-sharp, sometimes an F-sharp or an A-sharp might come out
instead. Consistent practice of transposition will greatly reduce the chances of cracking or
splitting notes because it trains their ears to be more active in the process of reading and hearing
music.

The Art of Transposition

Two main types of transposition are in common practice today: interval and clef. The former is
more widely used, while the latter is also very effective. The key to learning transposition is to
practice one of these methods consistently until transposing becomes second nature.

1. Interval Transposition this is accomplished by simply looking at the music and

transposing each note up or down by the appropriate interval while changing the key
signature. For example, if the music is written for B trumpet and a C trumpet is being
used, one would then transpose all of the notes down a major second and add two flats to
the key signature (note: if the key signature has any sharps, the flats cancel them out, and
vice versa).
a. Up a m2 add 7 s g. Up a P5/down P4 add 1
b. Up a M2 add 2 s h. Down a m2 add 5 s
c. Up a m3 add 3 s i. Down a M2 add 2 s
d. Up a M3 add 4 s j. Down a m3 add 3 s
e. Up a P4 or down P5 add 1 k. Down a M3 add 4 s
f. Up/down a TT add 6 s

2. Clef Transposition with this method, the note stays in the same place, but the clef
changes. This is accomplished by changing both the clef and the key signature (see
above) so that the resulting pitches are correct.
a. Up a M/m2 alto clef
b. Up a M/m3 bass clef
c. Up a P4 or down a P5 mezzo-soprano clef
d. Up a P5 or down a P4 baritone clef
e. Down a M/m2 tenor clef
f. Down a M/m3 soprano clef

3. Using Both Methods some musicians find it easier to pick and choose which method to
use depending on the transposition required. For example, transposing up a M2 with the
interval method might be easier than learning alto clef, while transposing up a M3 might
be easier to read as bass clef.

Attaining fluency in transposition allows the performer to choose different pitched trumpets to
facilitate agility. The chart on the next page will help determine which trumpet is best to use in
any circumstance as it relates to the key.
!

21
2014 by Brian A. Shook www.brianshook.com
 TRANSPOSITION CHART
by Dr. Brian A. Shook

Written for ______ Trumpet (ex. "Trumpet in D")

C C#/D D D#/E E F F#/G G G#/A A A#/B B
Trumpet C C C#/D D D#/E E F F#/G G G#/A A A#/B B
Pitched in C/D B C C#/D D D#/E E F F#/G G G#/A A A#/B
____
D A#/B B C C#/D D D#/E E F F#/G G G#/A A
D/E A A#/B B C C#/D D D#/E E F F#/G G G#/A
E G#/A A A#/B B C C#/D D D#/E E F F#/G G
F G G#/A A A#/B B C C#/D D D#/E E F F#/G
F/G F#/G G G#/A A A#/B B C C#/D D D#/E E F
G F F#/G G G#/A A A#/B B C C#/D D D#/E E
G#/A E F F#/G G G#/A A A#/B B C C#/D D D#/E
A D#/E E F F#/G G G#/A A A#/B B C C#/D D
A#/B D D#/E E F F#/G G G#/A A A#/B B C C#/D
C#/D D#/E F#/G G#/A A#/B

22
B D E F G A B C

\_____________________The Key Superimposed Over the Written Key Signature_____________________/

Instructions:
1. The left column has all 12 keys listed. These represent the trumpet you are holding in your hand.

2. The top row also has all 12 keys listed. These represent the trumpet for which the part was written (e.g. Trumpet in F; Trumpet in E; etc.).

2014 by Brian A. Shook www.brianshook.com

3. When you are handed a piece of music, look at the key in which your trumpet is pitched, then for which trumpet it is written, and then follow the
two columns until they meet. That letter represents what key is superimposed over the written key signature.

4. For Example: You have a D trumpet in your hand, the part says Trumpet in F, and the key signature has 4 sharps. You find the D on the left
column, then find the F on the top row. Follow the D from left-to-right, and the F from top-to-bottom and they both meet at D#/E (3 flats)
which is the key you superimpose over the 4 sharps. The resulting key in which you play is one sharp: G Major.

5. Determine the interval between the key your trumpet is pitched in (D) and the trumpet for which the part was written (F).
Answer: minor third.
If the trumpet you are holding is pitched lower than the music, you will need to transpose up a minor third

6. You are now holding a D Trumpet, reading Trumpet in F, written with 4 sharps (E Major), and playing in the transposed key of G Major (while
reading up a minor third from the written pitch).
Contd
Transposition
 RECOMMENDED LITERATURE
FOR COLLEGIATE STUDY

TITLE AUTHOR PUBLISHER

Method Books
Arban, J.B. Complete Conservatory Method Carl Fischer
(Goldman/Smith)
Hickman, David Trumpet Lessons w/ David Hickman Tromba
Saint-Jacome, Louis Grand Method Carl Fischer

Routines/Fundamentals
Cichowicz, Vincent Long Tone Studies Studio 259 Productions
Davis, Michael 10-Minute Warm-Up Routine Hip-Bone Music
Davis, Michael 15-Minute Warm-Up Routine Hip-Bone Music
Davis, Michael 20-Minute Warm-Up Routine Hip-Bone Music
Mase, Raymond (compiled) How to Practice Unpublished
Gordon, Claude A Systematic Approach to Daily Carl Fischer
Practice
Pilafian/Sheridan The Brass Gym Focus on Excellence
Sachs, Michael Daily Fundamentals for the Trumpet International
Stamp, James Warm-ups and Studies Editions Bim
Thompson, James The Buzzing Book Editions Bim
Vacchiano, William Trumpet Routines Charles Colin

Technical Studies
Clarke, Herbert L. Technical Studies Carl Fischer
Hickman, David 15 Advanced Embouchure Studies Hickman Music Editions
Goldman, Edwin F. Practical Studies Carl Fischer
Vizzutti, Allen Trumpet Method, Bk. 1 Technical Alfred Publ.
Studies

Articulation Studies
Gekker, Chris Articulation Studies Charles Colin
Ponzo, Mark Low Tone Exercise Patterns and M/K Music
Etudes
Shuebruk, Richard Complete Shuebruk Tongue Trainers Carl Fischer
Vacchiano, William The Art of Double Tonguing Edition Peters
Vacchiano, William The Art of Triple Tonguing Edition Peters

Lip Flexibilities
Colin, Charles Advanced Lip Flexibilities (vols. 13) Charles Colin
Frink/McNeil Flexus Gazong Press
Irons, Earl 27 Groups of Exercises Southern Music Co.
Lin, Bai Lip Flexibilities Balquhidder Music
Schlossberg, Max Daily Drills and Technical Studies M. Baron Co.
Shuebruk, Richard Complete Shuebruk Lip Trainers Carl Fischer
Smith, Walter M. Lip Flexibility on the Trumpet Carl Fischer

23
2014 by Brian A. Shook www.brianshook.com
 Recommended Literature
Contd

Etude Books
Balasanyan, Suren 20 Studies International
Balasanyan, Suren 25 Melodic Studies qPress
Bohme, Oscar 24 Melodic Studies Ward Music Ltd.
Brandt, Vassily Etudes for Trumpet (Orchestra and Universal Music
(ed. Vacchiano) Last Etudes)
Charlier, Theo 36 Etudes Trancendantes Alphonse Leduc
Gates, Everett Odd Meter Etudes Sam Fox Publ.
Hering, Sigmund 28 Melodious and Technical Etudes Carl Fischer
Hering, Sigmund 32 Etudes for Trumpet Carl Fischer
Longinotti, Paolo 12 Studies in the Classic and Modern International
Style
Small, J.L. 27 Melodious and Rhythmic Exercises Carl Fischer
Smith, Walter Top Tones for the Trumpeter Carl Fischer
Snedecor, Phil Low Etudes for Trumpet PAS Music
Snedecor, Phil Lyrical Etudes for Trumpet PAS Music
Vannetelbosch, L.J. Vingt Etudes Melodiques et Alphonse Leduc
Techniques
Various (ed. Voxman) Selected Studies Rubank
Various Advanced Concert Studies Curnow Music
Various Concert Studies Curnow Music
Wurm, Wilhelm 40 Studies International

Transposition
Bordogni, Marco 24 Vocalises Alphonse Leduc
Caffarelli, Reginaldo 100 Melodic Studies in Transposition Ricordi
Sachse, Ernest 100 Studies for Trumpet G. Schirmer
Sachse, E. (ed. Vacchiano) Moving Transposition Edition Peters

Excerpts Books
Dobrzelwski, J.C. Essential Orchestral Excerpts Hickman Music Editions
(vols. 116)
McGregor, Rob Roy Audition and Performance Balquhidder Music
Preparations for Trumpet (vols. 14)
Norris, Philip Top 50 Orchestral Excerpts for Crown Music Press
Trumpet
Pietzsch, Hermann The Trumpet University Music Press
Sachs, Michael The Orchestral Trumpet Balquhidder Press
Smith, Norman March Music Melodies Program Note Press
Strauss, R. (ed. Rossbach) Strauss Orchestral Studies International
Various Orchestral Studies for Trumpet International
(vols. 110)

Duet Books
Amsden, Arthur Celebrated Practice Duets C.L. Barnhouse
Forestier, Joseph 12 Duets in Transposition PWM
Gekker, Chris 44 Duos for Trumpet Transition Publ.
Nelhybel, Vaclav Duets for Trumpet J. Christopher Music
24
2014 by Brian A. Shook www.brianshook.com
 Recommended Literature
Contd

Plog, Anthony 10 Concert Duets WIM

Sachse, Ernest 6 Duets International
Various (ed. Voxman) Selected Duets for Trumpet (vol. 12) Rubank

Sonatas
Anthiel, G. Sonata for Trumpet Weintraub Music
Ewazen, E. Sonata for Trumpet Southern Music Co.
Hansen, T. Sonata for Cornet/Trumpet Hickman Music Editions
Hindemith, P. Sonate Schott
Kennan, K. Sonata for Trumpet Warner Brothers Publ.
Martinu, B. Sonatine for Trumpet Boosey & Hawkes
Peeters, F. Sonata for Trumpet Edition Peters
Stevens, H. Sonata for Trumpet Edition Peters
Torelli, G. Sonata G 1 Musica Rara

Concertos/Concertinos
Ewazen, E. Concerto for Trumpet Southern Music Co.
Faillenot, M. Concertino Robert Martin
Fasch, F. Concerto in D Major Hickman Music Editions
Haydn, F.J. Concerto in E-flat Hickman Music Editions
Hummel, J.N. Concerto in E Major Hickman Music Editions
Marcello, A. (ed. Jevtic) Concerto in B-flat Billaudot
Neruda, J.B.G. Concerto in E-flat Hickman Music Editions
Pakhmutova, A. Concerto for Trumpet Hal Leonard
Sachse, E. Concerto in E-flat Hickman Music Editions
Senee, H. Concertino Hickman Music Editions

Other Solos
Arutunian, A. Aria et Scherzo Alphonse Leduc
Balay, G. Prelude et Ballade Hickman Music Editions
Balay, G. Petite Piece Concertante Hickman Music Editions
Bennett, R.R. Rose Variations T. Presser
Bitsch, M. Quatre Variations un Theme de Alphonse Leduc
Domenico Scarlatti
Bloch, E. Proclamation Broude Brothers
Broughton, B. Folksong Black Squirrel Music
Broughton, B. Olivers Birthday Black Squirrel Music
Chance, J.B. Credo Boosey & Hawkes
Enesco, R. Legend Hickman Music Editions
Gaubert, P. Cantabile et Scherzetto Hickman Music Editions
Goedicke, A. Concert Etude Hickman Music Editions
Hohne, C. Slavische Fantasie Hickman Music Editions
Honegger, A. Intrada Salabert
Hue, G. Solo de Concert Southern Music Co.
Peaslee, R. Nightsongs Margun Music
Ropartz, J. Andante et Allegro Hickman Music Editions
Thome, F. Fantasie Hickman Music Editions
Turrin, J. Two Portraits Turrin Music
25
2014 by Brian A. Shook www.brianshook.com
 Recommended Literature
Contd

Turrin, J. Intrada Editions Bim

Turrin, J. Caprice Brass Music Ltd.

Books
Bate, P. The Trumpet and Trombone WW Norton
Cassone, G. The Trumpet Book Zecchini Editore
Dudgeon, R The Keyed Bugle, 2nd Edition Scarecrow Press
Farkas, P. The Art of Brass Playing Wind Music
Frederiksen, B. Arnold Jacobs: Song and Wind Windsong Press
Galway, T. The Inner Game of Tennis Random House
Haynie, J. and A. Hardin Inside John Haynies Studio UNT Press
Hickman, D. Trumpet Pedagogy Hickman Music Editions
Johnson, K. Brass Performance and Pedagogy Prentice Hall
Pilafian/Sheridan The Breathing Gym Focus on Excellence
Sanborn, C. Music Business Tactics Chase Sanborn
Sanborn, C. Brass Tactics Chase Sanborn
Shook, B. Last Stop, Carnegie Hall: New York UNT Press
Philharmonic Trumpeter William
Vacchiano
Smithers, D. The Music and History of the Baroque Syracuse Univ. Press
Trumpet before 1721
Tarr, E. The Trumpet Hickman Music Editions
Thurmond, J.M. Note Grouping JMT Publications

26
2014 by Brian A. Shook www.brianshook.com
 Weekly Planner Name__________________________
Semester ________________

Monday Tuesday Wednesday Thursday Friday Saturday Sunday

7:00

8:00

9:00

10:00

11:00

12:00

1:00

2:00

27
3:00

4:00

5:00

2014 by Brian A. Shook www.brianshook.com

6:00

7:00

8:00

9:00

*Include classes, meals, practicing, rehearsals, studying, exercise, everything

**MUST include two non-consecutive hours of practice (minumum) each day
 NAME_____________________________

APPLIED LESSON NOTES

to be photocopied and filled out by the student during every lesson

Date:
Scales

Practice Tips

Assignments
for Next Lesson

Grade:

Date:
Scales

Practice Tips

Assignments
for Next Lesson

Grade:

28
2014 by Brian A. Shook www.brianshook.com
 Student Practice Journal
To be filled out every practice session
Must be submitted at every lesson in Trumpet Notebook
Date Start End Exercise/Etude/Solo Goal(s) Practice Techique(s) Used Accomplishments/
Time Time (include m. #s) Results/Positive Comments

29
2014 by Brian A. Shook www.brianshook.com
 THE DAILY WARM UP
Compiled and Edited by Dr. Brian A. Shook
*Entire routine is to be memorized.
*Use a metronome for all exercises.
(Further Study resources are on the third page)

1. Breathing Gym Stretches

- focus on relaxing the upper body and neck
- take plenty of deep breaths to assist stretches
Further Study: Pilafian/Sheridan

2. Buzzing (on mouthpiece or just the lips)

- buzz half scales or other easy patterns in a comfortable range
- use a piano or another musical instrument to match/check pitches
- maintain steady, smooth airflow
- keep the dynamic soft and sustained
Further Study: Thompson, Stamp

3. Ear Training
- sing and buzz one of the Solfge Patterns each day (forward and backward)
- use a piano or another musical instrument to match/check pitches
- eventually, be able to sing and buzz with only the beginning pitch reference

4. Breathing Gym Flow Study

- 6-7-8-9-10; Shorten the Inhalation/Exhalation; etc.

5. Long Tones
- do a couple measures on air before playing
- focus on a full, centered, and steady tone
- keep intensity in sound until the release
- no vibrato
Further Study: Schlossberg
- long tones with drone for tuning intervals
- vary the dynamics

6. More Breathing Gym Stretches

7. Cichowicz Long Tone Study

- do one or two phrases on air first
- strive for smooth transition between notes
- vary dynamics for each phrase (f, p, p < f, p > f, etc.)
Further Study: Stamp, Cichowicz, Schlossberg
- long tones with drone for tuning intervals

8. Breathing Gym Flow Study

2010 by Brian A. Shook www.brianshook.com

 DAILY WARM UP

9. Finger Dexterity
- confident fingers and smooth air are the goal (bang the valves down)
- maintain mp dynamic in all registers
- tempo can be increased, but this is not a velocity study
- play only as high as comfortable, range will come with time
- do indented lines on one day and regular lines on the next
- alternate between slur and legato tongue (no other articulations)
Further Study: Clarke, Vizzutti
- vary dynamic range, but nothing louder than f
- change slur groupings (groups of 2, groups of 3, slur 2 tongue 4, etc.)
- gradually increase tempo
- invert patterns

10. Breathing Gym Therapy

- Inhale Therapy, Exhale Therapy, Oral Shape Therapy

11. Lip Bends

- every note is to be played at a controlled f dynamic
- x notes are to be fingered the same as the preceding note and bent down
with the lips
- bent note is to sound as focused as regular notes
- little or no visible embouchure movement should occur
Further Study: Hickman
- when half step lip bends are mastered, bend by a whole step
- long tones with drone for tuning

12. Breathing Gym - Strength and Flexibility

- Power Breaths; In-Sip-Sip-Out-Push-Push

13. James Stamp (Modified)

- do one pattern on air first
- breathe only where indicated
- all notes below F-sharp are to be fingered the same as one octave higher
- maintain a consistent embouchure with only minimal movement
- big, full tone in all registers
- keep the jaw and oral cavity relaxed and open
Further Study: Stamp, Hickman
- use a drone for tuning intervals

14. Breathing Gym - Breathing for the Brain

- Follow Your Breath; 1:1:1; 1:2:1; 1:4:1

2010 by Brian A. Shook www.brianshook.com

 DAILY WARM UP

15. Lip Slurs

- do 1 or 2 patterns on air first
- smooth, even transition between notes is the goal
- speed does not matter, play at an easy tempo
- Further Study: Irons, Colin, Bai Lin, Schlossberg

16. Articulation
- do each articulation exercise on air first
- choose only 2 or 3 articulations per day (alternate days)
- be creative and play new patterns/scales each day
- your only limitation is the extent of your creativity
Further Study: Gekker

Resources for Further Study:

Clarke, Herbert L. Technical Studies for the Cornet (Carl Fischer)
Cichowicz, Vincent Long Tone Studies (Balquhidder Music)
Davis, Michael 15-Minute Warm Up; 20-Minute Warm Up (Hip-Bone Muisc)
Gekker, Chris Articulation Studies (Charles Colin)
Hickman, David 15 Advanced Embouchure Studies (Hickman Music Editions)
Irons, Earl D. Twenty-Seven Groups of Exercises for the Cornet and Trumpet
(Southern Music Company)
Lin, Bai Lip Flexibilities (Balquhidder Music)
Pilafian/Sheridan The Breathing Gym (Focus on Music)
Sachs, Michael Daily Fundamentals for the Trumpet (International)
Schlossberg, Max Daily Drills and Technical Studies for Trumpet
Stamp, James Warm-Ups and Studies (Editions BIM)
Thompson, James The Buzzing Book (Editions BIM)
Vizzutti, Allen Book 1, Technical Studies (Alfred Publishing)

2010 by Brian A. Shook www.brianshook.com

 Daily Warm Up
Compiled and Edited by Dr. Brian A. Shook

*Use a metronome for all exercises (where no tempo is indicated, choose a tempo that is comfortable).
*Resist the urge to practice during the warm up--if you make a mistake, move on. If you make consistent mistakes,
choose easier material or slow the tempo down.
*Entire routine is to be memorized

1. Breathing Gym Stretches

- focus on relaxing upper body and neck
- breathe deeply during streches

2. Buzzing (on mouthpiece or just lips)

- buzz half scales or other easy patterns in a comfortable range
- use a piano or another musical instrument to match/check pitches
- maintain steady, smooth airflow
- keep the dynamic soft and sustained

& 44 w !
# # w
!
P P etc.

3. Ear Training
- sing and buzz one of the Solfge Patterns in the Compendium each day (forward and backward)
- use a piano or another musical instrument to match/check pitches
- eventually, be able to sing and buzz with only the beginning pitch reference

4. Breathing Gym Flow Study

- 6-7-8-9-10; Shorten Inhalation/Exhalation; etc.

5. Long Tones
- do a couple measures on air before playing
- focus on a full, centered, and steady tone
- keep intensity in sound until the release
- no vibrato

4
q = 70
U horn off U U U
& 4 - - w ! # - - w ! ! !
- - w - - w
F1 8 counts

U U U - - U
& b ! ! ! w !
- - w - - w b - - w
- - U
w !
U
b - - w !
U
w !
U
b - - w !
& - -
2010 by Brian A. Shook www.brianshook.com
 U U U U
2 Daily Warm Up

& ! ! ! !
- - w - - w b - - w w
- -
U U U
& ! !
b - - w - - w b - - w
6. Additional Breathing Gym Stretches

7. Cichowicz Long Tone Study

- do one or two phrases on air first
- smooth transition between notes
- vary dynamics for each phrase (f, p, p < f, f > p, etc.)

& 44
q = 80
w ! # # # !
w
F p
& b b b bw ! # # !
w
f "
& b b b b bw
! # !
w
f f p p
& # # # # # # ! !
etc.
w bw

& # ! !
# # w b b b bw

& # !
w b b b b b bw

2010 by Brian A. Shook www.brianshook.com

 Daily Warm Up 3

8. Breathing Gym Flow Study

9. Finger Dexterity
- confident fingers and smooth air are the goal (bang the valves down)
- maintain mp dynamic in all registers
- tempo can be increased, but this is not a velocity study
- play only as high as comfortable, range will come with time
- do indented lines on one day and regular lines on the next
- alternate between slur and legato tongue
U
& 43 .. ..
q = 120+
!
b b b b
# # # # # # #.
P
6 counts

.. U
6 counts

& .. !
# # b b b # # b b b .
P
U
& . . .
. !
# # # b b # # # b b #.
P
U
.
& . .
. !
# # b b b # # b b b .
P
U
& . . .
. !
# b b # b b
# # # # # #.
P
U
.
& . # # b b # # b b . . !
.
P
U
& . . b b b b b b . . . !
# # # #
P
U
.
& . # # # b b # # # b b . #. . !
P
2010 by Brian A. Shook www.brianshook.com
4 Daily Warm Up

U
.
& . # # b b b # # b b b . . . !
P
U
.
& . # # # b b # # # b b . #. . !
P
U
.
& . # # b b b # # b .
b b . . !
P
U
. .
& . # # # b b b # # # b b b . . !
P
U
.
& . # # # b b # # # b b . #. . !
P
U
b b b b b b .. .
& .. # # # # !
P
U
& .. # # # b b # # # b b .. # . !
P
U
b b b # # b b b ..
& .. # # . !
P U
# b b # # # b b .. # .
& .. # # !
P
.
. # # b b # # b b .. U. !
&
P
. # # b b b # # b b b . U. !
& . .
P
. # # # b b # # # b b . #U . !
& . .
P 2010 by Brian A. Shook www.brianshook.com
 Daily Warm Up 5

. # # b b b # # b b b . U. !
& . .
P
. # # # b b # # # b b . #U . !
& . .
P
# # b b b # # b b b U.
& .. .. !
P
# # # b b b # # # b b b #U .
& .. .. !
P
# # # b b # # # b b #U .
& .. .. !
P
10. Breathing Gym Therapy
- Inhale Therapy; Exhale Therapy; Oral Shape Therapy

11. Lip Bends

- every note is to be played at a controlled f dynamic
- x notes are to be fingered the same as the preceding note and bent down with the lips
- bent note is to sound as focused as regular notes
- little or no visible embouchure movement should occur

& 44 #
q = 90

# ! b b b b !
f 0
horn off
f 2

& ! # # !
f 1 f 12

& b b b b !
#

#
!
f 23 f 13

& b ! !
b b b
f 123
f 0

2010 by Brian A. Shook www.brianshook.com

6 Daily Warm Up

& # # ! b b b b !
f f
2 1

& # # ! b b b b !
f 12 f 23

& ! !
# #
f f
! !
0 2

&
b b b b # #
f f
! !
1

&
12

b b b b # #
f f

23

&
13

b b b b
f 1 123

12. Breathing Gym - Strength and Flexibility

- Power Breaths; In-Sip-Sip-Out-Push-Push

13. James Stamp (Modified)

- do one pattern on air first
- breathe only where indicated
- maintain a consistent embouchure with only minimal movement
- big, full tone in all registers
- keep the jaw and oral cavity relaxed and open

,
- strive for the bottom half note, but do not force--it will come with time

q = 80
w
& !
F
#### , w
4-8 counts

& # !

F
, w
bb !
&
F
2010 by Brian A. Shook www.brianshook.com
 ### ,
Daily Warm Up 7

& w !

F
b ,
& b bb w !

F
, ,
#
w !
&
F
#### # , ,
& # w !

F
, ,
&b w !

F

#### , ,
1

w !
&

F
, ,
12

bb
& b w !

F
, ,
1

##
23

& w !

F
,
12

,
13

& bbbb b w !

F
, ,
1 23 123 1

& w !

F
1 12 13 12
0
2010 by Brian A. Shook www.brianshook.com
8 Daily Warm Up

14. Breathing Gym - Breathing for the Brain

- Follow Your Breath; 1:1:1; 1:2:1; 1:4:1

15. Lip Slurs

- do 1 or 2 patterns on air first
- smooth, even transition between notes
- speed does not matter, play at an easy tempo
q = 60+-

2
a. & 4 !
# # # # !
0 2

& b b !

!
b
1 12

& b b b b b b ! !
b
23 13

& b b b b b b !
123
b

#### # 2 . ! # .. ..
q = 60+-

b. & # 4 . ..
!

123 13

b ### .
& b b b .. .. ! . .. !

23 12

b b .. .. ! #### . . !
& # . .

1 2

. . !
& . .

0

2010 by Brian A. Shook www.brianshook.com

 Daily Warm Up 9

16. Articulation
- do each articulation pattern on air first
- choose only 2 or 3 articulations per day (alternate days)
- be creative and play new patterns/scales each day
- your only limitation is the extent of your creativity

2 - - - - - - - -

a. & 4
- - - - - - - - - - - - - - - - - - - - - - - -
P
- - - -
!
& - - - - - - - - - - - - - - - -
- - - - - - - - -
>
> > > > > > > > >
b. & b !
f > > > > >

#
c. &
- . . - . . - . . - . . - . . - . . - . . - . .
p
#
& - . . - . . - . . - . .
- . . - . . - . . - . .

# -
& - . . . . . . - . . - . . !
- -

2010 by Brian A. Shook www.brianshook.com