Part 7. Scales (All Keys)A. Major Scale (Two octave)
B. Minor Scale (Two octave)
C. Harmonic Minor (Two octave)
D. Melodic Minor (Two octave)
E. Brief Major exercise and one octave review
Part 8. Range Study
Part 9. Flow Studies
Part 10. Addendum
A. ALL articles from TrumpetStudio.com
B. Fingering Chart
The Ultimate Warm Up
How To Use This Warm Up Book
The entire book should be played at each practice session. If time does not permit playing the entire book, then play as much of each section as time permits. Do not skip any sections. You must do the exercises in order from beginning to end. (If the Ultimate Warm Up contains exercises to high for you, skip that section until your able and go to the next exercise.)
Part 1. Getting Your Air Moving
Set your metronome to 60 bpm for these warm-ups. Air is the secret to great tonguing, range and tone production. It is THE most important aspect of playing any wind instrument. Think of your air as a continual stream of water flowing through your kitchen faucet. Always constant never stopping!
Air Tips!
-Low notes require a greater volume of air to produce a great tone. Imagine making an ‘ah’ sound in your mouth and directing the air into a large tube. Always constant never stopping.
-High notes require fast air. Imagine saying an ‘e’ sound in your mouth and directing the air super fast into a small straw! Always constant never stopping.
Part 2. Lip Buzzing
Set your metronome to 60 bpm for these warm-ups. For these exercises try to get a nice full, rich sound that is full of tone. What is done here is amplified by the mouthpiece and horn. Do not spend more than 5 minutes on this section. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 3. Mouthpiece Work
Set your metronome to 60 bpm for these warm-ups. Hold the mouthpiece with the thumb and forefinger at the end of the mouthpiece. This is to keep you from putting pressure on your embouchure. The key is to keep the air constantly flowing. Go for a great sound! Listen to yourself, tape record your playing. Go for a warm, rich sound with a lot of tone. What you produce now is simply amplified by your instrument. If your sound is thin, this is the place to devote more work and energy. Play the exercises in a relaxed fashion, not loud or soft, but with a nice full tone slowly moving higher and lower as directed.
Part 4. Long Tones
Set your metronome to 60 bpm for these warm-ups. Again, the key is to keep the air constant, always flowing. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing? You can make beautiful music by simply playing long tones, it is possible!
Part 5. Tonguing
Set your metronome to 80 bpm for these warm-ups. The key is to keep the air constantly flowing. Think of the kitchen faucet analogy again, while the faucet is constantly flowing, imagine flicking a butter knife quickly through the stream of water. The butter knife quickly separates the water and the stream of water continues never stopping. The air flows on, but is lightly separated by the tongue. When playing these warm-ups use different syllables for tonguing. Use as directed: da, dee, do, ta, tee, to. Go for the most beautiful sound that you can create. Listen to your sound, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 6. Flexibility
Set your metronome between 60 and 80 bpm for these warm-ups. Another key to playing the trumpet is flexibility. The ability to move from 2nd valve F# to 2nd valve B quickly and smoothly is essential. Along with other valve combinations, these simply have to be mastered. The key for successful lip slurs is to keep the air constantly flowing. When doing the extended slurs change the air flow! The low notes require a greater volume of air to produce a great tone. Imagine making an ‘ah’ sound in your mouth and directing the air into a large tube. Always constant never stopping. The high notes require fast air. Imagine saying an ‘e’ sound in your mouth and directing the air super fast into a small straw! Always constant never stopping. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 7. Scales (All Keys) Download Chapter 7 for FREE!
Set your metronome between 60 and 80 bpm for these scales. The key to this chapter is to be Very Fluid. Keep the air constantly flowing as you pass between the different octaves. The air flows on, but is lightly separated by the tongue. Try sluring each scale, and experiment with different tounguing syllables from the chapter on tonguing. Go for the most beautiful sound that you can create. Listen to your sound, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 8. Range Study
Set your metronome between 60 and 80 bpm for these warm-ups. I believe that the type of air needed to play lead is most closely related to a High Pressure Air Tank. You must tank up on the air and release the valve, releasing the Super Fast Air Stream. When playing lead one should ride this high pressure air stream and not force the lips. Let the High Pressure Air Tank and the subsequent Super Fast Air Stream do the work, NOT THE LIPS! Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
Part 9. Flow Studies
Set your metronome between 60 and 80 bpm for these warm-ups. These studies are meant to make your playing as musical as possible. Sing the music, yes sing it! Imagine the most beautiful voice singing the passage in your mind. Now go to the music and reproduce exactly what you hear in your mind. Exactly! Think of each line as a separate musical idea. The goal is to think across the bar line to the end of the musical phrase. This is why musicians play and practice! Why play the trumpet if you are not receiving a musical experience? Music is full of feelings and emotions, play all your music this way and you’ll never want to stop. Go for the most beautiful sound that you can create. Listen to yourself, tape record your playing. Is your sound full, rich, warm, musical, and pleasing?
New Music Added to Chapter 9:
Piano And Trumpet
1. Bridal Chorus from Lohengrin - Richard Wagner
2. Rondeau Theme from Masterpiece Theater - Jean Mouret
3. Wedding March - Felix Mendelssohn
4. Trumpet Voluntary - Henry Purcell
5. Trumpet Tune - Henry Purcell
Trumpet Part Only
1. Hunter’s Chorus (duet) - Weber
2. Hungarian Dance No. 5 - Brahms
3. Minuet - Luigi Boccherini
4. Sonata No. 8 in C minor - Beethoven
5. Bach Horn Duet - J.S. Bach
6. Introduction to Third Act form Lohengrin
7. Waltz in Ab - Johannes Brahms
More...
Part 10. Addendum
Complete article reproduction from TrumpetStudio.com Topics include: Skill Building - How To Play High Consistently - Mouthpiece Selection is Critical for Success - Double Tonguing and Single Tonguing - Lip Buzzing - Practicing For A Performance - Finding Time To Practice - Equipment - Synthetic Oil: Use With Caution - Braces - Endurance - Popular Method Books - Recommended Discography - Fingering Chart.
EQUIPMENT
There are many different horns out there, at many different price levels. I started in 1970’s on a Holton student model, then owned a Schilke B1 through high school and college and then switched to a Calicchio R32. I am currently in search of a new horn and want to try something different.
WARNING: Stay away from the cheap Chinese made horns - they make good lamps or can be sold for scrap metal - but that’s about it. If it’s not on this list DON’T WASTE your money.
Beginner Horns: $500 - $1000
A beginner horn is PERFECT for those starting out. You DO NOT need to spend a lot to get started. A beginner horn can last a good two to four years. THIS is where YOU START. (also see used horns at the bottom)
Conn - Example: Conn 23B "USA"
Getzen - Example: Getzen 390
Holton - Example: Holton T602
Blessing
Amati
Intermediate Horns: $900 - $1900
An intermediate horns can be a fine lifetime horn when maintenance issues are addressed.
Amati
Bach - Example: Bach TR200
Jupiter - Example: Jupiter 1200S
Getzen - Example: Getzen 590S Capri Intermediate
Benge/Conn
Leblanc
Holton
Blessing
Stomvi
Pro Level Horns: $2000 +
Bach - Example: Bach 180S37
Schilke - Example: Schilke B Series
Yamaha - Example: Yamaha YTR9445CHS Chicago Artist Orchestra
Monette
Calicchio - Example: Calicchio R32
Taylor - Example: Taylor Trumpet Chicago Standard
Wild Thing
Kanstul
Used Horns / EBAY:
They are some great deals to be found. Things to consider:
• How many sales does the seller have? (at least 50+)
• Is their feedback rating above 95%?
• What is their return policy?
• How many musical instruments have they sold?
• How is the finish? Are there dents? Other issues?
• Why are they selling?
Keep these questions in your mind as you search, and you can get a good deal on used horn.
Whatever you purchase, I recommend a chemical cleaning from The Brass Bow in Arlington Heights. IL. It is worth it for the cleaning and fixing of dents and/or problems with used horns.
Below is a review of the Calicchio R32:
Construction
The horn is very well constructed and will last over the long haul. The left thumb U hook and right third valve loop are slightly oversized in width and really make the horn comfortable to hold. Through trial and error, I have found that large bore horns are not for me. I like the resistance of the smaller bore horns and want the horn to help play in the upper register. The Calicchio R32 has the smaller specialized Studio 2 Lead pipe that makes playing in the upper register, very easy, with no strain. The five inch R3 bell produces great projection from minimal player effort. Through its construction and the increase of copper in the horn, it has a very consistent feel as one plays from the lower octave through the upper octaves, very smooth.
Valves
The R32 valves are FANTASTIC! They are extremely fast. Due to the flat oversized finger buttons, I can actually play faster. The valves slot well, yet also allow for flexibility in jazz situations.
Intonation
The horn slots well in a very smooth fashion. It allows for flexibility, but also locks in the pitch easily. The intonation is excellent and has not been an issue.
Tone Quality
Because of the higher copper content, this horn gravitates towards a beautiful warm rich tone.
The R32 projects well and is extremely smooth and pleasing to the ear. It is very versatile for many musical styles. The sound blends well with other instruments: piano, organ and brass players.
Conclusion:
The Calicchio R32 has all the features you have always wanted. It seems as though everyone’s wish list came together to make this one. It is a very flexible horn with a warm rich sound that you will enjoy playing for many years.
ENDURANCE
Many older players returning to the trumpet have ‘lost it’ from what they remember being able to play in their teens and 20’s.
A) What are your intentions?
1. Playing for fun (we’re done, keep practicing and have a good time!)
2. Playing for a goal or purpose in mind, continue reading...
B) What kind of goal?
1. Are you trying out for a dance band or group?
2. Do you want to play professionally?
3. Do you want to join an orchestra?
C) What time commitment is involved to achieve your goal?
GENERALLY SPEAKING, to have any level of skill when you go to the horn, you have to have a solid base of practicing for many months/years. If you are starting over again, GIVE YOURSELF TIME to get your chops back. IT WILL TAKE LONGER for your lips and body to adjust to the new demands. Let’s face the facts, it gets harder to play, the older we get. A general rule for practicing is this: decide upon your goal and determine what it will take to reach that level of playing. You must practice every day, or you will ‘loose it.’ As stated by many: “The first day you miss practicing - you know it. The second day - the band leader knows it. The third day, the audience knows it!”
My personal practice routine is the following:
A) One half to two thirds of my time is spent ’warming up’ (from my book)
B) The Clarke Technical Studies Many exercises from chapter 2, 3, 4, and 5 - Great chop and finger calisthenics, (I especially need these as I am left handed)
C) Standard trumpet repertoire: Etudes, Pieces and Songs
TRUMPET METHOD BOOKS
Below are a listing of popular method books:
Arban: Complete Conservatory Method, ed. Goldman and Smith (C. Fischer)
Arban: Methode complete, ed. Maire, 3 vols. (A. Leduc)
Clodomir: Methode complete, ed. Job (A. Leduc)
Saint-Jacome: Grand Method (C. Fischer)
Elementary Methods
Clarke: Elementary Studies (C. Fischer)
Gordon: Physical Approach to Elementary Brass Playing (C. Fischer)
Longinotti: l'Etude de la trompette (Editions Henn)
Ridgeon: Brass for Beginners (Boosey & Hawkes)
Robinson: Rubank Elementary Method (Rubank)
Wiggins: First Tunes & Studios (Oxford)
Studies
MEDIUM TO MEDIUM-DIFFICULT
Bordogni: 24 Vocalises, trans. Porret (transposition) (A. Leduc)
Bousquet: 36 Celebrated Studies, ed. Goldman (C. Fischer)
Brandt: 34 Studies and 24 Last Studies, ed. Vacchiano (Belwin-Mills)
Broiles: Have Trumpet . . . Will Transpose (transposition) (C. Colin)
Chavanne: 25 Characteristic Studies, ed. Voisin (International)
Clarke: Technical Studies (C. Fischer)
Clarke: Setting Up Drills (C. Fischer)
Colin: Advanced Lip Flexibilities (C. Colin)
Endresen: Supplementary Studies (Rubank)
Gallay: 22 Exercises, ed. Maire (A. Leduc)
Glantz: The Complete Harry Glantz (C. Colin)
Goldman: Practical Studies (C. Fischer)
Gower and Voxman (ed.): Rubank Advanced Method (Rubank)
Hering: 32 Etudes (C. Fischer)
Hovaldt: Lip Flexibility (R. King)
Kopprasch: 60 Studies, ed. Gumbert and Herbst, 2 vols. (C. Fischer)
Laurent: Etudes pratiques, 3 vols. (A. Leduc)
Maniscalco: Leonardo Maniscalco, trumpet player with the Rome Opera House orchestra, has published two books of trumpet etudes. La sonorità e la tecnica, vols 1 and 2. I really like these!!!
Pares: Scales (Rubank)
Salvation Army: 101 Technical Exercises (Salvation Army)
Schlossberg: Daily Drills and Technical Studies (M. Baron)
Skornicka: Rubank Intermediate Method (Rubank)
Smith: Lip Flexibility (C. Fischer)
Staigers: Flexibility Studies, 2 vols. (C. Fischer)
Stamp: Warm-ups plus Studies (Editions Bim)
Vacchiano: Trumpet Routines (C. Colin)
Zauder: Embouchure & Technique Studies (C. Colin)
DIFFICULT
Andre: 12 Etudes caprices dans le style baroque (piccolo trumpet) (Editions Billaudot)
Balasanyan: 20 Studies, ed. Foveau (International)
Balay: 15 Etudes (A. Leduc)
N. Bizet: 12 Grandes etudes de perfectionnement (A. Leduc)
Bodet: 16 Etudes de virtuosite d'apres J.S. Bach (A. Leduc)
Broiles: Trumpet Baroque, 2 vols. (piccolo trpt.) (Queen City)
Charlier: Etudes transcendantes (A. Leduc)
Clarke: Characteristic Studies (C. Fischer)
Duhem: 24 Etudes (C. Fischer)
Gallay: 12 Grand caprices, ed. Maire (A. Leduc)
Gallay: 39 Preludes, ed. Maire (A. Leduc)
Harris: Advanced Studies (C. Colin)
Hickman: The Piccolo Trumpet (Tromba Publications)
Longinotti: Studies in Classical and Modern Style (International)
Petit: 15 Etudes techniques et melodiques (A. Leduc
Petit: Grandes etudes (A. Leduc)
Sachse: 100 Etudes (transposition) (International)
Smith: Top Tones (C. Fischer)
Webster: Method for Piccolo Trumpet (Brass Press)
PLAYING IN THE UPPER REGISTER
There is a systematic approach to playing high notes on a consistent basis. The four most important aspects are: (1) High Pressure Air Tank (2) Tongue Position (3) Lip Position (4) Super Fast Air Stream
(1) First, you must have air the reserves ready to be called up at a moments notice. I believe that the type of air needed to play lead is most closely related to a High Pressure Air Tank. You must tank up on the air and release the valve, releasing the Super Fast Air Stream. When playing lead one should ride this high pressure air stream. Let the High Pressure Air Tank and the subsequent Super Fast Air Stream help do the work. It's not the QUANTITY of air, but the SPEED of the air stream. Playing high notes actually requires quite a small quantity of air.
(2) Next, Tongue Position should also be addressed. Saying ‘ah’ lowers the tongue and increase the ‘VOLUME’ of air. We don't want volume, but a Super Fast Air Stream. Saying ‘ee’ arches the tongue and 'INCREASES AIR SPEED' for high note playing.
(3) Lip Position. Imagine you have a tennis ball in your fingertips - now squeeze! This squeeze or pushing of your lips together is needed to play high. I personally use what people have called the ‘Superchop Method’ I pivot to push the lips over the top teeth and arch my tongue to alter the air stream. My lower lip curls in over the top of the bottom teeth. The top lip slightly overlaps the lower lip. The lip compression comes from pulling all of the muscles in toward the center.
(4) Finally, one must use a Super Fast Air Stream. The key is to achieve an incredible velocity of air, not quantity. The velocity must be so fast that it screams through the horn like a Mach 4 fighter jet. I mean fast! You should not puff your cheeks at anytime, check in a mirror. If you are puffing your cheeks, take your hand and literally hold your checks in, until your muscles are strong enough to do it on its own. Your goal is to obtain this Super Fast Air Stream INSTANTLY. It is the air speed, combined with lip and tongue position, that will give you success in the upper register.
Using the Air Tank, Tongue Position, Lip Position, and Air Speed YOU must also practice high note playing EVERYDAY. I often take the Clarke Studies up to the next octave for practicing. Or perhaps you could practice the leads to your favorite big band or pop charts. Either way, nothing happens without practice and hard dedicated work.
