Welcome to my practice program.

I designed
issues.

it

to work on hundreds of common embouchure

The 1st thing that you will notice is that the first few
weeks has LOTS of tonguing.
That is to help get you ready for the high stuff.
See we have 3 good valves to control the air and tonguing is
the most underused.
If we don't get the tongue crisp and clean then we waste the
air pressure that builds up.
When we waste that air pressure then we need to do a lot
more work.

As the weeks progress you will get tips from all of my books
and some that are not in my books yet.
You also get videos, audio...

Some of the music comes from my practice books and some is

written for this. Ignore the days.
In my other books they have a Sunday, Monday... study for
some things. We are doing everything on a weekly basis and

changing weekly.
I do this because I want you to spend more time on the big
stuff than you spend reading fingering exercises.

The last page we are learning over the course of weeks.

Learn a line a day and stop at the fine on line 4. Then
start working on speed. Next week we will add to that.

Pops the scale study this week is LOW.

Yes but it goes up every week. Master the low ones and the
higher ones are easy.

This week the instructions are sections from Tongue Arch and
Aperture Tunnel.

Enjoy and get going. This stuf starts getting hard pretty
quickly.

Pops

Physical Actions

When we do a physical action there are usually many

different ways to do it. If you include smaller actions then
you could have thousands of variations.
Each of these variations is going to have a different % of
effectiveness in achieving your goal. We normally dont
think about this. In most of the things that we do it
doesnt matter too much.
When it comes to tongue arch these variations can decrease
effectiveness by 80%. That means if you do everything right
and your friend does everything wrong; then your version of
tongue does 4 times more to help change pitch than your
friends version does.
This is why some people swear by arch and some swear at
arch. One person is doing a few things in an inefficient
manner and so they arent getting any real benefit.

There are 3 things that we want the tongue arch to do. We

want it to keep the throat open, we want it to move the jaw
forward enough to make the embouchure move and we want it to
focus the air to the vibrating part of the lips. Keeping an
open oral cavity is a plus too.

Lets think about the teachers who taught tongue arch.

Herbert Clarke and Claude Gordon were the big proponents of
arch however; they both also taught some version of anchor
tonguing. This causes the tongue to be in a vastly different
shape and a vastly different position than if you try arch
with tongue tip tonguing.
I am going to show diagrams and explain what happens
differently in these different types of tongue arch.
Hopefully this will clear up some of the confusion
concerning tongue arch.
What about slurs?
The tongue should make the same motion in doing slurs as it
does when tonguing.

The difference is that in a slur you dont do the last 1/32

of an inch and so the tonguing sound never happens.
99% of the people who try to play trumpet FAIL. 95% quit
completely and the other 4% play but well below the level of
successful players. Common for trumpet is FAILURE. We dont
want common.

Anchor Tongue / Floating Anchor Arch

Anchor tonguing is when you anchor or glue (not really LOL)

the tip of your tongue behind the bottom teeth. To tongue
you use the top part of the tongue against the top teeth,
the gums or the ridge just above the gum line. This type of
tonguing automatically creates tongue arch. The arch is the
front of the tongue arching against the teeth NOT the roof
of the mouth.
This is how Clarke tongued and since it ALWAYS produces a
type of tongue arch then he always used tongue arch.
Tongue arch champion Claude Gordon used a version of anchor
tonguing that he called K Tongue Modified.
It is very close to anchor tonguing and ALWAYS produces a
forward tongue arch. (I am not describing it because I am
going to describe my tonguing which is a little farther from
anchor tonguing. K Tongue Modified is half way between
anchor and my tonguing.)
Floating anchor tonguing is where the tip of the tongue is
ALWAYS pointing at the gap between the top and bottom teeth.
It always directs the air to the lips.
When we tongue this way the pedals and low notes are tongued
with the tip hitting the gap between the teeth. The syllable
sounds like thu thu thu. The reason I do this instead of a
pure anchor tonguing is because this gets the tongue
slightly lower and allows the air column to spread slightly
wider which benefits the production of low notes.

At low C, I keep the tip of the tongue pointed down but at

the gap between the teeth. I now start tonguing by using the
top of the tongue against the top teeth. The syllable used
is doo doo doo.
If you say TOO loudly then the tip of the tongue hits the
teeth and slides down. We do NOT want this to happen.
Saying doo puts the tongue hitting the teeth with the top of
the tongue. With practice you can do many oo syllables this
way including too. This means that with practice you can do
many different styles of tonguing so dont worry about that.
The doo doo doo tonguing goes for 1 octave from Low C to 3rd
space C. The tip of the tongue is pointed down and stays by
the top of the bottom teeth at the tooth gap. The doo is the
top of the tongue striking the teeth.
4th line D
dee. Again
by the top
the tongue

to G on top of the staff, the syllable is dee dee

the tip of the tongue is pointed down and stays
of the bottom teeth at the tooth gap. The top of
is hitting the gum line to do the dee syllable.

These positions can often be felt by whistling notes from

Low F# to G on top of the staff. The tongue makes a forward
arch and raises as the note goes higher but the tip is
pointing down and by the tooth gap.
Above G we switch to a hiss. The syllable for this is siss
siss siss. So starting at Ab above the staff and going up
the tip of the tongue is pointed down and stays by the top
of the bottom teeth at the tooth gap. The top of the tongue

is hitting the ridge about 1/3 inch above the gum line to do
the siss syllable.
You start with the thu, doo, dee siss syllables but in an
hour or 2 you switch to thu too tee and tiss because these
make crisper articulations. The doo dee siss were only used
so that you could get the feeling of the position faster.
The forward arch created by tonguing this way keeps the
throat open throughout the trumpets range.
The forward arch against the teeth helps to focus the
stream. The sides of the tongue hits the teeth and seals
air making the stream follow the groove in the center of
tongue. The higher the note, the higher you tongue and
more the air is focused.

air
the
the
the

The tongue makes the most forward jaw movement of any of the
arch types and causes a larger change in the embouchure.

This is for all notes under Low C. Some players extend this
up 2-3 notes.
The tongue is low and flat. The air stream is not directed
or focused.

Now you see that the higher notes like C to the top of the
staff are tongued using the TOP of the tongue instead of the
tip.

As the note goes higher, the tongue tongues higher on the

teeth, the gums and above.
The arch is against the teeth and the tip aims the air at
the lips.

They are now tonguing with the TOP of the tongue well above
the gums. I tongue up on the ridge inside my mouth.
The oral cavity
unchanged.

is

still

big

so

the

sound

quality

is

The tongue presses against the teeth and there is no place

for the air stream to become unfocused.

All notes are not created equally:

Many people think that every note on the trumpet responds

the same way to an increase in arch, or compression, or
breath support, or even facial tension.
That isn't what really happens.
Generally when we cross over an open note we have to change
something MORE.
Low D to low E to F, I am picking up fingers and making the
horn shorter. I don't need much change to play the pitches
on pitch. Going G to A, I am making the horn longer by using
valves. I need MORE change (arch, compression, whatever)
than I needed to change from e to f.
Low C to D, G to A, 3rd space C to D, E to F, G to A: Each
of these spots needs extra help to change notes.

Several of these sections respond slightly differently to

different tools we use to play also.
The notes below low C respond in one way. We all know
someone with a good sounding low C but a horrible low A, G,
F#. They used the wrong tool. It could be too much arch,
tension or too much breath support.
They approach the notes the same as higher notes, and the
notes bark out.
Low C to 3rd space C is another section.
arch but compression and tension alters
can sometimes hear someone play and
quality shift in this section. They used

It works great with

the tone here. You
they have a sound
the wrong tool.

4th space D to A above the staff responds to arch

differently than the previous octave. It takes a little more
change to go from note to note.
Some people dont realize that just a little more arch would
do it and so some people start adding facial tension or
compression here and it is easy to hear sound shifts from C
to D, E to F and G to A.
There comes a point for everyone where you HAVE to make lip
to lip compression to keep going higher. This can happen
anywhere from A above the staff to F above High C but it is
going to happen and you have to add a different tool.

http://www.mallstore.biz/TC/arch/addinghiss.wmv
Video about hiss in playing.

http://www.mallstore.biz/TC/arch/hiss2.wmv
More hiss and playing.
Sadly many people use their lip compression too low and they
even use facial tension in the middle register and so they
have NOTHING left to use.
Think of these tools like a light switch. Once you push it
then the light is on. Pushing it harder isn't going to turn
the light on more. Once you get to the end of arch or
compression, or tension; trying to add more isn't going to
do anything.

Warm up
Pops


 T

Lip Buzz Loosely

Mouthpiece Buzz

17

25

32

Continue C scale down an octave to double pedal C

8VB
9

Play

@
@

Sunday Fingers
Pops


     K @ K   K @ K 

  @ K @ K @ @ @ K @ K @ @

 K @ K  K @ K  
11
@ K @ K @ @ K K @ @

13

15

 @ 

17

 @ @ K
19

Tue Dynamic Control

Pops

 
 

ppp

slow crescendo

slow crescendo


17

fff

fff

slow decrescendo

slow decrescendo


33

every note even and the same

41

25

ppp

Sunday Slurs
Pops
start valves 1-2-3

 @
   @  @   @  @

11

16

start valves 1-3

@ @ @

@ @

@ @ @

1st valve

@ @ @

@ @

@ @ @

valves 2-3

@
1-2

21

2nd valve

26

open

31

Arban Scales +
Arban/Pops

D

 
 

Ex 1
Trumpet in B @

17







25

Ex 2

 
 

33

37



41






45

2012

Arban Scales +
Arban/Pops

D

 
 

Ex 3
Trumpet in B @





8


10


13


16

2012

Arban Scales +
 
 

Trumpet in B @

Arban/Pops

D

Ex 4




11

13


15




Arban Scales +
Arban/Pops

D

Ex 5

 
 

Trumpet in B @


12


Ex 6











28

24

16

20

G Major Studies
Pops

 
 

Ex #1

Ex #2


6

Ex #3


11

Ex #4


17

20

Ex #5


22

25


27

T
2012

G Major part 2
Pops

 
 

Ex #6


7

Ex #7

13

Ex #8

19


24

Ex #9

28


31



T
34

4 Major Scales
Pops
Single tongue one day and double
tongue it the next day.
B @ Trumpet


      

 
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Wed Interval Arpeggios

Pops




13

32

39

26

20


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