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Reprints from the

International Trumpet Guild Journal

to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching,
and literature associated with the trumpet




October 2016 Page 59

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Clinic addresses a wide variety of teaching and playing issues. Ideas and suggestions should be directed to: Frank Gabriel
Campos, Clinic Editor, Whalen Center for Music, Ithaca College, Ithaca, NY 14850 USA;



M y late teacher, John James Haynie, continu-

ally searched for the most ecient way to
develop and maintain ones technique on
the trumpet through specic daily exercises and drills. Haynies
Development and Maintenance of Techniques,1 nicknamed the
playing sports, jogging, or walking are also good choices.
No time? Do as many pushups as you can once a day, or
hold yourself as long as possible in the up position of a
pushup (called the plank in Pilates). Try the Four Sim-
ple Exercises3 for the very best short routine for brass
D&M book, was our technique bible at the University of players. Or, just take the stairs instead of the elevator.
North Texas. Based on Ernest Williamss The Secret of Tech- Keep it simple and reward yourself. Whatever you choose,
nique Preservation,2 it covered every aspect of trumpet techni- do it all year long.
cal skill through a selected group of exercises in all twelve keys. 2. Do some breathing exercises. Breathing exercises are the
We were tested on this material each semester, and that work single most effective daily tonic for keeping your trumpet
left a lasting impression on me. The skills I developed prepar- playing at a high level. They teach correct breathing and
ing for Mr. Haynies technique exams have served me well. I strengthen the muscles of brass respiration even better than
understand how important it is to have a strong foundation in actually playing the trumpet. Timed panting is an unparal-
fundamentals, and I have always provided this to my students. leled exercise for strengthening the muscles of sucking and
Over the years, though, I have developed a more streamlined blowing. Heres how to do itpant like a dog through the
approach to daily fundamentals development and mainte- nostrils or mouth for as long as possible. Strive for thirty
nance that I call The Fourteen Things. seconds of continuous panting the rst week and add a few
The Fourteen Things is a group of essential exercises that seconds each session until you are able to do at least ve
touch upon the core aspects of trumpet technique. These are minutes of nearly continuous timed panting within a few
fourteen little problems, and the way to solve them is by work- months. Panting before you play the trumpet each day will
ing on them for a few minutes each day. One might wonder supercharge your playing like nothing else. Another amaz-
how these little exercises could be so effective with hardly more ing power and stamina building exercise is Bud Brisboiss
than a few minutes of attention a day, but it is upon such short, favorite exercise.4 If you are walking, running, swimming,
highly productive moments that our skill is built. Over the or doing aerobics, try maintaining your breathing for a cer-
months and years, this approach produces real results. tain number of counts when inhaling and an equal or dif-
The Fourteen Things dont require a lot of verbal instruction. ferent number of counts when exhaling.
Benets occur just by doing them day after day. You may not 3. Do some mouthpiece buzzing. Some players have long
be able to play some of these exercises immediately, but when and involved routines for buzzing the mouthpiece, and
you can, you will know that something has changed for the others just buzz a couple of quick sirens before going to the
better in your playing. The Fourteen Things improve physical trumpet. The right amount of buzzing for you will be dif-
strength while showing you how to play ferent than for me, and it may differ
more correctly and eciently. Trial-and-
error experimentation with these kinds
There are no instant changes; from day to day. Go for a small, clear,
focused, and controlled sound that
of exercises will gradually and naturally improvement happens slow- speaks easily. Try simple melodies, sirens,
move you in the right direction. There and scale patterns with a clear, resonant
are no instant changes; improvement ly over time if we keep at it. sound and good pitch. As an aside,
happens slowly over time if we keep at it. Bobby Shew recommends apping your
lips like a horse before your rst notes of the day, as this
Include these Fourteen Things in your day: saves warm-up time by quickly lling the lips with blood.
1. Do some physical exercise. A daily routine brings innu- 4. Hold a pianissimo G for at least sixty seconds. A lot of lip
merable benets. The Salute to the Sun (yoga), The Eight service is paid to long tones, but by the end of the day,
Brocades (qigong), The Five Tibetan Rites, and the Cana- how many long tones have you actually played? The intent
dian Air Force Aerobic Fitness Program all incorporate of this exercise is to hold one long tone, such as a second
many beneficial exercises into one easy session of ten or line G, as softly as possible, to the very end of your breath.
fifteen minutes. Working out at the gym, swimming, Time yourself and try to hold it longer each session. It is

2016 International Trumpet Guild October 2016 / ITG Journal 59

not unusual to be able to play a single tone for over two ble. This requires a precise coordination of elements that
minutes, but beginners will have trouble getting to thirty can only be learned through trial and error practice. Try
seconds. To supercharge this exercise, do three long tones saying Hee when slurring upward. Find the yodel point
in a row to the end of your breath without stopping. at which the bottom note easily and effortlessly ips up to
5. Play a soft trill from C to D with a clear sound. As you the octave. Learn the knack for doing the F octave, and
trill between the C to D on the staff or below the staff, lis- the other octave slurs will be easy. Try alternating slurring
ten for absolute clarity and focus. If there is gravel in the and slowly double tonguing on all octaves.
sound or the notes are unsteady and dont speak well, you 10. Play a lip trill from C to E. It may take time to gure out
are playing it too fast. This trill may seem impossible to how to do a simple lip trill or shake, but once you have
play at rst. Start very slowly and only increase the speed the knack for it, it is easy. Experiment with eh-hee inside
if you are able to play it perfectly. Going back and forth the mouth. Play slowly and softly, moving from partial to
between slurring and tonguing, especially double tongu- partial with a clear break. Speed comes as a result of patient,
ing, is also very beneficial as it teaches you to blow slow work. When this is mastered, go to other lip trills.
through the articulations. 11. Play a fat and loud low F-sharp with a hard Tut attack.
6. Play lots of bent tones. Many brass players know nothing Many players produce a mued or unfocused sound play-
about bent tones, one of the most benecial exercises of all. ing below the staff. The objective is to play this short note
To play, bend a note half a step downward, but maintain with clarity and focus. A clear and resonant pop in the
the same ngering. For example, bend G down to F-sharp low register is the result of proper air compression, not
using the G ngering. Hold the tone to the end of your hard tonguing. This may take some time to develop, but a
breath. Sprinkle them throughout your routine or do a minute or two of experimentation each day will reveal
twenty-minute session of soft bent tones while browsing how to do it.
the Internet or watching a movie. For one of the best 12. Do scale-play in all keys. Scale-play means freely impro-
quick warmups, try Three Bent Tones. To do this, play vising using scales. Focus on a key a day and rotate
a bent tone to the very end of your breath, take a big through all of the major and minor scales. Sing through
breath and repeat, and then repeat again, all without stop- the instrument like a vocalist with more of a bell-like Da-
ping. For added benet in this exercise, inhale through the Da-Da articulation, avoiding a separated Ta-Ta-Ta style.
nostrils instead of the mouth. Initially, learning to play by ear is
When you can play bent a trial-and-error process of nd-
tones easily, particularly When you can play bent tones easily, ing the note you want, then the
higher on the staff, you will particularly higher on the staff, you next, and the next. Just a minute
know that something in or two of scale-play each day will
your technique has changed will know that something in your significantly improve your ear
for the better. technique has changed for the better. and develop your ability to im-
7. Play pedal C with open provise. Play things you like, g-
valves. Pedal tones, like bent ure out songs, and make up mus-
tones, teach us the ner points of tone production includ- ic on the spot. If you are embarrassed to do this around
ing how to play in the upper register. In this exercise, play others, use a practice mute.
pedal C, one octave below middle C, with open ngerings 13. Double and triple tongue all major and minor arpeggios.
(all open). If this is not possible, play it 123 (all valves Multiple tonguing wide intervals is dicult, as is multiple
down) and keep trying for the open ngering. The pedal tonguing in the upper or lower registers, but only because
C played open is an especially dicult note that may take they havent been practiced. In this exercise, play all major
some time to learn to produce. Sprinkle pedal tones and minor arpeggios using single, double, and both forms
throughout your daily routine or do a ve-minute session of triple tonguing. Go as low and as high as you can.
of soft pedals to the end of your breath. If the pedal C is Focus on a key a day and cycle through all major and
coming out, then try double pedal C. Incidentally, some minor arpeggios. Blow through the articulations with a
players have diculty playing pedal tones properly and clear, beautiful, resonant sound. Use the more legato De-
should consider avoiding them altogether. Ge, De-De-Ge, and De-Ge-De articulations in place
8. Play a two-octave glissando starting on pedal F or low F- of the hard Ta-Ka, Ta-Ta-Ka, and Ta-Ka-Ta attacks.
sharp. Exercises that cover two octaves or more have great 14. Play four two-octave F-sharp chromatic scales using sin-
value, and combining glissandi and pedal tones is very gle, double, and both forms of triple tongue articulations.
benecial. From low F-sharp or pedal F, start ascending This was one of John Haynies favorites, and he could eas-
through the overtone series very slowly, partial by partial. ily play the entire exercise in one breath. The goal is to use
As you are able, begin to accelerate this lip slur into a glis- the same speed and consistent sound throughout and to
sando so that the effect obtained is that of a mallet run change just the articulation style for each of the four scales.
rapidly up and down the bars of a xylophone, as Col. Earl The articulation should be so consistent that the listener
D. Irons put it.5 Start slowly and go for a small, clear, con- should not be able to tell the difference between the single
trolled sound. Never force the tone. See Irons exercises 21 tongue and the multiple tongue. This exercise has the ben-
and 22 for a good start with this exercise. et of closing that notorious gap between ones fastest sin-
9. Play as many F octave slurs in a row as possible without gle tongue and slowest double tongue, a gap that conduc-
catching the D partial. Many young players cant slur even tors always seem to be able to nd! Start at the slowest
one octave perfectly, and two in a row is usually impossi- speed on your metronome, setting the beat to each group

60 ITG Journal / October 2016 2016 International Trumpet Guild

of six eighth notes. Over time, bring the speed up so that
you can eventually play this exercise perfectly in one breath.

When practicing the Fourteen Things:

1. Go immediately to half speed if you play something poor-
ly twice.
2. Hold the last note of an exercise to the end of your breath.
3. Sprinkle bent tones and pedal tones throughout your routine.
4. Start your routine with nose panting, lip buzzing and tone
bending to get ready to play.
5. Rest as long as you play.
6. Sprinkle octave slurs, lip trilling and glissing throughout
your routine.
7. Articulate it like you would sing it.
8. Always strive for a clear and resonant sound.
9. Get the metronome out and use it.
10. Practice playing softly.
11. Dont let twelve hours go by without doing something to
improve your playing.

Dont let twelve hours go by without doing

something to improve your playing.
About the author: Frank Gabriel Campos is professor of trum-
pet at Ithaca Colleges Whalen Center for Music and the author
of Trumpet Technique (Oxford, 2005). An active classical and
jazz soloist, he has been a member of ITG since its inception.

1 John James Haynie, Development and Maintenance of
Techniques for All Brass Instruments in Treble Clef (New
York: Charles Colin, 197-?).
2 Ernest S. Williams, The Secret of Technique Preservation
(New York: Charles Colin, 1964).
3 Frank Gabriel Campos, Four Simple Exercises, ITG
Journal 32, no. 4 ( June 2008): 52.
4 Campos, Wax On, Wax Off ITG Journal 36, no. 1
(October 2011): 59.
5 Earl D. Irons, Twenty-Seven Groups of Exercises (San Anto-
nio: Southern Music Company, 1952), 16.

2016 International Trumpet Guild October 2016 / ITG Journal 61