Trumpet: Pedal Tones

   Pedal tones are bass tones not part of the trumpet's conventional register.  The pedal register is not difficult but it is a bit tricky until you develop the feel for producing it.
   I have read some fanciful suggestions for playing pedal tones on a trumpet.  For instance, one trumpet authority insists pedal tones are all but impossible to produce unless you extend the valve slides before attempting to play the super low notes.  While another authority is equally convinced pedal tones are possible only if you use alternate fingering.  But the most interesting account I read belongs to the authority claiming the player comes and goes from being able to play pedal tones.  That is...if they can play them at all.  Seems it has to do with a trumpet's bore size.
   Phooey.
   The bores on my horns range from .468 to .470.  But I have played the pedal register (and did so for years) on a .459 bore.  As to the mouthpiece (another pet peeve of pedal tone critics) I play pedal tones (three octaves) using a Parduba #5.  And prior to the Parduba # 5, I used a Bach 10.5E.  So forget the need for mouthpieces that would look more at home on a trombone.
   The easiest way to start playing pedal tones is by playing first space F.  Then let the entire face relax while holding first space F and drop to pedal F.  Continue practice in this fashion down to pedal C until you develop the feel for producing the notes.  And once you grasp the feel, continue developing the pedal register until you are able to descend (chromatically) to third pedal C.
   Do not extend slides.  And do not use alternate fingering.
   Pedal tones require total relaxation of the various facial muscles.  They also require a broad airstream.  So constantly think "Taw" as you play them.  And do not worry about tongue level.  The "Taw" takes care of it for you.
     Proper pedal pitch might be a problem at first.  But it will improve once you master the register.
   I play the pedal register (three to four times) as my daily warm-up.  And I have done so for years.  Pedal tones help correct the embouchure, add endurance, flexibility and help form the habit of directing the lips towards the mouthpiece.

Total eclipse of the heart -Bonnie Tyler-

Trumpet: Study Six

   This study goes to double high C.  Rest between systems and do not over-practice.  If you falter trying to play this study, do not dishearten.  Simply remain on Study Five and continue work on the range chart until your high notes "catch up".
   For individuals who have no difficulty playing this study, repeat the entire exercise (as a separate study) one octave higher than I have written.

 

Trumpet: Study Five

   This study goes to high G.  Sufficient air and a stable embouchure are critical when performing in the upper register.  And there is no way to gain consistency in this register without the presence of both.
     Players falter in the upper register because they do not adhere to a sensible and consistent daily practice.  Trumpet playing is one of those things where you get out of it pretty much what you put into it.  And what you "put into it" must be put into it correctly.  Your ability as a player is a physical reflection of your work.
   I love to see trumpet players succeed.  And if the studies I offer on this site helps any one of them achieve their goal, my purpose has been met.

Trumpet: Study Four

   When building range on a trumpet two temptations should be addressed: pulling back on the instrument and using excessive lip tension.
   Pulling back on the instrument interferes with lip vibrations.  And this encourages the player to add more pressure in trying to reach the note.  Not good.
   Lip tension, without power in the airstream, is not sufficient in producing the vibrations necessary for a strong upper register.  And even if the note is reached (by tension) it will be weak and have a tinny sound.
   This study goes to high E.  If you cannot reach high E, remain on Study Three while increasing your range on the Daily Range Chart.

Trumpet: Daily Range Chart

   A chromatic range chart is one of the best ways to build range on a trumpet since it allows concentration on individual notes.

Hold each note four counts (or longer) and pause several seconds between measures.  If the pitch of any high note is questionable, play the note one octave lower to establish pitch.  Then attempt the high note again.  Do not strain to reach any note.

 

Trumpet: Study Three

   This study is a continuation of the seven valve positions.  Start at a comfortable dynamic and take a complete breath each time.  A metronome is an advantage in keeping consistent speed.
   If reaching high C is a problem, remain on this study until it is not a problem.  Also it is a good idea to practice chromatically from middle C to high C if high C creates difficulty.
   Play this study as written.  Then repeat the study triple tonguing followed by slurring each measure.
   Remember to take frequent breaks and not to over-practice.

Marie Myriam & Grégory Ken-Celui qui s'en va

Trumpet: Seven Valve Positions (Study Two)

   The register in this study is mild.  But keep in mind it can tax the embouchure if played for prolonged periods.

   Remember to crescendo when ascending and to decrescendo when descending.  Play the study as written.  Then repeat the entire study double tonguing.  Repeat once more slurring each measure.

   Exercises making use of the seven valve positions are good for increasing endurance, range, control and coordination of the lips, tongue, facial muscles and airstream.

 

Trumpet: Major Arpeggios (Study One)

   Arpeggios (broken chords) provide excellent means for strengthening the embouchure.  But to derive benefit from practicing them, the player must play them evenly and use various forms of tonguing.  For example, play this study as written (key is designated by starting note in each system).  Then repeat the entire study triple tonguing followed by another repeat slurring each measure.
  Do not let the register fool you.  This exercise can be strenuous.  Take frequent breaks and do not over-practice.

Trumpet: Three Octave Chromatic Scale

   The chromatic scale provides opportunity to increase playing range one-half step at a time.  Even if the player chooses long tones over scales for increasing range, it is best done chromatically.
   In addition to increased range, scale study adds key familiarity, endurance, flexibility and easier register movement.  One element in scale study that can be overlooked: start from the beginning of the scale each time you miss a note or otherwise mess things up.  Practicing scales in this manner allows for natural embouchure adjustment.

                                                                                                                   

   Use the dual versions of the chromatic scale as separate studies.  Start slowly (at a comfortable dynamic) and add speed (evenly) as you improve.  Never strain to reach high notes.  Straining is a sign the note is not being approached properly.  Also, never over-practice.  Tomorrow is another day.  Be patient.

Trumpet: Choosing a Finish

   To my mind, finish on a trumpet is no big deal.  Although there is no shortage of trumpet players to consider it a "very big deal".  These are the people who consult computers, slide rules, calculators and sound chambers in  their quest to prove finish on a trumpet affects quality of instrument sound.
   Sorry.  I do not ascribe.  Besides, trumpet playing is inundated with enough theory without getting into argument over finish on the instrument.
   To inject legitimacy of difference in sound, stick with legitimate sources: bell (weight, taper, size) leadpipe (taper and rate of constriction) and type(s) of material (as well as weight) of which the instrument is constructed and, to a lesser extent, bore size.
   Choice of finish on a trumpet is about preference.  Not sound.  In fact, there is absolutely no difference in sound (or quality of sound) if the instrument is left "in the raw" or if you manage to talk Porsche into giving your trumpet a spiffy silver plate job.
   Possibly a good analogy is clean car versus dirty car.  Have you noticed how comfortable the ride is in a clean and freshly waxed car as opposed to a car which has not seen a bath (or coat of wax) in two months?  The former is a joy.  The latter is a pain.  But reality tells a different story.  Fact is, there is no difference.  No difference except what you formulate in your mind.  And so it goes with finishes on trumpets.
   Durability of the finish is another matter entirely.  Here you find plated instruments have a definite advantage.  Especially for players who hold a trumpet bare handed.
   Gold plating is the most durable of all finishes on a trumpet.  And gold is followed by nickel and silver.  But silver plate has a price in the form of chronic pain: tarnish.  I have owned silver plated horns over the years and I grew weary of having to remove tarnish from every crook and cranny.  Besides, silver plate takes on an aged appearance in time (probably due to scrubbing it with silver polish).
   Gold plating is my favorite.  And the stuff stays relatively pristine.  Lacquer, on the other hand, is the least durable of all finishes.  Skin oil removes it around valve casings in short order.  And too, lacquer tends to crack and flake on its own.
   Finally there is the "no finish".  Raw brass.  Fine if you can stomach the smell of brass.  Especially when it is combined with the odor of valve oil.  But raw brass has a huge disadvantage (in addition to odor) it turns a putrid green.  In splotches.  In fact, the instrument comes to look as though it suffers a terrible disease.
   Somehow the thought of a splotchy horn does not add to the appeal of its tux wearing player.  One of the two is out of place.

Trumpet: The Tongue

   It is easy for trumpet players to focus attention on their lips in regard to trumpet playing.  After all the lips are the only part of the face to make contact with the instrument.  And too, vibration of the lips is what starts the sound wave into action.  So there is no denying lips have an important role in trumpet playing.  But it is just that: a role.  And it is a role that would be totally useless if not for channeled air.
   Tongue movement is what channels air.  As the tongue arches, space between the tongue surface and the roof of the mouth decreases.  This causes the airstream to narrow.  And as the airstream narrows, its speed increases.  But increase in airstream speed is not left entirely to tongue arch.
   Tongue arch creates resistance.  And the higher the tongue arches, the greater the resistance.  And the greater the resistance, the more forceful air must be expelled from the lungs to overcome the resistance.  End result?  Airstream speed is further increased prior to passing through the lip aperture and into the mouthpiece.
   Without the tongue channeling the airstream, lip compression alone will not make for a reliable upper register.  It cannot.  Air is what makes lips vibrate.  Not lip compression.
   Lip compression versus airstream speed confuses some trumpeters.  That is because they focus their attention on tightening their lips rather than moving the air between them.  Relying on lip compression reduces endurance and prevents the player from building an impressive upper register.
   Importance of the tongue does not end with the production of high notes.  Far from it.  It is the tongue which controls pitch and enables the instrument to speak (articulation).  But in addition to tongue movement, is the importance of what the player thinks simultaneous to tongue movement (often referred to as "syllable singing").
   To single tongue, the player thinks "Tee" to ascend and "Taw" to descend.  This creates two types of airstreams.  "Tee" narrows the airstream (faster)  and "Taw" widens the airstream (slower).
   To double tongue, the player thinks "Tee-Kee" and "Taw-Kaw".  And it is here players can encounter problems in pitch and evenness in note production.  The explanation for these difficulties has to do with use of the "K" which is further explained by the back of the tongue being used to produce "K" and the front of the tongue being used to produce "T".
   A solution to both problems is derived from developing the back of the tongue to perform as reliably as the front of the tongue.  But over-emphasis is generally the "solution" many unknowing players resort to.  And it is a solution they are not long in determining that emphasizing the "K" simply compounds the problem(s) by causing inaccurate pitch placement and thick tongue movement.
   To triple tongue, the player thinks "Tee-Tee-Kee" and "Taw-Taw-Kaw".
   The benefit of double and triple tonguing is realized when the player gives equal emphasis to both the "T" and the "K" (light and fast).  But for players having persistent problems with either form of tonguing, they should use a metronome and start slowly in an easy register.
   To slur, the player thinks "Eee" and "Aw".  And in the case of lip slurs, the notes should move with absolute ease.
   To lip trill, the player thinks "Taw-Eee-Aw-Eee".  Effective lip trilling is done by motion of the tongue; not the lips.
   To play intervals, the player thinks "Taw-Hee" and "Tee-Aw".  The "Hee" gives a burst of air and prevents harmonics from sounding between notes regardless of how many octaves are involved.
   Tonguing complications arise when the player attempts to advance too rapidly or uses too much mouthpiece pressure or both.  The solution?  Close the embouchure, tongue behind the upper teeth, direct the lips towards the mouthpiece, supply sufficient air, use a metronome and be patient.  It will come together in time.

Trumpet: Body Resistance

   Body resistance occurs naturally in brass instrument players.  And it establishes itself in the abdomen.
   Trumpet players can be near phobic when it comes to the diaphragm.  Some of the worries I have heard expressed: Does my diaphragm have sufficient tension?  Should I sense or concentrate on protrusion?  Should I contract the abdomen to add more force to air being expelled from my lungs?  What about breathing exercises to further develop my diaphragm?  Does circular breathing help strengthen my diaphragm?  Will practicing Yoga help my diaphragm?  How will I know when my diaphragm is developed?  How many hours a day do I have to play a trumpet to keep my diaphragm strong?  Will diaphragmatic breathing aid my range?  My tone?  My overall skill as a trumpeter?
   And on it goes.
   The diaphragm is a dome-shaped muscle located below the lungs and it contracts on inhale and relaxes to push against the bottom of the lungs on exhaling (vertical movement is five to six inches for unrestricted breathing).
   Trumpet playing is a form of slow breathing due to resistance offered by the mouthpiece, the vibrating lips and the instrument itself.  Therefore airflow from the lungs does not occur at a natural rate.  In fact, the player determines the rate (force) of expulsion when confronting range, dynamics and length of passage (known more affectionately as breath control).
   Body resistance presents no problem(s) unless the player knowingly or unknowingly alters it.  Stiffening the instrument arm, hand or shoulder subtracts from natural resistance in the abdomen.  Thus resistance is no longer natural.  It becomes forced.  And players who use excessive mouthpiece pressure fall into this category.
   Diaphragm development for trumpet players takes care of itself when the player exhibits proper breath control.  This means taking a full breath each time and keep adding air to the air supply to prevent being short of air in long (or high register) passages.  Dynamics must be included too.  Since the louder one plays, the more air is needed to retain the volume (sound).
   As stated, body resistance occurs naturally.  Therefore the player should concentrate on keeping the upper half of the body as relaxed as feasible.  Even the embouchure should maintain a relaxed firmness.
   When the player relaxes, not only does the sound get bigger (more open) but less effort is required to play.

Trumpet: Lip Setting

   A frequently overlooked element in stabilizing the embouchure is lip setting.  And it is an area worth exploring for those individuals experiencing chronic embouchure problems.
   The purpose of the lips is to vibrate.  And anything to impede lip vibration impedes sound.  Therefore the player should strive for security in the embouchure by paying attention to lip setting.
   The lips should be closed as though pronouncing the letter "M" before seating the mouthpiece.  And once the mouthpiece is seated, both lips should be drawn towards the mouthpiece evenly.  This creates lip pucker which supplies the cup with sufficient lip tissue and the player a sense of "gripping" the mouthpiece.
   Directing the lips towards the mouthpiece allows the player to minimize mouthpiece pressure.  And it is the reduction in mouthpiece pressure which allows the lips to vibrate freely.
   Lip setting presents problems for players who fail to keep the setting consistent.  Many times the culprit is failure to close the lips before seating the mouthpiece.  Seating a mouthpiece in this manner causes a spread between the lips which jeopardizes ease, consistency and accuracy in the upper register.  And this remains true even if tongue position is correct.
   Breathing can cause disruption in lip setting.  Especially in the upper register.  While low and mid-range playing is best served by taking a breath through both corners of the mouth, breathing in this fashion becomes a liability in the upper register.  Especially in the extreme upper register.  Therefore the player is advised to  breath through the nose when executing upper register passages.  This allows the lips to maintain a grip on the mouthpiece by not requiring their relaxation to allow air passage between them.
   Another lip setting problem I have had to correct in students is uneven tension in the lips.  Signs of playing in this fashion is presented by air escaping between the mouthpiece and the lips on one side of the mouthpiece to produce sound outside the trumpet.  In addition, playing with uneven lip tension allows air to surround notes and gives the tone an airy sound.
   The effect of teeth formation becomes more pronounced as mouthpiece pressure is increased.  Consequently "pressure" players can tend to pull the trumpet to one side (or down) as they ascend into the high register.
   Lip tension is part of lip setting.  And lip tension should not exceed what is required to produce the desired pitch.  When lip tension is excessive, notes sound tinny and weak.  And players accustomed to playing in this manner tend to blow apart the embouchure when the dynamics get strong.
   The player should keep the lips closed while striving to maintain a relaxed firmness in the embouchure.  Once this is established, the tone is open and allows the player to produce a full (fat) sound.
   Proper lip tension is best learned through scale study (including chromatic) and displaced octaves (requires the player pitch memorization and memorization of the tension to produce the pitch).

Trumpet: Embouchure

   Brass players view embouchure as where metal meets flesh.  Or more to the point, embouchure is the relationship of the mouthpiece to the lips and to various muscles in the face.
   Sounds simple enough.  It is not.
   Complexity arises when it comes to a trumpeter's embouchure.  And the reasons are many.  Beginning with mouthpiece placement.  "Ideally" the mouthpiece is placed center of the lips with two-thirds of the upper lip inside the cup while the lower lip occupies the remaining one third.  This, of course, fails to account for the player's teeth formation.
   Teeth supports lip tissue which supports the mouthpiece.  This readily explains the absence of toothless trumpet players.  There are, however, trumpeters who manage to continue their career while wearing partial plates, implants or full-plate artificial (false) teeth.  In fact, Harry James spent the last years of his career wearing full-plates.  Upper and lower.  But close to the end of Harry's life, bone loss was so extensive he had difficulty keeping either plate in position regardless of the adhesive used.
   Periodontal disease is a deadly enemy.  Especially to trumpet players.  The gums become inflamed, form pockets and gum tissue recedes as bone is destroyed which results in loose (or lost) teeth.  All because of negligent or improper tooth care.
   Unfortunately, periodontal disease does not stop with lackadaisical tooth care.  It can spread from person to person.  So an individual might be wise to think twice before sending or receiving a passionate kiss.
   As to mouthpiece placement, it should be wherever the mouthpiece is most comfortable and the lips vibrate freely.  Teeth formation is the principal influence in determining mouthpiece placement.
   Embouchure development begins with learning the fundamentals.  And learning them correctly.  Since it is here embouchure position is established.  And it is during learning fundamentals bad habits in trumpet playing are formed.
   The most frequent bad habit in trumpet playing is using excessive mouthpiece pressure.  And beginning trumpet players have to be watched closely once they commence adding notes to their starting note (usually low C).  Many of them will pull back on the trumpet in effort to reach the next note.
   Excessive mouthpiece pressure is averted by keeping the embouchure closed, lips thrust towards the mouthpiece and tonguing behind the upper teeth while supplying an uninterrupted flow of air.
   One of the most potentially damaging things to occur to a budding trumpeter is trying to learn the instrument from a non (or unqualified) trumpet player.  Private lessons are the way to go when learning the various fundamentals.  Not only does it place the student and the instructor one-on-one, it gives the instructor an opportunity to catch bad habits before they take root.
   Song playing does not constitute sufficient daily practice.  In fact, strictly song playing allows partial embouchure deterioration since it fails to keep consistent challenge to the embouchure.  This is where the importance of routines becomes apparent.
   Each routine has a specific purpose.  For instance, the various routines are divided into a series of exercises which promotes range, endurance, flexibility and proper tonguing.  Each exercise in each routine is repeated many, many times.  This aids the embouchure in strength and familiarity in action (reaction) to the material.  In short, it helps the player form proper playing habits.  Or as the late Claude Gordon was fond of saying: "Form the habit of practicing accurately and you will play the same way."
   Rush to develop is common among impatient players.  They simply do not want to wait for what they want to be able to do (execute).  But what they fail to realize (or choose to ignore) skill development takes time.  And the length of time it takes to become proficient in any aspect of trumpet playing depends on the individual player.
   Different players advance at different rates.  But rather than accept fact as fact, some players press-on to meet guaranteed defeat and find themselves in a position of possessing bad technique or giving up the instrument altogether.
   Envy in a trumpet player surfaces in the form of temper or feeling solid advice given them is next to worthless.  They resent constructive criticism and become defensive.  In other words, they refuse to learn.
   All success and failure in trumpet playing is embouchure related.  This includes bad habits, failure to be patient and refusal to change what the player is comfortable with in order to improve their playing.
   Trumpet players with a pressure lip can be easily discouraged when it comes to correcting their career destroying habit.  This results from when the corrective measures are implemented.  Tone production goes south along with other aspects such as tonguing.  But the digression is temporary.  Even so, fear or ego can enter the picture and the player simply refuses to make the correction.  But doing so thwarts player advancement and dashes any hope for playing professionally.
   Various facial muscles must be developed and work together for the player to possess a proper and balanced embouchure.  But to develop facial muscles, the trumpet player must exercise the muscles.  Like a weightlifter adds weights, the trumpet player adds complexity to the practice material as each exercise is mastered.
   The lips serve a sole purpose.  And that purpose is to vibrate.  And this is accomplished through tightening and loosening the lips, depending on the register.
   Lip flexibility is a direct result of embouchure development.  But there a number of trumpet players (experienced players) who cannot start on low C and ascend to high C (or higher) while retaining an open sound.  This points to limited lip flexibility.  And as long as flexibility is limited, trumpet playing requires conscious effort.
   "Comeback" players are those players who lay down their trumpet for months to years.  And upon picking up the trumpet again, they discover they have lost complete feel for the mouthpiece.  This is normal.  Possibly the most discouraging aspect the returning player experiences is the brief period they sound like a beginner.  It is the "middle ground" where danger presents itself.  This is where the player has to fight temptation to regain skill too fast once the tone and feel for the mouthpiece returns.
   Trumpet playing is a joint physical and psychological venture.  Sensible practice, adequate rest and a healthy frame of mind are essential.  And all three have impact on the embouchure.