Fundamentals for Trumpet

By Dr. Arthur Zanin

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TABLE OF CONTENTS
HOW TO PLAY A DOUBLE C IN 2 DAYS ................................................................................................................ 3
WHAT ARE FUNDAMENTALS? ........................................................................................................................... 4
HOW MUCH TO PRACTICE ................................................................................................................................ 4
HOW TO PRACTICE ........................................................................................................................................... 4
LONG TONES .................................................................................................................................................... 5
SOUND PRODUCTION ...................................................................................................................................................... 5
LIP/MOUTHPIECE/HORN .................................................................................................................................................. 6
................................................................................................................................................................................... 7
LONG TONES – PEDAL TONES ........................................................................................................................................... 8
ARTICULATIONS ............................................................................................................................................. 11
ARTICULATIONS - SINGLE TONGUING ................................................................................................................................ 11
ARBAN’S INTERVALS ..................................................................................................................................................... 14
................................................................................................................................................................................. 15
DOUBLE AND TRIPLE TONGUING ..................................................................................................................................... 16
FLEXIBILITIES/LIP SLURS ................................................................................................................................. 21
LONG RANGE FLEXIBILITIES ............................................................................................................................................. 21
MID-RANGE FLEXIBILITIES .............................................................................................................................................. 22
LIP TRILL EXERCISE:....................................................................................................................................................... 24
SHORT RANGE FLEXIBILITIES ........................................................................................................................................... 24
PUTTING IT ALL TOGETHER ............................................................................................................................. 26
METHODS AND ETUDE BOOK SUGGESTIONS ................................................................................................... 29
BIBLIOGRAPHICAL ACKNOWLEDGEMENTS ...................................................................................................... 31

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How to Play a Double C in 2 Days

The title above is nothing but trickery. There is no such thing as double C in two days. Playing
trumpet (well) requires a high level of physical preparation. Just as professional athletes need to
cross-train and practice to be competitive in games, the technical exercises in this book will
directly benefit your performance.

There is no simple answer or secret to becoming a skilled player. Usually, students expect a
simple fix such as “play such and such exercises everyday” or “buy the miracle mouthpiece.” The
answer is a little more complex and involves patient, diligent, and persistent practice. Talent will
only take you so far; hard work will do the rest.

This short book is dedicated to middle and high school students that already know the basics of
the instrument but have never explored fundamental routines. I will walk you through a routine
using some of my favorite method books, but that doesn’t mean that you should limit yourself to
those examples. Look at my suggestion list at the end of this book and have fun playing through
all the great methods out there.

Remember that although I am offering you a model for a practice routine, we are all different
humans with specific needs and unique mental/physical characteristics. Trust this model for a
while but listen to your body and adapt the type of exercises, amounts, and tempos as you need,
hopefully with the help of a private instructor or more experienced colleagues.

Happy practicing.

Dr. Arthur Zanin

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What Are Fundamentals?

Fundamentals are physical and mental exercises that contribute directly to the technical aspects
of trumpet playing. As I mentioned in the introduction, they are comparable to what high
performance athletes call cross-training. Athletes often break their performances into various
parts and target specific cross-training activities to each of those parts. With that in mind, I like
to break the trumpet performance in four main areas:

Long tones – for a beautiful sound, for endurance, dynamics control, and phrasing.
Flexibilities – for endurance, range, and facility on slurred passages.
Articulations – for full control of myriad articulations required by composers.
Performance practice (Music) – to have fun and practice putting all the above in context.

How Much to Practice

We are all different. We have unique strengths and weaknesses and we are in different stages of
our musical journeys. After using the specific routines in this book for a few weeks, you should
modify them to your own needs. Do you have a hard time with sound? Focus on long tones. Do
you have a really hard time playing flexibilities? Spend more time on that.
Professional players practice a minimum of 2-3 hours a day (outside of rehearsals and concerts).
For a serious young student, a minimum of 45 minutes is a good place to start. I must
emphasize that my most successful students never stick to the “minimum”. If your teacher
assigns you one exercise of flexibilities for example, bringing two in the next lesson shows
commitment and interest. Successful musicians never base their practice on how little they can
get away with.

How to Practice
To preserve the breviloquent nature of this book, here are the top points you should consider:

PUT YOUR PHONE AWAY. FAR AWAY. Don’t have your phone on you, or an iPad or computer
that is connected to the internet. If you use your phone for drones or metronome, use
airplane mode. If you use your iPad for music, also put it on airplane mode. Every ding, every
“like” and every text that interrupts your practice sets you a bit further from successfully
achieving your goals.
Record, listen and evaluate yourself all the time.
Listen to your favorite players before starting and in between exercises. This helps you to
have a great sound in your mind to compare to yours.
Imitate your favorite players. Imitation is the first step to finding your own voice. Listen and
imitate sounds, articulations, vibrato, etc.

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Use a metronome. There are two types of musicians, those who have bad tempo and those
who have good tempo. Only the latter wins jobs.
Don’t use a tuner, use sound drones. Rely on your ears instead of your eyes for intonation.
There are two types of musicians, those who have bad intonation and those who have good
intonation. Only the latter wins jobs. I suppose you can also use this maxim for sound,
interpretation, taste, and any other musical ability.

Long Tones
Sound Production
For me, it is crucial to get the blood flowing on my lips and to remind myself of breathing
awareness before I begin my day. I enjoy doing this by free buzzing, mouthpiece buzzing, and
then connecting the mouthpiece play immediately to the horn.
There are entire books and methods dedicated to breathing and many gadgets you can find to
improve your abilities to use your air efficiently; the same goes for mouthpiece buzzing. I don’t
believe, apart from very specific cases, that it is necessary to spend more than one to three
minutes a day on these practices .
I learned similar versions of the following exercises from many of my professors. A version of
them can also be found in the “Caruso Method,” as taught by horn professor Julie Landsman.
Lip bending is “bending” a note by glissando down and back up between two pitches, similarly
to when trombone players move their slides out and back without stopping the sound. This
helps you minimize mouthpiece pressure and assists you in finding the center of the note, the
“sweet spot” of resonance. That is where your sound is the fullest and most vibrant.

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Lip/mouthpiece/horn
Play the first note on a piano or on the tuner and sing it. Free buzz it while holding your
mouthpiece down on your lap. Make sure to form your embouchure correctly, relying on the
corners of your lips for strength. Do not stretch your lips apart; instead, make a form like
whistling, moving the lips slightly forward. Rest for four beats and do the same on the
mouthpiece. Rest another four beats while putting the mouthpiece in the trumpet. Finally, play
it, introducing the lip bend to the half step down. When you come back up from the bend, play
around with your sound center and find where the most resonant spot is.

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Flow
My favorite method to start the day is by Vincent Cichowicz, who formerly played with the
Chicago Symphony. I recommend purchasing a beautiful edition titled Vincent Cichowicz –
Fundamental Studies for the Developing Trumpet Player.
Drive the phrase to the asterisk, as that is the culminant (most important) note. Don’t play
these like drills or exercises. Interpret them as beautiful phrases; sing them first with “doh,”
then play. Play with a metronome and focus on sound and resonance. Add drones later to check
your intonation.
From Vincent Cichowicz:

Tip: Listen to your favorite trumpet player and try to imitate his or her sound as you play
through these phrases.

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Long Tones – Pedal Tones

Pedal tones are situated below the lowest possible note on the instrument. On the trumpet, the
lowest note is the low F sharp, regardless of what key of trumpet you are playing on and the
consequential concert note.
Pedal tones have, for the most part, no practical use in music but can be a great resource to
improve your embouchure and facility throughout the range. James Stamp, famous pedagogue
and trumpeter, has an extensive set of exercises touching this subject. I like to follow Cichowicz
with the following exercises from Stamp, starting from the F, as written below (the original
starts on middle C). Follow the fingerings on the last notes as they will help “slotting” the
pedals. Play the pedal C on 123; in time, you might be able to play it open on 0, but this
shouldn’t be a goal or concern. Stay on phrase one through six for the first few weeks until you
are very comfortable with the pedals.

From James Stamp:

Tip: Remember to apply the same “flow” concept from Cichowicz: play it as a phrase,
connecting all the notes. Sing through the horn instead of playing note after note without
direction.

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The magic really happens when you begin playing through the arpeggios. To play the pedal
notes, we must slightly release the mouthpiece pressure from our lips. Consequentially, we will
tend to ascend to the high range from the pedals with less pressure, building stronger corners
and an efficient setup. Focus on the connection of notes and on moving them with air. Go as
high as you can EVERY DAY. Once you hit a partial that does not “speak,” try it three times, then
stop.
Be aware that this is not a perfect, constant improvement line. Because you played a high A
today doesn’t mean that you will have it tomorrow, and that is OK. Be patient and persistent;
this is a long-term goal exercise. I also add the written minor sevenths to the arpeggios to
shorten the last interval.

Tip: Be aware of your mouthpiece pressure as you move up on the arpeggios. Try to
minimize the pressure as much as you can as you go up, letting the center of your lips vibrate
freely.

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Articulations
There are countless methods and etudes designed to help with the various articulations on the
trumpet. We have three main ways of articulating: single tonguing, double tonguing, and triple
tonguing. We should practice a little bit of each every day so that when a specific articulated
passage shows up in your ensemble music, we don’t panic.

Articulations - Single Tonguing

Jean-Baptiste Arban was a virtuoso cornet player from Lyon, France. He wrote his method in
1864 and, although over 150 years have passed, it is still the most relevant and complete
pedagogical material available for trumpet. I practice at least a portion of Arban’s method every
day.
To make the different types of articulations (staccato, marcato, tenuto, etc.) all you have to do is
sing the sound you want. If you want a legato, say “do.” If you want a staccato, say “too.” If you
want a marcato, say “tow,” and so on. Experiment with varying syllables—“doo,” “tu,” “dot,”
“tah”—and see how different each one sounds.
There are many ways to practice the exercises in Arban’s method. I like to practice the following
for single tonguing speed and interval accuracy. Play with a “neutral” articulation, not too
tenuto, not too staccato, just as easy and relaxed as possible. I like to use the syllable “do.” Once
you are familiar with the exercise, go as fast as you can switching to cut time. Make sure your
sound remains the same throughout the range and that all the articulations are even regarding
the front and length of notes.

Arban’s No. 16

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Arban’s No. 17

Arban’s No. 18

Tip: It is helpful to use these three exercises to practice articulations and dynamics control.
Make sure to practice all articulations—staccato, marcato, martellato, tenuto, etc.—and all
dynamics from the softest to the loudest. Practice mixing and matching dynamics and
articulations at the same time. For example, try: tenuto/forte, staccato/piano,
marcato/mezzo forte, etc. Also practice switching articulations and dynamics every 2
measures. You can make little paper cut-outs and grab them from a bag for a fun
articulation/dynamic control game.

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Arban’s No. 47

Use a metronome, start as slowly as you need to, and breathe when you need to. Use a neutral
articulation (“do”) and remember that your goals are even articulations and even sound
throughout the range, regardless of tempo. With time, try to speed up to double time and to
only breathe at the quarter note rest. Avoid emphasizing notes that are far apart from each
other and maintain the same dynamics and shapes. Once familiar with the exercise, vary
dynamics and articulations as described for 16–18.

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Arban’s Intervals

This page from Arban’s has one of the most useful and overlooked exercises in the entire book.
Practice it following the same principles as described previously. This will help to build your
embouchure and dramatically advance your intervalar facility. If you want to play the last
variation of the Carnival of Venice, this is the place to start!

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Tip: Remember that you can base how much of this exercise you practice on your level. If you
are a beginner in middle school, try a little bit of the first line. If you are a more advanced
high school student, go for the entire exercise and see how much you can do. Always listen to
your body and stop after 3 tries of a high note, avoiding injury. Begin slowly and speed up the
tempo as you get more comfortable with the intervals.

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Double and Triple Tonguing

In multiple tonguing, we intercalate the regular articulations “ta – ta – ta,” which are produced
by separating the sound with tongue, with “ka – ka – ka,” which are produced by closing the
back of your throat. This allows us to play fast articulated passages with ease. If it is hard to
grasp this concept by reading, simply say out loud “take a trip”. Now say, “take a take a trip”.
Notice what the back of your throat does when you say the “ke” part of “take a trip.” That is
exactly how you will separate the notes on the “k” part. Double tongue patterns are done as “T-
K-T-K…” and triple tonguing patterns are mostly done as “T-T-K-T-T-K. Some people prefer to do
triple tonguing as “T-K-T-T-K-T” and some people even double tongue triple patterns. All that
matters is that the K part of your articulations sound as clear and as close to the T part of the
articulation as possible. Choose what works best for you. Don’t get stuck only on the
consonants “ta-ka” or “tu-ku,” also try tenuto consonants such as “du-gu” or “do-go,” etc.

If you have never tried double or triple tonguing, begin with these exercises from Arban’s
below; there are many more in the book. Begin very slowly, at 60 bpm or less. Speed up a little
every day. After they feel somewhat natural to you, try them on the Clarke Studies.

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Herbert L. Clarke was a celebrated cornetist and composer. In his book Technical Studies for the
Cornet, we can find a great variety of exercises for articulation and finger dexterity. The
exercises present scalar material and are an excellent source for strengthening your scales and
arpeggios.
There are various ways to practice Clarke’s studies. I like to play through all keys of study
number 2 starting from the low C, going down to low G, then back to low C, and up to middle C.
I use this exercise to go through fast simple tonguing and double and triple tonguing. I find it to
be an efficient way to get a variety of articulation practice in a short amount of time.
I play 4 repeats: slurred, single tonguing, double tonguing every other note, and triple tonguing
or double tonguing each note. You can ultimately do the four repeats in one breath or do two
repeats and take a breath. The goal is to play through all types of tonguing and making your Ks
sound as clear as your Ts.

First time slurred:

Second time simple tonguing:

Third time double tonguing every other note:

Fourth time double tonguing each note OR:

Triple tonguing each note

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Clarke No. 2

Tip: If you are having a hard time getting your Ks to speak clearly, try practicing some of
Arban’s exercises only on Ks. It will feel very awkward at first, and you may get tired very
quickly. But with persistence, you will strengthen the muscles involved in the K production.

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Tip: Try playing this exercise in minor keys and different modes. Try switching to different
rhythmic groups as well. Be creative!

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Flexibilities/Lip Slurs
Flexibilities or lip slurs are essential to embouchure building. Every trumpet method has its own
version of exercises. In fact, there are entire methods dedicated only to this topic. It is helpful to
learn to recognize what types of flexibility exercises are out there and their different purposes
so that you can add and adjust your practice routine based on your needs.

Long range flexibilities

Long range flexibilities are flexibilities between large intervals such as fourths, fifths, and
octaves. They are useful for sound control, support control, and timing of changes. The example
below is from Max Schlossberg’s Daily Drills and Technical Studies. Mr. Schlossberg was a Latvian
trumpet player who taught and performed extensively in the United States. He played at the
New York Philharmonic under Gustav Mahler and Arturo Toscanini.

It is very important to observe the marked fingering for all the flexibilities exercises. In most
cases, you will be playing on “false positions,” meaning that you will make the changes solely
with your air support and lips without the aid of valve changing. Pay attention to your tongue
position and when moving from low to high partials move it slightly up, as if you were saying
“tah – eeeh”.

From Schlossberg:

Slowly

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Mid-Range Flexibilities

Mid-range flexibilities navigate through the neighboring partials. They are excellent for
endurance building, for minimizing mouthpiece pressure, and for ease in playing through
slurred, legato phrases. The examples below are from Earl D. Irons’ Twenty-Seven Groups of
Exercises for Cornet and Trumpet. Irons was an accomplished cornet player and influential
educator from Texas. Try the following exercises first without the metronome; find a tempo that
you can play with quality but that is also challenging. Then play it with the metronome keeping
track of your progress, speeding it up a few clicks every day. Focus on your corners, on your
support, and on moving the notes with air instead of mouthpiece pressure.

Iron’s No. 7

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Iron’s No. 8

Iron’s No. 9

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Lip Trills

Lip trills are done by moving back and forth very quickly between a partial and its immediate
above neighbor. They can be practiced simply by attempting them for a determined amount of
time.

I have found the exercise below to be helpful to the development of my high range and to play
jazz “shakes” a little more easily. If you don’t have the range for the second half, only play until
the fermata and practice getting the trill faster and easier for a few weeks. Play the high G on
valves 1 and 3 and trill on it as long as you can. Don’t apply more pressure just to keep playing
it. If your muscles “collapse,” remove the mouthpiece from your lips and rest a few seconds
before the next triplet section. When doing the glissando, slide through the partials between G
and D and move your tongue slightly as if you were saying “tah – eeeh – ah – eeh”. If you can
barely move between the G and A at your first attempts, don’t worry, that is normal. Just keep
doing the slow trill for as long as you can. I would not repeat this more than three times per day.
Be prepared to feel a bit tired after it and even on the next day. Once you can play the whole
exercise with considerable ease you can start going a half step higher to Ab, then A, etc.

Lip Trill Exercise:

Short Range Flexibilities

Practicing lip trills or slurred repetitions between two neighboring partials is helpful to build
strength in the muscles by the corners of your mouth. These muscles must work efficiently so
that you can avoid excessive mouthpiece pressure and sustain faster airstreams, thereby
improving your range. If you have never doen this kind of exercise, I recommend the section in
Arban’s dedicated to lip slurs. Here is one example from Arban’s. Start as slow as you need and
always play it with the metronome. Base your tempo on how fast you can play the sixteenth
note triplets; if they feel too difficult regardless of how slowly you play, simply stop after the
measure with regular sixteenth notes. Do that for a while and attempt the triplet sixteenths
once you feel ready.

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Music
Despite the incredibly physical nature of our instrument, we must always have music as our
guide even when practicing the most “unmusical” of exercises. Make sure to always include
etudes, songs, jazz standards, duets, or ensemble music to your daily practice. After all, the
reason we practice fundamentals is to perform our music with ease and without worry. Never
spend a single day without touching music. It is easy to get sucked in by the technical
preparation demands and forget to pay attention to music making. This can lead to burnout and
loss of interest in performing.

Putting It All Together

As I mentioned before, if you plan on getting better and progressing in your trumpet playing,
you will need a practice routine. The way you organize this routine depends on various factors:
how good you want to get, how advanced your playing is, and how much time you are willing to
allocate to daily practice. Some people like to sit down and practice all in one long section, other
people (myself included) prefer to divide their practice into two or more sessions.

Step 1 – Find yourself a notebook.

Have a notebook dedicated especially to your trumpet practice. Record your progress every day
by writing down what exercises you did, what tempos you used with the metronome, and how
playing felt. This will help you to track your progress and keep you honest about the work you
are doing. I also strongly recommend taking notes by hand. There are studies showing that
writing notes by hand versus typing leads to improved memorization of content.

Step 2 – Plan a practice routine but be flexible.

Find times that you have regularly off in your week and that you can dedicate to practicing. It
helps to attach your practice to preceding a class or regular activity. For example, you know that
on Tuesdays you have 40 minutes off before band class. Use this time to do your fundamentals
and make it non-negotiable. Write those times in your calendar just as you do with classes and
any other meetings/appointments. However, be prepared to change your schedule and adapt to
your busy lifestyle when necessary. If you are the overachiever type, remember that you can
give yourself one day off in the week, especially if you do a lot of playing on a regular basis.

Step 3 – Plan your fundamentals.

This is really fun to do. Based on your level and goals, make a list of what you will practice every
day. You can start with a mix of the exercises present in this book. The most important point is
to touch a little bit of the four areas every day: long tones, flexibilities, articulations, and music.

If you are a little more advanced and perhaps a member of a youth orchestra, consider adjusting
your practicing to the repertoire you are rehearsing that week. Don’t practice two hours before

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a rehearsal; instead, do a good 30–40 minute session touching the range and specific
techniques you will be rehearsing, preferably a couple hours before the rehearsal. If you have a
very heavy rehearsal, consider spending three minutes afterwards on some pedal tones to
warm down and avoid stiffness on the following day.

Examples of fundamental routines:

Middle school student, beginner level

Schedule: Morning – Long tones, articulations. Afternoon or evening – Music and flexibilities.

Long tones:

Cichowicz – all lines

Stamp Pedal tones – just the first 6 phrases from pedal F to pedal C, try to get as many as you can, stop if they
don’t speak.

Articulations:

Arban’s – 16, 17 and 18 with neutral, legato articulations. See how easy and fast you can play through them
with a good tone, evenness of articulations, and consistency of sound throughout the register.

Arban’s 16 – Now try number 16 with all different dynamics and articulations. Record yourself and see if you
can hear the articulations that you intended coming across.

Arban’s double and triple tonguing – Play them as slowly as you need, especially if you have never done
multiple tonguing before.

Flexibilities

Schlossberg – Play as much as you can of this, very slowly—around 50–60 bmp on the metronome. Stop if it
gets too high for you. Make sure you are supporting the lines as phrases, horizontally, without “bumping” each
note.

Irons 7 – Practice this with the metronome and remember that speed is not your goal. Set your speed so that
you feel challenged but can follow the metronome. Play as many and as high as you can; stop when/if you
reach your limit.

Music

Practice your band or ensembles music. Practice etudes; there are so many available to you. For ideas, check
out my list at the end of this book.

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Advanced high school student

Schedule: Morning: Long tones, articulations, some easier flexibilities. Afternoon or evening – Music, hard
flexibilities

Long tones:

Cichowicz – All. Focus on centered, resonant sound.

Stamp – All. Focus on big, fat pedal tones and go as high as you can with the arpeggios. Attempt a high partial
three times; if it doesn’t come out, stop.

Articulation:

Arban’s – 16, 17, 18, 47, and intervals. See how easy and fast you can play through these with a good tone,
evenness of articulations, and consistency of sound throughout the register.

Clarke – Play through all the lines on Clarke 2. I recommend 4 repeats: slurred, single tongued, double tongued,
and triple tongued, breathing in between if needed. You can also do a mix and match and dedicate some keys
to slurred only and practice your finger dexterity or practice some keys only on double or triple tonguing,
depending on what is more difficult to you. The metronome is indispensable.

Flexibilities:

Irons – Play through number 7, 8, and 9 with the metronome and remember, speed is not your goal. Set your
speed so that you feel challenged but can still follow the metronome.

Lip trill exercise – Your goal should be to feel your corners “burning.” This is very tiring and that’s why I prefer to
do it after my music session.

Music: Practice your band or ensembles music. Practice etudes; there are so many available to you. For ideas,
check out my list at the end of this book. You might have some auditions coming up for college programs or
youth orchestras, so run your lists, excerpts etudes, etc.

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Methods and Etude Book Suggestions

There are countless trumpet methods and etudes out there, and some of them are public
domain and easily accessible on the internet. Here are some of my favorites:

Method Books

Arban’s Complete Conservatory Method for Trumpet

Vincent Cichowicz, Fundamental Studies for the Developing Trumpet Player

James Stamp, Warm-ups & Studies for Trumpet and Other Brass Instruments

Max Schlossberg, Daily Drills and Technical Studies for Trumpet

Earl D. Irons, 27 Groups of Exercises

H. L. Clarke, Technical Studies for the Cornet

Michael Sachs, Daily Fundamentals for the Trumpet

Bai Lin, Lip Flexibilities: For All Brass Instruments

Charles Colin, Advance Lip Flexibilities

Carmine Caruso, Musical Calisthenics for Brass

Etude Books

Arban’s Complete Conservatory Method for Trumpet (The Art of Phrasing, at the end of the
book)

Giuseppe Concone, Lyrical Studies for Trumpet or Horn

Roger Voisin Voisin - 11 Studies For Trumpet

Phil Snedecor Lyrical Etudes for Trumpet

Robert W. Getchell First Book of Practical Studies for Cornet and Trumpet

Robert W. Getchell Second Book of Practical Studies for Cornet and Trumpet

Advanced Etude Books

Arban’s Complete Conservatory Method for Trumpet (14 Characteristic Studies, at the end of the
book)

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Theo Charlier, 36 Etudes Transcendantes Pour Tromppete, Cornet a Piston ou Bugle en Sib

W. M. Smith, Top Tones for the Trumpeter

E. F. Goldman, Practical Studies for the Trumpet

Oskar Böhme, 24 Melodische Übungen, Op.20

Vassily Brandt, Thirty-Four Orchestral Studies for Trumpet

Eugene Bozza, Seize Etudes Pour Trompette

Marcel Bitsch, Vingt Études

L. J. Vannetelbosch, Vingt Études

Paolo Longinotti, 12 Studies in Classical and Modern Style

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Bibliographical Acknowledgements
Part of the classical music tradition is the passing of knowledge through generations of
performers. All the concepts I present in this short book were learnt from the musicians which I
had the pleasure to work with during my formative years, either as a student through my
degrees or in summer music festivals and master classes. I sincerely thank the following for their
teachings:

Carlos Sulpicio, Fernando Dissenha, Valentín Garvie, Charles Schlueter, Bud Herseth, Alan Hood,
Vince Penzarella, Tom Smith, Kenny DeCarlo, David Krauss, Raymond Mase, Louis Ranger, Kevin
Cobb, Barbara Butler, Charlie Geyer, Paul Merkelo, Philip Smith, Warren Deck, Jerry Peel, and
Michael Powell.

Excerpts from the following methods can be found in this book:

Vincent Cichowicz, Fundamental Studies for the Developing Trumpet Player, page 7

James Stamp, Warm-ups & Studies for Trumpet and Other Brass Instruments, pages 8 - 10

Arban’s Complete Conservatory Method for Trumpet, pages 11- 16, 24

H. L. Clarke, Technical Studies for the Cornet, pages 17 – 20

Max Schlossberg, Daily Drills and Technical Studies for Trumpet, page 21

Earl D. Irons, 27 Groups of Exercises, pages 22 – 23

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