The Burke Method

The Burke Method

Drew Burke 07/24/2015 1

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This collection is dedicated to Ms. Teresa Elliott and the trumpets of the 2015 Paul Laurence Dunbar High School Marching Band, for whom it was created

Jacob Chafin

Dustin Voss

Derby Carter

Sam Foley

Jacob Volk

Luke Ernst

Jacob Caudill

Mary-Margot Ventura

 Abraham Mendoza

 Austin Banfield

 Amanda Alger

Sam Scott

Maddie Baseheart

Royal Mayes

Megan Jones

Colin Banks

This collection is also dedicated to my mentors, Ms. Frances Lotz, Mr. Matt Moon, Mr. Greg Wing, Mr. Brad Kerns, Mr. Chase Hawkins, Mr. Vince DiMartino, and Dr. Jason Dovel, all of whom have shaped my playing and teaching. Thank you. 3

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Table of Contents

Introduction……………………………………………………………………… ..7 How to Use this Collection…………………………………………………….8 The Sound………………………………………………………………………….. 9 Exercises for the Air Speed vs Lip Tension Balance………………..10 Flow Studies & Long Tones………………………………………………….. 11 Exercises for Flow Studies…………………………………………………..12 Exercises for Long Tones…………………………………………………….13 Exercises for Finger Dexterity & Flow…………………………………..14 Exercises for Lip Flexibilities……………………………………………….15 Exercises for Articulation and Accuracy……………………………….16 Exercises for Single Tonguing………………………………………………17 Exercises for Double Tonguing………………………………………..18-19 Exercises for Triple Tonguing……………………………………………..20 Extended Technique…………………………………………………………...21 Scales……………………………………………………………………………..…22 Etudes and Solo Literature…………………………………………….. 23-26 Closing Remarks………………………………………………………………..27

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Introduction First off, the value of any method book is not in its exercises – we have plenty of those in the trumpet world from Clarke to Arban, from Schlossberg to Shuebruk, and from Goldman to Glantz. That being said, the value of any method book is the ideology , the teaching, presented in that book. It is simply my goal to present the things I have learned in a way that is accessible for other trumpeters in all levels of development. The main point here: READ the accompanying material before you play the exercises, for it is only through a knowledge of what  we are doing that we can truly accomplish improvement.

Secondly,  you must practice all of the materials within this collection every day in order to make improvements; however, THAT IS NOT ENOUGH. You must practice them with a complete self-awareness of what you are doing and WHY. Be disciplined! Read the materials every time you practice them until you can say the paragraphs word for word. This is the most efficient way to make improvement, both mentally and physically. A fundamentals routine is crucial to your development. After you are used to these exercises, you should be able to get through a routine with intense focus and discipline in no more than about an hour and a half.

Thirdly, these exercises are NOT a warmup. There should be a clear delineation  between your warmup (what you do to get yourself going for the day) and a routine of fundamentals that improve your playing. The warmup is what you see the football team doing on a field just before a game – they’re getting their muscles going and blood flowing. The fundamentals routine is the weight lifting done every day to prepare the football players for the game far in advance – without the weight lifting, they will get clobbered by the other team. Don’t get clobbered. Be prepared on game day, but don’t do your entire fundamentals routine as a warmup – you’ll have no gas for whatever it was you were warming up for!

Fourth, remember WHY you are practicing. To get better?

To do well so all your friends know? The goal of music is so that we can reach another human being on a deep emotional level. We practice so that we can achieve the means and technique to accomplish this goal.

Lastly, HAVE FUN! If you’re not enjoying the music you are playing, everyone knows. Yes, it is a very intense and practiced discipline, but sometimes we need to remind ourselves why we do it in the first place – put incredibly simply, because we enjoy it, we love it, and we want to share it.

Enough talking, let’s get started 7

How to Use this Collection This book is a collection of exercises utilized by trumpet players all around the world every day. I compiled this book to provide a resource for trumpet players to have all the essential elements of trumpet playing in one location, along with some of the ideology behind each exercise included with it. In this way, we can understand WHY these exercises exist, which will make our playing of them more effective and our improvement much more efficient. In this collection, there are pages about certain topics and pages with certain exercises. I urge  you to read all of the information before playing anything in this book and continuing to read them for the first few weeks of utilizing this resource. Refer back to these pages often in order to retain the knowledge needed to succeed with these exercises. Here is a suggested list of exercises for both a warmup and fundamentals routine. Note: you can and should adjust these according to your personal needs on each individual day. For example, if you’re having especially fluffy articulations one day, spend more time on articulation exercises in order to refocus yourself for the day. For something as important as a fundamentals routine (remember, EVERYTHING is based on fundamentals), keep a practice journal in order to track your progress. Make each day  better – bump the metronome a few more clicks, hit a few more notes on the accuracy study, take deeper breaths. Be conscious of all of these details and be disciplined – all aspects of your playing are important enough to be written down.

Check the table of contents (pg. 5) for location of exercises.

 Warmup:

Daily Routine:

Breathing (2-3 minutes, focused, “OH”)

Breathing

 Air Speed vs Lip Tension (1-2 exercises)

 Air Speed vs Lip Tension

Flow Studies (Up to G)

Long Tones/Flow Studies

Lip Flexibilities (Up to G)

Finger Dexterity & Flow (Clarke)

 Articulation (1-2 exercises)

Lip Flexibilities (Schlossberg)

Extended Flow Studies (high as comfortably possible – no strain)

 Articulation & Accuracy (Shuebruk)

 Adjust accordingly; this should take no more than perhaps 20 minutes.

Single Tonguing (Goldman #1, Arban) Multiple Tonguing (Arban) Extended Technique Scales Etudes Solo Literature & Excerpts

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The Sound  Your sound is your MOST IMPORTANT QUALITY as a musician. Never forget that. It is that simple – sound is the most important and should always be your number one focus. EVERY exercise is an exercise in tone quality. Always. How do we accomplish a  beautiful trumpet sound? Breathing, air speed, and lip tension – these are the three most important factors in quality trumpet playing.

The Breath First and foremost, the trumpet is a wind instrument. Without air, the trumpet can produce no sound. That being said, the way that we breathe is the most important and most fundamental part of everything we play as a trumpet player. So how do we breathe? The ONLY way a breath should EVER be taken by a wind musician is with an open throat, making an “OH” sound upon every breath. It is only  with this open throat that we can produce an open sound – this part is essential. A trumpet player’s sound should NEVER be pinched, tense, or lazy. The first and foremost way to accomplish this is with an open throat on the inhalation. NEVER take  breaths that are quick, sharp, shallow, or loud. An open breath will almost always be soft, or even silent! Rather than produce an actual breathing exercise, I will refer you to quality products such as The Breathing Gym, but more importantly remember – EVERY exercise is a  breathing exercise. Every sound produced on your trumpet should be preceded by a quality breath. PERIOD.

 Air Speed vs Lip Tension  Air speed and lip tension are the two factors that will always be at play in trumpet playing. The majority of trumpet players play with their lips spread too far, meaning that their aperture (the hole between the lips when playing) is too large, causing too much muscular strain while playing. If lip tension is increased, air speed can be controlled. There are many great exercises for this, I like exercises from Jim Thompson’s Buzzing Book – on the next page are 4 exercises of his.

“Open Breath, Open Sound” 9

Exercises for the Air Speed vs Lip Tension Balance The following exercises are Jim Thompson’s first four Buzzing Book exercises. These teach us how to control the balance between air speed and l ip tension. For these, you MUST use both a metronome and a tuner. There are also accompaniment tracks available at http://www.editions-bim.com/james-thompson-the-buzzing-book-for-trumpet.html. On each of these,  you are going to push the limits of your dynamic range, so take breaks. Most days, I only actually play two of them. Take your pick – rotate it around. You SHOULD feel tingly, don’t be afraid of that, but don’t spend too much time on these. Never play them more than once a day. Specific instructions: play comfortably. When crescendos and decrescendos are marked, go from your smallest dynamic to your largest and vice versa. FOCUS your air – use constant air speed to achieve a constant pitch (this is what the tuner is for – to keep you honest on pitch) and a constant tone, even in the mouthpiece. Over time, eliminate as much air from the mouthpiece buzz as possible. These exercises are teaching you control over the air speed vs lip tension balance – the crescendos, decrescendos, and glissandos (IF you will push your limits on each of these) will, over time, give you 100% control over your air, which will allow you to control your tone.

STOP: DID YOU READ THE ABOVE PARAGRAPH? IF I CALL YOU RIGHT NOW, CAN YOU TELL ME HOW THIS EXERCISE IS HELPING YOU?

No. 1 – Mouthpiece Only

No. 3 – Mouthpiece Only

No. 2 – Mouthpiece then Trumpet

No. 4 – Mouthpiece Only

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Flow Studies & Long Tones Flow studies help us develop just that – flow. Flow of air, flow of sound. These may be the most valuable exercises in the stacks and stacks of trumpet methods. Developed by  Vincent Cichowicz, these exercises are great for both warmup & fundamentals routines.  When playing these, think horizontally, not vertically. Nothing about your own playing is vertical. Everything should be played as a long tone. The air should never stop moving, especially  when changing notes. Don’t “slot” the notes. Resist the temptation to alter the air in a way that causes bumps on each note. Constant, directional flow of air horizontally. For flow studies, we can also practice range. In this regard, when playing flow studies, decrescendo as the line goes up and think about the letter “M” with your lips (when you say “M,” your lips come together, closing the aperture – this forces the air to move faster, resulting in higher pitches). If you think of saying the letter M as you ascend up the line AND decrescendo, you will begin to practice the proper usage of air necessary to play the higher register of the horn with an open sound.  WHY? Increased lip tension (think M!) and increased air speed allow higher pitch without using muscles of the  body to squeeze/force the air to go at a faster speed.  A relaxed body is a relaxed sound. This is the goal! “Long tones” generally refers to exercises where one holds a note for a predetermined amount of time. For these, we generally are focusing on maintaining pitch and tone quality, as well as controlling the airstream. However, these are isometric exercises, meaning that you hold one position (the note) for a long time. These can be extremely detrimental to one’s playing, as well as very physically taxing. That being said, I find it  best to actually include long tone exercises, as opposed to flow studies, approximately twice a week. Any more than three days a week will ultimately cause a loss of stamina and endurance, while less than that allows for a gradual building of the muscles necessary to play trumpet for extended periods of time.

“Nothing about your own playing is vertical; think horizontally always.” 11

Exercises for Flow Studies Both sets of flow studies should be practiced in all seven keys allowed by the seven valve combinations – starting with G, followed by F#, F, E, Eb, D, and C#. First, there are the Cichowicz Flow S tudies; for instructions, read the previous page.

Then, there is a set of modified flow studies developed by my teacher, Dr. Jason Dovel, at the University of Kentucky. For these, be sure to think “M” and decrescendo while ascending and be sure to blow a constant, horizontal, unchanging stream of air t hroughout, including coming back down (crescendo!).  Avoid the temptation to “slot” each note and be self -disciplined – if you do, try it again and try to work out the kinks.

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Exercises for Long Tones There are two sets of exercises for long tones – one for beginners, one for the intermediate to advanced student. Do not be afraid of the very high notes – play until you are no longer comfortable. I generally go for a three strikes rule: if I miss a high note three times, I just let it go and move on. These are taken from the Bill Adam Routine taught to me by Mr. Greg Wing at Morehead State University. I set my metronome to 80 and hold each note for 12 counts, then rest for 12 counts, then play the next note and so on. Focus on pitch control, dynamic control (play at different volumes – experiment with the extremes of your dynamic range!), and maintaining the air speed necessary to keep these things focused. For more instruction, refer to page 11.

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Exercises for Finger Dexterity & Flow   A great next step in the fundamentals routine is the Clarke book. For this, I highly recommend purchasing the book. However, included here is an excerpt of the first exercise, modified by Greg Wing at Morehead State University. These are great because you can focus on both finger dexterity – get those fingers moving and up the tempo each day – and flow – these are still long tones. Why? Because EVERYTHING is a long tone. As usual, think horizontally at all times. Change fingers, not air. For the repeats: when you run out of air, stop for just a second, refill with a nice “OH” breath, and continue where you left off. Play until it is comfortable. These are also a really good way to train yourself to be able to change notes at incredibly soft dynamics – so practice that as well! Challenge yourself even further – practice these tongued, too!

The exercise continues, starting from a different note each time in the pattern. For the entire exercise, purchase the book from any distributor. With Mr. Wing’s modification, after reaching A on the second space, the exercise can also become a range exercise – remember, think M and think decrescendo as you go up – this teaches your air to do what it must do in order to play high at large volumes as well. Fast, but not furious, air.

“Change fingers, not air.” 14

Exercises for Lip Flexibilities Lip flexibilities are a major portion of a b rass player’s strength and development. Here’s the good news – you don’t have to be strong to be flexible. Think about bodybuilders – typically, the more muscle they have, the less flexible they are. Lip flexibility exercises must be thought of in the same way. If muscled out, these exercises become completely counterproductive. There are many things to keep in mind during lip flexibility exercises. We will work by example– these should all be played in all seven valve combinations starting with the “open” fingering that is notated and moving down by half step. Then, the entire exercise is repeated starting from the next partial up. This is shown for the first so that you may see how the subsequent exercises should be played. These are taken from the Schlossberg Daily Drills and Technical Studies for Trumpet book. This exercise should be continued to higher partials (for example, the next would be E-G-low G, then G-high Cmiddle C, etc) while maintaining a beautiful sound – this is the goal at all times.  When playing this exercise, play a strong mf  first note, blow into the higher note by thinking the letter “M” for a correct embouchure or perhaps a higher tongue arch, then crescendo into the low note. This will teach you how to properly use your air for moving notes.

For the following exercise, think crescendo into the low note – this will make it easier to come back up into the higher notes. Remember, always think horizontally with the air. This is a long tone, like everything else you play. Use your tongue arch to change partials – to practice this, hiss. Yes, hiss. Hissing places the back of the tongue where it should be at the top of your range for an exercise. Experiment with the arch of your tongue – you use it to manipulate the air. The higher the arch, the faster the air  will move. Using this to accelerate the air allows the remainder of the body to remain relaxed– this is essential to proper tone production. Remember to transpose these: after reaching the end of the exercise, begin again on the next partial up (starting C-E-CG-C-E) and go down in half steps, as notated. Then start again the next partial up and so on until you can no longer produce a  beautiful quality of sound.

For the following exercise, you will always start on low C, adding a partial each time. For these, start strongmf , decrescendo into the top notes, and crescendo back down into the low notes. This will teach you how to control your air among notes – use the tongue.

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Exercises for Articulation and Accuracy For this, we use the Shuebruk exercises – these are so incredibly valuable. These exercises teach  you how to start notes in a consistent manner, as well as how to have your embouchure and air stream set for various notes. In order to produce a good sound, the articulation – the beginning of the note – must be clear. The tongue should be in place on the roof of the mouth just behind the teeth prior to the  blowing of the air. On the inhalation, the tongue naturally moves out of the way, then, in a split second, the tongue replaces itself back on the roof of the mouth, the exhalation starts (you begin to blow the air back out), and then, to start the note, you simply move your tongue out of the way. It is not harsh, it is not splatty. All you must do is move the tongue out of the way. Read that a few times and practice articulating on an air pattern to create a nice Too articulation. For the following Shuebrek exercise, I like a tempo of quarter note equals 80, though 60 may be preferred at first. Each note should be tenuto. Pull the horn  just off the face on beat two. Set it back on 3. Take a full “OH” breath on 4. The unwritten trick here is to have three consistent articulations in a row  on a singular note before moving on to the next. For this to be successful, you must be 100% disciplined. This is also a great exercise to practice dynamic range. One day, play them all mp. The next, play all f. Or mix it up! Be creative, have fun. But be consistent. Make sure that whatever you decide to do is exactly what comes out of the horn – this is how control is developed. In addition to that articulation, this teaches us how to have our embouchure and air speed ready the exact moment you begin each note. Specifically, this exercise teaches us how to play higher and lower registers  with good accuracy and, with good  breathing and relaxed tone production, a  beautiful sound. For more, seek out Shuebruk exercises 2 and 3 as well.

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Exercises for Single Tonguing Now that we’ve learned to produce a clear Too articulation, we should also work on a Doo articulation. Doo articulations are often used in tenuto tonguing as well as lyrical playing. It is a softer, more delicate  way to start the notes. Practice saying Doo without the trumpet before attempting to play it. A good exercise to practice this is the Glantz. This is great for practicing Too and Doo tonguing. However, it is crucial that you continue to think horizontal air, even while moving notes. Play it all slurred first (watch  your tempo! Play comfortably!), then Too, then Doo.

The Shuebruk exercises are a great way to develop a clear articulation on every note. The following exercise is the first from the Goldman book. This exercise is a great way to build our tonguing endurance – being able to play the whole page down without getting tired – and tonguing speed. Find a tempo at  which you can play comfortably. As you get tired (and you will! It’s a whole page non-stop!), don’t let the articulation get fluffy. Keep a nice Too articulation.

 Another great exercise to practice single tonguing is what trumpet players like to call “one-minute drills.” First, take a metronome, and figure out at what tempo you can single tongue sixteenth notes the absolute fastest. Then, back the tempo off 20 clicks. Take a nice “OH” breath and single tongue sixteenth notes on any pitch for a solid 60 seconds. Be sure to maintain a consistent Too articulation with each note. You will get tired. You will lose time. Just stop, take a quick “OH” breath, and keep going. Do this until the minute is up. This is a great  way to improve your tonguing speed and endurance, as the tempo should improve gradually over time, as well as your tonguing strength.

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Exercises for Double Tonguing  As you have probably heard, double tonguing is used to play quickly articulated passages that would be too difficult to single tongue. This is accomplished by articulating the first note Too and the second K oo. I want you to think of K oo as not being very far back in your mouth. In fact, K oo articulations should only be about halfway back. In order to double tongue, the K oo syllable must first be isolated a nd practiced. This exercise, taken from Matt and Ben Harloff’s  Inside the Circle, can be used to practice K oo articulations. Put the metronome at 80 and discipline yourself to start every note with a clear K oo articulation. This entire exercise is beneficial, but repeating the first bar of the second system will be most  beneficial.

Once the K oo syllable is developed, we can begin to combine it with Too in an alternating Too-K oo pattern: this is how we double tongue. Any trumpet player will tell you that Arban’s pg. 175 is the best place for double tonguing exercises. Take them slowly and really focus on the clarity of the articulations. Gradually – and I mean gradually – speed it up, focusing on clarity, not speed.

 When changing notes, nothing else changes, especially the air. Keep it flowing!

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For the following exercise, set the metronome, slur it and play it as eighth notes so you get the feel for how the air should flow – it’s still a long tone! Then play each one double tongued. Slur a phrase, double tongue a phrase, slur the next phrase, tongue that phrase, etc.

For the following exercises, we’ve finally graduated to changing notes on every syllable. Keep thinking long tone. Crescendo the air as you go up – this will help counteract any resistance you might feel for using the K oo syllable. Don’t rush this – play it slow and don’t start this exercise until you’ve mastered those before it. Be disciplined!

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Exercises for Triple Tonguing Like double tonguing, the best exercises for triple tonguing are in the Arban’s book. For triple tonguing, I like to practice both “Too-K oo-Too” and “Too-Too-K oo” patterns, as both are useful in music. Just like double tonguing, take the following exercises very slow, focusing more on the evenness and clarity of articulation than speed. If you can master that at a slow tempo, picking up tempo click by click will be easy! For more exercises than those provided, refer to the Arban’s book, which is now public domain and can be found on the Internet for free!

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Extended Technique  When it comes to extended technique, I like to choose one to focus on for about a week in my fundamentals routine, work on it as diligently as anything else, then move on to something else, occasionally revisiting the techniques I have practiced before. The best location of any and all technique exercises you may need are online for free in the Arban’s book: (http://imslp.org/wiki/Method_for_the_Cornet_%28Arban%2C_Jean-Baptiste%29) Here is a list of the techniques that should be practiced at some point. However, please keep in mind that every  technique exercise is still an exercise in breathing, articulation, and tone. Take “OH” breaths at all times. Think horizontally with the air – blow a steady stream always. Incorporate these characteristics into every exercise and train  yourself to be disciplined. If you think of these things every time you pick up the trumpet, you will develop wonderful habits. Turns – pg. 99 Double Appoggiatura – pg. 104 Simple/Long Appoggiatura – pg. 106 Short Appoggiatura – pg. 108 Portamento – pg. 110 Trill – pg. 111 Mordent – pg. 120 Intervals (super important!) – pg. 125 Broken Octaves – pg. 131 Triplets – pg. 132 Rhythmic Figures – pg. 137  Arpeggios of all kinds – pg. 142 Cadenzas – pg. 152

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Scales It’s a scary thought for most of us, but scales can be one of the best means to improving  your playing. There are thousands of ways to practice scales. Yes, thousands.  A great first step is to simply learn all of your major scales. Keep it simple – learn the notes.

I really like the Trumpet Scale Workout used by the Cincinnati College Conservatory of Music trumpet studio under the direction of Alan Siebert, which can be found here: http://ccm.uc.edu/music/woodwinds_brass_perc/trumpet/studio_class/_jcr_content /MainContent/download_3/file.res/Trumpet%20Scale%20Workout.pdf  This is not something you play through every day. I would recommend picking, at minimum, two scales a week when first learning. After learned, I would do two a day and review on the seventh day of the week!  After major scales, be sure to get chromatic, then natural minor, harmonic minor, and melodic minor. Want more? There are plenty more scales to practice. It could be  beneficial to work on major scales in 3rds and 4ths. Whole tone, octatonic, hexatonic – the scales never end. Want to play jazz? Start working on the modes: dorian, mixolydian, etc. After learning major and minor scales, seek out the advice of a teacher as to where to go next. REMEMBER , though scales may feel redundant and boring, they are crucial to your playing. Everything is built on scales. The scale above, to me, looks like a great way to practice (slurred or tongued) my ascending air patterns – thinking “M” to close my aperture and raising the tongue arch while keeping a big open throat thanks to my “OH”  breath. Scales can directly be used to test any of the skills learned so far throughout this  book.

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Etudes and Solo Literature Etudes are a great way to apply everything we’ve learned in our fundamentals routine. Etudes often focus on a single aspect of our playing, such as Charlier’s Du Articulation, or just aims to get you playing things other than the same old exercises. Solo literature is the way we show off our hard work to an audience. In college, music majors are required to perform a jury per semester, consisting of a piece of solo literature pla yed for an audience of the school of music’s faculty. To pick out the most appropriate etudes and solo literature for your playing, it is best to consult a teacher. There are thousands of both out there and it can be hard to sift through it. However, more experienced trumpet players, such as  your teachers, generally have an idea of what would be appropriate for you. That being said, I am also a firm believer in what has been called a “reward piece.” If you find a piece you really like on YouTube, iTunes, etc, but you know it is  beyond your reach, that is ok! You have a goal! Buy the piece and work on little bits and pieces at a time. As your fundamentals improve, you will realize that maybe this reward piece isn’t so out of your reach. Again, consult your teacher to find literature appropriate to your needs, whether it be a jury performance, solo and ensemble, or maybe even college auditions. The next few pages includes a decently comprehensive list of solo literature for trumpet; it would be wise to look them up and find the ones you like and don’t like.  Addison

Concerto

 Albinoni

Concerto St. Marc Concerto in F Major

 Albrechtsberger

Concertino in Eb

 Anonymous

Gervaise — Seven Dances

 Arban

Carnival of Venice

 Arnold

Concerto

 Arutunian

Concerto

 Antheil

Sonata

Bach, J.C.

Sonata in Eb

Bach/Fitzgerald

Bist du bei Mir

Bach/Fitzgerald

Suite

Bach/Thilde

Concerto in G minor

Bach/Davidson

Who Sits at the Right Hand

Barat

Andante and Scherzo

Bellini/Thilde

Concerto

Bentzon

Sonata

Bernstein

Rondo for Lifey

Bitsch

Variations on a Theme by Scarlatti

Bloch

Proclamation

Boehme

Konzert in F Minor Russian Dance

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Bozza

Caprice Concertino Rustiques

Brandt

Concert Piece No. 1 & 2

Caccini

Amarilli mia Bella

Camphouse

Lied

Challan

Variations

Chance

Credo

Charlier

Solo de Concours

Chaynes

Concerto

Clarke, J.

Trumpet Voluntary

Clarke, H.L.

Various Cornet Solos

Copland

Quiet City

Corelli Fitzgerald

Sonata VIII

Custer

Rondo

Davies

Sonata

Dello Joio

Sonata

Enesco

Legend

Fasch

Concerto

Fioco

Allegro

Fitzgerald

Ballad Burlesca Concerto in Ab Minor Modern Suite

Frackenpohl

Sonatine

Francaix

Sonatine

Gabrielli, D.

Sonatas (6)

Genzmer

Sonatine Concerto

Giannini

Concerto

Gibbons

Suite

Goedicke

Concert Etude Concerto

Hamilton

5 Scenes

Händel/Fitzgerald

Adagio and Allegro 24

Händel/Musser

Sonata

Händel/Thilde

Concerto in G minor

Händel/Tarr

Suite in D

Hartley

Sonatina

Haydn, Joseph

Concerto in Eb

Haydn, Michael

Concerto in C Concerto in D

Hidas

Trumpet Fantasy

Hindemith

Sonate

Holmes

Sonata

Honegger

Intrada

Hovhaness

Prayer of St. Gregory

Hummel, Bertold

Sonatine

Hummel, J.N.

Concerto in E (Eb)

Ibert

Impromptu

Jolivet

Concertino Concerto No. 2

Kennan

Sonata

Latham

Suite

Lovelock

Concerto

Martini

Toccata

Martinu

Sonatine

Mendez

Virgin de la Macarena Scherzo in D Minor  Valse Suriano

Molter

Concertos 1,2, & 3 Symphony

Mozart, L.

Concerto in D

Nelhybel

Golden Concerto

Neruda

Concerto in Eb

Pakhumutova

Concerto

Peaslee

Night Songs

Peeters

Sonata

Persichetti

Hollow Men

Plog

Etude de Concert 25

Purcell

Sonata

Querfurth

Concerto

Ravel

Pavane

Richter

Concerto in D

Riisager

Concertino

Robbins

Mont St. Michel

Ropartz

Andante and Allegro

Sachse

Concertino

Sapieyevski

Concerto Mercury

Scarlatti/Fitzgerald

Suite

Schubert

Ave Maria

Stevens

Sonata

Suderberg

Ceremonies VII & VIII

Tartini

Concerto in D

Telemann

Concerto in D Heroic Music

Thome

Fantasy

Tomasi

Concerto Triptyque

Torelli

Concerto in D Sinfonia G. 1

Tull

3 Bagatelles Concerto No. 2 Sonata

Turrin

Caprice Escapade

 Vivaldi

Concerto in Ab Concerto in Bb

 Viviani

2 Sonatas

 Welcher

Nocturne and Dance

 Werner

Suite Concertante

 White

Sonata

 Wilder

Trumpet Suite Sonata

Zaninelli

Autumn Music 26

Closing Remarks First and foremost, I hope you find this book useful. As a young trumpet player, I wish I had had a compilation of resources at my disposal. I hope that having all of these in one location is convenient for you and encourages  you. Secondly, I hope you find this book helpful. Not only was it a project of convenience, but also a project of efficiency. I have seen compilations of exercises that contain just that, the exercises. However, I hope you find the explanatory sections of this method helpful in practicing these exercises so that your improvement will move along much more quickly than you had ever thought possible. Next, I’d like to offer up my contact information: I can be reached at (606) 794-0720 via text message or [email protected]. I welcome both modes equally and hope to hear from you with questions, concerns, and comments. Last, some thanks are in order. First to you. If you’re reading this, wow,  you must really have some time on your hands. Just kidding. THANK YOU for reading this entire book. I hope at this point you have gained something from it and that you continue to use it as a resource. I’d like to thank, yet again, Ms. Teresa Elliott and the trumpets of the 2015 Paul Laurence Dunbar High School Marching Band for investing in me as a teacher. I have already enjoyed my time with you more than I can say and am so grateful for your attention every day and your willingness to learn.  You are pushing me to become the teacher I hope to, and know that I can,  be with the guidance of Ms. Elliott, whom is already becoming a trusted mentor of mine. Every student I ever teach will succeed because of you and the trust you put in me. For that, I will be forever grateful.

Thank you.

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