October 2015

Marceau & Cie

Marceau & Cie  Cornet in A

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Here are some concepts to think about, some performances  to give a listen and some things to practice,,,


  • Practice – Scales, scales, scales… OK- then how about doing some arpeggios! J.B. Arban The Complete Conservatory Method for Trumpet : pages142-149. Start with page 142- do three lines per week added to your practice list and gradually work your way through the page. Notice that there are a variety of options for articulation at he bottom of the page. The more ways your practice this material the more useful it will become as you go to sight-read or study new literature. Start slowly and with your metronome. As you gain confidence and know the material, gradually go faster. Whether you are using the Arban, St. Jacome, Gatti, Plog or any other trumpet method, there will be similar material in the book for you to practice arpeggios. After knowing your scales, it is arpeggios and intervals that will have you able to really play well and have fun playing the trumpet. As you practice arpeggios, you will start to realize how often you have played them in solos or band and orchestra repertoire. (Star Spangled Banner; Hummel Concerto; Mahler Symphony No.3, No.5, No. 7; etc.)

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Arpeggios often make up the material of our lip flexibilities, here is one I play almost every day (scale included)! Start with the 1 & 3 valve combination and go up through the valve combinations (23, 12, 1, 2, 0), finish with the appropriate major scale!

lip flex








  • Listening

The Concerto for Trumpet and Strings by Arcangelo Corelli (1653-1713) is a fine example of an early trumpet concerto, noble in character and with movements showing contrast in style. Here are three different interpretations.

Guy Touvron, trumpet


Reinhold Friedrich, trumpet


Håkan Hardenberger, trumpet

Mvt I


Mvt II




Mvt IV


Mvt V


For fun!

If you liked the Corelli, perhaps you would be interested in this Corelli piece too!

Listen to and play: Sonata VII by Corelli arranged by Fitzgerald- you can hear it on:


Contest Solos for young trumpeters – Philip Smith, trumpet Joseph Turin, piano: this recording is available from the International Trumpet Guild



Music- sources:

Corelli: Concerto for Trumpet and Strings


Sonata VII by Corelli/Fitzgerald



  • Of Interest

Many of my friends say this is their favorite performance of the Bach Brandenburg Concerto #2- (encore the 3rd movement too!)- Sometimes you cannot find it, so…

Reinhold Friedrich trumpet soloist,

Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 (Orchestra Mozart, Claudio Abbado)



It is always to have a great example in your mind when going to practice. A challenge to your technique and musicianship, the Carnival of Venice is one of the pieces that clearly says why we practice. Watch how relaxed and wonderful the Carnival of Venice can be when performed by this terrific player.

Sergei Nakariakov trumpet

Carnival of Venice by Arban



No matter in what register you are playing, you want to sound like what you are playing is musical and easy to do. Here is a wonderful model to copy.

Matthias Höfs, trumpet and Wolfgang Zerer, harpsichord

J.S.Bach: Sonata E flat Major, BWV 1031; H. 545 – II. Siciliano



  • Re-Visit

As my students return from their summer off and new students arrive, I like to re-read inspiring things and instructive books to get me thinking about the process of practice and teaching. Luis E. Loubriel’s book Back to Basics for Trumpeters: The Teaching of Vincent Cichowicz (Scholar Publications 2009) is such a book.

Two things that resonate with me are a vocal approach to playing lyrical passages and articulation exercises. Lyrical studies could be taken from The Art of Phrasing section in the Arban book or the use of vocalizes by Concone or Bordogni. For the articulation studies, the scale patterns of Ernest Williams are mentioned. The scale patterns themselves are simple and the transition from slurred to tongued seemed easy to accomplish in the manner explained (an additive manner of increasing the number of tongued notes – see page 119).

Secondly, the importance of developing a tension free breath. Having a player stop midway in the performance of an exercise and talking- is the voice relaxed (see page 85)? A relaxed manner of playing helps all aspects of a player’s performance.

There are so many helpful ideas in this book. Each time I read the book it helps to focus on issues that I want to refine in my playing. Any book that makes issues easier to resolve and makes me want to practice more is a good read in my opinion. Get this book!