Flexibility
Routine I 2A and 2B focus on lip flexibility in the low register. Steady even air flow with subtle change in lip tension are key to developing ease of execution. The more you glide on the air the better the sound and the smoother the connections between the notes will be. Always use a metronome.
Routine II begins simple middle register lip flexibilities. Alternating direction of the valve combinations up and down can help keep you relaxed. 2C adds some tonguing – remember to keep the tip of your tongue forward and behind your top front teeth.
Routine III adds variety in both pulse and rhythm. 2A is in a triple meter and can be played “in 3” or “in 1”. In 2B be sure to sub-divide the rhythms (dotted eighth and sixteenth) for accurate execution.
Routine IV is the Intermediate Routine-2A is middle register lip flexibilities as before. 2B could be slurred for variation but it is somewhat of a long tone drill in disguise. Be sure to only go as high as your present range allows- this may take you some time to master! In any of the valve combinations this is challenging and good ear training too, be persistent.
Routine V– 2A and 2B are also in a triple meter. I like these because the meter helps me to keep the air flowing. The emphasis in 2B on the first eighth gives it a different feel too. 2C is fun because of the tongued notes placed in between the lip slurs seem more they might occur in a piece of music.
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Routine VI contains two exercises that I think of as lip “tongue twisters” as they alternate directions and go faster and faster (2A and 2C). They were designed to assist me in playing a piece by Bozza. 2B is also a lip flexibility/ long tone exercise in disguise. Dynamics add to the challenge. Again, play only as high as you can with “Best Sound”. Perhaps choose only two valve combinations to play the first few times through the routine.
Routine VIII– Among my favorite lip flexibilities are 2A, B and C. The alternation between eighths and triplets in time will tell you if the lips are responding correctly. I feel that lip flexibilities add to my endurance and make me a stronger player physically on the trumpet.
Remember: SLOW IS GOOD, FASTER LATER AND ALWAYS WITH A METRONOME!!
