In Praise of Scales for Beginning Trumpet Players

On December 14, 2023 By Brian ReichenbachIn Music pedagogy, Practice, Repertoire, trumpet skillsLeave a comment

Learning a variety of scales is essential for all successful instrumentalists. These are the building blocks of our music-making. It is never too early to start learning scales. In fact, it’s the perfect place to start! Why??

Almost all music is created with a limited collection of pitches. When these are arranged in order you get a scale!
Practicing scales builds the motor coordination needed to reliably produce pitches in musical time.
Scales help our ears connect with the different roles that each pitch plays within the context of a key.
Scales can be used to strategically extend range both higher and lower.
Even young students are able to play in many more keys than most teachers realize. This builds confidence and prepares them to approach keys with more sharps or flats without fear.
Once a student knows a scale, it can be used to develop any number of techniques when strategically varied, such as with articulation and dynamics.

In my teaching of beginning students, I start out with a five note scale from C to G. Once that is achieved, I add one note to the top, progressing slowly so as to develop a good sound and to discourage tension. It may take several weeks or months to play up to a full octave. That’s okay. I then use the Beginning Scale Sheet below to move students through several keys, developing both range and familiarity with different fingering combinations.

A few other suggestions:

A steady tempo, no matter how slow, is essential for learning scales. Playing them out of time indicates poor motor control and renders them useless when applied to real music.
Pay attention to breathing. Encouraging students to play in one breath will promote reliable control of both the fingers and the air. This inevitably results in better sound production. At first, strive for just going up or just going down in one breath. Then, aim for up and down in one breath. Surprisingly simple goals like this provide excellent motivation for young students
Practice scales, first slurred and then tongued. Slurring eliminates the challenge of coordinating the tongue along with everything else. But articulation should be added soon so as to develop an immediate release of the air and coordination between tongue and fingers.
I use scales along with lip slurs to develop range in different ways. They also present two interrelated ways to approach the trumpet – one based on moving within a partial using valves and the other moving across partials with only the air and lips.

Unfortunately, many beginning band methods introduce only a narrow selection of keys and scales in the prioritization of other things. However, I find it incredibly empowering for students to learn multiple scales. It primes them for what is up next. If you really want to open up the doors for more repertoire, greater technique, and a true freedom of expression, scales are essential!

beginning-scale-sheet Download

Inspiring Musicianship: String Playing Influences in H.L. Clarke’s Characteristic Studies

On May 26, 2023August 12, 2023 By Brian ReichenbachIn Music pedagogy, Repertoire, Trumpet etudesLeave a comment

The following are resources from a presentation as part of the 2023 International Trumpet Guild Conference Research Room. For more background information, read the presentation abstract.

In the introduction to his Characteristic Studies, Clarke alludes to his source of inspiration for his etudes:

…I made a thorough study of violin methods and exercises, and adapting much of the material I found therein, for the needs of Cornet players. As a practical result the Twenty-four Characteristic Studies contained in this book, while of difficult grade, have been adapted from existing violin studies.

In fact, Clarke’s inspiration was Heinrich Ernst Kayser’s book of 36 Studies for violin published in 1848. All but two of Clarke’s etudes (16 and 24) can be traced back to an etude by Kayser.

Clarke/Kayser Comparison Chart

Clarke Etude	Key	Marking	Kayser Etude	Key	Marking
1	C Major	Allegro moderato	4	C Major	Allegro
2	a minor	Allegro	28	a minor	Allegro assai
3	D-flat Major	Allegro risoluto	11	E-flat Major	Allegro energico
4	b-flat minor	Allegro misterioso	25	d minor	Allegro
5	D Major	Moderato energico	8	D Major	Commodo
6	b minor	Moderato marcato	19	b minor	Allegro
7	E-flat Major	Allegro moderato	32	E-flat Major	Allegro moderato
8	c minor	Allegro agitato	6	c minor	Allegro molto
9	E Major	Allegretto guisto	3	F Major	Allegretto
10	c-sharp minor	Allegro moderato	30	d minor	Allegro moderato
11	F Major	Allegretto	13	G Major	Allegretto
12	d minor	Allegro moderato	15	B-flat major	Allegro moderato
13	F-sharp Major	Vivace	22	E Major	Allegro assai
14	e-flat minor	Allegretto con moto	18	G Major	Allegretto
15	G Major	Allegro ma non troppo	12	G Major	Allegro, ma non tanto
16	e minor	Tempo di Bolero	Appears to be original to Clarke
17	A-flat Major	Moderato	31	A-flat Major	Allegro molto agitato
18	f minor	Moderato	23	f minor	Allegretto
19	A Major	Allegro vivace	27	A Major	Allegro vivace
20	f-sharp minor	Furioso	21	E-flat Major	Allegro
21	B-flat Major	Moderato	10	C Major	Allegro, ma non tanto
22	g minor	Allegretto	35	b minor	Allegro con fuoco
23	B Major	Moderato	29	C Major	Moderato
24	g-sharp minor	Andante cantabile	Appears to be original to Clarke

Examples for Comparison

Continuing in the introduction to the Characteristic Studies, Clarke emphasizes several goals of the studies including:

…absolute control of technic, articulation, slurring and endurance….

…[the studies] will help the student play with comfort and ease….

Cornet players should…try to demonstrate their own musical and artistic individuality.

Ex. 1: “articulation”

Ex. 2: “slurring”

Ex. 3: “absolute control of technic”

Ex. 4: “comfort and ease”

Ex. 5: “musical and artistic individuality”

Sources and Resources

Bibliography

Clarke, Herbert L. How I Became a Cornetist. St. Louis: Joseph Huber, 1934.

Da Silva, Ulisses Carvalho. “Original and Transcribed Etude Books for Viola: A Reference Guide for Teachers and Students.” Ph.D. diss., University of Georgia, 2010.

Gillotti, Nicole. “Exploring Parallels between Trumpet and Violin Pedagogy: Relating Trumpet Adaptations of Otakar Ševčík’s Op. 8 to the Teachings of Vincent Cichowicz.” DMA diss., University of Illinois at Urbana-Champaign, 2020.

Madeja, James Thomas. “The Herbert L. Clarke Method of Cornet Playing” International Trumpet Guild Journal 14, no. 3 (February 1990): 4–18.

———. “The Life and Work of Herbert L. Clarke (1867-1945).” Ed.D. diss., University of Illinois, 1988.

Clarke Recordings

Schwartz, Terry. Characteristic Studies by Herbert L. Clarke. N.P., 2010, compact disc.

Wilt, Jim. Clarke (or Clark) Characteristic Etudes 1, 6, 7, 9, 11, 12, 21.

Kayser Recordings

Cruz, Claudio. Kayser: 36 Violin Studies, Op. 20. Azul Music, 2020.

Kang, Bochan. Kayser Violin 36 Etudes.

Etudes

Clarke, Herbert L. Characteristic Studies. New York: Carl Fischer, 1915.

Kayser, Heinrich Ernst. Elementary and Progressive Studies for the Violin, Op. 20. New York: Schirmer, 1915.

Full side by side compilation of Clarke’s studies with corresponding studies by Kayser:

clarke-kayser-studies-compiled-side-by-side Download

ITG Conference Presentation

A Major & Minor Scale Routine

On May 15, 2022May 23, 2022 By Brian ReichenbachIn Music pedagogy, PracticeLeave a comment

Once you’ve become familiar with all of your major and minor scales*, it’s a good idea to keep playing them often. Here’s a plan that can help you do that. Rather than going around the circle of fifths or chromatically, we’ll follow this sequence of scales:

Major scale → Relative minor: Natural → Harmonic → Melodic →

Parallel Major → Relative minor: Natural → Harmonic → Melodic →

Parallel Major → Relative minor: Natural → Harmonic → Melodic

You’ll notice that if you continued you would be back to where you began. It looks complicated at first but it’s actual quite logical and takes advantage of two important music theory concepts:

The major scale and its relative minor scale in natural form share the same notes, just a different pitch center (aka “tonic” – the first and last note of the scale)
The melodic minor and the parallel major scale share all of the same notes except for the third.

In all, there are three groups of these four major/minor scales. Here is the sequence of the actual scales:

Remember, each minor scale should be played in three forms (natural, harmonic, and melodic). For example, group 1 would be:

C Major → a natural → harmonic → melodic minor →

A Major → f♯ natural → harmonic → melodic minor →

F♯/G♭ Major → d♯/e♭ natural → harmonic → melodic minor →

E♭ Major scale → c natural → harmonic → melodic minor

One of the nice things about this system is that it pairs scales that tend to be more familiar (like C or F) with those that are likely to be less familiar (like F♯ or C♭).

Depending on your facility with all of these scales (and practice time available), you can fit them in a six day practice week routine by doing them all either once a week, twice a week, or every day. Here are the three options in a schedule:

Tips:

Don’t forget to play these with a metronome. Regardless of whether you can play them fast or slow, it will help you chart your progress and develop consistency.
Play each scale in one breath. This forces you to maintain a steady tempo and develops consistency of approach.
Rather than starting scales from the bottom (up and back down again), try starting them from the top (down and back up again). Why? It develops a different kind of familiarity with the scales and increases your confidence in starting in the upper register.
Vary the articulation in every way imaginable, especially when you start knocking these all out every day.

*Use this handy Scale Journal to keep track of your progress learning your major and minor scales. It’s best to memorize your scales, but if you’re not there yet here are scale sheets for major scales and minor scales.

Amazing Grace Lip Slur

On February 1, 2022 By Brian ReichenbachIn Music pedagogy, PracticeLeave a comment

I try to approach even warming up and technical work with as much musicality as possible. It can be difficult to “feel it” when we’re playing lip slurs, in particular. But since the voice was our first instrument, songs are helpful at moving us away from managing the trumpet to making music through it. I realized that much of the first phrase of the well-known hymn, Amazing Grace, is a lip slur. So, I thought it would be a great way to approach what is a daunting task for many trumpet players.

Play these through with all fingerings, noting where valve changes are required. I included the first line text to remind us of how it goes. For even better results, sing each phrase through before playing.

amazing-grace-lip-slur Download

John Hagstrom on Teaching, Learning, Listening, Motivation, and Persistence

On January 8, 2022January 8, 2022 By Brian ReichenbachIn Lee Trumpet Studio, Music pedagogy, Practice, Trumpet LabLeave a comment

Notes from Lee University Trumpet Lab September 27, 2021

Teachers: it’s about who they are not what they teach
Value relationships with fellow students. They will not necessarily remember how you played, but will remember how you treated others.
Be a role model for others now.
Learn from others around you, just like members of a good orchestra listen and learn from one another.
Bad teachers help us to become extra good students.
Customize your time as a music student. Invent your own pathway for success.
We can become a good teacher by becoming a good student.
Georges Mager’s insightful (over)statement: “There is no such thing as good teachers, just good students.”
Teach students to become good students.
Be stubborn. Don’t give up.
“$800 Kleenex” – anything is available if you’re willing to pay for it. Is it worth it?
It’s not innate ability that’s important. Instead, it is your ability to invest in your learning.
Ask yourself, how do you awaken the feeling for what you want to do? Figure out what motivates you.
Most people don’t try very hard. Imagine yourself at 26 years old still working hard towards your goals.
Envision being invested long after others.
Prepare by adding up the hours over time. It’s not about the practice right before the recital. Rather, who is practicing 6 Tuesday nights before the recital?
Listen with undivided attention – active listening. Stay with the story.
Build literacy. Be like the baby listening and trying to figure it out even if they don’t yet understand.
When you were a child, you had no attention or desire to watch a sitcom made for adults. You were satisfied by cartoons.
Go to a professional orchestra concert!
Stick with listening to long pieces of music.
Whether you like it or not, learn from it!
Studying music requires a presumption of expertise. Expect transformation. There is greater art out there beyond what I currently know.
Learn how to learn.
Come wanting to learn.
Be prepared. What if you showed up to rehearsal and were ready to perform? That’s what professionals do.
Play “Stop and Drop” (studio class activity where, if you stop, you are done until next time) – keep going no matter what, raising the standard for professional music making.
Vulnerability – willingness to work and share with others.
Section playing – how to give when you aren’t being recognized for it.
Sousa’s bass drum player:

from John Philip Sousa: American Phenomenon by Paul E. Bierley, 1973