Course Packet

TEXAS A&M UNIVERSITY-KINGSVILLE
TRUMPET STUDIO
APPLIED TRUMPET
COURSE PACKET
TEXAS A&M UNIVERSITY-KINGSVILLE
TRUMPET STUDIO
APPLIED TRUMPET
COURSE PACKET
DR. KYLE MILLSAP
Associate Professor of Trumpet & Jazz
DR. SPENCER WALLIN

Lecturer of Trumpet
MELISSA MILLSAP
Lecturer of Trumpet
Department of Music
MUSB 217
kyle.millsap@tamuk.edu
361.593.2805
www.tamuktrumpets.com 
TABLE OF CONTENTS
Studio Syllabus..................................................................................................................... 3
Course of Study.................................................................................................................... 15
Studio Scale Requirements .................................................................................................. 21
Scale Circle .......................................................................................................................... 24
First Semester Freshman Curriculum (MUSA 1210)

Clarke Technical Studies ............................................................................................ 26
Concone Complete Solfeggi ........................................................................................ 27
Vizzutti Trumpet Method, Book 3: Melodic Studies ..................................................... 28
Technique Class Semester Curriculum (MUSA 1220)

Cichowicz Flow Studies, Volume 1 .............................................................................. 30
Haynie How to Play High Notes, Low Notes, and All Those In Between ....................... 31
Schlossberg Daily Drills and Technical Studies for Trumpet ........................................ 32
Vizzutti Trumpet Method, Book 1: Technical Studies .................................................... 33
Required Orchestral Excerpts

Freshman .................................................................................................................. 37
Sophomore ............................................................................................................... 40
Junior........................................................................................................................ 43
Senior ....................................................................................................................... 46
Norris “Top 50” Orchestral Audition Excerpts for Trumpet Curriculum

First Semester ........................................................................................................... 53
Second Semester ...................................................................................................... 54
Third Semester ......................................................................................................... 55
Trumpet Tips from Dr. Millsap

Audition Success ...................................................................................................... 59
The Importance of Playing Second Trumpet ........................................................... 61
Keys to Efficient Practice Habits ............................................................................. 62
Learn to Love the Process ........................................................................................ 64
Multiple Tonguing ................................................................................................... 66
The Power of Preparation ........................................................................................ 68
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Essays from Other Professors and Performers
Notes on Practicing by David Bilger ........................................................................ 73
Notes on Technique by David Bilger ........................................................................ 74
Improving Your Brass Techniques for Jazz and Traditional Performance
by Vincent DiMartino .................................................................................. 81
The James Stamp Companion by Stanley Friedman ................................................ 85
Notes on How to Play High Notes, Low Notes by John Haynie ............................. 110
The Practice Session by Adolph Herseth ................................................................. 117
Recommended Listening & Reading Lists

Classical Soloists ...................................................................................................... 125
Jazz Soloists .............................................................................................................. 126
Ensembles ................................................................................................................ 127
Reading .................................................................................................................... 129
Additional Studio Documents

Recital Program Template ........................................................................................ 131
How to Find Trumpet Music in the Library ............................................................ 134
Jernigan Library Trumpet Holdings......................................................................... 135
Musical Term Guides

Arban Terms Guide ................................................................................................. 139
Trumpet Terms ......................................................................................................... 141
Mahler Terms ........................................................................................................... 167
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Department of Music
Trumpet Studio Syllabus
MUSA 1110, 1210, 1220, 2210, 2220, 3210, 3220, 3410, 3420, 4210, 4220, 4410, 4420,
5310, 5320
1-4 SCH, Applied Lesson
Arranged Meeting Time, MUSB 217, 202, 203
Course Syllabus: Fall 2019
Instructor Information
Instructor: Dr. Kyle Millsap, Associate Professor of Trumpet & Jazz
Office Location: MUSB 217
Office Hours: posted or by appointment
Office Phone: (361) 593-2805, cell: (361) 459-2848
Office Fax: (361) 593-2816
University E-mail Address: kyle.millsap@tamuk.edu
Preferred Form of Communication: E-mail
Website: tamuktrumpets.com
Instructor: Dr. Spencer Wallin, Lecturer of Trumpet

Office Phone: (361) 593-2803
Office Fax: (361) 593-2816
University E-mail: spencer.wallin@tamuk.edu
Instructor: Melissa Millsap, Lecturer of Trumpet

Office Phone: (361) 593-2803, cell: (901) 212-3535
Office Fax: (361) 593-2816
University E-mail Address: melissa.millsap@tamuk.edu 
Course Information
Textbook(s) Required: As assigned in lessons
Textbooks(s) Recommended: Clarke Technical Studies, Concone, ed. Korak Complete Solfeggi, Vizzutti
Trumpet Method Book 3: Melodic Studies
Technology Requirement(s) : Tuner & Metronome
Optional Text and/or Materials: See Course of Study
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Catalog Description
The courses in applied music are designed to meet the requirements and desires of the students
who wish to major in performance, to major in music with teacher certification or take applied
music as an elective or minor, or to begin study in applied music to use as a teaching tool or as an
area of enrichment where public performance is not the goal.
Student Learner Outcomes

1. Students will be guided to improve their musical skills, including musicianship, music
pedagogy, and performance ability on the trumpet. In order to achieve the greatest
musical success possible in your career, it is crucial to have the experience of performing
in quality musical ensembles and performing significant solo and chamber works. The
development of your performance skills is central to your success in these endeavors.
2. Able to demonstrate greater fluency in musical performance through the jury
examination at the end of each semester.
3. In fall semesters, they will demonstrate greater command of scales and arpeggios through
the Scale & Technique Exam. In spring semesters, they will be able to demonstrate a
greater knowledge of pedagogical concepts and/or literature through the written project.
Marketable Skills
Students will develop. Greater understanding of the pedagogy involved in trumpet instruction
and performing. The will gain a greater knowledge of trumpet literature, valuable in pursuing a
career in either the performance or education field.
Course Assignments & Assessments

Students will be assigned material each week in their applied lesson that will be evaluated at the
next lesson. It is expected this material will be practiced to a high-level quality of performance.
Additional assessments include semester studio exams and end of semester juries or recitals.
Grading
Final grades in this course will be based in the following manner:
A = 90% - 100%
B = 80% - 89%
C = 70% - 79%
D = 60% - 69%
F = 59% or Below
The semester grade is determined by the instructor based on the following formula:
• Weekly Lesson - 60%
• Lesson grade will be scored each week out of 100 points and will be based on the
student’s preparation of assigned materials. 90-100: Mastery of the technical elements
and able to express musical ideas clearly; 80-89: Some facility with technical elements
and rudimentary musical expression; 70-79: Many errors and insufficient musical and
technical development; 60-69: Poor preparation and a clear lack of focused practice
during the week; 0-59: Student is essentially sight-reading lesson materials.
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• Each lesson will begin with a scale examination, making up 5% of the weekly lesson
grade. Students will be asked five scales at the start of the lesson with the
requirements matching those outlined on the Studio Scale Requirements guidance.
Students will have five minutes to complete this exam. Scales not finished during this
time will be counted as zero points. The number of scales required may be decreased
to four or three if the student is demonstrating satisfactory and continued mastery.
• If a student requests, and is granted a rescheduled lesson for non-documented reasons

(family emergency, medical emergency, etc.), the lesson will incur a one letter grade
penalty due to lack of preparedness for the original lesson time.
• For students enrolled in 1000-level lessons, attendance at a technique masterclass,

held on Fridays at 10:00 am is also required. Failure to attend without a prior excuse
will result in a 2% semester grade penalty. If I am unable to attend the class and no
substitute instructor is available, the class will not meet and there will be no penalty to
the student.
• All students are required to attend at least one warm-up class per week throughout the
semester. Times will be announced at the beginning of each semester. This is to help
students learn techniques needed for a successful daily warm-up and refine skills
necessary for success throughout their study of the trumpet. Failure to attend a class
in a week will result in a 5% penalty to the weekly lesson grade.
• Students required to attend group lessons who do not attend at the arranged time
without a prior excuse will incur a 5% semester grade penalty. If I am unable to attend
at the arranged time, the lesson will be rescheduled and there will be no penalty to the
student for the original time.
• Trumpet Ensemble/Masterclass Participation - 10%

• Trumpet Ensemble grade will be based upon attendance at rehearsals and
performances and preparation for rehearsals.
• Missing a dress rehearsal or performance will result in a grade of 0 for the semester.
• Jury Examination - 20%

• Score averaged from panel of the brass faculty.
• Technique Exam/Written Exam - 10%

• During fall semesters, all students will be given a scale and technique exam based on
the Studio Scale Requirements guidance. In spring semester, students will be assigned
a project that may include a literature assessment, oral presentation, pedagogical text
examination and/or musical terms examination.
Each required event missed where the absence is considered unexcused will result is a 2% point
deduction from the final grade. Attendance penalties for missing required concerts/recitals will
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be deducted from the final grade. Students are required to make their attendance known to the
professor at the end of the event.
Course Schedule
Weekly lesson material will be assigned as deemed appropriate between the student and
instructor.
The Scale & Technique Exam will be administered in the weekly lesson during the week of
November 18.
The studio ensemble concert will be November 12, 2019 at 8:00 p.m. in Jones Auditorium.
Course and University Procedures/Policies

Instructor’s Policies
Attendance
Attendance is required at all private lessons, trumpet masterclasses, brass faculty recitals, brass
guest artist recitals, and trumpet degree recitals.
Lessons may be made up if the student is ill or an emergency arises and the student calls or e-
mails the trumpet studio BEFORE the lesson. Emergencies will be considered on a case-by-case
basis. No-shows will be treated as unexcused absences and will receive a grade of “F” for the
lesson. A student is considered absent from the lesson if they have not arrived after the first 10
minutes of the scheduled lesson time. Students not studying with Dr. Millsap will meet with him
twice a semester as part of a two or three student group lesson. These lessons will be arranged
with the students. Failure to attend will result in a semester grade penalty.
Three unexcused absences during the semester will result in a failing grade for the student.
Exceptions will be granted on a case-by-case basis. "I have to work" is not an acceptable excuse. I
reserve the right to terminate any lesson if the student does not demonstrate acceptable progress
and preparation. This is result in an “F” for the lesson grade.
If I am unable to attend a lesson, it will be made up without any penalty to the student. I will
give as much advanced notice as possible. Lessons will not be made up if the lesson falls during a
scheduled holiday, or if I am away on official university business.
As a music major, it is crucial that students seek out every opportunity to attend live concerts and
recitals. As a student, it is just as important that you support your colleagues by attending their
concerts and recitals.
Jury Examinations
Each student not performing a degree recital is required to perform a jury examination at the end
of each semester. Near the end of the semester, sign-up sheets will be posted outside the music
office. It is the student's responsibility to sign-up for a time. The material for this will come from
the repertoire learned by the student during the semester.
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The student will perform an accompanied solo and must provide their own accompanist for the
jury. Other components of the jury, i.e., etudes, excerpts, unaccompanied works, will be worked
out between the instructor and the student. The jury may also include scales, sight-reading, and/
or transposition. The jury at conclusion of the fourth semester will include scales and sight
reading.
Materials/Equipment
Students must own their own high-quality instrument, mouthpiece, mutes, metronome, and
maintenance/cleaning supplies. Owning a tuner is also strongly recommended. It is expected
students will purchase their music/equipment within two weeks of it being assigned in their
lesson. It is illegal to possess and perform from photocopies when the original work is not owned.
Copies will NOT be allowed for juries and recitals. Many assigned method/etude books and
solos may be checked out from the Jernigan Library or through Interlibrary Loan while waiting
for orders to arrive. Required and suggested repertoire and books can be found in the Course of
Study and Suggested Reading List.
Below are recommendations for vendors of published music. It is strongly recommended to not
order from the Amazon Marketplace:
• JW Pepper, jwpepper.com
• Pender's Music, penders.com
• qPress, qpress.ca
• Robert King Music, rkingmusic.com
• Senseney Music, senseneymusiconline.com
• Sheet Music Plus, sheetmusicplus.com
• South Texas Music Mart, Corpus Christi, TX 361-993-7866
• Southern Ohio Music Company, somusic.com
• Stanton’s Sheet Music, stantons.com
Recital Seminar
All students enrolled in 3000 or 4000-level lesson are encouraged to perform on one Recital
Seminar per year unless performing a degree recital. All students performing a degree recital
must perform on a Recital Seminar prior to the recital. This requirement is designed to better
prepare students for their degree recitals. For other interested students, repertoire will be chosen
by the student and instructor. It is expected that you will perform with accompaniment unless
performing an unaccompanied work. Duets will be permitted.
Ensemble Participation
Students should make every attempt to participate in at least two ensembles every semester.
Auditions for the large ensembles will be held before the fall semester (spring auditions are at the
ensemble director’s discretion) and placement will be based upon the student's ability and the
department’s need. Through participation in ensembles, students are given the opportunity to
interact and grow with fellow musicians and put techniques learned in applied lessons into
practical application. Ensembles are an excellent opportunity to put into practice your coaching
received in your applied lessons.
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Competition Trumpet Ensemble Requirements
All students wishing to participate in an ensembles that may compete, perform at a conference,
or other major events (typically at the National Trumpet Competition or International Trumpet
Guild Conference) must meet certain academic, as well as performance criteria. Along with
having a successful audition to merit consideration for an ensemble, students must:
• Have a 2.75 cumulative GPA
• Have maintained an A or B in the past two semesters of their applied lessons, if
applicable
Recitals
All students are strongly encouraged to perform frequently. For students interested in and/or
required to perform a degree recital, or on a Thursday student recital, the date/time and repertoire
of the recital must be approved by me. See the Department of Music policies for the details of
scheduling a recital.
Practice
It is the responsibility of the student to maintain an effective and healthy practice schedule. A
good rule of thumb is students enrolled in two credit hours of lessons should practice a minimum
of two hours per day. Students in four credit hours of lessons should practice a minimum of four
hours per day.
Tips for effective practice

• Break up your practice throughout the day
• Limit your practice sessions to one hour at a time
• Listening to, singing, and playing your piece on your mouthpiece is essential practice
• Have concise, achievable goals for each practice session
• Record your practice sessions - listen to the in a positive state of mind a minimum of
three days later
• Practice with a colleague when appropriate - music is not a solitary endeavor
Technology
Students will periodically be recorded in their lessons. Lessons will use SmartMusic and other
music-related programs such as Anytune Pro and iReal Pro to help facilitate musical learning.
Improvisation
Students will be encouraged to seek opportunities for improvisation in music. Lessons will
include playing by ear on the mouthpiece and translating the tune to the trumpet. Jazz lessons
will utilize the iReal Pro app, as well as study, transcription, and application of jazz fundamentals
in improvisation.
Composition
Students will practice composition in their applied lessons through learning the practice of
Baroque ornamentation. They will also be expected to compose unique cadenzas appropriate to
concerto literature being studied when an existing cadenza is not already part of the original
composition.
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World Music
Students will be exposed to world music in their applied lessons through the study of repertoire,
methods, etudes, and recordings from the following (but not limited to) nationalities: American,
English, French, German, Italian, Russian, and Spanish. Through this, they will learn the
characteristic differences of each nationalistic style and be able to demonstrate the differences
through performance.
Music Literacy
Students will be taught from a combination of method and etude books, solos, orchestral/band
repertoire, and jazz studies. The trumpet is a versatile instrument and all those seeking to master
it need to become fluent in all potential performance opportunities through their studies. A
course of study for the trumpet studio outlining suggested literature for mastery at progressive
levels is available at: http://www.tamuktrumpets.com/resources/documents/trumpetcos.pdf
Music Pedagogy
Students will learn pedagogy through the reading and study of a selected pedagogical text each
year. Students will also be challenged each week in their lessons to explore pedagogical solutions
to improve their practice habits and how those habits can be applied to teaching others. An
extended reading list is available at: http://www.tamuktrumpets.com/resources/documents/
readinglist.pdf
Graduate Rigor
Graduate Courses Rigor Master’s and doctoral courses and programs at Texas A&M-Kingsville
are progressively more advanced in academic content and rigor than undergraduate courses and
programs. The advanced content and rigor in each graduate course and each graduate program is
assured through the Graduate Council (elected and delegate body of the graduate faculty)
policies and processes on graduate curriculum approval, periodic graduate program reviews and
approval, and the graduate faculty membership approval regarding qualifications of graduate
faculty. Graduate Faculty conduct research in their area of expertise and are qualified to supervise
student research in their specific areas. In addition, no undergraduate credits are accepted toward
any master’s/doctoral degree. Also, the qualifications of graduate faculty are continuously
reviewed.
The Graduate Curriculum Committee of the Graduate Council reviews and evaluates every
graduate course and program submitted for approval and makes recommendation to the
Graduate Council. This evaluation process takes the following into account to make sure all
university post-baccalaureate master’s and doctoral degree courses and programs are progressively
more advanced in academic content and rigor than undergraduate courses and programs.
For Master’s-Level (5000-Level) Courses
Instructor:
The instructor for the 5000-level courses must be broadly and deeply conversant with the field of
study and be knowledgeable in the state-of-the-art information available in textbooks and
scholarly articles or electronic networks, and must hold a terminal degree in the teaching field.
Course Content:
5000-level courses should:
• provide content knowledge beyond the undergraduate level,
• make maximum use of modern technology and other available resources,
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• emphasize the analysis and synthesis of information and should expand the student's
knowledge base and prepare the student for the job market at a more advanced level than those
with baccalaureate degree.
• provide knowledge of scholarly writing techniques and of research methodologies appropriate
to the discipline, and
• prepare the student for pursuing more advanced degrees.
Other Miscellaneous Information for My Students

• Inform me well in advance of any auditions or performances outside the Department of
Music.
• I recommend that you join the International Trumpet Guild, TMEA, and/or NAfME
and maintain your membership throughout your college career. A special student
membership rate is available.
• Plan to have an accompanist available for your lessons toward the last month of the
semester. It is at that time we will schedule coaching for the upcoming juries.
• Take responsibility for your life. Keep a calendar with you at all times to avoid scheduling
hassles.
• Present yourself appropriately and observe proper decorum in all musical and academic
settings. Show respect for yourself and for others by observing these simple courtesies.
• Be early and well-prepared for all rehearsals and lessons.
Suggestions for Successful Progress

• Always be positive and enthusiastic about your love for music and the trumpet, and
demonstrate this in your playing and your cooperation with faculty and other musicians.
• Maintain a regular, daily practice schedule of at least two hours each day.
• Be faithful about addressing the Daily Warm-Up as prescribed in your lesson.
• Plan practice sessions so that they are purposeful and directed at accomplishing specific
results. Write your goals for each session in a notebook. Establish both short-term and
long-term goals for yourself.
• Always be well prepared! Be early to lessons with all your materials ready, and with plans
about what you will do in the lesson. Have any questions written out so that you ask them
at the beginning of the lesson.
• Understand that developing performance skills may at times be a slow and demanding
process.
• Patience and persistence are important traits for success in music.
• Take advantage of opportunities to attend live musical performances of all kinds.
• Seek opportunities to perform in public. After learning a work, perform it several times.
• Collect and listen to recordings of quality music daily. These should both include your
instrument and other genres. Listen to a wide range of styles. It is only through focused
listening that musical style can be developed.
• Own the necessary equipment to be successful in your profession. This includes quality
instruments, mutes, metronome, tuner, literature (including methods, etudes, solos, and
orchestral excerpts) and accessories.
• Record your practice sessions frequently, and evaluate them objectively.
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Common Pitfalls for the Student
(compiled from professor interviews)
• Apathy
• Poor planning
• Listening the wrong way, or to the wrong people or performances
• Taking advice from the wrong people
• Lack of effective practice
• Being late or un-prepared
• Not asking questions
• Asking the wrong questions
• Lack of resourcefulness or imagination
• Being dogmatic about the wrong things
• Not listening
• Just "getting by”
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University Policies
Six Drop Policy
The following provision does not apply to students with Texas public college or university credits prior to
Fall 2007. The Texas Senate Bill 1231 specifies the number of course drops allowed to a student without
penalty. After a student has dropped six courses, a grade of QF will normally be recorded for each
subsequent drop. Additional information on Senate Bill 1231 is available at the Registrar’s Office at (361)
593-2811 and at Academic Procedure: Drop Policy.
Students with Disabilities

The Americans with Disabilities Act (ADA) is a federal anti-discrimination statute that provides
comprehensive civil rights protection for persons with disabilities. Among other things, this legislation
requires that all students with disabilities be guaranteed a learning environment that provides for
reasonable accommodations of their disability. If you believe you have a disability requiring an
accommodation please contact the Disability Resource Center (DRC) as early as possible in the term at
(361) 593-2904. DRC is located in the Life Service and Wellness building at 1210 Retama Drive.
Classroom Conduct Expectations

Students are referred to the Student Code of Conduct section of the Student Handbook. Students are
expected to assume individual responsibility for maintaining a productive learning environment and
conduct themselves with the highest regard for response and consideration of others. Ongoing or single
behaviors considered distracting will be addressed by the faculty member initially, but if the behavior
becomes excessive and the student refuses to respond to the faculty member’s efforts, the issue will be
referred to the Dean of Students. In the case of serious disruptive behavior in a classroom, the instructor
will first request compliance from the student and if the student fails to comply, the instructor has the
authority to ask the student to leave the classroom. The student is expected to comply with the instructor’s
request and may subsequently contest this action using procedures established by the department. If the
student fails to leave after being directed to do so, assistance may be obtained from other university
personnel, including the University Police Department. The incident shall be handled as an academic
misconduct matter using established departmental procedures for academic misconduct to determine if
the student should be allowed to return to the classroom.
Academic Misconduct
Students are expected to adhere to the highest academic standards of behavior and personal conduct in
this course and all other courses. Students who engage in academic misconduct are subject to University
disciplinary procedures. Student are expected to be familiar with the current Student Handbook,
especially the section on academic misconduct, which discusses conduct expectations and academic
dishonesty rules. Academic dishonesty includes but is not limited to:
1. Cheating: deception in which the student misrepresents that he/she has mastered information on
an academic exercise that he/she has not mastered; giving or receiving aid unauthorized by the
professor on assignments or examinations.
2. Aid of academic dishonesty: Intentionally facilitating any act of academic dishonesty. Tampering
with grades or taking part in obtaining or distributing any part of a scheduled test.
3. Fabrication: use of invented information or falsified research.
4. Plagiarism: unacknowledged quotation, and/or paraphrase of someone else’s work, ideas, or data
as one’s own in work submitted for credit. Failure to identify information or essays from the
internet and submitting them as one’s own work also constitutes plagiarism. Please be aware that
the University subscribes to the Turnitin plagiarism detection service. Your paper may be
submitted to this service at the discretion of the instructor.
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5. Lying: deliberate falsification with the intent to deceive in written or verbal form as it applies to
an academic submission.
6. Bribery: providing, offering or taking rewards in exchange for a grade, an assignment, or the aid of
academic dishonesty.
7. Threat: an attempt to intimidate a student, staff or faculty member for the purpose of receiving an
unearned grade or in an effort to prevent reporting of an Honor Code violation.
Other forms of academic misconduct included but are not limited to:
1. Failure to follow published departmental guidelines, professor’s syllabi, and other posted academic
policies in place for the orderly and efficient instruction of classes, including laboratories, and use
of academic resource or equipment.
2. Unauthorized possession of examinations, reserved library materials, laboratory materials or other
course related materials.
3. Failure to follow the instructor or proctor’s test-taking instructions, including but not limited to
not setting aside notes, books or study guides while the test is in progress, failing to sit in
designated locations and/or leaving the classroom/test site without permission during a test.
4. Prevention of the convening, continuation or orderly conduct of any class, lab or class activity.
Engaging in conduct that interferes with or disrupts university teaching, research or class activities
such as making loud and distracting noises, repeatedly answering cell phones/text messaging or
allowing pagers to beep, exhibiting erratic or irrational behavior, persisting in speaking without
being recognized, repeatedly leaving and entering the classroom or test site without authorization,
and making physical threats or verbal insults to the faculty member, or other students and staff.
5. Falsification of student transcript or other academic records; or unauthorized access to academic
computer records.
6. Nondisclosure or misrepresentation in filling out applications of other university records.
7. Any action which may be deemed as unprofessional or inappropriate in the professional
community of the discipline being studied.
Harassment/Discrimination
Texas A&M University-Kingsville does not tolerate discrimination on the basis of race, color, religion,
national origin, age, disability, genetic information, gender, gender identify or sexual orientation (or any
other illegal basis) and will investigate all complaints that indicate sexual harassment, harassment, or
discrimination may have occurred. Sexual harassment and sexual assault are types of sex discrimination.
Such sexual misconduct is unacceptable and will not be tolerated. Any member of the university
community violating this policy will be subject to disciplinary action. A person who believes he/she has
been the victim of sexual harassment or unlawful discrimination may pursue either the informal or the
formal complaint resolution procedure. A complaint may be initially made to the Office of Compliance at
(361) 593-4758, complainant’s immediate supervisor, a department head, a supervisory employee, or the
Dean of Students at (361) 593-3606 or the Office of Compliance at (361) 593-4758. Regardless of who
the complaint is filed with, the Compliance Office will be notified of the complaint so it can be
investigated.
Pregnant Students
Any pregnant students, or student planning on becoming pregnant, should consult their health care
provider to determine what, if any, additional precautions are needed, based on their individual situation.
It is the responsibility of the student to communication their needs to the faculty member or Office of
Compliance as soon as possible in order for risk-reduction to being when it can be most effective, and to
determine if additional modifications are necessary. While the university cannot mandate that the student
notify it that she is pregnant or is planning to become pregnant, the university strongly recommends that
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students do provide notification, so appropriate steps can be taken to ensure the health of both parent and
child. To communicate health circumstances or to request additional information, please contact Karen
Royal, Director of Compliance at karen.royal@tamuk.edu or (361) 593-4758.
The syllabus and schedule are subject to change. 
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COURSE OF STUDY FOR TRUMPET
Department of Music
Texas A&M University-Kingsville
DR. KYLE MILLSAP

Associate Professor of Trumpet & Jazz
DR. SPENCER WALLIN

Lecturer of Trumpet
MELISSA MILLSAP
Lecturer of Trumpet
MUSB 217
kyle.millsap@tamuk.edu
361.593.2805 
UNDERGRADUATE: LEVEL I
GOALS: Mastery of foundational elements of musical expression and technical proficiency.
Etudes and solo repertoire are chosen to emphasize perceived weaknesses of students and
strengthen them.
METHODS:
John Haynie - How to Play High Notes, Low Notes, and All Those In Between
Kyle Millsap - Modern Warm-Up Method for Trumpet
Allen Vizzutti - Trumpet Method Book 3: Melodic Studies
TECHNIQUE:
Vincent Cichowicz - Long Tone Studies
Vincent Cichowicz - Flow Studies, Volume 1
Herbert L. Clarke - Technical Studies
Earl Irons - 27 Study Groups
ETUDES:
Vassily Brandt - 34 Studies
Giuseppe Concone ed. Korak - Complete Solfeggi
Phil Snedecor - Lyrical Studies for Trumpet
Roger Voisin - 11 Studies
TRANSPOSITION:
Marco Bordogni - Melodious Etudes for Trombone, trans. Litchman
Giuseppe Concone ed. Korak - Complete Solfeggi
JAZZ:
Jim Snidero - Jazz Conception
Ben Paisner - 30 Studies in Swing
SOLOS:
Guillaume Balay - Pièce de Concours
Guillaume Balay - Andante et Allegretto
Joseph Edward Barat - Fantaisie in Eb
Anthony Donato - Prelude et Allegro
Alexander Goedicke - Concert Etude
Georg Friedric Handel - Aria con Variazione
Kent Kennan - Sonata for Trumpet and Piano
TEXT:
Bruce Adolphe - The Mind’s Ear
Keith Johnson - The Art of Trumpet Playing 
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UNDERGRADUATE: LEVEL II
GOALS: Further develop ability to make musical decisions in assigned repertoire. Etudes and
solos are chosen to encourage students to make independent musical decisions and communicate
them to a listener.
METHODS:
Max Schlossberg - Daily Drills & Technical Studies
TECHNIQUE:
Bai Lin - Lip Flexibilities
Chris Gekker - Articulation Studies
ETUDES:
N. Bousquet - 36 Celebrated Studies
Vassily Brandt - 34 Studies
Chris Gekker - 24 Etudes
Paolo Longinotti - 12 Studies in Classical and Modern Style
J.L. Small - Twenty-Seven Melodious & Rhythmical Exercises
TRANSPOSITION:
Ernst Sachse - 100 Studies
Phil Snedecor - Lyrical Studies for Trumpet
ORCHESTRAL:
Philip Norris - “Top 50” Orchestral Audition Excerpts for Trumpet
JAZZ:
Dan Haerle - Scales for Jazz Improvisation
Sy Platt - 24 Jazz Etudes
SOLOS:
Jean Baptiste Arban - Variations on “Norma”
Theo Charlier - Solo de Concours
Franz Joseph Haydn - Concerto
Kent Kennan - Sonata for Trumpet and Piano
Augustin Savard - Morceau de Concours
Paul Vidal - Concertino
TEXT:
Howard Snell - The Art of Practice
Keith Johnson - Brass Performance and Pedagogy 
!17
UNDERGRADUATE: LEVEL III
GOALS: Continue strengthening student’s ability to independently make musical choices.
Etudes are designed to sufficiently build necessary skills to perform a junior recital (performance)
or be ready for a senior recital (education). Solos will further challenge all aspects of playing.
METHODS:
John Haynie - 12 Study Groups
TECHNIQUE:
Scott Belck - Modern Flexibilities for Brass
Vincent Cichowicz - Flow Studies with Russian Etudes, Volume 2
Charles Colin - Advanced Lip Flexibilities
ETUDES:
V> Berdiev - 17 Studies
Theo Charlier - 36 Transcendental Etudes
Walter Smith - Top Tones
L.J. Vannetelbosch - 20 Etudes
TRANSPOSITION:
Marco Bordogni - 24 Vocalises
Ernest Sachse - 100 Studies
ORCHESTRAL:
Schott - Orchester-Probespiel
JAZZ:
Dan Haerle - Scales for Jazz Improvisation
Jamey Aebersold - 28 Modern Jazz Trumpet Solos
SOLOS:
Jean Baptiste Arban - Fantaisie Brillante
Oskar Böhme - Concerto
Eugene Bozza - Rustiques
Vassily Brandt - Concertpiece No. 1
Jan Křtitel Jiří Neruda - Concerto
Karl Pilss - Sonata for Trumpet and Piano
Henry Purcell - Sonata for Trumpet and Piano
Henri Senée - Concertino for Cornet and Piano
TEXT:
Timothy Gallwey - The Inner Game of Tennis 
!18
UNDERGRADUATE: LEVEL IV
GOALS: Develop student’s abilities to be highlighted in senior recital and prepare them to be
successful in a career in music. Student must be able to be able to effectively communicate in
words and on the instrument their musical ideas.
METHODS:
Guillaume Balay - Complete Method, Volume 2
TECHNIQUE:
Scott Belck - Progressive Lip Flexibilities for Brass
Vincent Cichowicz - Flow Studies with Russian Etudes, Volume 2
Robert Nagel - Speed Studies
Thomas Stevens - Changing Meter Studies
ETUDES:
Marcel Bitsch - 20 Etudes
Mel Broiles - Trumpet Studies: Book 1
Stanley Friedman - Symmetrical Studies
ORCHESTRAL:
Schott - Orchester-Probespiel
Bartold/Voisin - Orchestral Excerpts: Volumes I-X
JAZZ:
Jamey Aebersold - 28 Modern Jazz Trumpet Solos
SOLOS:
Marcel Bitsch - Quatre Variations sur un Theme de Dominico Scarlatti
Henri Tomasi - Tryptique
Georges Enesco - Legende
Stanley Friedman - Solus
Edward Gregson - Concerto
Paul Hindemith - Sonata for Trumpet and Piano
Johann Nepomuk Hummel - Concerto
Alexandra Pakhmutova - Concerto
TEXT:
Brian Frederiksen - Arnold Jacobs: Song and Wind
Howard Snell - The Trumpet 
!19
GRADUATE: MASTER
GOALS: Continue to develop what was begun in the undergraduate years. More in depth study
of the instrument and its history is required. Ability to quickly adapt to different styles and
genres as a performer must be demonstrated.
TECHNIQUE:
Claude Gordon - Tongue Level Exercises
Robert Nagel - Speed Studies
Thomas Stevens - After Schlossberg
ETUDES:
Maurice André - 12 Etudes-Caprices in the Baroque Style
J.S. Bach - Six Short Cello Suites
Eugene Bozza - 16 Studies
Johannes Brahms - 12 Etudes
Charles Chaynes - 15 Etudes
ORCHESTRAL:
Bartold/Voisin - Orchestral Excerpts: Volumes I-X
William Vacchiano - Moving Transposition
SOLOS:
Charles Chaynes - Concerto
Norman Dello Joio - Sonata for Trumpet and Piano
Johann Fasch - Concerto in D
Stanley Friedman - Sonata for Trumpet and Piano
Arthur Honegger - Intrada
Richard Peaslee - Nightsongs
Halsey Stevens - Sonata for Trumpet and Piano
TEXT:
Johann Ernst Altenburg - Trumpeters’ and Kettledrummers’ Art
Cesare Bendinelli - The Entire Art of Trumpet Playing
Edward H. Tarr - The Trumpet
!20
TRUMPET STUDIO SCALE
REQUIREMENTS 
REQUIREMENTS FOR WEEKLY LESSONS AND THE SCALE AND TECHNIQUE
EXAM
All scales and arpeggios will be played by memory. Scales will be played in the pattern of 1
quarter note/6 eighth notes, arpeggios in the pattern of 1 quarter note/2 eighth notes. All scales
and arpeggios between F# and C are required to be two octaves. All others are required one
octave, two at the discretion of the instructor. Tempo is at the discretion of the instructor. Clarke
Studies are required for the Exam, but not necessarily for the Weekly Lesson.
ADDITIONAL REQUIREMENTS FOR THE SCALE AND TECHNIQUE EXAM

All scales and arpeggios will be played following the Circle of 4ths. Always start in the key with
the natural key signature. For example: C Major, A Minor, E Phrygian. For Whole Tone,
Diminished, and Blue scales, start on C. Modal scales are typically not required of non-jazz
studies majors, but may be assigned at the instructor’s discretion.
FRESHMAN
1st Semester All MAJOR scales & arpeggios
MUSA 1210 All NATURAL MINOR scales & arpeggios
All HARMONIC MINOR scales & arpeggios
Clarke Technical Studies I & II
FRESHMAN
2nd Semester All MAJOR scales & arpeggios
MUSA 1220 All NATURAL MINOR scales & arpeggios
All HARMONIC MINOR scales & arpeggios
All MELODIC MINOR scales & arpeggios
Clarke Technical Studies I - III
Clarke Technical Studies Diminished Arpeggios
SOPHOMORE
1st Semester All MAJOR scales & arpeggios
MUSA 2210 All MINOR scales & arpeggios
Clarke Technical Studies I - III in Major and Harmonic Minor
Clarke Technical Studies IV - V
SOPHOMORE
2nd Semester All MAJOR scales & arpeggios
Clarke Technical Studies I - IV in Major and Harmonic Minor
Clarke Technical Studies V in Major
!22
JUNIOR
1st Semester All MAJOR scales in 3rds & arpeggios
MUSA 3410 All WHOLE TONE scales in & arpeggios
Clarke Technical Studies I - IV in Major & Harmonic Minor
Clarke Technical Studies V in Major & Natural Minor
Jazz Studies: All DORIAN, LYDIAN & MIXOLYDIAN scales & arpeggios
JUNIOR
2nd Semester All MAJOR scales in 3rds & arpeggios
MUSA 3420 All WHOLE TONE scales & arpeggios
Clarke Technical Studies I - IV in Major & Harmonic Minor
Clarke Technical Studies V in Major, Natural & Harmonic Minor
Jazz Studies: All MODAL & LYDIAN DOMINANT scales & arpeggios
SENIOR
1st Semester All MAJOR scales in 3rds & arpeggios
MUSA 4210 All MINOR scales in 3rds & arpeggios
Clarke Technical Studies V in Major & Minor
Jazz Studies: All MODAL scales in 3rds & arpeggios
All LYDIAN DOMINANT scales in 3rds & arpeggios
All LYDIAN AUGMENTED scales & arpeggios
Clarke Technical Studies V in LYDIAN DOMINANT
SENIOR/MASTERS
2nd Semester All MAJOR scales in 4ths & arpeggios
MUSA 4220 All MINOR scales in 3rds & arpeggios
MUSA 53XX All DIMINISHED scales & arpeggios
Clarke Technical Studies V in Major & Minor
Jazz Studies: All MODAL & LYDIAN DOMINANT scales in 3rd & arpeggios
All LYDIAN AUGMENTED scales & arpeggios
All BLUES scales
Clarke Technical Studies V in LYDIAN DOMINANT &
AUGMENTED 
!23
SCALE CIRCLE
MAJOR
C
G F
a
e minor d B
D
b g
E
A f# c
c# f A
E b
b b
g# e D
B b
G /F#
Play the entire circle without break.
Always start in the lowest octave. Play two octaves between F# and C, one octave between C#
and F.
Smoothness before speed. 
!24
FIRST SEMESTER FRESHMAN
CURRICULUM
MUSA 1210 
HERBERT L. CLARKE - TECHNICAL STUDIES
CARL FISCHER - O2280
Week 1 Week 10
Study I: Nos. 1, 5, 9, 13, 17, 21, 25 Study IV: Keys F#, Bb, D
Study II: Keys G, B, Eb Study VII: Nos. 165, 166
Week 2 Week 11
Study I: Nos. 2, 6, 10, 14, 18, 22 Study IV: Keys G, B, Eb
Study II: Keys Ab, C, E Study VII: Nos. 167
Week 3 Week 12
Study I: Nos. 3, 7, 11, 15, 19, 23 Study IV: Keys Ab, C, E
Study II: Keys A, Db, F Study VII: Nos. 168
Week 4 Week 13
Study I: Nos. 4, 8, 12, 16, 20, 24 Study IV: Keys A, C#, F
Study II: Keys Bb, D, F# Study VII: Nos. 169
Week 5 Week 14
Study I: Etude I Study IV: Etude IV
Study II: Etude II
Week 15
Week 6 Jury
Study III: Keys F#, A, C, Eb
Study VII: Nos. 158, 159, 160
Week 7
Study III: Keys G, Bb, Db, E
Study VII: Nos. 161, 162
Week 8
Study III: Keys Ab, B, D, F
Study VII: Nos. 163, 164
Week 9
Study III: Etude III
!26
GIUSEPPE CONCONE, ED. JOHN KORAK - CONCONE: THE COMPLETE
SOLFEGGI
BALQUHIDDER - BQ-051 
Week 1 Week 10
50 Lessons: Nos. 1, 4 25 Lessons: Nos. 16, 22
Week 2 Week 11
50 Lessons: Nos. 7, 27 15 Vocalises: Nos. 1, 3
Week 3 Week 12
Week 4 Week 13
Week 5 Week 14
Week 6 Week 15
50 Lessons: Nos. 48, 49 Jury
Week 7
25 Lessons: Nos. 1, 2
Week 8
Week 9
!27
ALLEN VIZZUTTI - TRUMPET METHOD BOOK 3: MELODIC STUDIES
ALFRED - 3393 
Week 1 Week 8
Intermediate Studies: Nos. 1, 2 Concert Duets: No. 3
Low-Note Studies: No. 1 Vocalise Studies: Nos. 3, 4
Rhythm Studies: No. 1 Rhythm Studies: No. 8
Week 2 Week 9
Week 3 Week 10
Week 4 Week 11
Week 5 Week 12
Intermediate Studies: No. 9 Concert Duets: No. 7
Rhythm Studies: No. 5
Week 13
Week 6 Concert Duets: No. 8
Concert Duets: No. 1 Vocalise Studies: Nos. 13, 14
Low-Note Studies: No. 6
Rhythm Studies: No. 6 Week 14
Concert Duets: No. 9
Week 7 Vocalise Studies: Nos. 15
Concert Duets: No. 2
Vocalise Studies: Nos. 1, 2 Week 15
Rhythm Studies: No. 7 Jury 
!28
SECOND SEMESTER TECHNIQUE
CLASS CURRICULUM
MUSA 1220 
VINCENT CICHOWICZ - FLOW STUDIES, VOLUME 1
STUDIO 259 PRODUCTIONS
Week 1
Nos. 1-2
Week 2
Nos. 3-4
Week 3
Nos. 5-6
Week 4
Nos. 7 & 10
Week 5
Nos. 11-12
Week 6
Nos. 13-14
Week 7
Nos. 15-16
Week 8
Nos. 17-18
Week 9
Nos. 20-21
Week 10
Nos. 23 & 25 
!30
JOHN HAYNIE - HOW TO PLAY HIGH NOTES, LOW NOTES, AND ALL
THOSE IN BETWEEN
CHARLES COLIN - CC1048 
Week 1
Tonality Study in C - pp. 49-55
Week 2
Tonality Study in G - pp. 14-20
Week 3
Tonality Study in Bb - pp. 35-41
Week 4
Tonality Study in D - pp. 63-69
Week 5
Tonality Study in A - pp. 28-34
Week 6
Tonality Study in Ab - pp. 21-27
Week 7
Tonality Study in B - pp. 42-48
Week 8
Tonality Study in Db (C#) - pp. 56-62
Week 9
Tonality Study in F# - pp. 7-13
Week 10
Tonality Study in Eb - pp. 70-76
Week 11
Tonality Study in E - pp. 77-83
Week 12
Tonality Study in F - pp. 84-90
!31
MAX SCHLOSSBERG - DAILY DRILLS AND TECHNICAL STUDIES
Week 1 Week 5 Week 9

Long Tones: 1-4 Long Tones: 17-20 Long Tones: 31-33
Intervals: 38-39 Intervals: 43 Intervals: 47
Octave Drills: 49 Octave Drills: 53 Octave Drills: 57
Lip Drills: 59-60 Lip Drills: 64 Lip Drills: 68
Chord Studies: 70-71 Chord Studies: 78-79 Chord Studies: 86-87
Scales: 89-91 Scales: 101-103 Scales: 112-113
Chromatics: 116-117 Chromatics: 123 Chromatics: 127

Long Tones: 5-8 Long Tones: 21-24 Long Tones: 34-37
Intervals: 40 Intervals: 44 Intervals: 48
Octave Drills: 50 Octave Drills: 54 Octave Drills: 58
Lip Drills: 61 Lip Drills: 65 Lip Drills: 69
Chord Studies: 72-73 Chord Studies: 80-81 Chord Studies: 88
Scales: 92-94 Scales: 104-106 Scales: 114-115
Chromatics: 118-119 Chromatics: 124 Chromatics: 128
Week 3 Week 7
Long Tones: 9-12 Long Tones: 25-27
Intervals: 41 Intervals: 45
Octave Drills: 51 Octave Drills: 55
Lip Drills: 62 Lip Drills: 66
Chord Studies: 74-75 Chord Studies: 82-83
Scales: 95-97 Scales: 107-109
Chromatics: 120-121 Chromatics: 125
Week 4 Week 8
Long Tones: 13-16 Long Tones: 28-30
Intervals: 42 Intervals: 46
Octave Drills: 52 Octave Drills: 56
Lip Drills: 63 Lip Drills: 67
Chord Studies: 76-77 Chord Studies: 84-85
Scales: 98-100 Scales: 110-111
Chromatics: 122 Chromatics: 126
!32
ALLEN VIZZUTTI - TRUMPET METHOD, BOOK 1: TECHNICAL STUDIES
ALFRED - 3393 

Long Tones: 1 Long Tones: 5 Long Tones: 8
Lip Flexibilities: 1, 2 Lip Flexibilities: 10 Lip Flexibilities: 17, 20
Technical Studies: 6 Technical Studies: 11 Technical Studies: 17
Finger Flexibilities: 1 Finger Flexibilities: 5 Finger Flexibilities: 9
Tonguing: 1, 5 Tonguing: 8, 9, 35 Tonguing: 25, 64
Upper Register: 1 Upper Register: 3 Upper Register: 13

Long Tones: 2 Long Tones: 6 Long Tones: 8
Lip Flexibilities: 3, 4 Lip Flexibilities: 11, 12 Lip Flexibilities: 21, 22
Technical Studies: 7 Technical Studies: 12 Technical Studies: 14
Finger Flexibilities: 2 Finger Flexibilities: 6 Finger Flexibilities: 10
Tonguing: 2, 6 Tonguing: 10, 11, 37 Tonguing: 34, 76
Upper Register: 1 Upper Register: 3 Upper Register: 14 
Week 3 Week 7
Long Tones: 3 Long Tones: 7
Lip Flexibilities: 5, 7 Lip Flexibilities: 13, 14
Technical Studies: 8 Technical Studies: 15
Finger Flexibilities: 3 Finger Flexibilities: 7
Tonguing: 3, 7 Tonguing: 13, 15, 38
Upper Register: 2 Upper Register: 4
Week 4 Week 8
Long Tones: 4 Long Tones: 7
Lip Flexibilities: 8, 9 Lip Flexibilities: 15, 16
Technical Studies: 10 Technical Studies: 16
Finger Flexibilities: 4 Finger Flexibilities: 8
Tonguing: 4 Tonguing: 20, 21, 39, 41
Upper Register: 2 Upper Register: 5
!33
REQUIRED ORCHESTRAL EXCERPTS 
FRESHMAN - MUSA 1210/1220
Beethoven - Leonore Overture No. 3
in Bb
Bizet - Carmen - Prelude to Act I
!37
Brahms - Academic Festival Overture
Mahler - Symphony No. 5 - Opening solo
!38
Mussorgsky/Ravel - Pictures at an Exhibition - Promenade
Respighi - Pines of Rome - Off-stage solo
!39
SOPHOMORE - MUSA 2210/2220
Brahms - Symphony No. 2 - Mvt. IV ending
in D
Copland - Outdoor Overture
!40
Mahler - Symphony No. 1 - Fanfares
in F
Stravinsky - Petroushka - Ballerina’s Dance
!41
Stravinsky - Petroushka - Waltz
in Bb
Tchaikovsky - Capriccio Italien - cornet solo
in A
!42
JUNIOR - MUSA 3210/3220 & 3410/3420
Beethoven - Leonore Overtire No. 2
in Eb
Ives - Variations on “America”
!43
Prokofiev - Lieutenant Kije
Ravel - Piano Concerto in G
!44
Rimsky-Korsakov - Scheherazade - Mvt. IV opening
in A
Shostakovich - Symphony No. 5 - Mvt. IV solo
!45
SENIOR - MUSA 4210/4220 & 4410/4420
Shostakovich - Piano Concerto
!46
Strauss - Don Juan - Lyric solo
Strauss - Ein Heldenleben - Fanfare
!47
Strauss - Ein Heldenleben - Battle & Lyric solos
in Eb
in E
Stravinsky - Firebird
!48
Tchaikovsky - Swan Lake - Neapolitan Dance 
!49
NORRIS “TOP 50” ORCHESTRAL
AUDITION EXCERPTS FOR TRUMPET
CURRICULUM
PHILIP NORRIS - “TOP 50” ORCHESTRAL AUDITION EXCERPTS FOR
TRUMPET
CROWN MUSIC PRESS
SEMESTER 1
Week 1 Week 11
Beethoven: Leonore No. 2 Shostakovich: Piano Concerto
Beethoven: Leonore No. 3
Week 12
Week 2 Strauss: Ein Heldenleben
Mussorgsky: Pictures at an Exhibition
(Promenade) Week 13
Shostakovich: Symphony No. 5
Week 3
Respighi: Pines of Rome Week 14
Bartok: Concerto for Orchestra
Week 4
Bizet: Carmen Week 15
Jury
Week 5
Mahler: Symphony No. 1
Week 6
Stravinsky: Petrouchka
Week 7
Mahler: Symphony No. 5
Week 8
Copland: Outdoor Overture
Schumann: Symphony No. 2
Week 9
Brahms: Symphony No. 2
Brahms: Academic Festival Overture
Week 10
Prokofiev: Lt. Kije Suite
!53
TRUMPET
CROWN MUSIC PRESS
SEMESTER 2
Week 1 Week 11
Rimsky-Korsakov: Capriccio Espagnole Wagner: Parsifal Prelude
Week 2 Week 12
Ravel: Piano Concerto in G Strauss: Don Quixote
Week 3 Week 13
Debussy: Fêtes Mahler: Symphony No. 2
Tchaikovsky: Symphony No. 4
Week 14
Week 4 Mahler: Symphony No. 3
Strauss: Don Juan
Week 15
Week 5 Jury 
Rimsky-Korsakov: Scheherazade
Week 6
Stravinsky: Firebird Suite
Week 7
Tchaikovsky: Capriccio Italien
Week 8
Beethoven: Symphony No. 9
Ives: Variations on “America”
Week 9
Ravel: Bolero
Week 10
Shostakovich: Symphony No. 1
!54
TRUMPET
CROWN MUSIC PRESS
SEMESTER 3
Week 1 Handel: Messiah
Tchaikovsky: Swan Lake
Week 12
Week 2 Bach: Magnificat
Sibelius: Symphony No. 2
Week 13
Week 3 Mussorgsky: Pictures at an Exhibition
Strauss: Also Sprach Zarathustra (Goldenberg & Schmuyle)
Week 4 Week 14
Tchaikovsky: Nutcracker Suite Gershwin: Concerto in F
Week 5 Week 15
Debussy: La Mer Jury
Week 6
Bach: Magnificat
Week 7
Bach: Christmas Oratorio
Week 8
Sibelius: Symphony No. 2
Tchaikovsky: Swan Lake
Week 9
Tchaikovsky: Nutcracker Suite
Week 10
Wagner: Götterdämmerung
Ravel: Rhapsodie Espagnole
Week 11
!55
TRUMPET TIPS FROM DR. MILLSAP 
Trumpet Tips: Audition Success
Dr. Kyle Millsap
Auditions are a stressful event at any level. A Listen to high quality examples of the music.
friend of mine used to talk about how he Play along with them. Be able to sing the
enjoyed being retired from "competitive music in every detail. One major problem is
trumpet playing." For those in college or relying on the trumpet to learn the music. The
looking to get into a college program, though, trumpet is a piece of brass tubing with three
it can seem like a never-ending onslaught. valves. The music that we attribute to it does
Everyone handles audition stress differently. not come from the trumpet, but from the
However, there are some ways that players can individual. The performer's mental ear must
become more comfortable and confident in be so strong, that nothing can distract them
the situation. What follows will be a guide to from their musical thoughts.
help aspiring musicians who are wanting to
audition to become music majors, as well as One of the benefits of this is that when
those students who are already there. thinking musical thoughts, we become less
stressed. The body's reaction to a stressful
Musical Preparation situation like an audition is our basic fight or
The better you know your music, the more flight response. Demonstrating musical
confident you will be. For those looking to get mastery triggers the body into the fight side.
into college, that means choosing appropriate We breathe better (which feeds back on the
repertoire to audition on. Many schools have calming thoughts), play with better dynamics,
required lists of pieces. If you are not able to have better musical agility, and generally
prepare those pieces, it is worth the time to perform with more confidence. If we allow
contact the trumpet professor and ask if a ourselves to doubt, whether because of poor
piece you are more comfortable on is preparation, poor musical goals, or a general
acceptable. Myself, as well as many trumpet sense of self-doubt, the "flight mode" will
professors I know would rather hear students come out. This means poor breathing, more
perform the best example of themselves, tension, flubbed fingers, and cracked notes, all
rather than (unsuccessfully) attempt of which feeds a negative downward spiral.
something too hard for them.
The moral of the story here is to always focus
There are occasions, especially in college, on the music. Practice in a musical way so
when the audition material given out is that it is the only way you will know when it
required. In these instances, the music is comes time to perform in the audition. Proper
usually excerpts, so try to find the source and full breaths not only help us play better, but
learn what the larger piece sounds like. In serve to calm the body and focus the mind.
both cases - your choice, or theirs - the Th e t w o m o s t c r i t i c a l e l e m e n t s i n
fundamental element that everyone is performance, and auditions are a performance,
listening for is the level of musicality. That is are to hear the music we are playing and
not to discount technical considerations, but breathe to give the body and the trumpet the
the more musical, the better. Good technique proper fuel to succeed.
is a great goal, but I have never known Clarke
studies to be on an audition. Good technique Physical Preparation
needs to be subservient to great musicianship. There are some ways to get the body to
handle fight or flight better. The stress of the
!59
audition can sometimes be replicated, giving you want to do in music." There are really no
the opportunity to practice paying under right or wrong answers, merely they want to
stress ahead of time. One great exercise is to see if you have goals and what kind of person
go run. It can be running up and down stairs, you are. Having answers ready demonstrates
or running around the building. What is you have thought about this next step in life.
being done, is increasing the heart rate and Also, it is okay to ask questions. You might
accelerating the breath, similar to what know the answers, but asking again shows a
happens when dealing with the flight level of interest that people like to see.
response. Through practicing this simulated
response, performers can develop the Know your scales, arpeggios, and practice
necessary coping mechanisms to overcome sight reading. Almost every college audition,
this challenge. Another excellent technique is whether admission, scholarship, or band
to create distractions. This can be anything placement requires scales. They are a
from practicing with the radio or television fundamental building block of music and
on, to actually having friends run around and necessary to know in order to advance to a
try to distract you. high level. They also demonstrate the level of
discipline someone has to be able to practice
Endurance is sometimes a concern. This is rudiments on a daily basis. Successful sight
typically not the case in an audition for reading proves that you can do more than
college since those tend to be relatively short prepare a piece, but that you have a strong
in duration. But, being able to perform your foundation to quickly learn the technique and
music through two times in a row can give move on to musical development.
extra confidence that endurance will not be a
problem. Nerves can tend to shorten These tips are just a few suggestions to help
someone's normal endurance, so it is always achieve success in auditions. Not every
good to know there is something in reserve. audition will go the way you want it to, but
they can all be learning experiences. If each
Prepare how the audition will happen. If you audition gets a little bit easier, then you will
will be standing, or you play better standing, know you are on the right track. To
practice that way. If people are going to be paraphrase a popular expression, any audition
looking at you, try to have an audience so you you can walk away from is a good one.  
become used to their eyes being upon you.
Practice in the clothes you will perform in so
you know you will be comfortable. If you
never perform with a tie on and suddenly will
be wearing one, it can create an unfamiliar
experience, and all of this preparation is
meant to avoid just that.
Miscellaneous Preparation
When auditioning for college, it is best to
dress nicely. It shows the people listening that
you are taking things seriously and you value
the opportunity being given. Have answers
ready for some basic questions, such as, "Tell
me about yourself," or "Tell me about what
!60
Trumpet Tips: The Importance of Playing
the Second Chair
Dr. Kyle Millsap
I was recently talking with Doug Lawrence, listening to whoever you are playing with and
one of the great tenor players with the Basie anticipate their every move.
Band, and he was recounting the story of
when Marshal Royal, long-time lead alto, left Blending
the band to peruse other projects. Jerry If you are actively listening to who you are
Dodgion was brought in to replace Marshal, playing with, it will make it substantially
and as the story goes, everyone loved playing easier to blend. Your sound must fit inside
with him because of his instinctive musicality. that of the lead player. You have to be like the
When Marshal had finished his project, Jerry most comfortable pillow for their sound to
graciously stepped aside, saying words similar rest on. It is a bit of a thankless role from the
to, "This is Marshal's chair, I was just keeping audience perspective, but as I said before, a
it warm." Doug considered Jerry to to actually great lead player will recognize and appreciate
be one of the greatest lead altos players to not a second player who made their life easier on
get enough credit. What he does get credit for the gig.
is being a second alto that everyone wanted to
play with because of his musicality and, when Tuning
called upon, ability to listen to and support You follow where they lead. A great lead
the lead. The same can be said of Louis player is very consistent with where they put
Armstrong's early career with King Oliver's notes. It may be different from where you do,
band. Louis would improvise harmony lines but as the second player, it's you job to adapt.
to King Oliver's melody. This led to a If they play sharp, so do you. This goes for
tremendous increase in the band's popularity. articulation tendencies and where they play
within the beat. You certainly do not want to
One of my college trumpet professors, Kevin sit on the backside of the beat when playing
Hartman, put this a different way, saying "The with someone who pushes the tempo.
contractor has his lead player. You need to
learn to become the best second player. That's There is an ego to being a great second
how you will get a gig." Every great lead trumpet. It is not about playing the high
player knows the value of an equally great notes and getting the glory, but is still about
second player. A second player can make being the best. One of the greatest
playing incredibly easy, or the worst compliments I receive is when someone leans
experience ever. So how do you become the over after the gig and says, "I really enjoy
best second trumpet ever? playing with you. You make things so easy."
Because of the importance of the second
Listening trumpet, many lead players tell the contractor
Know the lead players tendencies in shaping a who they want as the second trumpet. College
musical line. Know where they are going to is the perfect time to learn this. Parts are
breathe. Know where they are going to shuffled in ensembles, giving you a chance to
crescendo and decrescendo. Know where they play different roles, so challenge yourself to be
are going to use what type of articulation. The the best in whatever role you are in, lead or
list can go on, but what it boils down to is supporting.
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Trumpet Tips: Keys to Efficient Practice
Habits
Dr. Kyle Millsap
Music teachers constantly tell their students The expression “measure twice, cut once”
to “go practice.” Students, typically, take this applies here as well. When everything can be
instruction and nod their heads in the played at the slow tempo (measure), then
affirmative, indicating comprehension of what speed up to the performance tempo (cut).
that means, whether or not they really do. “Go What is discovered when this happens, is that
practice” is a vague instruction. What is the the tempo increases happen at a much faster
student practicing for? How should the rate. That time spent at the slow tempo
student practice to accomplish their goal? coordinates the technique needed to
Where should they spend their time to be successfully reach the faster goal. Players have
most effective? What is needed is some to give themselves the opportunity to learn
amount of self-analysis to learn strengths and the material to the point of mastery (notes,
weaknesses, and a good deal of patience to rhythms, and most of all, musical expression)
learn the music correctly the first time. and that only comes with slow, patient
practice.
Slow down
This is the hardest one. There can sometimes Awkward practice
be a sense of anxiety for students trying to There are times in a practice sequence that
prepare material each week for a lesson. e ver yone hits a wal l. The tec hnic al
Because of this, the majority of students do considerations exceed the performer’s current
not take the time necessary to learn music ability. One way to help with this is to change
correctly the first time. Frequently, students the focus. The road block in this case is
interpret “practice slowly” as starting 20 bpm usually a matter of finger coordination.
below the goal tempo. Instead of achieving a Utilizing different rhythms tricks the brain
quality product, they end up having to relearn into focusing less on the fingers and
a piece multiple times because of the mistakes concentrate on the rhythm change the player
that are made. This is an even bigger waste of is trying to remember. The two easiest ones to
practice time. While in a few cases, 20 bpm apply to a run of straight eighth notes, for
slower might be enough, many times, that is example, are to change the rhythm to dotted-
closer to where they should be mid-week. In eighth-sixteenth and sixteenth-dotted-eighth.
order to have full command over the notes, One’s imagination is the only limitation on
rhythms, and musical elements, what is the rhythmic alterations. When the player is
needed is to start closer to 1/3rd, or 1/4th the successful to the point that they cannot make
intended tempo and spend as much time a mistake (instead of only working until the
there as needed. It is easy to fall into the first correct time), increase the tempo, and/or
mentality of “close enough,” approximating change the rhythm. Eventually, return to the
the music, but not really mastering it. A original tempo. This is not only easier, but also
triplet is not a dotted-eighth-sixteenth. Slow will undoubtedly feel like a slower tempo,
practice exposes this inconsistency and allows even though there has been no metronomic
a player to really get into the details of a change.
composition.
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Practice duration confidence that perfection in performance can
This is a matter for personal awareness of how be achieved and the skills necessary to always
long the player can concentrate and absorb get there. That means going slow (see above),
information. Practicing is a difficult skill and demanding a high level of focus.
because of the player filling the dual roles of Accuracy in practice is essential to mastery.
both teacher and student. Utilizing a Correct pitches and rhythms, consistent
recording device helps alleviate some of this sound and pitch center, and developing
by separating out the roles - perform for the mature musical lines every time indicates a
recording, then listen back and evaluate. thorough command of the performance. In
Rather than trying to fit all of the day’s order to know this will happen in the studio
practicing into one block of time, it needs to or on stage, the practice must reflect this goal.
be spread out throughout the day so that the
player can be engaged and concentrating the Without a plan for development, and a
entire time. dedicated, focused approach, practice sessions
will likely be inefficient and have mixed
Avoid asking “How long do I have to results. Mapping out a plan, with specific
practice?” That question is asking what expectations for each practice session leads to
minimum amount of work or time is needed. a much more efficient use of time, effort, and
Just like how asking how long an essay has to produces tangible, positive results.
be is really asking how little work is needed,
approaching practice time this way is a recipe
for selling oneself short of their full potential.
Frequently, the teacher answers the essay
question with, “long enough to answer the
topic.” The answer to how long to practice is
the same - however long it takes.
Practice what you don’t know

There is an expression, “you shouldn’t sound
good in the practice room.” What this means
is if you can already play something and
sound good, you are practicing the wrong
things. When a section or entire piece music
is mastered, move on to something else as the
primary focus of practice. Practicing is not
about showing off in the practice room. Little
is gained by that. Practicing is about finding
weaknesses and developing them into
strengths.
Perfect practice
How does someone learn to go out and
perform perfectly? Practice perfection. In
order to learn to do this, play one thing
perfectly everyday. This can be as basic as a C
Major scale. The point is to both develop the
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Trumpet Tips: Learn to Love the Process
Dr. Kyle Millsap
A more in depth discussion of this topic will initially, but after the five yards, has no clue.
be published in the January 2018 ITG The receiver is then useless to the offense and
Journal. However, since that is a ways off and may even cause a negative play from the
I would like to impart some of this quarterback holding the ball and taking a
information now. The origin of this topic is sack. If the trumpeter's initial breath is
two-fold: the need for all of you to excellent, that gets the piece off to a great
understand the importance and value of start. However, if each subsequent breath does
practice, and the recent, tangible result from not match the same standard as the first, they
Super Bowl LI where a team of players who become increasingly useless and lead down a
have expressed they love to practice overcame spiral of poor playing. This scenario frequently
a team that ran more on emotion than plays out in recitals when the emotions are
precision. Performances create great emotion, high and the discipline to the process may be
but without the love of practice as a lacking. The reward for learning to love the
foundation, too often the emotion is process of developing a consistently high
overwhelmed and falls away when turmoil quality breath is a consistent product
strikes on stage. produced through the trumpet.
Practice takes many forms, from time on the A process to accomplishing this is to take two
instrument, or listening to great performers, good breaths away from the instrument, but
to studying music scores, or reading historical acting as though preparing to play. Then, take
and pedagogical texts. It requires discipline to the same breath and play the desired phrase
consistently follow through on each of these on the instrument, stopping at the next
on a regular basis and reach a process where intended breath. Take the trumpet away, take
our thoughts are directed solely on our two quality breaths again, simulating the
musical product and not about playing the beginning of playing, then breathe a third
trumpet. Three of the top items to stress when time and play the next phrase. This continues
establishing the process are breathing, tuning, all the way through the etude, excerpt, section
and performing. This is not intended to be a of solo, or whatever is being practiced. This
practice guide, but rather highlighting these process should be repeated until the practicer
three key areas for improvement, developing is confident they understand and can
them through a process, and what is achieved consistently reproduce the product. That may
in the form of a greater product. be a matter of hours, or days, or even weeks.
Discipline is key to reproducing consistent
High quality, consistent breathing is results. Repeat the previous process, but do
something frequently stressed to brass players. not stop the line for the second breath.
Too many players, however, focus on Breathe to continue on and see if the second
perfecting their first breath and do not breath matches the first. Stop at the third
consistently apply the process that got them a breath and restart the process. Each time you
high quality first breath to their later breaths. feel confident you have mastered reproducible
This is like a wide receiver running a great results, add a breath to the sequence. Just as
first five yards of a route, but then doing their the quarterback knows where to throw the
own thing after that. The quarterback knows ball to a receiver who runs excellent routes,
where to throw the ball to the receiver the trumpeter knows how each note will
!64
begin off of a breath because of the consistent time to learn the music leads to confidence in
breath. knowing how the end result will come out.
The best sounds come from those with the An additional challenge is to play one thing
best intonation, and the best sections know perfectly everyday. If a performer never plays
where every note needs to be placed in a anything perfect, then the only process being
chord or unison. First, learn to use a tuner consistently reinforced is inconsistent
correctly for a brass instrument. A standard performance. Start simple with, for example, a
tuner is set for equal temperament. A tuner C major scale. Every few days, as confidence
with a setting for just intonation is needed. builds, up the difficulty level on what is being
There are numerous apps that quickly switch performed. Learn to expect the desired
between equal temperament and just results, not hope for them.
intonation. Pick an easy key, set the tuner for
just intonation, and have the tuner play a Product is how musicians are judged, just as
tonic drone. Tune each note in the key, paying athletes are evaluated by fans on game day.
attention to what each interval sounds like They do not see the daily practice.
against tonic. By learning the sounds of the Performances may feel more rewarding and
intervals, it is easier to reproduce the results in be more memorable than daily practice, but to
all keys. get to the point where performance does not
require thought takes adherence to a process
To not lose sense of the musical goal, set a designed to accomplish that. Next time in the
tonic drone and pick different notes in a piece practice room, remember that loving practice,
to stop on to allow yourself to verify whether the process, is how those memorable
they truly understand the musical relationship performances get created.
and the intervals. There is very little value in
simply mastering technique without striving
for a musical end, so always remember why
the process is important.
The final process is knowing how to perform.

Most of the technical parts of this process are
accomplished by the first two. This mental
side can be more complicated depending on
the individual. Ner ves, environmental
conditions, health, and food choices are all
among the external factors that can contribute
to negative performances. It is important to
practice slowly and diligently to develop
confidence. And slowly means really slow. If
there is an average daily increase of six beats
per minute, in one week the tempo is
increased by 42 beats per minute. Six is barely
noticeable. 42 is dramatic. Trying to practice a
piece and learn it near performance tempo
does not allow mastery of music, or proper
technique coordination. Discipline to take the
!65
Trumpet Tips: Multiple Tonguing
Dr. Kyle Millsap
Learning to multiple tongue is a crucial forming an embouchure. Perhaps there was a

technique in the development of brass players reason behind their use.
and especially trumpet players. So much of
our history and tradition is based on fanfare Using materials likely at hand (certainly if you
figures. Even Franz Joseph Haydn, when got your assigned books from your freshman
wanting to add "trumpet" figures to his year), Clarke's Technical Studies are a fount of
landmark concerto wrote a three beat fanfare. usefulness. Many of these studies are easily
Like any technique for the trumpet, it needs adapted to multiple tonguing studies. They
daily practice for development and later, can all be altered to double and triple
maintenance. In this essay, I will map out a tonguing by changing the eighth notes to
routine for effective development/ sixteenths or triplet sixteenths. The repeat
maintenance of multiple tonguing. sequence should go like this:
It is of vital importance to start slow. By slow, 1. Slur as printed to establish proper

I mean slow. Think quarter note equals 60 (or airflow (more on this later).
slower, if necessary)! Be patient, it is not a 2. Legato single tongue, focusing on
race. It is not important how quickly you get the moving long tone Clarke just
to the desired result. Rather, it is important intended for you to play the first
that the desired result be of high quality. Too time.
many times the development of multiple 3. Legato "K" tongue with the goal
tonguing technique is completely derailed due being to make it sound like the
to rushing the process. There is an excellent articulated pass you just played.
(and quick read) discussion of multiple 4. Repeat the first three steps until
tonguing in Keith Johnson's book Brass successful. Accomplishing that,
Performance and Pedagogy. A former colleague now change the rhythm to work
of mine from Murray State also has an on double and triple tonguing by
excellent method with multiple tonguing doubling or tripling each pitch.
exercises that move at a more measured pace For thorough practice, use
than Arban's method. Check out Basic Skills patterns in this sequence: KT, TK,
for the Developing Trumpeter by Eric Swisher. TTK, TKT.
Of great important is remembering to Now, that is a lot of repeats (7 total if you do

conceive of the articulation syllables correctly. everything), so do not try to do them in one
TU and KU are what are commonly used. In shot without a break. Remember that the
the english language, these get pronounced tongue is a muscle and will tighten up
TOO and KOO (or worse, TUH and KUH). without sufficient rest. A good way to divide
These pronunciations have the effect of up the exercises and make sure you are
putting the tongue at the back of the throat, practicing all keys is to label each exercise as
the wrong place to articulate from. Arban, an A, B, C, or D. Practice all of the A
who we associate these syllables with in exercises on one day. B exercises are the next
modern days, was French. The correct day. C and D exercises would follow on the
pronunciation is closer to TEW and KEW. third and fourth days. Then repeat the
Simply saying these syllables has the effect of sequence.
!66
To work on multiple tonguing with each Focusing on the TEW and KEW syllables
articulation on a different pitch, the above while remembering to prioritize moving wind
sequence needs changed a little. On a into the trumpet will create a positive result
superficial level, Clark Studies I, VII, and VIII for multiple tonguing development.
work well for triple tonguing. Studies II, IV,
V, VI, and IX work well as double tonguing But, start slow!
exercises. D ue to being arpeggios, I
recommend Study III be reserved until after
the K attack is consistent and equal to the T.
1. Play as printed.
2. Play legato tongued.
3. If double tonguing is being
practiced use KT, then TK. If
triple tonguing, TTK then TKT.
4. If Step 3 was (honestly) successful,
repeat at a faster speed, working
until the fastest, good sounding
speed is reached. Take note of the
tempo and use this as a the tempo
to continue to improve upon.
All of this can also be used to help increase

the speed of the single tongue, as well.
Commonly, trumpeters refer to "the break,"
described as this tempo range when a piece is
too fast to single tongue and too slow to
double tongue. Frankly, the existence of this is
the player's fault. Not enough time has been
spent developing a sufficiently fast single
tongue and sufficiently slow multiple tongue.
Being able to single tongue sixteenth notes at
a tempo of quarter note equals 120 and
multiple tongue at a tempo of 108 creates a
12 bpm overlap instead of a break.
A last note on multiple tonguing, and

probably the most important, is that, like all
articulating, it is not about the tongue, but the
air. Wind must continue to move efficiently
past the lips and into the trumpet. There is a
tendency for players to tongue harder the
more that they articulate. This leads to
reduced airflow. The opposite has to happen.
When tonguing more and/or harder, a greater
amount of wind is required to balance.
!67
Trumpet Tips: The Power of Preparation
Dr. Kyle Millsap
For the latest Trumpet Tips installment, I am reinvented himself every five years, so which
going to talk about preparation. Practice is Miles do you need to sound like? Once you
part of preparation, but preparation is more build up this musical database in your head,
than practice, at least in the traditional sense. trust it. Trust your mind's ear and play the
Think squares and rhombuses. When you are recording back as you perform.
handed a piece of music a few hours before a
performance to a sold out, 1,000-seat Pay attention in aural theory, too. This helps
auditorium, and know there will be no you also learn to trust your ear. You will know
rehearsal or sound check, what will you do? what those diminished arpeggios sound like.
When it is the day of the state concert band The less you are consciously concentrating on
contest and your head director comes down the fundamentals of playing, the more free
with the flu, will you be ready to step in lead you are focus on musical considerations. We
your students? These are scenarios that are are play a melodic, not harmonic instrument (we
usually not specifically practiced for, but they only play one note at a time versus playing
certainly must be prepared for. chords), meaning the overwhelming majority
of our music is written to make the most
Fundamentals sense when played as a horizontal line.
We mu s t p re p a re o u r s e l ve s f rom a Focusing on technique instead of music
fundamentals standpoint. This means causes us to lose sight of the music's
practicing scales, arpeggios (including the horizontal nature. Look through the music
diminished ones), Clarke studies, flow studies, and play where you hear the line going.
lip slurs, etc. Everyday we need to tackle what
makes us excellent trumpet players. Practice Embrace the stress
the "hard" keys, the awkward fingering Put yourself in as many stressful situations as
patterns, and all registers and volumes. When possible. Volunteer to sub in a rehearsal when
Clarke says to practice at pianissimo, do it. needed. Sightread music you are unfamiliar
These are the things that give us the technical with (but at a tempo you will likely be
facility to be skilled performers on our successful at). Study all musical styles,
instrument so that we do not have to actively especially the ones you do not play on a
think about it when playing. regular basis. Pick up your trumpet and play
your music without going through a fifteen
Train your ears minute warm-up routine when you know you
Beyond fundamental playing, we must listen need to demonstrate on-demand mastery.
to as much music as possible. Learn styles and Your goal is so that when conditions are not
sounds, what pieces need what articulation perfect, you can still perform at your best.
and accents, and what the proper role of the
trumpet in different composers' works. The You want to be known as someone who can
trumpet is used substantially different by be counted on in the clutch. Not all
Mozart than by Mahler. Do not play performances come with much rehearsal time,
Beethoven like Bruckner. What do east coast or any rehearsal time. Yesterday may have
big bands sound like compared to their west been a great playing day and today is your
coast counterparts? Know the difference in worst. Your job is to prepare as though each
the decades of jazz music. Miles Davis day could be your worst playing day. This way,
!68
you also know each day will be your best day. you play it. Practice fundamentals daily. By
Rarely will you have an ideal playing preparing yourself to be a complete artist, you
situation. Be familiar with as many styles as will know you will be ready whenever and
possible. Be able to hear your music before wherever you may be called upon.  
!69
ESSAYS FROM OTHER PROFESSORS
AND PERFORMERS 
Notes on Technique
David Bilger
Philadelphia Orchestra
Trumpet technique can be broken down into 6 main headings: Sound

(tone production), Articulation, Flexibility, Agility, Range, and Endurance.
The following are ideas and examples of exercises and etudes that can be
used to improve these necessary trumpet skills. Ideas about how the
warm-up and practice routines will be offered later.
Sound:
Good tone production on the trumpet is a combination of a functional

embouchure and the proper use of air. Therefore, the following examples
will focus on improving embouchure strength and focus, or air flow (or
both!).
1. Long tones. Play sustained notes for at least 12 beats at quarter = 60,
making sure that the tone is full and that the pitch is stable. Continue the
same feeling of air flow that you got with the long tones while playing
Herbert L. Clarke Technical Studies (#1-5). I call these "moving long
tones", and the idea is to keep the free air flow that we achieve on regular
long tones. Also look at Schlossberg Daily Drills and Gordon Systematic
Approach to Daily Practice.
2. Flow Studies. These could also be called lyrical studies. Just as we

talked about keeping the air flow in the above "moving long tones", playing
flow studies continues to reinforce the feeling of always using enough air.
Materials to use for this purpose are Stamp Warm-up Studies (also used
for pedal tones), Concone Lyrical Studies, Bordogni 24 Vocalises (also
used for transposition). and Cichowicz Trumpet Flow Studies (examples
are in the addendum).
3. Pedal tones and lip bends. Using both pedal tones and lip bends can
strengthen the embouchure. Pedal tone exercises from the Stamp Warm-
up Studies and Gordon Systematic Approach to Daily Practice are a good
place to start. Lip bends will be discussed in depth at the class, and
examples will be found in the addendum.
4. Mouthpiece buzzing. All of the above etudes can be done on the

mouthpiece alone. Mouthpiece buzzing is an important part of sound
development because it forces the player to focus the notes instead of
relying on the trumpet to do it for you.
Articulation:
Articulation and response are completely interrelated. Both are a

combination and appropriate balance between the tongue and the air.
When working on articulation, a player must always concentrate on floating
the tongue on a foundation of air, and then work on tongue position and
easy tongue motion. Single and "K" tonguing are the basis for all
articulation, and must be practiced independently of one another. Without
a quick single tongue, smooth triple tongue is impossible. There is no
substitute for practice on articulation. The following are suggestions for
exercises, but literally every text has a section on tonguing. Try Charlier
36 Etudes (#14, 16, 22, and 25), Goldman Practical Studies (1-4), and
most of the Arban book.
Flexibility:
Flexibility actually impacts all aspects of trumpet playing, especially

articulation and range. Lip flexibility exercises are actually "tongue level"
exercises, since the tongue channels the air to produce the notes. The
Arban book is a good starting place, but other materials include Colin
Advanced Lip Flexibilities, Schlossberg Daily Drills, and Irons 27 Groups of
Exercises.
Agility:
Agility actually refers to the quickness of a player's fingers and brain.

Included in this topic will be dexterity drills, transposition etudes, and
sight reading texts.
1. Finger dexterity is extremely important, and often overlooked. To

improve dexterity, I recommend practicing major and minor scales,
chromatic scales, and arpeggios right out of the Arban Complete Method.
Nothing can replace these etudes. Other sources of challenging finger
benders are Nagel Speed Studies and Vizzuti Advanced Etudes.
2. Transposition is a necessary skill for any player with professional goals.

It is also one of the most overlooked, since it is hard work and is
unrewarding in the short term. Start with the Caffarelli 100 Studi Melodici
and Bordogni 24 Vocalises, and graduate to the Sachse 100 Etudes. Be
aware that transposition requires a constant long term investment of your
time (years!), and should not be overlooked.
3. Sight reading is a skill that can be practiced on a daily basis. Take out
any new, old or unfamiliar piece of music, and you have an instant text.
Sight read duets with a friend, or challenge yourself just for fun. Hickman
Music Speed Reading is a quality text with tips on improving your skills, as
is Dufresne Develop Sight Reading.
Range: Range (both high and low) are functions of embouchure strength,
tongue position, air flow, and centering. Many exercises that we have
already discussed will increase range, such as pedal tones, lip bends,
flexibility studies, flow studies, etc. Try practicing octave slurs while
making sure to change your vowel sound from ah to eee as you go from
low to high. Also make sure not to over-adjust by playing too small or with
too much pressure in the high register. Remember, if you don't practice it,
you can't do it--and this applies to high notes as well. Some things to
practice are Stamp Warm-up Studies, Gordon Systematic Approach to
Daily Practice, Smith Top Tones, and Vizzuti Advanced Etudes.
Endurance:
As is the case with range, endurance is also a combination of many of the

topics we have already touched upon, and will benefit from many of the
same etudes. The two other things that will most quickly improve
endurance are efficiency and loud practice.
1. Efficiency is a necessity for any brass player. Playing the trumpet is

extremely physical, and efficient playing will reduce the demands on the
player. Efficiency can be achieved by taking care of the following:
A. Always use a good volume of air, and high air speed

B. Always play with your embouchure set
C. Do not use excessive pressure
D. Practice upper body relaxation
E. Always think about what you are doing while you play
2. Loud practice is another part of trumpet playing that is often

overlooked. Remember, when practicing at loud dynamic levels, always
keep your sound from distorting, and never cause yourself physical pain.
Do not use excessive pressure! Orchestral excerpts are a good source of
loud material, as are the Brandt Orchestral Etudes. Perhaps the best
resource for loud playing is the Schilke Power Exercises. Playing 5 minutes
of these a day will be all you need to develop the necessary strength for
increased endurance. They are not published, but are outlined in the
addendum.
Notes on Practicing:
The first and probably most important part of practicing is the warm-up.
Warming up is a personal thing, and everyone will need to experiment with
what works for them, but the following are some ideas and guidelines for
establishing your own personal warm-up.
I think of the warm-up period as having two main goals, the first being to
wake up your chops (and brain), and the second to practice the basics of
technique. The warm-up should start you off slowly, and then move on to
include the six aspects of technique as discussed earlier. Of course further
specific practice of the problem areas in your playing will be required, but
a certain amount of all technique should be covered in the first session of
the day.
I like to begin with Clarke Technical Studies and Cichowicz Trumpet Flow
Studies. By the time I have played 5 or 10 minutes of these, I have
accomplished the first part of my warm-up. Sometimes I will continue with
Stamp Warm-up Studies, which I use as a "centering medicine" if I feel I
need it.
Then I continue with Ray Mase's 10 Week Practice Routine, which is a

simple compilation of technical drills from a number of sources. I believe
that Ray's book is an excellent example of how to put together a warm-
up/practice book. The book is unpublished, since it is a compilation of
copyright materials, but I have included the guide page in the addendum,
which tells you how to put the book together. You can also put together
your own book using the same principles.
Additional practice sessions should be dedicated to practicing

weaknesses, learning new etudes and excerpts, and learning solos and
other performance pieces. No matter what you are practicing, your
metronome should always be handy, since it can act as both the "rhythm
police" and the "practice coach." The metronome can help you become
aware of inconsistencies in your rhythm, and also help in your training by
making you practice things at more difficult tempi than are called for, so
that performances will seem easy.
Another sidekick should be a tuner, so that you get in the habit of playing
in tune with yourself. It is impossible for anyone to play in tune with
another musician if they cannot play in tune with themselves. The tuner
doesn't lie.
Chris Gekker (of the American Brass Quintet) wrote about practicing,
"Every player, no matter how good, makes mistakes, but the very best
performers do two things: they don't tolerate them in practice sessions,
correcting the slightest mishap in an unhurried, determined manner (also
practicing with concentration and slowly enough so that mistakes are not
learned); and in performance, they react to any error by immediately
raising their level of energy and concentration, staying loose and
aggressive."
Etudes should be a part of your regular practice, and a good way to

approach them is to perfect one a week. There are endless sources for
etudes, but some of my favorites are Arban 14 Characteristic Studies,
Charlier 36 Etudes, Bitsch 20 Etudes, Brandt Orchestral Etudes, Gates
Odd Meter Etudes, Reynolds 48 Etudes, Wurm 40 Studies, and Longinotti
Studies in Classical and Modern Style. Your teacher will be able to tell you
what books are most appropriate for your level, and professional level
players will benefit from all the books mentioned above.
The other advice I have on practicing is to invest time in training your ear
and your musical soul. Every player needs to develop an understanding
about that the trumpet's role is in each piece of music, as well as to
understand what emotions the music is trying to express. The best way to
achieve this is to listen to all kinds of music every chance you get, and to
experiment as an artist on your instrument. Polished technique is a means,
not an end.
Most of all, keep practicing, keep improving, and remember that only you
are responsible for how you play!
Notes on Performing, Recitals, and Equipment:
Every type of performing situation places special and unique demands

upon a performer. I have identified six ways in which you can meet these
demands, regardless of the style of music or performance situation. The
following are skills that you must develop to achieve excellent
performances.
1. Practice your part. Thorough practice not only improves your chances of
hitting the right notes, but will add to your physical conditioning. Your
"chops" can learn to pace themselves for individual difficult passages.
2. Learn the music. Every good performer understands the style of the
piece, as well as having a feeling about what the composer was trying to
say with the music. A musical approach can actually help technique, as
well.
3. Communicate with your colleagues. Communication is what performing

is all about. We communicate with our audience through the content of the
music, but more importantly, we must communicate with the musicians
with whom we share the stage. This is accomplished by listening (to
players other than yourself!!), leading when appropriate, moving your
body to dictate phrasing and pacing, and eye contact--both with other
musicians and the conductor.
4. Be reactive. Every good musician must listen and react to tuning,

ensemble, and style; especially articulation, note length, and phrasing.
5. Concentrate at all times. Most of the mistakes that creep in at

performance time are a result of a lack of concentration. Every player
should develop a few tricks that they can use to re-focus wandering
attention.
6. Play with confidence. Playing with assurance results in a proper use of

air and better technique, and is the first and best step to prevent nerves.
A well deserved belief in one's abilities (combined with good preparation)
will go a long way towards eliminating nervous reactions.
The majority of concerts that musicians participate in are planned for us.
The one major exception is the solo recital. Recitals may be required by a
university or conservatory for graduation, or they may be for profit or
merely for fun. No matter what the genesis of the recital is, one basic
question remains: How does one program for it?
The following are some ideas that have helped me to come up with
successful programs.
1. First of all, it is important to define the purpose of the recital. Is it

educational, a fee concert, or merely for the enjoyment of friends and
family.
2. Understand your audience, their special circumstances and

expectations or, if it is a student recital, what will you be gaining from the
experience.
3. Make a list of possible repertoire with timings of each piece, and be
sure to pick music you enjoy. I always make three separate lists: pieces I
already know, pieces I am learning, and pieces I should know but don't
yet. Once you have these lists, you can select from them to assemble a
workable program.
4. Select a good strong opener first. I prefer either something a bit flashy
or something for piccolo trumpet. Next, select your closer. I look for
something a little lighter or a chamber music piece, and then select the
major works (Sonatas or Concertos). Lastly I pick a few filler pieces that
will provide contrast and rest.
5. Write down some potential concert orders, taking into account how the
pieces flow from one to the next, what kind of endurance demands they
place on you, placement of specialty pieces (i.e. piccolo), and the logistics,
especially if there are stage changes involved.
Full Recital (30 min. per half)
Opener
Transition (Contrast)
Concerto or Sonata
INTERMISSION
Concerto or Sonata
Rest piece (Contrast)
Closer
Half Recital (35 min. total time)
Opener
Transition (Contrast)
Major work (Sonata or Concerto)
Closer
Equipment is the most highly personal and controversial aspect of trumpet
playing. I would not presume to tell anyone what set-up to play on, but I
can give some general advice. Remember that when you are changing to
something new, it should always sound immediately better than your old
equipment. The idea of "working into it" is bunk. There may be an
adjustment time, but there must be some immediate improvement. Also
make sure to play your new equipment in a couple of different rooms, and
always play for other musicians. Their ears may catch something in the
sound that you cannot hear from your side of the bell. Here are some
other ideas.
1. Identify your needs. Do you require a set-up for a specific style or job,
or do you need something more versatile? Do your chops tolerate
switching equipment for different repertoire? Do you need more than one
set-up to meet the demands of your playing? By answering these
questions, you can narrow your possible choices.
2. There are general tendencies in horns. For Bb trumpet, most people

use medium large bore. The weight of the bell is a matter of taste. C
trumpets are generally large bore. I prefer Bach trumpets for Bb and C
because they have a good balance between high and low overtones in the
sound. Many players are getting off track by trying to play too dark and
sacrificing the highs in the sound. To my ear, it then is no longer a true
trumpet sound. For small trumpets, look for quality of sound, response,
and ease of high playing.
3. Most trumpet players spend a great deal of time (and money) selecting
mouthpieces. I play on a Bach 1 1/4 C (or 1 1/2 C or 1B), and I have
found that most legit players favor this size of mouthpiece. The best idea
is to try a wide variety of mouthpieces keeping the following in mind:
A. Cup depth and shape affect the range, response, sound, and pitch.
Too deep a cup results in a weak high range, slow response, dead sound,
and flat pitch. Too shallow a cup tends to weaken the low range, thin out
the sound, and raise the pitch too high.
B. The size and shape of the rim must fit your facial structure, your dental
shape, and take into account the amount of pressure you use. Too flat or
cushioned a rim will slow response, too thin a rim will decrease
endurance.
C. Opening up the backbore and throat increase the volume and richness
of the sound, but can destroy the focus of the sound and flexibility. Most
orchestral players open up their mouthpieces.
4. Mutes are an often overlooked part of trumpet equipment. Every

serious trumpeter should own a wide variety of mutes, and be selective
about their use. I have loud and soft straight mutes, as well as in tune
ones and sharp ones. There are times all of the above come in handy.
Make sure to practice with your mutes, because "if you don't practice it,
you can't play it." A harmon mute without the stem can also be an effective
practice tool. Try to practice etudes while keeping the timbre (the amount
of buzz) the same.
5. Other accessories you should carry are:

A. Oil. Make sure never to mix valve oils. Some are incompatible and can
seriously gum up your valves.
B. Cleaning supplies--mouthpiece brush and snake. It also helps if you
use them.
C. Slide grease. Any non-water soluble grease will do. I use Vaseline on
my slides.
D. Pencil with eraser.
E. Aspirin or Advil (both for headaches and as an anti-inflammatory for
the chops).
RECOMMENDED LISTENING &
READING LISTS 
CLASSICAL SOLOISTS
Maurice André - France Marie Speziale - United States

Ryan Anthony - United States Crispian Steele-Perkins - United Kingdom
Ole Edvard Antonsen - Norway Christian Steenstrup - Denmark
Paul Archibald - United Kingdom Thomas Stevens - United States
Eric Aubier - France Allen Vizzutti - United States
Alison Balsom - United Kingdom George Vosburgh - United States
Eric Berlin - United States
Stephen Burns - United States
Vincent DiMartino - United States
Timofei Dokschitzer - USSR (Ukraine)
Niklas Eklund - Sweden
Terry Everson - United States
Reinhold Friedrich - Germany
Hans Gansch - Austria
Chris Gekker - United States
Armando Ghitalla - United States
Rick Giangiulio - United States
Ludwig Güttler - Germany
Håkan Hardenberger - Germany
Juoko Harjanne - Finland
Tine Thing Helseth - Norway
John Holt - United States
Matthias Höfs - Germany
Jens Lindeman - Canada
Raymond Mase - United States
Malcolm McNab - United States
Robert Nagel - United States
Anthony Plog - United States
Judith Saxton - United States
Charles Schlueter - United States
Gerard Schwarz - United States
Doc Severinsen - United States
Leonard B. Smith - United States
Philip Smith - United States
!125
JAZZ SOLOISTS
Louis Armstrong - United States Bubber Miley - United States

Chet Baker - United States Lee Morgan - United States
Wayne Bergeron - United States James Morrison - Australia
Bix Beiderbecke - United States Tiger Okoshi - Japan
Bunny Berigan - United States King Oliver - United States
Buddy Bolden - United States Arturo Sandoval - Cuba
Randy Brecker - United States Doc Severinsen - United States
Clifford Brown - United States Woody Shaw - United States
Donald Byrd - United States Bobby Shew - United States
Conte Candoli - United States Lew Soloff - United States
Pete Candoli - United States Marvin Stamm - United States
Bill Chase - United States Clark Terry - United States
Don Cherry - United States Jeff Tyzik - United States
Kiku Collins - United States Mike Vax - United States
Miles Davis - United States Allen Vizzutti - United States
Vincent DiMartino - United States
Kenny Dorham - United States
Roy Eldridge - United States
Jon Faddis - United States
Maynard Ferguson - Canada
Chuck Findley - United States
Thomas Gansch - Austria
Dizzy Gillespie - United States
Roy Hargrove - United States
Tom Harrell - United States
Freddie Hubbard - United States
Roger Ingram - United States
Harry James - United States
Ingrid Jensen - Canada
Walt Johnson - United States
Quincy Jones - United States
Thad Jones - United States
Chuck Mangione - United States
Wynton Marsalis - United States
!126
ENSEMBLES
CHAMBER ENSEMBLES BIG BANDS

American Brass Quintet Airmen of Note (US Air Force)
Aries Brass Quintet Army Blues (US Army)
Atlantic Brass Quintet Count Basie
Bay Brass Louis Belson
Boston Brass Bunny Berigan
Canadian Brass Bob Brookmeyer
Center City Brass Quintet Cab Calloway
Chicago Brass Quintet Commodores (US Navy)
Empire Brass Quintet Jimmy Dorsey
German Brass Tommy Dorsey
Meridian Arts Ensemble Duke Ellington
Millar Brass Ensemble Bob Florence
Mnozil Brass Terry Gibbs Dream Band
Montreal Brass Quintet Benny Goodman
Munich Brass Quintet Gordon Goodwin
New York Brass Quintet GRP All-Star Big Band
Phillip Jones Brass Ensemble Fletcher Henderson
Stockholm Chamber Brass Woody Herman
Harry James
BANDS & ORCHESTRAS Jazz Ambassadors (US Army Field Band)
Atlanta Symphony Jazz Knights (US Military Academy)
Baltimore Symphony Thad Jones/Mel Lewis Big Band/Vanguard
Berlin Philharmonic Jazz Orchestra
Black Dyke Band Stan Kenton
Boston Symphony Lincoln Center Jazz Orchestra
Chicago Symphony Billy May
Cleveland Orchestra Glenn Miller
Dallas Symphony Bob Mintzer
Dallas Wind Symphony Louis Prima
Grimethorpe Colliery Brass Band Buddy Rich
London Philharmonic Tonight Show Band with Doc Severeness
London Symphony
Los Angeles Philharmonic
New York Philharmonic
Philadelphia Orchestra
St. Louis Symphony
San Fransisco Symphony
Scottish National Orchestra
Vienna Philharmonic
!127
ENSEMBLES (CONTINUED)
SMALL GROUPS ( JAZZ)

Birth of the Cool
Art Blakey & the Jazz Messengers
John Coltrane
Chick Corea
Eric Dolphy
Bill Evans
Dexter Gordon
Coleman Hawkins
The Headhunters (Herbie Hancock)
Hot Five (Louis Armstrong)
Hot Seven (Louis Armstrong)
Charles Mingus
Modern Jazz Orchestra
Thelonious Monk
Charlie Parker
Bud Powell
Sonny Rollins
Horace Silver
Weather Report
!128
READING
Adolphe, Bruce The Mind’s Ear

Altenberg, Johann Ernst The Trumpet and Kettledrummer’s Art
Bendinelli, Cesare The Entire Art of Trumpet Playing
Blum, David Casals and the Art of Interpretation 
Bush, Irving Artistic Trumpet: Technique and Study 
Covey, Stephen The 7 Habits of Highly Effective People 
Davis, Miles Miles 
Farkas, Philip The Art of Brass Playing 
Farkas, Philip The Art of Musicianship
Frederiksen, Brian Arnold Jacobs: Song and Wind
Gallwey, Timothy The Inner Game of Tennis
Green, Barry The Inner Game of Music 
Greene, Don Audition Success 
Greene, Don Performance Success 
Johnson, Keith The Art of Trumpet Playing
Johnson, Keith Brass Performance and Pedagogy
Poultney, David Studying Music History
Sherman, Roger The Trumpeter’s Handbook
Smithers, Don L. The Music and History of the Baroque Trumpet Before 1721 
Snell, Howard The Art of Practice 
Snell, Howard The Trumpet: Its Practice and Performance
Steenstrup, Kristian Teaching Brass
Stewart, M. Dee Arnold Jacobs: Legacy of a Master 
Stoor, Anthony Music and the Mind
Stravinsky, Igor Poetics of Music 
Tarr, Edward H. The Trumpet
Werner, Kenny Effortless Mastery 
!129
ADDITIONAL STUDIO DOCUMENTS 
TRUMPET STUDIO RECITAL PROGRAM TEMPLATE
Senior (Education, Jazz Studies, Performance) Trumpet Recital

Big Ego, trumpet
Ima Companis, piano
(other performers)
December 21, 2012
6:30 pm
Recital Hall
Concerto for Trumpet in D Major (1762)

Leopold Mozart (1719-1787)
I. Adagio
II. Allegro moderato
Concerto for Trumpet, Hob. VIIe, No. 1 (1796)

Franz Joseph Haydn (1732 - 1809)
I. Allegro
II. Andante
III. Finale: Allegro
intermission
Sonata for Trumpet and Piano (1956)

Halsey Stevens (1908-1989)
I. Allegro moderato
II. Adagio tenero
III. Allegro
Fantaisie Brilliante (c. 1859)

Jean-Baptiste Arban (1825-1889)
!133
HOW TO USE THE LIBRARY TO FIND TRUMPET MUSIC
Classification system of Jernigan Library
• Library of Congress Classification (LCC)
• LCC used in academic libraries
• Dewey Decimal used in public libraries
How the numbering system works

• First letter/number = Subject (M = Music, ML = Music Literature, MT = Music Texts)
• Second letter/number = Author/Composer
• Third number = Publication date
• Example: Henri Tomasi - Triptyque M261.T66 1957
- M261 = Trumpet and Piano
- T66 = Tomasi
- 1957 = Publication date
Important call numbers
• M261 - Trumpet and Piano
• M1030 - Trumpet and Orchestra
• M87 - Solo Trumpet
• MT440 - Methods and Etudes
• ML960 - Trumpet History books
LCC Music Outline

http://www.loc.gov/aba/cataloging/classification/lcco/lcco_m.doc
Interlibrary Loan
• http://libguides.tamuk.edu/ill
• Request books/music from other libraries
• Typically no charge
• How to do it
- Select “Request a Book”
- If off-campus, login with last name and K number
- Complete as much information as possible
- To find the information, search worldcat.org
Other resources
• Music LibGuides
- Online resources: http://libguides.tamuk.edu/musicresources
- Research resources: http://libguides.tamuk.edu/music
• Oxford Music Online (encyclopedia)
• Classical Music Library (recordings)
• ProQuest (dissertations) 
!134
JERNIGAN LIBRARY TRUMPET HOLDINGS
ETUDE BOOKS
Alphonse, Maxime Etudes nouvellees pour trompette MT339 .M3 v.1
Bellamah, Joseph 44 Melodious Warm-Up Exercises MT445 .B4
Brandt, Vassily 34 Studies MT445.B62 1956
Charlier, Theo 36 Transcendental Etudes MT445 .C5 1946
MT445.C49 D45 2007
Concone, Giuseppe Lyrical Studies MT445.C66 L9
Getchell, Robert Second Book of Practical Studies MT445.G47 P72 1948
Hering, Sigmund 32 Etudes for Trumpet MT445 .H47
Irons, Earl 27 Groups of Exercises MT445.I74 T9 1966
Laurent, Rene Practical Etudes for the Trumpet, Vol. 1 MT445 .L29
Laurent, Rene Practical Etudes for the Trumpet, Vol. 2 MT445 L3 v.2
Sachse, Ernst 100 Studies MT445 S2
Smith, Walter Top Tones for the Trumpeter MT446.S648 1936
Williams, Ernest The Secret of Technique Preservation MT442 .W52
METHODS
Arban, Jean-Baptiste Complete Conservatory Method MT445.A73 M48 2013
Belck, Scott Modern Flexibilities for Brass MT418.B45 2013
Farnum, Stephen Method for the Cornet MT442 .F3
Lin, Bai Lip Flexibilities MT 418.B14 1996
Schlossberg, Max Daily Drills and Technical Studies MT445 .S3
Stamp, James Warm-Ups and Studies MT445.S736 W3 2005
Vizzutti, Allen Trumpet Method Book 3: Melodic Studies
MT442.V59 1991 Book
3
Williams, Ernest Modern Method for Trumpet MT442 .W5 v.3
SOLOS
Balay, Guillaume Andante et Allegretto M788.1542.B12 A54
1969
Barat, J. Ed. Orientale M261 .B32
Barat, J. Ed. Fantaisie en Mi bemol M261 .B31
Barat, J. Ed. Andante et Scherzo M261 .B29
Bellamah, Joseph Carrezondo M261.B4 C3
Bitsch, Marcel Fantsietta M261 .B5
Block, Andre Meou-tan yin (Fête des pivoines) M261.A5 M4
Bornstedt, Wayne Concerto for Trumpet M261.B6 C6
!135
Bozza, Eugène Caprice M261.B69 op. 47 1943
Bozza, Eugène Caprice No. 2 M261.B68 C3 no. 2 1978
Bozza, Eugène Rustiques M261.B69 R8 1955
Chance, John Barnes Credo M261.C48 C7x 1964
Charlier, Theo Solo de Concours M1031.C6 56 2004
Delmas, Marc Chorale et Variations, op. 37 M261.D44 C45x
Desenclos, Alfred Incantation, threne et danse M261 .D4
Donato, Anthony Prelude et Allegro M260.D66 P7 1994
Enesco, Georges Legend M261.E53 L4
Ewazen, Eric Sonata for Trumpet and Piano M261.E93 S66 1997
Friedman, Stanley Solus M87.F75 S65 1978
Gallois-Montburn, Raymond Scherzo for Trumpet and Piano M261 .G3
Goedicke, Alexander Concert Etude, Op. 49 M261.G296 op.49 C66
1946
Goeyens, Alphonse All 'Antica M261.G64 A45
Handel, Georg Friedrich Aria & Bouree M261.H13 P3
Hansen, Thorvald Sonata for Trumpet and Piano M261.H26 op. 18 2000
Haydn, Franz Joseph Trumpet Concerto, Hob. VIIe, No. 1 M1031 .H42 H.VIIe, 1
1982
Hindemith, Paul Sonata for Trumpet and Piano M261 .H5
Honegger, Arthur Intrada M261.H66 I5 2003
Hue, Georges Solo de Concert M261.H74 56 1988
Hummel, Johann Nepomuk Trumpet Concerto M1031 .H85 E maj. 1959
Kennan, Kent Sonata for Trumpet and Piano M261.K34 S66 1997
Ketting, Otto Intrada M87.K48 I5 1977
Neruda, Jan Křtitel Jiří Concerto in Eb M1129.N47 E{169} maj.
1990
Persichetti, Vincent The Hollow Men M1105.P4 H6
Pilss, Karl Sonata for Trumpet and Piano M261.P55 S6 1962
Stevens, Halsey Sonata for Trumpet and Piano M261.S74 S66 1959
Tomasi, Heni Concerto M1031.T65 C6
Tomasi, Henri Triptyque M261.T66 1957
Torelli, Giuseppe Sonata G. 1 M1131.T67 2000
Turrin, Joseph Caprice M1205.T87 C37 1992
TEXTS
Adolphe, Bruce The Mind's Ear MT35.A2 2013
Frederiksen, Brian Arnold Jacobs: Song and Wind ML417.J34 F74 1996
Johnson, Keith Brass Performance and Pedagogy MT418.J64 2002
!136
MUSICAL TERM GUIDES

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TEXAS A&M UNIVERSITY-KINGSVILLE

DR. SPENCER WALLIN

Studio Scale Requirements .................................................................................................. 21

Scale Circle .......................................................................................................................... 24

First Semester Freshman Curriculum (MUSA 1210)

Technique Class Semester Curriculum (MUSA 1220)

Required Orchestral Excerpts

Norris “Top 50” Orchestral Audition Excerpts for Trumpet Curriculum

Trumpet Tips from Dr. Millsap

Recommended Listening & Reading Lists

Additional Studio Documents

Musical Term Guides

Instructor: Dr. Spencer Wallin, Lecturer of Trumpet

Instructor: Melissa Millsap, Lecturer of Trumpet

Student Learner Outcomes

Course Assignments & Assessments

• If a student requests, and is granted a rescheduled lesson for non-documented reasons

• For students enrolled in 1000-level lessons, attendance at a technique masterclass,

• Trumpet Ensemble/Masterclass Participation - 10%

• Jury Examination - 20%

• Technique Exam/Written Exam - 10%

Course and University Procedures/Policies

Tips for eﬀective practice

Other Miscellaneous Information for My Students

Suggestions for Successful Progress

Students with Disabilities

Classroom Conduct Expectations

The syllabus and schedule are subject to change.

DR. KYLE MILLSAP

DR. SPENCER WALLIN

ADDITIONAL REQUIREMENTS FOR THE SCALE AND TECHNIQUE EXAM

Play the entire circle without break.

Smoothness before speed.

Week 1 Week 5 Week 9

Week 2 Week 6 Week 10

Week 1 Week 5 Week 9

Week 2 Week 6 Week 10

Bizet - Carmen - Prelude to Act I

Mahler - Symphony No. 5 - Opening solo

Respighi - Pines of Rome - Oﬀ-stage solo

Copland - Outdoor Overture

Stravinsky - Petroushka - Ballerina’s Dance

Tchaikovsky - Capriccio Italien - cornet solo

Ives - Variations on “America”

Ravel - Piano Concerto in G

Shostakovich - Symphony No. 5 - Mvt. IV solo

Strauss - Ein Heldenleben - Fanfare

Practice what you don’t know

The final process is knowing how to perform.

Learning to multiple tongue is a crucial forming an embouchure. Perhaps there was a

It is of vital importance to start slow. By slow, 1. Slur as printed to establish proper

Of great important is remembering to Now, that is a lot of repeats (7 total if you do

All of this can also be used to help increase

A last note on multiple tonguing, and

Trumpet technique can be broken down into 6 main headings: Sound

Good tone production on the trumpet is a combination of a functional

The syllabus and schedule are subject to change. 

Smoothness before speed. 