A Trumpet Legacy CHOPS Vol 1

A Trumpet Legacy
vol. 1: chops!
A trumpet method written by a student of

Roy Stevens of the Costello Method,
Claude Gordon, Harold Mitchell,
Carmine Caruso, and
Cat Anderson
• Develop Range, Control, and Efﬁciency through correct embouchure formation

• Ear training while learning chord symbols, arpeggios, and scales
• Play along with each lesson using the embedded sound ﬁles
an e-book by Larry Meregillano, Eclipse Trumpets Artist & Clinician

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A Trumpet Legacy
vol. 1: chops!
Copyright © 2013 – Larry Meregillano
All rights reserved.

Permission to copy any part of this book by any means must be secured from
the author or his legal representatives. The author retains the right
to review any permissions at any time and can rescind said
permissions at his discretion.
A Trumpet Legacy (Chops!) © Copyright 2013 – Larry Meregillano All rights reserved.
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About the Author
Larry Meregillano has had the great fortune to study with some of the finest trumpet teachers
and players of all time. They include Claude Gordon, Roy Stevens, Carmine Caruso, Harold
"Pappy" Mitchell, Bud Brisbois and the Duke Ellington band’s great high note specialist, Cat
Anderson.
Larry began his professional career while still in high school, playing in big bands in San
Diego in the early 1970's, where he performed with many of the Big Band era's finest players.
In 1978, at the age of 21, he was hired to play at Disneyland. A year later, Mr. Meregillano
joined the gospel group Truth, which led to an opportunity to perform and tour with The Bill
Gaither Trio.
In 1980, Larry returned to California and Disneyland, becoming the lead trumpet player of the
Disneyland Band, where he was able to hone his skills in their wide variety of musical venues,
including shows, big bands and orchestras. In the late 1980's Larry was hired in the trumpet
section for the PTL Television Orchestra with Jim and Tammy Faye Baker. From there, Larry
joined Princess Cruise Lines as one of that company’s Musical Directors. After several years at
sea, touring the world, Mr. Meregillano moved to Orlando, Florida where he performed at
several theme parks, including Walt Disney World, MGM Studios, Epcot Center, Universal
Studios and Pleasure Island. Larry has also been the Musical Director on various other cruise
ships, including the world famous Queen Elizabeth 2 and Queen Mary 2.
Larry has performed with some of the world’s top acts, including Chris Botti, Natalie Cole,
The Temptations, The Four Tops, Burt Bacharach, Rosemary Clooney, Joe Williams, Jack Jones,
Dolores Hope, Celia Cruz, Frankie Avalon, Roger Williams, Pat Boone, and many more.
Mr. Meregillano has recorded with many artists including Hubert Laws, LaToya Jackson,
Sandi Patty, the Gospel group Truth, The Bill Gaither Brass, and his guitarist brother, Gino
Meregillano. Larry was a member of the original L.A. Boppers, and is now a busy freelance
musician in the Los Angeles area.
As a clinician for the Conn-Selmer Artist Centerstage program, endorsing their Bach trumpet
line, Larry hopes to be able to light the same spark in aspiring musicians that he was given in
his youth by the artists who inspired him. He is available for concerts and clinics and can be
contacted at trumpetsprayer@gmail.com .
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Foreword
For many years I struggled to find the answers to the brass embouchure. I was fortunate to
have been able to study with some of the legends of Trumpet pedagogy. Although many of
them were seemingly opposed to one another in their individual approach, when I analyzed
each individual method I found that they were all saying the same thing. “It’s about the air.”
Some went into great detail about the embouchure while others felt that if you played their
written exercises properly that you would develop the necessary muscular function and
coordination in order that you play in the most efficient way possible.
In this book I will endeavor to explain the embouchure and to provide a work out routine that
will physically lead you into the right direction while allowing your mind to learn jazz theory.
I contend that you cannot play correctly until you have developed specific muscles and
coordination. It is the chicken before the egg syndrome.
Through the information in this book there is a map of a direct route to take in order to build
the correct muscles and coordination that are necessary to play efficiently. This route will
provide a few short cuts and will keep you away from the many cul-de-sacs and wrong turns
that I encountered.
It is an honor to present my book to you. The ideas presented here are a culmination and,
indeed, a practical application of the advice of the Masters.
The combination of these common ideas has worked well for me and I hope that they provide
some answers to you. In this book I have outlined several different exercises that will build
your power to compress the air, to find the proper air stream for your own unique physical
structure, and to build the correct muscles of the embouchure and tongue.
I hope that you are encouraged in the knowledge that anyone can develop chops like the
legends of the past. Many a modern day player has reached this bar. Why not you? The secrets
and the hard work lay ahead.
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Acknowledgments
I would like to thank Claude Gordon, Harold Mitchell, Carmine Caruso, Roy Stevens, Cat
Anderson, Bud Brisbois, Jack Maynard, Ed Thomas, and my father Gene Meregillano, all of
whom in my formative years taught me well the lessons of the trumpet. It is to their memory
that I dedicate this book.
I would also like to thank my friend since childhood, Geoff Winstead, who edited and created
the lay-out for this book, Barry Nitikman, who was a “second set of eyes” on the proofread,
and to Justin Smith, who created and built my website. Thanks also to Curt Remic who
patiently transcribed and copied the routine portion of this book, to Marcus Harbaugh, who
edited and corrected the music routines, and Roger Wood, who created the mp3 files.
I would be remiss if I did not also thank my high school band director, Mr. Don Lauder, who
inspired almost a third of his students to go into music careers by living what he taught,
treating students as individuals on an even plane and making them a part of his extended
family.
A special thank you goes out to Dr. Byron Moe,

DDS, who took it upon himself to restore my
teeth. Without him I would still be selling cars
for a living and this book would have never been
written. Also, special thanks to Dr. Brad Nelson
for everything.
Thanks also to my good friend Justin Smith who helped

in the lay out of this e-book and with the creation of the
Trumpet Legacy website. Justin is a great player who
remains active in the Austin , Texas area.
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Introduction
For those who have been given the passion to be an artist; those who have and will sacrifice,
time, effort, and indeed much of their lives to the pursuit of a sound that defines one’s own
soul through the art of blowing a trumpet, I openly and freely give to you all that my life’s
work has taught me about the physical aspects of playing brass instruments.
It is my earnest prayer that you will find understanding in my words and be successful in
applying the principals stated in this book. My wish is to be able to pass on and clarify the
methods of the great Master teachers and players that have mentored me so that the next
generation of brass players will have benefit of their work.
Larry Meregillano
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The struggle to find an embouchure
Our Creator gave all of us the same physical assets needed to blow a trumpet. We all posses
the same amount of teeth, the same tongue, lungs, and muscles of the abdomen. However, the
Creator configured them in a different manner with each different person and this is the factor
that makes us all uniquely individual. Having stated this fact, how can I possibly say to you
that there is only one way to play the trumpet?
Upstream, downstream, off to the side, playing with a cross bite, 2/3 top lip, 2/3 bottom lip--
there are nearly as many approaches to the embouchure as there are individual brass players.
This is why one brass player sounds different than another. Each of us has teeth, jaw, and oral
cavity structures that are individually unique.
Each approach has its own advantage. However, there is one important factor that all share in
common, and that is the ability to utilize the air in the most efficient manner possible.
When I was young, I sought out information from as many sources that I could find. I
attended clinics and lessons with people like Cat Anderson, Bud Brisbois, Maynard Ferguson,
Roy Stevens, Claude Gordon, Lin Biviano, Clark Terry, and the list goes on and on. While
vastly different in their approach, they all had one thing in common. They all said in different
ways the very same thing: “It’s all in the air stream!”
However, this is only part of the equation. The truth is, it is all in how the muscles of the
embouchure react to the air stream. So how does one find this magical efficient way to utilize
the air stream so that we may play the trumpet in an efficient manner?
Let’s back up a bit.
Take a look at your teeth in the mirror. Some of you have straight and even teeth. Others have
crooked, sharp, and protruding teeth. Some of you have receded bottom jaws (overbite), while
others may have a protruding lower jaw (under bite).
My “jargon”
For the purpose of this discussion let me define my jargon. The word platform will mean the
teeth while the word feet will mean the muscles and flesh of the lips.
Having a solid, even foundation for the footprint of the mouthpiece is important. However,
having a broken, uneven, crooked platform is not an insurmountable challenge. The optimum
way to play is to have as many feet (points of hermetic seal) as you can achieve with your
individual mouthpiece placement upon the platform (your teeth).
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Let’s begin
Get your mouthpiece out of the case and place it on to your mouth. Make sure that you feel
comfortable with no sharp edges digging in.
Some of you may have to balance the mouthpiece with just one tooth on the bottom and rely
on a more stable platform with the bulk of your footprint on your top teeth. For those of you
who have protruding front teeth you may be more challenged than those with straight, un-
jagged teeth. But I say that your challenge is not insurmountable.
You may need to play to the side or your horn may be pointing slightly to the left or the right.
Do not worry, as this may be the only correct way for you to play. The important thing is to
have a stable, well-grounded foot print on the platform, which is defined by the lips between
the mouthpiece and the teeth.
In order to achieve this, it is important to find a mouthpiece rim that fits you the individual.
For example, I sound great on a Yamaha Bobby Shew model mouthpiece. It’s a great piece. But
I get cut on my bottom lip because the apex or high point of the rim puts the platform behind
the footprint squarely on an uneven tooth. I either have to use a wider or smaller rim diameter
in order that I may play comfortably.
Please do not think that the platform and foot print has anything to do with smashing the lips
between the teeth and the rim of the metal mouthpiece as this is counter productive and will
gain only negative results. Playing in this manner is like running without feet.
The following exercise is my way of making playing efficiently tangible to you. Since I may be
the originator of this exercise let me name it the Hermetic Seal Exercise.
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The Hermetic Seal Exercise
Place the mouthpiece to your lips. Do not buzz. Instead, I want you to close off the back of the
mouthpiece with your finger and compress the air. Of course the air will not go anywhere as
you now have a closed tube.
I want you to form a hermetic (airtight) seal in between the mouthpiece and the lips. As you
compress the air, the muscles of the face will resist the air and contract with tension. The lips
should be puckered slightly forward. At this point the mouthpiece should feel like it is
bouncing on a soft cushion of muscle.
Let me illustrate the position like this: Place your lips together by saying “M”. Feel with your
tongue the relaxed nature of the corner muscles. From this position say the syllable BUH (like
YOU with a B). This places your embouchure in the most optimum position, unfurling your
lips into a pucker. Feel the corner muscles? They are in a locked position yet they are still
relaxed. As you tighten the corners, feel just how much more corner muscle comes into play in
the unfurled position! View my demonstration of the Hermetic Seal Exercise on YouTube.
Now I want you to blow gently creating a closed but compressed elastic space of air within the
oral cavity and the muscles of the face. If you have successfully created a hermetic seal and can
now feel the muscles of the lips protruding slightly forward in a relaxed pucker, and if the
mouthpiece feels bouncy on an elastic ball of muscle, then you are on the right track.
This is by far the greatest and most tangible demonstration of what it feels like to utilize the
correct muscles for the upper register and, indeed, to play easily and effortlessly throughout
the range of the trumpet. Do not allow air to escape from around the lips. You can vary the
resistance factor by letting a small amount of air to escape from the mouthpiece by adjusting
your finger. This is not a buzzing exercise. The focus should be entirely upon the hermetic seal
and on the muscles of the face that are involved in compressing the air. You should feel points
of fatigue occurring around the lips and in the corner muscles as well as in the cheeks of your
face.
Much like Cat Anderson’s whisper “G”, the muscular position described by the Hermetic Seal
Exercise allows the muscles of the mouth to form a seal on the mouthpiece and a vibrating
surface in front of and aligned in between the teeth rather than pressed on to or pinned against
the teeth. I might add that this exercise is also a great way to silently work the embouchure
muscles without creating any noise. You may have a partner sleeping next to you and are
feeling a bit anxious because after a long day at the office you did not have time to practice.
While you are watching the evening news, do the Hermetic Seal Exercise. No one is going to
hear it.
You are resisting the air against the hermetic seal. This is created by the muscles of the lips
pushing the lip muscles forward towards the rim of the mouthpiece. You are exercising these
muscles by holding back the resistance of a closed tube. This is also a great warm up if your
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compression is gentle. It is not necessary to use the lungs. You can create extreme compression
with just the muscles of the face just as you would in circular breathing.
On the Hermetic Seal Exercise you should at first gently build compression then step on the
gas (as you warm up) withholding as much compression on the hermetic seal as the muscles of
the lips and face can stand. Hold the position for eight seconds and then rest eight seconds.
Repeat until muscular exhaustion. Be aware that this is an intense isometric exercise and like
any other muscular exercise resting periods according to your own personal needs are
essential. Doing this exercise to complete fatigue is not advisable on a gig night!
The second variation is as follows. This time I do not want you to compress the air. I want you
to get as much muscular bulk between the mouthpiece and the teeth as is possible by placing
your lips as far forward as possible. Push the mouthpiece off of your face while you are
pulling the mouthpiece inwards with your hand. Push your lips as far forward against the
mouthpiece as possible and hold for eight seconds. Rest for eight seconds, then repeat until
muscular exhaustion.
Whether you play upstream or downstream, straight ahead, more top than bottom, etc, you
must have a stable platform for the muscles of the lips and face that will allow you to create a
hermetic seal between the lips and the mouthpiece. This will allow your embouchure muscles
to resist and contract against the compression further channeling the air through the vibrating
surface. If you have attained this then your journey with a trumpet can begin.
The Hermetic Seal position is the basis to this system and the key to your success with every
other exercise that I describe here.
The principal rules of the Hermetic Seal
1. The muscles of the lips and face must be aligned with the teeth in such a way that they
are exposed to the air and puckered forward
2. The vibrating surface must be in front of and in between the teeth riding on a pad of
muscle and flesh rather than pinned flat up against the teeth. This is to insure that the
muscles are free to resist and compress the air straight through to the vibrating
aperture.
3. The lips must be slightly unfurled in the position of a kiss or a whistle focusing the
compression of air through the vibrating surface
4. The muscles of the entire face must be free to resist and compress the air like an elastic
balloon
5. The muscles of the lips must be strong enough to hold back the compression of air
creating a hermetic seal at the mouthpiece
6. The strength of the hermetic seal resisting the compression of the air replaces extreme
inward pressure
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A Note on Air pockets

Air pockets are permissible and possibly necessary in order that we resist the air as we
compress. Beware of being a player with a weak, flat upper lip who is inflating the space
between the teeth and the lips allowing the air pocket to pull the lip aperture out of alignment.
However air pockets that are firm and compressed by the lips thus channeling the air through
the vibrating surface are correct and permissible.. The cheeks should not be completely
inflated in a relaxed manner. However, air pockets are a good thing as long as the muscles of
the face are able to compress the air like an elastic balloon while channeling the compression of
air through the vibrating aperture.
Maynard Ferguson is the greatest chops example. Look at the relaxed and open nature of the throat
muscles. His entire face is compressing the air straight through to the mouthpiece. Notice how the red
parts of his lips are unfurled around the mouthpiece while the inner parts of the lips are protruded into
a ball of muscle gripping the metal. Maynard displays a huge amount of compression, coupled with
relaxation, allowing the muscles of the face to resist the compression of air.
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Sign posts along the way
The Pencil Exercise

One of the exercises that made playing the trumpet correctly tangible to me was the Pencil
exercise.
Roy Stevens, who was a mentor of mine, developed this. Indeed, I would be nowhere as a
player without Roy’s influence. However, Roy was a stubborn advocate of the upstream only
approach. This confused many students, as their unique physical structure would not
accommodate this true, but not for everyone, way of playing the trumpet.
The purists out there will strongly disagree and no doubt disavow me as a Costello student for
having made this statement. However, there are just too many examples of great players who
resist the air, or ride the air stream, and play efficiently with a down stream embouchure.
They, by virtue of their virtuosity, prove Roy wrong on this very important point. While Roy
believed that the upstream air stream was the best and only way to play, I contend that
whichever direction is natural for you is best for you the individual. I am able to play a loud
double high C both downstream and upstream. I will say that the upstream approach is more
efficient. However there is more than one correct way to play the trumpet and I would rather
place my energy into outlining the common denominators of successful playing rather than to
dictate one approach that may not be possible for some.
For all types of players, both the pencil exercise and the palm exercise will help lead the
student to his or her goal of playing the trumpet efficiently regardless of whether one needs to
play up stream or down stream. This depends entirely upon your own unique physical
structure.
With the pencil exercise, you simply place the pencil between the teeth, griping it firmly (with
the teeth). The bottom jaw dictates the angle of the pencil against the floor. Roy always stated
that the pencil should be at a 45-degree angle so that as you angle your head looking straight
ahead, the pencil would be even with the floor. I say to use whatever works best for you, the
individual. Your natural position may place the pencil at an angle pointing down.
The important thing is to place the pencil, then gently close the lips by saying “M”. Use your
tongue to feel that the lips and corner muscles are exposed to the air. Now, I want you to blow
past the pencil. As you increase the air and compression, the muscles of the face and lips
should contract, resisting the compression of air much like on the Hermetic Seal Exercise.
The pencil exercise is a function of alignment, where the muscles of the face are able to react to
the air stream by resisting the air. It aligns the embouchure correctly as the lips are now in a
position that exposes them to the compression of air. The opening of the width of the standard
pencil in between your teeth is of a perfect starting point for the trumpet embouchure.
It is of utmost importance that you remain relaxed as you increase the compression. Let the
muscles of the face dictate the tension by responding to the compression in the air stream. Do
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not munch down with the lips in a conscious effort. I will say it again that “the air dictates the
muscular tension!” You must stay relaxed.
Roy Stevens with a student
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Another sign post
The Palm Exercise: putting the concept into action

This exercise is also from the Costello school. While I differ with Costello on a few key points,
this book is highly influenced by his ideas. William Costello was a trumpet player in New
York City who had hurt himself so badly by using inward pressure that he decided to either
find a better way to play or to quit playing altogether. In those days musicians had work
everywhere. You couldn’t have a radio broadcast, show or a dance without live musicians.
Recording technology just wasn’t good enough yet to allow the accountants to exploit the
talents of musicians with a pre-recorded show. As a result, there were hundreds of trumpet
players making a living in New York City. Costello took concise notes of every player that he
could find and came up with some common factors that all of the efficient players used.
Amongst many of his observations he noted that the better players all used light to moderate
pressure and were capable of creating huge compression. Costello developed the following
exercise in order that you develop the correct muscles to play easily. The palm exercise forces
the issue as you cannot use much pressure.
I want you to balance the trumpet on its flat side on top of your outstretched hand. No fair
raising the fingers in order that you might obtain a better grip! (see illustration)
Place the mouthpiece to your lips. Use only the pressure caused by the weight of the
instrument against the friction of the palm of your hand. Now play a middle C and attempt to
slur as high as you can go. Some of you may need to tip your head up towards the ceiling as
you do this as you may have a naturally receded jaw.
The important thing is to jut the bottom jaw out in order to compensate for the lack of inward
pressure. The weight should be on the bottom jaw. Much like a reed mouthpiece, the bottom
jaw is the facing for the reed, which is the vibrating surface of the top lip. The pressure belongs
off of the vibrating tissue. The “feet” or the muscles of the face and lips resting on the
foundation of the teeth are the ligatures that keep the apparatus together. Again, you are using
The Hermetic Seal to resist the air.
Do not be surprised if you can only reach one partial up to the E on the staff. I routinely go up
to the G above double high C with this exercise and can play a loud, fat double high C with
just the pressure that the weight of the horn against the friction of my palm can provide.
There is no trick to this exercise. Just like weight lifters who start at 100 pounds and can now
bench-press 400 pounds, you are building muscle. You just have to stick with it until you have
developed enough muscle and compression in order to produce the desired results. This
exercise is not a musical exercise and tone quality, control, and intonation are not the goal.
Again, with this exercise you are allowing the air to dictate the tension. As you play, keep in
mind the feeling of the elastic ball of muscle and the feel of the face compressing the air as in
The Hermetic seal exercise. The secret is in the strength of the hermetic seal and your ability to
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compress the air with your facial muscles. The strength of your hermetic seal will determine
the strength of your grip. Maynard Ferguson once said, “I grip the mouthpiece. The
mouthpiece doesn’t grip me.”
Does this concept feel familiar to you yet? If it doesn’t sound familiar then I suggest that you
spend a few more hours on the Hermetic Seal Exercise. The secret lies in the ability to form a
hermetic seal under the mouthpiece rim that can hold all of the compression that your body
can blow at it without using extreme inward pressure!
Keep in mind that only a moderate amount of air is needed to gain huge projection. You are
looking for the right balance between the resistance factor of your equipment and the
compression that you create. Once this is achieved you are at the most optimum volume level
with an efficient use of your air. Do not over blow!
Remember that there is no such thing as "no pressure" playing. In order that we are able to
create the sound, and more importantly, the control needed to perform our individual musical
needs, there must be light to moderate pressure.
Compression equals velocity of air stream. Higher velocity of air stream traveling over a
vibrating surface equals higher notes. It is as simple as that.
There! Now I have told you the secrets of Maynard Ferguson, Cat Anderson, Bud Brisbois and
the rest. They all had the ability to form a hermetic seal upon the platform of the teeth while
holding back extreme compression using the foundation of the feet which are the muscles of
the lips and face. Are you ready for more?
Roy Stevens demonstrating the palm exercise
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The journey forward guided by more signposts from the past
The Cat Anderson Whisper “G”

This exercise is played with your teeth closed. The correct position of the top and bottom teeth
as a dentist would say is, “end to end.” Or, as we layman would describe it as simply as the
bottom front teeth touching the top front teeth.
This may not be possible for some but I would suggest that you do the best that you can to
close the front teeth as much as possible.* Again, just like the hermetic seal exercise you must
pucker slightly forward in a relaxed manner so that you can form a vibrating surface in front
of the teeth instead of pressed on to the teeth. It is important to be relaxed so that the air
channels around the teeth, through the sides of your tooth structure; centering the air around
the front and onto the vibrating surface. The muscles of the cheeks and face must be exposed
to the air. You must also unfurl or pucker the lips placing your lips into an exaggerated but
relaxed kiss position. It is interesting that the more one unfurls the lips that the larger the
vibrating surface becomes.
Try this. Flatten your lips against the teeth and measure with your tongue the width of the
vibrating surface. Now unfurl or slightly pucker your lips into a relaxed kiss position and
measure the amount of fleshy, muscular vibrating surface that comes into play. The difference
is huge! And of course this difference will become evident in your sound quality. Perhaps the
easiest way to describe this position of grip on the hermetic seal is to place your lips into a
whistle position.
Back to Cat’s Whisper “G”: With teeth closed and lips slightly unfurled get the hermetic seal
going. The feel of the mouthpiece on the face should be “bouncy”. Now, blow gently, softly
obtaining a sub tone of a hollow middle “G” behind the gentle rush of air. The important
factor here is the hermetic seal. You may not get a tone at first. You may only get the sound of
air rushing with all sorts of squeal like tones. What you are aiming for is a hollow sounding
middle G that is barely audible.
This is an enduring isometric exercise. Cat would keep the same setting by breathing through
his nose, without taking the mouthpiece from his lips for 20 minutes! Much like Carmine
Caruso, Cat’s exercise requires that you breathe through your nose and keep the same set
without taking the horn off of your lips for the entire exercise!
Your time may vary as you build up to the 20-minute mark. Cat had this exercise down so
completely that he did it several times each day while watching television. It worked for him,
and if done properly, it will work for you. Again, this is a quiet technique to stay in shape if
you are one of those fortunate to have a newborn baby in the house. Much like the Hermetic
Seal exercise and the Palm exercise we are building the muscles that we need to keep the
hermetic seal in place without applying huge amounts of pressure.
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For a more comprehensive explanation on Cat’s system I refer you to the following link and
the book that my fellow Cat Anderson student, and friend since childhood, Geoff Winstead
wrote: “The Real Way to Play The Cat Anderson Method” at
www.therealcatandersonmethod.com.
*Your jaw is a hinge, which allows you to move it up and down and from side to side so you can chew
your food. You can also move it forward to align your front teeth. If you have never tried this, you may
find a little discomfort initially, but will disappear quickly through repetition. I have only encountered
one person out of hundreds who was truly physically unable to move his jaw forward in this manner. –
Geoff Winstead
Note to Geoff from the author: I think that we met the same guy.
William Alonzo “Cat” Anderson
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Guidance from more trumpet masters of the past
Claude Gordon, Louis Maggio, and Harold “Pappy” Mitchell

I was fortunate enough to study with Claude Gordon. I was taken by the fact that many of his
students gained great range and endurance, while others, working just as long and hard on
Claude’s lessons, did not gain at all. The difference was that those who naturally approached
the trumpet correctly and understood what Claude was saying benefited greatly by the
routines that Claude prescribed while those who didn’t play correctly went nowhere. Claude
was a great teacher and I highly recommend that you buy and practice the wonderful brass
pedagogy that he left behind.
Claude’s approach was similar to that of Louis Maggio. Claude told me that the muscles in
the face should be trained to contract towards the mouthpiece. He stated that as we develop,
sooner or later that we would feel a grip on the mouthpiece that would give us a surety and
confidence in our sound.
Claude would say that as you ascend, the muscles of the lips should contract towards the center.
I would add that the muscles of the face should react to the compression of air as one ascends to
higher register.
Louis Maggio, while advocating slightly protruded lips was trying to describe the position of
unfurled lips in a relaxed kiss position, or the whistle position that I advise for the Hermetic
Seal Exercise. Maggio’s logo was a picture of a chimpanzee who was pursing his lips into an
unfurled position. This is the perfect position for the Hermetic Seal Exercise. Truth is truth,
and again, many of the masters were all saying the same thing!
Claude, like Maggio, who originated the style of Claude’s exercises, advocated the use of pedal
tones. If you are able to play a full, loud pedal “C” then you are slightly unfurling the lips.
Sound familiar?
By far, the best thing that I learned from Claude was that in practicing you must have a full
balanced program that touches upon every aspect of playing.
My trumpet coach of seven years, Harold “Pappy” Mitchell, called it a balanced diet that is
dictated by the student’s individual needs. Pappy would say that, “I love peas and carrots, but
you may be allergic to them.” He also said that, “Playing the trumpet is experimental--and
individually so.”
Without naming it such, Pappy repeatedly described the hermetic seal. I will try to recall his
words.
“When you play louder the vibrating pattern of the lips becomes wider and because of this it is
necessary for you to use an increase of pressure to keep the compression of air from leaking
out of the sides of your mouth. This pressure will not be detrimental when the muscles of
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expression are formed correctly. However, if the lip muscles become weak as a result of
fatigue, then the lips will be against the teeth. This is damaging and will greatly affect the
quality of your tone. When a loud and sustained musical passage is called for and you meet
that demand with more inward pressure, you must balance the inward pressure with an exact
amount of compression of air and the correct muscular contraction (tension) in the lips to
counter act the inward pressure. This will keep you from abusing the lips. Light to moderate
pressure correctly applied will not hurt the embouchure.
Having made this powerful point on the correct use of pressure, Pappy drilled into his
students, saying over and over again, “only light to moderate pressure should be used.”
If I had not left Claude Gordon’s approach to teaching for the more relaxed and individual
style of Pappy Mitchell’s coaching, I would not be writing this paper on embouchure now as I
would not have taken the experimental and individual approach. Most of Pappy’s approach
was in musical application of practicing technique and this wealth of information will be the
source of another study that I will publish.
I have learned greatly from both Pappy and Claude. The following exercise is a key to
unlocking your success with a brass instrument and was conveyed to me by Claude Gordon:
Where do we get the power to compress the air? It has been said that it takes as much as thirty
pounds per square inch of pressure in order that we play a double high C on the trumpet. This
is an extraordinary physical feat of athletic prowess requiring great preparation. Indeed, the
entire body, from the feet on up, is involved in delivering compression through the
embouchure. Keep in mind that the lungs are basically elastic bags inside of a vacuum. All one
needs to do in order to fill them up is to expand the space within that vacuum and open your
mouth to allow the air to rush in.
The expansion begins by flexing your abdominal muscles outwards. You can increase the size
of the air capacity simply by raising, or lifting your chest up high. Claude Gordon used a red
inked stamp to post all over our method books the reminder: “CHEST UP!”
Claude prescribed the following exercise that was originally designed to build stamina and air
capacity in prizefighting boxers. This is real outdoor roadwork, and with this exercise you
must literally walk before you run.
Start with a five-step cadence then build up to 8 steps as you walk and later run. As you walk
keep in mind the chest up posture. This is a must. As you walk five steps, take five breaths of
air making sure that you have filled your lungs to complete capacity. Hold your breath for the
next five steps keeping the chest held high. Now, on the next five steps, force five equal bursts
of air through your lips while you are holding the hermetic seal posture. Repeat the cadence
over and over until you are exhausted. You can perform this exercise while doing the pencil
exercise (without the pencil for safety reasons) at the same time..
Bobby Shew speaks of wedge breathing, where you have an imaginary wedge that is forcing
the air up and out from just below the rib cage on your belly. This should be kept in mind as
you walk and later run with this roadwork exercise. Take note that the chest held high position
20
gives you a barrel chest much like that of Arturo Sandoval, Maynard Ferguson, and Bud
Brisbois.
Many years ago, I was the lead trumpet player of the Disneyland Band, and I was infamous for
coming into the band room early in the morning and being able to pick up my horn out of the
case cold and play a loud double high C. What I did not disclose is that I had walked from my
car in the parking lot to the band room performing this exercise while doing the pencil
exercise! Now you know my secret, guys!
Carmine Caruso
Unfortunately, my study with Carmine was limited. In the days of my youth I spent most of
my time in New York City at Roy Stevens’ studio. However, Carmine was a great
communicator and I was able to grasp the most important points that he was making.
I have fond memories of taking him to his favorite Chinese restaurant after each lesson. I will
not take the time to tell you about his entire approach as this information can be found easily
and freely on the Internet and I strongly urge you to seek this information out. I do want to
point out to you that Carmine was saying the same thing.
Carmine was an advocate of utilizing the breath attack as we played his exercises. Carmine’s
point was something like this. Utilizing the breath attack is a technique that I teach to help get
your embouchure in focus. Repeating the breath attack over and over will bring the lips
together and place them in the most efficient position. Carmine would call this position a
“balance” referring to the trumpet embouchure.
Now think about it. How does one make a clear and concise beginning to a note without the
tongue unless the brass player has a solid hermetic seal on the mouthpiece? Some may have
come by this naturally and benefited greatly by the proper exercise of the hermetic seal
muscles. Others complained that the isometric exercises made them stiff and uncomfortable. If
you form your embouchure correctly Carmine’s exercises are a great help.
Carmine would tell me to keep blowing steady because it is both a physical necessity and a
muscular function. As you blow air through the vibrating aperture, the steadier the air
column, the more the air column is compressed into a compact motion. The more compact the
air stream becomes the easier it becomes for the lips to ride the air stream.
A simple way of putting this is to keep the air stream supported and compressed at all times
so that your lips are able to react to the compression of air with corresponding contraction.
Carmine would recall the analogy of a boat pulling a water skier. The lips are the water skis.
As the boat reaches velocity, you glide on the water. When the boat slows down you begin to
sink and the skis dig in. When the boat stops, you fall over. This is what it is like when there is
no compression of air supporting the musculature of the face. You fall over. You lose the
hermetic seal. Feeding the lips with a steady compression of air will develop a corresponding
contraction of the muscles and an overall balance to the air stream.
21
A note on Bud Brisbois

If you were fortunate enough to have played with Bud Brisbois and had seen him perform
countless times as I did, you would notice that Bud leaked from one corner of his mouth. This
leak of air was so pronounced that it would force the locks of hair over his forehead to rise up.
Well then you say, “There goes Larry’s theory!” On the contrary, Bud was possibly the most
efficient player ever to walk the Earth. He was able to keep a hermetic seal while playing so
relaxed that he leaked out of the left hand corner of his mouth. However, the muscles of his
face were still operating as I have described.
Here is the legendary Bud Brisbois. I was fortunate to perform with him. In this photo it is clear that Bud
not only compressed his air from the muscles of his abdomen, but the muscles of his face are actively
continuing the compression process straight through to the mouthpiece. In live performances this
extreme amount of compression was even more evident as Bud had a mist of condensation that looked
like smoke billowing from the bell of his horn. Notice all of the other common elements of the open
neck, the ball of muscle, and the muscles of the face reacting to the air.
22
Messages that you have seen before on billboards along

the road
Posture and Breathing

At clinics with Maynard Ferguson I learned to utilize a weight lifting stance that Maynard
used to set a platform of stability on which one can set the muscles of the body involved in
creating compression. This is an important posture for you to adopt. Place your feet shoulder
width at a 45 degree angle, bend your knees slightly, and set on the firm foundation of your
feet as if you were forcing your entire weight onto the floor. As Bud Brisbois said, “Try to relax
as you set on the air.” Bud always compressed the air then blew.
Whether you are sitting in a chair or standing, you must place your body weight to the floor,
squarely on your feet. Sometimes it helps to stack two chairs together in order that you
achieve enough height on the chair. I will say it again that this is an important posture to
adopt as you may hurt yourself by pulling a muscle or even worse by causing a dangerous
hernia if using bad posture. Playing a brass instrument correctly is just that intense.
You only have to sneeze or watch a new born baby breath to know that we instinctively know
how to breathe in the most efficient manner. Take note on the next time that you sneeze. Just
prior to sneezing you will take the biggest breath possible before explosively releasing the air
with all of the compressing muscles of the body at play. Watch the diaphragm muscle of a
newborn baby while it cries. Talk about wedge breathing! Our conscious minds often get in
the way of what our subconscious mind already knows.
Breathing and using your air properly is an exercise in tension and relaxation in a
simultaneous muscular coordination to compress the air. The muscles of the throat must be
absolutely relaxed and open while you are applying huge tension in the muscles of the
abdomen, back, and sides.
Your entire body becomes an air compressor machine from the bottom of your feet up to the
vibrating aperture of the lips where the air enters the mouthpiece. With this kind of intense air
compression there are only two ways to keep a tone. Either use pressure smashing the lips
between the teeth and the mouthpiece or by building enough muscular vibrating surface to
keep a hermetic seal on the mouthpiece by doing what Maynard Ferguson explained as
“gripping the mouthpiece and not allowing the mouthpiece to grip you.“
What I have described to you may sound like you are constantly grunting and groaning as you
play. On the contrary, for those of us who have built the proper muscles involved in
compressing the air and holding back the air through our hermetic seal, we make it look easy
and natural.
23
The power of the tongue

The tongue muscle is perhaps the most important of all of the muscles utilized in brass
playing. It not only starts, but in some cases, stops the note, as in a tongue stop. It also
channels or steers the air stream in conjunction with the bottom jaw. Roy Stevens advised
using the jaw as a rudder where by the motion of the jaw dictates the direction of air. This is an
appropriate statement for all types of players, as receded jaw, downstream players also must
steer the air column.
By far the most important function of the tongue is its ability to control the speed of air as it
channels the air stream from the compression of the abdominal muscles.
Picture in your mind a water tank high on a hill filled to the brim with thousands of gallons of
water. By the action of gravity the water is under extreme pressure to escape down hill.
Connected to the tank is a large water hose trailing down to the bottom of the hill. At the end
of the hose is a nozzle or valve that opens and closes. As the nozzle or valve is set at its most
open setting, the water floods out slowly with great volume. As the nozzle is tightened to its
smallest setting the water comes out at extreme velocity in a laser-like jet that has the power to
cut metal. This is the setting that we need in order to play in the upper register.
Lay your tongue flat at the bottom of your mouth by saying AHH. You can see that the throat
and oral cavity remains wide and open. This is the setting for low fat and warm tones as the
air is moving with great volume and at a slow velocity.
Now say the syllable EEEEE. Your tongue is now at the roof of your mouth shaping the air
stream and further compressing the air into a rapid laser beam style stream of air. In this
manner a very fast moving compressed air stream will produce the highest notes as it passes
through the vibrating surface of your Hermetic Seal. The tongue also controls lip trills and
shakes while operating in this manner. AH EE AH EE AH EE AH EE.
So how does one build the muscles of the tongue? By utilizing the “KA” attack. Practice your
scales and exercises with a KA attack on a daily basis until your tongue muscle gets tired. You
will further realize that the tongue is a muscle once you feel the fatigue that this can create.
You will get an ache in the back of your tongue, which is precisely the portion of the tongue
that controls the velocity and compression of the air.
The most obvious use of the tongue muscle is in the attack. Some will say TAH by striking
with the tip of the tongue at the gum line just above the top teeth while others will anchor the
tip of the tongue to the bottom front teeth and use only the middle of the tongue to say TAH.
Both methods are correct. At no time should the tongue ever strike in-between the teeth. This
will take the lips out of alignment and will be problematic.
“Hardware” versus “Software” -- Finding the Balance
The “software” is your body and the “hardware” is your equipment, i.e., the brass instrument
and mouthpiece of your choice. It is all-important to find a resistance factor that gives you just
24
the right amount of backpressure needed to maintain the hermetic seal in an easy, comfortable
and efficient manner.
The bore size of your horn coupled with the drill size in the throat and back bore of your
mouthpiece can make a huge difference in your success or failure playing a brass instrument.
The balance in the equipment must match your ability to compress against the hermetic seal of
the embouchure.
The important thing is to find and maintain the most optimum resistance factor for you, the
individual musician, to comfortably maintain your hermetic seal. Finding this will take you
some time, money and experimentation.
You must maintain the most optimum resistance factor possible because once you have found
the right equipment you can easily over blow your set up to the point that the balance on the
resistance factor is gone, and in no time at all you will have lost that magical hermetic seal, as
fatigue will have set in. Therefore, it is of utmost importance that you play at an efficient level
and not at a loud overbearing level.
Let me use the analogy of a large church bell. If the clangor used to strike the bell is big, heavy,
and dull, the sound emanating from the bell will be dampened with a thud. If, however, the
clangor is a condensed piece of hard metal moving at a faster rate of speed as it strikes, the
sound emanating from the bell will be loud, bright, and clear and will project over a much
longer distance.
Often times, I back off of the volume of air and set the compression while playing against the
most optimum amount of resistance and my sound actually gets larger and projects farther
than when I was placing a larger volume of air through the horn.
Equipment
I prefer medium large bore horns. I feel that they are more responsive and more efficient
equipment to perform on. Having too large of a bore size can make you feel as if you were
falling into the horn. The most optimum way to play is to be able to play against the resistance
of the open tube called a brass instrument.
The lightweight models are popular with commercial lead players because they provide a
light, bright, and responsive sound. I prefer the heavier standard gauge brass as I feel more
core and character of sound. I can easily adjust my software to approximate the bright sound
of a lead player without sacrificing core and character.
I should add that while I have tried many a different brand of instrument throughout the years
that I have always returned to one brand: the Bach Stradivarius model 37. It is the most
flexible and versatile horn on the market.
I am proud to say that I am a Vincent Bach Artist / Clinician. I get no compensation for
playing a Bach or calling myself a Vincent Bach Artist although it is a great honor for me to be
recognized as such. I play on a Bach because it is the best horn for me. I also play a Mt.
25
Vernon Bach 7c mouthpiece and a Bob Reeves 42 ES model with the tighter 692s back bore.
Bob Reeves is one of the finest mouthpiece manufacturer and a great choice for custom work.
At this point, if you have read and understand all that I have described here, you to will be on
your way to having monster chops (provided, of course that you believe all that I have said
and put it into action). There are no real shortcuts. You must practice for hours and hours just
like I do in order to maintain and grow the muscles described here. While there are no short
cuts, there is a direction to follow and a map to guide you so that you will not take turns in the
road that will lead to empty cul-de-sacs.
I am happy to announce that I am writing another book that will cover the basics of technique,
flexibility, and articulation while learning Jazz theory. Please watch for it.
I ask that you respect the fact that gathering and applying the information that I have given
you has taken me a lifetime and I have paid dearly in both time and money spent paying for
lessons. If you have obtained this file free of charge by file sharing, I welcome you. However, if
my writing has been a benefit to you then I ask you to please pay the nominal fee and
download it anyway.
I am once again experiencing tooth decay problems and will not be able to play the trumpet
much longer unless I raise tens of thousands of dollars in order to pay for dental implants.
Your honesty will help me.
If you have any further questions please feel free to contact me at trumpetsprayer@gmail.com.
I am also available for private lessons via Skype for a nominal fee. Thank you for reading and
watching my video demonstration. I wish you all of the best!
A little more on equipment

The following article was written by me for trumpeter Dan Jacobs and his website. It may
answer some questions. However, the most important thing about equipment is your ability to
play against the resistance found on any given equipment set up that will allow you to play in
the most efficient way possible. This is what is called riding the air!
So the Question is Mouthpiece: Why Change?

What are we looking for in a mouthpiece? Our choices are greater now than ever before. Shall
we choose a wide rim or a narrow rim? A deep, medium or shallow cup? Shall we choose a
sharp bite on the rim or a wide rim with a dull bite? What is better? Small drilled throats or
large drilled throats?
Don’t forget the taper on the outside of the back bore to adjust the gap between receiver and
mouthpiece. Bob Reeves offers twelve different gap sizes. Should we play a gold- or silver-
plated mouthpiece? Should it be a heavy mass or a lightweight piece like Al Hirt’s aluminum
Jet-Tone, or even a plastic piece? What about large verses smaller back bores?
26
We can even choose shapes these days and play a half circled shaped mouthpiece. By the way,
this idea is not new. Herbert L. Clarke played on an oval mouthpiece! Let’s not forget the
Parduba double cup! Heck… Harry James was monstrous on it! And did Cat Anderson and
Bud Brisbois really play on a cup the size of a dime? How did Maynard play on an 18 drill
sized throat?
Let me try to help you make sense of some of our choices by benefit of my own trial and error.
First of all let me tell you that it is of utmost importance to find a mouthpiece that you find
efficient. In other words, that you find a mouthpiece that provides a good balance of back
pressure that, together, the mouthpiece and horn combination creates. The horn and the
mouthpiece will fit together like a good pair of shoes, and when you first try them on you will
know that they will be comfortable.
You should always get immediate results and gain in what you are looking for in your sound
or in the ease of playing upon first trying a new piece. If not, don’t force the issue. Move on
with your search.
Let us look at the overwhelming amount of choices:
Large circumference versus narrow circumference

A larger circumference will produce a larger sound due to the wider vibrating surface. The
down side to this is that the wider rim is ultimately a bit more work, and can affect endurance.
Deep versus shallow cup

The deeper the cup, the richer and more colorful your sound becomes. There are certain styles
of playing that require the sound of a deeper cup. You cannot dispute this fact! I use a Mt.
Vernon Bach 7C for my Classical calls and really enjoy the sound that I get from it when
working with a jazz combo. The deeper the cup, the easier it is to articulate and to be flexible.
Accuracy also increases.
Shallow cups tend to be more efficient in the upper register. However, having a smaller, nasal
quality to the sound pays the price. The shallow cups tend to be a lot brighter as well. I play a
Bob Reeves ES cup for the bulk of my work. ES stands for extra shallow. My range and
endurance are far superior on the shallow cups. The demands of today’s lead playing are
extreme and I can use as much help as I can get.
Sharp versus dull-shaped rims

The sharper the inside of the rim of your mouthpiece the more locked in your sound will
become. This has the effect of locking in intonation and providing for sharper articulation. The
down side is that they tend to be uncomfortable and may cause you to bruise your chops. Dull,
wide rims are more comfortable.
27
Back bore size

Large back bores produce a more open feel. Larger back bores are a good choice with a smaller
bore horn while smaller back bores are usually better with large bore horns. The sound of a
large back bore is usually bigger and a bit darker. The tighter, high velocity typed back bores
tend to be bright in sound.
Small-drill throats versus larger drill size throats

The small-drilled throats tend to be more efficient. The larger the throat, the less locked in the
sound becomes. The partials, or harmonic series, tend to become wider and more open.
Intonation suffers. The length of the throat will change how locked in the partials become. The
longer the throat the brighter and more locked in the sound will become.
Gap between the mouthpiece and receiver

Finding the correct gap adjustment between the end of the mouthpiece and the beginning of
the lead pipe on each individual horn is all-important!! You may not need a mouthpiece
change at all. You may just need to adjust that gap. The difference it can make is drastic. The
way the horn responds will change greatly with a correct gap.
Heavy mass or light?

The heavier massed mouthpieces do get a more solid sound. There is generally more core to
the sound. This is due to the fact that the heavier metal changes the way the energy passes
through the horn.
Oval or half cup mouthpiece?

I really couldn’t advise, as I have never tried one. However I suspect that they force one to do
what we should all be doing anyways and that is to place the weight (pressure) on the bottom
jaw.
Double cup?
Harry James sure sounded great on them and I hear that they are a pretty good choice if you
would like to sound like a Mariachi, which is an art form unto itself.
What about the extreme in the small size mouthpiece that Cat Anderson and Bud Brisbois
used?
I took lessons from both of these greats. Yes, they played small diameter pieces but they could
also play their incredible range on any mouthpiece that you could hand them!
One of the greatest lead players of all time, the late George Graham, played on a Mt. Vernon
Bach 7c. George never had endurance or range problems. In fact, when he played to Double C
28
and above he had the same quality of sound in that register as Bud Brisbois did! And I don’t
think that Arturo Sandoval has any chop problems on his Bach 3c.
Let me warn you that while you may get immediate results from a new mouthpiece, there will
almost always be a down time or a slump while the muscles of the embouchure learn to adjust
to the new challenge that you have presented them with. In the end you can expect the same
results that you initially found in any particular mouthpiece.
My greatest trumpet coach was Harold “Pappy” Mitchell. He once told me after seeing that I
had switched mouthpieces three times in a couple of months that,” The mouthpiece is just a
tool that you use to generate sound. While the muscles of the face will adapt differently to each
mouthpiece as you change cup volumes and back bores, etc., you will always end up sounding
the same! You have a sound locked up inside of you. A concept of sound that your brain has
created and in the end you will always sound like you. So stop changing mouthpieces!” He
should have told his friend Doc Severinsen this, as in those years Doc had an entire bathtub
filled to the brim with mouthpieces! Bob Reeves used only the best as a Guinea Pig!
Oh, lest I forget to answer the last question.
How did Maynard play on an 18-drill throat?

UNBELIEVABLY WELL!
This photo is a favorite of mine. On the left is an old friend, Johnny Best, who was Glenn Miller's
lead trumpet player. (In his later years, Johnny farmed avocados in my home town.) In the middle
of the section, playing lead is Conrad Gozzo. A very young Maynard Ferguson sits in the third
chair. Look at the common factors in their individual approaches. All three have compressed air
pockets, open throat and neck muscles, and muscular development caused by the act of resisting
and compressing the air with the elastic musculature of the oral cavity.
29
Introduction to the Lessons
It has been my pleasure to be able to convey my ideas about the trumpet embouchure to you.
None of these ideas are new, and they have been around longer than I have. Perhaps I have
explained them differently and hopefully in a manner that is understandable to you.
I have given you a tangible way to build the correct muscles with a new isometric exercise
called The Hermetic Seal Exercise. This will build muscles that you may have not used before
and will set you up for amazing gains in the future. The off- the -horn exercises are the
foundation to this system and must be practiced daily!
In the following section of this book I am giving you the opportunity to learn basic Jazz theory
while you correctly exercise your chops with a maintenance routine. I suggest that you play
these exercises in an easy relaxed manner. This is not a range competition nor were these
exercises meant to be played extremely loud. A full-bodied projected sound is enough.
Remember what I have said about keeping the balance on the air stream. Concentrate on
maintaining the hermetic seal!
These exercises are meant to be the weight lifting section of your daily routine and like any
serious weight lifter you should choose a warm up. In these routines that I have written, play
only as high as you can comfortably and correctly play without using extreme pressure.
Always be cognitive of the amount of pressure that you are using. I suggest that you hold your
horn lightly with only two fingers so that you will know when you start to increase the inward
pressure. Change your grip as much as possible, always holding the horn lightly. Get the feel
of the weight of the instrument in your hands rather than on your face. By doing this you are
reinforcing correct playing habits.
It is important to give yourself ample rest after these intense routines. Once recovered you
should supplement this routine with lip flexibilities such as Charles Colin Lip Flexibilities
along with velocity studies like Herbert L. Clarke’s Technical Studies as well as tonguing
exercises out of Arbans or Schlossberg. Play softly and contained in order to get the focus back
into your sound.
The Harold Mitchell books, One through Four, contain perfectly balanced routines to go along
with this book. I built my chops by playing Claude Gordon’s systematic approach while
learning Mitchell on Trumpet books three and four.
I am now preparing another study book that will cover all of the basics of a balanced routine
while you are learning Jazz theory. It is called Build While You Learn.
Until then, choose your own medicine, as without knowing you, the individual, I cannot
presume to know your needs as well as you do. If, however, you would like to have me design
a routine for your specific needs, I am available for lessons via Skype.
I have included lip bends in every lesson. Lip bends are essential in building the muscles of
the hermetic seal. If your vibrating surface is pressed onto the teeth rather than channeling the
air through the teeth, playing a lip bend is difficult. The lip bend compels you to steer the air
30
column. As you bend you will need to use the tongue as a valve and the jaw as a rudder. The
jaw is, indeed, a hinge and you can open and close it to change the opening or the distance
between your teeth which is the definition of the aperture.
Maynard Ferguson played with a vibrato. Although many say his vibrato was created solely
by his diaphragm muscle, I believe that he was also steering the air column as we do in the lip
bend. Therefore, in order to reinforce the correct use of the muscles of the oral cavity, I have
included them in every lesson as lip bends serve to isolate and exercise the proper
musculature of the embouchure. Understand that at first you may only be able to bend down a
half step on some of the partials in the upper register as the harmonic series becomes closer
together.
On some of the partials it will be easier with false fingerings. I have written the bends as a
whole step whenever it is harmonically correct with the chord in question. Believe me, the
whole tone bend can be played, however, in the beginning it is the effort that counts. As you
reach the extreme range the bend will become a slow lip trill or “shake” The muscles of the
lips and jaw must be free to move and should not be static. The use of extreme inward
pressure creates a static, stiff embouchure, which will produce a thin, brittle sound. If you
continue to play in this negative manner you will never develop the correct muscles to keep a
healthy hermetic seal.
Your daily routine should be formatted like this:
1. Walk one mile doing the Breathing exercise while resisting the air as described (as in the
pencil exercise).
2. Five minutes of the hermetic seal exercise. Rest as you need to.
3. Five minutes of the pencil exercise
4. Five minutes of the palm exercise. Again, observe rest periods.
5. Five minutes of Cat’s Whisper “g”
6. Play your daily work out routine from this book
7. Rest as needed; then always supplement the workout routine with the flexibility,
tonguing and technical studies of your choice.
Stay with each lesson until you have all scales and arpeggios memorized in all keys along with
the associated chord symbols. While I have chosen specific chord symbols to learn and specific
scales to go with them, note that these are not all of the chord symbols that you may encounter
in music and that I have chosen only one scale out of several that could be correctly be played
over any particular chord. For this reason I have included a chord /scale syllabus in the
Appendix. It is important for you to memorize the sound and character of each chord. Each
chord has a unique voice. Therefore, I have added an mp3 to go along with each lesson. Listen
to the mp3, and then play the exercise. Pause the mp3 and repeat as you descend and ascend
on the arpeggios written.
31
Lesson One, Part 1

Major 7th arpeggios, descending
Each lesson includes the use of pedal tones. I have written the arpeggios down to pedal G, as I
believe that the embouchure becomes distorted below this point. Make sure that you are
relaxed as you blow. Your sound should be free and open. Remember the whistle position. The
pedal range, if played correctly, will bring you to this position naturally. Hold the last note of
each arpeggio as long as you can until all of the air is expelled from the lungs. Keep your chest
held high throughout each exercise in order that you build your air capacity. It is of utmost
importance to use the mp3 files that accompany each lesson. Learn to recognize the sound of
each chord. After awhile they will tell you who they are by the sound of their voice, just as you
can recognize the sound of a friend’s voice on the phone.
C ± B ± Bb ± A ±
7 5 3 1 7 5 3 1 7 5 3 1 7 5 3 1
&˙ ˙ ˙ ∑ #˙ #˙
#˙ w
∑ ˙ ˙
˙ bw
∑ #˙ ˙ ∑
uw u u #˙ w
u
Ab ± G ± Gb ±
7 5 3 1 7 5 3 1 7 5 3 1
& ˙ b˙ ˙ ∑ #˙ ˙ ˙ ∑ ˙ b˙ b˙ ∑
buw uw buw
F± ±
E Eb ±
7 5 3 1 7 5 3 1 7 5 3 1
&˙ ˙ w ∑ ∑ ∑
˙ u # ˙ ˙ # ˙ uw ˙ b ˙ ˙ buw
◊ ◊ ◊
D ± Db ± C ±
7 5 3 1 7 5 3 1 7 5 3 1
& #˙ ∑ ∑ ∑
˙ # ˙ uw ˙ b ˙ ˙ buw ˙ ˙ ˙ uw
◊ ◊ ◊
32
B ± Bb ± A ±
7 5 3 1 7 5 3 1 7 5 3 1
& ∑ ˙ ˙ bw ∑ ∑
˙ #˙
# ˙ # ˙ # ˙ uw ˙ u #˙ uw
◊ ◊ ◊
Ab ± G ± Gb ±
7 5 3 1 7 5 3 1 7 5 3 1
& ∑ ∑ ˙ b˙ b˙ ∑
b˙ ˙ bw ˙ ˙ w
˙ u #˙ u buw
◊ ◊ ◊
Step on the gas as you ascend. Remember that it takes just as much energy to descend as it
does to ascend to the higher register. Keep your air flowing.
The great Arturo Sandoval. Here you see the open and relaxed muscles of the throat, air pockets
in the face, and muscles resisting the huge compression of air. Arturo also displays a pad of
muscles below the mouthpiece gripping the metal.
33
Lesson One, Part 2

Major 7th arpeggios, ascending
and the Major or Ionian scale
The Major scale is the platform of music theory. Many other scales are based on degrees of the
major scale. They must be committed to memory. You must memorize the chord symbol,
arpeggio, and more importantly, they key signature associated with each major scale. For
example, the E major scale has four sharps. When sight-reading a composition in the key of E,
all four sharps apply unless you encounter accidentals. If have met many a professional
musician who will miss a key signature because they do not associate it with the correct major
or minor scale.
C ± C# ±
& ˙ ˙ ∑ ∑
˙ œ œ œ œ œ œ uw # ˙ # ˙ # ˙ # œ # œ œ œ œ œ uw
◊ lip bend
◊ lip bend
D ± Eb ±
&˙ ∑ b˙ ∑
# ˙ ˙ # œ œ œ œ œ œ uw ˙ b ˙ œ œ œ œ œ œ uw
◊ lip bend ◊ lip bend
E ± F ±
&˙ ∑ ˙ ∑
˙ # œ # œ œ œ œ œ uw ˙ ˙ œ œ œ œ œ œ uw
◊ #˙ lip bend
◊ lip bend
F# ±
F# ionian
& ∑ ∑
# œ # œ œ œ œ œ uw #œ #w #œ
# ˙ # ˙ # ˙ lip bend # w # œ # œ œ # œ u # œ œ # œ # œ #uw
G ±
G ionian
& # œ œ œ œ œ œ uw ∑ #w ∑
˙ ˙ ˙ lip bend w œ œ œ œ œ u œ œ œ œ œ uw
34
Ab ±
Ab ionian
& ∑ ∑
b ˙ œ œ œ œ œ œ uw b œ œ uw œ b œ œ œ b œ
b˙ ˙ lip bend
bw bœ œ bœ buw
A ±
A ionian
& # œ # œ œ œ œ œ uw ∑ # œ #uw # œ œ œ # œ ∑
˙ # ˙ ˙ w œ # œ œ œ œ uw
lip bend
Bb ±
Bb ionian
& ˙ œ œ œ œ œ œ uw ∑ w ∑
b˙ ˙ bw œ œ b œ œ œ u œ œ b œ œ œ buw
lip bend
Some problems can only be fixed with a full day of practice.—LM
Notice the similarity Observe the air pockets Notice that the red part of Bill's lips
between John Faddis and when Bill Chase is under are protruding much like Maynard.
Bill Chase in this position. compression.
35
B ±
B ionian
& # ˙ # œ # œ œ œ œ œ uw ∑ # œ #uw # œ # œ œ # œ ∑
˙ # ˙
lip bend
w #œ #œ œ #œ # œ uw
C ±
U U
C ionian
& ˙ ˙ œœœœœœw ∑
œœœœœ
w œœœœœ ∑
˙ w uw
lip bend
C# ±
U U
C# ionian
& #˙ #˙ #œ œ œ w
# œ œ œ ∑ #œ #œ #œ w #œ #œ #œ
# ∑
#˙ #w #œ #œ #œ #œ #w
u
lip bend
D ±
U U
D ionian
& ˙ #˙ ˙ # œ œ œ œ œ œ w ∑ œ # w œ œ œ #œ ∑
w œ #œ œ œ œ uw
lip bend
Eb ±
œ œ œ œ œ œ Uw Uw œ
Eb ionian
b ˙ ∑ b œ œ bœ bœ œ œ bw ∑
& b˙ ˙ bw œ œ bœ u
lip bend
E ±
Uw Uw # œ
E ionian
˙ # œ # œ œ œ œ œ ∑ œ # œ # œ œ #œ #œ ∑
& ˙ #˙ w #œ #œ œ uw
lip bend
±
Uw Uw œ
F F ionian
˙ œ œ œ œ œ œ ∑ œ œ œ bœ œ œ w
&˙ ˙ w œ œ bœ u
∑
lip bend
F# ±
Uw Uw
F# ionian
# ˙ # œ # œ œ œ œ œ ∑ # œ # œ # #œ #œ œ #œ #œ
& #˙ #˙ #w #œ #œ œ #uw ∑
lip bend
±
Uw Uw
G G ionian
˙ # œ œ œ œ œ œ œ œ # œœœœœ
&˙ ˙ ∑ w œœœ uw
∑
lip bend
36
Ab ±
œ œ œ Uw Ab ionian
Uw
b˙ œ œ œ bœ œ œ bœ bœ œ bœ
& b˙ ˙ ∑ bw bœ œ bœ bw
u
∑
lip bend
±
A
# œ œ œ Uw #Uw
# œ œ œ # œ #œ œ œ #œ œ
A ionian
˙ w œ #œ œ œ
& ˙ #˙ ∑ w
u
∑
lip bend
Bb ±
œ œ œ œ œ œ Uw Bb ionian
œ Uw œ
˙ ˙ b œ œ œ b œ œ œ bUw
& b˙ ∑ bw œ œ ∑
lip bend
±
B
# œ # œ œ œ œ œ Uw # œ #Uw # œ
#œ œ #œ #œ U
B ionian
#˙ #˙ w #œ #œ œ
#œ
&˙ ∑ w ∑
lip bend
±
œ œ œ œ œ œ Uw œ
Uw
œ œ œ œ œU
C
˙ œ
C ionian
˙ œœ œ
&˙ ∑ w w ∑
lip bend
C# ±
# œ # œ œ œ œ œ Uw # œ #Uw # œ # œ # œ
C# ionian
#˙ # ˙ #w #œ #œ # œ # œ # œ # œ #Uw
& #˙ ∑ ∑
lip bend
± Uw Uw œ
D
˙ # œ œ œ œ œ œ
D ionian
œ œ # œ œ # œ œ Uw
& ˙ #˙
∑ w œ #œ œ ∑
lip bend
Eb ± Uw Uw œ
b ˙ œ œ œ œ œ œ b œ œ b œ b œ œ œ bUw
bw œ œ bœ
Eb ionian
b˙ ˙ ∑ ∑
&
lip bend
±
˙ # œ # œ œ œ œ œ Uw œ # œ #Uw
#œ œ œ #œ #œU
E ionian
w #œ #œ œ
E
˙ #˙ ∑ w ∑
&
lip bend
37
±
œ œ œ Uw Uw
˙ œ œ œ b œ œ œ œ œ bœ œ œ U
˙ ˙ w œœ
F F ionian
w
& ∑ ∑
lip bend
F# ±
# œ œ œ Uw #Uw
#˙ # œ œ œ #œ # œ #œ #œ œ #œ U
#w #œ #œ œ
F# ionian
#˙ #˙ #œ #w
& ∑ ∑
lip bend
±
˙ # œ œ œ œ œ œ Uw œ œ œ #Uw œ œ œ
œ œ Uw
G ionian
˙ ˙ w œ œ
G
& ∑ ∑
Uw Uw
lip bend
Ab ±œ œ œ œ œ œ œ œ bœ bœ œ bœ U
b ˙ b œ b œ
Ab ionian
b˙ ˙ bw b œ œ bw
& ∑ ∑
# œ # œ œ œ œ œ Uw Uw # œ
lip bend
± # œ #
˙ w œ #œ œ œ œ œ # œ œ Uw
A ionian
˙ #˙
A
& ∑ ∑
Uw Uw œ
lip bend
Bb ˙ œ±œ œ œ œ œ œ œ œ b œ œ œ bUw
bw œ œ bœ
Bb ionian
b˙ ˙
& ∑ ∑
Uw Uw # œ
lip bend
±# ˙ # œ # œ œ œ œ œ # œ # œ # # œ œ # œ # œ Uw
˙ #˙ w #œ #œ œ
B ionian
B
& ∑ ∑
± ˙ ˙ œ œ œ œ œ œU Uw
lip bend
w œ œ œ œ œ œ œU
œœœ
C ionian
˙
C
w w
& ∑ ∑
±# ˙ # ˙ # œ # œ œ œ œ œ U Uw # œ
lip bend
C#
w # œ # œ # # œ # œ # œ # œ #Uw
#w #œ #œ #œ
C# ionian
#˙
& ∑ ∑
lip bend
38
Lesson Two, Part 1

Major 6th chord, descending
Playing in the pedal register will develop your ear. I have written every pedal note up an
octave with the 8vb marking because you will never see a piece of music written for the
trumpet in this register. As we get further along in these studies, you will be working with
intervals that you may not be familiar with. For this reason, it may be helpful at first to play
the arpeggio up an octave so that you can orient your ear and establish fingerings. Once the
correct pitch is established, then play the pedal notes. DO NOT reset the mouthpiece as you
change register.
C6 B6 B b6 A6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
&˙ ˙ ˙ ˙ w ∑ ˙ #˙ #˙
#˙ w
∑ b˙ ˙ ˙
˙ bw
∑ ˙ #˙ ˙
#˙ w
∑
u u u u
A b6 G6 G b6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
& b˙ ˙ b˙ ˙ ∑ ˙ ˙ ˙ ∑ b˙ b˙ b˙ ∑
buw ˙ w b˙ bw
u u
F6 E6 E b6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
&˙ ˙ ˙ ∑ ∑ ∑
˙ #˙ ˙ uw b ˙ ˙ b ˙ buw
˙ w #˙ ◊ ˙
u ◊
D6 D b6 C6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
&˙ ∑ ∑ ∑
˙ ˙ # ˙ uw b ˙ b ˙ b ˙ ˙ uw ˙ ˙ ˙ ˙ uw
◊ ◊ ◊
39
B6 B b6 A6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
& ∑ ∑ ∑
˙ # ˙ # ˙ # ˙ uw b ˙ ˙ ˙ ˙ buw ˙
˙ # ˙ # ˙ uw
◊ ◊ ◊
A b6 G6 G b6
1 6 5 3 1 1 6 5 3 1 1 6 5 3 1
& ˙ b˙ ˙ ∑ ˙ ˙ ˙
∑
b˙
∑
b˙ buw ˙ uw b ˙ b ˙ b ˙ buw
◊ ◊ ◊
Illegal drugs are the destroyer of lives. No matter how good you become on your instrument,
and no matter what level that you reach in life, they will bring you down to the gutter faster
than you can inhale, sniff, or swallow.—LM
Snooky Young is considered the father of modern lead trumpet playing from his years on the
Count Basie orchestra, the Thad Jones-Mel Lewis orchestra, the Tonight Show band, and as a studio
musician in both New York and Los Angeles. Look at the muscular development in his face,
centering everything toward the mouthpiece. (gw)
40
Lesson Two, Part 2

Major 6th chord, ascending
and Major or Ionian Scale
The Major Sixth arpeggio is the source of many a jazz lick and a great one to have in your
repertoire. In order that you get full benefit from each lesson, you must memorize each and
every scale, arpeggio, and chord symbol. Take your time and do not be in a hurry. If it takes a
month to memorize one lesson, so be it. You are benefitting from the physical workout routine
while learning jazz theory. Do not try to rush the process. We are building a foundation of
chops as well as a foundation of knowledge.
C6 C #6
& ˙ ˙ ∑ ∑
˙ ˙ œ œ œ œ œ œ uw # ˙ # ˙ # ˙ # ˙ # œ # œ œ œ œ œ uw
D6 E b6
&˙ ∑ b ˙ b ˙ ˙ b œ œ œ œ œ œ uw ∑
# ˙ ˙ ˙ œ # œ œ œ œ œ uw ◊ ˙
◊ lip bend lip bend
E6 F6
&˙ ∑ ˙ ∑
# ˙ ˙ # ˙ œ # œ œ œ œ œ uw ˙ ˙ ˙ œ œ œ œ œ œ uw
◊ lip bend
◊ lip bend
F #6 F# ionian
& ∑ ∑
# ˙ # ˙ # ˙ # œ # œ œ œ œ œ uw # œ œ # œ # œ # œ #uw # œ # œ # œ œ œ
#˙ lip bend #w #œ #œ #uw
G6 G ionian
& œ # œ œ œ œ œ uw ∑ # œ w #œ œ œ œ ∑
˙ ˙ œ œ œ u
˙ ˙ lip bend w œœ œœw
u
A b6 Ab ionian
& ˙ b œ œ œ œ œ œ uw ∑ œ œ buw œ œ b œ b œ œ b œ ∑
˙ b ˙ b œ œ b œ b œ
b˙ lip bend
bw buw
41
A6 A ionian
& ˙ # ˙ œ # œ œ œ œ œ uw ∑ œ # œ # œ uw # œ # œ œ œ # œ œ ∑
˙ # ˙ w œ # œ œ
lip bend uw
B b6
U U
Bb ionian
& ˙ ˙ b œ œ œ œ œ œ w ∑ œ œ w œ œ œ bœ œ œ
œ b ∑
b˙ ˙ bw œ œ b œ buw
lip bend
U U
B6 B ionian
& #˙ #˙ #˙ œ #œ œ œ œ œ w ∑ œ #œ #œ #œ w #œ #œ #œ œ ∑
˙ lip bend
w #œ #œ #œ #œ w
u
Do not be sidetracked by foolishness and frivolity. Have fun in life and enjoy your friends, but
when the downbeat is thrown, it is time to get serious.—LM
Here is the great Clifford Brown who could play chorus after chorus without
faltering. Observe the muscular development in his embouchure.
42
U U
C6 C ionian
œ œ œ
& ˙ ˙ ˙ ˙ œ œ œw ∑
w œœ œœœœw œœœœœ
œ uw
∑
lip bend
C #6
U U
C# ionian
& #˙ #˙ #˙ # œ # œ œ œ œ œ w ∑ #œ #œ #œ w#œ#œ #œ #œ
# œ # ∑
#˙ #w #œ #œ #œ #œ #w
u
lip bend
Uw Uw
D6 D ionian
˙ œ # œ œ œ œ œ ∑ œ # œ #œ œ œ œ ∑
& ˙ #˙ ˙ w œ #œ œ
œ #œ œ w
lip bend
u
E b6
Uw Uw œ
Eb ionian
b œ œ œ œ œ œ œ b
& b˙ ˙ b˙ ˙ ∑ bw œ œ bœ bœ
œ œ bœ bœ œ
œ buw ∑
lip bend
Uw Uw # œ
E6 E ionian
# ˙ œ # œ œ œ œ œ # œ # œ #œ œ œ #œ #œ
& ˙ #˙ ˙ ∑ w #œ #œ œ œ ∑
lip bend
uw
F6 F ionian
˙ ˙ ∑ œ œ œ œ œ bœ œ œ
&˙ ˙ w œ œ bœ uw
∑
lip bend
F #6 Uw Uw # œ
F# ionian
# œ # œ œ œ œ œ # œ #
& #˙ #˙ #˙ #˙ #œ œ #œ #œ
∑ #œ #œ œ #œ
#w #œ # œ #uw ∑
lip bend
œ # œ œ œ œ œ Uw Uw
G ionian
˙ œ # œ #œ œ œ œ œ
G6
˙ œ œ
&˙ ˙ ∑ w œ œ œ uw ∑
lip bend
A b6
b œ œ œ œ œ œ Uw Ab ionian
œ bUw œ
b˙ ˙ œ œ bœ bœ œ bœ
& b˙ ˙ ∑ bw bœ œ bœ bœ buw ∑
lip bend
43
œ œ œ Uw Uw
# œ œ œ # œ #œ #œ œ œ
A ionian
˙ # ˙ œ #œ œ œ # œ
A6
& ˙ #˙ ∑ w #œ œ w
u
∑
lip bend
B b6
b œ œ œ Uw bUw
œ œ œ œ œ œ œ bœ œ U
Bb ionian
˙ ˙ ˙ œ œ b œ œ œ œ bw
& b ˙ ∑ bw ∑
lip bend
œ œ œ Uw Uw
# œ œ œ # œ #œ #œ #œ œ
B ionian
#˙ # ˙ #œ # œ # œ # œUw
w #œ #œ œ
B6
& ˙ # ˙ ∑ ∑
lip bend
œ œ œ Uw Uw
˙ ˙ ˙ œ œ œ œ œ œ œ œœœœ U
C ionian
œ œ
C6
& ˙ ∑ w œ œw ∑
lip bend
C #6 # œ # œ œ œ œ œ Uw # œ #Uw # œ
# ˙ # œ #œ #œ#œ#œ#œ U
C# ionian
#˙ #˙ # œ # œ # œ # œ
& #˙ ∑ #w #w ∑
lip bend
˙ ˙ œ # œ œ œ œ œ Uw D ionian
œ œ œ # œ
Uw
#œ œ œ œ #œ U
#˙ œ # œ œw
D6
&˙ ∑ w ∑
lip bend
b œ œ œ Uw bUw œ
E b6 ˙ œ œ œ œ œ œ bœ bœ œ œ U
b˙ ˙ b˙ bw œ œ bœ bœ
Eb ionian
∑ bw ∑
&
lip bend
˙ # ˙ œ # œ œ œ œ œ Uw œ # œ # œ
Uw # œ
# œ œ œ # œ # œU
w #œ #œ œ
E6 E ionian
˙ #˙ ∑ w ∑
&
lip bend
œ œ œ Uw Uw œ
˙ œ œ œ œ œ œ œ bœ œ œU
˙ ˙ ˙ w œ œ bœ œ
F6 F ionian
w
& ∑ ∑
lip bend
44
F #6 # œ œ œ Uw #Uw
#˙ #˙ #˙ # œ œ œ #œ œ #œ #œ # œ #œ #œ #œ œ #œ
# œ #Uw
F# ionian
#˙ # w#œ
& ∑ ∑
lip bend
œ # œ œ œ œ œ Uw # œ Uw # œ
˙ œ œœœœ U
˙ ˙ ˙ œ
G ionian
œ œ
G6
w œ œw
& ∑ ∑
lip bend
A b6 b œ œ œ Uw bUw
˙ œ œ œ œ œ œ œ bœ bœ œ U
b˙ ˙ b˙ bw bœ œ bœ bœ
Ab ionian
bœ bw
& ∑ ∑
lip bend
˙ # ˙ œ # œ œ œ œ œ Uw œ # œ # œ Uw # œ
#œ œ œ #œ U
w œ #œ œ
A ionian
˙ #˙ œw
A6
& ∑ ∑
lip bend
B b6 ˙ b œ œ œ œ œ œ Uw œ œ bUw
œ œ œ bœ œ U
Bb ionian
b˙ ˙ ˙ bw œ œ b œ œ œ bw
& ∑ ∑
lip bend
œ œ œ Uw B ionian
Uw
# ˙ # œ œ œ # œ # œ #œ #œ #œ œ #œ U
˙ #˙ #˙ w #œ #œ œ #œ #œ w
B6
& ∑ ∑
lip bend
œ œ œ Uw Uw œ
œ œ œ œ
C ionian
˙ œ œ œ œ œ œU
˙ ˙ ˙ w œœœœ w
C6
& ∑ ∑
lip bend
45
Lesson Three, Part 1

The Major 9th chord, descending
Each note should be held out long and full. Concentrate on the quality of your sound because
practicing with a weak tone will only reinforce bad habits. Always remember that the sound is
your guide. If your tone sounds big and full, then you are playing correctly, utilizing the
unique oral structure that God gave you. Always hold the last note until completely out of air.
46
There is no magical way to play the trumpet. Try as you will, search long and far, and you will
get nowhere without dedicating time and effort on a consistent basis. However, there is a
correct way to play the trumpet, and properly defined it will provide you with the platform to
build your musical goals.—LM
In this picture is Steve Reid of Brian Setzer, KC & The Sunshine Band, and Prince fame. Steve is one of the
finest high note trumpet players in the world. On his left is Roger Ingram, from the Harry Connick, Jr.
and Maynard Ferguson orchestras. While Steve plays with a decidedly downstream embouchure,
Roger’s embouchure is upstream. However, they both play loud efficient high notes all night long. This
photo perfectly illustrates my point about the Costello/Stevens approach to the trumpet. It also shows
the ball of muscle between the mouthpiece and the teeth. Also note that they both have air pockets.
47
Lesson Three, Part 2

The Major 9th chord, ascending
and the Ionian or Major scale
The air should remain compressed throughout the range of the instrument. Take big full
breaths and remember the weight lifters’ stance as you climb high. As you play the scales,
make sure there are no breaks in the sound as you play. Keep the air moving, or your skis will
dig in. Rest as needed, because once fatigue has set in the hermetic seal will be gone. Do not
practice bad form! Practice good form until it becomes a habit. Keep the chest held high.
48
A great lead trumpet player from the past, Manny Klein, had a sticker pasted to the bell of his
trumpet that said: “Cool Head Maintain!”
Here is Andrea Toffanelli, who may be the finest living high note artist. I was in the audience when he
performed William Russo’s “Titan Suite,” which was written for Maynard Ferguson. He nailed it and is
the only trumpet player I have ever heard who can crescendo and place a vibrato on a triple C. Notice
how his bottom lip is nearly completely unfurled and in an exaggerated frown position. Look at the
open neck, the compression pockets, and the bulk of muscle below the mouthpiece.
49
50
51
52
Lesson Four, Part 1

The Major 9th sharp 11th chord, descending
It is important to become familiar with the upper extensions of any chord. Charlie Parker once
said that he really began to realize his unique style when he learned to play the extensions of
the basic chords. The ninth is the same as the second. The eleventh is the same as the fourth,
and the thirteenth is the same as the sixth. As you gain strength, you may want to practice the
long tones of these studies with a controlled vibrato. Learn to change the speed and width of
your vibrato to match any particular musical situation. Never use vibrato when playing in
unison!
±
C ( # 11) ±
B ( # 11) ±
B b ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
#˙ ˙ ˙ ∑ #˙ #˙ #˙ ˙ ˙ ˙
& ˙ ˙ w #˙ #˙ ∑ ˙ ˙ ∑
u uw buw
A ± ( # 11) ±
A b ( # 11) G ± ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
& #˙ ˙ #˙ ˙ #˙ ∑ ˙ b˙ ˙
b˙ ˙ bw ∑ #˙ ˙ #˙
˙ ˙
∑
uw u uw
±
G b ( # 11) F ± ( # 11) ±
E ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
& ˙ b˙ ˙ b˙ ∑ ˙ ˙ ˙
˙ ˙ uw
∑ #˙ #˙ #˙ ∑
b˙ bw ˙ # ˙ uw
u ◊ ◊
±
E b ( # 11) D ± ( # 11) ±
D b ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
&˙ ˙ ˙ ∑ #˙ ˙ #˙ ∑ ˙ b˙ ˙ ˙ ∑
b ˙ ˙ buw ˙ # ˙ uw b ˙ buw
◊ ◊ ◊
±
C ( # 11) ±
B ( # 11) ±
B b ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
& #˙ ˙ ∑ ∑ ∑
˙ ˙ ˙ uw #˙ #˙ #˙ #˙ ˙ ˙ ˙ ˙ ˙ bw
◊ # ˙ uw u
◊ ◊
53
A ± ( # 11) ±
A b ( # 11) ±
G ( # 11)
+11 9 7 5 3 1 +11 9 7 5 3 1 +11 9 7 5 3 1
& #˙ ∑ ∑ ∑
˙ # ˙ ˙ # ˙ uw ˙ b˙ b˙
˙ ˙ buw #˙ ˙ ˙ ˙ w
#˙
◊ ◊ u
◊
±
G b ( # 11)
+11 9 7 5 3 1
& ˙ ˙
b˙ b˙ b˙ bw
u
◊
Positive actions bring positive results. Negative actions bring negative results. In this world
you truly reap what you sew.
In this shot you see Wayne Bergeron, who is one of the greatest living examples of “chops!”
Note the huge "ball of muscle" below the mouthpiece and the compressed air pockets. Also take
note that the red part of his lip is unfurling as Maynard did, thus gripping the mouthpiece.
The lips are not flat and pinned against the teeth.
54
Lesson Four, Part 2

The Major 9th sharp 11th chord, ascending
It is important not to change the mouthpiece setting while slurring from low to high. Those
who habitually do so are playing with the thin red part of their lips pasted flat against the
teeth. This is the worst scenario a brass player can find himself in and will gain only negative
results. Keep the hermetic seal fat!
±
C ( # 11) ±
C # ( # 11)
& ∑ n œ a œ œ œ œ œ #uw ∑
˙ ˙ ˙ ˙ ˙ # œ œ œ œ œ œ #uw #˙ #˙ #˙ #˙
D ± ( # 11) ±
E b ( # 11)
&˙ ˙ # œ # œ œ œ œ œ #uw ∑ b ˙ b ˙ ˙ ˙ n œ œ œ œ œ œ nuw ∑

˙ # ˙
◊ #˙ lip bend ◊ ˙ lip bend
±
E ( # 11) ±
F ( # 11)
U
&˙ # ˙ # œ # œ œ œ œ œ #uw ∑ ˙ ˙ ˙ n œ œ œ œ w
œ œ n ∑
# ˙
◊ #˙ ˙ lip bend ◊ ˙ ˙ lip bend
±
F # ( # 11) F# lydian
U U
& #˙ # œ #œ œ œ w
œ œ # ∑ # œ # œ w# œ # œ
# ∑
# ˙ #œ#œ #œ#œ#œ
#˙ #œ #œ #œ #œ #œ #œ
#˙ #˙ #w #œ #œ #œ #w
lip bend
u
± ( # 11)
Uw Uw
G G lydian
& ˙ # œ œ œ œ œ œ # ∑ œ œ # œ œ œ#œ œ ∑
#˙ œ œ# œ œ
˙ ˙ ˙
œ
lip bend w œ œ #œ #œ œ œ w
u
±
A b ( # 11)
n œ œ œ nUw Ab lydian
Uw œ
& ˙ b˙ ˙ b ˙ œ œ œ ∑ b œ b œ œ b œb œ œ œ b œ ∑
b˙ bwbœ œ œb œ œ œ œ œbœbw
lip bend u
55
± ( # 11)
# œ # œ œ œ œ œ #Uw Uw
A A lydian
& ˙ ∑ œ œ# œ# # œ œ œ# œ# œ ∑
# ˙ ˙ #˙ # œ œ# œ# œ œ# œ
˙ lip bend
w œ# œ #œ œ w
u
±
B b ( # 11)
n œ œ œ nUw Bb lydian
Uw
˙ œ œ œ ∑ œ œ bœ œ œ œ œ bœ œ œ
& ˙ ˙ ˙
b˙ bw œ œ œ œ œ œ œ œ bw ∑
lip bend u
±
B ( # 11) B lydian
# œ # œ œ œ œ œ #Uw #Uw # œ # œ
& #˙ #˙
# ˙ ∑ #œ #œ #œ œ
#œ #œ œ #œ #œ
#œ #œ #œ
∑
˙ # ˙ w #œ #œ #œ #œ w
lip bend u
± ( # 11)
# œ œ œ #Uw #Uw
œ œ œ œ œœœœœ
C C lydian
˙ œœœ œ
& ˙ ˙ ˙ ˙ ∑
w œ œ #œ œ œ #œ œ œ w ∑
lip bend u
±
C # ( # 11) Uw
C# lydian (Db lydian)
Uw
#˙ n œ # œ œ œ œ œ n b œ œ œ b œb œ œb œ
& #˙ #˙ ∑ b œb œ œb œ bœ œ œb œ b w ∑
#˙ #˙ b wb œ œ œ u
lip bend
± ( # 11) Uw Uw # œ
˙ # œ # œ œ œ œ œ # œ # œ # œ œ# œ œ
D D lydian
& ˙ #˙ ˙ #˙ ∑ œ# œ œ œ# œ#œ œ w ∑
wœ#œ# œ œ u
lip bend
±
E b ( # 11) Uw Uw œ
˙ n œ œ œ œ œ œ n œ œ œbœ œ œbœ
bœ œ œ bœ
Eb lydian
& b˙ ˙ b˙ ˙ ∑ bw œ œ œ œ œ œ bw ∑
lip bend
u
± ( # 11) Uw
E
# ˙ # œ # œ œ œ œ œ # E lydian
#Uw # œ # œ
˙ #˙ # œ # œ
& ˙ #˙ ∑ #œ œ #œ #œ œ œ #œ #œ œ #œ ∑
w #œ #œ #œ #œ w
u
lip bend
± ( # 11)
b œ œ œ bUw Uw œ
F
b˙ ˙ œ œ œ F lydian
˙ ∑ œ œ
&˙ ˙ w œœœ œœœw ∑
u
lip bend
56
±
F # ( # 11) # œ # œ œ œ œ œ #Uw #Uw # œ # œ
F# lydian
# ˙ # œ # œ
#œ#œ #œ#œ
& #˙ # ˙ #˙ #˙ ∑ #w#œ #œ
#œ#œ#œ #œ#œ#œ
#œ #œ #w ∑
u
lip bend
˙ # œ œ œ œ œ œ #Uw
± ( # 11) G lydian
œ œ #Uw œ
œ œ#œ œ
˙ #˙ œ#œ œ
G
œ œ#œ œœ w ∑
&˙ ˙ ∑ wœ œ#œ u
lip bend
±
A b ( # 11) n œ œ œ nUw Uw
b ˙ œ œ œ b œ œ œbœbœ œ
b œ œ œb œ
Ab lydian
b˙ ˙ œb œ
& b˙ ˙ ∑ b wb œ œ œ œ œ b œb w ∑
u
lip bend
± ( # 11)
# œ œ œ #Uw U
#˙ ˙ # œ œ œ A lydian
œ #œ #w #œ œ œ
˙ œ
A
# ˙ œ #œ #œ #œ #œ œ
&˙ ∑ w œ #œ
#œ #œ #œ œ
w ∑
u
lip bend
±n œ œ œ nUw Uw
B b ( # 11)
˙ ˙ œ œ œ b œ œ œ œ œ bœ œ œ
œœ œ œ œ œ bUw ∑
Bb lydian
˙ œ
& b˙ ˙ ∑ bwœœœ
lip bend
± ( # 11) # œ œ œ #Uw U
#˙ #˙ # œ œ œ B lydian
#œ œ #œ
#œ #w #œ #œ
#˙ œ #œ #œ
B
& ˙ # ˙ ∑ w #œ #œ
#œ # œ # œ #œ # œ # œ # œU
w ∑
lip bend
± # œ œ œ #Uw #Uw
˙
C ( # 11)
˙ œ œ œ C lydian
˙ œ œ œ # œ œ œUw
&˙
˙ ∑ w œ œ# œ ∑
Uw Uw œ
lip bend C# lydian (Db lydian)
±
C # ( # 11) n œ # œ œ œ œ œ n b œ œ b œb œ œ b œb œ
#˙ #˙ b œ b œ œ bœ
# ˙ #˙ #˙ ∑ b wb œ œ
œ œ œb œbUw
∑
&
lip bend
57
±
D ( # 11)
˙ # œ # œ œ œ œ œ #Uw œ œ # œ #Uw# œ œ œ
˙ #˙ œ œ# œ # œ œ œ# œ U
D lydian
˙ # ˙ w œ# œ# œ # œ œw
∑ ∑
&
Uw Uw œ
lip bend
±
E b ( # 11) ˙ n œ œ œ œ œ œ n œ œ œbœ œ œ
˙ œ œbœ
Eb lydian
b ˙ bœ bœ œ œœ U
b˙ ˙
∑ b wœ œ œ bw ∑
&
# œ # œ œ œ œ œ #Uw
lip bend
± ( # 11) # ˙
U
#w #œ #œ
#˙ # œ
E lydian
# œ
˙ #œ œ œ #œ #œ
E
˙ #˙ #œ œ #œ
# œ œ #œ #œ U
# œ #œw
& ∑ w
∑
Uw Uw œ
lip bend
±
F ( # 11) b œ œ œ œ œ œ b œ
b˙ ˙ œœœœ œ œœœœœ
F lydian
˙˙ ˙ wœ œ œ œ œ œUw
& ∑ ∑
lip bend
U U
±
F # ( # 11) # ˙ #œ #œ œ œ œ œ #w F# lydian
#œ #œ #w #œ #œ
#˙ #˙ #œ #œ #œ #œ #œ #œ #œ
#œ #œ #œ U
#˙ # ˙ #w # œ# œ # œ # œ# w
& ∑ ∑
lip bend
I went to hear Maynard at a bar in San Diego. I tried to pay the cover charge but when the
doorman asked for my I.D., I was under 21 and he wouldn’t let me in. This meant that I was
going to have to hang around and listen to the concert from outside the building. I could hear
the band doing a sound check, so I followed the sound and went behind the building to hear
better. Just then, Maynard came walking out of the rear entrance. He looked at me and said,
“What’s up, son?” I told him of my trouble. He smiled and said, “Come with me!” The Boss
took me to his dressing room and I spent the entire night watching the band from back stage.
58
Lesson 5, Part 1
The Minor chord, descending
As you play the long tones, concentrate on the quality of your sound. If your lips are in the
correct position, and you are attaining the maximum amount of vibrating surface at the
aperture, your sound will be big, full, and rich at any dynamic level. Play like this until it
becomes habit. Never settle for a raspy, thin sound. While learning to play correctly, the sound
is your guide.
59
You really have to want it in order to achieve it. Once you have achieved it you have to
maintain it to keep it. Playing the trumpet for a living is one of the toughest pursuits. You can’t
take a vacation without suffering a loss of chops.
The good doctor, Carl “Doc” Severinsen, whose “chops!” are undeniable. He almost single-handedly
made trumpet playing “cool” to millions of television viewers as leader of the Tonight Show band. (gw)
60
Lesson Five, Part 2

The Minor chord, ascending and the Dorian scale
Remember to set the air. Take a big breath with the chest held high and compress the air
before you blow. The greatest example of this is watching videos of Dizzy Gillespie. His
cheeks always inflated before he started each note. You will have much more power of you set
the air prior to playing. Bud Brisbois preached this method at every clinic.
61
Pappy Mitchell told me to learn an etude. I came back the next week, thinking that I could nail
it after having practiced it just once. Pappy had me play the prescribed etude, and in the
middle of my performance walked out of the studio. From inside the house I heard, “Play it
again!” I played it and when I finished it that time, he once again shouted, “Play it again!” This
went on and on until my 30 minutes were over. Pappy returned to the studio, swirling a glass
of Scotch on the rocks and said, “The next time that I tell you to learn something, LEARN IT!
Now where’s my check?”—LM
62
63
64
65
Lesson Six, Part 1

The Minor 6th chord, descending
Just as before, hold each note out long and full. Playing correctly is an exercise in relaxed
tension. Always use light to moderate pressure. You may find it helpful to change your grip
on the instrument from time to time. When I was young I would play entire four-hour big
band gigs while holding my horn balanced on two fingers. I was forcing my body to play the
trumpet with light pressure.
C min6 B min6 B bmin6 A min6

1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
& ˙ ˙ ˙ b˙ w ∑ ˙ #˙ #˙
˙ w
∑ b˙ ˙ ˙
b˙ bw
∑ ˙ #˙ ˙
˙ w
∑
u u u u
A bmin6 G min6 G bmin6

1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
& b˙ ˙ b˙ b˙ ∑ ˙ ˙ ˙ ∑ b˙ b˙ b˙ ∑
buw b˙ w ˙ buw
u
F min6 E min6 E bmin6

1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
&˙ ˙ ∑ ∑ ∑
˙ b ˙ uw ˙ #˙ ˙ w
˙ u
b˙ ˙ b˙ w
b˙ u
◊ ◊ ◊
D min6 D bmin6 C min6

1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
&˙ ∑ ∑ ∑
˙ ˙ ˙ uw b ˙ b ˙ b ˙ b ˙ buw ˙ ˙ ˙ b ˙ uw
◊ ◊ ◊
66
B min6 B bmin6 A min6

1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
& ∑ ˙ ∑ ˙ ˙ ∑
˙ # ˙ # ˙ ˙ uw b ˙ ˙ b ˙ buw ˙ #˙ uw
◊ ◊ ◊
A bmin6 G min6 G bmin6
1 6 5 -3 1 1 6 5 -3 1 1 6 5 -3 1
& ˙ ∑ ∑ ∑
b ˙ b ˙ b ˙ buw ˙
˙ ˙ b˙
uw b˙
b˙ b˙ ˙
buw
◊ ◊ ◊
Rest periods are essential for muscular growth. Just like the body builder, you must allow the
muscles of the body involved in trumpet performance to heal between rigorous workouts.
While Dizzy Gillespie's face was herniated to the point that he looked like a bull frog when he played,
there is no doubt that he played correctly. Notice the muscular development behind the air pockets.
67
Lesson Six, Part 2

The Minor 6th chord, ascending
and the Melodic Minor scale
Remember to take a big breath, keeping the chest held high. Step on the gas as you ascend.
Compress the air and say “heee” as you reach the upper range. Only play as high as you can
without extreme inward pressure. Remember that pressure applied properly is a good thing,
but always be cognitive of how much pressure you are using. Light to moderate pressure
applied to a properly formed embouchure meeting the compression of air is what Carmine
Caruso called “riding the air stream.”
C min6 C #min6
& ˙ b˙ ∑ ∑
˙ ˙ œ œ œ œ œ œ uw # ˙ ˙ # ˙ # ˙ # œ # œ œ œ œ œ #uw
◊ ◊
D min6 E bmin6
&˙ ˙ ∑ b˙ ∑
˙ ˙ œ # œ œ œ œ œ uw b ˙ b ˙ ˙ b œ œ œ œ œ œ buw
◊ ◊
E min6 F min6
&˙ œ # œ œ œ œ œ uw ∑ ˙ œ œ œ œ œ œ uw ∑
˙
◊ ˙ ˙ #˙ ◊ b ˙ ˙
F #min6
F# melodic minor
& ∑ ∑
# ˙ # ˙ # œ # œ œ œ œ œ #uw #œ # œ # œ #uw # œ # œ #œ œ œ #œ
#˙ ˙ #w #œ œ œ #uw
G min6 G melodic minor
& ∑ ∑
b ˙ ˙ ˙ œ # œ œ œ œ œ uw b œ œ œ œ # œ uw # œ œ œ œ b œ
˙ w œ œ uw
A bmin6 Ab melodic minor
& b ˙ ˙ b œ œ œ œ œ œ buw ∑ b œ œ œ buw œ œ b œ b œ b œ b œ ∑

b˙ b ˙ bw b œ b œ b œ buw
68
A min6 A melodic minor
& ˙ # ˙ œ # œ œ œ œ œ uw ∑ œ # œ # œ uw # œ # œ œ œ œ ∑
˙ ˙ w œ œ œ œ uw
B bmin6
U U
Bb melodic minor
& b˙ ˙ ˙ œ œ œ w
b œ œ œ b ∑ b œ œ œ œ b w œ œ œ bœ ∑
b˙ bw œ bœ bœ œ bw
u
U U
B min6 B melodic minor
& ˙ #˙ #˙ #œ œ œ w
œ œ œ ∑ w
œ œ #œ #œ #œ #œ #œ #œ œ œ
∑
˙ w #œ # œ uw
Practice makes perfect. Perfect practice makes a neurotic.—LM
69
U U
C min6 C melodic minor
& b˙ ˙ ˙ œ œ œ œ œ œ w ∑ œ œ œ œ w œœœœ ∑
˙ w œ b œ bœ œ w
u
C #min6
U U
C# melodic minor
& #˙ ˙ #˙ # ˙ # œ # œ œ œ œ œ # w ∑ # œ # œ # w #œ #œ #œ ∑
#w #œ œ #œ #œ #œ œ # œ #uw
Uw Uw
D min6 D melodic minor
œ # œ œ œ œ œ # œ #œ œ œ œ œ
&˙ ˙ ˙ ˙ ∑
w œ œ œ œ œ œ uw
∑
E bmin6
b œ œ œ œ œ œ bUw bUw œ œ b œ
Eb melodic minor
b ˙ ˙ ∑ b œ œ œ ∑
& b˙ b˙ bw œ bœ bœ bœ bœ œ bw
u
œ # œ œ œ œ œ Uw Uw # œ
E min6 E melodic minor
˙ # ˙ ∑ œ # œ # œ #œ œ œ œ ∑
&˙ ˙ w #œ œ œ #œ uw
Uw Uw œ
F min6 F melodic minor
˙ œ œ œ œ œ œ œ œ œ œ bœ bœ
& ˙ b˙ ˙ ∑ w œ bœ bœ œ œ uw ∑
F #min6
# œ # œ œ œ œ œ #Uw Uw # œ
F# melodic minor
# ˙ # ˙ ∑ # œ # œ # œ # #œ #œ œ œ #œ
& #˙ ˙ #w #œ œ œ #uw ∑
Uw Uw
G melodic minor
œ œ œ
G min6
˙ # œ œ œ œ # œ #œ œ œ œ bœ
& ˙ b˙ ˙ ∑ w œ b œ œ œ œ uw ∑
A bmin6
b œ œ œ bUw Ab melodic minor
bUw œ
b˙ ˙ œ œ œ œ œ œ bœ bœ bœ bœ
& b˙ b˙ ∑ bw bœ bœ bœ bœ buw ∑
70
œ œ œ Uw A melodic minor
Uw
# œ œ œ # œ #œ #œ œ œ
A min6
˙ #˙ œ œ #œ
&˙ ˙ ∑ w œ œ œœw
u
∑
B bmin6 Uw Uw
Bb melodic minor
˙ b œ œ œ œ œ œ b œ œ b œ œ œ bœ
b˙ ˙ œ b œ b œ œ b œ œ bUw
& b˙ ∑ bw ∑
B melodic minor
# ˙ # œ # œ #œ #œ #œ œ œ U
B min6
˙ # ˙ # œ œ œ # œ #œ w
&˙ ∑ w ∑
œ œ œ œ œ œ Uw C melodic minor
œ Uw œ
b˙ ˙ ˙ œ œ œ œ œ bœ œU
C min6
& ˙ ∑ w œ bœ œ w ∑
C #min6 U Uw # œ
C# melodic minor
˙ #˙ #˙ #œ #œ œ œ œ œ #w #w #œ œ #œ # œ # œ # œ # #œ #œ #œ œ U
#œ #w
& #˙ ∑ ∑
Uw Uw
D melodic minor
˙ œ # œ œ œ œ œ œ # œ #œ œ œ œ œ U
˙ ˙ œ œ
D min6
˙ ∑ w œ œ œw ∑
&
E bmin6 b œ œ œ œ œ œ bUw Eb melodic minor

œ bUw œ
˙ œ œ bœ bœ bœ œ U
b˙ b˙ b˙ ∑ bw œ bœ bœ
bœ bw ∑
&
œ œ œ Uw E melodic minor
Uw # œ
# ˙ # œ œ œ # œ # œ # œ œ œ œ # œU
˙ ˙ ˙ w #œ œ œ œ
E min6
∑ w ∑
&
œ œ œ Uw F melodic minor
Uw œ
˙ œ œ œ œ œ œ œ b œ b œ œU
˙ b˙ ˙
F min6
œ b œ b œ œ
w w
& ∑ ∑
71
F #min6 # œ œ œ #Uw F# melodic minor

#Uw
˙ #˙ # ˙ # œ œ œ œ œ # œ # œ # œ #œ #œ #œ œ œ U
#˙ #w#œ #œ#w
& ∑ ∑
œ # œ œ œ œ œ Uw G melodic minor
# œ Uw # œ
˙ œ œ œ œ bœ U
˙ b˙ ˙ w œ bœ œ
œ
G min6
œw
& ∑ ∑
A bmin6
b œ œ œ bUw Ab melodic minor
bUw
b˙ ˙ œ œ œ b œ bœ œ œ œ œ bœ bœ bœ U
b˙ b˙ bw b œ b œ bœ bw
& ∑ ∑
œ # œ œ œ œ œ Uw A melodic minor
# œ Uw # œ
# ˙ # œ #œ œ œ œ U
˙ ˙ ˙ w œœœœ œw
A min6
& ∑ ∑
B bmin6 b œ œ œ bUw Bb melodic minor

bUw
˙ œ œ œ œ œ œ œ œ bœ
b˙ b˙ ˙ bw œ bœ bœ œ b œ œ bUw
& ∑ ∑
B melodic minor
# ˙ # ˙ œ # œ # œ # œ #œ #œ #œ œ œ U
˙ ˙ # œ œ #œ w
B min6
w
& ∑ ∑
Uw Uw œ
C melodic minor
˙ œ œ œ œ œ œ œ œ œ œ œ bœ œ U
˙ b˙ ˙ w œ bœ œ œ
C min6
w
& ∑ ∑
72
Lesson Seven, Part 1

The Minor flat 6th chord, descending
You will find this arpeggio to be a bit more challenging to the ear. As we get further along in
the studies, the arpeggios will help you to develop your ear. Memorize each scale, arpeggio
and sound or character of each chord. Keep your chest held high and breathe deeply, filling
the lungs completely on every breath.
Cmin(b6) Bmin(b6) Bbmin(b6) Amin(b6)

1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
& ˙ b˙ ˙ b˙ ∑ ˙ ˙ #˙
˙ w
∑ b˙ b˙ ˙
b˙ bw
∑ ˙ ˙ ˙ ∑
uw u u ˙ w
u
Abmin(b6) Gmin(b6) F#min(b6)

1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
& b˙ b˙ b˙ ∑ ˙ b˙ ˙ ∑ #˙ ˙ #˙ ∑
b˙ bw b˙ w ˙ #w
u u u
Fmin(b6) Emin(b6) Ebmin(b6)

1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
& ˙ b˙ ˙ w ∑ ˙ ˙ ˙ w ∑ b˙ b˙ b˙ w ∑
b˙ u ˙ u b˙ u
◊ ◊ ◊
Dmin(b6) C#min(b6) Cmin(b6)

1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
&˙ ∑ ∑ ∑
b ˙ ˙ ˙ uw # ˙ ˙ # ˙ ˙ #uw ˙ b ˙ ˙ b ˙ uw
◊ ◊ ◊
73
Bmin(b6) Bbmin(b6) Amin(b6)
1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
& ∑ ˙ ∑ ˙ ˙ ˙ ∑
˙ ˙ # ˙ ˙ uw b ˙ b ˙ b ˙ buw ˙
◊ uw
◊ ◊
Abmin(b6) Gmin(b6) F#min(b6)
1 -6 5 -3 1 1 -6 5 -3 1 1 -6 5 -3 1
& b˙ b˙ b˙ ∑ b˙ ˙ b˙
∑ ∑
˙
b˙ buw ˙ uw # ˙ # ˙ ˙ #uw
◊ ◊ ◊
“Guys go to the same jam sessions over and over again and say the same thing…nothing! It is
like they are saying ‘Bone, dog, table, kitchen,’ instead of saying, ‘The dog is in the kitchen
under the table chewing on a bone.’ Jazz is language, and you have to learn the rules of a
language before you can speak it.”—Tom Kubis
Here is my friend since childhood, Les Kepics, who in many ways was one of my first trumpet coaches.
In the beginning, he pointed the way. A fixture in the San Diego music community, Les has been the
track trumpeter at Del Mar racetrack for 20 years. Note the common elements for “chops!”
74
Lesson Seven, Part 2

The Minor flat 6th chord, ascending
and the Phrygian scale
Each chord has a wide variety of notes and scales associated with it. Keep in mind that I have
only chosen one scale per chord symbol but have provided you with a chord/scale syllabus in
the Appendix section of this book. Remember to channel the air. You must use your tongue as
a valve and your jaw as a rudder in order to play efficiently. AHH EE AHH EE
Cmin(b6) √ C#min(b6)
& ∑ ∑
˙ b ˙ ˙ b ˙ œ b œ œ œ œ œ uw # ˙ ˙ # ˙ ˙ # œ œ œ œ œ œ uw
Dmin(b6) Ebmin(b6)
&˙ ˙ ∑ b˙ ∑
˙ b ˙ œ œ œ œ œ œ uw b ˙ b ˙ b ˙ b œ b œ œ œ œ œ uw
◊ lip bend
◊ lip bend
Emin(b6) Fmin(b6)
&˙ ∑ ˙ ∑
˙ ˙ ˙ œ œ œ œ œ œ uw b ˙ ˙ b ˙ œ b œ œ œ œ œ uw
F#min(b6) F# phrygian
& ∑ ∑
˙ # ˙ ˙ # œ œ œ œ œ œ uw œ œ # œ œ œ #uw œ œ # œ œ
œ œ #w
#˙ lip bend #w œ u
Gmin(b6) G phrygian
& ∑ ∑
b ˙ ˙ b ˙ œ œ œ œ œ œ uw b œ œ œ b œ œ uw œ b œ œ œ b œ
˙ lip bend w bœ b œ uw
Abmin(b6) G# phrygian (Ab phrygian)
& b ˙ b ˙ b œ b œ œ œ œ œ uw ∑ œ # œ # w # œ œ ∑
b˙ b ˙ #w #œ œ #œ # œ u # œ #œ nœ #œ #w
lip bend u
75
Amin(b6) A phrygian
& ˙ ˙ œ œ œ œ œ œ uw ∑ œ œ œ uw œ œ œ œ œ ∑
˙ ˙ w bœ œ œ b œ uw
lip bend
U
Bbmin(b6) A# phrygian (Bb phrygian)
& b˙ ˙ b˙ bœ œ œ w
b œ œ œ ∑
# œ # œ # œ # œ #uw # œ # œ # œ # œ # œ ∑
b˙ #w œ # œ œ #uw
lip bend
U U
Bmin(b6) B phrygian
& ˙ #˙ ˙ œ œ œ w
œ œ œ ∑
œ œ # œ œ œ w œ œ #œ œ œ ∑
˙ lip bend
w œ œ uw
Concentration is the key to your success in learning to play the trumpet. Bad habits are easily
formed if you allow your mind to wander. Each exercise requires strength of will and a
disciplined attitude in order that you reach your goal.
76
U U
Cmin(b6) C phrygian
& ˙ b˙ ˙ b˙ œ b œ œ œ œ œ w ∑ œ bœ w bœ bœ œ œ bœ bœ
b œ ∑
w b œ b œ œ
lip bend uw
U U
C# phrygian
C#min(b6)
& #˙ ˙ # œ œ œ œ œ œ w ∑ # œ #œ œ w œ œ #œ #œ œ œ
œ # ∑
#˙ ˙ #w œ œ #uw
lip bend
Uw Uw
Dmin(b6) D phrygian
b ˙ œ œ œ œ œ œ ∑ b œ œ œ bœ œ œ ∑
&˙ ˙ ˙ w bœ œ œ œ œ bœ w
lip bend
u
D#min(b6)
Uw Uw # œ
D# phrygian
˙ # œ # œ œ œ œ œ ∑ œ # œ # œ #œ #œ #œ œ ∑
& #˙ #˙ #˙ #w œ #œ #œ #œ #uw
lip bend
Uw Uw
Emin(b6) E phrygian
˙ œ œ œ œ œ œ œ œ œœœœœ
&˙ ˙ ˙ ∑ w œœœœ œ uw ∑
lip bend
Uw Uw b œ
Fmin(b6) F phrygian
b ˙ œ b œ œ œ œ œ b œ b œ bœ œ bœ bœ
& ˙ b˙ ˙ ∑ w bœ bœ bœ œ b œ uw ∑
lip bend
Uw Uw œ
F#min(b6) F# phrygian
˙ # œ œ œ œ œ œ œ œ # œ #œ œ œ œ
& #˙ ˙ #˙ ∑ #w œ œ œ #œ #uw ∑
lip bend
Uw Uw
G phrygian
œ œ œ
Gmin(b6)
b ˙ œ œ œ b œ œ œ bœ œ œ bœ
& ˙ b˙ ˙ ∑ w bœ bœ œ œ bœ
uw
∑
lip bend
b œ b œ œ œ œ œ Uw Uw # œ
Abmin(b6) G# phrygian (Ab phrygian)
b ˙ b ˙ œ # œ # œ #œ #œ nœ #œ
& b˙ b˙ ∑ #w #œ œ #œ #œ #uw ∑
lip bend
77
œ œ œ Uw Uw
œ œ œ œ œœœœ
A phrygian
˙ œ
Amin(b6)
˙ w bœ œ œ œ
&˙ ˙ ∑ œ bœ w
u
∑
lip bend
b œ œ œ Uw Uw
b œ œ œ #
A# phrygian (Bb phrygian)
b ˙ # œ #œ #œ #œ #œ #œ
Bbmin(b6)
b ˙ b ˙ ˙ # œ # œ # œ # œ
& ∑ #w œ œ #w ∑
u
lip bend
œ œ œ Uw Uw
˙ œ œ œ œ œ œ œ #œ œ U
Bmin(b6) B phrygian
#˙ #œ
& ˙ ˙ ∑ w œœœ œœw ∑
lip bend
œ œ œ Uw Uw
b œ œ œ b œ bœ bœ œ œ bœ U
C phrygian
b˙ ˙ b˙ œ bœ
Cmin(b6)
˙ ∑ w b œ b œ œ bœ w
& ∑
lip bend
# œ œ œ œ œ œ Uw C# phrygian
œ #Uw œ
˙ #˙ ˙ # œ # œ œ œ #œ #œ œ œ U
C#min(b6)
# ˙ ∑ #w œ œ #w ∑
&
lip bend
˙ b ˙ œ œ œ œ œ œ Uw
Dmin(b6)
D phrygian
œ œ b œ œ
Uw
œ bœ œ œ œ U
˙ b œ œ bœ w
&˙ ∑ w ∑
lip bend
D#min(b6)
# œ # œ œ œ œ œ Uw D# phrygian
# œ #Uw # œ
# ˙ #˙ #˙ ˙ #w œ #œ #œ #œ
œ œ #œ #œ #œ œ U
#w ∑
& ∑
lip bend
˙ ˙ œ œ œ œ œ œ Uw E phrygian
œ œ œ
Uw œ
œ œ œ œ œU
w œœœ
Emin(b6)
˙ ˙ ∑ w ∑
&
lip bend
œ œ œ Uw F phrygian
Uw b œ
b ˙ b œ œ œ b œ b œ b œ œ b œ b œ b œU
˙ b˙ ˙ w bœ bœ bœ œ
Fmin(b6)
w ∑
& ∑
lip bend
78
# œ œ œ Uw #Uw
˙ œ œ œ œ œ œ œ #œ œ
F# phrygian
#˙ ˙ #˙ œ # œ œ œ #Uw
F#min(b6)
#w œ œ
& ∑ ∑
lip bend
œ œ œ œ œ œ Uw G phrygian
œ Uw œ
˙ b ˙ œ œ b œ bœ œ œ bœ U
Gmin(b6)
˙ b˙ w b œ b œ bœ w
& ∑ ∑
lip bend
Uw Uw
G# phrygian (Ab phrygian)
Abmin(b6)
b˙ b ˙ b œ b œ œ œ œ œ œ # œ # #œ œ #œ #œ
b˙ b˙ #w#œ œ #œ #œ nœ # œ #Uw
& ∑ ∑
lip bend
A phrygian
˙ ˙ œ œ œ œ œ œ œ bœ U
w bœ œ œ
Amin(b6)
˙ ˙ w
& ∑ ∑
lip bend
b œ b œ œ œ œ œ Uw Uw
A# phrygian (Bb phrygian)
˙ b ˙ # œ # œ # #œ #œ #œ #œ #œ U
Bbmin(b6)
b˙ b˙ #œ
#w œ #œ #œ œ #w
& ∑ ∑
lip bend
œ œ œ Uw Uw
œ œ œ œ œ œ #œ œ œ U
B phrygian
˙ œ
˙ ˙ #˙ w œ œ œ #œ
Bmin(b6)
œw
& ∑ ∑
lip bend
œ œ œ Uw Uw b œ
b œ œ œ b œ
C phrygian
b ˙ b œ bœ œ œ bœ bœ U
˙ b˙ ˙ w bœ bœ œ œ
Cmin(b6)
w
& ∑ ∑
lip bend
79
Lesson Eight, Part 1

By now, you should be feeling a certain grip on the mouthpiece as you pucker towards the
mouthpiece in the pedal register. Often, with many players, the angle of the jaw is the same in
the pedal register as it is in the double register. However, the space between the top and
bottom teeth is smaller in the upper register. As before, strive for a big open sound without
overblowing.
80
No one who has ever become great at anything did so with a hit-or-miss effort. A solid batting
average and a constant, diligent approach to practice are of utmost importance in order that
you achieve the desired result.—LM
In this photo is Winston Byrd, who is one of the stratosphere's finest. Winston displays air pockets
and the ball of muscle below the mouthpiece. Again, he is another example of muscular
development caused by the action of resisting the compression of air.
81
Lesson Eight, Part 2

The Minor 7th chord and Dorian scale, ascending
The Dorian Scale is based upon the second degree of a major scale. Remember the Whistle
position. This position can also be attained by saying the syllable BUUL, or Bewl, as in “jewel”
with a B. Starting from the “M” position, the lips must unfurl or slightly pucker towards the
mouthpiece as in the “Bewl” position in order to develop properly. Keep the compression of
air steady!
82
You will soon forget anything that you try to learn while frustrated and unhappy. A positive,
happy attitude is the best mindset for learning.—LM
83
84
85
86
Lesson Nine, Part 1

Minor 9th chord, descending
Your unique physical structure will give you your own unique sound on the trumpet.
However, that sound can be altered to suit your different musical needs. Just as an
impressionist changes the sound of his voice by adjusting the oral cavity and nasal passage,
you can change your tone in this manner. The speed and volume of air, along with different
ways of shaping the tongue and palate, can make a huge difference in your sound.
87
How you spend your time today will determine the quality of time that you spend in the
future. When I was young, I played in the Disneyland Band with Eric Marienthal and Gordon
Goodwin. After the gig, I went home and watched TV. Eric and Gordon went home and
studied and practiced.—LM
This is the great Harry James. Notice that the muscles of the throat are completely relaxed and open.
Again look at the huge development of muscle gripping the mouthpiece.
Harry also displays compressed air pockets.
88
Lesson Nine, Part 2

Minor 9th chord, ascending and the Dorian scale
As you perform, the lip bends. You must keep the air compressed and supported as you bend
down. You should become a virtuoso in every key while playing over every scale type
possible. This is what Charlie Parker meant when he advised to learn your instrument. He
then said, “Forget about all that stuff and just play the music!” What a knowledge base Charlie
Parker must have gained in order that he could play music the way he did!
89
There’s no business like show business. It is the only industry where the layman is the person
in charge.
90
91
92
93
Lesson Ten, Part 1

Thoughts are real and tangible things and have the power to shape your future. If you think
that you are a poor musician, you will be a poor musician. If you think that you can’t progress
any further in life, you will certainly stall out and lose forward momentum. You must keep a
positive and happy outlook in order to maintain your goals.
C min11 B min11 B bmin11

11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
˙ ˙ ˙ #˙ ˙ b˙ ˙ b˙
& b˙ ˙ ∑ #˙ ˙ ∑ ˙ b˙ ∑
b˙ w
u uw buw
A min11 A bmin11 G min11
11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
&˙ ˙ ˙ ˙ ˙ ∑ b˙ b˙ b˙
b˙ b˙ bw
∑ ˙ ˙ ˙
˙ b˙ w
∑
uw u u
F #min11 F min11 E min11
11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
& ˙ #˙ ˙ #˙ ∑ b˙ ˙
b ˙ ˙ uw ∑ ˙ #˙
˙ ˙ ˙ uw
∑
˙ #w b˙
u ◊ ◊
E bmin11 D min11 D bmin11
11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
& b˙ ˙ b˙ ∑ ˙ ˙ ˙ ˙ w ∑ b˙ b˙ b˙ b˙ ∑
b ˙ b ˙ buw ˙ u b ˙ buw
◊ ◊ ◊
C min11 B min11 B bmin11
11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
&˙ ˙ ∑ ∑
b˙ ˙ b˙ ˙ b˙ bw
∑
b ˙ ˙ b ˙ uw ˙ #˙ ˙ ˙
# ˙ uw u
◊ ◊ ◊
94
A min11 A bmin11 G min11

11 9 -7 5 -3 1 11 9 -7 5 -3 1 11 9 -7 5 -3 1
&˙ ∑ ∑ ∑
˙ ˙ ˙ ˙ uw b˙ b˙
b˙
b˙ b˙
buw ˙ ˙ ˙ ˙ b˙ w
u
#
◊ ◊ ◊
F min11
11 9 -7 5 -3 1
&
˙ #˙ ˙ #˙ ˙ #w
u
◊
Claude Gordon once told me that it was “My way or the highway.” I took the highway. But I
am so grateful to him for the wealth of information that I took with me. I’m still not sure why
he didn’t want me to play that Jet-tone Bill Chase model mouthpiece. Could it have been my
performance on that Charlier etude?
In this photo is Maurice Andre, who, aside from being one of history's greatest
classical musicians, could also scream like Maynard Ferguson! Listen to his recording
of “Hot Canary”. Check out the incredible bulk of muscle below and around the mouthpiece.
This is an example of the player gripping the mouthpiece and not the mouthpiece gripping him.
95
Lesson Ten, Part 2

The Minor 11th chord, ascending
and the Dorian scale
As you memorize the notes of each chord type and the scales to be used, you must also
memorize the tonality of each chord type. I will repeat my advice to listen to the sound of each
chord so that you will be able to recognize its voice. As you ascend, “step on the gas” as
Claude Gordon would say. Make sure that you support the air going down hill as much as
you did climbing up. Your tone must remain centered as you ascend. A spread, unfocused
tone is a blatty, ugly sound.
C min11 C #min11
& ∑ ∑
˙ b ˙ ˙ b ˙ ˙ œ b œ œ œ œ œ uw # ˙ ˙ # ˙ ˙ # ˙ # œ œ œ œ œ œ #uw
D min11 E bmin11
&˙ ˙ ˙ œ œ œ œ œ œ uw ∑ b ˙ b ˙ b ˙ ˙ b œ b œ œ œ œ œ buw
∑
˙ ˙
◊ lip bend ◊ b˙ lip bend
U
E min11 F min11
&˙ # ˙ œ œ œ œ œ œ uw ∑ b œ b œ œ œ œ œ b w ∑
˙ ˙ ˙ ˙ b˙ ˙
◊ ˙ lip bend ◊ b˙ lip bend
F #min11
U U
F# dorian
& # ˙ ˙ #˙ œ œ œ œ œ œ w ∑ œ wœ
# œ œ # œ # œ # œ# œ œ # œ
# w# œ œ œ # œ
#œ œ œ# œ#w
#˙ ˙ lip bend
u
Uw Uw
G min11 G dorian
œ b œ œ œ œ œ ∑
œ œ œ œ bœ œ œ œ œ
& ˙ ˙ b œ
˙
w œ bœ œ œ
œ œ bœ œ w
˙ b˙ lip bend u
A bmin11
Uw Uwb œ
Ab dorian
b ˙ b œ b œ œ œ œ œ ∑ bœb œb œb b œb œb œ œb œ
& b˙ b˙ b˙ b œb œ œb œ b œb œ b œ b w
b˙ lip bend
b wb œ b œ u
96
Uw Uw
A min11 A dorian
& ˙ œ œ œ œ œ œ ∑ œ œ œ œ œ œ œ #œ
˙ ˙ œ # œ œ œ
˙ ˙
lip bend
w œ œœ œœœw
u
B bmin11
b œ œ œ Uw Bb dorian
bUw
˙ b œ œ œ ∑ œ b œ b œ œb œb œ
& b˙ ˙ b˙ œb œb œ œ
b˙ lip bend
b w œ b œb œ œ œb œb œ œ b w
u
B min11
œ œ œ Uw B dorian
Uw
& ˙ #˙ ˙ # ˙ œ œ œ ∑ #œ œ œ # œ œ œ#œ œœ #œ
˙ lip bend
w #œ œœ#œ #œ œ œ#œ w
u
“If you perform drunk, then you had better practice drunk.”—Pappy Mitchell
"Words like power, force, and incredible strength, can confuse the student of the trumpet
because in actual fact, the more relaxed and easier that it becomes, the louder the brass
instrument will speak. This is a direct result of finding the balance in the air stream by
allowing the muscles of the face to respond to the compression of air." – LM
97
œ œ œ Uw C dorian
Uw
b œ œ œ b œ bœ œ œ bœ
C min11
˙ œ bœ œ œ
& ˙ b˙ ˙ b˙ ∑
w œ bœ œ œ
œ œ œ bœ œ w
lip bend u
C #min11
U Uw
#˙ #œ œ œ œ œ œ w œ# œ# œ# œ œ
C# dorian
& #˙ ˙ ∑ # œ # œ œ# œ# œ # œ# œ # œ œ
#˙ ˙ # w# œ œ# œ # œ#uw
lip bend
œ œ œ Uw D dorian
Uw
˙ œ œ œ œ œ œœœœœ
D min11
&˙ ˙ ˙ ˙ ∑ œ œ œ œœ œœœœ
w œœ uw
lip bend
E bmin11
b œ b œ œ œ œ œ Uw Eb dorian
b œ bUw b œ
b˙ ˙ b œ œb œb œ œ œb œb œ œb œ
& b˙ b˙ b˙ ∑ b wœ b œb œ b œb œ œb w
lip bend
u
œ œ œ œ œ œ Uw E dorian
œ Uw œ
# ˙ #œ œ œ # œ #œ œ œ #œ
E min11
˙
&˙ ˙ ˙ ∑
w #œ œ œ
œ œ œ œ #œ w
lip bend
u
b œ œ œ Uw bUw
b œ œ œ b œ bœ œ œ bœ œ
F dorian
b˙ ˙ œbœ œ œ
F min11
&˙ b ˙ ˙ ∑ wœ bœ bœ œ œbœ bœ œ w
u
lip bend
F #min11 œ œ œ œ œ œ Uw F# dorian
œ Uw œ
˙ # ˙ # œ# œ œ# œ # œ # œ# œ œ# œ# œ
& #˙ ˙ #˙ ∑ # w# œ œ œ œ œ# œ # w
u
lip bend
œ œ œ Uw Uw b œ
˙ b œ œ œ œ b œ œ œœœœ
G dorian
˙ œ œ œ
G min11
b ˙ ˙ ∑ b œ œ œ œ bœ œ w
&˙ wœ u
lip bend
A bmin11 b œ œ œ Uw bUwb œ
b ˙ b œ œ œ b œ b œ b œ b œ b œ b œ œb œ
Ab dorian
b ˙ b ˙ b˙ b œb œ œb œ b œb œb œb w
& b˙ ∑ b wb œb œ u
lip bend
98
œ œ œ Uw Uw
˙ ˙ œ œ œ A dorian
# œ œ œ œ œ œ œ œ œ #œ
˙ œ œœœ
A min11
&˙ ˙ ∑ wœ œœ œw
u
lip bend
B bmin11˙ b œ b œ œ œ œ œ Uw œ b œ bUw
bœ œbœbœ œ
œb œ b œ
Bb dorian
˙ b˙ œb œb œ œbUw
& b˙ b ˙ ∑ b w œb œb œ œ
lip bend
# ˙ œ œ œ œ œ œ Uw # œ œ
Uw
œ #œ œ œ
#˙ ˙ #œ œ œ #œ # œ œ œ # œU
B dorian
#œ
w# œ œ œ
B min11
˙
&˙ ∑ w
lip bend
œ œ œ Uw Uw
˙ b œ œ œ œ b œ bœ œ œ bœ
b˙ œ œ bœ œ œœ
C dorian
˙ œ b œ œUw
b ˙ w œbœ œ
C min11
&˙ ∑
lip bend
# œ œ œ œ œ œ Uw œ #Uwn œ
C #min11
# ˙ ˙ # ˙ C# dorian
# œ# œ œ# œ # œ # œ# œn œ# œ# œ
˙ # w# œœ# œ # œn œ# œ#Uw
& #˙ ∑
Uw Uw œ
lip bend
˙ œ œ œ œ œ œ œ œ œ œœœœœ
˙ ˙ œ œ
D dorian
˙ œ œ œ œ œUw
wœœ
D min11
&˙ ∑
Uw Uwb œ
lip bend
E bmin11 ˙ b œ b œ œ œ œ œ œ b œ b œb œb œ œb œ
b˙ b œ œb œb œ
Eb dorian
b˙ b˙ b˙ ∑ b wœb œb œ b œ b œ œbUw
&
Uw Uw œ
lip bend
# ˙ œ œ œ œ œ œ # œ œ #œ œ œ #œ œ
˙ ˙ œ #œ œ œ
E dorian
˙ ˙
E min11
w# œ œ œ œ œ # œUw
& ∑
Uw Uw
lip bend
b œ b œ œ œ œ œ b œ b bœ œ œbœ œ
˙ b˙ ˙ œbœ œ œ
F dorian
œ œ b œ b œ œUw
F min11
˙ b ˙
∑ w œb œ b œ
&
lip bend
99
œ œ œ Uw Uw
F #min11 ˙ # ˙ œ œ œ F# dorian
# œ œ# œ # œ œ œ# œ# œ œ# œ
#˙ ˙ # ˙ # w# œ œ œ# œ # œ œ œ# œ#Uw
& ∑
lip bend
˙ œ b œ œ œ œ œ Uw œ œ b œ
Uw
bœ œ œ œ
˙ ˙ œ œ œœœ
G dorian
œ œ b œ œUw
G min11
˙ b ˙ w œ bœ
& ∑
lip bend
A few years ago, I played a concert with Chris Botti. Chris drove into the parking lot at the
same time that I did and waved at me. I still don’t remember how he knew me. Maybe it was
from back in Indiana years ago. I said “hello” and he smiled. I suddenly became cognitive of
the fact that he was driving a brand new blue Bentley coupe and that I had pulled up in my
blue 2001 Kia Sephia. It takes me two years to make the money that he made on that one night.
100
Lesson Eleven, Part 1

The Minor Major 7th chord, descending
The tonality of this arpeggio is the basis for one of my favorite licks. It can fit over a wide
variety of chords. For example, I use this arpeggio against a minor seventh chord even though
the Major seven places me a half step away from the tonality of the flat seven. The tension that
it creates is awesome. Keep the pedals full and responsive. The more that you play in this
register, the easier they will become. By now you should be feeling the relationship in the way
the lips are set in the pedal range and how they are unfurled in the upper register.
101
Rest periods are essential for muscular growth. Just like the bodybuilder, you must allow the muscles of
the body involved in trumpet performance to heal between rigorous workouts.
In this shot is James Morrison, one of the world's greatest musicians. His chops are exactly as described
in “chops!” Look at how the muscles of his face are reacting to the compression of air within the oral
cavity. Again, the bulk of muscle below the mouthpiece is evident. Notice how the weight or pressure is
balanced on the lower jaw keeping the vibrating surface of the upper lip free.
102
Lesson Eleven, Part 2

The Minor Major 7th chord, ascending and the Harmonic Minor scale
Sloppy practice makes a sloppy player. Make sure that when you practice these exercises you
play each note slowly and deliberately while maintaining a uniformity of sound. Do not
practice bad habits. Practicing bad form will only reinforce bad habits. It is important to
memorize each and every scale type in all keys so that you will have the facility to execute
your improvisational ideas.
103
For seven years I was the lead trumpet player of the Disneyland Band. The guy who took my
chair on that band was Wayne Bergeron. I suspect that he learned the same thing that I learned
during my 8-hour day there: that the chops benefit greatly from balanced playing during
several 45-minute sessions throughout the day.
104
105
106
107
Lesson Twelve, Part 1

The Dominant 7th chord, descending
The lip bends require that you keep the air supported with ample compression. There must be
a ball of flesh and muscle between the lips and the rim of the mouthpiece in order to attain the
flexibility needed to accomplish these lip bends in the register above G on the top of the staff.
Without a strongly supported air stream you have no chance of proper muscular development.
108
You may be the best player in the band. You are proud of what you do and you expect others
to have the same musical ethic and standard that you do. But once in a while things go wrong
and the band sounds awful. You have done your best but the rest of the guys just didn’t cut it.
You are embarrassed and want to crawl under a rock but you can’t, so instead, you explode
and tell the other musicians that they were terrible! WRONG! This is the time to encourage
and to show kind leadership. You will receive much more respect with a humble attitude than
by having the attitude that you are above them all.
Eric Miyashiro has the rare distinction of having played lead for Woody Herman, Count Basie,
Buddy Rich, Thad Jones-Mel Lewis, and Maynard Ferguson. He is the number one call for
Tokyo studio work and is a sought-after performer/clinician around the world.
He, too, has all of the distinguishing factors in a “chops!” set up. (gw)
109
Lesson Twelve, Part 2

The Dominant 7th chord, ascending
If you are playing these exercises without benefit of utilizing the mp3 files that come with this
book, you are reaping only half of the benefit. For example, on this lesson you are learning the
dominant arpeggio and Myxolidian scale. However, the ideal way to practice is to listen to
each and every chord and scale while you are resting after each arpeggio. To do this you must
pause and press play on the mp3 after each exercise. By doing this, you are training your ear to
instantaneously recognize the sound of each chord type. This skill will help make it possible
for you to improvise with great confidence.
110
The Ted Heath Orchestra came to New York City from Great Britain and played the Roseland
Ballroom. Kenny Baker was playing the lead chair. During the break a guy came up to Kenny,
awestruck by his playing and said, “You are the greatest lead trumpet player in the world!”
Kenny smiled nd said, “Not at all! There is this chap in Los Angeles by the name of Conrad
Gozzo. He is the greatest lead trumpet player in the world.” The man reached out to shake
hands and said, “My name is Conrad Gozzo.”
111
112
113
114
Lesson Thirteen, Part 1

The Dominant 7th, suspended 4th arpeggio, descending
The pedal register should be an old friend by now. You should be feeling the same sense of
grip on the mouthpiece on the pedals as you do in the rest of the registers. It should feel like
the lips are unfurling out towards the inner edge of the mouthpiece rim. Play each note slowly
and deliberately, concentrating on the quality of your sound.
115
“We learn by rote or repetition. When I was teaching my son, Ollie, how to play, Ollie would
complain, and tell me to put on a new record. I told him that I would change the record once
he learned the old one. I used my own kid as a Guinea Pig.”—Harold “Pappy” Mitchell
Now you know where I acquired the habit.—LM
This is me, Pappy Mitchell, and the great John Clyman, along with Randy Monaco
at Johnny’s birthday party.
116
Lesson Thirteen, Part 2

The Dominant 7th, suspended 4th arpeggio, ascending
and the Major Pentatonic scale
Always practice with light to moderate pressure. Never force the high notes out. You can
easily bruise or even cut your lips with that hunk of metal called a mouthpiece. In the battle of
brute force, the mouthpiece will always win.
Pentatonic scale patterns are useful in jazz improvisation. They can fit over a variety of chord
types and really set up suspended tension that begs resolution in melodic development.
117
What did Cat Anderson, Maynard Ferguson and Bud Brisbois all have in common? A natural,
efficient way of approaching the trumpet, coupled with a huge capacity to compress the
airstream.—LM
118
119
120
121
Lesson Fourteen, Part 1

The Dominant 9th chord, descending
Hold each note out long and full, making sure that on the last note of each arpeggio the air in
your lungs is fully expended. Claude Gordon would make me hold each last note until my
lungs were completely deflated and my body was shaking with muscular tension. You must
train hard to play hard!
122
If you press an inch wide piece of metal on your lips against your teeth long enough, your
body is going to adapt. It may bruise at first and you might even get cut. But if you stick
with it, muscles will develop and even a few calluses. Then you learn to resist the air and the
balance of the air stream compressed against the metal forms in what Dizzy called “the
ping.” It’s just one of those things that you can define only after you have experienced it.
You can hear it in the sound. All of the legends that have thrilled you all of your life have
that “ping.”--LM
Allen Vizzutti is one of the greatest trumpeters of all time. Let me point out that Al uses a
decidedly downstream approach with great success. He is a completely coordinated player who is
relaxed, confident and in control at all times. (gw)
123
Lesson Fourteen, Part 2

The Dominant 9th chord, ascending
and the Mixolydian scale
Starting on the lower octave, you must stay relaxed so that the sound is full and open. As you
ascend, the muscles of the back, sides and abdomen contract in tension in order to compress
the air properly. You must use the tongue to further compress the air by saying “EEE.” This
has the effect of closing the nozzle or valve called the tongue so that the air stream is shaped
into a compact laser beam of velocity. These actions, along with a stable platform called the
Hermetic Seal, create a solid and effortless sound.
124
“Making a living with a ¼ inch of flesh pressed against an inch-wide metal object is the most
unnatural thing that a person can do!”—Pappy Mitchell
125
126
127
128
Lesson Fifteen, Part 1

The Dominant 7th sharp 9th chord, descending
“If it feels good, do it!” was Pappy Mitchell’s advice when asked whether I should play
upstream or downstream. Although there are some constant values that I have defined for you
here in this book, only you can find what works best for you. Always let the sound guide your
tangible feeling of playing a brass instrument. Again, I repeat that the sound is your guide!
Do not take shortcuts by quickly and hastily playing through these routines. For maximum
benefit, play them slowly and deliberately, concentrating on your every note. Each note must
be a solo from attack to release.
C 7(# 9) B 7(# 9) B b 7( # 9) A 7(# 9)

+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
b˙ b˙ ∑ ˙ ˙ #˙ ∑ b˙ b˙ ˙ ∑ ˙˙˙ ∑
& ˙˙ #˙ w ˙ bw
uw u u #˙ w
u
A b 7( # 9) G 7(# 9) G b 7( # 9)
+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
& ˙ b˙ b˙ ∑ b˙ ˙
˙ ˙
∑ ˙ b˙ b˙ ∑
˙ bw b˙ bw
u uw u
F 7( # 9) E 7(# 9) E b 7(# 9)
+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
& b˙ b˙ ˙ w ∑ ˙ ˙ ∑ b˙ b˙ ∑
˙ u ˙ # ˙ uw b ˙ ˙ buw
◊ ◊ ◊
D 7( # 9) D b 7(# 9) C 7( # 9)
+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
&˙ ˙ ∑ ∑ ∑
˙ # ˙ uw ˙ b ˙ b ˙ ˙ buw b˙ b˙ ˙ w
˙ u
◊ ◊ ◊
129
B 7( # 9) B b 7( # 9) A 7( # 9)
+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
&˙ ∑ ∑ ∑
˙ # ˙ # ˙ uw b˙ b˙ ˙ n˙ bw ˙ ˙ ˙ #˙ w
u u
◊ ◊ ◊
A b 7( # 9) G 7( # 9) G b 7(# 9)
+9 -7 5 3 1 +9 -7 5 3 1 +9 -7 5 3 1
& ∑ ˙ ˙ ∑ b˙ ∑
˙ b˙ b˙ ˙ bw b˙ n˙ w ˙ b ˙ b ˙ buw
u u
◊ ◊ ◊
Impatience is negative and demonstrates a lack of faith. Have faith and be diligent in the
direction that you are heading towards and it will lead you to great gain. You must believe in
yourself, as your attitude and strength of will is a strong influence on yourself and others. You
can choose to be either your own best friend or your own worst enemy. It takes great will
power to stay away from the negative.
Here is the great Jon Faddis, who enjoys limitless range and endurance. I like this photo for a couple
of reasons. First, because it shows that he plays at an angle. Second, because it shows him setting his
embouchure just before playing. Look at his top lip as he unfurls it in an almost Elvis Presley styled
sneer. Remember how I have described the lips unfurling and gripping towards the inside of the
mouthpiece rim?
In the photo on the right, Jon is in full compression. Look at the compressed air pockets and the bulk of
muscle. You can only develop this kind of musculature by resisting or holding back the air allowing the
muscles of the face to contract against the compression of air. You can not build these muscles by
buzzing alone. You must resist the air as you do in the hermetic seal exercise.
130
Lesson Fifteen, Part 2

The Dominant 7th sharp 9th chord, ascending and
the Altered scale
In the studio, each and every note that you play is amplified and under a microscope. Each
and every attack, nuance, and pitch must be perfect. In the studio there is no room for error
because errors cost time and money. As you practice, do so with this mindset. You must make
extraordinary effort in order to gain extraordinary results. Above all else, concentrate!
C 7(# 9) C # 7(# 9)
& ∑ ∑
˙ ˙ ˙ b ˙ # œ # œ œ œ œ œ #uw # ˙ # ˙ # ˙ ˙ n œ œ œ œ œ œ nuw
D 7( # 9) E b 7(# 9)
&˙ n œ b œ œ œ œ œ nuw ∑ b ˙ b ˙ b ˙ # œ n œ œ œ œ œ #uw ∑

˙ ˙ ◊˙
◊ #˙ lip bend lip bend
E 7(# 9) F 7(# 9)
&˙ n œ œ œ œ œ œ nuw ∑ ˙ b ˙ b œ b œ œ œ œ œ buw ∑

˙ ˙ ˙
◊ #˙ lip bend ◊ ˙ lip bend
F # 7( # 9) F# altered
& ˙ n œ œ œ œ œ œ nuw ∑ œ # œ œ nuw œ # œ œ œ œ ∑

# ˙ œ œ bœ œ œ bœ œ œ
#˙ #˙ lip bend #w #uw
G 7(# 9)
U U
G altered
b œ œ œ b w ∑
b œ œ œ wb œ œ œ b œ
& ˙ b œ œ œ b œ b ∑
˙
˙ ˙ lip bend wbœ bœ nœ#œ #œ nœ bœ œ w
u
A b 7( # 9)
U U
Ab altered
& ˙ b˙ b˙ nœ nœ œ œ œ œ w ∑ nw
œ œbœbœnœ nœbœbœ œ œ
∑
b˙ lip bend
bw nœ œ œ œ œ nœ bw
u
A 7(# 9)
Uw Uw
A altered
n œ b œ œ œ œ œ n ∑ b œ n bœ œ œ œ bœ ∑
& #˙ ˙ ˙ bœ œ œ œ
˙ lip bend
w bœ œ bœ bœ œ bœ w
u
131
B b 7(# 9)
b œ b œ œ œ œ œ bUw U
Bb altered
& ˙ ˙ b ˙ ∑ b œ b œ n œ # wn œb œb œ ∑
b˙ bwnœ#œ œ œ# œ #œœœ # œ n œ buw
lip bend
B 7(# 9)
Uw Uw
B altered
n œ œ œ œ œ œ n ∑ œ n œœœœ
& #˙ #˙ ˙ œœœ ∑
˙ lip bend
w œ œ bœ œ œ bœ œ œ w
u
C 7(# 9)
Uw
b œ œ œ #Uw# œn œb œ
C altered
b œ œ œ œ # œ
& ˙ ˙ b˙ ∑
œ # œ# œ b œ # œ# œ œ ∑
˙ w# œ# œ # œ# œ n w
u
lip bend
Concentration on the task at hand is key to your success. As the repetition of correct playing
habits engrain into your subconscious mind, the proper and efficient way to perform will, too,
become a habit. Practice badly and you will certainly play badly.
132
C # 7(# 9)
œ œ œ œ œ œ nUw Uw
C# altered
˙ ∑ œ # œ œ œ #œ œ œ œ ∑
& #˙ #˙
#˙ #w œ œ œœœ œ œ œ #w
lip bend u
D 7( # 9)
Uw Uw
D altered
n œ b œ œ œ œ œ n œ b œ n bœ œ œbœ bœ
& ˙ #˙ ˙ ˙ ∑
w bœ œ bœ b œ b œ œ bœ œ bœ w ∑
lip bend
u
E b 7( # 9) U #Uw n œ b œ b œ
Eb altered
& b˙ ˙ b˙ b˙ #œ nœ œ œ œ œ #w ∑ œœœ b œ b œ n œ œœœ

b wn œ # œ # œ n œ buw ∑
lip bend
Uw Uw œ
E altered
E 7(# 9)
n œ œ œ œ œ œ œ œ œ œ œ bœ bœ
& ˙ #˙ ˙ ˙ ∑
w œ œ b œ b œ œ œ œœw ∑
lip bend
u
Uw Uw # œ n œ
F altered
F 7( # 9)
b˙ b œ b œ œ œ œ œ b b œ œ # œ # bœ#œ œ
&˙ ˙ ˙ ∑ w# œ # œ œ œ# œ œ#œ#œnw ∑
u
lip bend
F # 7( # 9)
n œ œ œ œ œ œ nUw F# altered
œ nUw œ
˙ bœ œ œ œ # œ #œ œ œ œ bœ
& #˙ #˙ #˙ ∑ #w œ œ œ œ #w ∑
u
lip bend
Uw Uw b œ
G altered
˙ b œ
G 7( # 9)
b œ œ œ œ œ b bœ œ œ b œ b œ œbœ
˙ ˙ ∑ wbœ bœnœ# œ #œnœbœœ w ∑
&˙ u
lip bend
A b 7( # 9) Uw Uw n œ b œ
Ab altered
b ˙ n œ n œ œ œ œ œ b œ b œ n œ n bœ œ œ œ
b˙ œœœ
& b˙ ˙ ∑ bwnœ œ œnœ bw ∑
u
lip bend
Uw Uw b œ
A altered
A 7( # 9) n œ b œ œ œ œ œ n b œ n
# ˙ ˙ ˙
œ b œ b œ œœ œ œ œ œ bœ bœ
œ bœ w ∑
&˙ ∑ w b œ
u
lip bend
133
Uw
b
B b 7(# 9)œ b œ œ œ œ œ b #Uw n œ b œ b œ
Bb altered
b˙ b œ b œ n œ
& b˙ ˙ ˙ ∑ b wn œ# œ œ œ# œ #œœ œ# œn œbUw ∑
lip bend
n œ œ œ nUw Uw
œ œ œ œ œ œœœœ
B altered
B 7(# 9)
# ˙ # ˙ ˙ œ b œ œ œ œ œ b œ œ U
&˙ ∑ w œ œ w ∑
lip bend
b œ œ œ Uw Uw
b œ œ œ œ # œ # # œ n œ b œ # œ# œ
C altered
˙ b˙
C 7(# 9)
˙ # œ# œ b œ
œ# œ# œnUw ∑
&˙ ∑ w# œ# œ œ
lip bend
C # 7(# 9) n œ œ œ œ œ œ nUw C# altered

œ Uw œ
# ˙ ˙ œ œœ # œ #œ œ œ œ
# ˙ #w œ œ œ œ œ œ #Uw
& #˙ ∑ ∑
lip bend
n œ œ œ nUw nUw
b œ œ œ b œ bœ œ œ bœ bœ
D altered
˙ bœ bœ œ œ
#
(
D7 9
˙ #
)
˙ ˙ wb œ œ b œ b œ œ b œUw
& ∑ ∑
lip bend
# œ n œ œ œ œ œ #Uw b œ n œ #Uw n œ b œ
b ˙ b œ bœ œ œ œ
Eb altered
E b 7( # 9)
b˙ ˙ b˙ b wn œ# œ œœ œ # œn œbUw ∑
& ∑
n œ œ œ œ œ œ Uw Uw œ
lip bend
œ œ œ œ œ bœ bœ U
E altered
˙ œ œ
˙ #˙ ˙ b œ
E 7( # 9)
w œ œ b œ œœw
& ∑ ∑
Uw Uw # œ n œ
lip bend
b˙ b œ b œ œ œ œ œ b œ # œ #
œ#œbœ bœ#œ œ
F altered
˙˙ ˙ œ # œ# œnUw
F 7( # 9)
w# œ# œ œ
& ∑ ∑
n œ œ œ œ œ œ nUw Uw œ
lip bend
F # 7( # 9) # œ œ #œ œ œ œ bœ U
F# altered
˙ œ œ
#˙ #˙ #˙ œ œ b œ œ œ œ# w
#w
& ∑ ∑
lip bend
134
b œ œ œ bUw bUw
˙ b œ œ œ bœ œ œ b œ bœ œ œbœ
G altered
G 7( # 9)
˙ # œ n œ b œ b œUw
˙ ˙ wb œ b œ n œ # œ
& ∑ ∑
lip bend
n œ œ œ Uw nUw
A b 7( # 9) b ˙ n œ œ œ b œ b œ n œ nœbœbœ œ œ
Ab altered
b˙ œœ œ œ n œ bUw
b˙ ˙ b wn œ œ œ
& ∑ ∑
lip bend
n œ b œ œ œ œ œ nUw b œ nUw b œ
œœœ œœœ
A altered
A 7(# 9)
˙ ˙ bœ b œ b œ œ b œU
˙ #˙ wb œ œ b œ w
& ∑ ∑
lip bend
Unison. In Latin, the word means one sound or one voice. Who leads the section on a unison
passage? Just as in an orchestrated passage it is the lead voice. If the lead player decides to
bend a note or change the dynamic level, i.e., crescendo or decrescendo, you must follow his
every change in order that you keep the blend of sound as one voice. Attack, release, volume,
shape of tone, and overall tonality must be identical. What is your greatest asset as a musician?
It is your ability to listen and adapt in an instantaneous manner to any musical passage that
the lead player interprets.—LM
135
Lesson Sixteen, Part 1

The Dominant 7th sharp 11th chord, descending
In this book I have deliberately avoided any tonguing exercises in these routines. This first
book is only the weight lifting portion of your brass maintenance routine. A full and balanced
diet of flexibility and tonguing exercise must be adhered to on a daily basis! Your sound
should remain uniform throughout the range of the trumpet. Avoid attacks that sound like the
syllable Twa. Each note must have a precise beginning and end. Uniformity of sound is all
important!
C 9 ( # 11) B 9 ( # 11) B b 9 ( # 11)

+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
#˙ ˙ #˙ #˙ ˙ ˙
& b˙ ˙ ˙ ∑ ˙ #˙ ∑ b˙ ˙ ∑
uw #˙ w ˙ bw
u u
A 9 ( # 11) A b 9 ( #11) G 9 ( # 11)
+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
#˙ ˙ ∑ ˙ b˙ ∑ #˙ ˙ ˙ ∑
& ˙ ˙ #˙ b˙ b˙ ˙ ˙ ˙ w
uw buw u
G b 9 ( #11) F 9 ( # 11) E 9 ( # 11)
+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
& ˙ b˙ b˙ b˙ ∑ ˙ ˙
b ˙ ˙ ˙ uw ∑ #˙ #˙
˙ ˙ uw
∑
b˙ bw #˙
u ◊ ◊
E b 9 ( # 11) D 9 ( # 11) D b 9 ( # 11)
+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
& ˙ ˙ b˙ ∑ #˙ ˙ ˙ ∑ ˙ b˙ b˙ ˙ ∑
b ˙ ˙ buw ˙ # ˙ uw b ˙ buw
◊ ◊ ◊
C 9 ( # 11) B 9 ( # 11) B b 9 ( # 11)
+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
& #˙ ˙ ∑ ∑
˙ ˙ b˙ ˙ ˙ bw ∑
b ˙ ˙ ˙ uw #˙ #˙ ˙ #˙ w
#˙ u u
◊ ◊ ◊
136
A 9 ( # 11) A b 9 ( # 11) G 9 ( # 11)

+11 9 -7 5 3 1 +11 9 -7 5 3 1 +11 9 -7 5 3 1
& #˙ ∑ ∑ ∑
˙ ˙ ˙ # ˙ uw ˙ b˙ b˙
b ˙ ˙ buw #˙ ˙ ˙ ˙ w
˙
◊ u
◊ ◊
G b 9 ( # 11)
+11 9 -7 5 3 1
&
˙ b˙ b˙ b˙ b˙ bw
u
◊
In performing jazz improvisation, there is no such thing as a wrong note if you are Miles
Davis. The rest of us have to worry!—LM
Here is the editor of this book, Geoff Winstead, who was a student of Cat Anderson’s for several years.
Notice that all of the elements of correct embouchure are at play. Cat taught him well.
137
Lesson Sixteen, Part 2

The Dominant 7th sharp 11th chord, ascending
and the Lydian flat 7th scale
On this exercise, we are breaching the distance of an octave and a half. I reiterate that you
must not change the mouthpiece setting while moving from low to high. In other words,
allowing the mouthpiece to slip higher or lower on the red meat of the lips. If you are pivoting,
as Doc Severinsen, I, and many others do, the pivot must be accomplished from within the
fleshy, muscular ball of muscle that I describe as the Hermetic Seal. Keep the pivot minimal.
Many will argue that a pivot is not needed and will call it a detriment to proper development.
I say that you must do what you have to do. Only you know what is correct for you with your
own unique physical structure.
C 9 ( # 11) C # 9 ( # 11)
& ˙ ˙ ∑ ∑
#˙ #˙ #˙ ˙ #˙ œ aœ œ œ œ œ u
˙ # œ œ œ œ œ œ #uw nw
b ˙
◊ ˙ ◊
D 9 ( #11) E b 9 ( # 11)
&˙ ˙ # œ # œ œ œ œ œ #uw ∑ b ˙ b ˙ b ˙ ˙ n œ œ œ œ œ œ nuw ∑

˙
◊# ˙ ˙ ◊˙
E 9 ( # 11) F 9 ( # 11)
U
&˙ # ˙ #œ #œ œ œ œ œ #w ∑ ˙ b ˙ ˙ n œ œ œ œ œ œ n w ∑
˙ u ˙
◊# ˙ ˙ ◊˙
F # 9 ( # 11)
U F# lydian b7
U
& ˙ # ˙ # œ# œ œ œ œ œ # w ∑
# œ œ# œ# œ# œ# w# œ# œ# œœ# œ# œ ∑
#˙ #˙ # ˙ # w# œ# œ# œ# œ # œ# œ# œ w
u
G 9 ( # 11)
Uw Uw
G lydian b7
# œ œ œ œ œ œ # ∑ #
œœœœ œœœœœ
& ˙ ˙ œ ∑
˙ ˙ ˙ w œ œ #œ œ œ #œ œ œ w
u
A b 9 ( # 11)
Uw Uw œ
Ab lydian b7
b ˙ œ œ œ œ œ œ ∑ b œ œ b œb œ œ œ b œ ∑
& b ˙ b˙ b œ œb œb œ
b˙ ˙ bwbœ œ œ œ œ bœ bw
u
138
A 9 ( #11)
Uw Uw
A lydian b7
& ˙ # œ # œ œ œ œ œ # ∑ œ œ # œ # # œ œœ œ# œ ∑
˙ ˙ œ# œ œ œ
˙ # ˙ w œ #œ #œ # œ# œ œ w
u
B b 9 ( # 11)
Uw Uw
Bb lydian b7
˙ œ œ œ œ œ œ ∑ œ œ œ œ bœ bœ
& ˙ b˙ œ bœ bœ œ œ œ œ œ bw ∑
b˙ ˙ bw œ œ œ œ u
B 9 ( # 11)
Uw Uw
B lydian b7
˙ # ˙ # œ# œ œ œ œ œ ∑ œ # œ # œ # œ œn œn œ œ ∑
&
˙ #˙ #˙ w # œ # œ# œ # œ# œ œ œ œœ œnw
u
Life is a journey. The decisions and actions that you execute today will decide where the
journey will lead tomorrow. You can accomplish amazing and incredible feats or you can live
in mediocrity. The decision is entirely yours to make. Always remember that what you
accomplish in the now will determine what you will become in the future. You must practice,
study, and learn quality in the now or be mediocre in the future.—LM
139
C 9 ( # 11)
# œ œ œ #Uw C lydian b7
#Uw
˙ œ œ œ œ œ œ œ œ bœ œ
& ˙ ˙ b˙ ∑ œ œ bœ œ œ #œ œ œ w ∑
˙ w œ œ #œ u
C # 9 ( # 11)
n œ # œ œ œ œ œ nUw Uw
C# lydian b7 (Db lydian b7)
˙ # ˙ b œ b œ b œ œ œb œb œb œb œ
& #˙ #˙ ∑ b œ b œ b œ œ œb œ ∑
#˙ b wb œ œ œ buw
D 9 ( #11)
# œ œ œ #Uw D lydian b7
#Uw
˙ # œ œ œ œœœ # œ #œ œ œ œ
& ˙ #˙ ˙ ˙ ∑
w œ #œ #œ
œ œ œ œ #œ #œ
œuw
∑
E b 9 ( # 11)
œ œ œ œ œ œ Uw Eb lydian b7
œ Uw œ
˙ b œ œ œ bœ bœ œ bœ
& b˙ ˙ b˙ b˙ ∑ bw œ œ œ bœ œ bœ œ œ œ bw ∑
u
Uw Uw # œ
E lydian b7
E 9 ( # 11)
˙ # ˙ # œ # œ œ œ œ œ # œ # œ # œ # # œ œ œ# œ œ
& ˙ #˙ ˙ ∑ w# œ # œ # œ œ# œ œ #œ # œ# œ w ∑
u
œ
F 9 ( # 11)
œ œ œ œ œ Uw F lydian b7
œ Uw œ
b˙ ˙ œ œ œ œ bœ œ
&˙ ˙ ˙ ∑ w œ œ œ œ œ bœ œœœœw ∑
u
F # 9 ( # 11) # œ # œ œ œ œ œ #Uw F# lydian b7

# œ #Uw# œ
˙ # ˙ # œ# œ # œ# œ œ# œ# œ
& #˙ #˙ #˙ ∑ # w# œ# œ# œ# œ# œ œ # œ# œ# œ w ∑
u
# œ œ œ #Uw G lydian b7
#Uw œ
G 9 ( # 11)
˙ ˙ œ œ œ œ œ œ œ œ œœœœ
˙ ˙ ∑ wœœ # œ œ œ #œ œ œ w ∑
&˙ u
A b 9 ( # 11) œ œ œ Uw Uw œ
œ œ œ œ
Ab lydian b7
b ˙ b ˙ œ b œ bœ b œ b œ b œ œ œb œ
b ˙ œ b œ œ œb œb w ∑
& b˙ ˙ ∑ b wb œ œ
u
140
# œ œ œ #Uw #Uw
˙
A 9 ( # 11) # œ œ œ œœ œ # œ #œ œ œ œ
A lydian b7
˙ ˙ # œ œ # œ # œ œ# œ# œ œ ∑
& ˙ # ˙ ∑ w œ # œ w
u
œ œ œ œ œ œ Uw
B b 9 ( # 11)
˙ œ œ
Uw
œ œ bœ bœ œ
œ œbœ bœ
Bb lydian b7
b ˙ ˙ ˙ b˙ ∑ bw œ œ œ
œ œ œ œ bUw ∑
&
# œ œ œ Uw #Uw
# ˙ # œ œ œ # œ # œ œ œnœnœ œ
B lydian b7
B 9 ( # 11)
# ˙ ˙ #œ #œ œ œ œ œ œ œnUw ∑
& ˙ # ˙ ∑ w# œ# œ# œ
# œ œ œ œ œ œ #Uw
C lydian b7
œ #Uw œ
b ˙ ˙
C 9 ( # 11)
˙ œ œ b œ œ œ œ œ bœ œ œ
˙ ˙ w œ œ # œ # œ œ œUw ∑
& ∑
Uw Uw
C# lydian b7 (Db lydian b7)
# #˙ n œ # œ œ œ œ œ n b œb œ b œ œ œb œb œ b œb œ
#
#˙
C 9 ( 11)
# ˙ ˙ b œ œ œb œ b œ b œ œ œb œbUw
& # ˙ ∑ b w ∑
# œ œ œ #Uw #Uw
˙ # œ œ œ œ # œ #œ œ œ œ œ
D lydian b7
# ˙ œ œ œ
#˙ ˙ œ# œ # œ œ œ # œ# œ œUw
D 9 ( 11)
˙ ∑ w ∑
&
œ œ œ œ œ œ Uw œ Uw œ
˙ œ œbœbœ œbœ
Eb lydian b7
b
E 9 ( # 11)
b ˙ b ˙ œ b œ œ b œ bœ œ œ œbUw
b˙ ˙ ∑ b w œ œ
∑
&
# œ œ œ #Uw #Uw# œ
# ˙ # œ œ œ # œ # œ # œ œ œ# œ œ
E lydian b7
#
˙ ˙ œ # œ œ œ
˙ #
E 9 ( 11)
˙ w# œ#œ# œ # œ # œ# œUw
& ∑ ∑
141
œ œ œ Uw Uw
F 9 ( # 11)b˙ ˙ œ œ œ F lydian b7
œ b œ œ œ œ œ œ œ bœ œ
˙ ˙ ˙ œœ œ œ œœ œ œUw
∑ w ∑
&
F # 9 ( # 11) # ˙ # œ # œ œ œ œ œ #Uw # œ # œ #Uw
œœœœœ
# œ # œ œ# œ
F# lydian b7
#˙ ˙ # œ# œ # œ œ # œ œ œUw
#˙ #˙ ∑ # w
& ∑
When I was in my early teens, I played with a big band comprised of musicians in their 60’s
and 70’s. We ended a set with Glenn Miller’s “In The Mood”. During the break, I talked with
the old guy who played lead. I asked him why he had played an eighth note short instead of
long because my band director at school had told me that this was how you played swing. He
lifted his glasses over his nose and looked at me sternly and said, “When I recorded ‘In The
Mood’ with Glenn Miller, I phrased it my way!” That fellow turned out to be the great Johnny
Best, who was Glenn’s lead player. He was just an old avocado farmer to me.—LM
142
Lesson Seventeen, Part 1

The Dominant 7th flat 9th chord, ascending
The bottom jaw and teeth are the platform of stability on which the feet (or the muscles) of the
hermetic seal stand. You must have a solid foundation on which to build your sound. The jaw
acts as a rudder that steers the air column in concert with the tongue and the muscles of the
hermetic seal.
143
If you are a serious trumpet player and are contemplating marriage, you had better make it
absolutely clear to your fiancé that you already have a mistress.
If you are a true trumpet geek, you know Donny Dyess as one of the infamous Tastee Bros.
Donny is an amazing trumpet player who can play double C's all day long. Note the unfurled lips
and muscular development of his face.
144
Lesson Seventeen, Part 2

and the Dominant Diminished scale
By now you should be getting the feeling of riding the airstream. The inward pressure that you
are using should be balanced by the amount of compression and subsequent muscular tension
that your body will use to compensate in order to maintain the hermetic seal. Ride the
airstream like a water skier rides the velocity of the boat to stay afloat.
145
Your job, as a section player, is to make the lead player sound as good as they can possibly
sound. This means that you must use your ears to make instantaneous changes as you follow
along. You must match volume in crescendo and decrescendo as well as match attack and
inflection. Since none of us play a perfectly in tune wind instrument, your tuning must be
flexible, always striving to match the core pitch, yet not afraid to adjust in order to create as
many overtones as possible to line up with the rest of the section within the sympathetic
harmonic series of overtones.
146
147
148
149
Lesson Eighteen, Part 1

The Dominant 7th flat 9th flat 13th chord, descending
On these more intricate chords, you have a host of accidentals to contend with. Therefore, you
must see and understand the music before you play. Pappy Mitchell was a great teacher of
sight-reading. He taught me how to see the entire page rather than to read note by note. Think
about it. Your mind can grasp much more at first glance than you think. Always look ahead.
Know where accidentals occur, where you may have mute changes, key changes, repeats, D.S.
and Codas. Know before you blow! What an advantage to the musician who sight-reads for a
living.
150
Professional musicians are the most courageous people that I know. Often times they never
know where their next gig is going to come from. With faith, courage, and a fair bit of talent,
the phone always rings.—LM
This is Phil Driscoll, best known for his Christian praise music, whose trumpet soars into the
stratosphere and touches heaven. Apparently, he only needs to hold the trumpet in his left hand
and lets God work the valves. Yet another classic example of “chops!” (gw)
151
Lesson Eighteen, Part 2

and the Mixolydian flat 9th flat 13th scale
It takes courage and inner strength to be a brass player. The trumpet is a very fragile machine.
If any of the elements are not working in proper coordination, the apparatus will collapse and
no matter how much you have practiced and prepared, embarrassment is sure to follow, as it
is impossible to hide the sound of a brass instrument within the sound of an orchestra or
musical situation. Therefore, have courage and do not be discouraged. You are not the only
brass player to make a loud and blatant mistake in a public performance. We have all done
this. Be proud of yourself. You are in great company.
152
The most important thing that a professional musician has is his name. Your reliability and
trustworthiness, once ruined, will stay ruined for good. No one soon forgets a musician who
didn’t show up for work. If you are a banker, you get a warning. If you are a musician, you
might want to think about becoming a banker, because you’ll find yourself receiving far fewer
calls for gigs.—LM
153
154
155
Pappy Mitchell had a humming bird feeder outside of the window of his teaching studio. One
day, while looking at a bird, he told me with a twinkle in his eye, “When I die I want to be
reincarnated as a humming bird so that I can fly around and poop on the people that I don’t
like.” To this day I am wary of birds on the days that I do not practice.—LM
156
Lesson Nineteen, Part 1

The Dominant 7th flat 13th chord, descending
Keep the muscles of the throat open and relaxed. The oral cavity should be wide open as you
descend to the middle and lower register of the trumpet. The larger and more relaxed the
throat and oral cavity, the larger the sound. Your sound is always your guide. I cannot stress
this point enough. Use this first portion of each routine to relax and play openly. It should feel
good as the lips begin to gain suppleness.
157
There are some things money can’t buy, but there is nothing in this world that you can’t own if
you are willing to pay the price in one way or another.—LM
Harry Kim is a world class lead trumpet player who can be heard, and occasionally seen, on “American
Idol”. He started with Harry James’ band and has been lead trumpet/director and arranger for Phil
Collins’ big band. Harry leads his own “Wrecking Crew” style horn ensemble, “The Vine Street Horns”,
which backs up superstar entertainers on extended national and international tours. [gw]
158
Lesson Nineteen, Part 2

and the Mixolydian flat 13th scale
Again, on this exercise, we are challenged with breaching nearly two octaves. Repetition is the
key to programming the hard drive called our brain, so I will say it again: Avoid changing lip
placement as you ascend. Instead of distorting your embouchure in this manner, utilize your
hermetic seal. As you climb higher, move the muscles forward, locking in the corners as you
ascend. Say “EEE” and remain relaxed as the oral cavity fills with air, becoming an elastic bag
of muscle that resists and compresses the air. Channel the air through the compressed,
puckered muscles of the lips while using the jaw as a rudder and your tongue as a valve.
159
In the days of old, you could be put to death for blowing a trumpet without the King’s
authority. You see, the sound of the trumpet signaled an entire kingdom as the projected
sound could travel a vast expanse. Remember this the next time that you play in a small venue
or the bandleader might put you to death!—LM
160
161
162
163
Lesson Twenty, Part 1

The Dominant 7th sharp 5 chord, descending
You may practice these routines at different dynamic levels. You may add crescendos and
decrescendos as you play these studies. When changing dynamic levels, you must keep the
airstream compressed and supported, always maintaining a uniformity of sound and
intonation. Remember that in actual performance, each and every nuance must be over-
exaggerated before it is perceived by the ears of your audience. This includes all of the written
nuances of sfortzando, legato, crescendos, decrescendos, marcato, accents, swing eighths and
all the rest. Everything must be exaggerated in order to be heard by the audience.
C 7( # 5) B 7( # 5) B b 7( # 5) A 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& b˙ #˙ ˙ w ∑ ˙ ˙ #˙ ∑ b˙ #˙ ˙ ∑ ˙ ˙ #˙ ∑
u uw buw uw
A b 7( # 5) G 7( # 5) G b 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& b˙ ˙ ˙ ∑ ˙ #˙ ∑ b˙ ˙ ∑
buw ˙ w b˙ bw
u u
F 7( # 5) E 7( # 5) E b 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& b˙ #˙ w ∑ ∑ ∑
˙ u ˙ # ˙ # ˙ uw b ˙ ˙ ˙ buw
◊ ◊ ◊
D 7( # 5) D b 7( # 5) C 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& ˙ ∑ ∑ ∑
# ˙ # ˙ uw b ˙ ˙ ˙ buw b ˙ # ˙ ˙ uw
◊ ◊ ◊
164
B 7( # 5) B b 7( # 5) A 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& ∑ ∑ ˙ #˙ ∑
˙ ˙ # ˙ uw b ˙ # ˙ ˙ buw ˙ uw
◊ ◊ ◊
A b 7( # 5) G 7( # 5) G b 7( # 5)
-7 +5 3 1 -7 +5 3 1 -7 +5 3 1
& ∑ ˙ #˙ ∑ b˙ ˙ ∑
˙ ˙ bw ˙ w b˙ bw
b˙ u u u
◊ ◊ ◊
Quit looking at your trumpet while banging your valves around. Your valves did not stick.
You just didn’t concentrate!
Here is the great Fats Navarro, who could play chorus after chorus of Jazz improv without
faltering in any register. All of the common elements described in “chops!” are present.
165
Lesson Twenty, Part 2

The Dominant 7th sharp 5 chord, ascending
and the Whole Tone scale
Used tastefully, the “outside” qualities of the whole tone scale can add tension to any solo
passage. You can easily invent linear patterns based upon this scale that will be sure to turn
heads. However, in my opinion, tension unresolved is worthless and without reason. Do not
take short cuts by quickly and hastily playing through these routines. For maximum benefit,
play them slowly and deliberately, concentrating on your every note. Each note must be a solo
from attack to release.
C 7( # 5) C # 7( # 5)
& ∑ ∑
˙ ˙ # ˙ b œ œ œ œ œ œ uw # ˙ # ˙ ˙ œ # œ œ œ œ œ uw
D 7( # 5) E b 7( # 5)
& ˙ #˙ ∑ ∑
# ˙ lipœ bend
œ œ œ œ œ uw b˙ ˙ b lipœ bend
œ œ œ œ œ uw
◊ ˙
◊
E 7( # 5) F 7( # 5)
&˙ ∑ ˙ ∑
# ˙ ˙ œ # œ œ œ œ œ uw ˙ # ˙ b œ œ œ œ œ œ uw
F # 7( # 5) F# whole tone
& ∑ ∑
# ˙ ˙ œ # œ œ œ œ œ uw # œ œ œ œ #uw œ œ œ # œ # œ
#˙ lip bend #w # œ #uw
G 7( # 5) G whole tone
& œ œ œ œ œ œ uw ∑ b œ œ uw œ b œ # œ œ ∑
˙ ˙ # ˙ lip bend w œ œ # œ œ uw
A b 7( # 5) Ab whole tone
& ˙ b œ œ œ œ œ œ uw ∑ œ # œ buw # œ œ œ ∑
b˙ ˙ bw bœ œ œ œ bœ bw
lip bend u
166
A 7( # 5) A whole tone
& ˙ œ # œ œ œ œ œ uw ∑ œ œ uw œ œ b œ # œ ∑
b œ
˙ #˙ lip bend
w œ # œ œ uw
B b 7( # 5) Bb whole tone
U
& # ˙ bœ œ œ œ œ œ w ∑ # œ #œ w #œ #œ œ œ
b ∑
b˙ ˙ u bw œ œ œ œ buw
lip bend
B 7( # 5)
U
B whole tone
& ˙ œ # œ œ œ œ œ uw ∑ œ œ œ w œ œ œ bœ ∑
˙ #˙ w #œ b œ œ uw
lip bend
No one who really knows brass playing ever said it was easy. Some athletes would scoff, but
in actual fact, the training of a brass player is the training of an athlete.
167
C 7( # 5)
U U
C whole tone
& ˙ #˙ œ œ œ w
b œ œ œ ∑
œ œ # œ #œ w bœ #œ #œ œ œ
b œ ∑
˙ w uw
lip bend
C # 7( # 5)
U U
C# whole tone
& #˙ #˙ ˙ #œ œ œ w
œ œ œ ∑
b œ œ œ œ w œ œ œ œ bœ
œ # ∑
#w uw
lip bend
D 7( # 5)
U Uw
D whole tone
& ˙ #˙ # ˙ œ œ œ œ œ œ w ∑ # œ # œ b œ œ œ bœ œ œ ∑
w œ œ uw
lip bend
E b 7( # 5)
Uw Uw
Eb whole tone
˙ b œ œ œ œ œ œ ∑ # œ b #œ œ œ œ œ
bw œ œ œ œ
& b˙ ˙ buw ∑
lip bend
E 7( # 5)
Uw œ
E whole tone
˙ œ # œ œ œ œ œ Uw œ œ œ bœ #œ #œ
& ˙ #˙ ∑ bœ ∑
w #œ #œ uw
lip bend
F 7( # 5)
b œ œ œ œ œ œ Uw Uw b œ
F whole tone
# ˙ b œ
&˙ ˙ ∑ w œ œ œ #œ #œ œ œ œ w
u
∑
lip bend
F # 7( # 5)
Uw
F# whole tone
#Uw œ
˙ œ # œ œ œ œ œ œ œ œ œ #œ #œ
& #˙ #˙ ∑ #w #œ #œ œ #uw ∑
lip bend
G 7( # 5)
Uw Uw
G whole tone
# ˙ œ œ œ œ œ œ b œ œ œ bœ #œ œ
&˙ ˙ ∑ w œ œ #œ œ uw ∑
lip bend
A b 7( # 5)
b œ œ œ Uw
Ab whole tone
bUw
˙ œ œ œ #œ #œ œ œ œ bœ
& b˙ ˙ ∑ bw bœ œ œ œ buw ∑
lip bend
168
A 7( # 5)
Uw
œ # œ œ œ œ œ Uw
A whole tone
˙ bœ œ œ œ œ bœ
& ˙ #˙ ∑ w œ #œ #œ œ w
u
∑
lip bend
B b 7( # 5) Uw
Uw b
Bb whole tone
# ˙ b œ œ œ œ œ œ œ # œ # œ #œ #œ œ œ œ U
& b˙ ˙ ∑ bw œ œ bw ∑
lip bend
B 7( # 5)
Uw
B whole tone
˙ œ œ œ œ œ œ bœ U
& ˙ #˙ ∑ w #œ bœ œw ∑
lip bend
C 7( # 5)
Uw
C whole tone
Uw
˙ # ˙ b œ œ œ œ œ œ œ # œ # œ b œ bœ #œ #œ œ U
& ˙ ∑ w œ œw ∑
lip bend
C # 7( # 5) Uw œ
Uw #
C# whole tone
#˙ ˙ œ # œ œ œ œ œ b œ œ œ œ œ œ œ œ bœ U
& #˙ ∑ #w w ∑
lip bend
D 7( # 5) Uw
D whole tone
Uw
#˙ # ˙ œ œ œ œ œ œ # œ # œ b œ œ œ bœ œ œ U
œ œw
&˙ ∑ w ∑
lip bend
E b 7( # 5) Uw
Eb whole tone
bUw
b œ œ œ œ œ œ # œ #œ œ œ œ œ U
b˙ ˙ ˙ ∑ bw œ œ œ œ bw ∑
&
lip bend
E 7( # 5) Uw
E whole tone
Uw œ
˙ œ # œ œ œ œ œ b œ œ œ œ bœ #œ #œU
˙ #˙ ∑ w #œ #œ w ∑
&
lip bend
Uw F whole tone
Uw b œ
F 7( # 5) b œ œ œ œ œ œ b œ
˙ ˙ #˙ w œ œ œ #œ
# œ œ œ œ Uw
& ∑ ∑
lip bend
169
F # 7( # 5) Uw
F# whole tone
#Uw
˙ œ # œ œ œ œ œ œ œ œ œ œ œ #œ U
#˙ #˙ #w #œ # œ #œ #w
& ∑ ∑
lip bend
œ œ œ Uw
G whole tone
œ Uw œ
G 7( # 5)
œ œ œ b œ bœ #œ œ U
˙ ˙ #˙ w œ œ #œ œw
& ∑ ∑
lip bend
Uw
Ab whole tone
bUw
A b 7( # 5)
˙ b œ œ œ œ œ œ œ # œ #œ œ œ œ bœ U
b˙ ˙ bw bœ œ œ bw
& ∑ ∑
lip bend
A whole tone
œ Uw œ
˙ œ œ bœ #œ U
w œ #œ bœ
A 7( # 5)
˙ #˙ œ w
& ∑ ∑
lip bend
Uw
b œ # œ œ œ œ œ Uw
Bb whole tone
B b 7( # 5)
# ˙ # œ b #œ #œ œ œ œ U
b˙ ˙ bw œ œ œ #œ bw
& ∑ ∑
lip bend
Uw
B whole tone
Uw
B 7( # 5) ˙ œ # œ œ œ œ œ b œ œ œ œ œ œ œ bœ U
˙ #˙ w # œ œ w
& ∑ ∑
lip bend
Uw
C whole tone
Uw b œ
C 7( # 5)
# ˙ b œ œ œ œ œ œ b œ
˙ ˙ w œ œ #œ #œ # œ # œ œ œ Uw
& ∑ ∑
lip bend
170
Lesson Twenty-one, Part 1

The Diminished chord, descending
Diminished chords are the ultimate in musical tension. Tension needs release or resolution in
order to be effective. Tension, unresolved, is just as boring as someone who is constantly
playing the inside harmonic notes of a major scale. At the same time, a player who does not
breathe or utilize space within the melodic development of their jazz improvisation is as
boring as a monotone speaker reading from the New York City phone book. Relax and let the
music breathe. Do not fill every bar with a barrage of notes.
171
There are no questions without answers. Some questions just take years to find the answers
to.—LM
Rick Baptist has become more recognizable, lately, due to his solo performances and zoom-in
close ups on “Dancing With The Stars”. Rick is a top call Hollywood studio player who can be
heard on hundreds of recordings and motion picture sound-tracks. Here, too, observe all of
the major components in a proper “chops!” set up. (gw)
172
Lesson Twenty-one, Part 2

The Diminished chord, ascending and the Diminished scale
The daily practice of coordinating the proper muscles of the body that make up the trumpet
machine is essential in order that these actions become subconscious and automatic. Just like
driving a car, you are cognitive and aware of everything around you as the road ahead unfolds
before you. But if you let your mind wander for a moment, you may very well find yourself in
a dangerous situation. It is much like this in trumpet performance.
173
Young guys always show up early to the gig and grab the lead chair. Old guys get to the gig
early and grab the fourth chair.—LM
174
175
176
177
Lesson Twenty-two, Part 1

The Half Diminished chord, descending
Congratulations! If you have reached this point in the book and have done everything that I
have recommended, then you are surely on the road to becoming a monster brass player. BUT
REMEMBER, the end of the road is just the beginning. Now that you have practiced and
learned the harmonic structure and sound of the chords that I have given in these routines,
you can now go on to other chord types that I have omitted. At the end of the day, we are all
self-taught. Integrating what you have chosen to learn into your musical performance is what
ultimately creates your own individual style.
178
A good friend of mine once spent an entire day with Conrad Gozzo. Conrad took him to
various recording sessions that day. At the end of the day, Gozzo looked at him and said,
“Son, you have to practice filling the entire room while playing softly.”
Here is Derek Watkins, England’s lead trumpeter’s trumpeter, who left us the year this book
was written. He will be immortal as long as people love James Bond movies.
He had the classic “chops!” set up. (gw)
179
Lesson Twenty-two, Part 2

The Half Diminished chord, ascending and the Locrian scale
The physical aspects of these routines have been written in such a way that they are taxing to
the body and require rest periods in order that the body has time to build up what you have
torn down. This is the basis to muscular development. No pain, no gain. Just like the weigh
lifter, we are working out as if we are in the local gym. Therefore, proceed carefully and listen
to your own body’s needs while resting. In these routines, we have learned to play in the
upper register while maintaining the most optimum sound quality. In my next book, we will
discover ways to practice articulation, flexibility, technique and endurance.
Until then … Be Well!
180
Never be jealous of another musician’s ability. Jealousy and envy cause bitterness. Instead,
appreciate the other player’s abilities and strive to emulate those abilities. However, if
someone has to be jealous, make sure it is the other guy!
Derek Watkins’ legacy lives on through my friend, Mark Upton, who was a student of Derek’s. He is
now the trumpet teacher at the Royal Marines School of Music in England. Mark has full command of
the trumpet from pedal G to double C and above. Notice how relaxed his facial muscles are. His face is
responding to the compression of air.
181
182
183
184
Chord & Scale Syllabus

While these are the major group of chord types in Jazz theory, there may be a few chords and
scales that I have omitted. I encourage you to seek this information out and refer you to Jamey
Abersold’s “Jazz Handbook” and Mark Sabatella’s “A Jazz Improvisation Primer.”
Chord Scale suggestions

Cmaj7, Cma9, C6, C G Major, C Lydian, C Major Bebop, C Major Pentatonic, G Major
Bebop
Cmaj7#11 C Lydian
Cm7, Cm9, Cm11 C Dorian, C Minor Bebop, C Minor Pentatonic,

C Minor, F major Pentatonic, E f lat Major Pentatonic,
B Flat Major Pentatonic, E Flat Major Bebop,
C Blues scale
Cm6, C min C Dorian, C Melodic Minor, C Minor Pentatonic,

F Major Pentatonic, B flat Major Pentatonic, E flat
Major Bebop, C minor, C blues
Cm, Cm/maj7 C Melodic Minor, C Harmonic Minor,

E flat Major Bebop
Cm7 – 6 C Minor, A flat Major Pentatonic
Cm7- 9 C Phrygian, C Phrygian #6
C, C7, C9, C13 C Lydian Dominant, C Mixolydian, C Dominant

Bebop, C Major Pentatonic, C Blues scale
C7sus, Csus, C11, Gm7/C C Mixolydian, F Maj Pentatonic, C7#11,

C7, C Lydian Dominant
C7#9, C7 alt, C7#9#5, C7#9 C Altered, F Melodic Minor, F Harmonic Minor
C7 -9-5, C7-9 C HW Diminished, F melodic Minor,

F Harmonic Minor
C7 aug, C7#5, C7+ C Whole tone
Cm7-5 C Locrian with a sharp second, Locrian
Cdim7 C WH diminished
C7#5 C Lydian augmented, C Major Bebop
C7 sus9 C Phrygian #6, C Phrygian
185
And finally, here are Ollie and Harold “Pappy” Mitchell. Pappy was one of the original studio players
from practically the beginning of sound motion pictures with “The Jazz Singer” and can be heard on
literally hundreds of movie soundtracks. His greatest contribution to me, though, was as a teacher,
mentor and father figure. I owe my career to this man.
Pappy’s son, Ollie, also became a well-known and sought after studio player. He, too, was a part of
music history as a member of the infamous “Wrecking Crew,” which changed the face of rock and roll
by making bad songs seem great and great songs immortal. Ollie left us this year for that incredible
band in heaven and is greatly missed by those who knew him. (gw)

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A Trumpet Legacy

A trumpet method written by a student of

• Develop Range, Control, and Efﬁciency through correct embouchure formation

an e-book by Larry Meregillano, Eclipse Trumpets Artist & Clinician

All rights reserved.

About the Author

A special thank you goes out to Dr. Byron Moe,

Thanks also to my good friend Justin Smith who helped

The struggle to find an embouchure

Let’s back up a bit.

The Hermetic Seal Exercise

The principal rules of the Hermetic Seal

A Note on Air pockets

Sign posts along the way

The Pencil Exercise

Roy Stevens with a student

Another sign post

The Palm Exercise: putting the concept into action

Roy Stevens demonstrating the palm exercise

The journey forward guided by more signposts from the past

The Cat Anderson Whisper “G”

William Alonzo “Cat” Anderson

Guidance from more trumpet masters of the past

Claude Gordon, Louis Maggio, and Harold “Pappy” Mitchell

A note on Bud Brisbois

Messages that you have seen before on billboards along

Posture and Breathing

The power of the tongue

“Hardware” versus “Software” -- Finding the Balance

A little more on equipment

So the Question is Mouthpiece: Why Change?

Let us look at the overwhelming amount of choices:

Large circumference versus narrow circumference

Deep versus shallow cup

Sharp versus dull-shaped rims

Back bore size

Small-drill throats versus larger drill size throats

Gap between the mouthpiece and receiver

Heavy mass or light?

Oval or half cup mouthpiece?

Oh, lest I forget to answer the last question.

How did Maynard play on an 18-drill throat?

Introduction to the Lessons

Your daily routine should be formatted like this:

3. Five minutes of the pencil exercise

4. Five minutes of the palm exercise. Again, observe rest periods.

5. Five minutes of Cat’s Whisper “g”

6. Play your daily work out routine from this book

Lesson One, Part 1

Lesson One, Part 2

Some problems can only be fixed with a full day of practice.—LM

Lesson Two, Part 1

Lesson Two, Part 2

Lesson Three, Part 1

Lesson Three, Part 2

Lesson Four, Part 1

Lesson Four, Part 2

&˙ ˙ # œ # œ œ œ œ œ #uw ∑ b ˙ b ˙ ˙ ˙ n œ œ œ œ œ œ nuw ∑

Lesson Five, Part 2

Lesson Six, Part 1