Trumpet Gym: A Daily Workout for Beginner Brass - Sets 2 and 3 | Colin Jones | Skillshare

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Trumpet Gym: A Daily Workout for Beginner Brass - Sets 2 and 3

teacher avatar Colin Jones, Musician

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (47m)
    • 1. Trumpet Gym Set 2 and 3 Introduction

      1:21
    • 2. Set 2 Lip Slur

      5:45
    • 3. Set 2 Tonguing

      4:51
    • 4. Set 2 Long Hold

      7:51
    • 5. Set 2 Breath Control

      8:05
    • 6. ** Set 3 Lip Slurs **

      2:18
    • 7. ** Set 3 Tonguing **

      5:23
    • 8. ** Set 3 Long Hold **

      4:42
    • 9. ** Set 3 breath control **

      6:15
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About This Class

This is the second and third of a series of 8 classes which make up Trumpet Gym. **** Make sure you access the class files from the project area ****

Trumpet Gym is a series of 8 sets of exercises for beginner brass players. Each set consists of 4 important exercises which should be played daily for at least a week, to develop correct playing technique. In this class you will see each of the 4 exercises from sets 2 and 3 demonstrated and explained, so you can be sure you are practicing correctly.

These classes follows on from "How To Play Trumpet From Scratch" and you are advised to take that class before following the Trumpet Gym classes in order, for best results.

If you already own Trumpet Gym in either paperback or e.Book, this class serves as a video explainer.

If you would like to own Trumpet Gym you can find the e.Book through the link on the http://www.colinjonesmusic.co.uk website (select: learn to play) 

Paper copies are available on eBay and Amazon.

Meet Your Teacher

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Colin Jones

Musician

Teacher

I'm Colin, a musician currently working as a touring trumpet player in the UK, playing mostly pop, with experience in theatres, music venues, classical settings and recording studios.  I have studied music in great depth and breadth and continue to do so, and my aim is to teach music in a way which is interesting and fun - and accessible to those with no prior experience.

See full profile

Related Skills

Music Creative Trumpet Brass

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Transcripts

1. Trumpet Gym Set 2 and 3 Introduction: Welcome to the second video in the Trumpet, Jim, a daily workout for Begin a Brass Siri's Before I start. If you've just found this video first, I recommend you go back on, find the how to play trumpet from scratch video because that introduces the absolute basics off. How to make a sound, how the trumpet works on dull, that really important stuff. Then move on to my first video, which introduces trumpet. Jim on explains the exercises to you. So go to go back and find those first in this, the second video I'm going to go through the second and the third set of exercises for you . So what you expect for each clip is a reminder off the importance on the the skills were trying to develop by playing through. Each exercise will take a quick recap off. What we didn't set one, and then I'll go through the new exercise and explain how it differs on these second set of exercises. So welcome back, Andi. I hope you find these exercises rewarding and useful. Remember, play them for at least a week, play them every day for at least a week. Resist the temptation to move on as soon as you can play them. That's not what this is about. It's about playing them and they keep playing them until they become very natural. They make physical changes and they develop good habits for us on. That's what Trumpy planes all about enjoy. 2. Set 2 Lip Slur: as with set one, the first exercise is gonna be a lips. Their exercise. Make sure you download the accompanying exercises. So you've got these two. Look at I'm the lips. Low exercise gets us to work with changing the air speed and moving the tongue to change the notes. So in the first set of these exercises for the lips look, we started with no valves, and we played the seat her We practiced increasing the airspeed, arching the tongue from the r t e position on lifting it up to what? What we now know is the G. So the first set of exercises went like this, uh, works down through the seven positions. - So hopefully you mastered those in in the first head of exercises. So remember, we are increasing the air speed to lift the pitch on. We're changing the tongue from that flat bottom of the mouth. Our position, toe art E e a. Ziff were speaking. What we're going to do differently for set to is not very much. So we're gonna do exactly the same initially, and then we're going to release the air speed and dropped back down to the first note that's all we're gonna change. The new exercise will be like this again. Yeah. So as you might expect, we're doing exactly the same thing. But then we're reversing that. So we pitched the lowest note. Blow gently low sp tong flat, and then we do the same. We blow faster and arch the tongue. Hold it there just for a brief moment on. Then let the tongue drop and reduce the airspeed again to come back down under control to the lowest note. Let me go through those. All seven for you now. Ah, ah! Uh ah. Uh uh. The valve combinations are exactly the same as in set one, but I'm gonna go through them again with you now. And so the first position is with no vowels down the tool that gets the CNG. The second position is middle valve down. Just middle valve, I guess, is to be on the f sharp. So position first valve. The one nearest the mouthpiece, I guess, is B flat on f. You don't need to worry about what the notes are actually just a valve positions his fight . The fourth position is first and second valve down together. I guess is a and E fifth position is the second and third valve. Down together, this could get confusing. That's a flat on E flat. Fifth position. No. Six position, I said it will get confusing is the first and third valve down together like guesses. G onda de on the seventh position is with all three vowels breast firmly down on that. Guess is the bottom F sharp on C sharp. OK, players through one more time for young and a little bit more slowly. Hold the note a bit. Long reach time. Actually, we face the other way as well, so you might see the valves for different angle. So, huh, so that's that. Practice them until they move easily until you got them under control and consistently playing them well, make sure you do that a good few days after it starts to work. Fine. So what, you would you can play it. Don't think that's great. I can do it now. Let's move on. Stick with it, Keep playing it. Trying automated and making a very natural response. Good luck 3. Set 2 Tonguing: The second exercise in set to is again the tonguing exercise. Very similar to what we did in set one. You'll you'll see everything is moving very gradually but progressively forward. So the tongue exercise was practicing, starting the notes with a striking of the tongue. And if you if you are unsure, go back to the 1st 2 videos on the way. We tested this in set one with by playing this pattern. Uh huh, Uh huh, Uh huh, which we repeat it after a short rest on the next note Deep, uh, all the time and that crisp attack on the nights. Then we get the same with eight on with F on with G. Okay, so what's changed for set to we're going to double the length of each exercise. That's all again. Make sure you download the pdf that goes with this exercise. We're going to repeat each of those exercises. So now the 1st 1 is going to be this, um e. The advantage of playing longer exercises is twofold. So the tongue tends to get tired. If we spend a lot of time that that that that that the tongue starts to tire so we're developing this stamina with the tongue. And also the longer we play for stronger these muscles that the sides of our mouth gets when we're playing longer phrases rather than playing a little bit and then resting, we gradually start to strengthen these muscles. Their job is to basically hold everything in place. Said that the lips convey vibrate and keep playing. So we're going to do exactly the same as we get inset one. But we're gonna play each exercise double repeating straight back to the beginning. Really important. We take a short rest between each one four counts. Okay, so I'm gonna play this exercising full. Now we're using the same notes, everything the same as we did in set one. But we're not going to double each exercise. Here we go. Ah, uh t 34 Ah, thank. Three four Ah e 34 Ah, Uh ah uh E t 34 That's it is easy. Is that things to look out for? To make sure these air going well for you make sure that every note is very separate. There's a danger if we try and play them perhaps too quickly, or if we try and play them without resting. Probably the notes get a bit muddled, and there isn't really a separate space between each note, so they get a bit mushy, a bit clumsy, so make sure that each note is very separate. The other trump you may fall into. If you're not thinking about it too much is the timing. So make sure we've got 41 beat notes. 1234 and then keep that speed locked in your head on when we come to the half beat. No, it's make sure playing one on two on free on four. And so 123 for one on two on three and four on. Just try and get everything very consistent. I'm very stable. Excellent, Enjoy. 4. Set 2 Long Hold: The third exercise in this set is again a long hold exercise to remind you from set one the idea of these exercises that we play short pattern on. Then we finish on a low note at the end, and we squeeze using the intercostal muscles around the airways. We squeeze until all of the air has gone. The sound stops coming out, the stomach shakes, the lower back hurts. And this is a exercise in strengthening these muscles, which squeeze on the airways. Andi in bringing awareness off those muscles so that when we come to play high stuff and we want to increase volume week, we've got the right tools t to call them. So I'll demonstrate just the 1st 1 from set one because they're fairly long exercises on. Remember, the important thing is that we squeeze and squeeze and squeeze until all of the air's got, and then still, just try and squeeze a bit more. Okay, so in set one, we started on the highest note on that. We played in the lips low exercise, and we just slowed down to the bottom, though, and then we stayed there. So this is what we should have done already. No way out. Okay, take a good rest after each one of these. Okay? Now, this is quite quite different in set to this exercise. So now we're gonna play a short pattern. It's called an arpeggio, actually. Maybe a word you've heard. It doesn't matter if no, and and there's new notes added says it And in between there that we haven't yet played. And you'll find the finger rings for these notes written on the pdf that you need to download to go with this exercise. So I'll demonstrate the more slowly, exactly the same principle swinging place, Short pattern on. Begin to squeeze all the era on the last note. Okay, so the 1st 1 looks like this starting on the low. See again on this is the pattern with a long squeeze at the end. Ah, so that was a seat. E was the second that with first and second valve down G at the top, back to the and then back down to the sea for that long squeeze. Okay, here's the second. So we start on, be second position on we're gonna play be de shop f shop de shop and then back down again. So 2nd 2 and three. Second, two and three second, he would get remind you again. I said, this insect when I'm certain and he's don't sound particularly good, especially on that last. No, don't be worried by that. Worry about the physical action of squeezing all the era. Keep the chest muscles. The rib cage lifted up your muscles. Keep the shoulders back so that all the intercostal muscles are taught and ready to squeeze . Okay, the 3rd 1 B de Sorry. B flat D on f and then by down. Okay, we get OK, the 4th 1 starting on first and second as we used to be. A a see shop and see shop. Okay, here we go. As you get lower on these exercise, you might find that that long. Hold that squeeze of air. It gets much shorter each time because the loners, they take up a lot of air. So we will tend to run out more quickly. That's normal. Okay, next one. So we're gonna start on two and three this time, so bottom a flat to see. No vowels, e flat, two and three c, no valve. A flat when you start with that. Ah, I was distracting. Oh, okay. Nearly there. Next one. We start on one and three and changed it to back to one and three. Back to t back to one of the nice little G be de be G Can you get? And then the final one All three first, all three First bull three x shop a shop, see shop a shop if shop you get ah way and that's them. Good. Okay, these are tricky in a lot of ways, but they're really important, cause they do create good habits and get us playing using the right bits of the body things I expect you to find difficult here, especially playing the lower notes needed very relaxed setting here so they don't always come easy. First time practice makes perfect, um, maintaining a sound when you do the long squeeze at the end. That's that could be quite difficult, because when we blow harmed, what tends to happen if you blow the lips right apart on, then there's nothing left to vibrate so we could lose the sound. Try not to let that happen, but at the same time, just keep the corners locked. If the sound does stop, don't worry about it. Just keep squeezing on the air and squeeze and squeeze and squeeze until there is nothing left on your back hurts. You're welcome. 5. Set 2 Breath Control: the final exercising set to is again an exercise in breath control. So in set when we played the short four Bar Passage on the Challenge wants to play as many repeats of this as you could in one breath. The benefits of this are it teaches us to move the fingers rapidly. It teaches us to coordinate the attack of the tongue that with the movement of the fingers who teaches his good timing. It teaches to play quietly because in order to play many, many repeats without running out of air will tend to play very, very quietly. Playing quiet is very strengthening again. These muscles have toe work really hard to hold everything firm and small, so those of the benefits of practicing this way, the exercise in set one watch this pattern e E. Except through etcetera. OK, so for set to would just have a different pattern. It's longer, and it's more complicated again. Make sure you download the PdF, so you got this to read. There's one note here on that would not seeing yet anywhere else in these exercises. It's an A on I've written, the finger rings underneath that you can watch me on the on the demonstration. All of these notes that we're gonna use here on the finger rings for them. You're gonna You're gonna catch them from the tonguing exercise. So it's C, d, e, f and G, which we've seen on the tonguing exercise on then this new No, off a. Okay, I'm going to go through this into two, uh, two bars of the time. Okay, so the 1st 2 bottles just take us C D E f g like so. Ah, uh uh uh, We hold that G for four counts of the top. So again, the 1st 2 bars Uh huh. The next two bars. Just count that back down again. So now we're gonna play G f E d c ah, Let me show you that again. G F E d c Here we go. Uh, wait. Hold that C for four counts. Okay, Let's now try and put those two bits together. So we got the c d e f g going up g f e d c coming back down again. Sounds like this. Ah. Okay. The next Chibas this jumps around quite a bit now, so we're gonna play C g f g e g e d g So we always going back to that? Jesus. C T g f g e g e d t g Like this. This is the trickiest bet. Ah, uh uh uh uh uh uh. Remembering each time you want to go back up to that G kicked the air a little bit harder from here. Think about changing the times. That e shape that we look at in the lips low exercises those two bars again. Uh huh. Now let's look at everything from the beginning, so C d E f g g f e d c c g f g e g e d g ah, and then the final t bars c d e f g A As you knew. Note g f e d c D E d. This is a whole week's work. Just here. Be very patient when they take in sections. This is manageable. But but complicated. Okay, so expected to take a little bit of time. So we got Ah, so we just got that ascending and descending pattern. See the e f g a g f e d c d e d. On the end there Okay, let's put all of that together now at the moment. And at first when you start playing this, doing it in one breath will be very difficult. Because to start with, we played quite slowly. What? We learned the pattern. Okay, here's the whole thing. Ah, ah. Has quite tricky it. That speaking one breath. Okay, Be very, very patient. Do this in sections build up over time. Print off the pdf, right. The thing rigs on if you feel you need to try and build speed. So again, it's saying, Try to play as many repeats in one breath. This is a much longer exercise. Let's see. E e e. I think that was full that I don't expect you play it that fast very quickly and the the actual active trying. These is very strengthening. Remember, it's all about breath control. Keeping these muscles here. Lots type. Be very patient. If you get through, that wouldn't seem one breath. Actually, at this stage, that will be quite a feat, so do what you can enjoy the process. Be patient 6. ** Set 3 Lip Slurs **: Okay, so now we're gonna move on to set three. So by the time we start to move on, please make sure that you are really comfortable with all of the exercises in set to because these get progressively more difficult. OK, so we'll start with the lips. So exercise from set free. So now we're starting to try and get the tongue on the air, Moving a little bit more quickly now. So it's still working between those same notes that we've used on set one and set to. So we started off playing in set one. Uh, and then he said to me, I did the drop back down again. Ah, now in set three, we're just gonna speed up that change between those two notes. So now set three. It looks like this. Celeste, is that Ah, yeah, yeah, yeah. The tongue rapidly moving up and down. The change of the airspeed is a bit more quickly, So let's do that through all those seven positions. The same ones that we used to already said that the 1st 1 again. Here we go. CNG, uh, I'm just exaggerating that top note little bit without boot of air just to help you. Next one. Next one and the next one. Ah, pan. The next one. Ah, and the next one on the final one. Ah. So, um, hopefully that's just progressive enough to build on the skills that you've only developed in set one and set to try to get the notes even try to get the change between the notes nice and smooth every single time. And stick with that until it all works really, really well, short and sweet. Enjoy. 7. ** Set 3 Tonguing **: now we moved to the tonguing exercise in set three. As before, Make sure you are completely comfortable in up to speed with the tongue exercise in set to before we move on. And as before, be sure to download the pdf. So you've got this in front of you and slight change to this one. So we're introducing a new rhythm pattern called a triplet. So inset to we played for one beat notes followed by 8/2 beaten. So we played this. Uh huh. Uh huh. And we repeated that to develop the Thomas all further with introducing on this sets a triplet cuevas. So some half beat note that are triplets If you're not musically trained, don't worry. A triplet is, quite simply three equal notes on each beat. So this exercise we're gonna play for one beat those. 1234 the same as before. We're gonna play 8/2 beat, knows one on two on three and four and the same as before. And then we're gonna play 12 triplet notes. So on each click now, we're gonna go. 123123123123 On. We're going to finish with a long held for beat note. So it's gonna be 12341 on two and three and four on 123123123123 Hold. I'm gonna play that through each of the notes that we know so fast we're gonna play that I own, see? And we're gonna take a rest. Then we're gonna play that pattern on D. Then we take a rest, then e unrest on F undressed on G on dressed. And then we're gonna move up to the aid that we introduced in the breath control exercise inset too. So we play a the same as we play the e on the bottom A. But we need to make sure that we are just blowing a bit more air speed, arching the tongue slightly. So here's that pattern. I just do it on C first so we can get the idea of those triplets. Ah, uh ah, you can't see, but I'm topping my foot all the way through that because it helps me keep in time. You might want to do the same. Let me do that again. Ah, uh, way gonna do is we're gonna do that same pattern moving on through each of the notes. What I just explained. So here we are on D ah! Uh, e Ah, Here it is. On e. Uh huh. E ah On here we are f the oh, uh e ah. Hey, we are on G. Hey E on Here we are on a E as with the other tonguing exercises that we've done be very careful and attempted to make sure that each note is very, very separate Especially the triplets with the triplets as well. Try to make sure that they are of equal length. So some people fall into the trap of playing. 123123123 which is sort of three short nose followed by arrest. 123123 That's not how the triplets work is quite difficult to get your head round, So they are. 123123123 So they just keep flowing nicely. And you may also find is difficult to sustain that many of the higher notes. Certainly now we've introduced the eight of this exercise, so you might find you've only just got enough strength to get that a on. Then I'm asking you to play well, lots of them. So don't be too surprised. That takes a little bit of time to develop the strength to maintain that in place. As always, play these every single day until they work really, really well, until you complain consistently and easily enjoy. 8. ** Set 3 Long Hold **: next we move on to the long hold Exercise for set free moving on from set to We added an extra notes. We played, I told you, is an arpeggio. So we added a middle notes. So for set to we played, uh, carry out the long hold. So we've got those free No pattern there for set three. We could still work with those same three notes. I think I remember to download. These is the pdf but now we're jumping around a little bit more, so you'll see the Each exercise has exactly the same three notes as it did in set to. But now that you've jumbled up a little so the pattern now is a fish. Ah, with that long squeeze on the end So that waas c c g c e c on. We need each of these to be slurred, so not toned, each one slurred Ah, uh, So Okay, so that's the 1st 1 So the 2nd 1 same three notes against we working with this note this note on this note at the top on with that jumbled up pattern, it sounds like this. Here we go. The 3rd 1 works with the three notes B Flat de on f Here we are The 4th 1 works with the notes A see shop on e here. Ah, the 5th 1 way through the nets a flat See on e flat. Here we go. Ah, the 61 work through the night G bi on d Yeah, We get ah ah on the final one works with notes f sharp h up on c shop Again these aerial the same notes that we used in the set too long Hold exercise just slightly different on. Here we go. The last one. Ah, that's the long hold exercise for set three again. Make sure you're only tackle lease once you're comfortable with the exercises in set to this is progressive and you must spend the time to develop up to that level comfortably before you try and move on. Enjoy 9. ** Set 3 breath control **: on. Finally, for set three. We have deep breath control exercise. You get the idea how these air working now? So we've got a eight bar pattern this time we're gonna aim to play in one breath. Initially, for all the reasons that we've talked about in the early exercises strengthening these muscles here, coordinating the movement at the valves with the but the attack of the notes there. And this is all contained within C, D, E, F and G. So notes that were starting to become familiar with on as before I'm gonna go through it a couple of bars at the time. The 1st 2 bars are a repeat of each other. So the 1st 2 bars are that arpeggio pattern again. So we're gonna play it. See, e g e. We're going to do that twice. So here, the 1st 2 bars for you. Ah, Uh huh, Uh huh, uh huh. And then the third bar is a descending pattern from g g f e d. So here's the for bar, uh, g f e d. So let's look at the 1st 3 bus together. Now we're gonna play see e g e c e g e g f e d. Let's take a look at that. Ah, uh uh uh uh uh uh uh, on the next bar, another descending pattern. What? We're going to go up to the F and descend from there. So we're gonna play f e d c So f e d c Like this, uh, case If we put that all together, he's the 1st 4 bars. Ah, uh uh uh uh uh uh uh uh uh. Now, as we carry on this, you have helped you out a little bit because the next two bars are the same as the 1st 2 boss. So we're going to repeat that pattern, See, E g e. Okay, so here we go. This is the whole thing Now from the beginning. Uh huh, Uh huh. Uh huh. The next body is a repeat of just after the third bar. That descending pattern down from the G. Uh huh. On this last bar, it's almost a repeat. So it's f e d e. So before we played the descending pattern down from F Oh, uh uh uh, this time we're gonna go back up again. He said it going down to the sea um uh Um okay, he's the whole thing. I'll talk it three first. See? E g e c e g e g f e d f e d c c e g e c e g e g If e de f e d e So it's almost four bars repeated one no different. I'm gonna play it through now for you Slowly. Ah, Uh huh. Uh, and at that point, you wouldn't go back to the beginning and start again. So as we start to play this more quickly, I should sound like this Teoh e. Good luck with that one. Okay? As before, be very, very patient. Accuracy is important if we think that to set one. I recommended that you mark your progress along. So if, for example, the first time you can play just to hear in one breath and put a little pencil mark on your print out on their next time you play, try and beat that pencil market. If you get past it and only just get to hear, put little tick there. If you get through the whole thing, then get through the whole thing and try and just play one more note on the repeat before you need your breath Really important, I stress again that you spend at least a week on each of the sets of exercises at least a week. Don't be surprised if it takes two or three times that. So it might be that it's sort of six weeks of going through this stuff every single day before you're ready to move on to set for And so be patient. Enjoy your newfound skills. If you find anything isn't really making sense or you're struggling with something, then go go back and find the same exercise in one of the earlier set. So if you're struggling on the long holds, for example, on set three, go back to set one and work through those again and work through set to it takes a lifetime to master a trumpet, and we like to just do a little bits. But be very patient and enjoy the process. See you next time