BRASS TECHNIQUE

TRUMPET 7 MELLOPHONE
 TABLE OF CONTENTS

REHEARSAL CHECKLIST

FINGERING CHART

THE OVERTONE SERIES

SECTION 1 BREATHING EXERCISES

SECTION 2 REMINGTONS & FLOW STUDIES

SECTION 3 SLURS & TONGUING

SECTION 4 FLEXIBILITY

SECTION 5 FINGER DEXTERITY

SECTION 6 CHORALES

SECTION 7 TUNING SEQUENCES

SECTION 8 WARM DOWN & PEDAL TONES

 REHEARSAL CHECKLIST
The following is a list of items that you should bring to every rehearsal:

• 3-Ring Binder, 1/2 to 1 inch, with several clear insert

pages to keep all of your music in
• Any Music that has been assigned, check the website
and print all of your parts, including this book
• Mechanical Pencil
• Valve Oil
• Towel big enough to lay your horn on a gym floor or
other hard surface
• Gloves (can be purchased at rehearsal) Tuba players
may want stronger work-out type gloves
• Water Jug filled with ice water, at least a half-gallon
• Baseball style Hat
• Running shoes
• Sunscreen
• Lip Balm
• Workout type clothes that are weather-appropriate; be
prepared to be outside all day. No jeans!
• Mouthpiece for your instrument
• Don't forget your Instrument!
 Trumpet and Mellophone
Fingering Chart
F il / GI, G GI / Ab A A#1/Bb B

C
_
xr I, b, 13-
0; Im
1-2-3 1-3 2-3 1 2

C C tt/ D6 D [NU El, E F

-0-
Open
ta 1-2-3
J 0

1-3 2-3
6.I 0
1-2
CD

F#/ GI, G G41/Ab A A#/Bb B

.1
b 0 J i ri CI 1, 0

2 Open 2-3 1-2 1 2

C 01 / Db D DI/ Eb. E F
til 17
P O 1 CD

r P
Open 1-2 1 2 Open 1

FU Gb B C

P
I,
G
o
A
-0- tir Al -43-

I
2 Open 2-3 1-2 1 2 Open
 The Overtone Series

When you are working on these types of exettcises, use one fingering for each set of exercises, in order
to train your embouchure to move smoothly from one partial to the next. This means that some of the
notes will use an alternate or "false" fingering. There are seven sets of fingerings or "positions" that
allow you to play all the notes. The notes in parenthesis are alternate fingerings and may be out of
tune, but they are useful in embouchure development when used in these types of exercises. To save
space, the exercises will only be written in the Open Position, but practice them in all fingering
combinations.

*Special Note: In order for the Mellophones to get the same benefits from these exercises, they will
play the same written part as the Trumpets, unless otherwise instructed. This means that they will not
be playing in unison, but in parallel fifths from the rest of the Hornline.

1. FIRST POSITION (also known as Open Position) is played open.

The following notes are played: C, G, C, E, G, (B-flat), C.
r
2. SECOND POSITION is played with the second valve. The
following notes are played: B, F-sharp, B, D-sharp, F-sharp, (A), B.
I1 rr
3. THIRD POSITION is played with the first valve. The following
notes are played: B-flat, F, B-flat, D, F, (A-flat), B-flat. r
FOURTH POSITION is played with the first and second valves.
4.
The following notes are played: A, E, A, C-sharp, (E), (G), A.
J J t;r rr
5. FIFTH POSITION is played with the second and third valves.
The following notes are played: A-flat, E-flat, A-flat, (C), E-flat,
(G-flat), A-flat.
J r

r rrr
6. SIXTH POSITION is played with the first and third valves.
The following notes are played: G, D, (G), (B), (D), (F), G. J

7. SEVENTH POSITION is played with all three valves.

The following notes are played: F-sharp, C-sharp, (F-sharp,)
(A-sharp), (C-sharp), (E), (F-sharp).
rr
 SECTION 1— BREATHING EXERCISES

The following exercises are taken from the Breathing Gym, and can be used as part of a warm-up routine or to address
specific issues such as Dynamics, Articulation, and Phrasing. Work on these exercises just past the point of ease and
slightly into discomfort without over-exertion.

PRELIMINARY CONSIDERATIONS

Maintain a proper and consistent oral shape for maximizing the benefits of these exercises.

• During the inhale/exhale, the inside of the mouth should feel like a big yawn
• The back of the throat is to remain open and unobstructed

Monitoring each breath ensures correct execution. All exercises are to be performed in a relaxed manner with no
tension in the body. If light-headedness occurs, sit down and gently breathe in through the nose and out through the
mouth for a few moments. The inhale and exhale are to be performed continuously with no break (unless otherwise
instructed).

INHALE

• Form the right hand like a karate chop, but fold the thumb flat against the palm
• Place the index finger just under the tip of the nose, with the top lip against the middle knuckle and the
bottom lip against the big knuckle (approximately)

EXHALE (remove the right hand before the exhale)

• Form a slight embouchure with the lips, but with very little tension (like whistling)
• Push the air out in one constant, steady flow

THE EXERCISES

FLOW STUDIES — used to stimulate regular breathing patterns used while playing. Monitor the consistent flow of
air (comfortably full to comfortably empty)
• Float the Paper Airplane (piano), Toss the Dart (mezzo forte), and the Bow & Arrow (forte)
• Quick Breath — Full breath on the last beat of a measure before exhaling
• Exercises with varying lengths of Inhalation and Exhalation

THERAPIES — used to inspire better airflow by creating problems to overcome, such as resistance and suspension

• Inhale Therapy — Exhale all air (sizzle), place the back of the hand against the lips while inhaling (fight for
air), remove hand and inhale as much as possible, suspend the air for a set number of counts with
mouth and throat open, then exhale in 3. quick burst down to a sizzle
• Oral Shape Therapy— Inhale/Exhale with the mouth and throat open in varying rhythmic patterns,
monitoring the consistent flow of air

STRENGTH AND FLEXIBILITY — focus on expanding and contracting the lungs to their extremes

• In, Sip, Sip — Out, Push, Push. "In" = full inhale in 1 beat while raising arms overhead, "Sip" = Lift arms
higher and sip more air, "Out" = full exhale while lowering arms, "Push" = force more air out
• Power Breaths
• Power Bow & Arrow
 SECTION 2
Remingtons and Flow Studies
The exercises on this page can be played on the mouthpiece alone if desired.
Remington #1

L dI
6 J J J 0

Remington #2

Ild 60 47
,a O
O 60
IL 1
G 1
1-3 1-2-3

Remington #3
,--------,N
1,.
,,,,...---------,,,
,-----------,,
O 0 0 O t-- 0
G 0
70
0
60 0 ilo 0
C.
0
'Id
01
V c,
0
(7
I
Remington #4

r J6
,- Ij
O
60

Flow Study #1

#,...; J J A

Flow Study #2

# r"
J i r i NU

Flow Study #3

.I tt r'
J r r r 0 K MI

A-

Flow Study #4

i r r 12 sd

r A

Flow Study #5

i 12 r
7
,

r 12 ,
2

12 J J J I
 SECTION 3
Slur & Tongue
Play each execrcise in all 7 valve combinations.

1. 2. 3.
P„ 12 61 Ir 61 i 61
61
,51
61 12
I

4.
61 61 12
12

22.
12 12 I r
5.
00 • •
• • • di • • 4/ •
a
J

7•
• • • • •
, .
lam •
• • I
-0 12

8.
SPIP/1.0 • PIP 00 POPPIrd.
•
9.

• • •
a
• • • I I
•
10.
•
~I
• • 4/0 • 000 • • I I
11.
•
0 04/ • VP 00 PP
••/ • 1 7
I

12.
VP
0 0•
al at IV/ as
[.■■■• \ 0 0 00 0 I
 ▪ ▪▪

SECTION 4
Flexibility
These can be played in all valve combinations.
Do not play the adanced exercises (marked with an *) until you can easily play all the others.

c. • •
• • • • •

3. • • • • •
• •
• • •
r JJ I I

• • • a •
• • • • •

5
• I
• • • • • •
1
6.
r J • • •
• J •
J I
Open

• • •
a • • • • • • kit • bA •
• a
•
r I

8 .* , Open
w• .w
•
•
• • rr r7r r J J I I

9.* Open
bt W- A
• • •
• •
L .■■■■■
— •
• a a

10.* Open

• • • A # • • — II — • • • • •
• • • •
• • I I
 SECTION 5
Finger Dexterity

C. I • • I:I • . F. .q. • • 6. • I
2.
# 6. •
• • II/ 1,11

12 I

6. tl e e .}.1• 1,,,
•
.70 . • • I

4.
•.6. • 0 OP #11 04.0 • •11061/
• •60
• tle #1.
10 • ['• 170

12 I

•
•
fi I
6.
•
• • 01 •
do'
I
7.
)
• • 60 •
4■ • •
• 4-• • 1/0 • b • op ••6: 11,
I
8.
.
'40 dif
• I• • # 40 #.1 • • 4e • • e • • CO
I
9.
we.
e
-••r-rrr
• •

17. 6. 0 4. #-t--- co;e e .h• ••

b
0 0 • CO

10.
•17.
e •6 0 • •
LP
4- •
 SECTION 6
Chorales
BWV 70
er■
/TN
J
Trumpet
r rrr r 411
0 JJJJ two El
r
/IN
Mello • •
• fiP r. 0 0 0 • IN 0

BWV 245

Trpt , e- ,
--. Jrrr r JJr rPr P
.,• r rr rPr r r ZJr rJ.or JJ,
Mello
7261' e- L r r PrT eJ r rrn.r 4.Fr r UEr Ur r'ir r r r:11.2
BWV 33 er■
Trpt
21 e- a rrr r .. rr r rt - rrr r rrr rr r4
Mello .71, ,c_ r-- - r r :r J i JJ Jar #r r [tip r [sr r. #7 T?
Salvation is Create
J
8
Trpt
28
rd r r 114 • r r
I
Mello
Pr

28 inp

0 J J ,51
Trpt
35 /14

Mello
• J - •

35

Adagio J =112 Malaguena

Trpt •
8 11IR

4
m23
mf
1 r

I
Mello 0 CI I
*V
42 mf
"23

Trpt

Mello CV •
52
Sonus Brass Theater
 SECTION 7
TUNING SEQUENCES
SCV Tuning
e:1
Trpt. V ILI
op b0 41
0 8
43 I/ 41
A 111

mf if
Mello
_4 b1' e 0

mf
0 8 0 ILI
•• P I I
0

if
8

Concert F Tuning

CI
8 8
Trpt A 0 4)

mf if
er■
4. 0 8
Mello 4) 8
mf if
Concert B-Flat Tuning

4-)
El
8 8
0
41
Trpt.

mf if
0
Mello
ILI ILI
8
mf if
Play, Sing, Boom!

4E.
Trpt.
IL)
8 A 8 8
mf if
Mello ()
J i?
8
0

mf if

Sonus Brass Theater

 SECTION 8
WARM-DOWN & PEDAL TONES
Play these at the end of the day or when your chops tire, followed by rest. Use as little mouthpiece pressure as possible.

1 Slowly and Light

I
e
p
2.
I
p
3.

witair #411-
tf"
Ao 4.
cr J J ro- J J IJ J J J J J I
6 6 1-3
1-2-3 # #47*

6.
ICY
p
7.
6

p
8.
J J

1,r
6.1 ba
ba

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