FocalPoint — Possible daily workout plans

FocalPoint: C 2
Section 1 (one drill): 1b. on page 4 — low chromatics (pg.2)
Section 2 (two drills): 1b. on page 14 & 2b. on page 17 — low chromatics (pg.2)
Section 3 (one drill): 1b. on page 20 the abbreviated way — low chromatics (pg.2)
Section 4 (three or four transpositions): 1b. on page 29, all four transpositions — low chromatics (pg.2)
Section 5 (one complete Spiderweb): 5a. on page 40 — low chromatics (pg.2)
Section 6 wait until chops are rested and play one or two lines of page 45 — low chromatics (pg.2)
or
as much as can be comfortably accomplished in Buzzing Drill # 9 — low chromatics (pg.2)

FocalPoint: C 2
Section 1 (one drill): 2b. on page 7 — low chromatics (pg.2)
Section 2 (two drills): 2b. on page 17 & 4b. on page 19 — low chromatics (pg.2)
Section 3 (one drill): 2b. on page 22 the modified way at the bottom of the page — low chromatics (pg.2)
Section 4 (three or four transpositions): 1a. on page 28, all four transpositions — low chromatics (pg.2)
Section 5 (one complete Spiderweb): 4a. on page 38 — low chromatics (pg.2)
Section 6 wait until chops are rested and play one or two lines of page 45 — low chromatics (pg.2)
or
as much as can be comfortably accomplished in Buzzing Drill # 9 — low chromatics (pg.2)

FocalPoint: E 2
Section 1 (one drill): 4c. on page 12 — low chromatics (pg.2)
Section 2 (two drills): 1c. on page 15 & 3c. on page 18 — low chromatics (pg.2)
Section 3 (one drill): 3c. on page 25 through E 2 Spiderweb (stop before tired) — low chromatics (pg.2)
Section 4 (three or four transpositions): 1b. on page 29, all four transpositions — low chromatics (pg.2)
Section 5 (one complete Spiderweb): 1a. on page 32 — low chromatics (pg.2)
Section 6 wait until chops are rested and play one or two lines of page 45 — low chromatics (pg.2)
or
as much as can be comfortably accomplished in Buzzing Drill # 9 — low chromatics (pg.2)
et cetera
You’ll notice that: drills with an a. (i.e. 1a.) use the G 2 focal point
drills with a b. (i.e. 2b.) use the C 2 focal point
drills with a c. (i.e. 4c.) use the E 2 focal point
drills with a d. (i.e. 4c.) use the G 3 focal point
The first cantabile drill uses the G1 focal point

Make the metronome your best friend for your Warm Ups, for the Tonguing section, for your Cantabile drills, and for your
Technical Studies.
The Embouchure Stabilizers don’t require strict time as much as they do continuity. Whatever you do, play the whole line in
one continuous breath/phrase. The most important things to remember are keep the weight on your lower lip, and avoid
bobbing your head up and down. We are shooting for one embouchure to play high, low, loud, soft, tongued and slurred, and
when played according to instructions, the Embouchure Stabilizers give you the opportunity to do just that.
The Compression drills are put at the end of the book, but that doesn’t mean they have to go last. You want to do them on
an embouchure that’s not tired, but not as a warm up. Experiment with doing them at different times during your day. You may
want to try them the last thing before you go to bed at night (if you’re able to practice late). Above all, do not overdo
Embouchure Compression Drills, but do not omit them, either.
Many trumpet players find that playing some trombone the last thing in their playing day is good for their embouchures.
That way, you play it some, sleep all night, and wake up the next day playing only trumpet all day. There is a certain
therapeutic value to playing trombone, and it has a positive effect on most trumpeters chops. If you’re not used to doubling,
start with very short doses, and make sure you play trombone only after all your daily trumpet playing duties are finished.
Gradually build up your end-of-the-day trombone sessions to a period of fifteen or twenty minutes of middle register, gentle
playing. If you find it to be beneficial, continue to do this. If you don’t notice any benefit after a week or two, either
discontinue or try doing it a little more vigorously. It ought to help.