Published by Playtime Music, LLC

209 Stevens Street

Neenah, WI,54956

Publishers:
Rustin Keller
Augie Haas

www.augiehaas.com

Copyrightz}L4 Playtime Music LLC (ASCAP)

All rights reserved

No part of this publication may be reproduced, stored in retrieval system, or transmitted, in any form or
by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of
Playtime Music, LLC.

Play-along performed by:

Drums:Jared Schonig
Rhodes: Dave Cook
Guitar: Ben Natti
Bass: Alex Smith
Mix and Mastered by: Ken Rich
Recorded at Grand Street Recording,Inc.

Book Design by:

GiraffeJones
Illustration by:
Michelle Quinn
Table Of
Contents
Notes from the Editor I
Introduction 2
qD
Augie's Basic Principle .)

Warm-Up 4

First Study 9

Second Study r6
Third Study 20

Fourth Study 23

Fifth Study 25

Sixth Study 27

Seventh Study 29

Eighth Study 30

Ninth Study 35

Tenth Study 38

Biography 45
Notes from the E,ditor
I met Augie Haas in 2006, when he was an incoming graduate student and teaching assistant at the
University of Miami. He arrived with all the polished components of a professional lead playet - a
beautiful, consistent sound that stayed full and rich in the upper register, accuracy, and a mature style.

One of the most impressive things about Augie is his unquenchable thirst for musical improvement and
growth. He could have easilybeen successful as the 'dependable high-note $ryl'but he made it a priority
to broaden and refine his musical skills. I dare you to find another "lead" trumpet player with Augie's
facility that also writes and arranges beautifully, improvises, knows the mechanics of the instrument, and
has such a discerning ear for fine details. His biography and musical output speak to this mastery.
I learned a great deal by sitting next to him for three years'

Augie has developed a range and endurance program that delivers on the fundamental goals in the title,
but this book is also a guide for refining the challenges and expectations of the modern trumpet player:
consistency, intonation, ease of execution, and sound. Pay attention to all instructions, observe the rest
periods, and carefully study'Augie's Principles" before jumping in.

As Augie describes, this is not a method book to be used exclusively. However, it is an incredibly effective
tool for developing range, endurance, and musicality as a trumpet player. I ve been working out of it and
am impressed by my own rapid improvement. It is the most dependable program I ve ever used in
preparing for difficult, physically taxing musical situations.

Good luck and huppy practicing. As Augie (or was it Peter Parker?) says, "With great power comes
gr e at r e sp ons ib ility."

Dr. Matthew White, D.M.A.

Recording Artist
Assistant Professor of Trumpet
C oastal C arolina University
Introduction
Welcome to the journey of building and enhancing your range. Before you begin this book, it is important
to read this introduction to maximize each of the following studies.

Before practicing any of these studies, it is important to warm-up. The approach to these studies is much
like that of an athlete. Trumpet players NEED to warm-up (athletic equivalent of stretching). In addition
to the ten studies, I have provided my dailywarm-up.

This is NOT a method book. Much like lifting weights, you don t want to work the same muscles
everyday. Each study is designed to work different muscles in your embouchure and you should NOT
practice more than one or two studies in a single day. All of these studies are slow and methodical. DO
NOT RUSH THROUGH THEM! It may seem slow to start, but be patient to get the maximum results. The
goal of these studies is QUAIITY over QUANTITY.

A quick note regarding breathing - I highly recommend using compression while practicing these studies.
Every single study should be practiced softly with control. Focus on the speed, not volume, of air. Playing
in the upper register actually requires less air, but at a faster speed or velocity. Since compression can be
another book in itself, I recommend my dissertation "The Art of Playing Trumpet in the Upper Register"
(free download online) to get a more in-depth explanation of compression. (If you are'tvondering the
difference between this book and my dissertation, this is a more practical intensive range building boolq
while my dissertation covers numerous broad topics exploring range). There are a fewbrief notes on
compression on the following page.

It is extremely important to rest as much or even more than you play while doing these studies. The rests
have been built into the play-along tracks. DO NOT skip over the rests. Again, DO NOT skip over the
rests! \Arhen practicing,listen to your lips. The goal is not to beat them into the ground, it is to make them
stronger and build your range. In order to build the muscle, it has to be broken down before it can be
rebuilt. I have written each study out as opposed to writing Bva to get past the mental hurdle of seeing
higher notes on the page.You might feel like you are taking a step backwards, but over time you will get
stronger and stronger.

We as trumpet players are always striving to have a higher range, especiallywith the demands put on us
musically. Do not forget that range is only a tool. Time, pitch, sound, and making music should come first
to everlthing else when playng music. (Though it is always fun to paste a high note.If you don't agree
with the previous statement, give this book to someone you dont like!)

t
Augie's Basic Principles
Compression
Compression is used to pressurizethe airstream so that higher pitches and brighter sounds are produced.
Using compression effectively can be a difficult concept for players to wrap their heads around, but here's
a simple way to think about it. Think of a garden hose with water coming out of it. When untouched, the
water flows freely. This is similar to the movement of uncompressed air. When a person puts a finger on
top of the place where water is coming out, the water exits at a faster, more intense rate. This is similar to
the passage of compressed air. To achieve compressed air, think about raisingyour shoulders on the in-
take of air to get a maximum intake. Then, bringyour shoulders back down and stay relaxed. Each player
is different, so this will take a bit of trial and error.

Posture
I am a firm believer that you should be as relaxed as possible when playng trumpet in any register, but
ESPECIALLY the upper register. I like feeling grounded and balanced while playrng the trumpet, whether
I'm sitting or standing. Make sure both feet are flat to the ground and that you are sitting up straight in
a relaxed manner. Do not sit up so your upper body is stiff. RELAX! In my opinion, plalnng in the upper
register is more mental than physical.

Breathing
. Inhaling and exhaling should feel like a smooth turnaround or U-Turn. DO NOT hold any air in before
exhaling
. Stay relaxed - think "Ahh" when breathing in to avoid tension
. Time your breath when preparing to play a phrase (example: breath in two beats before you play)
. Think about breathing from underneath your feet all the way through your body when taking a
breath

Tips and Tricks

. Look down when playng in the upper register. It gives the mind the illusion hat what you are playrng
is not "hatd!'
. DRINK A LOT OF WATER!
. Practice while facing a mirror - it is incredible the positive effects this can have. Pay attention to any
tension or awlcarard physical habits you may have and work to address them. Inhaling and exhaling
should feel like a smooth turnaround or U-Turn. DO NOT hold any air in before exhaling.
. Slow and steady wins the race every time!
. Back off! The trumpet is a physical instrument and you want to stay in control. Every once and a
while you can push the pedal to the floor, but backing offwill ensure that you dont injure yourself
and your endurance will be much better. Let's face it, it's a trumpet in the upper register, you are
going to be heard!

c>
.)
 WARIVI-UPPART ONE
TRACK T

The only thing I'm concerned with in my warm up is producing a good sound. Everlthing
else is a distant second. The first part of the warm-up is long tones, which are similar
to
stretching for an athlete before training or competing. These long tones should be played at
an easy mezzo forte, and you should not feel strain'

The second part of the warm-up expand,s downward, trying to firlly warm-up all registers
of
the horn. This part of the warm-up should also be played mezzo forte without strain.

The third and final part of the warm-up goes from the low register to the high register.
Think
about the quality of your sound being even from low to high. Play the sequence to your
desired range without strain, and use the alternate fingerings indicated for the first
four
sequences. There is a slight crescendo ascending andaslight decrescendo descending.

J=60
4 Clicks in Front lCtick = J)
4xts

4
5
 WARM-UPPARTTWO
TRACK 2

) =72
4 Clicks in Front lCtick= J)

mf
Simile
4
oo
--=--.--

6
F
 WARM-UP PART THREE
TRACK 3

) =72
4 Clicks in Front lClick = J)

123- I23-

23.-.-_
8
 FIRST STUDY
TRACK 4
Back to basics. This is a simple exercise, but you will be amazed with the
results. There can be a slight crescendo ascending, and a decrescendo when
descending. This study frees your mind to focus on letting your air do the
work. You should play this exercise in one breath. For variety, practice this
study single tongued to reinforce clean attacks.

J=s8
4 Clicks in Front lCtick = J)

Simile

I
Lr
,--
--r
l5
 SECOND STUDY
TRACK 5
This entire study should be played at the dlmamic of piano. Focus on a
smooth air flow and keeping your corners firm. Practice as written, and then
with a very light single tongue. This study will help you determine where
notes in the upper register slot.

) =72
4 Clicks in Front lCtick = J)

Simile
L7
r9
 THIRD STUDY
TRACK 6

The goal of this study is to build consistency and muscle memory. DO NOT
strain as the exercise moves into the higher register. It is important to focus on
getting a clean attack of each note, accenting the front end of the attack. Also, it
may be helpful to time the breath to really work on consistency. Breathe in on
beats three and four, but do not hold air in before attacking the note. If the note
barely speaks that is okay, you are still building muscle memory. Stop when no
sound is produced. Each sequence will be repeated three times.

) =s6
4 Clicks in Front lCtick = J)
3x's

20
3x's
5
 3x's bE bE 4 + bt

1*',r F r F F s

.'x's? ? ? ?
= s

,,
 FOURTH STUDY
TRACK 7
There should be a slight crescendo in this ascending line. The purpose of
this crescendo is to jump-start your air, giving you the momentum to
achieve the top note. You should not exceed a mezzo piano in this
exercise. Repeat each sequence three times before moving to the next
sequence. Your corners will thank you.
) =92
4 Clicks in Front (Click = J)

23
3x's ?
n l-
2n-btr-
l- l- l-
l.z- r-
l- l-
?t'ttntttttt
l- l- l- l- l- l- l- l- l- l-
r

3x's be +l+C22r22=?:ettt+t:=
A EEEEEEEEEEEEEEEE o

ixs ??t?t??ttfitttttEEE
A r- r- r- tr'tr tr tr tr tr tr tr tr tr tr tr tr
ft / I I I I I I I I I I I I I I I I = a
-
\

3r's 2tbe +le +o22v2?tC-4=4=|

A EEEE'EEEEEEEEEEEE '9- 8

3x's #o_ 2 ?. c#c, ?, t ?fi? ? t t t t t t

NEEEE"EEEEEEEEEEEF ?
A - 8

+
3x's +0? ?qe ett ?4? ? ? ? ? ? ? ? :
n trtrtrtrtrtrtrtrtrtrtrtrtrtrtrtr
i-l-+-FF+-l-FFF+-F1-1_-l-F - e '.-

24
 FIFTH STUDY
TRACK 8
Like the fourth study, there should be a slight crescendo to achieve the top note, this
time with an intervallic leap. This is an intensified version of the previous study, so make
sure your air is moving through the trumpet. You are building muscle memory as well as
strengthening your corners.

)=Aa
4 Clicks in Front (Clict = J)
5XS 5x's

mP
5XS Simile
26
 SIXTH STUDY
TRACK 9A-M
This is a maximum reps study. Hold the upper note for as long as you can without
strain. Do not exceed the dyrramic markings, and as soon as the notes don't speak,
stop. Take your time on the gliss up, ensuring you hit every partial along the way. No
matter the duration of the upper note, rest one minute and thirty seconds before
moving to the next sequence.

J=60
4 Clicks in Front (Ctick = J)
A Held for 45 seconds
Rest I minute 30 seconds
e a
9.q.

Rest I minute 30 seconds

front
_.=-__^
4 clicks in
A
9B

4 clicks in front '=.-..-_/r Rest 1 minute 30 seconds

A
9C

4 clicks in front

9D

__=_-.=c Rest I minute 30 seconds

4 clicks in front
A
9B

4 clicks in front
'=__c Rest I minute 30 seconds

9F

Rest 1 minute 30 seconds

4 clicks in front A
9G

27
 _----. . _rl
4 clicks in front
-/'-'---
9H

_==.,-__a Rest 1 minute 30 seconds

4 clicks in front
-----b

Rest 1 minute 30 seconds

front
4 clicks in :z---- A

Rest I minute 30 seconds

4 clicks in fi'ont

Rest I minute 30 seconds

4 clicks in front

4 clicks in front

28
 SEVENTH STUDY
TRACK TO
This is a maximum reps study. Depending on how you feel that day, pick which
octave best suits you. Do not remove the mouthpiece from your lips on this study,
and breathe through your nose when needed. Repeat as many times as possible
without strain. Your corners and endurance will greatlybenefit from this exercise.

J=100
4 Clicks in Front lCtick= J)

29
 EIGHTH STUDY
TRACK TT
If you can single tongue a note, that is good. If you can double or triple tongue a note,
you own it. Start with a single tongue and keep your air moving. Think light-do not
strain when performing this study. This study will improve your accuracy and further
strengthen your corners.

) =96
4 Clicks in Front (Click = J)

30
34
 IVII{TH STUDY
TRACK 12
This is a slightly intensified version of the previous study. The purpose of this study is
to work on accuracy and build muscle memory. Use the lower note as an anchor to
achieve the higher note with ease.

) =96
6 Clicks in Front lCtick = J)

35
 I$IT{TH STUDY
TRACK 12
This is a slightly intensified version of the previous study. The purpose of this study is
to work on accuracy and build muscle memory. Use the lower note as an anchor to
achieve the higher note with ease.

) =96
6 Clicks in Front lCtick = J)

35
 n8
tal

n . . , '+ .? f ,f i

n12

nu+.ilc+I?If#g*F

n12
tAr

n.r++f?if?

n12
fA

n12
ta
l. l/
)

36
CD I-'
JI
 TENTH STUDY
TRACK 13
The tenth study is the mother of all exercises covering range, endurance, and
reading. Practice slowly and fluidly to achieve the best results. Practice as
r,rritten, single, and double-tongued to reach ultimate proficiency in this exercise.

) =72
4 Clicks in Front lCtick= J)

38
 Simile
n

^R

n _---

-
r brb+? Fbtf ?b+brr ,=
-==

s8
39
 n12,
rA r --'l
I'l/
)

42
t?

43
 l?

44
Biography
Augie Haas currently lives in New York City where he is a professional trumpeter, composer, and teacher.
As one of the most in demand trumpet players in NewYorh Augie has been playng with artists including:
Maria Schneider, Village Vanguard Orchestra, Gil Evans Project, Birdland Big Band, various Broadway
shows, and the Radio City Orchestra. He is also a member of Harry Connick,Jrls band.

Born and raised in Milwaukee, Augie earned his Bachelor of Music inJazz Studies at Roosevelt University's
Chicago College of the PerformingArts. After Chicago, he attended The University of Miami's Frost School
of Music Conservatory for a Masters in Studio Music inJazz, and a Doctorate in Musical Arts.

While in Miami, Augie performed, toured and recorded for a wide range of artists including: Pitbull, Lenny
Kravitz, Shakira, Rihanna, Paul Anka, and Arturo Sandoval. His national TV credits include: American
Idol, The Tonight Show, The Late Showwith David Letterman, The Ellen DeGeneres Shoq American Latin
Media Arts Awards, and the TODAY show. Auge has also made numerous guest appearances perform-
ing the National Anthem atLambeau Field for the Green Bay Packers, and Miller Park for the Milwaukee
Brewers. He has co-hosted Milwaukee's The Morning Blend, and has performed for numerous celebrity
hosted events.

Augre has released four albums under his co-founded label Plaltime Music: The Llama, Doing it Augie
Styl", BabyJazz and most recently his debut solo album Endless, featuring all original compositions.

45