TRUMPET BUILD YOUR RANGE A Practical Approach on Building Range and Endurance PLAY-ALONG DOWNLOAD To download play-along, please visit: _www.augiehaas.com/play-along Augie Haas, D.M.A. Edited by Matt White, D.M.A.Table Of Contents Notes from the Editor Introduetion Augie's Basic Principles Warm-Up First Study Second Study ‘Third Study Fourth Study Fifth Study Sixth Study Seventh Study Eighth Study Ninth Study Tenth Study Biography ce wh 16 20 23 25 27 29 30 35 38 45Notes from the Editor I met Augie Hi 006, when he was an incomin, e 's Graduate student and teaching assistant at the University of Miami, He arrived with all the potish ‘ed Components of a professional lead player—a. beaut consistent sound! tha stayed full and rich inthe upper register, accuracy, and a mature style. One ofthe most impressive things about Augie is his um 'quenchable thirst for musical improvernent and growth. He could have easily been succe Ssfulas the “dependable high-note guy” but he made it a priority tobroaden and refine his musical skills I dare you to find another “lead” trumpet player with Augie’s faility that also writes and arranges beautifully improvises, knows the mechanics of che strument, and hassuch a discerning ear for fine details. His biography and musical output speaks to this mastery. Hearned 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, butthis book is also a guide for refining the challenges and expectations ofthe modeen trumpet player: consistency, intonation, ease of execution, and sound. Pay attention to all the instructions, observe the rest periods and carefully study “Augie's Principles” before jumpingin, AsAugie describes, this is not a method book to be used exclusively: However itis an incredibly effective ‘oalfor developing range, endurance, and musicality as a trumpet player. ve been ‘working out of it indam impressed by my own rapid improvement. Iti the most dependable program I've ever used in Preparing for difficult, physically taxing musical situations, Good! luck and happy practicing. As Augie (or was it Peter Parker?) says, “Wh great power comes great responsibility.” Dr. Matthew White, DMA. Recording Artist Assistant Professor of Trumpet Coastal Carolina UniversityIntroduction ngand enhancing your range. Before you begin this book, e) Idi ‘ a ee eeach ofthe following studies, Welcome to th i to ead this introduction to maxi ofthese studies, itis important to warm-up. The approach to thes st Before, Se nae “Trumpet players NEED to warm-up (athletic equivalent of stretching) 1, like that of an athlete. the ten studies, [have provided my daily warm-up. this's NOa method book. Much like iting weights, you don’t want to work the same muscles bach study designed to work different muscles in your embouchure and you should NOT pra, ‘ore than one or two studies in a single day, All of these studies are slow and methodieal. D0 ‘THROUGH THEM! It may seem slow to start, but be patient to get the maximum results, ‘The is QUALITY over QUANTITY. these studi Aquicknote regarding breathing - highly recommend using compression while practicing thes Every single study should be practiced softly with control. Focus on the speed, not volume, of ais! inthe upper register actually requires less air, ut ata faster speed or velocity. Since compressio, another book in itself recommend my dissertation “the Art of Playing ‘Trumpet in the Upper (ree dowmload online) to get a more in-depth explanation of compression. (Ifyou are worderis gt difference between this book and my diss book, while my dissertation covers numer compression on the following page. ertation, this is a much more practical intensive range ) tous broad topics exploring range). There are a few brie! {tis EXTREMELY important to rest as much or even more than you play while doing these studi ‘ests have been built in to the play-a-lon, g tracks. DO NOT skip over the rests. Again, DO NOT skip 0\ the rests! When practicing, listen to your lips. The goal is not to beat them into the ground: itis {0 . an i ~ In order to build the muscle, it has to be broken down belo as opposed to writing 8va to get past the mental hurdle of ellike you are taking a step backwards but over time you wil biher notes on the page. You might fe Astrumpet players, we always etm rusia Do ere aYS strive to have a higher range, especially with the demands put o1 us orget that range is only a tool. Time, pitch, sound, and making music should com!" ‘oeverything else when play; ine playing music. (Thy itis i you don't age with the previous Statement, give this Ae 3 somes tin te pate abigh note yw '0 someone you don't like!)Augie’s Basic Principles Compression Compression is used Lo pressurize the 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 heres asimple 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 nozzle, the water exits at a faster, more intense rate. This is similar to the passage of compressed ait'To achieve compressed air, think about sing your shoulders on the intake of air to get a maximum intake. then, bring shoulders back down and stay relaxed, Each player is different, so this will take abit of trial and error. Posture Lam a firm believer that you should be as relaxed as possible when playing trumpet in any register, but ESPECIALLY the upper register. [like feeling grounded and balanced while playing the trumpet, whether Tm sitting or standing, Make sure both feet are flat to the ground and that you are sitting up straight in arelaxed manner. Do not sit up so your upper body is stiff. RELAX®! In my opinion, playing 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: breathe 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 playing in the upper register. It gives the mind the illusion that what you are playing is not “hard.” + DRINK A LOT OF WATER!" + Practice while facing a mirror itis incredible the positive affects this can have, Pay attention to any tension orawkward physical habits you may have and work to address them. Again, 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! Ihe trumpet is a physical instrument and you want to stay in control. Every once and a pedal to the floor, but backing off will ensure that you don’ injure yourself While you can push the much better. Let’s face it, it’s a trumpet in the upper register, you are land your endurance will be Boing to be heard!WARM-UP PART ON! TRACK 1 t ith in my warm up is producing a good sounc, » main thing I'm concerned will ae the an uant second. The first pact of the warm-up is long tones, which are. is s sneup is oe hing for an athlete befor training or competing. ‘These long tones should ie, yh easy mezzo forte, and you should not feel strain. ‘The second part of the warm-up expands downward, trying to fully warm-up all regis 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 ‘Think about the quality of your sound being even from low to high. Play the seq; your desired range without strain, and use the alternate fingerings indicated for (|; four sequences. There isa slight crescendo ascending and a slight decres ‘endo desce: J-60 4 Clicks in Front (Click = J) ax’s mfWARM-UP PART TWO ‘TRACK 2 Jen 44 Glicks in Front (Click= #) nf Pea Simile 4.WARM-UP PART THREE TRACK3 den 4Clicks in Front (Click= J) 123 —_, 123 —_> 5 fs * ¢ ———— 13 —_, 13>. 5 SimileFIRST STUDY TRACK 4 Back to the basics. This is a simple exercise, but you will be amazed with the results. There can be a slight crescendo when 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=8s 4 Clicks in Front (Click= J)13[yttteSECOND STUDY CK study should be played at the dynamic of piano. Focus on a r low and keeping your corners firm, Practice as written, and then with a very light single tongue judy will help you determine wher. notes in the upper re This ent smooth dan 4 Clicks in Bront (Cl SiiteTHIRD STUDY TRACK 6 ‘The goal of this study is to build consistency and muscle memory. DO NO} 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. Fach sequence will be repeated three times. J=96 4 Clicks in Front (Click = d) Bx’ A A A A A 5 mp 3x'S simile 20mn== sy a uu, mre ve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 s tierce three times before moving to the next sequence. Your corners will thank you, ds92 {clicks in Front (Click = 4)co] | | wt wd. wt WLLL. LLL Mu LLL $1 wt Mu LL ud ul Mt ou. ouFIFTH STUDY TRACKS like the fourth study, there should be a slight « time with an intervallic leap. This is an intensified v sure your air is moving through the trumpet. You strengthening your corners. ‘cendo to achieve the top note, this version of the previ are building mu us study, so make le memory as well as d144 4 Clicks in Front (Click = 4) A oxy AeA mp ——— SxS Simile 5x's * ins ox’s ius bas ayy 5x's ox's dy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 dynamic 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. J60 {4Clicks in Front (Click = 4) 1 tea or seconds = Rest 1 minute 30 seconds Rest | minute 30 seconds licks in front Rest 1 minute 30 seconds a 4 clicks in front a 80 seconds. clicks in front a — se a Rest 1 minute 30 seconds 2 oY aA Rest 1 minute 30 seconds fa 27Rest 1 minut 44clicks in front ou 4 clicks in front ol Rest 1 minute 4clicks in front xy Rest I minute a 4.clicks in front 9K Rest I minute 3s 4¢clicksin front “ OL 4 clicks infront oMTRACK 10 This is a maximum reps study. Depending on how i = you feel that day, pick which octave best suits you. Do not remove the mouthpiece from your lips oa this study and breathe through your nose when needed. Repeat as many times as possible without strain. Your corners and endurance will greatly benefit from this exercise. 4-100 4Glcks in Front (Click = ¢)EIGHTH STUDY TRACK 11 ifyou can single tongue a note, that is good. Ifyou can double or triple t you own it, Start witha single tongue and Keep your air moving. ‘Think ie strain when performing this study. This study will improve your accu light—do strengthen your corners. racy and fur 1296 4 Clicks in Front (Click= 4) Sinite 30TRACK 12 Thisisa slightly intensified version of the previous study towork on accuracy and build muscle memory, Use achieve the higher note with ease. ‘The purpose of this study is the lower note as an anchor to £256 6Clicksin Front (Click A_* AA Anh y &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. Practic written, single, and double-tongued to reach ultimate proficiency in this exercise. den 4 Clicks in Front (Click= 4)wile 5 Ste par seer eas Ea naaa: aaa ee ot ogee peel e ae = = = eepiography Auge Haas currently lives in New York City where he is a professional trumpeter, composer, and teacher. suqceofthe most in demand trumpet players in New York, Augie has been playing with artists including \siaSchneider, Village Vanguard Orchestra, Gil Evans Project, Birdland Big Band, various Broadway ous, and the Radio City Orchestra. He is also a member of Harry Connick, jr band. tomand raised in Milwaukee, Augie earned his Bachelor of Music in. Jazz Studies at Roosevelt University’s Chicago College of the Performing Arts. After Chicago, he went on to ‘The University of Miami's Frost School of Music Conservatory for a Masters in Studio Music and Jazz, finishing with a Doctorate in Musical Arts. \hilein Miami, Augie performed, toured and recorded for a wide range of artists including: Pitbull, Lenny Suit, Shakira, Rihanna, Paul Anka, and Arturo Sandoval. His national TV credits include; American ‘ld The Tonight Show, ‘The Late Show with David Letterman, ‘Ihe Ellen DeGeneres Show, American Latin Mei Arts Awards, and the TODAY show, Augie has also made numerous guest appearances performing ‘heNational Anthem at Lambeau Field for the Green Bay Packers and Miller Park for Milwaukee Brewers, ‘hosted Milwaukee's The Morning Blend, and has performed for numerous celebrity hosted events. ‘The Llama, Doing it Augie ons. ‘giehas released four albums under his co-founded label Playtime Musi Sie Baby agz and most recently his debut solo album Endless, featuring all original compos