Useful Tips

Patience, fears and success in learning to play the trumpet

Italo-Brazilian trumpeter, trombonist, singer, composer and arranger. Published a number of articles and books. The American magazine "Jazz Player" placed Oscar on its cover in 1999. Until 1990, he performed as a soloist in Italy with Pino Daniel, Vinicio Capossela, James Senes, Elsa Soares, Fred Bongusto, Massimo Urbani and Billy Preston.

From 1990 to 1997, Rosati toured the United States and performed with: Santana, Gregg Allman, John Lee Hooker, Oreste Vilatos ... He traveled with the World Tour team to the USA, Central America, Japan and Northern Europe. Gabriel also performed with such great jazzmen as Karl Fontana, Don Menza, John Handy and bluesman Willy King. By 2005, this gifted musician completed 9 albums. He recorded music in different styles: from blues to Instrumental Pop from jazz, Afro-Cuban and Brazilian motifs to classical musical compositions! Gabriel and his band often performed at festivals in many countries around the world. He is the author of movie soundtracks and jingles.

Listen to a lot of good music! My technical ideas may differ from other teachers' teaching systems, but it must be remembered that there is no one correct trumpet playing system for each of us; try to find your own best ways during the training. Learn to play other musical instruments, even for a hobby. Percussion, piano, guitar. This is a small list of tools that will help you more than you might think. At the end of the book you will find what I called the "rules of the game", serious things that need to be kept in mind for the future.

Trumpet musical instrument

Firstly, you can start with any trumpet, as a musical instrument, new or used does not matter. To begin with, it is very important to understand how and where to place our lips-teeth-tongue on the mouthpiece. How to inhale and exhale without a tool, especially in the first two to three weeks. The trumpet and trombone are characterized by a clear sound. French horn, Flygelhorn, Cornet have a darker sound, velvet.

Blower Respiratory System

1. Exercise - complete breathing. Stand up straight and repeat two to seven times with the metronome on: 60.

1.1 Inhalation block: for 8 hits of the metronome. Holding the breath: 8 strokes. Exhale: slowly all air over a period of 8 strokes.

1.2 Inhalation block: for 8 hits of the metronome. Exhale: all the air at a time. Delay: airless for 8 strokes.

1.3 Inhalation block: the largest you can. Holding the breath: 8 strokes. Exhale: slowly all air over a period of 8 strokes.

1.4 Inhalation block: for 1 hit of the metronome. Exhale: Exhale slowly at 8. Delay: airless for 8 strokes.

1.5 Block Exhale: for 1 hit. Inhale: for 8 hits of the metronome, as much as possible. Delay: airless for 8 strokes. Exhale: for 1 blow. Do the following exercises 3 times without haste, resting between them.

1.6 Block Stand straight, look ahead in front of you: Inhale on full breasts, hold your breath for as long as you can, when exhaling, open your mouth wide and let out all the air.

1.7 Block. Again, standing, hands below: Inhale slowly, tapping fingertips on the chest along the entire lung area, hold your breath, tapping your palms on the chest, exhale all the air.

1.8 Block Standing, with your head up: Take a full breath with your chest and hold, holding your breath, slowly lean forward to grab and squeeze as far as you can, an imaginary stick in front of you, leave the stick and return to its original position, exhaling.

Completion of blocks: To make a FULL BREATHE it is necessary to take a "maximum" breath, first use the lower abdominal press, then fill the middle chest, lifting our shoulders up and then let it go down to its normal position when filling the bottom of the lungs with air. These are just a few exercises that have been selected from the oriental teachings of meditation, breathing and martial arts: Yoga, Tibethans, Thaoism, etc.

2. Exercise - an explosion. Take a deep breath, and then add more and more, “sipping” more and more air until you feel completely full of air, and ready to “explode”!

3. Exercise - bow. Sitting on a chair, bend slowly as far as you can, head to the ground to the ears and touch your knees. Inhale slowly, as if expanding the back, intercostal and lumbar region.

4. Exercise - Purge. To blow a different amount of air into the hole of the tool without a mouthpiece. It is enough to repeat 8-10 times to understand how much air is needed to fill your instrument.

5. Exercise - forte. With a stocked pipe, blow the fortissimo without any control, without thinking about setting the language, accuracy or quality. Just take a big breath and. forward! Take an open note and imagine how the “roomy” sound of your instrument will fill the whole room. Do not forget to rest between exercises.

Trumpeter muscle training: abdominal, lumbar and dorsal

1. Training - breath control In order to ensure the most meaningful breathing, one should lie on the floor, facing the ceiling, and slowly inhale and exhale with a deep breath, thinking about the parts of our lungs that we fill with each breath. For example: Control the breathing of the upper chest, then the lower abdomen and lower lumbar region.

2. Training - muscles of the abdomen, chest and lower back. Since the muscles of the abdomen, chest and lower back are the fundamental foundation of the breathing system of the trumpeter, therefore, regardless of age, lifestyle or personal physical data, you must constantly train them! The exercises are simple, the number of repetitions depends on your physical form: - while lying on your back, lift your torso forward, to your legs bent at the knees, - while lying on your back, legs lie on a chair, lift your torso forward, - push-ups from the floor, -lying face to the floor bend up and do pendulum movements, like a blotter.

Useful "tricks" for developing the correct body position when playing a trumpet musical instrument.

Pose - focus.
- stand straight, back and shoulders on the same axis, legs slightly apart, feet parallel. Lean against the edge of the wall or door and make a movement to the left, to the right as if you want to open it - in this position, hold a tennis ball under each lowered hand,
- Holding balls, bend your elbows, simulating that you hold the tool.

The pose is a wino. This is the best way to understand how our jaws fit on the mouthpiece:
-lift the bottle from the floor and imitate, as if drinking from the throat, continue to make this movement, inhaling and exhaling through the mouth, until you drink the imaginary contents of the bottle to the end,
-later, you will do it with the mouthpiece.

The pose is a pencil. A very simple trick often practiced is to hold the pencil upright between the teeth. Then tightly squeeze the lips around it and blow through the lips many times so as not to lose the pencil.

Pose is a spoon. Another position in order to be in the know when you play the trumpet is what the ideal position of the open sky should be: put a spoon in your mouth and close your lips around.

Pose - a sheet. Control the pressure and jets of your airflow. Place a sheet of A4 paper in front of you, holding it with your outstretched hand. Inhale and exhale in the center of the sheet (at this point you need to remove your hand), so that the sheet is printed against the wall for a few seconds.

Using the acquired skills, take the pipe and hold it horizontally, DIRECTLY! By blowing with constant pressure and direction, you will need to be able to produce your first, clear, conscious sound. A leisurely breath and. forward! Hold the note for a long time and do not use valves.

How to play the trumpet

1. deep inhalation,

2. keep breathing in the lower lungs,

3. exhale air with constant pressure after installing your lips, mouth-tongue.

1) Inhale deeply with a full chest, while lowering the abdominal diaphragm and, at the same time, raise your chest slightly to use the full capacity of the lungs.

2) Lower the air down the diaphragm so that you can control it.

3) Place the mouthpiece on the lips and dentition. Then exhale air. just like spitting, keep your teeth open!

In order to understand correctly you are blowing, remember how in childhood you suddenly jumped out from behind a door and scared: "Boom ..". This is definitely an explosion in one breath - a great example of how to play medium and high notes on a pipe.

To maintain and regulate the air column, work for several minutes every day for another example: Take a three-foot-long wooden or plastic stick and place it between the wall and your stomach (above the navel) and play the pipe, while trying to fill the stomach with air, so that the lower abdominal muscles hold the stick so that it does not fall down.

If you really care about your trumpet musical instrument skills, you need to practice and get used to the right position, to be assertive and calm during daily training. You need to concentrate, and turn on the brain!


Hello! He became a sudden fan of the pipe !! I found an old jammed pipe in a village recreation center. I myself am a teacher - an accordionist, but I have to teach guitar and piano ... but a pipe?) I put this pipe in order (the old valve) and cleaned it. And so carried away that now I do not part with this tool. I found a sea of ​​methodological literature on the Internet (Arban, Dokshitser, Lipkin ..) I play and, despite the fact that it is terribly painful for me, I still draw notes from this instrument. My question is that terrible headaches always follow at the beginning when taking the top notes starting from the RE concert note or are these the wrong moments in the setting of breath or ambushura?) Thank you.

Hello, Alexander! They put the pipe in order - this is love, which means that everything will work out for you. 🙂
On the Internet there really is a sea of ​​information: articles, books, audio, video. Unfortunately, not all of it will help to start playing without a teacher, and sometimes it interferes. Not everyone is playing with teachers so far ... I didn’t assume that the blog was so relevant even for Moscow until people began to study, who said that after reading the blog they started playing easier and became more interested in the instrument. Sincerely, I thought that in Moscow there are already no teachers who do not know that, for example, the red part of the lips should be inside the mouthpiece. There is so far ... But together we will achieve that there are none left :).
The note "Re" is concert - does it mean the 2nd octave? This is not a top note and headaches, all the more terrible - not the norm. Somewhere in the body there is excessive tension, whether air freely flows into the instrument or is it clamped - it is “terribly excruciating” from this. These are my assumptions - to identify the problem in an ungrateful occupation. And what is “first” for you? How much do you do?

Thanks for the answer! I have skype can help this way? If you are ready to pay for your lessons!)

About performing breathing

The teacher should pay special attention to the development of students' performing breathing, which differs significantly from ordinary breathing and is an important condition for performance on wind instruments.

In order for the student to learn how to breathe correctly when playing the pipe, he needs to have a correct idea of ​​the work of the respiratory system, which consists of the respiratory tract, lungs and musculoskeletal system of the chest.

The following types of breathing exist: a) chest, b) abdominal, and c) mixed (chest-abdominal).
The chest type is such breathing in which a change in the volume of the chest occurs due to the contraction of the intercostal muscles and a number of muscles going from the spine to the sternum. The action of the diaphragm is not active and the volume of the chest changes mainly in the transverse direction. The abdominal type of breathing is characterized by the active activity of the diaphragm and lower ribs. A characteristic feature of this type of breathing is the ease and freedom of inspiration with a small amount of pulmonary air.

With a mixed (chest-abdominal) type of breathing, the entire respiratory apparatus participates actively, and one who plays as he wishes can change the action of the respiratory muscles, activating the activity of both the diaphragm and the chest. The most rational should be considered mixed abdominal breathing. The mixed type of breathing makes it possible to evenly distribute the load on the entire respiratory system.

In practice, the process of performing breathing is as follows. Inhalation is performed silently, simultaneously through the nose and corners of the mouth. In this case, the chest cavity expands in two directions: in the vertical direction, due to contraction of the muscles of the diaphragm, the dome of which falls (which is detected due to the protrusion of the abdomen in the epigastric region), and to the sides due to the contraction of the intercostal muscles. The exhalation should be uniform and always slowed down. The chest remains for a while in an elevated position, then the ribs and diaphragm gradually assume their original position.

The depth of inspiration depends on the length of the phrase being performed. In musical offers that have no pauses and cannot be fulfilled in one breath, you should use a short (quick) breath, taking into account that the breath is changed at the end of a phrase or motive. From the very first exercises, you need to pay attention to the way

Sound extraction

A well-set sound is the starting point of all good performance. The expression "hit with the tongue" is conditional. In fact, the tongue does not strike, on the contrary, it makes pulling movements: As we explained above, it plays the role of a valve. This must be clearly recognized before applying the mouthpiece to the lips.

Pronouncing the syllable tu (tu) serves to cause the extraction of sound. This syllable should be pronounced with more or less softness, depending on the nature and shade of the attack.

Disadvantages to Avoid

In both piapo and forte, attack should be clear and free. To do this, you need to attack the syllable tu (tu), and not the dua (doua), since this last pronunciation takes the sound from the inside and gives it a sticky and unpleasant character.

If the lips are not enough. tense, the sound will not reach the desired height and seem false and vulgar. The sound should not be forced or trembling.

  • No need to play throat.
  • Lips should not make any noise.
  • Under no circumstances should cheeks or lips be inflated.

To make a sound:

  • Attach the mouthpiece, gently resting it on closed lips.
  • Stretch the corners of the mouth, revealing them.
  • Inhale widely through these crevices, then seal them tightly.
  • Insert the tip of the tongue between the teeth, resting it on the inner edge of the lips.
  • Pronounce the syllable tu (tu) freely, letting in air for the entire duration of the note, while reducing sound.

You need to resume this exercise until you get the absolute clarity of the attack.

Sound shaping

The following are the first steps to achieving a good mouth shape for playing the pipe.

Keep your teeth slightly apart. Your lips should only touch each other slightly. Keep your lips as if you want to say "m" in the word "mother." From this position, make a humming sound with your lips. Now put the mouthpiece of the pipe on your lips and make the same hum in the center of the mouthpiece.
To make a clear start to the sound, use your language. Start the next sound with the letter “T”. Do not stick your tongue out of the lips - it stays in the mouth.
Now try inserting the mouthpiece into the instrument and try the same thing.

Do not stick your lips out, as if sending a kiss!
Do not puff out your cheeks when you blow
I try to breathe in my stomach - when you take a deep breath, do not raise your shoulders.
Practice blowing long notes into your instrument and holding them. Learning how to control your breathing is critical to a good trumpet playing.

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