Author name: Adrian Griffin

A first attack (tongued articulation) on a brass instrument marks the beginning of every note and sets the standard for the rest of the musical phrase or single note. The initial attack embodies the fundamental qualities of confidence, articulation, consistency, control, and sound production. By emphasizing the importance of practicing your first attack, brass players can develop a solid foundation and consistency that will elevate their overall playing, helping with technical mastery and musical expressiveness. Confidence is gained through repeated successful practice. Practicing the first attack on a brass instrument instills a sense of confidence in the player, which is crucial for every brass player. Confident entrances set the stage for strong and assured musical statements. By focusing on creating clear and confident entrances, students can develop a sense of security based on their practice techniques. Regular practice of the first attack builds confidence by encouraging students to produce immediate and controlled entrances, enabling them to approach performances with self-assurance and musical conviction. Practicing first attacks is a fundamental step in developing the ability to create a well-defined, articulate, and precise entrance. It involves finding the right balance between the airway, tongue, and embouchure to begin an entrance effectively. Through dedicated practice, both students and professionals can refine their coordination of these elements. Focusing on articulation during a first attack encourages students to enhance the release of the tongue in coordination with the release of the breath, creating a clear and distinct beginning to each note. The ability to establish a healthy first attack plays a vital role in achieving consistency as a player. By aiming for a consistent and reliable beginning for each phrase, students begin to develop a solid foundation for their musical interpretation. Practicing the first attack requires muscle memory from the embouchure and the development of a consistent and stable air column, ensuring a dependable entrance at the start of each phrase, even if it’s just a single note. This approach extends to all aspects of playing, allowing students to create, maintain, and demonstrate a consistent entrance across different ranges, dynamics, articulations, and musical styles. Gaining control over the instrument, rather than letting it control you, is something all musicians strive for during practice sessions. The first attack is a crucial element in developing that control. It requires a coordinated combination of embouchure, diaphragmatic air support, mental imagery, and breath control. By practicing the first attack, students refine their ability to maintain consistent control over these aspects. Paying attention to the initial attack helps deepen the understanding of the instrument’s response time and the necessary air input from the player. This strengthened control technique gives students the precise tools to create clean and beautiful entrances with confidence, both as individuals and as part of an ensemble. Establishing the first attack is vital for achieving a well-balanced sound quality on a brass instrument. It offers an opportunity to shape and mold the initial sound, serving as a foundation for the rest of the musical phrase. Practicing the first attack develops a heightened awareness of the sound production process, including embouchure formation, air support, and resonance. By carefully analyzing, listening, and refining the first attack, brass players can discover the full potential of their instrument’s sound capabilities, resulting in a balanced, stable, and expressive sound supported by confidence. The first attack plays a crucial role in the growth and skill-building of young brass musicians. By dedicating practice time to developing this fundamental technique, students can develop confidence, articulation, consistency, control, and effective sound production. Not only does a first attack influence the beginning of each musical entrance, but it sets the mood for a first impression! Exercises for developing the first attack Long Tone Exercises: Begin playing a sustained note without using your tongue. Instead, focus on starting the note with a strong and confident flow of air, using the correct and controlled embouchure and breath support. The goal is to eliminate any extra air you might hear before the sound of your note begins, so that the note can resonate clearly and effortlessly and most importantly immediately. Start by practicing two of these air attacks on a sustained half note of your choice. Then, add an articulated attack on a whole note for your third attempt. By incorporating this practice technique into your warm-up and regular practice sessions, you will develop a precise and clear articulation each time you begin a new note. Make sure to approach each new note in a consistent, confident, and controlled manner. Recommended Books Caruso, Carmine. Musical Calisthenics for Brass. Page 9. Arban, Jean-Baptiste. Complete Celebrated Method for the Cornet. Pages 11-12, Exercises No. 1-8. Cichowicz, Vincent. Long Tone Exercises. Lip Slurs: Lip slurs help to develop an efficient and controlled embouchure, which are the basic ingredients for a good first attack. Start by practicing simple lip slurs between two adjoining notes. Concentrate on a clean, clear, precise and well-placed lip (embouchure) movement as you shift from one note to another. Gradually, week by week, increase the range and complexity of the lip slurs. Ensure close attention to starting each slur grouping with a well-executed articulation. Do not allow the tongue to be obscured by laziness or inaccuracy while ending the preceding slurred passage. Recommended Book Lin, Bai. Lip Flexibilities. Articulation Exercises: Use specific exercises that focus on articulation to improve the first attack. Practice single tonguing exercises such as scales, arpeggios and small, easily successful exercises. Aim for a clean and clear attack on each note, ensuring that there is no delay or hesitation before your sound starts. Practice short and long articulations to further refine the ability to start each note with cleanliness, confidence and consistency. Refined technique, good breath support, and steady embouchure control in these exercises must work in harmony for the initial articulation to speak clearly. Attention to every will greatly boost your ability to produce a defined first attack on a brass instrument. Recommended Book Arban, Jean-Baptiste. Complete Celebrated Method for the Cornet. Pages 11-36.

It is the battle scene of the movie, the audience rapt with anticipation as the orchestra hurtles toward the final moments of the score. The timpani pounds, the violinists fingers are flying, the pulsing rhythms accelerate, the shimmer of cymbals fills the auditorium … ugh, was that the trumpet section? It takes patience and a subtle ear to play with excellent intonation. Any band or orchestra director knows that kids are not built to be patient or subtle – or if they are, they didn’t find their way into your trumpet section! With limited classroom time, teaching the subtle intonation refinements may seem impossible – especially trying to pull together a concert program every six weeks. However, developing good intonation in your students may not be as difficult as it seems, and an early investment in a few key techniques will yield very satisfying results. Then and Now The first tuning rescue for your trumpet section happened about ten or fifteen years ago … when manufacturers first began outfitting beginner trumpet models with both a first and third valve slide ring (the first valve slide may alternately have a U-hook). Whew! Whether from the pleading of vexed band parents or as a generous gift to migraine-weary middle school directors, this quantum leap in trumpet quality means even your beginning students can actually play a fully outfitted trumpet. Needless to say, I would suggest retiring any trumpet in your inventory that lacks fully functioning first and third valve slides. From the very first week your students are playing fingered notes, have them use the appropriate slide(s) along with their fingerings. This saves you teaching the concept separately later, and also allows the kids to begin coordinating these motions (and making the needed corrections in trumpet balance and hand position) from the start. Smooth as Silk Good left-hand technique will help the kids be consistent and skillful as they learn to use their valve slides properly. The left hand should remain on the valve casing when extending the third and first valve slides – whether separately or together. When extending the third slide, only the ring finger should extend and retract; for the first valve slide, only the thumb should extend. On the rare occasion, young students may use their whole arm (pushing and pulling); make sure they learn the correct technique of using only the finger or thumb. It is important that the first and third slides move with an easy in-and-out motion. If a slide moves roughly or sluggishly, the student will develop improper technique, or even become frustrated and stop using the slide altogether. Apply a dab of grease along with a few drops of valve oil to a clean slide. If the slide is still being stubborn, send the trumpet to a repair person; this small hassle is well worth the student being able to play in tune. If you have your trumpeters using a marching band lyre (which is inserted in place of the third valve slide ring), have them keep their third valve slide slightly extended to avoid low D and C# being extremely sharp. Following marching season, remind your trumpeters to replace their third valve slide ring and resume using the third valve slide in their regular playing. With a little more investigation, it may be possible to find lyres that attached to the leadpipe allowing the third valve slide to move. Working with the Boss As the metronome is to rhythmic integrity, so is your chromatic tuner to perfect intonation. Ask students to spend time daily with this generous truth-teller; you can also have them practice with a tuner during sectionals, to help them establish the habit. Hold a note, check the tuner. Next note. Check with the tuner. This methodical practice will go over easier with more advanced students, but get the younger ones while you can. One way of doing this is to create a game during after-school sectionals. A friendly competition to see who can make the needle stay centered builds excitement, reinforces the value of tuning practice, and encourage kids to relate to tuning in a positive way. During their individual long-tones warm-up, students can work with a tuner to train their ear. As an external aid, the tuner reinforces students’ internal pitch by giving them feedback and helping them to discern fine distinctions in pitch. Also have the students work with the tuner at different dynamic levels to acquaint themselves with the necessary pitch adjustments when playing piano (they will go sharp) or forte (they will go flat). Teach the students to use the tuner during private practice only – never while playing with the band! When their eyes are focused on the tuner, they will miss the opportunity to develop the most important skill of all – listening to those around them. Huff and Puff Excellent breath support is essential for consistent tuning; improper breath support will result in a sagging pitch and lackluster tone. Teachers should emphasize correct breathing technique from the beginning to avoid many problems with tuning – as well as range and sound quality. A great way for students to learn how their breath support affects their pitch is to have them mouthpiece buzz. When the student has good breath support, they will be able to buzz a clear, even note. If breath support is missing, their buzz will drop to a lower pitch or disappear completely. Tuning to a chromatic tuner while playing trumpet is hard enough; doing so while buzzing is even harder because the trumpet isn’t guiding them to each note and stabilizing the pitch. Students should spend ten minutes a day mouthpiece buzzing with a tuner (or matching pitches on the piano). This will benefit their ear and help them establish muscle memory for the correct embouchure and tongue height for each note. Who’s listening? One of the most important qualities that a young or older student can acquire is active, sensitive listening. We want our students to ask

Playing a brass instrument requires mastery of breathing and air support. Proper techniques and effective air support are crucial for producing a rich, resonant sound, maintaining control, and achieving endurance. I. Understanding the Mechanics of Breathing in Brass Playing The diaphragm, a dome-shaped muscle located below the lungs, plays a crucial role in breath control for brass players. When inhaling, the diaphragm descends and creates a vacuum, pulling air into the lungs. When exhaling, the diaphragm retracts, pushing air out, much like a slingshot. Strengthening the diaphragm through exercises such as diaphragmatic breathing and breath control drills allows brass players to have better control over their breath support, resulting in improved sound production and endurance. Brass players engage various inhalation techniques to maximize air usage. Abdominal breathing involves expanding the abdomen while inhaling, allowing for a deep intake of air. Costal breathing focuses on expanding the ribcage laterally to increase lung capacity. However, diaphragm breathing is the most beneficial and natural way to breathe when playing a wind instrument. Controlled exhalation techniques, such as maintaining a steady stream of air, help brass players maintain consistent airflow and control over their sound. To facilitate efficient breathing, brass players must maintain a relaxed and balanced body posture. Tension in the body can restrict airflow and hinder breath control. Proper alignment of the spine, shoulders, and neck allows for optimal expansion of the lungs and diaphragm. By consciously maintaining a relaxed body posture, brass players can ensure that their breath support is not impeded, resulting in improved sound production and overall playing performance. II. The Relationship Between Breathing and Sound Production Breath control is vital for achieving a rich and resonant tone on a brass instrument. Proper breath support allows brass players to control the speed and pressure of the airflow, resulting in a focused and vibrant sound. By maintaining consistent breath support throughout their playing, brass players can achieve a more expressive and dynamic range of tones. Strong breath support is essential for projecting sound and creating volume. By engaging the diaphragm and maintaining a consistent flow of air, brass players can produce a more powerful and resonant sound that carries across large performance spaces. Controlled breathing techniques contribute to achieving a balanced and focused sound on a brass instrument. Brass players can refine their breath control by practicing exercises that involve maintaining a steady stream of air, controlling the speed and pressure of the airflow, and adjusting the embouchure to achieve optimal sound production. Through consistent practice and attention to breath control, brass players can develop a more refined and controlled sound across different registers. III. Developing Endurance through Proper Breathing and Air Support Efficient breathing techniques are essential for developing endurance in brass playing. By utilizing proper breath control and support, brass players can optimize their oxygen intake and reduce fatigue during prolonged playing sessions. Consistent practice of breathing exercises, along with gradual increases in playing time, can help build the respiratory muscles and improve overall playing stamina. To enhance endurance, brass players can engage in exercises that target the respiratory muscles. These exercises may include sustained long tones, lip slurs, and interval exercises. By gradually increasing the demand on the respiratory system, brass players can strengthen their diaphragm and intercostal muscles, ultimately increasing their breath capacity and ability to sustain playing for longer periods. Managing breath control during challenging passages and extended musical phrases is crucial for maintaining consistency and control. Brass players can develop strategies such as pacing breaths strategically, planning for efficient breaths during rests, and utilizing controlled exhalation techniques to maintain a steady airflow. By practicing these strategies and incorporating them into their musical interpretation, brass players can navigate challenging passages and musical phrases with greater ease and control. IV. Enhancing Articulation and Phrasing through Breath Control Breath control plays a significant role in achieving precise and clean articulation on a brass instrument. By coordinating tongue movement with breath support, brass players can achieve clear attacks and releases. Controlling the release of air during articulation allows for crisp and accurate note production, resulting in a more articulate and expressive performance. Breath control is essential for shaping musical phrases and creating expressive performances on a brass instrument. By utilizing breath accents and releases, brass players can emphasize certain notes or phrases, adding depth and emotion to their playing. Coordinating the tongue and breath allows for seamless phrasing and the ability to shape musical lines with nuance and intention. Brass players can improve their articulation and phrasing through targeted exercises that focus on coordinating tongue movement with breath support. These exercises may include tonguing exercises that emphasize precise attacks and releases, as well as phrasing exercises that highlight the use of breath control to shape musical lines. By incorporating these exercises into their practice routines, brass players can refine their articulation and enhance their overall musical expression. V. The Impact of Breathing and Air Support on Range Development Proper breath control is crucial for expanding the playing range on a brass instrument. By utilizing efficient breath support and managing breath pressure and speed, brass players can access higher notes with greater ease and accuracy. Consistent airflow and control over the embouchure muscles contribute to stability and control in the upper register. Brass players can develop their range by incorporating exercises that emphasize proper breathing techniques. Lip slurs and flexibility exercises that focus on breath control can help strengthen the embouchure muscles and improve range. By gradually expanding the range through controlled breathing exercises, brass players can achieve greater flexibility and accuracy in their playing. Maintaining control and stability in the upper register requires effective air support. Brass players can employ strategies such as managing breath pressure and speed to achieve stability and accuracy in high notes. By practicing exercises that specifically target the upper register, brass players can develop the necessary control and support to navigate challenging passages with confidence and control. VI. The Benefits of Proper Breathing and Air Support for Musicians Improved tone quality and

A Daily Maintenance Routine is a necessity for any serious trumpet student or brass player. In addition, each Core Practice Session should be approached in a manner of knowing exactly what the student wants and needs to work on. Playing and establishing a Daily Maintenance Routine each and every morning will better attune the student to what fundamentals need attention in their later Core Practice Session. Each day’s practice should be divided into two separate practice sessions. The Daily Maintenance Routine is a 30-40 minute session that starts the day – ideally in the morning, or otherwise as early in the day as possible. The student should leave 2-4 hours of rest between the Daily Maintenance Routine and the Core Practice. The school day typically takes care of this resting period. The Core Practice Session is the meat and potatoes of the day’s practice. This is where the student improves upon his or her skills technically and musically Daily Maintenance Routine When developing this maintenance routine with your trumpet students, converse openly with them about the weak areas in their playing of which they might or might not be aware. Once these techniques have been pointed out and explained, work with them on establishing a practice time in the morning that works for them and your schedule. While this session serves as the initial warm-up each day, its primary role is to take the student daily through the fundamentals of trumpet playing technique. Another by-product of the daily routine is that if a student misses the daily Core Practice Session, the Daily Maintenance Routine has served as a good practice session for that particular day. By no means should this be a standard occurrence, but if needed from time to time it can stand by itself as a quality practice session. Performance assets of a Daily Maintenance Routine are: increased endurance, lip flexibility, sound development, intonation, clarity of articulation, rhythm practice and increased self-awareness as a performer. Also, it trains the student to actively listen to him or herself to make improvements from day to day. The Core Practice Session should be adjusted accordingly to what area needs more attention than another. By doing this, it creates a certain daily checkpoint from day-to-day as a way of measuring conditioning and progress. The student should be reminded not to practice bad habits; this session is designed for students to erase all bad habits. Keeping in mind that the Daily Maintenance Routine is a warm-up and not a practice session; the student should only choose to play one-half to two-thirds of the materials suggested below evaluating as they go along their degree of readiness for the practice day. If the student is a young high school student not used to warming up with a thorough routine, cut the Daily Maintenance session to 10 -15 minutes starting by having them add a couple of extra exercises each week to build the endurance and flexibility needed for the Core Practice Session. While the daily maintenance routine will become easier over time, it still forms an important foundation for the student’s advancement. Most students’ fundamentals are in a constant state of fluctuation and need to be continually refreshed and polished. The best professionals are the ones who maintain a consistent daily maintenance routine, paying detailed attention even though the material is familiar. There are a few techniques I would like to share apart from the basics and fundamentals of the Daily Maintenance Routine. They are lip flapping and stretching for better air production. Lip flapping in the morning is a great technique to get rid of lactic acid build up. As the student sleeps after a long day of practice and rehearsals, the embouchure muscles that have been worked hard all day will build lactic acid in them from that exercise. Lip flapping is a great way to wake up the muscles and get rid of the build up. Before the student gently buzzes the mouthpiece as the first warm-up exercise of the day, have him gently lip flap for about 30 seconds. Next, have the student buzz the mouthpiece for 20-30 seconds and then lip flap again for about 20 seconds. This trade off should take place back-and-forth for 8-10 minutes. The students should ease into their warm-up rather than shocking the embouchure muscles with needed vibrations and flexibly they are not ready to give yet. Breathing is so often overlooked as a warm-up. Why? For every athlete stretching is a part of every day life and it does not make sense for it not to be routine for musicians. Before the student ever touches their mouthpiece or instrument for the day, they should start with stretching of the upper torso and hands. Stretching the upper torso is important because it houses the most important factor in wind playing, the lungs. Simply have the student stand up straight, feet shoulder width apart and breathe in until they reach their fullest lung capacity. Once this is established have them hold upward their right hand and bend at the torso to the left. After they have reached their most flexible point, have them hold that position for 10 seconds. As they regress back to their prior position, have them slowly release the air through a formed embouchure. Now, have them do the same technique to the right with the left arm extended upward. The student should feel a stretching sensation in their muscles, targeting their obliques and intercostals. This stretching technique stretches these muscles for better, more relaxed breathing. In addition to this stretch, the student will learn to better control air speed and steadiness of the air stream. Suggested materials for the Daily Maintenance Routine are as follows: Schlossberg: Daily Drills, J. B. Arban: Complete Conservatory Method for Trumpet, Hebert L. Clarke: Technical Studies for Trumpet. The expectation is that the student will cover all of the etudes listed over a 2-3 day period, covering between one quarter and half of the etudes on