Brass Techniques and Pedagogy 1698344295

Brass Techniques and Pedagogy
Brass Techniques and Pedagogy

(2nd Edition)
Brian N. Weidner
Butler University
Indianapolis, IN
Assistant Professor of Music Education
bweidner@butler.edu
If you choose to use or alter these materials, you are under no

obligation to contact the author, Brian N. Weidner. With that said,
he would welcome your recommendations of how to improve this
text and materials by which to expand its usefulness. He can be
reached at bweidner@butler.edu.
Brass Techniques and Pedagogy by Brian N. Weidner is licensed under a Creative
Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except
where otherwise noted.
Musicians and educators are welcome to use and adapt any of the materials
included within this text and its accompanying media. Attribution should be
given to Brian N. Weidner Brass Techniques and Pedagogy. Any questions or
recommendations can be directed to Brian N. Weidner at
bweidner@butler.edu
This book was produced with Pressbooks (https://pressbooks.com) and

rendered with Prince.
Contents
Introduction 1
Acknowledgements 2
Part I. General Brass Techniques and Pedagogies
Prelude: Introduction to Brass Techniques and 9

Pedagogy
Introduction to Brass Technique and Pedagogy
1. A Brief History of Brass Instruments 17
2. Getting Started with Posture, Breathing, and 23
Embouchure
3. Tone Production Fundamentals on the 56
Mouthpiece
4. Brass Acoustics 70
5. Tone Production Fundamentals on Brass 83
Instruments
6. Pitch and Intonation 99
7. Articulation on Brass Instruments 104
8. Instrument Care 112
9. Advanced Techniques 122
10. Experimentation, Improvisation, and Composition 128
in Beginning Instrument Methods
Part II. Instrument Specific Techniques and
Pedagogies
11. The Trumpet 145

12. The Horn 157
13. The Trombone 171
14. The Euphonium 186
15. The Tuba 196
Part III. Guided Practice Lessons
16. Guided Practice Lesson 1.1 217

Guided Practice Lesson 1.3 222
Guided Practice Lesson 2.2 232
Part IV. Resources and Activities
Fingering Charts 263

Practice Materials 264
Recommended Equipment 265
Important Brass Terminology 270
35. Additional Resources 271
Part V. Instructor Resources
36. Course Overview 279

37. Semester 1 Syllabus and Lesson Overview 290
38. Semester 2 Syllabus and Lesson Overview 305
39. Sample Assignments 321
40. Playing tests 322
41. Lesson Planning 326
42. Cleaning Video 330
Author Bio 331

Introduction
Brass Techniques and Pedagogy is intended to serve as a guide for
the band music educator. The text is written with the non-brass
playing music education student in mind and focuses on developing
beginning levels of brass technique alongside a more expansive
understanding of brass fundamentals and pedagogy. While a basic
level of technical proficiency will be developed throughout this text,
the ability to teach beginning to intermediate brass players
effectively with sound pedagogy is the primary purpose of this text.
Introduction | 1
Acknowledgements
Many people came together to help in the creation of this textbook.
First, my appreciation to Jennifer Coronado, Erin Milanese, and
other members of the PALNI network of university libraries who
provided financial and technical support through the PALSave
Redesign Grant to create this digital, open-access text. Without
your support, this book would not be able to exist.
A huge appreciation to my students at Butler University who
recorded demonstration videos for the text, specifically Noelle
Engle, Marlena Haefner, Ian Hickey, Michael Mazerolle, Olander
Porter, Jenna Small, and Grace Stine. Thank you also to all of my past
students at Butler University, Lake Forest College, Northwestern
University, and McHenry High School who taught me so many
important lessons in how to (and not to) teach brass techniques.
Thank you to Carter Bell, Danny Knauff, Wendy Meaden, Tanya
Nixon, Laura VanderHaeghen, Gabe Myers, and Brandon Scholwin
who provided many of the pictures throughout this text after I
called out frantically for them via social media in the midst of a
COVID-19 summer.
Several people read this text at various points to provide
constructive feedback. Special thanks to Michael Colburn, Ben
Helton, Allen Miller. and Jared Rodin for your instrument specific
expertise and to Laura Hicken who provided valuable insights into
sound before sight principles of brass techniques.
Credit also goes out to my own teachers along the way who honed
my understanding of brass techniques, including Larry Henry,
Marilyn Lillibridge, Bill Toalson, Brian Anderson, David Snyder, Amy
Gilreath, Joe Neisler, and David Zerkel.
And most importantly, special thanks to my family. This book
would not have happened without the support of Becky, Natalie, and
Noah who took countless pictures, suffered through my frustrations
with technology integration, and read multiple versions of the texts
2 | Acknowledgements
and videos in the creation of this book. I couldn’t do anything
without you!
Acknowledgements | 3
4 | Acknowledgements
PART I
GENERAL BRASS
TECHNIQUES AND
PEDAGOGIES
Prelude: Introduction to Brass Techniques

and Pedagogy
A brief explanation of how to use this book.
General Brass Techniques and Pedagogies | 5

A Brief History of Brass Instruments
Brass instruments have a millennia old tradition and history.
Getting Started with Posture, Breathing,

and Embouchure
Before picking up the instrument, it is critical to have fundamentals

of the body in place.
Tone Production Fundamentals on the

Mouthpiece
The mouthpiece serves as the starting point for good brass

technique and tone.
Brass Acoustics
Understanding how brass instruments function helps us to

understand how to play and teach them.
6 | General Brass Techniques and Pedagogies

Tone Production Fundamentals on Brass
Instruments
Brass instruments have a shared set of fundamentals that dictate

effective tone production and instruction.
Pitch and Intonation
Pitch control is a constant demand for brass players.
Articulation on Brass Instruments
While each instrument has its own idiosyncrasies, the fundamentals

of articulation transfer across instruments.
Instrument Care
With proper care and maintenance, brass instruments can serve the
musicians for decades.
Advanced Techniques
As music educators, students will approach you with questions
General Brass Techniques and Pedagogies | 7

about techniques that you may not be able to perform as novice
brass players.
8 | General Brass Techniques and Pedagogies

Prelude: Introduction to Brass
Techniques and Pedagogy
Introduction to Brass Technique and Pedagogy
Brass instruments include a broad family dating back thousands of

years in nearly every major culture of the world. The term brass
is somewhat deceptive, as brass instruments can be made of any
hard material, including animal horn in the Hebrew shofar, termite-
carved eucalyptus for the Aboriginal didgeridoo, snail shell for the
conch, spruce in the Swiss alphorn, and PVC in the modern-day P-
Bone.
There is one element that characterizes all brass instruments.
Unlike other families of instruments, the sound of the instrument
initiates from the human body, specifically, the vibration of the lips
as air passes between them. The mouthpiece serves as a collector
of this buzzed sound, and the body of the instrument amplifies and
clarifies this timbre to create what we characterize as a brass sound.
This shared trait allows brass instruments to share many
characteristics in terms of their technique. All brass instruments
use the same overtone series, which dictates how the instrument
is manipulated in performance. All valved or rotored brass
instruments (all standard band and orchestral brass except the
trombone) also utilize the same fingering systems. These
commonalities allow for an ease of concept transfer between brass
instruments. In essence, once you learn the concepts for playing
one brass instrument, you can easily transfer those ideas to other
brass instruments.
As a music educator, you can use these similarities to help you to
teach your students. While each instrument has its own details and
challenges, many of the concepts are transferable. Throughout this
text, an emphasis will be placed on these similarities which you can
Prelude | 9
use to diagnose problems, propose solutions, and provide quality
instruction. Specifically, two concepts will be returned to over and
over:
MORE AIR
Air is critical for all brass playing. It should be free flowing and
relaxed, starting from deep in the torso. When breathing as a brass
player, it is critical that the throat is open and that the breath
is deep. On the exhale, brass players focus on steady air usage
supported by core muscles.
LESS TENSION
Tension is the enemy of smooth flowing air. While there is a
certain amount of tension that is needed to play brass instruments,
excess tension inhibits full tone production. The entire air column
needs to be relaxed, from the throat through the oral cavity to
the lips. Even the arms, wrists, and fingers should remain without
tension to allow for greater dexterity and positive ergonomics. Too
much tension can not only affect tone but also lead to muscle,
tendon, skeletal, and nerve injuries. Reducing tension when playing
positively impacts tone production and ensures the long term
health of brass players.
This text approaches brass playing from two perspectives. First,
you will be guided through a series of exercises to develop your
own technical development as a brass player. This progression is
the standard for most brass players, starting with tone production,
moving to pitch control, and continuing with flexibility and
dexterity studies. The goal is that after a semester of study, you
have competencies that are typical after the first year of study by
a middle school student. The course is set up with an expectation
of at least three to four weeks on each standard brass instrument
(trumpet, horn, trombone, euphonium/tuba).
Second, this text will guide you in your pedagogical knowledge as
an instructor of brass students. While your technical skills may be
limited, you need to be prepared to teach brass students with solid
fundamentals. The great news is that while each instrument has its
own idiosyncrasies, many of the concepts you will teach are brass
10 | Prelude
concepts which are transferable across instruments. While you are
developing your own technical abilities, this text will also be
pointing out common issues experienced by young brass musicians
and problem solving steps to take in order to diagnose and correct
those issues. If this text is being used as part of a class, you are
encouraged to work with your peers to practice instruction. Your
conceptual knowledge of brass techniques will likely exceed your
technical ability if you are not a brass player already.
This book is organized to differentiate the technical exercises for
your own brass development and the pedagogical concepts for your
teaching practice.
Exercises
Exercise boxes will include activities you should do as a

developing brass player to establish technique and promote
brass fundamentals. Many of these include activities that
should become part of daily practice for warming up or
sustaining strength and flexibility as a brass player.
Prelude | 11
Common Errors
Common error boxes will help you diagnose and correct

common issues of beginning brass players. Throughout this
course, those common errors could be done by your peers
or you! In some cases, these errors will simply address what
you should pay attention to in order to avoid the
development of bad habits. In other cases, these error
boxes will point to specific activities or exercises to correct
problems or develop competencies.
This book is divided into four main sections.
• General Brass Techniques and Pedagogies discuss common

concepts that extend across all brass instruments. As
mentioned earlier, brass instruments are variations on a
theme, and that theme is built around commonalities in
acoustics, mechanics, and tone production. This section is
perhaps the most important for the music educator who is not
a brass player, as these concepts will extend across all brass
instruments and reflect the most common issues beginning to
intermediate brass musicians have. Mastery of this content will
allow you to be effective in the ensemble setting when working
with brass students.
• Instrument Specific Techniques and Pedagogies discuss the
nuances between different brass instruments. While at the
10,000 foot view, these instruments are very much the same,
they each have nuances that become particularly important as
12 | Prelude
students transition from beginning to intermediate player
which impact technique, intonation, and dexterity. This section
can serve as a reference point for you in your own
development and that of your students.
• Guided Practice Lessons provide daily lesson outlines that you
can use between class meetings. While these are not intended
to be repeated for multiple days, they provide a framework for
your own develop as a brass musician.
• Resources and Activities provide a range of materials that will
be used throughout the text. All of these materials can also be
used as pedagogical materials to distribute to your own
students.
Musician Health and Wellness
It is critical that musician health is taught as part of beginning

methods, because it is at this stage that many students develop
habits that manifest throughout their performing careers.
Repetitive stress, incorrect technique, and poor responses to body
feedback can result in short and long term harm that inhibits
instrument performance and affects quality of life. A few points to
remember as teachers of beginner musicians (and older ones as
well!):
• Instrument playing should not hurt. It may feel awkward

(especially at first), be tiring, or look unusual, but playing an
instrument should not cause pain.
• Listen to your body. If your body is feeling pain, this is a sign
to do something different. If your body is feeling fatigued, this
is a sign to pause so that it can appropriately recover.
• Proper preparation and maintenance is necessary to avoid
injury. Just as an athlete would not run the race or enter the
court without warming up and working out, musicians need to
Prelude | 13
do the same on each instrument they perform. Especially for
brass performance, daily maintenance is critically important,
starting with low impact etudes on the mouthpiece and
instrument and progressing to dexterity exercises that prepare
the body for more demanding performance.
• Shorter, more frequent practice is more effective than long,
erratic practice. Especially for brass players, daily practice is
crucial. Short periods of practice every day are more effective
than longer sessions on a less consistent basis. This allows for
the growth and development of embouchure that can sustain
longer, higher impact performance without damage to the
body.
• While not foolproof, when in doubt, more air and less
pressure. Brass instruments lend themselves to high pressure
performance, especially on trumpet and horn with high
register is often demanded before students have developed the
competency to perform in those registers. When in doubt,
presume that too much pressure is being applied and that
more relaxed, fast moving air can be used.
• Focus on tone first, not range. Beginning brass players are
often disappointed by their slow rate of growth, especially in
range, when compared to beginners on other instruments.
Encourage beginning players to focus on maintaining a full,
relaxed tone and give them the agency to stop progressing to
higher notes if they feel pressure and tension taking over that
tone. Within the class, provide alternatives (e.g., harmonized
parts, octave displacement) so that range develops along with
good tone, rather than at the expense of good tone.
• Emphasize lines and curves as opposed to angles in body
posture. The most common injuries for musicians are those
caused by undue stress on the body both through poor
ergonomics or repetitive stress. For all instruments, emphasis
should be placed on having straight lines or curves in the body
as opposed to angles. For brass players, common issues are
collapsed wrists, exaggerated head posture, and elevated
14 | Prelude
shoulders. Emphasizing a curve from the tips of the fingers
through the wrists, comfortable placement of the head, and
relaxed shoulders lined up over the hips helps students
perform in ways that are ergonomic and reduce stress on the
body.
• Every body is different, so the handling of the instrument
will change as well. There is no single right way to position an
instrument, as every body is different. While there are
generalities of how an embouchure should be formed and how
posture should be established, care should be taken to look at
the body of each student. Differences in dental structure, in
body size and shape, and other factors may cause an individual
students to have dramatically different, yet still effective,
bodies. For example, throughout the videos, you will notice
that the author of this book plays instruments ever so slightly
off centered to the right due to a large scar on his upper lip
from a car accident that interferes with “correct” mouthpiece
placement.
Open Educational Resources
As a quick side note, this text and all of its materials are created
and distributed under a Creative Commons license 4.0 (CC BY-NC-
SA). This licensing allows for the distribution, manipulation, and
reapplication of any materials within it free of charge. There a
couple of stipulations that come with this particular license:
• BY-If you use these materials, you must provide attribution of

where they came from. This is as simple as keeping the license
statement at the bottom of each resource sheet.
• NC-These materials can be used in any non-commercial
application. If you repurpose these materials, you need to
distribute them in non-profit manner.
Prelude | 15
• SA-If you use any of the materials within this text in a new
format, you need to provide these materials under a Creative
Commons license with the same level of access and
distribution.
More details on Creative Commons can be found at

https://creativecommons.org.
With that, let’s toot our own horns and blast the trumpets!
16 | Prelude
1. A Brief History of Brass
Instruments
Significant portions of this chapter were adapted from Steven
Maxwell’s Teaching Low Brass, accessed at
http://newprairiepress.org/ebooks/22 under a Creative
Commons license 4.0.
It is important to understand the history of brass instruments as an

educator for a few reasons. First, students will come to you with
questions and strange instruments from the back of closets, and a
basic understanding of history will allow you to better respond to
the gnarled family tree that makes up brass instruments. Second,
the history of an instrument will help you to understand the musical
role of the instrument and why it functions as it does in various
ensembles today. Third, learning the history of brass assists you
with understanding the technical and physical limitations and
advantages of the instrument. Finally, knowing the history of an
instrument helps you to understand the literature that is available
for the instrument.
Early brass instruments were made
from hollow items found in nature
such as termite hollowed eucalyptus
or conch shells. Thousands of years
ago, straight and curved trumpets
were constructed of a variety of
materials including wood, bronze, and
silver, such as the Greek salpinx and
the Roman tuba, lituus, and buccina.
Carved horn shofar
Other early brass instruments were
flared horns made of bronze or animal horn, like the Scandinavian
A Brief History of Brass Instruments | 17

lur, the Roman cornu, and the Hebrew shofar (which is still used in
Jewish ceremonies today).
1400-1600
During the Renaissance, brass

instruments began to develop into the
instruments we know and recognize
today. The earliest known curved
trumpets were developed in the early
15th century, which was followed by
the folded and slide trumpets. These
early instruments had wide interval
spacing between notes due to their
Soprano, Alto, Tenor, and Bass
Sackbuts acoustic characteristics (which still
influence brass instruments today).
The trombone developed out of the slide trumpet around 1450,
referred to as the sackbut. While structurally different from the
modern trombone, the sackbut revolutionized brass instruments by
allowing for chromatic performance. It also allowed for the
development of an instrument with a practical tenor range, which
developed into the modern trombone today.
During this period, the trumpet and horn existed, but they were
considered functional, non-musical instruments. European courts
maintained corps of trumpeters used for signal heralding. These
ensembles involved up to five-part music, but were limited in their
harmonic variety due to the construction of the non-chromatic
instruments. Players tended to specialize in high or low register,
and music with artistic merit for brass was scarce. The horn existed
at this time as well, typically used for hunting to allow for
communication over distances outside. The horn began to be
presented at this time in its curved and helical design.
18 | A Brief History of Brass Instruments

By the end of the 1500s, brass instruments (particularly the
sackbut) began to be used within both like instrument and mixed
ensembles. In 1597 Italian composer Giovanni Gabrieli, then the
organist at Saith Mark’s Cathedral in Venice, composed the earliest
known piece to call for specific brass instruments, Sonate pian’forte.
1600-1750
Brass instruments began to be used more extensively in the 17th

century as ensemble instruments. Many of the instruments were
used in outdoor performances or as a supportive voice in church
choirs. Brass instruments had little use as solo instruments. During
this time, brass instruments could play chromatic passages through
use of the high overtone series (which can be quite difficult to
perform) and through the use of ‘stopped’ notes on horn.
Sackbuts were regularly employed in a variety of ensembles, such
as court and municipal bands, where it was common to combine
them with double reed shawms. The sackbut was also used in
ensembles where they were to blend with softer instruments or
voice to improve projection. A vocal-like style of playing developed
for the trombone that contrasted the period’s fanfare trumpet style.
By the mid-18th century, solo pieces for alto trombone were written
by Christoph Wagenseil, Johann Albrechtsberger, Michael Haydn,
and Leopold Mozart. With the sacred associations of the trombone
from the previous century it was natural for composers to utilize
trombones to help portray religious or supernatural effects in
operas of the late 18th century. Two of the most easily recognizable
examples of this were in Wolfgang Amadeus Mozart’s Don Giovanni
and The Magic Flute.

During the 18th century, the horn
developed as an instrument capable of
musical expression, rather than as a
utilitarian or novelty instrument. A
Viennese instrument maker, Michael
Leichnambschneider, began to put
terminal crooks on horns in order to
play them in different keys around
1700. In 1705, Reinhard Keiser added
In order to change the key of a
horn, allowing for a different the horn to his orchestra for the first
pitched partial series, crooks of time in his opera, Octavia, and Georg
various lengths needs to be
added to the instrument. Frederic Handel added two horns to
Water Music in 1717. The horn played
mostly in its upper overtone series to allow for diatonic movement.
Around 1750, a hornist in Dresden, Germany developed techniques
for hand stopping that allowed for chromatic playing of the horn in
the lower register, and this soon became a standard practice for
horn players. The first major horn concerto was written by Franz
Joseph Haydn using this chromatic practice in 1762.
The trumpet developed as a virtuosic instrument during the first
half of the 18th century, reaching its peak in the compositions of
Johann Sebastian Bach, originally written for trumpet virtuoso
Gottgried Reiche. This clarino technique used the extreme upper
register of the trumpet, often in a soloistic capacity. By the second
half of the 18th century, tastes for this technique changed, leading
to a decline in the virtuosic presentation of the trumpet in ensemble
music during the Classical period.
1750-today
The 19th century was the period of greatest development and

modernization of brass instruments. The vast majority of literature
for brass instruments performed today was written from the late

19th century through today. This is largely due to developments in
brass instruments starting in the late 1700s that allowed for greater
ease of chromatic manipulation and expressive performance. By the
Classical period, trumpet and horn were standard fixtures of the
orchestra with trombone and tuba following in the 1800s.
The keyed trumpet was developed
by Viennese trumpeter, Anton
Weidinger, to allow for chromatic
performance on trumpet around 1770.
While this instrument was short lived
due to problems in tone consistency, it
opened the possibility of the trumpet
to be used as a chromatic solo
instrument, leading to its first major
Keyed bugles had holes cut in
concertos by Franz Joseph Haydn in their tubing, similar to a
1796 and Johann Nepomuk Hummel in modern saxophone, to allow
for chromatic manipulation of
1803. In 1818, the first horn rotor was pitch.
patented by Heirich Stölzel and
Friedrich Blümel in Germany, and around 1826, German instrument
makers began producing valved trumpets. The development of
rotors and valves made instruments far superior to hand stopped or
keyed versions of brass instruments due to their consistency and
dexterity, and were quickly adopted by composers. Hector Berlioz
was the first to use these new instruments in his Overture to Les
Francs-juges in 1826, followed by the use of valved horns in
Fromental Halévy’s opera, Le Juive. By 1835, the first tuba, pitched in
F with five valves, was invented by Berlin instrument makers
Wilhelm Wieprecht and Johann Gottfried Moritz, followed by the
earliest euphonium in 1843 by Sommer of Weimar.
Throughout the 20th century, many variations on the standard
brass instruments have been made. Numerous keys of trumpets
have been created, including the Bb, C, Eb, and piccolo trumpet.
Each of these alter the timbre of the instrument and provide various
advantages to the performer. The horn has added a second “side,”
allowing the same instrument to play in F and Bb. The double horn,

as it is termed, allows for greater flexibility and precision in
performance. The trombone frequently includes an F attachment,
which is similar to the Bb side of the horn to allow for greater
ease in performance with less slide movement. The euphonium
and tuba continued to be developed throughout the 20th century
by including various configurations, notably including 4th and 5th
valves or rotors that provide for greater ease in pitch manipulation
and dexterity.
Various instruments have come and gone throughout this time
period as well. These include novelty instruments such as the
double-belled euphonium, alternatives to modern instruments such
as the saxhorn, and various bass instruments including ophicleides.
With better designed instruments and the development of
musicians with increased technical and musical ability, trumpet,
horn, trombone, and tuba became standard parts of the orchestra
with increased exposure within the large ensemble and numerous
solo works. At the same time, the concert band developed with
the brass section playing a significant role with the inclusions of
sections of trumpets, cornets, horns, trombones, euphonium/
baritones, and tubas.

2. Getting Started with
Posture, Breathing, and
Embouchure
While each brass instrument has its own peculiarities, many
elements are common across all brass instruments related to
posture, breathing, and embouchure. Within each instrument, we
will discuss variations on the fundamentals that follow, but all brass
instruments utilize the same elements. It is important as a teacher
of brass students that we emphasize these fundamentals for all
students before they have the instruments in their hands and
continuing throughout their brass playing careers.
Posture
The two most important aspects of all brass playing regarding

posture are that the torso stays symmetrical and well balanced and
that the entire body is relaxed and comfortable. This open position
allows for free breathing that is critical for all brass playing. If the
arms are kept close to the body or the back is collapsed, the lungs
are less able to fully inhale with ease, resulting in a stuffier sound,
limited sustain, and greater fatigue. Beginning players should have
proper posture emphasized from the first lesson on, so that habits
are established that become automatic. Importantly, proper posture
should be established before introducing the instrument, and the
instrument should always be brought to the body that is already
in proper posture. Beginning players will often base their posture
off of the instrument’s position, which can lead to twisted torsos
Getting Started with Posture, Breathing, and Embouchure | 23

and collapsed bodies that inhibit good air flow and tension-free
manipulation of the instrument.
Proper posture on brass instruments requires a well-balanced, open torso and

relaxed arms that allow for free breathing and movement.
Torso
Symmetrical and vertical posture in the torso establishes a

foundation for all brass (and woodwind) playing. Before students
have instruments in their hands, teachers should establish proper
posture. Start by having students stand, as they are less likely to
allow the back to collapse. An emphasis should be placed on
24 | Getting Started with Posture, Breathing, and Embouchure

vertically aligning shoulders, hips, and arches of the feet while
keeping the spine centered and extended. The body always remains
symmetrical without any twisting or favoring of one side of the body
over the other. Once seated, the shoulders should stay aligned with
the hips, allowing for a comfortable, tall orientation of the spine. The
head should be held comfortably up so that the chin is pulled away
from the throat. One exercise that can be done is to place the hand
on top of the head and envision pulling an invisible string upward,
as though suspended like a marionette.
Proper torso alignment can also be established by having the
students stand with their feet shoulder width apart. Allow the body
to collapse at the waist, with the arms hanging to the ground. The
students should slowly roll their body up on a slow count. Every
fourth count, a different part of the body should be in place.
Shoulders are a frequent issue for beginning brass players. The
upper torso should be open by having the shoulders rolled back
with relaxed arms. At the same time, the shoulders should not be
hyperextended by bringing the shoulder blades together, creating
tension across the front of the upper torso. One exercise to
establish proper shoulder placement is to have students start with
their shoulders collapsed forward. They should then roll their
shoulders up and back, stopping once they are comfortable. This
action will create a naturally open, tension-free shoulder posture.
In brief, the key considerations for proper posture

include the following:
1. Hips lined up vertically over the arch of the foot

2. Base of the neck lined up vertically over the hips
3. Shoulders comfortably rolled back allowing for
the open presentation of the upper torso.

4. Head raised comfortably with slight elevation of
the chin.
One or more interactive elements has been excluded

from this version of the text. You can view them online
here: https://pressbooks.palni.org/
brasstechniquesandpedagogy/?p=50#oembed-1
Common Issues for Torso Posture
Collapsed back-Students frequently will slouch, allowing

the lower back to collapse and the shoulders to come
forward. This posture diminishes lung capacity and limits
full breath support. Related issues include elbows or the
instrument resting on the leg. Visual cues (e.g. marionette
string on the head) and posture establishing exercises (e.g.
rolling the body into position) can help to reinforce proper
posture.

Exaggerated posture-Beginning players seeking to please
their teachers often will exaggerate their posture by
pushing the upper torso forward, pulling the shoulders
back too far, and bending the head back to create tension in
the throat. This pushes bell front instruments above a
position parallel to the floor, akin to what is often seen in
marching band. These over-exaggerations lead to increased
tension in the back, neck, and arms that can inhibit relaxed
air support and easy manipulation of the instrument.. For
these students, the roll up exercise can be very effective
while the teacher watches to remind students of where to
stop their unroll.

Arms and hands
For all instruments, relaxed arms and hands with limited tension
are critically important for both proper technique and good
ergonomics. When students introduce tension into their elbows,
wrists, and fingers, they create issues that inhibit fluid performance
and promote long term health issues such as muscle soreness,
tendonitis, and focal dystonia.

As a general rule, sharp angles should be avoided, especially in the
wrists and fingers. Attention should be given to ensure that arms
and wrists do not collapse. Good posture allows for space between
the arms, the body, and the instrument.
For a neutral position, the upper arm should be comfortably away
from the torso of the body so that the rib cage can naturally expand
when deep inhalations are made. Shoulders should be relaxed and
fall naturally down, and there should be space between the elbows
and the musician’s sides. When taking a deep breath, the arms
should not need to move.
While the exact positioning of fingers and wrists differ from one
instrument to the next, there are few considerations that apply to
all wind instruments.
• Wrists and fingers should be positioned in continuous lines

and curves. No severe angles should be present.
• The hand forms a C shape when you play. Fingers should not
be completely flat, and for brass instruments, the tips of the
fingers should be used on top of the valves
Common Issues with Arms/Hands
Fly-away arms-Beginner players will often exaggerate

their arm placement, positioning the arms close to parallel
to the ground. This posture inhibits good air production
and can lead to repetitive stress injuries. Students should

drop the arms to their sides and return to playing position,
with attention to allowing the arms to naturally hang.

Collapsed arms or wrists-Students will often allow their
arms to collapse against their rib cages or collapse the
wrists in to their instruments. This posture limits air
support and can lead to stress injuries. Students should set
their instruments down and allow their arms to hang at
their sides. They should take note of how the arms naturally
hang away from the rib cage and should seek to imitate that
posture. Regarding collapsed wrists, specific details for
correction of hand position can be found in discussions of
individual instruments, but in general, there should be a
continuous curve through the wrists and fingers without
any right or acute angles. Attention should also be given for
flat fingers which slow down agility.

Breathing
When playing brass instruments, musicians should focus on deep

breathing that allows for the full expansion of the rib cage. This
approach to breathing is different than typical breathing in life,
which tends to use just the upper portions of the lungs and require
little expansion of the rib cage. It is critical that beginning brass
players are taught proper breathing for sustaining full tone of their
instruments, and that regular exercises for introducing proper
breathing and expanding lung capacity are a part of warm up
activities.
Technique
Brass breathing should focus on maintaining open, relaxed airways

on both the inhale and exhale. The oral cavity and throat should be
open (think “ahhhhh”) and expansion should be felt in the across the
width of the rib cage and down in the lower torso. The shoulders
should not move when breathing deeply.
The exhale should come immediately without pause and should
require effort. Again, the oral cavity and throat should remain
relaxed, though a firmness should be felt in the abdominal muscles
when exhaling. Emphasis should be placed on a full exhale which
leads to the need for immediate inhale.
All breathing on brass instruments should take place through the
mouth.
Whenever you are practicing breathing techniques, make sure
to be seated. It is very easy for students to experience light-
headedness when developing proper breathing technique because
they ae frequently not accustom to deep breathing, which alters
oxygen intake.

Breathing Technique Exercises
Yawn breathing-When first introducing brass instrument

breathing, students should be instructed to yawn. While the
position of the jaw is not consistent with good brass
playing, the expansion of the rib cage and dropping of the
lower abdomen is consistent with good brass playing. For
most students, this is one of the few times in which full
lung capacity is engaged.

Timed breathing-To allow students to develop awareness

of their own breathing and to start to build capacity, timed
breathing exercises should start every practice session.
Students should be seated during this activity, at least at
first, to promote proper posture and to ensure that
students do not fall over if they become light headed.

Initially, the time frame should be short and balanced with
4 counts breathing in, and 4 counts breathing out. On each
inhale, students should focus on reaching their maximum
lung capacity while feeling rib cage expansion and the drop
of the stomach. On each exhale, students should make an
effort to fully exhaust their breath. There should be no
pause between inhale and exhale. As students become more
comfortable with the activity, times can be extended to 8
and 16 counts of exhale, with an emphasis on continuous
and steady intake and exhale of air.

Paper airplane-This exercise emphasizes the reversal of

inhale to exhale and the ability sustain both inhale and
exhale smoothly. Imagine that you have a paper airplane
between your thumb and first finger. Hold the paper
airplane in front of your face. As you pull your hand back
toward your ear to throw, take a deep breath in that allows
for the expansion of the rib cage and drops the lower
abdomen. Immediately “throw” the airplane, turning your
air from inhale to exhale and steadily blowing the airplane
forward. When you are out of air in your lungs, immediately

bring the airplane back again while breathing in and repeat
the exercise. Make sure that you do not pause between
inhale and exhale.

Breathing Capacity Exercises
Three sips-This activity is a variant on timed breathing to

build on inhale capacity. You will still do a controlled inhale
over 4 counts, but instead of immediately turning to the
exhale, pause, take 3 sips of air, and then do a controlled,
timed exhale. Each time you do the 3 sips, you should feel
expansion in your rib cage that should border on
discomfort.

Santa-This activity focuses on increasing air exhale

capacity. It begins with a timed inhale of 4 counts, followed
by 3 loud “Ho, Ho, Hoooo” with the final syllable being
sustained fully for 2 counts. Emphasis should be placed fully
expending all air after 4 counts, and being able to fully fill
the lungs after 4 counts. Once students can reliably inhale
for 4 counts, the inhale should be shorted to 2 counts, and
eventually 1 count.


Breathing Control and Resistance Exercises
Stiff breeze-This exercise allows for the visualization of

steady, controlled exhale. Hold a tissue in front of the face
with the thumb roughly 2 inches from the tip of the nose.
Inhale with a full breath, and then exhale on a “puuu”
syllable. The emphasis should be on blowing the tissue as
flat as horizontal as possible without varying air speed or
direction. Once this able to be done close to the face, the
hand can be moved further away to increase attention on
steady air speed and direction. This activity can also be
done with the mouthpiece to focus on air speed and
direction.

Sizzle-This exercise allows for controlled air exhale with

the resistance that naturally occurs because of the

embouchure and mouthpiece. When exhaling, articulate
and sustain the consonant “Tssss”. The focus should be on a
continuous hiss without change in pitch or tone. Continue
until air is completely expended from the lungs. As students
continue to engage in this exercise, they should focus on
extending the exhale to 15 seconds or more.

Common Issues for Brass Breathing
Shallow breathing-Shallowing breathing is can be

diagnosed in many different ways. The pitch of the inhale is
very high with a raspy tone, indicative of a tight oral cavity.
There is also limited rib cage expansion as the breath is
controlled by the upper chest as opposed to the lower
abdomen. Often, students will raise their shoulders when
they breathe, which further inhibits deep breathing. To fix

this problem, the technique exercises listed above should
be done, with a focus on expanding the rib cage. The yawn
exercise in particular is a great one for teaching students
how deep breathing feels.

Weak exhale-Students will often take a strong inhale, but

experience issues with having a controlled, strong exhale.
Sound quality is the clear give away for this issue, as the
tone on the instrument will be very airy and pitch and tone
will fluctuate. Students will often also lose good posture,
with the shoulder and back collapsing on the exhale. The
sizzle exercise is a great diagnostic tool, as the teacher can
hear whether tone quality fluctuates. The same exercise is
also good for developing the student’s awareness of their
own technique, which can lead to better technique.
Attention to proper posture is also key.

Embouchure
The embouchure refers to the positioning of the lips, jaw, and oral
cavity. Unlike other instruments, the sound of brass instruments is
created by the vibration of the musician’s body, specifically their
lips. The instrument serves to focus and amplify the sound of lip
vibration, which is called buzzing. Just like posture and breathing,
the key to proper embouchure is limiting tension and allowing for
free flowing air. While each brass instrument has a slightly different
embouchure, the fundamentals for all brass instruments remain the
same.
Jaw placement
While there is not a single “correct” embouchure, most successful

brass musicians position their upper and lower jaws evenly
vertically or with a slight underbite. This is not to say that a student
with a severe under or overbite cannot play a brass instrument, but
they will need to work on maintaining balance between the upper
and lower lip to allow for free flowing air and relaxed buzzing. An
ideal embouchure will be flat from the base of the nose to chin.
The teeth are slightly separated, with the space between the lips
increasing the larger the mouthpiece becomes. Attention should be

placed to ensure that the jaw muscles by the ears remain relaxed
and are not clenched while playing, especially when playing in the
upper register.
Jaw Placement Activities
Vowel shaping-As we cannot see into our students’

mouths as they play, the use of kinesthetic reminders is
useful in brass playing. Have the students sing or sustain
the syllable, “Ahhhh.” Then have the students sustain the
syllable, “Eeee.” Discuss the differences they feel in their jaw
and tongue placement as well as the tension they feel
throughout their oral cavity. Identify “Ahhh” as the proper
placement of jaw and tongue.
Face shaping-Have students place their hands on their

cheeks so that their finger tips are positioned between
their upper and lower molars. They should feel slight space
between the back molars with no tension in the jaw
muscles near the ears. This activity can be done at the same
time as vowel shaping.


Lips
The lips create the sound of all brass instruments, so attention

should be placed on maintaining a firm but relaxed presentation
of the lips. A good brass embouchure will provide a fleshy pad
for the mouthpiece. The center of the embouchure, inside of the
mouthpiece, should be relaxed with as little tension as possible.
Each brass instrument’s embouchure is slightly different, but
typically, there should be a roughly even balance of top and bottom
lip within the mouthpiece. If the muscles in the center of the mouth
are used to control the embouchure, tone will become thin and
bright.
The corners of the mouth provide for the control of the
embouchure. Corners should be firm, allowing for the center of the
embouchure to remain soft. The corners of the mouth control two
aspects of brass playing: tone quality and pitch. The tighter the
corners are, the brighter the tone and higher the pitch. Beginning
brass players should be regularly reminded to control their sound
from the corners of the mouth, allowing for center of the mouth to
remain fleshy, allowing for full buzzing.
The presentation of the proper brass embouchure is a flat line.
Care should be taken that students neither smile nor frown when
playing, as these expressions introduce tension into the lower lip.

Exercises for Setting Up the Embouchure
Deep breath exhale-The embouchure should feel natural

and relaxed. One way to set the embouchure is to have the
students take a deep, yawning breath in and then close the
lips on the exhale, allowing the air to escape through the
nose. When doing this exercise, students should be
reminded to stop closing once the lips touch. Their
tendency will be to continue to close the jaw and clench the
lips together.
Hum-Another way to establish the embouchure initially

is say, “Hmmmmm.” The hum should be a loud, buzzy hum,
encouraging the students to maintain an open oral cavity,
relaxed jaw, and just-touching lips. Similar to the deep
breath exhale exercise, students should be reminded to
stop closing the lips as soon as they touch.
Pea spitting-The final step in setting up a proper

embouchure is establishing the aperture, which is the hole
in the embouchure through which air moves. Keeping this
part of the embouchure focused yet relaxed is the single
most important part of the brass embouchure as it is the
part that creates the buzz sound. Once the embouchure is
established, students should envision that they are spitting
peas, allowing for a fast stream of air to move through a
focused space in the embouchure. They should be
reminded that if they pinch the lips together, the “pea” will
be smashed. Alternately, they can also articulate the

diphthong “pff” to create the same effect if you prefer not
to encourage thoughts of spitting. This can be combined
with the Hum exercise as well, making the syllable,
“Hmmmph.”

Introducing the mouthpiece

Students should demonstrate the ability to make the proper
embouchure before introducing the mouthpiece for two reasons.
First, the mouthpiece blocks the teacher’s view of the aperture of
the embouchure, making it difficult for the teacher to see errors.
While mouthpiece visualizers can be used, the need to sanitize them
between students makes them impractical for group instruction.
Second and more importantly, students have the tendency to adjust
the embouchure to match the mouthpiece, making it feel “right.”
This often results in erroneous embouchures that force too much
lip into the mouthpiece or introduce tension through the center of
the embouchure.
The mouthpiece should be introduced separate from the
instrument. When playing just the mouthpiece, the shank of the
mouthpiece should be held between the thumb and first finger.
Care should be made to keep the wrist relaxed so to discourage
the introduction of lateral pressure on the embouchure. The
mouthpiece should be placed gently on the embouchure with the

middle of the cup centered on the aperture of the embouchure.
Student should be reminded to set the mouthpiece lightly on the
embouchure, avoiding pushing it into the face or adjusting the
embouchure once the mouthpiece is placed.

Details for creating first sounds on both mouthpiece and the

instrument will be discussed in the next chapter.
Common Issues for Embouchure Setup
Smashed aperture-Students will have a tendency to

pinch the middle of the embouchure together, either
pucker as though to kiss the mouthpiece or bunching the
chin up under the mouthpiece. Both of these situations
limit the free buzzing of the lip, inhibit full tone, and can
lead to long term muscle problems due to tension. Return
to the Hum or Deep breath exhale activities without the
mouthpiece to establish proper embouchure.

Cheek puffing-While some brass players naturally
experience some cheek puffing when they play (most
famously, Dizzy Gillespie), in general, cheek puffing should
be discouraged as it is sign of limited control of the
embouchure from the corners of the mouth. When
students puff their cheeks, they place undue stress on the
center of the embouchure, leading to poor tone and
control, quick fatigue, and possible muscle damage. The Pea
spitting activity can help to discourage cheek puffing.
Additionally, once the student is playing the instrument,
playing long tones in the lower register can help build
muscle control that will come into play in the upper
register where cheek puffing often occurs.

Mouthpiece placement-Ideally, the mouthpiece should

be centered on the embouchure both horizontally and
vertically (though there are some individual instrument
differences). Individual students may have specific reasons
for misplaced mouthpiece placement, including dental
peculiarities, skeletal abnormalities, and pronounced under
or overbite, but generally, most students should be able to
play with the mouthpiece centered on the embouchure.
Misplaced mouthpieces can result in quick fatigue and tone
and control issues as one side of the embouchure is more
responsible for control than the other. It is critical that
errors in placement are corrected early in a student’s brass
playing career, as muscles will compensate for
misplacement and habits will be built that are hard to
correct later. For beginning players, there will be little
difference in tone quality because of misplaced
mouthpieces, but the differences will become more
pronounced as the student proceeds forward. With this
said, there are tremendously successful brass players (e.g.
Jon Faddis, Maynard Ferguson) who play with asymmetrical
embouchures with great success.

3. Tone Production
Fundamentals on the
Mouthpiece
The sound on brass instruments starts with the vibration of the lips,
which is commonly referred to as buzzing. The mouthpiece serves
to focus the buzz and transfer the vibration into the instrument
itself. The body of the instrument continues to focus the buzz and
amplify its volume. Anything with a mouthpiece, body of tubing, and
a flair bell can fundamentally serve as a brass instrument. While
the details differ from brass instrument to brass instrument the
underlying fundamentals of how tone is produced remain the same:
• Firmer lips and smaller oral cavity create a

higher pitch and a brighter tone.
• More relaxed lips and more open oral cavity
create a lower pitch and a darker tone.
The other variable that impacts brass instrument pitch and tone is
air. Air can be thought of in many different ways, including quantity
and speed.
• More air or faster air passing through the

aperture results in a higher pitch and a fuller tone.
56 | Tone Production Fundamentals on the Mouthpiece

• Less air or slower air passing through the
aperture results in a lower pitch and a softer tone.
This returns to the principle addressed on the first page of this

text:
MORE AIR, LESS TENSION
For all brass instruments, there needs to be ongoing attention to

reducing tension. Most importantly, the embouchure should be as
relaxed as possible, with control of the embouchure being derived
primarily from the corners of the mouth. To aid in reducing tension,
students should be regularly reminded to keep the jaw and oral
cavity relaxed (think the consonant “Ahhhh”), the throat should
remain open (focus on yawn breathing), and the arms and torso
should be relaxed. Importantly, the mouthpiece should be set upon
the embouchure and not pushed into the lip.
X-ray cineflourography provides a way to see inside

the mouth as brass musicians play. In this video clip
from the 1968 dissertation by Joseph A. Meidt, you can
see how the tongue adjusts the amount of space in the
oral cavity and how the tip of the tongue is used for
articulation.
Tone Production Fundamentals on the Mouthpiece | 57

Similarly, using a mouthpiece with a camera attached
inside, you can see how the embouchure vibrates
differently in different registers. The aperture becomes
smaller in high registers and at soft dynamics, and
broader in low registers and fuller dynamics.
Mouthpiece Buzzing
While different instructors feel differently about the role of
mouthpiece buzzing (particularly for larger brass instruments), the
position of this text is that mouthpiece work is imperative to
developing and maintaining good fundamentals of brass playing.
The mouthpiece is an important tool for brass instruction for a
few reasons:
1. The mouthpiece is simple. For young players, it also removes

the complexity of handling and manipulating the instrument
itself.
2. The mouthpiece is diagnostic. The mouthpiece presents the
purest presentation of the tone that is being created by the
buzzing of the lips. By removing the rest of the instrument that
serves to clarify brass tone, you can diagnose tone quality and
consistency issues much more readily.
3. The mouthpiece is task-independent. Mouthpiece exercises
are removed from literature being studied, thereby giving
more focus to fundamentals of good performance.
4. The mouthpiece is portable. By developing a range of exercises
for the mouthpiece, brass players can more easily prepare
themselves for performance through fundamentals of good
warm up and warm down. It is quiet enough to be played in a
hotel room, small enough to be pulled out in a car commute,
and quick enough to allow for first thing in the morning warm

up and end of day warm down.
First Sounds on the Mouthpiece
To set the embouchure for the initial sound, follow the

following steps:
1. Say the syllable, “Hmmmmpf,” starting with the

mouth open and closing the lips just to the point of
having them touch.
2. With the shank held between the thumb and first
finger, set the mouthpiece gently on the lips.
3. Relax the corners of the mouth to breath in with a
full breath. (For the first time, students can breathe
through their nose to make sure that the
embouchure does not shift, but this should not be
made a habit as it fails to fully fill the lungs.)
4. While articulating “Pffff” or thinking about spitting
peas, blow steady, full air through the aperture of the
lips.


Common Issues with Mouthpiece Placement
and Buzzing
• Misplaced mouthpiece position—The mouthpiece

should gently rest on the center of the embouchure.
If the mouthpiece is not centered or if it is pushed
heavily into the lips, a buzz may not freely occur with
air leaking around the edges of the embouchure.
• Over-engagement of the center of the
embouchure—Most of the control for brass playing
takes place from the corners of the mouth. Students
will tend to pucker or pinch the center of their
embouchure, making it so that air cannot move freely
through the embouchure. An effective way to address
this is to have students envision a balloon. When the
corners of the balloon are pulled, the balloon squeals.
If the same balloon was pinched in the middle, it
would produce no sound. Students can place one
finger on each corner of the mouth and practice
pulling the embouchure from the corners of the
mouth while keeping the center soft and fleshy.


• Weak control of the embouchure—Students will

often buff their cheeks or have no control of their
embouchure, leading to air leaking around the
mouthpiece. Reinforce the same balloon exercise
listed above to encourage control from the corners of
the mouth.
• Lack of air support—Students tend to
underestimate how much air is required for effective
tone control. If they breathe as they do normally,
their sound will be very weak and inconsistent. This is
particularly true for students on low brass
instruments. Exercises such as “Paper Airplane” and
“Santa” will help to develop the required air support.
Mouthpiece technique
The mouthpiece can be used for several different purposes as a

pedagogical tool. Since the mouthpiece lacks the body of the brass
instrument to refine the tone quality, it is very sensitive to small
differences in embouchure, air, and technique. Because of this
sensitivity, the mouthpiece allows the student to hear the impact
of small changes and develop greater awareness of both audio and
kinesthetic feedback. The following is a suggested sequence of
activities that build embouchure strength and flexibility.

Mouthpiece Exercises
For all brass players and particularly beginner students, it

is critically important that there is as much time off the
face as there is playing. Mouthpiece work for brass players
can be viewed in a similar way to weight training for
athletes; it simultaneously builds strength and endurance.
And just like weight training, too much-too fast can cause
excessive fatigue, development of bad habits, or injury. This
sequence can be used as a regular part of the warm up
cycle for musicians at all levels.
4 on, 4 off-On a comfortable pitch, sustain a mouthpiece

buzz for 4 counts and rest for 4 counts. Continue to repeat
this activity through multiple cycles. When playing long
tones, the student should pay attention to consistency of
both pitch and tone with a full-bodied buzz at all times.
Additionally, attention should be given to clean attacks and
releases (especially once articulation is taught).


Long tone-Similar to 4 on, 4 off, students will sustain a
single comfortable pitch on the mouthpiece. The goal with
long tones is to extend the duration of the sustain at a soft
dynamic. This exercise promotes muscle and air control
and endurance. After each long tone, the student should
take the mouthpiece off the face to rest for the same
amount of time that the mouthpiece was on this face.
Similar to 4 on, 4 off, attention should be given to
consistency of pitch and tone with a vivacious buzz at all
times.
Mouthpiece Sirens-As air is blown more quickly, the

corners of the embouchure naturally firm up, pulling the
center of the embouchure tighter. When performing sirens,
the student should start at a low note and use gradually
faster air to allow the pitch to glissando up. They should
then slow down the air, causing the pitch to drop back to
the start pitch. The focus in this activity is on pitch control
and maintain a full bodied buzz at all times. The center of
the embouchure should remain soft and fleshy, and the
aperture should remain the same size, allowing air to
change the pitch.


Melody playing-Since the mouthpiece is a fully
chromatic brass instrument, all pitches can be played on it.
Students should select simple melodies of limited range to
play on the mouthpiece. Initially, the melodies should be
made of up of steps and slow rhythms to facilitate easier
technical execution, but gradually can become more
complex. This activity also makes a great group exercise as
students then need to match pitch and timbre with other
students. Attention should be given to making sure that the
pitches are immediately centered and that tone is
consistent and full voiced.
Common Issues with Tone Production on the

Mouthpiece
Inconsistent pitch and/or tone-Instability in pitch or

tone is typically caused by one of two issues. First, the
embouchure can lack stability. Watch for frequent
movement in the lower jaw or constant fidgeting with the
embouchure. This is particularly the case early in sustained
playing as students try to make the mouthpiece “fit” right
on their embouchure. Second, air support can be

inconsistent. Students can play with huffs of air rather than
a steady air stream or squirm while they play causing the
air flow from lungs to the embouchure to be inconsistent.
Long tones are important exercises for these students with
a focus on maintaining steady pitch and tone. Watching
themselves in a mirror can help as well as they can visually
see additional movement that may inhibit smooth sound.

Weak buzz (or no buzz)-The sound when buzzing on the

mouthpiece should be a rich sound full of many overtones.
When playing with under-supported air, the mouthpiece
will sound, but the buzz will be fuzzy and lack richness.
This is caused by only one lip vibrating or a very weak
vibration from both lips. This can also occur if students
heavily press the mouthpiece into one lip (typically the
bottom lip), causing only one lip to fully buzz. Breathing
exercises are critical for this student (especially “Sizzle” and
“Santa”) to ensure that they have enough air on their exhale
to support a full sound. Limiting pressure and keeping a
soft fleshy cushion in the middle the of the embouchure
also helps to allow the air to interact with the lips.

Leaking air-Many students will experience air leaking

around the sides of the mouthpiece. This can be indicative
of either overly relaxed corners or pinching in the middle of
the embouchure (or often times both). “Sirens” are a good
exercise for developing corner strength while paying
attention to keeping the center of the lips soft and
cushioned.

Experimentation with the Mouthpiece
This section is derived from the work of Laura Hicken at Towson

University.

For students first learning how to play brass instruments,
establishing clear understanding of how the instrument produces
sound in relationship to embouchure and air manipulation can be
difficult. The concept of correctness can also create issues, as
students can inherently feel that making mistakes is not
permissible.
By bringing intentional experimentation into the beginning
lesson, students can experience the ways that they can alter tone
and pitch while also establishing what relaxed embouchure and
open breath support feels like. When doing experimentation,
students can take themselves to extremes that help them become
more aware of how tension and lack of control feel, thereby better
enabling them to develop habits for healthy playing and proper
tone. It also develops kinesthetic awareness as they play that will be
used as they mature as players to control pitch and timbre.
While these activities can be done on the full instruments, the
differences in tone and pitch production are more apparent on the
mouthpiece alone.

Variable How to Manipulate Effect on Tone/Pitch
Vertical Mouthpiece Move up or down Changes the clarity of

Placement millimeters at a time the buzz/tone
Horizontal Mouthpiece Move left or right Changes the clarity of

Placement millimeters at a time the buzz/tone
Angle the shank of the

mouthpiece (not your Changes the clarity of
Mouthpiece Angle
head) up or down the buzz/tone
millimeters at a time
Changes the clarity of

the buzz/tone
Using your lips, angle Can change the pitch

Air Direction
the air up or down (Angling air DOWN
makes pitch go up.
Angling air UP makes
pitch go up)

the buzz/tone
Can change the tone

itself (too much fast
air=blasty/harsh
Speed your air stream
sounds; too little
Air Speed up (cold air) or slow it
air=weak/airy sounds)
down (warm air)
Can change the
pitch (Speeding air up
makes the pitch go
up/Slowing the air
down makes the pitch
go down)

the buzz/tone
Tense or loosen the
corners of your lips
Firmness of Corners of Can change the pitch
(Reminder that the
the Lips (Firmer corners make
center of your lips still
the pitch go up.
need to vibrate)
Looser corners are the
pitch go down)
Make your lips

thinner/flatter (by
pulling them toward Changes the clarity of
Lip Firmness
your teeth) or fuller/ the buzz/tone
puffier (by pushing
your corners forward)

the buzz/tone
Make the hole
Can change the pitch
Aperture Size between your lips
(Smaller aperture
bigger or smaller
makes the pitch go up.
Bigger aperture makes
the pitch go down.)

the buzz/tone
Open or close your Can change the pitch

Jaw/Teeth Openness teeth millimeters at a (Closer teeth/Closed
time jaw makes the pitch go
up. Open teeth/Open
jaw makes the pitch go
down)

the buzz/tone
Raise (like you’re
saying “eeee”) or lower Can change the pitch
Tongue Position (like you’re saying (Higher tongue
“oooo”) the back of position makes the
your tongue pitch go up. Lower
tongue position makes
the pitch go down.)

4. Brass Acoustics
Brass instruments are all built on a shared set of acoustical
principles. These principles make it that concepts learned on one
instrument transfer to all other brass instruments. If you can
develop your familiarity with these underlying principles, your
movement between instruments as a performer and a teacher will
be greatly simplified.
Overtone series
All musical sounds make use of a fixed overtone series which is

dictated by physics. These overtones become apparent on non-
brass instruments as well in particular situations, such as the
altissimo register on single reed instruments and harmonics on
strings. The particular combination of overtones with varying
degrees of prominence is also what gives each instrument its unique
timbre. A great illustration of these overtones can be heard if you
play a note on any instrument directly into an undampered grand
piano. The strings of the piano will sympathetically resonate the
present overtones, creating a harmonic echo of the instrument that
was played.
For all musical sounds, the overtone series is fixed based on sound
wave ratios. Every time the length of a sound wave is cut in half, our
ear perceives the difference of an octave between any two pitches.
So to use a commonly referenced pitch, A440 is the A above middle
C (aka a4). A220 is one octave lower, the A below middle C (aka a3).
A880 is the A above the treble clef staff (aka a5). Similar ratios exist
for every harmonic interval. A quick Google search for “Harmonic
Series Ratios” will give you a much more scientific and detailed
explanation than will be provided here for the curious!
70 | Brass Acoustics
So what does this mean for brass instruments? As you have
already noticed, there are only 3 valves on most brass instruments
(or seven slide positions for the trombone). There are obviously well
more than seven notes that can be played on a brass instrument,
and this is done through the manipulation of the overtone series.
On any fingering combination, a sequence of partials can be
played. Partials are the presentation of the various overtones as
the primary overtone on a brass instrument. You may also hear
brass players refer to shelves, which is a slang reference to brass
partials. Each brass instrument has a fundamental pitch, which is
the hypothetically lowest note in open fingering (or first position
for trombone), as shown in the chart below. For some brass
instruments, particularly the trumpet, this pitch is not usable due
to the acoustical construction of the instrument which distorts the
timbre in that register. With that said, this fundamental is regularly
used in advance literature for various instruments including horn,
bass trombone, and tuba.
Brass Instrument Fundamentals

Notes in parentheses are functionally unusable due to
tone or intonation
Above that fundamental, open fingers follow the same pattern.
Brass Acoustics | 71
Change from Change from
Partial
previous partial fundamental
Fundamental
1st partial Perfect 8 1 Octave
1 Octave + Perfect
2nd partial Perfect 5
5
3rd partial Perfect 4 2 octaves
4th partial Major 3 2 octaves + Major 3
2 octaves + Perfect
5th partial minor 3
5
2 octaves + flat
6th partial flat minor 3
minor 7
7th partial sharp Major 2 3 octaves
Hypothetically, this pattern continues infinitely with increasingly

smaller intervals between notes. For musicians that perform
advanced literature that continues into that upper register,
individuals will frequently identify the easiest fingering
combinations and partials to use for various notes. Historically,
there was also literature written that utilized this extreme upper
register, such as diatonic trumpet music of the Baroque period.
As shown in the chart below which presents the most common
brass instruments, once the fundamental pitch is established, it
becomes easy to identify the various partials using the series of
intervals. Each partial also has characteristic tuning problems.
Octaves of the fundamental are always in tune, but the other partials
need to be adjusted through the embouchure to ensure that they
are played in tune. Notably, the 6th partial is so flat that it is
functionally unusable.
Partial Intonation tendency
Fundamental in tune
1st partial in tune
2nd partial 2 cents sharp
3rd partial in tune
4th partial 14 cents flat
5th partial 2 cents sharp
6th partial 31 cents flat (functionally unusable)
7th partial in tune

Valve acoustics
The valves on all brass instruments are developed the same way,
allowing for the transfer of fingering concepts across brass
instruments. The role of each valve stays the same between brass
instruments, and the same sequence of combinations is used as it
relates to the partials. Once you learn valve sequences on one brass
instrument, you can transfer those ideas across instruments.
Whether a valve, a rotor, or a slide, the underlying function
remains the same. When the valve or rotor is depressed or the slide
is moved out, additional tubing is added to the instrument by the
additional channels that are opened in the valve or rotor. By adding
additional tubing, the pitch on the instrument moves flat.
When pressed down, valves and rotors open additional

tubing for air to move through, thereby making the
pitch flat.
All brass instruments aside for trombone have three valves or

rotors, and many are augmented with 4th valves (and in the case of
tuba, occasionally 5th and 6th rotors). Valves, rotors, and trombone
slides are mechanically different, but their function is the same:
to open up additional tubing for air to move through. By adding
tubing to the brass instrument, the instrument becomes longer,
which results in a lowered pitch. The role of each valve/rotor is as
follows:
1st valve-lowers Major 2nd
2nd valve-lowers minor 2nd
3rd valve-lowers minor 3rd
4th valve-lowers perfect 4th (found on piccolo trumpet, higher
quality euphonium, and many tubas)
5th valve-lowers flat Major 2nd (found on advanced tubas in some
keys)
6th valve-lowers flat minor 2nd (found on advanced tubas in some
keys)
The horn additionally has a unique system that creates two
instruments in one. The so called “trigger” on double horns opens a
second set of tubing that is pitched a perfect fourth higher from F
to Bb which provides a different set of fingering combinations and
allow for greater ease in certain registers.
When learning valve combinations, the same sequences are used
to produce chromatic notes as they relate to the fundamental.
Because the partials on brass instruments become closer together
the higher the register is, many pitches have multiple fingerings
that can be functionally used. In general, the preferred fingering is
the one positioned higher up on the chart below, as the intonation
issues become more pronounced lower down on the chart. The
other available fingerings become alternates that can be used in
rare occasions such as trills, complicated technical passages, and
corrections to particularly out of tune upper partials. You will notice
that the 1st and 2nd valves on their own are naturally slightly flat
and the 3rd valve is unusably flat. This is to accommodate fingering
combinations with them that become sharper.
Chromatic
Valve Intonation
change
combination tendency
down
Unaltered
0 (no valves) In tune
partial
2 minor 2nd 5 cents flat
1 Major 2nd 5 cents flat
1-2 minor 3rd 1 cent sharp
minor 3r d
(3) 21 cents flat
(unusable)
2-3 Major 3rd 8 cents flat
1-3 Perfect 4th 7 cents sharp
Augmented 28 cents
1-2-3
4th sharp
Different fingerings or other techniques are used to allow for the

correction of the innate intonation problems of various fingerings,
which will be discussed in the chapters on individual instruments.
Pertinent at the moment, the 4th valve found on many euphoniums,
tubas, and specialty trumpets serves a specific purpose as a more in
tune alternate to 1-3 combinations. 4 can be used in place of 1-3 to
play a perfect 4th and 2-4 in place of 1-2-3. It also allows the player
to close the gap created between the fundamental and first partial,
functionally extending the range of low brass instruments.
Conical versus Cylindrical Construction
The acoustic design of brass instruments affects their overall timbre
as well as aspects of individual instruments’ technical performance.
The primary distinction deals with the construction of bore
(diameter) of the tubing which come in two variations:
Conical bore
The bore gradually increased in diameter from the
mouthpiece through the bell flare. The resultant timbre
is typically warmer and less direct. A conical bore
instrument will require more air than a similarly sized
cylindrical bore instrument but will typically have a
smaller mouthpiece that is more responsive to pitch
adjustment.
Cylindrical bore
The bore stays the same from the mouthpiece to the
flare of the bell. The timbre tends to be very direct and
bright. The mouthpiece will be wider than a similar
conical instrument but will be more temperamental to
embouchure changes in regard to timbre.
Conical instruments have a continuous taper from the mouthpiece to the bell.
Cylindrical instruments maintain tubing bore diameter from the mouthpiece
to the bell flare.
While there are no standard brass instruments that are purely

cylindrical or conical, brass instruments are typically grouped
around these tendencies. Instruments with cylindrical tendencies
include trumpet, trombone, baritone, and sousaphone. Instruments
with conical tendencies are horn, euphonium, tuba, cornet, and
flugelhorn.
Familiarity with these characteristics can help teachers
understand issues that students encounter. Beginner students on
conical instruments need to focus on rich tone development and
may have issues centering pitch. These instruments also require
more air than similarly sized cylindrical instruments, requiring a
more relaxed embouchure that allows for free buzzing. Depending
on construction, valve/rotor slides may not be reversible, so
students should take care to place slides back into the instrument
with correctly matched tubing bores.
Beginner students on cylindrical instruments will find that fatigue
sets in more quickly and need to be aware of the potentially strident
tone that they often create. Their embouchure needs to be more
focused and firm than students on similarly sized conical
instruments as well.
Transposition and Notation
Similar to clarinets and saxophones, brass instruments are pitched

in different keys. The pitching of brass instruments refers
specifically to the position of the fundamental pitch of the
instrument. Instrument names refer to the concert pitch which
sounds when playing the lowest fundamental partial. This system
dates back to when brass instruments were without valves, rotors,
slides, or keys to allow for chromatic performance. As pieces were
written in different keys, crooks needed to be added to the
instruments to allow them to play the most typical notes in each
key. As chromatic additions were made to brass instruments,
various keys became preferred for each instrument. Common keys
for each instrument are listed below.
Most
Additional
Instrument common
keys
key(s)
Bb, C
Trumpet Eb, D
(orchestral)
Horn F Eb, Bb
Trombone Bb
Euphonium Bb
BBb, CC
Tuba Eb, F
(orchestral)
Brass Notation
The notation of brass instruments is not consistent in how it

addresses keyed instruments. Treble and bass clef notations differ.
Treble Clef Instruments
Trumpet and horn parts are typically written to reflect instrument

pitch, as opposed to concert pitch. This allows for transferability
across different keyed instruments. On these instruments, the pitch
C represents the instrument’s fundamental, regardless of concert
pitch. So, on a Bb trumpet, the written C is concert Bb. Similarly, on
an F horn, the written C is a concert F.
The general rule of thumb for transposing instruments is that the
written pitch is written higher than the concert pitch. so for the Bb
trumpet, the transposition from concert pitch to written pitch is a
Major 2nd up. For the F horn, the transposition from concert pitch
to written pitch is a Perfect 5th up.
The benefit of this system of notation is that students can easily
move between instruments that are pitched differently. A trumpet
player will play a written F with the first valve regardless of whether
they play on a Bb, C, or Eb trumpet (provided the part is written
for that instrument). The disadvantage is that the player must know
what their written pitch transposes to in concert pitch to
communicate with other musicians.
Bass Clef Instruments
Bass clef brass parts are typically written to reflect concert pitch,
regardless of the key of the instrument on which the part is being
played. The Bb that is written for a trombone, euphonium, or tuba is
a concert Bb. If the musician is playing on an instrument that is not
pitched in Bb (for example, a CC tuba), the fingering combinations
change, forcing them to transpose the part to perform it.
The benefit of this system is that bass clef musicians speak the
same key language as the rest of the ensemble. An F on the
trombone is the same as the F on the piano. The disadvantage is
for musicians when they become more advanced and move between
instruments that are pitched in different keys. They must make sure
to be aware of the key of their instrument, and properly transpose
fingerings to match the transposition.
Euphonium BC/TC
The euphonium (or baritone) pose a unique challenge, in that parts

for bands are often written for both bass clef (BC) and treble clef
(TC). The parts are typically identical in performance, but are
notated differently. Euphonium TC follows the tradition of notating
C as the fundamental, making it a transposing instrument.
Euphonium BC is notated in concert pitch. So while the sound
created would be the same, Euphonium TC would have a C notated
at the same time as Euphonium BC would have a Bb notated,
matching concert pitch. This notational practice is due to the
frequency of having trumpet players switch to euphonium or
baritone. The notation of Euphonium TC parts eliminated the
student’s need to relearn fingerings and clef in the transition to a
new instrument.
5. Tone Production
Fundamentals on Brass
Instruments
While further instrument specific techniques will be discussed in
later chapters, many of the critical types of exercises for tone
production are transferable across all brass instruments. It is
important that students remain attentive to their progress
throughout these exercises, so that they serve the function of
developing technical competency. They should know both how to
properly execute the exercise and what they are listening for as they
complete them.
Consistency
Mouthpiece exercises are the starting point for tone consistency, as

the mouthpiece provides a great diagnostic tool for small changes
in consistency. In addition to continuing to work on mouthpiece
exercises, brass players of all levels regularly use the following sorts
of exercises.
When playing lip slur exercises, trumpet and horn can use “short
instruments” by removing the tuning slide. By playing just on the
lead pipe, tension is reduced and the clarity of the buzz can be more
clearly heard.
Tone Production Fundamentals on Brass Instruments | 83

Consistency Exercises
Long Tones-Similar to long tone studies on the

mouthpiece, long tone studies on the instrument are highly
effective for developing consistency and embouchure
muscle tone. When on the instrument, students should
start on an open fingering of a lower partial that is
comfortable. Long tones should be played for a pre-decided
number of counts (start at 8 counts, and gradually add 4
counts based on proficiency), and make sure to play at a
soft dynamic with a consistent tone without interruption.
After each long tone, take the instrument away from the
embouchure, allowing for as much time off the face as on
the face. Play one chromatic step lower using the same
number of counts and technique.

84 | Tone Production Fundamentals on Brass Instruments

Broken Remington/Reverse Broken Remington–The
Remington study is a variation on the long tone study. For
beginner students, it is suggested to focus on one pitch
change at a time, inserting a rest between changes. This
exercise can be played starting on any partial, though the
ones on which it is written are suggested for beginners.
When playing the Broken Remington, students should focus
on tone consistency and pitch centering. This exercise can
also be used as an intonation study once students’
embouchures are thoroughly developed. For students who
have not yet developed the embouchure strength for
playing in multiple partials, the Reverse Remington is a
good starting point. Students should only ascend as far as
they can with an open relaxed sound. It is fine if beginner
students only play the first few measures of this exercise.

Remington/Reverse Remington-Once embouchure

strength has developed, the rests can be removed from the
two Remington exercises. Again, the focus should be on
two factors: tone consistency and pitch centering. If the
pitch or tone become unstable, the student should stop,

pause, and restart from the beginning as pitches become
more difficult to center as the pitch interval becomes
larger.
Lip slurs
Lip slurs are unarticulated movements between partials without

altering fingerings. To move between partials, brass musicians use
more focused air, resulting in a faster buzz of the lips. There are
many ways to visualize this change.
• Vowel change—Lower notes use a more relaxed, open vowel,

such as “Ohhh”. To move up a partial, this vowel changes to
“Ahhhh” or “Eeeeee.” The result is a smaller oral cavity with an
embouchure that pulls more from the corners of the mouth.
• Air direction—Thinking about air direction is another way to
make the change that results in partial change. Higher partials
need more forward moving air. This results in a more directed
air stream and a smaller aperture.
• Air speed—Faster air produces a faster buzz, resulting in a
higher partial. Focusing on air stream narrows the air passages
from lungs through the embouchure, allowing the same
amount of air to move more quickly.
Regardless of the visualization, it is important that a few

fundamentals remain in place:

• The cushion for the mouthpiece in the center of
the embouchure remains soft and fleshy
• The body remains relaxed throughout the torso,
arms, neck, and embouchure
• Pressure from the mouthpiece on the
embouchure is limited
• Air is allowed to dictate the change in partial,
not tension
An important note is that brass embouchure development is

gradual, and unlike other band and orchestra instruments, initial
progress is very slow. While woodwind and string players are
typically able to play an octave of pitches in their first few days,
many brass students will take a month or more to competently
move between shelves. This is normal, and students should be
encouraged to work on other concepts of articulation and creativity
while developing strength in their embouchure to allow for an
expanded register.
Lip Slur Exercises
Mouthpiece Sirens (from chapter 3) are a great way to

develop the flexibility for pitch change between partials as
they rely on more focused air and provide immediate

feedback to the effectiveness of the change. Each of the
exercises below can also be performed on the mouthpiece
to facilitate greater flexibility and allow for diagnosis of
problems such as tension or thin tone.

Lip Slur 1 2 3-These three lip slur exercises become

gradually more advanced, but are built on the same basic
concept. Students move between adjacent partials by
altering the focus of their air. When ascending, students
should focus on using air and monitoring their embouchure
and posture to ensure that they are not introducing
additional pressure or tension. On descending intervals,
students should focus on maintaining a consistent tone as
tone will frequently become less full as the embouchure
becomes less focused. Lip Slur Exercise #1 should be able
to be played without any issues of tension or tone before
moving on to Lip Slur Exercise #2. The same is true when
moving from Exercise #2 to #3. Students should be
encouraged to make up their own exercise patterns as a
way to maintain variety.

Chromatic exercises-Many beginning players will find

difficulty in ascending between partials. Chromatic practice
can help, as it harnesses the chromatic characteristics of
the mouthpiece allowing for more gradual adjustment.
Starting on the open lower partial, students should ascend
chromatically using proper fingerings using long tones.
Advancement from one chromatic pitch to the next should
not happen unless the student can play the chromatic pitch
with good tone without tension.
Common Issues for Lip Slurs
Excessive pressure-Beginning brass players quickly

discover that they can alter partials by applying pressure to
the mouthpiece. For trumpet players especially, the pinky
ring is used as “the octave key” by pushing into the face.

Tell tale signs of excessive pressure are lingering pressure
rings on the embouchure and thin tone. Students should be
encouraged to set, not force, the mouthpiece into the
embouchure. Returning to mouthpiece exercises can also
help make excessive pressure more apparent. Make sure
the student is lightly holding the mouthpiece between the
first finger and thumb to avoid applying pressure.
Changing tone quality-As shelves change, beginning

students often fail to adjust their air support to
accommodate the changing oral cavity, resulting in
fluctuations of tone quality. Importantly, students should
not advance on to higher partials until they have been able
to alternate between lower partials with good tone. Rushing
to play high notes is common, and can result in the
development of bad habits involving excessive pressure, lip
pinching, and poor air support. If students are struggling to
ascend between two specific partials, they should do long
tones starting on the highest well played partial advancing
chromatically higher. Students should not pass a chromatic
tone until they can play it with good tone and technique.
Always emphasize tone controlled by less tension and more
air.
If students are struggling with good tone quality when

descending through lower partials, they are probably losing
embouchure focus. While it is important to encourage
students not to pinch their embouchure, they do need to
maintain firmness, particularly in the corners of the mouth,
as they descend. Frequently, students will over-relax their
embouchure as the oral cavity becomes larger, particularly
on low brass instrument, resulting in an unfocused tone. Air
support can also become an issue in lower registers, so

breathing exercises to increase capacity can help. Similar to
upper register development, lower register should be
developed through chromatic descending long tones,
stopping on notes that lack good tone focus.
Dexterity
Finger dexterity is not a major concern with beginning players, as

they are working on developing embouchure strength and control.
With that said, dexterity exercises, coupled with melodic pieces
with limited range, can give beginning players a sense of mastery
that can often times be limited. As students become more advanced,
dexterity becomes a greater concern, particularly related to full
exchanges of valves where all fingers switch position (e.g. 1 to 2-3 or
2 to 1-3).
When practicing dexterity exercises, students should pay close
attention to precision and play no faster than they can accurately.
Additionally, students should be reminded that finger (or slide)
movement is always quick, regardless of the tempo of the music.
Brass players have a tendency to slow down their fingers as the
music becomes slower, which results in smears or muted tones.
Care should also be taken to pay attention to and adjust for
intonation inconsistencies that occur when using fingerings that
are more characteristically out of tune, specifically 2-3, 1-3, 1-2-3.
Great examples of dexterity exercises can be found in several books,
notably the Arban and Clarke studies.

Dexterity Exercises
Dexterity Exercise #1 –This is an adaptation from

Clarke’s Second Study to make it more accessible for
beginners. As with all dexterity exercises, this should be
played no faster than the student can play with accuracy at
its most difficult part. Each key should be played separately,
allowing for a break between keys. Common keys are
shown here, but once students are familiar with these keys,
they can move on to less common keys. In particular, pay
attention to intonation tendencies.
Dexterity Exercise #2-This exercise challenges the

students based on chromatic tendencies within a narrow
register. Each key should be played as a separate exercise,
allowing for space between notes. Students should start
this exercise in the key which most closely matches their
best register with an emphasis on maintaining a relaxed
embouchure on ascending lines and good tone on
descending lines. This is a particularly effective exercise for
students who are having issues with partial shifting. The
third and fourth measures in each key can be played in
isolation to help students build embouchure strength and
control for partial movement.

Common Issues with Dexterity
Stiff/Angular Hands/Wrists-Beginning players will

often flatten their fingers or collapse their wrists as they
play, creating stiff, inflexible joints that hinder good
performance. Students should be reminded to play with the
tips of their fingers on the valves or slide with a continuous
curve extending from the lower arm through the wrist and
into the fingers. While sharp angles will not inhibit
dexterity at beginning levels, it will become an increasing
problem as students progress forward.

Complete Exchanges-Complete exchanges are fingerings
that involve movement from all the fingers, for example 1 to
2-3 or 2 to 1-3. Beginning brass players often struggle with
these complete exchanged by either having the fingers not
move in time simultaneously or creating excessive
movement when doing these exchanges. They should be
practiced in isolation, with an emphasis on continuous tone
without lack of clarity.
Slow fingers-Younger brass players will often have their

fingers match the tempo of the music. When music is fast,
their fingers exchange quickly. When it is slow, they slow
down the speed of their fingers. This slow movement
creates smears between notes as the valves are only partly

depressed. When doing dexterity exercises, students
should remain focused on quick finger exchanges,
regardless of tempo.
Creativity
Creative activities are important for all beginning musicians.

Students who are early adolescents arrive in our classrooms seeing
themselves as creative beings. If beginning instruction on
instruments focuses on playing the right notes the right way, they
can quickly stop seeing themselves as creatively competent, which
becomes an issue when we ask them to interpret, improvise, or
compose music.
Particularly for beginning brass musicians, students can quickly
become frustrated in their slow growth, especially if there are a
small number of students who develop mastery of partial movement
quickly. Creative activities that involve short improvisation and
aural imitation can keep students engaged and allow them to see
that they are creative beings.

Creativity Exercises
Three note jam-Ask students to identify three notes that

they feel confident playing. Have each student play a short
melody on those three notes. You can also assign additional
criteria (e.g. specific length, specific rhythm, etc) as
students become familiar with this exercise.
Call-and-response-As the teacher, play a four count

“call.” Have each student respond back to the call with an
imitative response utilizing similar notes, rhythms,
structure, etc. This can also be done with students creating
the calls for one another. As the students become
comfortable with this activity, you can extend the duration
of each part or apply additional criteria. For the reluctant
student, keep the call simple, such as a quarter note scale
or rhythmic pattern on a single note. For the more
adventurous student, challenge them with longer or more
complex patterns to imitate.
Show-and-Tell-Have students compose a short melody

with specific criteria (e.g. utilizing newly learned notes,
applying a specific rhythmic pattern). At the beginning of
class, have each student show-and-tell their composition
for one another. This can be extended by having students
teach one another their melodies.
Drone-Drone activities can be a great way to allow for

low risk creativity as all other students are actively playing

while individuals create their new parts. Establish a drone
within the ensemble by splitting the group into two parts.
Perfect intervals work well, but you can certainly use more
dissonant intervals for variety. Each individual student is
then responsible for playing over the drone. Instructions
should be given to ensure that the drone is kept quiet
enough for the soloist to be heard. The drone can serve as a
low tone study for those on in the ensemble and a
projection study for the soloist as they learn to play fully
over the rest of the group.
Warming Up
While important for all musicians, warm ups are critical for brass
players. Without a quality warm up, students will experience fatigue
at best and physical injury at worst. While the specific activities in a
quality warm up can vary, the following elements should be included
in each warm up session. Activities that have been listed so far in
this text are good warm up exercises for beginning brass players.
Warm Up Sequence
• Mouthpiece buzzing

◦ Long tones
◦ Sirens
• Chromatic long tones

• Lip slurs
• Chromatic and diatonic dexterity exercises


6. Pitch and Intonation
As you have certainly noticed, pitch on brass instruments is
primarily controlled by the embouchure. The valves, rotors, or slides
serve to alter that fundamental pitch, but in the end, embouchure
adjustment controls pitch at the macro level when moving between
shelves and the micro level when adjusting intonation. While each
instrument has unique ways to deal with intonation (e.g. the
trombone slide, adjustable valve slides on trumpet, 4th valves on
euphonium and tuba, right hand in the bell of the horn), the
embouchure serves as the primary method of intonation
adjustment.
Relationship between Pitch and Tone
One of the challenges of adjusting pitch on brass instruments is that

when adjusting pitch, the tone also changes. Brass players refer to
the center of a pitch, which is the point at which the embouchure
is buzzing at the exact same pitch as the instrument is playing. This
creates the fullest tone, and serves as the target for each pitch.
The embouchure can be adjusted to address intonation issues due
to tendencies of partials or fingering combinations. By firming up
the embouchure and making the oral cavity smaller, the pitch will
move sharp. By relaxing the embouchure and opening up the oral
cavity, the pitch will move flat.
Unfortunately, by adjusting the embouchure, the brass player also
alters the tone quality of their instrument. By tightening the
embouchure and jaw, the pitch goes bright and loses the richness
of its overtones. By relaxing the embouchure and jaw, the tone
becomes under-supported and unfocused. Increasing the amount
of air can counteract many of these tendencies, but the more
Pitch and Intonation | 99

dramatically the player needs to adjust the embouchure for pitch,
the more apparent the tone problems.
Embouchure change for tone and pitch are integrally related to one another. A
change in embouchure for one impacts the other.
Adjusting Intonation
Due to the relationship between pitch and tone, it is important

that brass instruments are regularly adjusted by their main tuning
slide to be in tune. Due to the pitch tendencies of various partials,
brass instruments tune best to octaves of their fundamental pitch,
typically at the third partial. For some young players, this may be
too high to play without placing extra stress on the embouchure in
which case the perfect fifth at the second partial can be used. On
horn, the Bb side of the horn should be tuned first and then the F
side.
When initially tuning brass instruments, the instrument should be tuned to

the most comfortable octave of the fundamental to set up the instrument for
more successful intonation adjustment. Notes in parentheses can be used as
secondary tuning notes or as substitutes for students with limited range.
100 | Pitch and Intonation

In addition to daily tuning of the main tuning slides, valve/rotor
slides on horn, euphonium, and tuba should be tuned to
accommodate for intonation inconsistencies on an occasional basis,
especially if weather or circumstances significantly change. While
more advanced players may do adjustment based on specific
musical demands of literature to be played, in general the first
valve should be tuned to a major second below the fundamental
noted above and the second valve to a minor second below the
fundamental above. The third valve/rotor slide should be tuned
using the 2-3 fingering a Major 3rd below the noted fundamental.
For instruments with a 4th valve, tune the slide a perfect fourth
below the optional note as this will be the most frequent application
of the 4th valve.
Horn Euphonium/
Valve Tuning Tuba Tuning
Pitch Pitch
Bb (on
F side)
1 Ab
Eb (on
Bb side)
B (on F
side)
2 A
E (on
Bb side)
Ab (on
3 (using
F side)
2-3 Gb
Db (on
fingering)
Bb side)
4 N/A C
Once the instrument is “in tune,” it is important to remind students

that all the notes will not be in tune (see the Acoustics chapter
for details). With all beginning instrumentalists, a common myth
is assumed of “I tuned, therefore, my instrument is in tune.” They
still need to be prepared to listen and adjust pitch, either by
manipulating the instrument or adjusting the embouchure.

Explicitly teaching the tendencies of each valve combination and
partial will assist in making these adjustments.
When there is a way to adjust pitch mechanically, this should
be done first as it also adjusts where the instrument’s tone will be
centered. These options include the following:
• Trumpet–Adjusting the 1st or 3rd slides, particularly for a5, d4,

and c#4
• Horn–Adjusting the hand in the bell to further open or close
the bell flare
• Trombone–Adjusting the hand slide (As this works on every
pitch, trombonists seldom adjust pitch with the embouchure)
• Euphonium/Tuba–Using the 4th valve as a substitute for 1-3
and physically adjusting the main tuning slide while playing (for
more advanced players)
If there is not a way to physically adjust the instrument, the

embouchure should be used to lower or raise the pitch by relaxing
or firming the corners and opening or closing the oral cavity by
changing vowel shape. The process is similar to adjusting pitch
between shelves. By changing mouth shape and tongue placement
from ahhh to ohhh, the pitch will become flat. By changing the
mouth shape and tongue placement from ahhh to eeee, the pitch
will move sharp. With any changes from centered tone, more air is
needed to ensure that the quality of tone remains the same when
altering pitch.
102 | Pitch and Intonation

Exercises for Intonation Awareness and
Adjustment
Mouthpiece Sirens–As opposed to their use when first

learning how to play brass instruments, mouthpiece sirens
can be used by established brass musicians to focus interval
control. Students should start on a specific pitch and
intentionally adjust both above and below that pitch by a
specific interval. This can build awareness of embouchure
adjustment for different spaced intervals.
Lip Bends–Starting on a comfortable pitch, students

should play the pitch and then relax the embouchure to
bend the note flat and then return to the original note. The
goal is to have pitch change with as little tone change as
possible. With practice, they should be able to control the
interval. Initially, students will only be able to bend pitches
flat by a minor second, but with time, they should be able
to bend pitches by a third or more. VIDEO
Remington Exercises–With a tuner in hand, students

should play through both descending and
ascending Remington exercises. For each pitch, students
should make sure that the pitch is in tune and that the tone
is centered. If individual intervals pose a problem, they
should stop on that note and isolate it, ensuring that it is
accurately played in tune and in tone.

7. Articulation on Brass
Instruments
Articulation on wind instruments refers to the use of the tongue
to start and occasionally stop the airstream. Typically, brass players
use dental stops, which places the tongue against the base of the
upper palate at the top of the teeth. They typically use the syllable tu
or du to articulate a note.
In a few specialized techniques, specifically double tonguing, a
glottal stop is used. For glottal stops, the tongue rocks back in
the mouth to meet the soft palate at the top of the throat. The
syllable gu or ku are used to articulate these techniques.
Tongue placement for most articulations occur against the base of the upper
palate at the top of the teeth. Some specialized techniques utilize glottal stops
at the back of the soft palate.
104 | Articulation on Brass Instruments

It is critically important that the tongue quickly flick into the air
stream and then return to a neutral “Ah” or “Oh” position. The
articulation should merely interrupt the flow of the air to create
separation of consecutive pitch, not bring the air stream to a full
stop. An imperfect visualization is a hand slipping through a stream
of water. The water does not come to a full stop: rather, it is merely
interrupted.

Parts of an Articulation
Each articulation has three parts that are treated differently

dependent on the interpretive intent of the articulation.
All tones have three parts: attack, sustain, and release. Articulation on brass
instruments primarily impacts the attack.
Articulation on Brass Instruments | 105

The attack initiates the tone and is controlled by the tongue. The
choice of starting consonant dictates the intensity of the
articulation attack. Tu provides a stronger attack. Du provides a
more legato attack. Lu is used by trombonists to mask slide
movement to create an extremely light articulation. To play slurs, no
tongue is used, allowing the air to move without interruption from
one note to the next.
The sustain is the tone itself and is largest controlled by the space
in the oral cavity. When the tongue is placed higher in the mouth,
using an Eeee (as in mEEt or IPA: i) or Ahhh (as in fAther or IPA: a)
vowel, the tone is brighter and more direct. When a more open
vowel such as Ooo (as in shOE or IPA: Ʊ) or Ohhh (as in rOW or IPA:
u) is used, the sustained tone is darker and fuller.
The release is the end of the note. For nearly all standard
articulations (marcato is the one exception), the tongue is not
engaged for the release of the note. For connected notes, the attack
of the following note serves as the release of the previous tone.
For notes with separation, the air column remains engaged between
notes but a soft glottal stop of h is used to hold the air.
Importantly, after ever attack, the tongue returns to a neutral
position at the bottom of the mouth. While the vowel shape may
vary with brighter vowels for higher notes and darker vowels for
lower notes, care should be made to make sure that the tip of the
tongue moves quickly down from the top of the mouth.
Initial Exercises for Articulation
Speak and Play-Have students vocally practice

articulations and then imitate them in performance. Start
with four notes of even duration and the same pitch. With a
metronome, say “Tah, Tah, Tah, Tah,” set the mouthpiece,
and play. When students are speaking, make sure they are
using the same consonant and vowel with each note. As
they play, make sure that the tone starts immediately with
the first note and that the tone stays consistent from one
note to the next. VIDEO
Legato Articulation-Have students first focus on clear

legato playing. This is the foundation of brass articulation.
The initial attack should be played clearly without surging
the sustain that follows. The goal is consistency of attack
and sustain with each note. Once repeated legatos can be
played on a repeated note at the same rate, the rate should
be increased or scale patterns can be added to increase
complexity.
Melodies by ear-Have students learn simple melodies by

ear. While the play, focus on their consistent use of legato
articulation and consistency of sustained tone.
Call and Response Patterns-Play short 4 note patterns

using legato articulation for students to hear and then
respond to. At first, the teacher should provide these
patterns, but students should quickly assume the
responsibility of pattern maker. The teacher can put
parameters on what is played (e.g. all notes must be of the
same length or notes must be selected from a specific key).
As students play, listen carefully for consistency of pitch
and attack. As students become more adept at imitative
performance and articulation, variations can be included in
this activity by extending the length of the played pattern.

Common Articulation Issues
Slow/heavy tongue-Articulation should interrupt the air

flow very quickly with just the tip of the tongue fully
stopping the air flow. If too much of the tongue is used, the
articulation will become slow and the air will be stifled,
creating lack of clarity in the attack of the tone and
instability in the sustain. Often, students are trying to
articulate too heavily. To remedy this issue, have the
students vocally articulate before playing using the Speak
and Play activity. For students with heavy tonguing,
encourage them to think Dah instead of Tah to lighten the
weight of the tongue. Incorrect modeling is also a good
technique by having students use the wrong syllables. Start
with “Nah, Nah, Nah, Nah” followed by “Dah, Dah, Dah, Dah.”
Tongue between teeth/Embouchure “tonguing”-It is not

uncommon for students to use their lips and jaw to
articulate notes, using a pa or ma syllable. This creates
issues for tone production as it introduces tension in the
middle of the embouchure and distorts the tone of the
subsequent sustain. Similarly, many students will over use
the tongue, pushing it between the teeth using
a tha syllable, causing the jaw to move as they play, again
destabilizing the embouchure. To remedy this issue, return

to Speak and Play activities, emphasizing good tone on
every tone. VIDEO for 1 & 2
Uneven articulations-Students will often become sloppy

in their articulations as more elements are introduced into
their performance, such as new notes, faster passages, and
expressive markings. When this occurs, their tongue
placement becomes irregular, either by not using the same
syllable for all articulations or not allowing the tongue to
fully return to a neutral position. Simplification of task is
critically important for this student. Simplification can
mean many things: slower tempo, less demanding technical
demand, less attention to expressive markings, etc. Once
the student has demonstrated consistent articulation,
begin to reintroduce more complexity.
Weak starting articulations-Timing is a critical element

for articulation, and this becomes very apparent with first
note articulation. The air and the tongue need to be timed
perfectly with one another. If the tongue is moving early,
the articulation will be weak or non-existent followed by
a wah start to the note as the air becomes full. The tongue
is needed to support the clear attack of first notes. If the
tongue is moving too late, the note will have a double attack
with the first established by air and the second established
by the tongue. To work on this issue, have students practice
starting and stopping to make sure that they can time the
air and the tongue together. VIDEO

Articulation Details
All articulations are a variation on the same basic articulation

concepts:
• A clear attack using a dah or tah syllable with the tongue

• A consistent sustain without tension using an open vowel
(usually ahhh (IPA: a) or ooo (IPA: Ʊ) )
• An open air release without tongue movement, ending with
an h consonant
With that said, each notated articulation has slightly different

conventions:
Legato/Tenuto-Follows the basic articulation concepts listed
above. The attack of the following note is the release of the previous.
Legato and tenuto typically use a dah articulation.
Accent-The attack of the note is stronger, using a tah articulation.
Because of the heavy attack, care needs to be made to not distort
the sustain that follows. In some cases, air usage may be increased
for the attack, especially when additional markings (e.g. fp, sfz) are
included.
Staccato-The attack is typically light, using a dah syllable. Because
of the shortened sustain and separation from the following note,
the back of the tongue rises slightly for the release to allow the air
column to remain engaged without producing additional sound.
Marcato-The attack is similar to the accent in its use of a
strong tah articulation. The sustain is shortened like in the staccato.
The release can be (especially in jazz and global music styles like
Mariachi and Romani music) be tongue stopped, using
a taht syllable.
Brass instruments also utilize a variety of other advanced
articulations, such as multiple tonguing, flutter tonguing, and
growling. More details on these advanced techniques can be found
in Advanced Techniques.

Exercises for Developing Articulation Contrast
for Beginners
Articulation Contrast Studies–When first introducing

contrasting articulations, students should isolate each type
of articulation on a single pitch over a repeated rhythm.
Emphasis should be placed on articulation consistency and
quality tone. Once the students can play with consistent,
high quality tone and articulation, they should alternate
different articulations, emphasizing the contrasts between
them.
Change It Up-One student starts with a simple musical

pattern or melody. The students then pass it around by
playing the same notes but altering the articulation to
create a different interpretation. As they play, they can alter
the articulation however they wish, but should play with
consistent articulation and quality tone.

8. Instrument Care
If a few regular tasks are done, brass instruments require little
professional maintenance, provided that dents are avoided; slides,
valves, and rotors are lubricated; and the inside of the instrument is
kept clean.
Mouthpiece Care
The mouthpiece is the primary point of contact with the

instrument, and therefore, should be kept clean. The mouthpiece
should ideally be rinsed every day and washed at least once a week
with dish soap. This will keep it clean and hygienic.
Lubrication
Depending on the instrument, different oils and greases are used

on brass instruments. As an brass instructor, you should have the
following lubrications on hand:
• valve oil
• rotor oil
• trombone slide grease
• slide grease
Valves, rotors, and slides should be lubricated on a regular basis.

Once a week is a good rule of thumb, though if rubbing or dragging
are felt when playing, more lubrication should be added
112 | Instrument Care

immediately. All valves, rotors, and slides should be lubricated
immediately following a cleaning of the instrument as well.
Valves
Valves pistons on trumpets, euphoniums, and tubas should be

removed from the valve casings prior to oiling with valve oil. A few
drops of valve oil should be placed around the ports on the valve
piston. The valve piston should be placed back in the casing and
rotated until it locks in place. After the valve cap is screwed down,
the valve should be pushed up and down several times to ensure
that it is fully lubricated. Pay close attention to where the valve is
removed from, as the valve should return to the same valve casing.
Most instruments have a number etched in each valve piston to
ensure that they are returned to the correct valve casing.


Instrument Care | 113

Rotors
Rotors on horns, F attachments on trombones, and some tubas

should be lubricated with rotor oil, which is slightly thinner than
valve oil. Rotors should not be removed as they can be very difficult
to calibrate. If rotors need to be removed, they should be taken
to a qualified repair shop. Instead, the cap on top of each rotor
should be removed and two to three drops of oil should be placed
on the center of the rotor. If the rotor is still sluggish, the slide can
be removed for each rotor and oil can be dropped down the slide
casing. The paddles should be quickly fluttered to ensure that the
oil is evenly distributed around the paddle.

Trombone Slides
The trombone slide should be greased with trombone slide grease,

which is thicker than valve oil but thinner than slide grease. When
applying slide grease, a narrow band of grease should be placed all
the way around the circumference of the slide toward the end of
the inner slide, near 7th position. The slide should then be moved
back and forth several times to ensure distribution of the grease. If
there is any drag, the slide should be inspected for damage or dirt.
If nothing is a problem, another coat of grease should be added.

Tuning and Valve/Rotor Slides
All slides except for the main trombone slide should have slide
grease used on them. Slide grease is thick so it tends to stay on
the slides, including those that are seldom moved. A light coating of
grease should be placed around the circumference of the inner slide
near the tube opening. When inserting the slide back in, the slide
should be moved in and out to ensure that it receives a full coating
of grease to prevent stuck slides which will require professional
removal.

Cleaning Brass Instruments
Regular washing of brass instruments (once every other month) will

keep instruments in top shape and will dramatically reduce the need

for professional maintenance of instruments. Beginning students
are fully capable of washing brass instruments by following a few
simple directions. The following materials are needed:
• Instrument cleaning snake

• Valve brush
• Mouthpiece brush
• Multiple soft clothes for washing and drying (ideally 100%
cotton or microfiber)
• Dish soap
• Lubricants for valves, rotors, and slides
The water for washing brass instruments should be similar in

temperature to that which would be used to wash dishes. Never use
boiling water, especially on lacquer instruments as the integrity of
the lacquer may be affected. Similarly, a mild detergent should be
used on the instruments. Liquid dish soap with a degreaser works
just fine.
Each brass instrument should be completely disassembled with
the exception of rotors when washing a brass instrument. Make sure
to depress the valves when removing valve slides to avoid creating
vacuum pressure within the valve. The body of the instrument and
the slides should be placed in the warm water and be allowed to
soak.
Valves should be placed in a separate container of warm water
and soap which allows the felts at the top of the valve to remain dry.
Once instruments have soaked for at least 10 minutes, a cleaning
snake should be pulled through all tubing. If the snake brush comes
out particularly dirty, rinse, and run through the tubing again. The
exterior of all parts of the instruments should be scrubbed with a
soft cloth, paying particular attention to raw brass parts of slides
and slide receivers and screw mounts on the valve casings where
grime frequently collects. Place instrument parts back in the water
after snaking and allow to soak for at least 10 more minutes.
Valve pistons should be lightly scrubbed with a soft cloth. Felts

should be kept dry to ensure that they do not absorb moisture
which can lead to mold. Additionally, nothing should be pushed
through the valve ports to avoid damaging the passages.
When removing instruments from their water bath, make sure to
run clean, warm water through all tubing to rinse out any remaining
soap. Immediately dry the instrument with a soft cloth and set aside
for 10-15 minutes to ensure that the instrument is completely dry
before lubricating.
Follow the rules above for appropriate lubrication of instruments.
Lubrication should be done before reassembling the instrument to
avoid stuck slides, valves, and rotors.
If polishing of the instrument is desired after washing, make sure
to use either a clean soft cloth or a polishing cloth specific for the
finish of the instrument. Silver instrument polishing clothes should
not be used on lacquer instruments and vice versa.

Basic Classroom Repairs
In general, brass instruments are fairly durable and should not need
regular professional service if regular home maintenance is done.
There are a small number of common problems that can be easily
fixed at home or in the classroom.

Stuck mouthpieces
It is imperative that a brass instructor has a mouthpiece puller

readily available. They come in many designs, but the concept
remains the same. Set the base of the mouthpiece remover against
the top of the receiver and the top of the remover is placed under
the rim of the mouthpiece. A set of screws are used to pull the
mouthpiece free from the instrument.
A stuck mouthpiece should not be removed using any workshop
tool or by twisting and yanking on the mouthpiece. This can break
the braces that hold the instrument together or spiral the lead pipe.
Never use pliers to remove a stuck mouthpiece!
To prevent stuck mouthpieces, when placing the mouthpiece in
the mouthpiece receiver, give it a quarter twist. This twist will make
a stuck mouthpiece come out more easily with gentle twisting from
the hand.

When mouthpieces are dropped, they can often become dented

along their shaft. By using a mouthpiece trueing tool, dents can
be removed to return the base of the shank to round. The trueing
tool should be inserted into the base of the mouthpiece and gently
rotated while applying gentle pressure toward the cup. Care should
be made to work slowly, so regularly check the shape of the
mouthpiece shank. If correction is done too far, the shank can
become flared and will damage the mouthpiece receiver.

Broken rotor strings
Rotor strings break regularly.

Using a nylon or multi strand
cord, students should learn to
restring their own horn.
1. Tie a knot in the cord and

thread it through the hole
without a screw at the
base of the rotor paddle.
2. Make a figure 8 around screws B & C. The cord should go
clockwise around screw B and counterclockwise around screw
C.
3. Thread the cord through hole D.
4. Tighten screw C after checking that the rotor paddle is even
with the other two paddles.
5. Wrap the cord around screw E and tighten the screw to hold
the cord in place.


Stuck valve caps
Valve caps frequently become frozen. They can be loosened by

tapping on them lightly with a rawhide hammer. Be careful not to
strike the valve casings themselves. Then, twist the caps with your
fingers.
Stuck slides
Before trying to remove a slide, inspect the instrument to make sure

there are not any dents or other damage done to the slide. If no
damage is visible, liberally grease any exposed slide and apply firm
pressure to see if the slide can be pushed back in. If it still does not
move, thread a polishing cloth through the slide and give a firm tug.
If there is damage or the slide does not move after trying the steps
above once each, send the instrument to a qualified shop for repair.
Stuck valves
Before trying to remove a valve, check the valve casings for damage
or dents. Provided that the valve is stuck up, drip valve oil through
the bottom cap. Then, take a small raw hide hammer and gently tap
the valve button. Make sure to tap straight down. Once the valve

moves, add more oil until the valve can be removed. Re-oil and
insert into the instrument.
If there is damage or the valve does not move after a small number
of gentle taps, send the instrument to a shop.
Repairs that Require Professional Service
• Dents
• Bent tubing
• Stuck rotors
• Stuck slides or valves that do not move easily
• Misaligned slide posts

9. Advanced Techniques
The techniques that follow are ones that are called for in advanced
settings. As a non-brass music educator, you are not necessarily
expected to be able to perform all of these techniques, but you
should be familiar with their concept so that you advise students
and recognize poor execution.
Vibrato
Vibrato is not extensively used in most settings with brass

instruments. There are several methods by which vibrato can be
introduced. For all types of vibrato, students should practice it
slowly at first with a metronome. Setting the oscillation at ♩=72 is a
good way to start. Once students can play vibrato at that rate with
consistency and control, they should gradually increase the tempo.
Jaw Vibrato
Jaw vibrato is achieved by slightly adjusting the jaw and tongue.

Saying the syllable “yah-yah” establishes the fundamental
movement. The amount of movement by the jaw dictates the
severity of the vibrato. Jaw vibrato is the most common sort of
vibrato used on brass instruments.
Hand/Slide Vibrato
Trumpet and trombone will occasionally use hand vibrato,

particularly in jazz settings where a particularly wide vibrato can be
122 | Advanced Techniques

desired. When using hand vibrato on trumpet, the pinky is placed
in the finger hook and the right hand is gently shaken to alternate
pressure on the embouchure. The movement should come from the
wrist and only be as big as is needed to create a vibrato effect.
Particularly with young players, hand vibrato should be used
sparingly, as it is very easy to place too much pressure on the
embouchure causing damage.
On trombone, a variation of hand vibrato is with slide vibrato.
Slide vibrato is a wrist based movement in which the pitch is moved
in and out of tune by 10-15 cents. Again, care should be made to
keep movements small so not to place undue pressure on the
embouchure.
Diaphragm vibrato
Diaphragm vibrato is typically used on larger brass instruments for

slower vibrato effects. Diaphragm vibrato surges air both through
the manipulation of abdominal muscles and tongue placement. The
syllable “Ho, ho, ho” will help to establish the tongue and muscle
movement that creates this vibrato effect.

Multiple Tonguing
Multiple tonguing involves the use of both dental and glottal
Advanced Techniques | 123

articulations so that students can articulate excerpts that are faster
than they are able to while single tonguing. The development of
multiple tonguing takes time, and at first, will be significantly slower
than single tonguing. While it can be used for extended excerpts, it
is most commonly used for short sections, sometimes for a beat or
less, to allow for greater clarity in technical sections.
Practicing multiple tonguing should start slowly on a single pitch
to ensure that the student can evenly control the tongue motion
with consistency. Care should be made that the tongue returns to a
neutral position so that tone is not interrupted. Tempo can then be
increased until double tonguing is faster than single tonguing alone.
Double tonguing
Double tonguing occurs by a rocking motion of the tongue, whereby

notes are alternately articulated by the dental and glottal
articulations. The syllables “tah-kah” or “dah-gah” are often used to
establish this rocking motion.
Triple tonguing
Triple tonguing utilizes a similar motion as double tonguing, but

rather than alternating between dental and glottal articulation, it
intersperses glottal articulation between repeated dental
articulations. The most common patterns are “tah-tah-kah” or “tah-
kah-tah” (or “dah-dah-gah” or “dah-gah-dah”). The choice of pattern
is dictated both by the music and performer preference.
Importantly, the musician should know that the dental articulation
(“tah” or “dah”) will have a stronger accent, leading to necessary
musical decisions.

Jazz and Special Effects
Bends, Scoops, and Doits
Bends involve quick adjustment of the embouchure while increasing

air flow. For bending pitches up, the embouchure should start fixed
on the given written pitch. At the point that the pitch is to be bent
up to its release, the corners of the mouth should quickly firm while
increasing air speed. The same is true for scoops or doits, only the
embouchure starts relaxed and bends up to a fixed note which has
sustain.
To bend down, the corners of the mouth should be quickly relaxed
and can include jaw movement as well the exaggerate the dropped
pitch. As this drop occurs, more air will be needed to keep the
embouchure engaged.
To make the bend more chromatic, half valves can also be used.
Half valves are exactly what they sound like. The valves are
depressed half-way down, allowing air to move through the open
fingering and the valve slides simultaneously. This creates a muffled
tone with indefinite pitch that smooths out the drop between
partials.

Flutter Tonguing and Growls
Flutter tonguing and growls both occur when the tongue is inserted
and held in the moving air stream. With both techniques, more air
is needed than would normally be required to allow the tongue to
“flutter” or “growl” while still fully engaging the embouchure in tone
production.
For flutter tonguing, the tip of the tongue is placed near the
articulation point at the base of the teeth and held there. The
sensation is similar to the one needed for the Spanish rolled “rr.” As
air moves over the tongue, the tip of the tongue flutters in and out
of the air stream, creating a very quick multiple articulation.
For growling, the back of the tongue is placed near the
articulation point for glottal tonguing and held there. The German
consonant “ch” will help to position the tongue properly. Similar to
flutter tonguing, the back of the tongue vibrates, creating a gritty
tone. Care should be taken not to over exaggerate this effect as it
can damage the throat.
Shakes
Shakes are a favorite audio and visual effect in jazz settings,

particularly found in parts for trumpet and trombone. The
movement for the shake is about pulling the mouthpiece away from
the embouchure, as opposed to pushing it into the face. Younger
players can often do serious damage, such as cuts to their inner
gums, by widely shaking the instrument.
Similar to vibrato, the shake should be taught slowly with a
metronome. Have the students start on a long tone. They should
pull the instrument away from the face, leading to a drop of air
pressure and pitch. They should then return it to regular playing
position. At no time should the mouthpiece be pushed into the lip
harder than normal.

Typically when playing a shake, the intention is for the pitch
to bend up. To execute this, the player should focus on playing
the higher partial, allowing the pitch to drop back down to the
lower partial. The change of pitch is then because of a reduction of
pressure while still maintaining good technique.
Multiphonics
Multiphonics involve playing one pitch with the embouchure while

singing a second pitch in the throat. Muliphonics are occasionally
written in solo literature for low brass instruments. The key to
making multiphonics work is being able to buzz while humming.
Practicing initially on a mouthpiece is a key activity. Concern should
not be about specific intervals but rather getting both mechanisms
occurring at the same time. It is important that both the
embouchure and the throat remain relaxed and not tight. Air
support is critically important to ensure there is enough air to
create tone through both the embouchure and the throat without
tension.
Circular Breathing
Circular breathing is a favorite trick to learn for intermediate

students. It entails breathing in through the nose while filling the
mouth with air, which then acts as a bellows. The key skill to develop
is the use of the mouth as a chamber for holding air. Visualizing
pushing air out of the mouth (the analogy of spitting water works
well) at the same time as breathing in through the nose is key. When
transitioning back to having the lungs providing air support, think
about the syllable “Ha” to get the air moving again.

10. Experimentation,
Improvisation, and
Composition in Beginning
Instrument Methods
When arriving to beginning instrument instruction, most students
are coming from general music experiences in elementary school,
where value is often placed on creative activities and musical
exploration over technical precision. Beginning instrumental study
can lead to students who lose their innate creativity and curiosity
and become fixated on playing accurately without a sense of
exploration.
When experimentation, improvisation, and composition are
integrated into beginning instrument instruction from the very
beginning, several possibilities arise:
• Students see themselves as capable of being creative and able

to make their own music
• Students can focus on music concepts that are not notated,
such as tone, interpretation, and technique
• Students develop the ability to think critically for themselves,
paying greater attention to the sounds they create
Exploration
When first encountering the instrument, it is important that

students are given the opportunity to experiment with how sound
is created. This provides for several advantages:
128 | Experimentation, Improvisation, and Composition in Beginning

Instrument Methods
• They develop an understanding of how their unique physiology
interacts with the instrument, allowing for awareness of
modifications of the typical approach to the instrument to
respond to their own bodies.
• They gain kinesthetic awareness of what correct and incorrect
performance practice feels like, allowing them to better
address problems that arise.
• They understand the various ways in which tone and
performance can be altered on the instrument in ways that
often are not addressed until students are working on
advanced techniques.
The teacher’s role in this exploration of the instrument is to provide

the students with options to experiment with. Laura Hicken
(Towson University) provides the following information for options
to guide beginning students in this exploration.
Exploration options for beginning instrumentalists
Get students into the ballpark of the correct embouchure

and posture, ensuring that pressure is limited, embouchure
is roughly centered, the body is aligned (hips under
shoulders) and relaxed, and air stream is from the lower
abdomen.
When having students experiment with different set ups

for playing, have them listen to the quality of tone and
impact of the changes. The goal is to find the most relaxed,
open, full tone possible with as little tension or pressure.
Importantly, many of these variables are not visible to the
teacher, so gaining kinesthetic awareness allows students
Experimentation, Improvisation, and Composition in Beginning Instrument

Methods | 129
to more readily explain what they experience and feel as
they play.

Instrument Methods
Manipulati
Variable Effect
on
Move
Vertical mouthpiece
Change
mouthpiece up and down
clarity of tone
placement millimeters at
a time
Move
Horizont
mouthpiece
al Change
left and right
mouthpiece clarity of tone
millimeters at
placement
a time
Angle the
shank of the
mouthpiece
Mouthpi Change
(not head) up
ece angle clarity of tone
or down a
few degrees
at a time
Change
Angle the pitch (angling
air up or down goes
Air
down with sharp, angling
direction
the lips (not up goes flat)
head) and clarity of
tone
Change tone
quality
Speed the
(fast=harsh,
air stream up
slow=weak),
Air speed (cold air) or
pitch
down (warm
(fast=sharp,
air)
slow=flat), and
clarity
Tense or
Change
loosen the
pitch
Corner corners of
(firmer=sharp,
firmness the lips (leave
looser=flat)
the center to
and clarity
be relaxed)

Methods | 131
Make the
lips flatter
(pull toward Change tone
Lip
the teeth) or quality and
firmness
fuller (push clarity
corners
forward)
Change
Adjust the pitch
Aperture
hole between (smaller=sharp,
size
the lips bigger=flat)
and clarity
Open and Change

Jaw/ close the pitch
Teeth teeth (closed=sharp,
openness millimeters at open=flat) and
a time clarity
Raise (say
Change
“eeee”) or
pitch
Tongue lower (say
(high=sharp,
position “ahhh”) the
low=flat) and
back of the
clarity
tongue
Adjust the
instrument
Instrume Change
toward and
nt angle clarity of tone
away from
the torso
Change
Adjust
clarity of tone
Arm angle of arms
and comfort/
angle from the
endurance of
shoulders
playing
This section is derived from the work of Laura Hicken at

Towson University.

Instrument Methods
Improvisation
For young players walking into beginning instrumental lessons, they

often have had experiences in general music classes and life where
musical play is common place. If you spend time with elementary
school students, sing song chants, rhythmic activities, and
spontaneous melody making are common. The structure of method
book dominated beginning instrument instruction often
discourages this sort of musical play as students are encouraged to
play the right notes at the right time in the right way, as opposed
to relying on their own creativity to guide their music making.
This lack of encouragement of generative music making often
discourages students from exploring their own abilities to improvise
and create music as they become more experienced musicians.
From my experiences in the classroom, many of my college students
are reluctant to improvise or create music, because it has not been
reinforced in their development as a critical skill, despite being one
of the four artistic processes of the National Standards for the arts.
By incorporating musical play and improvisation throughout the
beginning instrument process, students gain several skills.
• They continue to see themselves as creatively capable

musicians, retaining the characteristics frequently developed
in childhood music activities.
• They are able to utilize the skills that are available to them to
create music, as opposed to being forced to develop skills for
which they may not be ready. This is particularly important for
young brass players who often push to play higher notes than
their development allows in order to play notated music.
• They are able to experience more advanced concepts for
which their visual music literacy may not be prepared yet.
Concepts such as dynamics, articulation, and complex rhythm
can be used aurally before students are ready to experience
them visually.

Methods | 133
• They are able to have music activities differentiated by their
strengths and weaknesses, as they can choose what elements
of music to bring or which they wish to leave for later.
Improvisation can start with students as soon as they are able to

produce a sound on the instrument, and they should utilize
whatever skills students currently possess. Early improvisations can
emphasize imitation play and simple rhythmic patterns that require
limited control of range and technical mastery. As students progress
forward, these improvisation can exploit a wider range of skills and
explore pitch, harmony, style, and form in relatively advanced ways
that exceed what is typically presented in beginning instrument
instruction.
One Note Jam
One note jams can be used in the first week of classes, as

soon as students have developed the ability to produce a
consistent pitch. When doing these activities, exact pitch is
not a primary focus, and it is acceptable for some students
to be on a higher pitch or partial than other students. The
goal is to produce consistent tone and pitch with proper
technique using full air support and limited tension.
Call and Response
An easy way to start with one note jams is through call

and response activities. The call can be provided by the
instructor or be rotated through members of the class.
Providing beat based parameters (typically no more than 4

Instrument Methods
or 6 beats to start) is appropriate so that students develop
rhythmic recall.
1. The leader plays a short rhythmic pattern

2. The class repeats that short rhythmic pattern
3. If the pattern is played correctly, the leader shifts
to the next student
4. If the pattern is played incorrectly, the leader
repeats the rhythmic pattern and the class imitates it
This sort of activity lets students be creative with limited

proficiency or ability and encourages the development of
an identity as a creative musician. The instructor should
emphasize that all rhythms are appropriate, allowing some
students to create very simple patterns (a single sustained
note) while others create more complex, metrically solid
patterns and others fall in and out of time. The call is
always considered to be correct, leading other students to
imitate what they hear rather than what they expect.
Jams with a back beat
Using software that allows for the creation and repetition

of loops (e.g., GarageBand, SoundTrap, Audacity, etc), play a
rhythmic back beat without a harmonic center. In small
groups, students can take turns playing a one note jam over
the loop, while other students are encouraged to imitate
elements of the back beat, either vocally or on their
instruments.

Methods | 135
One note jam plus
Once students become comfortable with one note jams,

they can be encouraged to experiment with stylistic
alterations including the use of articulation or dynamics.
These work particularly well in a call and response setting,
as it serves as a way to introduce new elements to music
learning aurally without needing to explicitly explain.
Students should be encouraged to use the same
experimentation practices described above to learn how to
manipulate tone, articulation, and dynamic on their
instruments in imitation of the teacher and of peers. Even
“incorrect” sounds such as growls and under supported
tones can be imitated as students learn about how they can
alter the tone quality of the instrument through positive
and negative modeling.
Call and Response Improvisation
As students start to learn notes, they can be encouraged

to make up short melodies to teach to one another aurally.
The focus in these activities is two fold: allow students to
demonstrate their mastery of new notes and create music
that they are comfortable with playing. In these call and
response improvisations, students are given specific
parameters (e.g., 4 counts long, use of first five notes in the

Instrument Methods
Bb scale) to create short motivic ideas. The rest of the class
then imitates the ideas that are played, helping to develop
aural skills for all students. Similar to the One note jam,
there are no wrong ideas, encouraging students to explore
their own creativity. Students will tend to want to start on
tonic notes, so they should be encouraged to explore
starting on various scale degrees and experimenting with
different elements such as dynamics and articulations. In all
activities, good tone production and authentic imitation
should be encouraged.

Conversational Improvisation
Once students become comfortable creating musical

motives utilizing their current skills and imitating one
another, they can be encouraged to explore ways to
respond to one another’s ideas. Conversational
improvisation can be used as a logical extension of Call and

Methods | 137
response, with one slight change. Rather than literally
responding to the call, the responding students should
respond with a related musical idea. By performing in pairs,
students can be encouraged to start to think not only about
their own performance but how it relates to others. The
teacher can provide guidance by pointing to how they
should respond, which can be by using related melodic or
rhythmic content, similar or contrasting articulations,
complimentary shape or phrasing, or other characteristics.
At this point, students move from improvisation as
demonstration of skills to improvisation as a form of
creative and responsive music making.

Improvisatory Composition

Instrument Methods
Drone Improvisation
1. Start by having all students play a consistent drone.

Perfect intervals work well for this, as it allows the
soloist to create dissonance and consonances, but
students should be encouraged to identify drone
sounds that are interesting to them. Students should
be consistent in playing the drone, but be encouraged
to add rhythmic or dynamic elements that respond to
the soloist.
2. Taking turns, students perform over the class
drone. This requires that all students are listening
and responding to the soloist. The timid soloist may
require a softer drone while the aggressive soloist can
have a stronger drone. Using non-verbal
communication, the soloist indicates that they are
done with their solo through gesture or eye contact,
thereby passing the melody to another student.
3. As students become more familiar with this activity,
they can be encouraged to solo in duets or trios,
creating more complex melodic and harmonic
contexts. Similarly, students should be encouraged to
use conversational techniques to have solos and
accompaniments respond to the style and character
of what is being played and what has previously been
played.
Theme and Variations
Using a melody from a method book, students create

Methods | 139
their own variations on single phrases of the melody. These
can adjust note duration, pitch, interval, melodic direction,
motivic repetition, expressive elements, or other details.
Multiple variations can be strung together to create a
theme and variations piece in which everyone plays the
theme and then soloists each take a variation using a rondo
structure.

Melody Builder
1. Individual students or groups of students each

create a short motive around specific parameters
such as duration, tempo, or scale. These motives are
solidified so students can reliably reproduce them.
2. Students (or groups of students) play their motives
for one another.
3. One student serves as the composer who combines
these motives to create different textures and
patterns, allowing students to make a composition
with a relatively small set of motivic ideas.

Instrument Methods

Methods | 141
Instrument Methods
PART II
INSTRUMENT SPECIFIC
TECHNIQUES AND
PEDAGOGIES
Instrument Specific Techniques and Pedagogies | 143

The Trumpet
The Horn
The Trombone
The Euphonium
The Tuba
144 | Instrument Specific Techniques and Pedagogies

11. The Trumpet
The trumpet is the treble most standard member of the brass family.
Trumpet-like instruments have a long lineage, as fanfare style
trumpets have been found in ancient Egypt, China, and South
America. The primary identification of a trumpet is its cylindrical
shape, distinguishing it from the equally ancient horn. Unlike the
horn, the trumpet has historically always been made of metal, giving
it its characteristic brightness and strong presence. The modern
trumpet exists in many keys. The standard “beginner” trumpet is
keyed in Bb, though C and Eb are commonly used in orchestral
and solo literature. The piccolo trumpet, which is pitched an octave
higher than the standard trumpet, is often found in the keys of Bb
and A. Other instruments in D, F, G, and A are also occasionally used
for specific purposes.
On left-Flugelhorn
Center (top to bottom)-Bb Trumpet, Eb Trumpet, Piccolo Trumpet
Right-Cornet
The trumpet has numerous close brass relatives which utilize the
The Trumpet | 145

same fundamentals as trumpet regarding embouchure and
performance practice. The cornet was one of the most common
instruments in bands at the beginning of the 20th century, and
differs from the trumpet in its conical bore, more compact
construction. It has a smoother, warmer tone than the trumpet.
The flugelhorn is another common relative, frequently used in jazz
settings. It is characterized by a mellow tone.
Anatomy of a trumpet
Characteristics for Beginning Trumpet

Players
It should be noted that the best instrument for a student is the

instrument that the student wants to play. This is no different for
the trumpet. With very few exceptions, any student can be an
effective trumpeter. With that said, there are characteristics that
make for a stronger beginning trumpet player.
Mouth shape and specifically dental characteristics are
important. The top and bottom teeth should be roughly aligned
with one another or there can be a slight underbite. The front
top teeth are particularly important as they form the foundation
for the mouthpiece Students with braces or other orthodontics
146 | The Trumpet

may experience pain when playing trumpet. Wax or various
mouthguards can be be placed on top of the teeth to reduce pain.
Lip shape can be an issue for some students who have a teardrop
in the center of their lip. This can impede the formation of an
effective aperture. The fullness of lips is seldom a major issue for
trumpet players, but some students with extremely full lips may find
it difficult to control tone in the upper register. Students who have
unusual lip structures may be better suited for low brass, but again,
trumpet players with all sorts of face structures have been highly
effective musicians. Passion for the instrument should be the first
and biggest determinant of a future trumpet player.
Setting Up the Trumpet
Most of the fundamentals of good brass playing are common for

instruments, including trumpet, as outlined in Getting Started with
Posture, Breathing, and Embouchure. When first playing the
trumpet, it is critically important that students are set up with
good posture that allows for free breathing and limited tension
throughout the body.
When playing trumpet, both hands should be in the shape of a
relaxed C. The weight of the trumpet is supported by the left hand.
The thumb should sit wrapped around the valve casing and resting
comfortably in the 1st valve slide saddle. The middle or ring finger
(which ever is more comfortable) should be inserted into the 3rd
valve slide ring. On many instruments, this ring is adjustable to
the size and shape of the player’s hand. The other fingers should
sit on top of or to the side of the 3rd valve slide. Avoid wrapping
the fingers underneath the slide as this increases hand tension and
limits movement of the slides.
The right hand controls the valves, which are number 1, 2, and
3 starting closest to the mouthpiece. The thumb should sit loosely
underneath the lead pipe between the first and second valve
The Trumpet | 147

casings. The index finger, middle finger, and ring finger should set
on top of the valves. Contact should always be made with the valve
with just the tip of the finger. Make sure to keep fingers arched, both
to limit tension and to reduce the amount of movement required to
push down valves. The pinky should either sit on top of the pinky
hook or be allowed to float freely. The pinky hook is only used for
one handed playing (e.g. when using hand held mutes) or for visual
effects (e.g. marching band).
When bringing the instrument to the face, make sure to set
posture first and then set the mouthpiece lightly on the
embouchure. While there is much discussion of the “perfect”
embouchure, the mouthpiece should be centered left to right and
be positioned roughly 50/50 on the top and bottom lips. Ideally, the
extreme top and bottom of the rim should sit on the non-red part
of the top and bottom lip.

Trumpet-specific details and concepts
As mentioned in the previous chapters, many of the details of

trumpet playing are common to all brass playing concerning
technique, tone, and practice. Make sure to reference the general
sections regarding each of these issues in addition to the trumpet
specific details below.
148 | The Trumpet

Range development
As with all brass instrument, range development tends to be slow

compared to woodwind and string instruments. Because there is
muscle development required to move between shelves, beginning
trumpet players often have very limited ranges of around an octave.
It is critical that students are not rushed to play higher notes than
they can control without pressure and with good air control. Long
tones and interval studies are critically important for beginning
trumpet players, more so than other brass instrumentalists, so that
they build the muscle tone and control to be able to play in higher
registers.
These are approximate ranges for performers at different levels. Beginners

typically have ranges from c4-c5. Intermediate literature will typically call for
a range from f#3-g5. Advanced literature calls for ranges of f#3-d6 (higher
for jazz and some solo literature)
Follow this link for a trumpet fingering chart.
Intonation Control
Two of the valve slides are adjustable as students play–1st and 3rd.
These adjustments should be considered part of the fingering for
the instrument. As students develop their consistency and ability,
they should spend time with tuners to identify exactly how far to
move the slides.
The 3rd valve slide (often referred to as the D ring) is used for
1-3 and 1-2-3 combination, specifically d4 and c#4. Both of these
The Trumpet | 149

pitches are extremely sharp and the adjustment of the 3rd valve
slide extends the length of the trumpet, moving the pitch flat. The
exact distance will vary by instrument and player, but should be
roughly 1/3″ for d4 and 1/2″ for c#4. Student should be reminded to
pull the 3rd valve slide back in for eb4 and other 2-3 combinations,
as these are already extremely flat.
For intermediate students, they will need to pay attention to 1st
valve intonation in the upper register, particularly for a5 using the
1-2 fingering combination. The 1st valve slide (also called the A
saddle) is pushed out by 1/2″ to lengthen the tubing for high A,
lowering the pitch the flat. It can also be used to assist with smaller
intonation issues on e4 and f5
Otherwise, intonation adjustment is made entirely through
embouchure and air adjustment.
Mutes
Of all brass instruments, trumpet players are expected to have the

greatest variety of available mutes. Mutes serve to alter timbre and
projection of instruments.
Standard Mutes
Straight mute-This is the most common mute for trumpet players.

If a part calls for “with mute” or “con sordino,” a straight mute is
typically being expected. Straight mutes come in many different
materials, each of which have a different timbre. The most common
variations are fiber board “stone lined mutes” (characterized by
their red and white painted finish) and metal mutes of aluminum,
steel, copper, or brass. The straight mute is pushed into the bell
and is held in place by its three corks. The straight mute greatly
150 | The Trumpet

reduces the volume of the trumpet and removes lower overtones to
create a bright, almost metallic sound. Depending on construction,
the straight mute may also make the trumpet sharp, so adjustments
should be made either to the tuning slide or the embouchure. It is
common for more advanced players to have multiple straight mutes
of different materials (fiber board, metal, plastic, wood) to create
different timbres.
Cup mute-The cup mute looks like a straight mute with a bowl
attached to its base and comes in both fiber board and metal. The
cup mute muffles the tone of the trumpet by redirecting the upper
overtones back into the instrument.
Specialty Mutes
Wah-wah or Harmon mute-The wah-wah mute is a fixture of

certain jazz styles, comprised of a bulb shape with a small hole in
its base, which can be expanded with a stem. The cork completely
seals the bell, so all air must pass through the hole in the mute’s
base. When the stem is out, the tone is very mellow with greatly
reduced volume. When the stem is in, the tone is very direct and
buzzy. By placing the hand or a plunger over the stem opening,
the characteristic “wah-wah” sound can be made, which bends both
pitch and tone. This must makes instruments extremely sharp, so
the tuning slide should be adjusted when using the wah-wah mute.
Plunger mute-The plunger mute is exactly that-a sink plunger.
The plunger mute is held in the hand of the player by placing their
wrist on the bottom of the bell, which acts as a hinge to open
and close the bell. When closed, the plunger lowers the pitch of
the instrument and cancels upper overtones. The plunger mute is
often opened and closed to create a “wah” effect, especially when
combined with a wah-wah mute. Opening and closing will be
notated in the music using + to show closed and o to show open,
placed above or below the note. A variation of the plunger mute is
The Trumpet | 151

a hat mute, from the period when men commonly wore bowler hats
which were used similarly.
Bucket mute-The bucket mute is a bowl or bucket with three
springs on the rim that attach over the trumpet bell. The bowl is full
of batting to soften the tone and dynamic of the trumpet.
Practice mute-Practice mutes look like straight mutes stuffed
with batting. They are designed for quiet indoor practice. Caution
should be used with practice mutes as they add a great deal of back
pressure that can cause harm and develop bad habits.
Other mutes-As long as there have been trumpet players, there
have been many various additional mutes, most of which are
variations on those listed above such as pixie, buzz, and solotone
mutes. The ones listed above will be commonly requested in
literature, where additional mutes are often used for specialty
settings. They are great to have for the purpose of contrast,
especially for the jazz musician, but will seldom be requested
specifically in a given piece of music.
From left to right:

Plunger, Straight mute, Cup mute, Straight mute, Adjustable
cup mute, Practice/Whisper mute, Wah-wah/Harmon mute
152 | The Trumpet

Unique Issues for Trumpet
Tension-While tension can be an issue for all brass

players, trumpet players frequently encounter pressure and
tension when working on expanding their upper register.
This can be seen in strain in the throat, pinching in the
center of the embouchure, and tightness in the arms. This
tension can inhibit good tone development and over time
cause longterm injury. To address this concern, make sure
that students are not forced to expand their register too
quickly, something that often happens as they transition
into split parts in ensembles. Second, encourage students
to warm up thoroughly and continue to practice long tone
and interval studies which build muscle tone and control
which aid upper range development.
Anchored pinky finger-The most common source of

inappropriate pressure comes from the pinky finger on the
right hand when students use the finger hook, sometimes
referred to sarcastically as the “octave key.” By encouraging
students to keep the pinky on top of the finger hook or
allowing it to move freely, students will not develop the
habit of using the pinky ring to push pressure on the
embouchure when playing in higher registers.
Slide adjustment–Many beginning trumpet players will

not use the third valve slide to adjust D and C#, leaving
these two notes extremely out of tune. The use of the third
valve slide should be taught as part of the finger for these
The Trumpet | 153

pitches, while the specific placement of the slide can be
refined once students have developed greater consistency
in pitch and tone.
Flat fingers-It is common for student trumpeters to

develop flat fingers on top of the valves, where the valves
are depressed by the joint on the finger rather than the tip.
This creates two issues. First, flat fingers require more
movement to depress the valves, leading to slower fingering
transitions. Second, flat fingers introduces tension into the
hand, which can lead to tendinitis, carpal tunnel, or other
repetitive stress injuries.
When the fingers flatten, technique can be

more difficult and tension can be introduced
into the hand.
154 | The Trumpet

The tips of the fingers should be used when
playing trumpet, with the thumb placed
between the first and second valve and the
pinky allowed to move freely.
Equipment changes-Trumpet players are renowned for

being finicky about their instruments, specifically their
mouthpieces. While there is some merit for advanced
players to have specific mouthpieces for specific tasks (e.g.
small shallow mouthpieces for extreme register, deep
cupped mouthpieces for darker tone), beginning and
intermediate players should choose a standard mid-sized
mouthpiece upon which they can develop consistent
technique and tone. For beginners, a 5C or 7C mouthpiece
The Trumpet | 155

is recommended. For intermediate players, they will want
to transition to a slightly larger mouthpiece, such as a 3C
(These sizes use Bach’s sizing system. Charts can be found
on line easily that translate different sizing systems for
mouthpieces). Frequent changes in mouthpieces for young
players can lead to poor development of embouchure and
inconsistent fundamentals that inhibit later growth.
156 | The Trumpet

12. The Horn
The horn has its origins in primitive times, taking both its name
and original shape from animal horns which served as the first
musical horns. Over time, the modern wound design has become
the standard instrument, starting with natural horns without valves
and eventually developing the rotor systems we are familiar with
today.
The origins of the horn without valves or rotors leads to one of
the reasons it comes in many different keys. Originally, horns had
crooks, which were additional slides added to a horn to change their
length and, by extension, key. While the horn in the key of F has
become the norm, keyed horns were used frequently through the
Classical period and horns in Eb and Bb are still found in music for
brass and concert bands.
In order to change the key of a horn, allowing for a different pitched partial
series, crooks of various lengths needs to be added to the instrument.
The Horn | 157

The modern horn is often found in two varieties: the single horn
(pitched in F) and the double horn (pitched in F and Bb). The
difference between the single and double horn is that the double
horn has a fourth rotor, controlled by the thumb on the left hand,
which changes the instrument from F to an instrument pitched a
fourth higher in Bb. This rotor removes around four feet of tubing
from the horn, allowing for a different set of possible fingerings
and improved precision in the upper register. While some students
will start on a single horn because it is a lighter and less expensive
instrument, it is advised that they transition to the double horn for
its greater versatility and improved intonation.
Until the second half of the 20th century, it was common for
schools and school band literature to include parts for Bb and Eb
horn. The Bb horn is smaller than and is pitched up a perfect fourth
from the F horn, while the Eb horn is larger and is pitched down a
Major second. Different variations of double horns have also been
used. Teachers will want to be aware of these variations in case they
encounter an older horn still in use with unusual pitch tendencies.
A commonly used relative to the horn is the mellophone, which
can be found in marching bands. The mellophone is a bell front
instrument and is ideally designed for outdoor projection without
the finesse of tone found in the horn. Its timbral qualities fall
somewhere between trumpet and horn. Similar to horn, it is pitched
in F, allowing it to serve as an alto voice in the ensemble. Dependent
on manufacturer, the mellophone can have two primary differences.
First, many use a trumpet mouthpiece (allowing trumpet players
to easily switch to the mellophone). Second, the mellophone is
technically pitched an octave higher than the horn, so while still
keyed in F, it utilizes the same fingerings as the trumpet when
reading the music. A less common variant today is the marching
horn which is pitched in Bb.
A quick side note–in the United States, the horn is frequently
called the French horn. The origins of “French” are the thing of
horn myth, but it should be noted that the proper name of the
instrument is “horn.” Ironically, the design of horn used today finds
158 | The Horn

its origins in German instrument makers in the 1800s, as opposed to
a contrasting model made in France that is seldom used today.
The double horn is two instruments in one. By depressing the Bb rotor, around
4 feet of tubing are removed from the instrument. The Bb slides are located
behind the F slides.
Characteristics for Beginning Horn Players

the horn. With very few exceptions, any student can be an effective
hornist. With that said, there are characteristics that make for a
stronger beginning horn player.
Most importantly, it is imperative that horn players have strong
aural skills due to the close placement of partials in the functional
register of the horn. They need to be able to readily distinguish
between adjacent partials, particularly because horn players often
The Horn | 159

do not have the difficulties with range that are found in other brass
instruments.
While lower pitched than the trumpet, the horn has the smallest
diameter mouthpiece of any brass instrument. While lip and face
structure varies greatly between horn players, relatively even
vertical placement of the upper and lower teeth without major
orthodontic issues is a benefit. Similar to trumpet, students with
braces may find horn playing to be painful. Students with thick lips
may find it more difficult to initially set up a controlled embouchure.
The horn can be a slightly ungainly instrument to play, so
extremely small students may find difficulty in setting up their
bodies correctly to play the horn. Make sure that the student can
establish the proper posture discussed in the next section, and
does distort the spine alignment or head placement to get to the
instrument.
Many music programs find themselves with a shortage of horn
players, requiring students to move to horn from other instruments.
Trumpet players typically make good candidates for switching to
horn, recognizing that there will be a slight adjustment in
embouchure and tone production. Flute players will frequently
make good candidates for horn as well due to similar aperture size
and air usage.
Setting Up the Horn
The horn has one of the more unusual and non-symmetrical posture
set ups in the instrument world. It is extremely important that
students set their posture before adding the horn in place, placing
emphasis on an alignment of the shoulders over the hips and
placement of the head straight forward. Attention should always
be placed on reducing tension and maintaining relaxed air flow
as discussed in Getting Started with Posture, Breathing, and
Embouchure.
160 | The Horn

The left hand controls rotors as well as supports the weight of
the instrument. The left hand should have the shape of a C with
the pinky resting in the finger hook that supports the weight of the
instrument. The index, middle, and ring fingers should be placed on
the rotor spatulas with the pad of the finger resting on the middle
of the spatula. If the instrument is a double horn, the thumb should
be placed on the Bb rotor spatula. The thumb will help support the
instrument through contact on the first knuckle.
The right hand is placed in the bell of the instrument. The
students should be taught to use the right hand immediately, as the
instruments are designed to play sharp with a slightly unfocused
tone, both of which are controlled by the right hand. The role of
the right hand is to redirect the sound in the bell, not stifle it. The
right hand should be relaxed with the fingers together, as though it
were to be used to cup water. It should rest against the bell wall at
around a 2:00 position. The weight of the instrument should rest of
the first knuckle of the thumb and base knuckle of the right hand,
which should be positioned right around the bell flare.
As the instrument is brought to the embouchure, it is important
that the torso remains vertically aligned and relaxed without
twisting. The bell should point past the right side of the body, taking
care to not allow the stomach to mute the sound. The upper part
of the right arm should stay roughly even vertically with the torso
of the body, with both arms comfortably away from the rib cage to
allow for relaxed breathing. The weight of the instrument should
be on the hands, and not placed on the leg as it will encourage
twisting, mute the sound of the instrument, and inhibit good tone
production.
The embouchure on the horn should be slightly higher than other
brass instruments, roughly two-thirds on the upper lip and one-
third on the lower lip. Care should be taken to make sure the
embouchure is as flat as possible vertically, with the lower jaw
pushed slightly forward. The horn embouchure will typically have a
slight pucker to it, though this will develop naturally. In most cases,
The Horn | 161

students should not be told to pucker, as they will over-exaggerate
the motion.

Horn-specific Details and Concepts
As mentioned in the previous chapters, many of the details of horn

playing are common to all brass playing concerning technique, tone,
and practice. Make sure to reference the general sections regarding
each of these issues in addition to the horn specific details below.
Range development
Most beginning horn students comfortably find the middle of their

register around the 3rd-6th partials and are able to access multiple
partials relatively quickly, compared to the other brass instruments.
This quick access poses a challenge for many students as the
partials are close together in this register, and they quickly find
themselves a second or third off of their desired pitch. As students
develop more competency on the instrument, they will want to
closely attend to intonation tendencies on the instrument and learn
which notes should use the Bb side of the horn for easier access and
improved pitch.
162 | The Horn

These are approximate ranges for players at different levels regarding the
range they should have for standard literature.
Follow this link for a Horn Fingering Chart.
Right hand
The right hand plays a critical role for the horn in adjusting
intonation and focusing tone. It is imperative that beginning horn
players place the right hand in the bell appropriately, at least in a
neutral position, to ensure that they can play in tune with good
tone.
The hand can be adjusted while playing to allow for the bell to be
opened or closed. When the bell is more open with the hand pulled
away from the bell flare, the tone becomes brighter and the pitch
will adjust higher. When the bell is made more closed by pushing the
hand further up the bell flare or rotating the wrist to close off the
bell, the pitch becomes darker and the pitch becomes flat.
As horn players play, they primarily adjust their pitch through
the manipulation of the right hand. As horn players seldom use 1-3
and 1-2-3 fingerings, the majority of the most out of tune fingering
combinations are avoided, allowing for this subtle manipulation of
pitch.
The Horn | 163

The right hand should rest at around a 2:00 position inside
the bell right at the bell flare.
Double horn
Once students reach an intermediate level, they should be playing
164 | The Horn

on a double horn. In many cases, beginners students start on these
instruments. Double horns provide greater versatility and better
intonation as compared to the single horn, though they are heavier
than a single horn.
When the Bb rotor is not pressed, the horn is pitched in F. The
tuning in F positions horn as an alto voice in the ensemble with
access to the register that traditionally spans the treble and bass
clef (for this reason, horn players should be able to readily read both
clefs and be familiar with alto clef). When the Bb rotor is pressed,
the instrument transposes up a Perfect 4th. It is important to note
that the written notation does not change and most notes can be
played on both the Bb and F sides of the instrument.
There are multiple reasons to use the Bb side of the horn. Most
importantly, the Bb side of the horn provides more accurate access
to the upper register of the horn, as the partials are spaced further
apart and are typically more in tune. Bb fingerings are typically
used for all notes on the middle of the treble clef staff and higher.
Additionally, the Bb side of the horn fills in the gap in the lower
register of the instrument between the 1st and 2nd partials, allowing
for full chromatic access to the complete range of the horn. The
Bb side of the horn can also be used to provide for alternative
fingerings, either to correct characteristically out of tune pitches or
allow for greater speed due to simplified fingerings.
When learning horn, students with a double horn should learn
double horn fingerings first. While the F side of the instrument and
single horns are fully capable of playing all chromatic intervals, the
use of both sides of the double horn will help students play with
greater dexterity and better intonation. Once students have learned
primary fingerings, they should be exposed to alternate fingerings
that provide more options in specific settings requiring agility.
The Horn | 165

Tuning the horn
Whenever the horn is tuned, the right hand should be in the bell,
as hand placement alters the pitch of the instrument. When playing
on a double horn, the Bb side of the horn should be tuned first,
using a written C. Once the Bb side is in tune, the F side of the
instrument should be tuned, ideally to a written C or G. Periodically,
the individual slides for each rotor should also be tuned (see Pitch
and Intonation for details).
Spit draining
Unlike other brass instruments, most horns do not have water keys
or spit valves on them. In order to empty spit and condensation
from the instrument, slides are removed and rotated to allow all
moisture out of the instrument. Two complete rotations of the
instrument toward the mouthpiece will allow all water out of the
instrument.

Mutes
Stopped horn-The most common method of muting on horn is

called stopped horn. The right hand pivots forward to “stop” the air
166 | The Horn

by completely closing off the bell. This creates a very bright, brassy
tone with greatly reduced volume. It also raises the pitch a half step,
requiring the player to transpose all written pitches down by a half
step.
Stopping mute-The stopping mute is an alternative to hand
stopping, and allows for greater control of pitch, dynamic, and
timbre.
Straight mute-The straight mute for horn also creates a brighter
sound, but does not require pitch transposition. It is held in place by
the right hand while being used, often coming with a strap to allow
it to hang from the wrist for quick removal.
On the left-non-transposing stopped horn mute

On the right-horn straight mute
The Horn | 167

Unique Issues for Horn
Hand placement-Placement of the right hand is critically

important for both pitch and tone control on the horn.
Beginning players will often see the right hand as
unnecessary, particularly if they rest the horn on their right
leg as they play. This leads to a fractured, sharp tone.
Students will also allow the wrist to collapse across the bell
flare or insert the hand too far into the bell, effectively
stopping the horn. Students should be reminded of proper
hand positioning, with the hand gently cupped and fingers
together. The weight of the horn should sit on the thumb
and first finger right at the point where the bell begins to
flare. Picturing the hand as an extension of the natural
curvature of the bell can help students understand how to
position the hand. Using aural cues can help as well, by
having students first exaggerate hand position to stop the
horn, and then adjusting to proper position. Finally, remind
students that there should be no angles in the wrist and
fingers–these sharp angles can lead to improper hand
position.
Partial placement-Due to the small intervals between

horn partials, students will frequently over or under pitch
notes, landing on the adjacent partials. Interval studies such
as the Broken Remington exercises can help students
identify intervals more accurately. Pitch matching games
can serve the same purpose, by having students imitate a
168 | The Horn

pitch played by the teacher. Teaching students about the
specific intervals between partials and making sure they
can identify them can also help them in at home practice so
that they can ensure that they are on the correct starting
pitch. For example, if the students hear a Major 3rd
between two adjacent partials with open fingerings, they
will know that the lower pitch is c4 and the upper pitch is
e4 as that is the only spot that a Major 3rd exists in the
partial series.
Trumpet embouchure-Since many horn players are

transplanted trumpet players, it is important to recognize
the differences in embouchure placement. The lips should
be slightly puckered and the ratio of top to bottom lip
should be 2:1. The horn has a warmer, less direct sound
than trumpet, so students should be encouraged to keep
the jaw relaxed and open, with an emphasis on full, warm
air.
Double horn confusion-More advanced players become

very specific about when and how they use the double
horn. For beginning players, too many options can be an
issue as they haphazardly use the Bb side of the instrument.
When first learning the horn, keep the description of the
theoretical function of the Bb side to a minimum. Instead,
treat the Bb rotor as another fingering. Students should be
taught that pitches above g4 utilize the Bb trigger
fingerings. Pitches from g4 down should use F fingerings.
Once students are more advanced, they should be taught
how the Bb side of the horn functions and be introduced to
alternative fingerings to adjust technique and intonation
concerns.
The Horn | 169

170 | The Horn
13. The Trombone
The trombone’s origin is in the medieval sackbut, which developed
from the trumpet. The instruments differ in some construction
details, but in essence, the practice of the trombone has remained
unchanged. The trombone is unique in its use of a slide for pitch
manipulation, making it the only standard wind instrument with
a fully continuous range at the microtonal level. Originally, the
sackbut and later trombone was viewed as a religious instrument
due to its ability to perform chromatically as a double to voice parts
in SATB settings.
Collection of late Renaissance soprano, alto, and tenor

sackbuts
The standard school trombone today is the tenor trombone, but

several variations exist. The bass trombone is a relatively common
instrument in jazz and concert bands, and the alto and contra-bass
trombone can be found in some orchestral and solo literature. Many
The Trombone | 171

tenor trombones and all bass trombones will have a trigger on them,
located near the player’s left shoulder, which drops the instrument’s
pitch by a perfect fourth to allow for alternate slide positions and
full chromaticism through the instrument’s fundamental. The valve
trombone is another variant, which replaces the slide with valves.
This instrument is most commonly used to allow euphonium players
the opportunity to play in jazz ensembles which require the
brighter, directional timbre of the trombone.
Parts of a standard tenor trombone
Characteristics of Beginning Trombonists

the trombone. With very few exceptions, any student can be an
effective trombonist. With that said, there are characteristics that
make for a stronger beginning trombone player.
Outstanding aural skills are critical for a trombonist. Due to the
trombone slide, the trombone is capable of continuous pitch,
requiring the player to listen carefully for intervals and their fellow
musicians. While pitches have fixed slide positions, these slide
positions vary based on partials and environmental conditions. The
trombonist is constantly adjusting their pitch to ensure that it is
172 | The Trombone

centered in tune. Students who cannot orally match pitch
frequently find difficulty in playing trombone.
Student size is a critical consideration for the trombone. Due to
the length of the slide, students need to have long enough arms
to reach the outer positions. For the student who is small, there
are grip extenders which can be added to the trombone to allow
for reaching outer positions, but these are less than ideal as they
change the way the instrument is handled, making it less ergonomic.
Especially when starting younger students, family height can be a
consideration to identify if the student is likely to grow into the
instrument. It is not uncommon for beginning trombonists not to be
able to reach the outer positions.
The embouchure for the trombone is fairly forgiving, making the
trombone a possible instrument for students with braces or other
orthodontic issues.
Setting Up the Trombone
The trombone is the only brass instrument requiring assembly for

playing. Of greatest importance is making sure that the slide is
always carefully handled, as even small dents can make it unusable
and difficult to repair. When not in use, the slide lock beneath the
mouthpiece should always be locked.
The slide of the trombone should be held in the right hand at the
slide brace. For beginning players, encourage them to hold the slide
vertically with the rubber stopper on the bottom of the slide resting
on the floor.
With the left hand, place the bell section onto the receiver that
is on the longer side of the slide. The bell should go on smoothly; if
force is needed to get it on, lubrication may be needed. A graphite
pencil can be scribbled on the inner tubing to provide light
lubrication. The angle between the slide and bell should be slightly
less than 90 degrees. The bell lock should be screwed down to finger
The Trombone | 173

tightness. No tools should ever be used to tighten a trombone bell
lock.
The left hand supports all the weight of the trombone. An “L”
should be made with the thumb and first finger. The thumb should
wrap under the bell tubing above the bell brace. The index finger
should rest across the mouthpiece brace, pointing toward the
mouthpiece. The other three fingers should wrap around the tubing
between the mouthpiece and slide braces.
The right hand controls the movement of the slide. The slide
should be positioned between the tips of the thumb and index and
middle fingers. The other fingers should not make contact with the
instrument, but rather should curl gently into the palm of the hand
After proper posture is set (see the Posture chapter), the
trombone should be brought to the embouchure. Arms should
remain in a relaxed position away from the rib cage to allow for
unrestrained breathing.
The embouchure for the trombone varies extensively across
players. Ideally, the mouthpiece should be positioned in the middle
of the embouchure from left to right with roughly a 50/50 division
between the upper and lower lips. Many professional players also
use two-thirds, one-third division between top and bottom lip. The
best embouchure is the one which produces the fullest tone for the
student.

174 | The Trombone

Trombone-specific details and concepts

trombone playing are common to all brass playing concerning
sections regarding each of these issues in addition to the trumpet
specific details below.
Range development

compared to woodwind and string instruments. Because there is
muscle development required to move between shelves, beginning
trombone players often have very limited ranges of around an
octave. It is critical that students are not rushed to play higher
notes than they can control without pressure and with good air
control. Long tones and interval studies are critically important for
beginning trombone players, so that they build the muscle tone and
control to be able to play in higher registers.
This chart shows the characteristic range called for in standard literature at
various levels for trombone.
Follow this link for a Trombone Fingering Chart.
The Trombone | 175

The slide
The slide is the obvious unique characteristic for the trombone,

allowing it to play every beginning trombonist’s favorite glissando.
The slide also creates some challenges for beginning trombonists,
namely that there is no easy way to guarantee that they are close to
the correct pitch. The slide makes it critical that trombonists have
strong aural skills.
The slide is divided into seven positions, each of which is a half
step apart. The distance between positions gradually increases from
3″ for 1st to 2nd position to just over 4″ for 6th to 7th position. Due
to the different intonation tendencies of each partial, the position
for each position is not identically the same across the range of
the instrument. Students should learn their slide positions through
a combination of muscle memory and careful listening. Discourage
students from using their fingers to feel for the bell to place 3rd and
4th position, as this creates strain in the wrist and a false sense of
confidence.
176 | The Trombone

There is some variance in the exact location of positions based upon partials.
The Trombone | 177

The wrist leads the movement for the slide. The first two fingers
and the thumb should be able to rotate around the slide brace
as the wrist makes small adjustments. The wrist should stay loose
and pliable, so that small adjustments can be made. The larger the
movement of the slide is, the more involvement is introduced from
elbow. Very little movement should occur from the shoulder, which
should be limited to 6th and 7th positions.
Very importantly, slide movement should always be quick to limit
the amount of slide movement between notes to avoid glissandos.
The slide is controlled by two fingers and the thumb, which

should be loose enough to easily rotate around the slide brace.
178 | The Trombone

F-attachment
More advanced trombones will often have what is termed an F-

attachment. The F-attachment is an alternative bell segment that
adds additional tubing to the instrument to lower the pitch by a
perfect 4th when the rotor is engaged. The F-attachment serve two
critical purposes:
• eliminates the need for large slide movements as alternate

slide positions can be used for outer positions
• gives the trombone the pitches from b1-eb2 that allow for full
chromaticism through the fundamental bb1.
The F-attachment can serve as an alternative also for particularly

small trombonists, though this does add additional weight to the
instrument which they will need to contend.
The F attachment on the trombone is

controlled by the left hand thumb and drops
the pitch by a perfect fourth.
The Trombone | 179

When looking at bass trombones, it is common to have a double
rotor system. The first rotor drops the instrument into F. The
second rotor, in combination with the first, drops the instrument
into Eb or D, functionally extending the lower octave of the
instrument and providing more alternative positions to allow the
larger slide to stay in the close positions. The construction of this
second rotor can vary. In instruments with dependent (or stacked)
rotors, the second rotor is built into the tubing for the F rotor, so
the second rotor only functions with the first attachment opened.
In independent (or in-line) rotor instruments, the second rotor is
built into the main tubing, allowing it to function without the F
attachment. For independent instruments, the second rotor drops
the instrument into G or Gb when used on its own.
Slur or legato tonguing
The slide presents a problem for trombonists when they play parts
that require slurring. Since the slide needs to move between notes,
there is no way to have an unarticulated notes without a glissando
between them. To remedy this, trombone players use a “lah” syllable
to very lightly divide notes. The tongue merely interrupts the air
flow as lightly as possible while the slide moves as quickly as
possible.
Intonation
Unlike other brass instruments, intonation on the trombone is

primarily controlled mechanically. Since the slide is continuous in
pitch, the trombone player adjusts the slide to address pitch
inconsistencies. This allows the embouchure to remain centered,
allowing for consistent tone control. This also means that slide
180 | The Trombone

positions vary slightly based upon the intonation tendencies of
different partials.
Mutes
The trombone utilizes the same collection of mutes as the trumpet.
Standard Mutes
Straight mute-This is the most common mute for trombone

players. If a part calls for “with mute” or “con sordino,” a straight
mute is typically being expected. Similar to trumpet, they come in
a variety of different materials, each possessing slightly different
timbral qualities. In general, the mute cancels lower overtones
making for a bright, brassy tone with reduced dynamic.
Cup mute-The cup mute looks like a straight mute with a bowl
attached to its base and comes in both fiber board and metal. The
cup mute muffles the tone of the trombone by redirecting the upper
overtones back into the instrument.
Specialty Mutes
Wah-wah or Harmon mute-The wah-wah mute is a fixture of

certain jazz styles, comprised of a bulb shape with a small hole in
its base, which can be expanded with a stem. The cork completely
seals the bell, so all air must pass through the hole in the mute’s
base. When the stem is out, the tone is very mellow with greatly
reduced volume. When the stem is in, the tone is very direct and
buzzy. By placing the hand or a plunger over the stem opening,
The Trombone | 181

the characteristic “wah-wah” sound can be made, which bends both
pitch and tone. This must makes instruments extremely sharp, so
the tuning slide should be adjusted when using the wah-wah mute.
The wah-wah mute with stem in creates the famous “Charlie
Brown’s teacher” effect.
Plunger mute-The plunger for trombone is a standard toilet
plunger. There is a bit of challenge for trombonists in using the
plunger, as it is held by the left hand. The bell rests against the
wrist, which serves as a hinge to open and close the bell. When
using the plunger, the left hand is simultaneously manipulating the
plunger and supporting the weight of the instrument. This posture
can easily lead students to put more pressure on the embouchure,
so care should be made to ensure that excessive pressure is not put
on it.
Bucket mute-The bucket mute is a bowl or bucket with three
springs on the rim that attach over the trombone bell. The bowl is
full of batting to soften the tone and dynamic of the trombone.
Practice mute-Practice mutes look like straight mutes stuffed
with batting. They are designed for quiet indoor practice. Caution
should be used with practice mutes as they add a great deal of back
pressure that can cause harm and develop bad habits.
182 | The Trombone

From left to right:
Front row: Plunger mute
Back row: Straight mute, Cup mute, Wah-wah mute
Unique Issues for Trombone
Fist grip-Beginning trombone players will often wrap

their entire hand around the slide brace, making the wrist
rigid and losing the ability to pivot around the grip. Remind
students to hold the slide brace between the finger tips of
the first and second fingers and the thumb. Practice moving
between 1st and 2nd position using only the wrist, allowing
the slide brace to pivot between fingers when doing that
motion.
The Trombone | 183

Gripping the slide with the entire fist reduces agility and
increases tension.
Glissandos between notes-If students are using slow

slide motions, glissandos will be heard between notes, even
when students articulate appropriately. Students should be
reminded to move the slide quickly between positions.
Intervals studies like Broken Remington can be particularly
useful in isolating this movement. Start with close
movements between notes that are a second apart and
then progress to larger intervals.
Collapsed posture-Due to the off centered posture of the

trombone, it is common for trombonists to slump to the
left, either by tilting the torso or allowing the neck to tilt. At
times, beginning trombonists may try to rest trombone bell
segment on their shoulder to lessen the weight on the left
hand. This collapsed posture inhibits air flow and creates
issues for quick, smooth slide movement. Students should
lift the trombone off of their shoulder and make sure that
184 | The Trombone

the back remains straight and head remains elevated by
always setting posture first and then introducing the
instrument to the established posture.
The Trombone | 185

14. The Euphonium
The euphonium is the newest standard member of the brass family
having been invented in the 1840s. It was developed as an immediate
response to the development of valves, as it was seen as a melodic
low voice with a warmer sound than the trombone. In terms of
voicing, it serves the same role as the trombone as a tenor or
baritone voice. The youth of the euphonium can be seen in the
many different variations of design that are used by different
manufacturers of the instrument.
Double Belled Euphonium which allows for

timbral change by alternating which bell is
used.
The euphonium is closely related to the baritone, and the

distinction between the instruments can be somewhat unclear. In
186 | The Euphonium

practice, the instruments’ names are often used interchangeably,
though differences do technically exist. The baritone originates in
the British brass band and is smaller and more compact, as part of
the same instrument family as the now-antiquated alto horn, voiced
a 4th higher. The British euphonium has a more conical bore and a
fuller tone than the baritone. In the United States during the first
half of the 20th century, the American baritone was actually a hybrid
of the British baritone and euphonium. The bell front American
baritone was a fixture of the first half of the 20th century, but more
recently, the British style euphonium has risen to prominence in
both school and professional bands over the American baritone.
It serves a versatile role in the ensemble, including as a melody
instrument, tenor voice accompaniment, and bass line.
The Euphonium | 187

Basic parts of a compensating system euphonium
Characteristics for Beginning Euphonium

Players
188 | The Euphonium

the euphonium. With very few exceptions, any student can be an
effective euphoniumist.
The euphonium is quite possibly the most forgiving instrument
of all for beginners. While mastering the instrument takes a great
deal of time due to the wide range of musical expectations for the
instrument, the instrument’s size makes it appropriate for nearly
any musician and the embouchure is very accommodating to
orthodontic issues.
The one challenge that beginning musicians often have with the
euphonium is the large amount of air required for full tone. The
construction of the instrument is very free blowing, so it requires a
large amount of consistent air to maintain good tone.
The euphonium makes an ideal transfer instrument for students
who have encountered physical issues with other instrument. In
particular, high brass players with braces often make extremely
strong euphonium players as the musical demands of euphonium
as a melody instrument are often similar but the larger mouthpiece
reduces pressure on the face
Setting Up the Euphonium
While there are several designs for the euphonium, nearly all have
the same fundamentals in terms of posture. The left arm supports
the weight of the instrument while the right hand manipulates the
valves and stabilizes the angle of the instrument.
For instruments with a compensating valve, the left arm wraps
around the front of the euphonium so that the left index finger can
press the compensating valve. The left arm is less responsible for
holding the euphonium up as it is for creating leverage against the
lower torso on which the euphonium rests. Importantly, students
should establish their posture first and then bring the euphonium
to themselves. Except for extremely small players, the euphonium
The Euphonium | 189

should not be resting on the lap. If a student finds the weight of the
instrument difficult to support, they may position a cushion under
the instrument, making sure that the height of the cushion allows
for proper torso posture.
The right hand should be in the shape of a C with the thumb
positioned under the valve brace and the fingers positioned on the
fingertips on the valve caps. Care should be taken to make sure that
the fingers stay close to their assigned valve and do not wander
together or curl back toward the palm of the hand.
When bringing the instrument to the body, make sure that the
torso and head are in position first. The mouthpiece should rest in
the center of the lips roughly evenly divided between the upper and
lower lips. The mouthpiece cushion should remain very relaxed and
supple to allow for a very free and vivacious buzz.
The exact angle of the instrument is based in part on the player’s
body and size. The euphonium typically leans slightly to the right
while playing at an angle that allows the left arm to comfortably
wrap around the instrument and the right arm to come up to the
valves without compressing the rib cage or pulling the shoulder out
of line.

Euphonium-specific Details and Concepts
190 | The Euphonium

euphonium playing are common to all brass playing concerning
sections regarding each of these issues in addition to the
euphonium specific details below.
Range development

compared to woodwind and string instruments. While most players
find that the first sound on euphonium comes very easily, it can take
beginning euphoniumists a fair amount of time before they are able
to play a full octave across three partials. It is critically important
that beginners are not pushed too quickly to develop range and that
they are encouraged to play long tones and interval studies that can
develop their muscle tone and control.
This chart shows the characteristic range called for in standard literature at
various levels for euphonium.
Follow this link for a Euphonium Fingering Chart.
Intonation control
Intonation on euphonium is primarily controlled through the

embouchure, though many instruments include a 4th valve or a
compensating system that allows for more in tune alternatives to
problematic fingering combinations.
The Euphonium | 191

BC vs. TC Euphonium/Baritone
Because of its frequent use as a transitional instrument from

trumpet and the varied uses of the euphonium in the British brass
and concert bands and the American concert band, the euphonium
is frequently written in both bass clef (BC) and treble clef (TC)
parts. Importantly, in almost all instances, BC and TC parts are
identically the same in pitch, but their notation can be confusing.
Similarly, parts may be written for either baritone or euphonium,
but in practice, the same physical instrument will typically play the
part.
In modern notation, BC parts are written in concert pitch, along
with all other low brass instruments. The notated bb2 on the second
line of the bass clef is played as a concert bb2 with an open fingering
position.
By contrast, the TC euphonium or baritone is a Bb transposing
instrument. Additionally, it is written a major 9th higher than it
sounds. The notated c4 on the ledger line below the treble clef
staff sounds as a concert bb2 and is fingered with open fingering.
The benefit of this system is that it allows trumpet players who are
transitioning to euphonium to use the same fingerings as trumpet.
For the experienced euphonium player, they should be comfortable
with reading notation for both Euphonium/Baritone TC and BC,
though they will typically prefer reading from a BC part.
4th valve vs. Compensator systems
Two different systems commonly exist on euphoniums to adjust

particularly out of tune intervals and extend the full chromatic
range of the instrument. On the surface, they work in very similar
ways. The 4th valve or compensator system serves to provide an
alternative fingering for 1-3 and 1-2-3 fingerings and fill in the gap
192 | The Euphonium

between the fundamental of bb1 and e2. The way these systems
function is distinctly different and has ramifications for in tune
playing and for extreme low register.
4th valve
The fourth valve is typically positioned alongside the first three

valves and functions exactly the same way as the other valves on the
instrument by lowering the pitch by a fixed amount, in this case, a
perfect 4th when descending from an open fingering. The 4th valve
can be used as a substitute for the 1-3 fingering combination and
can provide an imperfect partial between the fundamental Bb and
first partial Bb. The problem develops as the low Bb is approached
as the tubing is not quite long enough to compensate for register
and the incorporation of the other three valves, causing the pitch to
sit relative sharp.
Compensating system
Compensating systems work by a more complex but more effective

system. The compensating valve is typically found on the side of the
euphonium. When pressed, the compensating system opens up an
additional set of tubing that is attached to each valve. This system
compensates for the additional tubing needed not only for the initial
interval of the perfect fourth, but also the additional tubing needed
for each additional depressed valve. This compensating system is
preferred over the 4th valve system as it allows for better intonation
as more valves are depressed in the low register, allowing for a
smooth connection to the fundamental Bb.
For an outstanding video explanation of how compensating
systems function, check out this explanation by David Werden.
The Euphonium | 193

Mutes
Mutes are seldom used in concert literature for the euphonium.

When called for, the straight mute is most commonly used for the
euphonium. It is inserted while the instrument is vertical in playing
position by reaching over the top of the instrument to place it in the
bell.
The straight mute is used on the rare occasion a

mute is required for the euphonium.
194 | The Euphonium

Unique Issues for Euphonium
Air support issues-Due to the large size of the

euphonium, air support is a frequent problem for more
novice euphonium players. Students should work on
building both lung capacity and exhale capacity and
consistency. Exercises found in the Breathing chapter can
help students build this capacity.
Technical dexterity-The large size of the valves coupled

with the melodic responsibilities of the euphonium can
pose problems with technical dexterity. Students should be
reminded to maintain a rounded C shape in the right hand
so that the finger tips are on the valves. By keeping the
fingers rounded and on the valve buttons, students are
better prepared for quick movements. Euphonium players
should also include technical exercises such as Dexterity
Exercise #1 and Dexterity Exercise #2 as part of their every
day practice.
The Euphonium | 195

15. The Tuba
The tuba is the modern representative of a long history of brass
instruments that have attempted to serve as the bass voice of the
ensemble. Some of these instruments, such as the ophicleide and
the serpent, took their design from bassoons and other bass
woodwind instruments. Others attempted to capture the
characteristics of smaller brass instruments scaled up for size, such
as the bass saxhorn and Wagner tuba. This evolution can still be
seen today as there is not a single standard design for the tuba,
although the principles have been broadly standardized.
Many instruments have been developed to assume the role of bass brass
instrument.
A. Wagner tuba B. Serpent C. Ophicleide D. Bass Saxhorn E. Russian bassoon
By the early 1900s, the modern tuba assumed its current form.
By default, the modern tuba is a vertical projecting, conical bore
instrument with at least three valves or rotors. In classrooms, it is
not uncommon to still find bell front tubas, which have a 90 degree
curve placed just before the bell flair. The BBb tuba is the standard
196 | The Tuba

tuba found in schools, while the CC tuba is typically preferred by
professional players, especially in orchestras. Tubas can also be
found regularly in Eb and F, which are typically used as solo and
chamber instruments as they are smaller instruments allowing for
greater agility. To accommodate players of different sizes, tubas also
come in scaled versions, sometimes referred to as junior tubas, with
many schools utilizing 1/2 or 3/4 size tubas.
Regarding construction, tubas are commonly found with valves
and rotors. They can have as many as six valves, allowing for
different combinations to improve intonation and extended low
register. For beginners, a 3- or 4-valve BBb tuba is preferred, as it is
more durable than the rotor versions and allow for the development
of solid fundamentals without the confusion of extended fingerings.
While tubas of a given key have the same length of tubing, different
manufacturers have wound their tubas differently, which affects
both timbral and handling aspects of the instrument.
Two common variants of the tuba can be found in many schools,
specifically for marching band. The sousaphone wraps around the
player’s body with a front facing bell. It is more cylindrical than the
tuba, and has a very directional sound that is conducive for the
marching field. Those timbral aspects also make it less desirable for
the concert ensemble. Another alternative is the marching contra
(short for “contrabass bugle”). This instrument was developed for
the drum and bugle corps tradition. It is carried on the right
shoulder and has timbral aspects more similar to the tuba than
the sousaphone in its warmth and depth. Some schools will use
a convertible version of the contra that has a moveable lead pipe
that allows for shoulder carriage for marching band, and traditional
seated posture for the concert setting.
The Tuba | 197

Basic anatomy of a 4-valve tuba
Basic anatomy of a 4 rotor tuba
198 | The Tuba

Characteristics for Beginning Tuba Players

the tuba. With very few exceptions, any student can be an effective
tubist. With that said, there are characteristics that make for a
stronger beginning tuba player.
Lung capacity is the single most important variable for effective
tuba playing. While a tuba player does not need to be physically
large, they do need to develop significant lung capacity to play the
tuba.
Because of the register in which the tuba plays, tuba players
should be able to distinguish low pitches well. Many students are
able to match pitch in their singing register well, but may struggle
to be able to transfer that pitch matching to the low register that
falls beyond the regular human voice.
While it may seem that player size should be a concern, there are
several ways that small students can be successful on tuba without
any issues. The one concern regarding size is hand spread. The
valve spacing on tubas can be rather broad, and students should
be able to reach all three (or four) valves simultaneously. The hand
position can be uncomfortable at first, so the concern should be
about whether they have the spread in the hands as opposed to
whether they can comfortably do it at first.
Tuba is a frequent candidate for transferring students to from
other instruments. Out of the brass instruments, euphonium
players are logical candidates for tuba as there is a similar (though
not identical) approach to performance on the instrument. Students
should have well developed low registers on euphonium if they are
to be successful on tuba. Similarly, horn can be a highly effective
transfer for the student who has a strong low register and potential
weak upper register (or orthodontic issues).
Surprisingly, woodwind players frequently make some of the
easiest transfers to tuba. Due to similar demands for air, flute
The Tuba | 199

players often make strong tuba players. The student with great tone
but issues with the dexterity required for flute can make for highly
effective tubists. Saxophone can be another particularly strong
transfer, especially for the student who at times has a woofy tone in
the low register or on tenor or baritone saxophone. That woofy tone
is frequently due to an oral cavity that is too large and too much air
support. The characteristics that make for an unfocused saxophone
tone also make for a full tuba sound.
While any student can potentially be successful on tuba, double
reed, clarinet, and trumpet players often struggle in making the
transfer to tuba. The embouchure required for these instruments
is quite tight, and these instruments utilize less air and more back
pressure. Additionally, for the reed instruments, the embouchure is
rolled in, which will be a habit that will need to be quickly broken to
be successful on tuba.
Setting Up the Tuba
There are many different designs for the tuba, so no one set of
instructions will work for all instruments. With that said, nearly
all tubas are balanced similarly and have similar characteristics
regarding handling.
The weight of the tuba is placed upon the player’s leg, their chair,
or a tuba stand, dependent on the size of the tuba and the tuba
player. The left arm serves two purposes. First, it helps to balance
the tuba by ensuring that it is stable on its resting surface. Second,
the left hand can be used to adjust slides (often the 1st valve slide)
to adjust intonation, as the size of the tuba makes intonation issues
become exaggerated). For most tuba players, the tuba rests on the
inside of their thighs. Shorter players may use the chair between
their legs or a specially designed tuba stand to hold the tuba.
Importantly, the tuba’s position should be dictated by the pre-set
posture of the player with the shoulders aligned over the hips, the
200 | The Tuba

back straight, and the head elevated. While the size of the tuba may
require slight alterations, good posture should not be compromised
to accommodate the tuba.
The right hand controls the valves or rotors. In some case, the
valves will be vertical, as on the euphonium. In this case, the right
hand is in the shape of a C, with the thumb placed against the
support brace across the back of the valve. Importantly, the finger
tips should rest upon the key caps of the valves. Students should not
allow their fingers to float freely or curl back to the palm as they
play.
For instruments that have horizontal aligned valves or rotors,
the right arm will wrap around the side of the instrument. The
hand should still have a relaxed position, but the fingers will be
slightly flatter than they are with vertical valves. The pads of the
fingers should rest on the valve keys or rotor spatulas in a way that
minimizes movement when playing.
The embouchure of the tuba is extremely relaxed, with nearly no
tension in the corners of the mouth. Ideally, the tuba mouthpiece
should sit close to a 50/50 division between top and bottom lips,
but this will be dependent on the size of the player’s face. The
bottom of the mouthpiece should not sit on the chin bone, and the
top of the mouthpiece should not make contact with the player’s
nose.

The Tuba | 201

Tuba-specific details and concepts
As mentioned in the previous chapters, many of the details of tuba

playing are common to all brass playing concerning technique, tone,
and practice. Make sure to reference the general sections regarding
each of these issues in addition to the tuba specific details below.
Range development

compared to woodwind and string instruments. The starting range
of beginning tuba players can vary greatly. Some beginning students
quickly achieve the extremely relaxed embouchure required for the
low register. Others start with a range that borders on tenor voices.
While early literature will emphasize the mid-low register at the
bottom of the bass clef staff, variability across students will be
broad. When initially developing embouchure fundamentals,
emphasize a relaxed embouchure without smiling or cheek puffing
to allow the entire embouchure to fully engage in vibration. If
students are struggling with range development, prioritize low
register tone development over middle and upper range.
For intermediate students, their range development will not
necessarily develop chromatically or evenly. They should be
encouraged to start developing the pedal bb0 as it will assist in the
development of overall tone, intonation, and range development as
they better grasp air and embouchure usage. Be aware that there is
a false tone eb1 that will be fuzzier and is highly unstable.
Low end range is largely dependent on the instrument that a
student has. Notes below e1 and above bb0 are only able to played
on an instrument with at least 4 valves. Students on a 3-valve tuba
may be able to continue this chromatic line through the use of the
false eb1, but it is not advised if there is a 4-valve option.
202 | The Tuba

The range notated is a rough estimate of the expected range of tuba players at
various levels in standard ensemble and solo literature.
Follow this link for a Tuba Fingering Chart.
Instrument handling
One of the initial challenges of the tuba is being able to handle it

appropriately. Students need to be taught and reminded that their
instrument takes up quite a bit of space, and be prepared to clear
the area around them to avoid damage to the tuba or others. There
is a temptation to set the instrument down on its bell, but this
should be discouraged as the weight of the instrument along with
the momentum of setting it down can cause the bell to buckle.
Instead, it should be laid on its back with the valve slides facing up
whenever possible.
When trying to identify proper playing position for the tuba, the
student should start with proper posture first (see Posture). They
should then bring the tuba to their body, with an emphasis on
having the mouthpiece meet their embouchure without adjusting
back, neck, or head angles. Having the teacher or another adult
help situate the tuba can help. The tuba itself can be at a slight
angle to accommodate embouchure provided that the student can
balance the weight with their left arm. There are a few options for
supporting the tuba.
• resting the tuba on the leg or between the thighs.
The Tuba | 203

• resting the tuba on the seat of the chair between the legs. This
works particularly if there is an angle that the tuba can be held
at to ensure that the mouthpiece is in the right position.
• purchasing a tuba stand to support the instrument from the
floor. If the student is using a tuba stand, they should sit on the
front part of the chair so that the instrument is still situated
against their body so that they do not need to lean forward or
lean the tuba backward to comfortably reach the mouthpiece.
The general rule for all brass posture stays the same–establish
proper playing posture that limits tension and maximizes air
support first, and then introduce the instrument in a way to
maintain that posture.
When playing rotor or front facing

valve tubas, the right arm wraps
around the side of the tuba. The left
hand is positioned for easy adjustment
of the 1st rotor tuning slide
204 | The Tuba

When playing valve tubas, the right
hand is positioned behind the tuba in
the shape of a C. When possible, the
left hand reaches around the
instrument to the 1st valve tuning
slide. The weight is resting on the
insides of player’s thighs.
Additional valves
Many intermediate and advanced tubas include additional valves

that serve to provide for more in tune alternates to 3-valve
combinations and to extend the lower register of the instrument
past the fundamental. For student instruments, 4-valve models are
quite common and are advised. Many advanced tubists will play
instruments with up to 6 valves or rotors to allow them greater
pitch flexibility. While there is variation based on manufacturer, the
following chart is the general rule of thumb for tubas:
The Tuba | 205

Valve Effect on partial
1 Major 2nd down
2 minor 2nd down
3 slightly sharp minor 3rd down
4 Perfect 4th down
5 flat Major 2nd down
6 flat minor 2nd down
On most instruments, the role of the 5th and 6th valves are to allow
for in tune playing when combined with the 4th valve. They also
serve to extend the range of the instrument further. By utilizing the
4-6th valves in combination with the first 3 valves, advanced tuba
players can correct pitch tendencies. Again, beginners should have
no more than 4 valves to start so that they can master fundamentals
before focusing on intonation details.
Intonation control and additional valves
Dependent on the instrument, there are three mechanisms by

which intonation is adjusted on the tuba. In the end, embouchure
adjustment is always a possibility, and due to the large size of the
instrument, small changes in the embouchure can have a significant
impact on pitch without affecting tone provided that quality air
support is always present.
Second, on tubas with additional valves or rotors, alternative
fingerings can be used by more advanced players to adjust
characteristically out of tune notes. Most notably, the 1-3
combination should be replaced with 4 and 1-2-3 should be replaced
with 2-4 as these are characteristically quite sharp.
Additionally, due to the additional slides, each slide should be
tuned to play in tune based on its relationship to the open tuning
pitches (see Intonation). Each slide is designed to play slightly sharp
206 | The Tuba

with the expectation that the slide length will be adjusted prior to
performance.
Third, many tubas are designed to allow for easy access to the
valve slides. Many tuba players will adjust the 1st valve slide in
particular while playing to correct particularly out of tune notes
using the 1st valve, notably pitches with the 1-2 combination.
Articulation
Due to the particularly wide embouchure, the approach to

articulation on tuba is slightly different than that of other brass
instruments. Rather than just attack the note with the tongue at
the front two teeth, the tongue flicks up to interrupt the air flow
across the entire front of the mouth. Additionally, due to the large
amount of air needed for the tuba, the oral cavity is nearly always
completely open. Instead of using a “tah” syllable, tuba players will
often use a “thoh” syllable which allows for a broader strike zone for
the articulation and a lower tongue position when playing.
Mutes
The use of mutes on tuba is relatively uncommon, both because of

the ungainly size of tuba mutes and functional impact. When called
for, the straight mute is the common mute for the tuba. It typically
has a handle on the side to allow for easier insertion and removal.
The mute is placed in the bell when the tuba is in upright position.
The Tuba | 207

Tuba mutes have a handle on their side to assist in
the process of inserting them into the bell.
208 | The Tuba

Unique Issues for Tuba
Posture problems-Due to the ungainliness of the size of

the tuba, many tuba players develop posture that collapses
their torso, twists their bodies in unusual ways, and creates
ergonomic problems that can make playing difficult and
lead to long term health concerns. Make sure that students
are establishing their initial posture correctly (see Posture)
and then introduce the instrument to that posture.
Importantly, make sure that your students have what

they need to be successful to support the instrument. They
may need a different chair or a tuba stand, so that they
have a wider lip to rest the instrument upon. They also
need to have enough space around them to allow them to
bring the instrument down safely and controlled while
resting.
Weak tone-The biggest performance issue that young

tuba players encounter is weak tone from a lack of air. It is
important that the expectation for tone duration between
breaths is different for tuba players than other
instrumentalists. While high brass or woodwind students
should be able to use four measure phrasing fairly quickly,
tuba players may take a year or more to develop the lung
capacity to sustain long phrases with good tone. They can
develop bad habits of weak air support by being rushed to
develop long phrasing too early.
The Tuba | 209

Regular use of breathing activities is critically important
for tuba players (see Breathing). Long tone work on the
tuba, as opposed to the mouthpiece, can also help build this
capacity. The low register of the tuba in particular uses a
great deal of air, so students can do capacity building
activities in the middle register where sustain is easier.
Finally, students need to be taught to monitor their own air
usage so to know when they need to breath and recognize
the markers of weak, under supported tone.
Double buzzing-When the lips vibrate at different rates,

a double buzz will be created, which manifests itself as thin
tone with highly apparent overtones. This can be a sign of
mouthpiece anchoring, where the mouthpiece is being
pushed into one lip or the other, thereby deadening the
buzz. It can also be a sign of a smile or pucker embouchure
where muscles are being unevenly engaged. Remind
students of the fundamentals of good embouchure
positioning, emphasizing the neutral position of the lips
that are not smiling, frowning, or puckering (see
Embouchure). Have them then practice with only the
mouthpiece, paying attention they are not anchoring the
mouthpiece onto the upper or lower lips. They should also
make sure they are using full air support, as weak air can
cause only one lip to fully vibrate.
Cheek puffing-Because of the very relaxed embouchure,

tuba players will often find their cheeks puffing or air
leaking through the corners of the mouth. (Old cartoons
with red cheeked tuba players in polka bands probably do
not help the situation.) This can also be a sign of fatigue in
playing. While the embouchure needs to be tension free for
clear, full tone in the lower register, the corners of the
mouth should be firm enough to keep the cheeks pulled in.
210 | The Tuba

By puffing the cheeks, the oral cavity is expanding, creating
eddies of slow moving air.
Importantly, have students practice by a mirror so that

they can become aware of what cheek puffing feels like.
They will often find that their cheeks puff as they start to
tire. This is a good sign that they should take a break. When
playing, encourage students to think about focusing the air
toward the center of the embouchure, which will firm up
the cheek muscles. Practicing in the middle register where
there is more presence in the embouchure will also help to
develop the muscles needed to keep the embouchure
focused when relaxed in the low register.
The Tuba | 211

212 | The Tuba
PART III
GUIDED PRACTICE
LESSONS
This book is intended to support a one semester Brass Techniques

course of 12-16 weeks, meeting twice a week. The presumption is
that students spend 3-4 weeks on each of four brass instruments,
developing familiarity and technique on trumpet, horn, trombone,
and euphonium/tuba. Any instrument may be the starting point,
Guided Practice Lessons | 213

and the structure of these activities allows for homogenous or
heterogenous groupings.
The Guided Practice Lessons serve to guide students through
appropriate practice approaches as developing brass musicians. The
intention is that the Guided Practice Lessons serve as an example
of a 10 minute practice session that should happen between in
class meetings. Students are encouraged to mix and match similar
activities using the Guided Practice Lessons as a guide, as well as
work on melodies and other musical etudes. For lessons with a
video, students can play along with the video to pace their lesson.
To develop the fundamentals and embouchure to be a consistent
brass musician, it is imperative that practice occur every day.
Shorter practice sessions daily will be more effective at developing
and maintaining muscle control and strength than longer sessions
on a more sporadic basis.
Instrument 1 Rotation
GPL 1.1
GPL 1.2
GPL 1.3
GPL 1.4
GPL 1.5
GPL 1.6
GPL 2.1
GPL 2.2
GPL 2.3
GPL 2.4
214 | Guided Practice Lessons

GPL 2.5
GPL 3.1
GPL 3.2
GPL 3.3
GPL 3.4
GPL 3.5
GPL 4.1
GPL 4.2
GPL 4.3
GPL 4.4
GPL 4.5
Guided Practice Lessons | 215

216 | Guided Practice Lessons
16. Guided Practice Lesson 1.1
Objectives
Students will be able to:
• identify the proper setup of their embouchure that allows for a

relaxed, consistent, and full tone
• engage the lower abdomen when breathing deeply, allowing
for full expansion of the lungs
• create a sound on both the mouthpiece and instrument that
will be refined in future practice sessions
Materials
• Instrument
• Metronome
Activities
1. Sustained Breathing. Breathe in for four counts, hold the

breath for four counts, and exhale over four counts. As you
breathe in, place your hand on your stomach. You should feel
your lower abdomen expanding outward as you breathe in,
stay firm as you hold the breath, and collapse back as you
exhale out. While holding the breath, you should feel slight
discomfort from your fully expanded lungs and rib cage.
2. Mouthpiece Experimentation. Experiment with the placement
Guided Practice Lesson 1.1 | 217

of the mouthpiece and the setup of the embouchure.
1. Position it high on the upper lip, low on the lower lip, off
center, and centered. Each time you place the mouthpiece,
blow air between the lips to feel and listen to the buzz that
is created. Continue to experiment until you find a
location where you have the fullest, most consistent sound
without bringing tension into the embouchure.
2. Adjust the placement of the corners of the mouth. Bring
the corners close to the center of your face, pull the
corners back toward your ears, smile to pull the corners
up, frown to pull the corners down. Find the point at
which you get the fullest, most relaxed, consistent sound.
3. Long tones on the mouthpiece. Play for four counts, rest for
four counts. Repeat 4 times. As you play, try to center the
mouthpiece at the location that you determined was the most
relaxed and fullest sound. Focus on keeping the center of the
embouchure relaxed and the corners of the mouth firm with
full use of lower abdomen air.
4. Long tones on the instrument. Add the mouthpiece to the
instrument, giving it a quarter turn so that it does not get
jammed in the instrument. Repeat the same activity as you did
on the mouthpiece, focusing on getting a relaxed full tone as
you play. Do not worry about a specific pitch; rather, try to
repeat the same pitch each time you play with a relaxed, full
tone.

218 | Guided Practice Lesson 1.1

Objectives
• identify the proper setup of their instrument that allows for a

relaxed, consistent, and full tone
• demonstrate proper deep breathing with engagement of the
lower abdomen and expansion of the rib cage
• alter the pitch of the mouthpiece by using fast and slow air
speed
• produce a pitch consistently over four counts
Materials
• Instrument
• Metronome
Activities
1. Posture Check. Make sure that your hips are lined up

underneath your shoulders. The head should be comfortable
looking forward. The shoulders should be dropped without
tension.
2. Two sips. Breath in for four counts. Hold your breath for four
counts. Take two sips of air (you should feel discomfort in your
rib cage as you stretch your lungs). Exhale four counts. Repeat

this activity four times. Each time you repeat it, try to take a
little more air in to expand the rib cage.
3. Long tones on mouthpiece. Breathe on one count. Play four
four counts. Rest for three counts. Repeat four times. The goal
is to have consistent pitch and tone each time you play the
long tone again. Make sure to expand the lungs fully with each
breath, feeling the expansion of the lower abdomen as you
inhale.
4. Pitch bending on the mouthpiece. Play a pitch for two counts.
Slur to a lower pitch for two counts. Return to the upper pitch
for two counts. To drop the pitch, think about changing the
vowel that is created by your oral cavity. Saying Ahhh-Oooo-
Ahhh approximates the change in oral cavity space and air
speed. Slower air and a more relaxed embouchure will produce
a lower pitch, while faster air and a firmer embouchure
(especially in the corners of the mouth) will produce a higher
pitch. For today, there is not concern of what the pitches are
but rather that the pitch changes.
5. Experimentation with the instrument. After placing the
mouthpiece in the instrument and giving the mouthpiece a
quarter turn, experiment with the positioning of the
instrument in relation with your body. Experiment with the
angle of the instrument; the placement of shoulders, elbows,
and hands; the positioning of the head; etc. The goal is to find a
spot that the instrument rests comfortably with your body and
you are able to produce a relaxed, full tone. While instrument
posture may feel unfamiliar or uncomfortable, especially at
first, playing instruments shouldn’t hurt! Once you find a
position, see if you can bring the instrument back to that same
position.
6. Long tones on the instrument. Using the posture that you
have established, play for four counts and rest for four counts.
Make sure to breathe on count 4, and try to create the same
relaxed, full tone each time. The pitch that you are playing is
not important for the moment, but you should try to play the

same pitch each time to start build control and consistency.


Guided Practice Lesson 1.3
Objectives
• play a sustained consistent tone on the mouthpiece and the

instrument
• alter pitch on the mouthpiece using limited pressure
• play a specific open tone on the instrument
• articulate a single pitch using legato articulation and
consistency tone
Materials
• Instrument
• Metronome
Activities
1. Sizzle for sustained 4 counts, taking a one count breath.

Repeat 4 times. Sizzle for sustained 8 counts, taking a one
count breath.
2. Long tones on a comfortable pitch on the mouthpiece or on
short instruments. Take as much time off the face as on the
face. Sustain tone as long as possible with consistent tone
quality. Repeat 4 times.
3. 4 counts on, 4 counts off on long tones on the instrument.

Make sure that there is a clear tongued attack, steady sustain,
and an open release on every tone.
4. Sirens on the mouthpiece. Hold a low pitch for 1 count, and
glissando up and down to return to the original pitch. Sustain
the original pitch for 1 count. Repeat 4 times.
5. One directional lip slurs on the instrument. Start on the upper
partial (for most students, this will be F concert on trumpet,
trombone, euphonium and tuba and C concert for horn). Hold
the upper partial for 4 counts and slur down to the lower
partial for 4 counts. Make sure there is continuous air between
pitches and that tone is consistent. Repeat 4 times. Start on
the lower partial (for most students, this will be Bb concert on
trumpet, trombone, euphonium, and tuba, and A concert on
horn). Hold the lower partial for 4 counts and slur up to the
upper partial. Make sure to keep air continuous between notes
and to avoid pinching the lips. Repeat 4 times.
6. Speak and play legato quarter notes. On a comfortable open
fingering, speak 4 quarter notes on tah. Rest for 4 counts. Play
for 4 counts. Make sure to keep air consistent between notes,
and listen for a clear but light articulation to start each pitch.
Consistency is the key for this exercise.


Objectives
• adjust pitch between two adjacent partials

• play chromatic and diatonic sequences
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Three sips-sizzle breathing exercise–Breathe in for 4 counts,

take three sips, sizzle out for 4 counts. Repeat 4 times to build
lung capacity.
2. Buzz a melody of your choice on the mouthpiece, focusing on
pitch centering and consistency in tone.
3. Long tones. Play by starting on concert F (concert C for horn)
descending chromatically. Use a tuner to ensure that pitch is
staying centered and focus on consistent tone.
4. Lip Slurs #2. Focus on consistency of air between notes and
tension free transitions, particularly on the ascending partial.
Take 4 counts off between each passage.

5. Broken Remington. Set the tuner to a concert F (C for horn)
drone to ensure that the open partial is in tune. Focus on
centering on that pitch each time you return to it.
6. Dexterity Exercise #1 . Practice no faster than you can play
with good technique and accurate pitch with correct
fingerings.


Objectives
• control lip slurs between adjacent partials

• play a simple melody with consistent tone, pitch, and
articulation control
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Paper Airplane. Breath in on 1 count and exhale for 4 counts.

Make sure that the air stays full and steady across all 4 counts.
Use your hand to visualize the inhale and exhale. Repeat 4
times to work on building good breath control.
2. Mouthpiece Sirens. Start on a low tone. Sustain to establish
center of pitch and gradually glissando the note higher and
back down to the starting tone. Make sure to use air and
corner firmness to lead the glissando. Avoid pinching and
creating tension in the embouchure. Repeat 4 times.

3. Reverse Broken Remington. Set a drone on the tuner to
concert Bb (horns will use actual fingerings for this exercise).
Using the lower fundamental as a point of stability, slur up to
the higher note, paying attention not to pinch the lips or choke
the tone. If a particular interval poses issues, repeat that
interval again.
4. Lip Slur #2 or Lip Slur #3. Focus on consistency of air
between notes and tension free transitions, particularly on the
ascending partial. If three partials can be played comfortably,
use lip slur #3. If not, use lip slur #2. Take 4 counts off
between each passage.
5. Dexterity Exercise #2. Choose four keys that are comfortably
in the middle of your register. Set the metronome at a rate that
you can accurately play each note with proper fingerings. Pay
close attention to intonation tendencies, particularly 2-3, 1-3,
and 1-2-3 combinations. Make sure to adjust using proper
techniques (e.g. 3rd valve slide, 4th valve, hand position)
6. Melody. Select one of the simple melodies from Practice
Materials. Pay particular attention to accurate fingerings,
consistent tone, and good phrasing.


Objectives
• control articulations with varying attacks and releases with

good tone
• play a simple melody with consistent tone, pitch, and
articulation control
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Santa. Breath in on 4 counts and exhale on three counts saying

(Ho, Ho, Ho). Focus on fast air attack and full resonance on the
vowel. Repeat 4 times.
2. Chromatic long tones. Start in the middle of the register and
play a 4 count long tone with the metronome. Rest for 4
counts. Play a half step lower for 4 counts. Rest for 4 counts.
Continue for at least 7 half steps.
3. Lip Slur #2 or Lip Slur #3. Focus on consistency of air

between notes and tension free transitions, particularly on the
ascending partial. If three partials can be played comfortably,
use lip slur #3. If not, use lip slur #2. Take 4 counts off
between each passage.
4. Broken Remington. Set a drone to concert F (concert C for
horn). Play through the Remington exercise without breaks
between measures (except to breath). Pay attention to
returning to the fundamental with the drone.
5. Articulation Contrast Play on a comfortable pitch. Focus on
keeping consistent tone between adjacent notes. Particularly
with the accent articulation, pay close attention to control of
the attack of the note. On the staccato articulation, make sure
that the air column stays engaged between notes by use of a
glottal stop after the release of the note. Once notes can be
played accurately on a single pitch, add a melodic pattern (e.g.
scales, pentachords, interval patterns).
6. Dexterity Exercise #3. Choose four keys that are comfortably
in the middle of your register. Set the metronome at a rate that
you can accurately play each note with proper fingerings. Pay
close attention to intonation tendencies, particularly 2-3, 1-3,
and 1-2-3 combinations. Make sure to adjust using proper
techniques (e.g. 3rd valve slide, 4th valve, hand position)
7. Melody. Select one of the simple melodies from Practice
Materials. Pay particular attention to accurate fingerings,
consistent tone, and good phrasing.


Objectives
• establish proper posture

• control deep breathing inhale
• control deep breathing exhale
• establish a standard embouchure for brass playing
• buzz a consistent tone on the mouthpiece
• buzz a consistent tone on the instrument
Materials
• Instrument
• Metronome
Activities
1. Roll up to establish proper posture.

2. Timed Breathing Set the metronome at ♩=72.
1. Do 4 repetitions of 4 counts in, 4 counts out

3. Do 4 repetitions of 1 count in, 4 counts out
3. Vowel Shaping to establish open oral cavity
4. Hum to establish embouchure and set mouthpiece

5. 4 on, 4 off Set the metronome at ♩=72. Focus on consistent
tone production of a comfortable pitch
1. Do 4 repetitions of 4 on, 4 off

2. Rest for 15 seconds
3. Repeat steps 3, 4.1, and 4.2 three more times
6. Long tones Assemble the instrument and set proper
embouchure using step 3. Focus on producing a consistent
tone on any comfortable pitch. Repeat 4 times


Guided Practice Lesson 2.2
Objectives

• control a focused tone on the mouthpiece
• control a focused tone on the instrument
Materials
• Instrument
• Metronome
• Tissue
Activities
1. Marionette Pull the “string” from the top of the head to

establish proper posture.
2. Paper Airplane Set the metronome at ♩=72.

3. Santa to establish strong exhale
4. Deep Breath Exhale and Pea Spitting to establish embouchure

and set mouthpiece
5. Short Instruments Set the metronome at ♩=72. Focus on
consistent tone production of a comfortable pitch
1. Sustain consistent pitch as long as possible with good tone

2. Take mouthpiece off of face and rest for duration of
playing in 5.1
3. Repeat 4 & 5.1 three more times.
6. Long tones Assemble the instrument and set proper
embouchure using step 4. Focus on producing a consistent
tone on any comfortable pitch. Repeat 4 times


Objectives
• utilize proper finger/slide technique on passages requiring

dexterity
• maintain a consistent tone across the functional register of the
instrument
• move freely between adjacent partials
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Sirens Start on a comfortable pitch in the lower

register. Glissando up and back to that original pitch in one
breath. Focus on consistent tone and smooth pitch transitions
without interruption. Repeat 4 times.
2. Long tones on the mouthpiece Focus on producing a
consistent tone on any comfortable pitch. Repeat 4 times.
3. Lip Slur #3 Focus on producing a smooth, consistent tone and
a stable pitch on both partials. Focus on moving between

partials using Ahhh and Ohhh consonants.
4. Broken Remington Set the tuner to play a drone on concert F
(concert C for horn). When performing, do not leave the upper
pitch until it is stable and matched with the drone. Eliminate
the rests that are notated in this exercise, but breathe as
necessary.
5. Dexterity Exercise #1 Play through each of the keys of this
exercise at a tempo with which you are comfortable. Pay close
attention to pitch accuracy and the attack of each note, using a
clear and consistent articulation. Alter the articulation for each
exercise by creating a pattern by which to play in each key
utilize slur, staccato, and legato articulations.
6. Dexterity Exercise #2 Choose four keys to practice. For each
key, pay close attention to centering the pitch as you transition
from diatonic to chromatic passages.


Objectives

dexterity
instrument
• adjust pitch to correct intonation errors
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Long Tones. Play long tones on the mouthpiece.

Emphasize the centering of pitch and consistency of tone.
2. Pitch Bending Long Tones On your instrument, start in the
middle of your register, playing at a mp level. Focus on
consistent tone and pitch throughout the long tone, using a
tuner to check pitch stability. Once pitch is established, relax
the embouchure and slow the air, allowing the pitch to bend

flat; then, return to the original pitch, making sure it returns in
tune. Chromatically move down from the open fundamental
doing the same exercise on each pitch.
3. Lip Slur #3 Focus on producing a smooth, consistent tone and
a stable pitch on both partials. Focus on moving between
partials using Ahhh and Ohhh consonants. Use the tuner to
check pitch on each partial.
4. Legato Exercise Starting on concert Bb and ascending to F
diatonically, play the notated rhythm on each note. Pay close
attention to the consistency of your attack and the control of
the tone and pitch being played.
5. Dexterity Exercise #2 Choose four keys to practice that are
different from GPL 2.3. For each key, pay close attention to
centering the pitch as you transition from diatonic to
chromatic passages.


Objectives
• match pitches by ear from a sung pitch to a pitch played on the

mouthpiece.
• utilize proper articulation technique, with a focus on
consistency from one note to the next without altering tone
quality on the attack.
• maintain clear tone quality on a sustained note, both with and
without dynamic contrasts.
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Motives. Sing a short musical pattern on the first

three notes of the diatonic scale (do, re, mi). Then, play the
motive back on the mouthpiece, with a focus on matching the
pitch sung on the mouthpiece.
2. Long tones. Play sustained tones on the first 5 notes of the Bb
Major scale over 8 counts at a mezzo piano dynamic. Pay close

attention to keeping the tone quality consistent and full
throughout all 8 counts. On the descending scale, add a 4
count crescendo and a 4 count decrescendo, again keeping a
focus on keeping tone quality consistent and controlled
through all 8 counts.
3. Lip Slurs 3. By altering the oral cavity to speed up air when
ascending, and allowing the corners of the mouth to relax
when descending lower, maintain the same tone quality across
the three partials on each fingering combination.
4. Dexterity Exercise #1. Play each exercise with a different
articulation, focusing on keeping the tone quality consistent
between notes on each articulation. Play Bb Concert with
staccato, C Concert with slur, Eb Concert with accent, and F
Concert with legato.
5. Dexterity Exercise #2. Focus on smooth fingering transitions
and consistency of tone across the entire exercise.


Objectives
• apply common brass characteristics including air support and

embouchure from their Rotation #1 instruments to their
Rotation #2 instruments
• establish proper posture
• establish a standard embouchure for brass playing
• buzz a consistent tone on the mouthpiece
• buzz a consistent tone on the instrument
Materials
• Instrument
• Metronome
Activities
Note: Throughout this first practice on your new instrument, focus

on maintaining good brass fundamentals while observing the
primary differences between your Rotation #1 and Rotation #2
instruments. All brass instruments should use a relaxed
embouchure, open posture, and air-driven tone. Particular issues

to pay attention to are the amount of air required to produce a
full tone, the exact placement of the mouthpiece, and unique
characteristics of posture. Make sure to review the setup video for
your new instrument before starting your first practice
1. Set up Mouthpiece. Saying hmmmm, set the embouchure with

the lips gently touching and the corners firm but not tight.
2. Mouthpiece buzzing 4 on, 4 off Set the metronome at ♩=72.
Focus on consistent tone production of a comfortable pitch

2. Rest for 15 seconds
3. Long tones on the instrument Focus on producing a
consistent tone on any comfortable pitch. Repeat 4 times.
4. Vowel shaping exercise. Place your hands along the side of
your face and sing through the vowels Ahhh and Eee. Pay
attention to tongue placement, jaw placement, and oral cavity
size.
5. Lip Slur #1 If you have problems producing the specific pitch
that is notated, choose the two adjacent partials that are most
comfortable for you. Focus on producing a smooth, consistent
tone and a stable pitch on both partials. Focus on moving
between partials using Ahhh and Ohhh consonants.
6. Reverse Broken Remington When doing this exercise, focus
on making sure each note fully speaks. While pitch centering is
important, even more important right now is the clarity with
which the tone is produced. Pay particular attention to not
having the embouchure be pinched when moving to higher
partials.
7. Legato Articulation – Full Score Set the metronome at ♩=90.
Listen closely to the initial attack in each measure.
Additionally, listen that there is an even attack on each re-
articulated note. Do not move on to faster rhythms until you
can play slower rhythms with accuracy and consistency. Start
on Bb and go diatonically up to F, playing the full rhythm on

each note.


Objectives

dexterity
instrument
Materials
• Instrument
• Metronome
• Tuner
Activities

2. Long tones on the instrument Focus on producing a
consistent tone on any comfortable pitch (F or Bb for trumpet,
trombone, euphonium, tuba, F or A for horn). Repeat 4 times.
3. Lip Slur 2 Focus on producing a smooth, consistent tone and a

stable pitch on both partials. Focus on moving between partials
using Ahhh and Ohhh consonants.
4. Legato Articulation Study Set the metronome at ♩=72. Listen
closely to the initial attack in each measure. Additionally, listen
that there is an even attack on each re-articulated note. Do not
move on to faster rhythms until you can play slower rhythms
with accuracy and consistency. Aim to make each note speak
for the longest possible period of time with as little
interruption by the articulation.
clear and consistent articulation.


Objectives
• use air speed and lip corner firmness to adjust pitch while
maintaining consistent tone quality
• utilize articulation with consistency of attack without
distortion of the sustain of the note
• demonstrate the continuity of air between notes with different
articulations
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Sirens. Start on a comfortable pitch in the lower

without adding tension into the embouchure.
2. Broken Remington. Listen carefully to the intonation of the
note you return to. Keep the embouchure equally relaxed
between upper and lower notes, and minimize the amount of

physical adjustment of the lips. Think about using faster air to
move notes higher and relaxed corners to lower pitches.
3. Lip Slurs 2. Make sure to consider the change in oral cavity as
you move between partials. Singing Ahh–>Eee can help to
focus on faster air for higher notes. Be aware of the tendency
to tense the center of the lips to move to higher partials.
4. Contrasting Articulation Study. When altering articulation,
make sure the weight of the attack remains the same from one
note to the next. On staccato, make sure that the lower
abdomen stays actively engaged, so that the air column
remains present and the attack is not huffy. On the accent,
watch that the tone of the note is not distorted by the stronger
tongue attack.
5. Dexterity Exercise #1. Using a legato articulation, play
through each exercise with attention to even tone and
continuous sound. Aside for when you breathe, there should be
no significant breaks in the sound due to the release of notes.
Your lower abdomen should stay consistently engaged, rather
than starting and stopping with each note.


28. Guided Practice Lesson
3.4
Objectives
• move between harmonic partials and between notes with

smooth, consistent tone that is centered on pitch
• play basic melodic patterns with accuracy in fingerings/slide
positions
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Melody. Buzz a melody on the mouthpiece. Try to

pay attention to continuity of tone and centering of pitch.
Keep the melodic shape legato without clear breaks in the
sound.
2. Reverse Remington. Focus on producing a smooth, consistent
tone and a stable pitch on both notes. Emphasize the
continuation of air between notes.

3. Lip Slur Exercise #3. Breathing as necessary, keep the air
moving between notes. Think about the change of vowel shape
(Ah to Ee) on ascending lines.
4. Contrasting Articulation Study. Make sure to keep the tone
consistent as you move from legato to staccato to accent. Each
note should fully speak with good tone and centered pitch.
Practice using a 5 note pentachord, playing the full rhythm on
each pitch of the pentachord.
clear and consistent legato articulation.


Objectives
• control both pitch and tone with consistency from attack to

release with control of air stream
• move smoothly between partials on the instrument without
interruption of the air stream
• develop greater endurance with good tone consistency
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Endurance Builder on Mouthpiece–4+6+8+12 Using just the

mouthpiece, buzz a concert F for a gradually increasing
duration. Start with 4 counts of buzzing, followed by 4 counts
of rest. Then progress to 6, 8, and 12 counts. The goal is to
gradually expand capacity. It is more important to stop when
the tone is solid than stretching all the way through all counts.
2. Remington Combined. Remove the rests from the Broken
Remington exercise. Focus on centering the pitch of the

concert F (concert C for horn) and making a smooth transition
to the lower partial.
3. Lip Slur 3. Use air and adjustment to the corners of the mouth
and the space within the oral cavity, as opposed to pressure in
the center of the embouchure. Keep each note connected
together.
4. Dexterity Exercise #1. While focusing on performing pitches
accurately, alter articulations with each change of key. Play Bb
Concert with legato, C Concert with slur, Eb Concert with
staccato, and F Concert with accent. Pay attention to keeping
the articulation consistent from one note to the next and
making sure that the articulation does not affect tone quality
and consistency.
5. Dexterity Exercise #2. Make sure to quickly transition
between fingerings/positions while keeping each note full
value throughout.


Objectives
• recognize similarities in embouchure, air usage, and fingerings

between previously studied brass instruments and the new
instrument
• demonstrate the proper embouchure and posture to create a
characteristic tone on their instrument
• move freely between notes in a range of a perfect fifth with an
emphasis on full air support and consistency of tone
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Long Tones. Start to form a relaxed embouchure

by saying “Hmmm…” just until the moment that the lips touch.
Take a breath and buzz a comfortable pitch for 4 counts. Make
sure that there is no tension in the center of the embouchure
and that breathing is smooth and continuous. Repeat 4 times.
2. Instrument Long Tones. Play a comfortable open pitch

(Concert Bb or F for trumpet/trombone/euphonium/tuba or F
or A for horn) for 4 counts. Listen for a clear legato attack,
continuous sustain, and relaxed release. Repeat 4 times,
resting between each time.
3. Lip bends. Play a concert F (or concert C for horn) for 2 counts,
bend the pitch half a step down over 2 counts, bend the pitch
back up over 2 counts, and play the starting pitch for 2 counts.
Keep the air moving through the note, allowing air to slow
down slightly by opening the oral cavity to lower the pitch up
to a half step.
4. Broken Remington. When playing through the Remington
series, focus on returning solidly back to your starting note
with good tone. Make sure that you are slurring between
notes. Trombones, make sure to use “luu” tonguing to allow
the slide movement to be disguised.
5. Legato Articulation. Play over the first five notes of the Bb
Major scale. Keep every note fully voiced with as little
disruption between notes as possible. Pay attention to the
sound of the tongued articulation to ensure it is interrupting,
not stopping, the air stream.


Objectives
• play with sustained tone throughout and between notes

• expand the duration of sustained notes
• utilize legato articulation without impacting the attack of the
note
Materials
• Instrument
• Metronome
• Tissue
Activities
1. Mouthpiece Sirens. Shape the note as high as you can get it to

go by firming the corners of the mouth and accelerating air.
The range covered is less important than the bending of the
note with full air behind it.
2. Long Tones. Play for 4 counts, followed by 4 counts rest. Play
for 6 counts, followed by 4 counts rest. Play 8 counts, followed
by 8 counts rest. Each of these will be on a concert F. Try to
keep the air moving through the entire note with clear attacks
and clear releases.

3. Lip Slurs #2. Keep the movement between notes as smooth as
possible. Think about the changing of the vowel from Ah to Eee
if having issues with making the transition between notes,
along with accelerating air forward.
4. Dexterity Exercise #1. Use a consistent articulation to start
each note off. Work on centering the pitch and allowing the
note to sustain through its release. Keep fingers (or slides)
moving quickly between notes, especially when multiple
fingers are in motion at once.


Objectives
• utilize proper tongue placement and air usage when

performing different types of articulations without altering the
quality of tone from one note to the next
• play sustained tones with full air and consistency with control
• alter pitch between partials with a relaxed embouchure,
control from the corners of the mouth, and alteration of air
speed through changing the oral cavity shape
Materials
• Instrument
• Metronome
Activities
1. Speak and Play. Speak the articulation pattern that you intend
to play, paying attention to consonant and vowel in that
replication. Make sure to observe the different ways in which
your tongue and air stream speak each syllable before you then
play it on the mouthpiece and on the instrument.
2. Tone Builder. In this variation on long tones, gradually extend
the duration of your long tone, starting with 4 counts playing,

4 counts resting, extending to 6, 8, and then 12 counts. Focus
on keeping tone consistent throughout the entire long tone. It
is more important to keep the tone consistent and full than to
make the entire duration. Doing this activity regularly can
increase air support and endurance.
3. Lip Slur 2. When changing between shelves, make sure to
consider the vowel shape being used to aid in playing with
faster air. By narrowing the oral cavity from an Ahh to an Eee,
you will speed up the air and maintain a relaxed center portion
of your embouchure.
4. Legato Articulation. Play the full rhythm pattern on each note
of the first five notes of the Bb Major scale. Pay attention to
keeping the weight of your articulation consistent from one
note to the next without altering the quality of your tone.
5. Dexterity Exercise #2. Pay close attention to quick transitions
between fingerings or slide positions, with clear tone on all
notes across the perfect fifth.


Objectives
• control both pitch and tone with consistency from attack to

release
• smoothly move between partials of the instrument
• utilize a variety of articulations with attention given to the
attack, sustain, and release of each note
Materials
• Instrument
• Metronome
• Tuner
Activities

2. Pitch Bending. Using an open partial, hold a pitch for 2 counts,
bend it a half step down (without slide or valve adjustment)
over 2 counts, bend it back up to the original pitch over 2
counts, and hold the original note for 2 counts. Repeat 4 times.

Focus on maintaining tone quality while bending the note and
ensuring stability on the note once it is returned to with open,
relaxed embouchure.
3. Lip Slur 3 Focus on producing a smooth, consistent tone and a
stable pitch on both partials. Focus on moving between partials
using Eeee (high), Ahhh (middle), and Oooo (low) vowels.
exercise at a tempo with which you are comfortable. Change
articulation with each of the keys to practice legato, staccato,
slur, and accent. Make sure that full tone is supported
throughout the legato, slur, and accent. Be aware of the
tendency to over accent the attack, causing tone to be
distorted. On trombone, make sure to use a “lu” articulation
when slurring so that slide movement is not heard.


Objectives
• match pitch on the mouthpiece while maintaining a vibrant,

consistent buzz
• use strong air support that continues to move between notes
• demonstrate consistency of tone and intensity when using
various articulations in the same exercise
Materials
• Instrument
• Metronome
• Tuner
Activities
1. Mouthpiece Melody. Choose a simple melody (from the

performance pieces in the book or other familiar melodies) and
buzz the melody on your mouthpiece. Pay attention to
centering each note and keeping the air stream consistent
throughout the melody (except as you need to grab a breath).
2. Remington (Ascending and Descending). Remove the rests
from the Remington exercises. Place emphasis on smooth
movement between each of the notes and a consistent return

to the same starting pitch. The use of either a tuner or a drone
can be very helpful in making sure that this pitch is centered
and accurate. Make sure your air remains continuous between
all notes.
3. Dexterity Exercise #1. As you play through each exercise, add
an articulation pattern (e.g., slur two, legato two, slur two,
staccato two) to the notes. As you play through with different
articulations, make sure the quality of the tone remains the
same from one pattern to the next.
4. Dexterity Exercise #2. Make sure to keep attention on the
accuracy and quick transition between fingerings/slide
positions. Focus on using a legato articulation that allows for
air to move between notes.


PART IV
RESOURCES AND
ACTIVITIES
Resources and Activities | 261

Fingering Charts
Practice Materials
Recommended Equipment
Brass Terminology
Additional Resources
262 | Resources and Activities

Fingering Charts
Trumpet Fingering Chart
Horn Fingering Chart
Trombone Fingering Chart
Euphonium Fingering Chart
Tuba Fingering Chart
Fingering Charts | 263

Practice Materials
Technical Exercises
Mouthpiece Sirens
Long Tones
Broken Remington
Reverse Broken Remington
Lip Slurs
Speak and Play
Legato Articulation
Contrasting Articulation
Dexterity Exercise #1
Dexterity Exercise #2
Performance Pieces
Arirang (Traditional Korean Melody)

God Save the Queen (America) (British Anthem)
Horses Branle (French Renaissance Dance from Arbeau’s
Orchesographie)
La Negra (Traditional Mariachi Melody)
Simple Gifts (Traditional American Shaker Song)
Siyahamba (South African Protest Song)
Symphony #1-Theme from Movement III (Gustav Mahler)
Symphony #9-Theme from Movement II (Antonin Dvorak)
264 | Practice Materials

Recommended Equipment
The following lists are by no means complete, and exclusion from
these lists does not imply an inferior instrument. Rather, these are
recommendations collected from expert brass players based on
their own experiences, meant to guide the music educator in
advising their students. These recommendations are intended for
beginning through pre-collegiate students.
In addition to new instruments which are listed below, used
instruments made by Bach, Bundy, Conn, Getzen, Holton, King, and
Yamaha have a long history of quality and durability.
Trumpet
Bb Trumpets
Beginner:
Bach 300 series
Yamaha YTR 2335
Intermediate:
Bach Stradivarius
Yamaha 6000/7000 series
Mouthpieces
Beginner:
Bach 5C, 7C
Yamaha 16C4
Recommended Equipment | 265

Intermediate/Advanced:
Bach 3C
Schilke 11, 12
Yamaha 11C4, 15
Recommended brands: Bach, Monette, Karl Hammond, Shilke,
Yamaha
Mutes
Denis Wick, EZ Bucket, Harmon, Hirschman, Humes & Berg, Jo-Ral,

Mutec, ProTec Aluminum, Warburton, Zinger
Horn
F Double Horns (ideally, start beginners on double horns)
Conn 8D, 10D

Holton Farkas 179, 180, 181
Yamaha YHR 567, 667, 668
Mouthpieces
Conn 5N, 5W, 7N, 7W

Holton Farkas MDC, DC
Yamaha 30C4, 31D4
266 | Recommended Equipment

Mutes
Denis Wick
Humes & Berg
Tom Crown
Trombone
Tenor Trombones
Beginner
Bach 200
Bundy 1523
Conn
Yamaha YSL-354
Intermediate/Advanced
Bach 42B, 36B
Conn 78H, 88H
Yamaha YSL-684, YSL-820 (Xeno)
Bass Trombones
Bach 50B
Conn 110H
Yamaha YBL-613, YBL-622
Mouthpieces
Beginner

Bach 12C
Schilke 47
Intermediate/Advanced
Bach 6 1/2AL, 5G
Schilke 50, 51
Bass Trombone
Bach 1G
Schilke 57
Euphonium
4-Valve Euphoniums
Willson 2704
Yamaha YEP-321, YEP-621
Compensating Euphoniums
Besson 967, 968

Hirsbrunner
Willson 2901
Yamaha YEP-641
Mouthpieces
Bach 6 1/2 AL
Denis Wick 5AL, 6AL
Shilke 50, 51
268 | Recommended Equipment

Tuba
BBb Tubas
Besson 997
Conn 5J
Meinl-Weston 20 (rotary)
Miraphone 1864U (rotary)
Yamaha YBB-301
Mouthpieces
Bach 18
Conn 18
Conn-Helleberg 1205
Yamaha 18
Mutes
Tom Crown
Vincent Bach
Denis Wick
Humes & Berg
Harmon
Jo-Ral

Important Brass Terminology
Instrument names
English German French Italian
Trumpet Trompete trompette tromba
Cornet Kornett cornet à piston cornetto
Flugelhorn Bugle bugle flicorno
Horn Horn cor corno
Trombone Posaune trombone trombone
baritone
Euphonium Baryton basse à pistons
saxhorn
Tuba Basstuba tuba basse tuba di basson
Brass Specific Terms
English German French Italian
with mute gedämpft avec sourdine con sordino
Hand stop gestopft mit

bouché chiuso
(horn) Dämpfer
270 | Important Brass Terminology

35. Additional Resources
A general note should be made about one specific text that should
find a home in every instrumental music educator’s collection. The
J.B. Arban Complete Conservatory Method is the standard-bearer for
all brass techniques. While individual exercises are frequently
disputed, this single text (originally written for trumpet/cornet but
since edited for all brass instruments) contains a comprehensive set
of exercises for brass players at all levels. If you have one book in
your collection, this is the single one to have as it includes a little bit
of everything for every type of player.
General
Bachelder, Dan and Norman Hunt, Guide to Teaching Brass, 6th

ed.(Boston: McGraw-Hill, 2002).
Bailey, Wayne, et al., Teaching Brass, 2nd ed. (Boston: McGraw-
Hill, 2008)
Maxwell, Steven.Teaching Low Brass. (Manhattan, KS: New Prairie
Press, 2018) (CC 4.0). https://newprairiepress.org/ebooks/22/
Vining, David. Teaching Brass: A Guide for Students and Teachers
(Flagstaff, AZ: Mountain Peak Music, 2010)
Trumpet
Texts
Additional Resources | 271

Method books
Arban, J.B. Complete Conservatory Method for Trumpet. (Carl

Fischer, 1894/1936/1982)
Bousquet, N. Thirty Six Celebrated Studies for Cornet. (Carl
Fischer).
Brandt, Vassily. Etudes for Trumpet. (MCA Music, 1965)
Clarke. Technical Studies
Concone, Giuseppe, Lyrical Studies for Trumpet or Horn. (Brass
Press, 1972).
Getchell, Robert, First and Second Books of Practical Studies for
Cornet and Trumpet. (Belwin Mills, 1948/1972).
Irons 27 Groups of Exercises
Small, J.L. 27 Melodious and Rhythmic Exercises for Cornet or
Trumpet. (Carl Fischer, 1928).
Schlossberg Daily Drills & Technical Studies for Trumpet and
Trombone (Baron)
Vizutti, Allen, Allen Vizzutti Trumpet Methods, Books 1-3 (Alfred,
1991)
Horn
Texts
Farkas, Philip. The Art of Brass Playing (Rochester, NY, Wind Music,
1989)
272 | Additional Resources

Method books
Concone, Giuseppe, Lyrical Studies for Trumpet or Horn. (Brass

Press, 1972).
Getchell, Robert. First and Second Books of Practical Studies for
Horn.
Kopprasch 60 Selected Studies for Horn (Fischer)
Little Embouchure Builders for Horn
Maxime-Alphonse Deux cent Etudes Nouvelles (LeDuc)
Pottag-Andraud 335 Selected Melodious Progressive and Technical
Studies for French Horn (Southern Music Company)
Tuckwell Fifty First Exercises for Horn
Trombone
Texts
Kleinheimer, Edward, The Art of Trombone Playing (Evanston, IL,

Summy-Birchard, 1963)
Wick, Denis. Trombone Technique (London, Oxford UP, 1973)
Vernon, Charlie A Singing Approach to the Trombone (Atlanta Brass
Society Press, 1985)
Yeo, Douglas, “Douglas Yeo FAQ: Bass Trombone Valve Systems,”
last modified 2013, http://www.yeodoug.com/resources/faq/
faq_text/valves.html
Method books
Arban, J. B. Complete Method for Trombone.

Bordogni-Rochut, Melodious Etudes, Books I-III (Fischer)

Cimera 170 Studies
Cimera 79 Studies
Clarke Technical Studies (Fischer)
Kopprasch 60 Selected Studies for Trombone (Fischer)
Schlossberg Daily Drills & Technical Studies for Trumpet and
Trombone (Baron)
Euphonium
Texts
Bowman, Brian, Practical Hints on Playing the Baritone (Euphonium)

(Melville, NY: Belwin-Mills, 1983).
Werden, David, “The Three- and Four-Valve Compensating
System,” last modified 2020, http://www.dwerden.com/eu-
articles-comp.cfm
Method books
Arban/Randall Complete Method

Brasch The Euphonium and Four Valve Brasses (Brasch)
Clarke Technical Studies
Bordogni/Rochut Melodious Etudes

Tuba
Texts
Frederiksen, Brian Arnold Jacobs: Song and Wind (Windsong, 1996)
Method books
Arban, J. B. The Arban-Bell Tuba Method, (Colin)

Blazhevich 70 Studies for BB-flat Tuba, Volumes I & II
Bordogni 43 Bel Canto Studies for Tuba
Jacobs Low Register Studies
Kuehn 60 Musical Studies for Tuba, Books 1 & 2 (Southern Music
Company)

PART V
INSTRUCTOR RESOURCES
Course Overview
First Semester Syllabus and Schedule
Second Semester Syllabus and Schedule
Sample Assignments/Projects
Instructor Resources | 277

278 | Instructor Resources
36. Course Overview
This book is designed to support the first of two semesters of a
heterogenous undergraduate brass techniques course and was
created to specifically meet the needs of ME 291 Brass Techniques
I at Butler University in Indianapolis. The course is 14 weeks long
(with a finals week to follow), meeting twice a week for 50 minutes.
Each unit is 7 class meetings. During each unit, all five band/
orchestral brass instruments are presented through heterogenous
grouping: trumpet, horn, trombone, euphonium, and tuba. The
intention of this first semester is to be a crash course on each of the
brass instruments with a focus on the similarities and differences
that exist in the techniques and pedagogies of the instruments,
rather than developing a specific performance benchmark on each
instrument by the end of each unit. In addition to teaching brass
specific techniques and pedagogies, this semester of the course
also emphasizes strategies for working with instrumental beginners
on all instruments with attention to musician health, development
of multiple music literacy (especially aural, oral, kinesthetic, and
visual), and student-centered instructional practices with and
without class method books.
The students from this class head into a second semester brass
techniques course where they spend the semester developing one
of the five brass instruments as a secondary instrument with a focus
on the use of brass instruments in small group settings. In this way,
students develop the greater familiarity with one brass instrument
in such a way that it hopefully is retained into their teaching in ways
that can be applied across the brass family.
Details for the syllabus and sequence of instruction for both
semesters can be found in the following chapters of this section,
along with links to Canvas pages for each class.
Course Overview | 279

Guiding Philosophies
This text is written with a few guiding philosophies regarding how

instruments are learned and how they are best taught.
• As future music educators, students need to have extended

experiences in both how to play and how to teach instruments.
Being able to play an instrument does not necessarily mean
that one can teach it, particularly at the beginner level.
• As there are many similarities within instruments (and
especially brass instruments), the ability to effectively teach
many concepts will precede the ability to perform and
demonstrate those concepts on a specific instrument for
music educators with a non-brass primary instrument.
• Beginning instrument instruction should teach students (at all
levels) skills for performing, creating, analyzing, diagnosing,
and discussing musical growth on an instrument. For future
music teacher educators, their performance experiences in
brass techniques should mirror the sorts of activities that are
experienced by a beginner in a elementary or middle school
program, coupled with explicit pedagogical instruction.
• Instrument techniques courses serve as a point for disrupting
music education by providing alternative methods for teaching
beginning students that are not limited to group method book
instruction. Composition, improvisation, and student-directed
learning are critically important for pre-service teachers and
their future grade school/middle school students.
Instructional Overview
The onus for the creation of this text was to allow for a flipped
classroom model of instruction for techniques courses at Butler
University. Prior to each class, students should read assigned
280 | Course Overview

sections of the book and view videos that provide first phase
instruction on key concepts. The Guided Practice Lessons are
designed as a tool for helping students to understand how to
develop and maintain their technical abilities on brass instruments,
starting with mouthpiece buzzing, long tone exercises, and then
flexibility and dexterity etudes. Class time is then used for
experiential learning experiences that:
• clarify points of confusion

• address specific student challenges in new techniques
• provide teacher modeling of instructional strategies
• engage in peer teaching, learning, and guided reflection
As the course progresses, the instructor’s role migrates from one

of teaching and modeling to one of mentoring and moderating. As
each unit progresses, the instructor spends less time doing direct
instruction and more time facilitating student-led instruction. By
the fourth unit, the goal is that students are doing all or nearly all
the instruction with their peers using materials they have identified
or created, while the instructor observes peer teaching and
provides guidance when necessary.
In addition to introducing students to a new instrument, each
unit also provides a different perspective on beginning instrument
instruction.
• Unit 1-Tone production on brass instruments. Class time is

entirely experiential, with an emphasis on experimentation so
that students experience what is “correct” and what is “wrong”
in brass playing. The emphasis is placed on learning to play
with proper tone rather than playing a specific pitch, allowing
proper tone production to precede “playing the music”.
Because of this, many of the activities are focused on
experimentation and improvisation where individual student
performance differences are less obvious. The goal is to
produce a good sound rather than figure out how to play a

concert F with forced tone or concert Bb without proper
support. While there is some work at the end of the unit
specific to the instrument students are currently on, the focus
of the first unit remains on concepts of tone production and
manipulation on brass instruments and strategies for
supporting students in creating their first sounds.
• Unit 2-Pedagogical fundamentals of brass development. Again,
this unit is extremely experiential and focuses on the use of
basic exercises for developing proficiency on brass
instruments. While the first unit emphasized tone production
and minimized finding specific pitches, this unit emphasizes
the manipulation of the instrument for controlled pitch,
especially between harmonic partials. Concepts of proper
warm up and warm down are at the center of this unit along
with an emphasis on self-care and musician wellness. As a
teaching assignment, they create a video warm up, similar to
the Guided Practice Lessons, that focuses on specific concepts
and explicit activities for beginners.
• Unit 3-Critical use of group method books. This unit focuses in
on critical uses of group method books. Recognizing that most
beginning instrumental music classrooms utilize method
books, we discuss how to use them to support student learning
of musical concepts, as opposed to preparation of music
pieces. While this course focuses on brass playing, we discuss
the use of group method books across band and orchestral
settings. Utilizing a variety of method books, students create
beginner lessons. Importantly, students begin by identifying
the core objectives they want to teach, and then go to group
method books to identify materials that support instruction of
those objectives. As a teaching assignment, they then teach
this lesson to their peers.
• Unit 4-Creative activities in beginning instrument instruction.
This unit focuses on how improvisation and composition can
be incorporated into beginning instrument instruction, both to
allow teachers more resources and approaches for instructing

a broader range of students and to help maintain creative
musicianship in grade school aged beginning instrumentalists.
Students again lead one another in improvisation activities
focused on the development of specific musical skills. The
course concludes with students writing short melodies that
are developmentally appropriate for themselves and their
peers, providing them with the opportunity to compose music
for educational purposes.
Instructional Strategies
Out of Class Activities
Flipped Classroom
The textbook is designed with the intention that students read/

view material prior to attending class, so that class time is not an
introduction but a further exploration of techniques and pedagogy.
Most materials are presented in both written and video format
so that students with different learning preferences can engage
with the text differently. With this said, there are elements that are
addressed in the book that are not present in video and vice versa,
dependent on the limitations of the format.
Guided Practice Lessons
The guided practice lessons are designed to provide the beginning

brass player with a sequence of activities that supports technical
growth and development while also adhering to student wellness.
While each of the lessons is different, they each start with
mouthpiece and long tone exercises to promote relaxed

embouchure, sustained air support, and solid fundamentals;
transition to lip slur focused activities that emphasize flexibility
and range development; and conclude with technical exercises to
develop agility and familiarity with the instrument. Intentionally,
melodic activities are not included in these lessons, not because
they are not important or necessary, but because the guided lessons
provide a foundation for warm ups and maintenance activities that
allow for healthy brass playing within repertoire study and across
a lifetime. They may be practiced on their own from the written
descriptions or as play alongs with the accompanying video
recordings.
In Class Activities
In addition to more traditional approaches to techniques class

instruction that are led by the instructor, including direct
instruction and modeling, instructors are encouraged to utilize
student centered activities that highlight student creativity and
critical thinking.
Improvisation
From the first day of class, improvisation activities are integrated

into each lesson. The role of improvisation in beginning techniques
is two fold. First, it allows future educators to see how creative
activities can be integrated into beginning music classrooms so
that beginners see themselves as creative musicians. Second,
improvisation allows for a focus on what students can do in terms
of range and technique, as opposed to pushing all students toward
a single set of expectations. These activities can include a range
of different approaches of varying levels of difficulty and
independence. A few approaches that are easy to first integrate

Call and response. Using a call created either by the instructor or by
other students, students will use aural skills to replicate pitch and
rhythm patterns. This also promotes attention to concepts such as
tone, dynamics, and articulation that are often absent in beginning
instruction. The first day’s instruction includes call and response
activities that focus on correct and incorrect tone production (e.g.,
playing and imitating an undersupported tone, an overblown tone,
variations of attack, variations of release). In these first lessons,
the focus is on tone quality and articulation as opposed to specific
pitch, allowing different students to play in registers that are
comfortable to develop a concept of characteristic tone.
Drone improvisation. While other students perform a basic drone
(it can also include an ostinato pattern once students are
comfortable with tone control), students individually or in small
groups improvise over the drone. This improvisation can be solely
rhythmic, include specific parameters of pitch, rhythm, or
technique, or be left completely open. By having everyone drone,
students are provided with a backdrop for their improvisation with
less pressure of performing in front of everyone, as well as have
the ability to perform in a range and with techniques that they feel
comfortable. When brought into a beginner classroom, this sort of
drone approach allows students to feel that they are creating real
ensemble music in a low risk setting.
Conversation. In pairs, trios, or quartets, students can perform
short phrases, trading off with one another. This allows students
to again perform with parameters with which they are comfortable
while also developing aural skills for listening and responding to
others improvisation.
Melodic variations. Using melodies that are being studied in class,
students create their own variations. These can range from simple
alterations to rhythm, duration, or step/skip motion through
extensive variation upon the original melody. This sort of activity
serves as a great entry point into more formal, thematically based
improvisation as it builds off of familiar material. This sort of activity
can be done in small groups or as a passing activity around the

room utilizing background drones, vamps, or other accompaniment
figures.
Peer teaching
Throughout the course, involving students in the diagnosis and

correction of errors of their peers provides a critical opportunity to
develop and practice key pedagogical skills. While there are many
ways to include peer teaching, the following have been used in
conjunction with this class to build skills in planning and executing
effective instruction. Cognitive apprenticeship modeling is used
throughout the class, in which the instructor first models effective
teaching, then coaches students in providing effective instruction,
and eventually fades out to allow students to assume the primary
teaching responsibilities of the class.
IDDS. Using the IDDS approach can help with the development of
these skills. IDDS stands for:
• Identity the error–Recognizing that there is a problem in

technique or execution is the first step to fixing student
problems.
• Describe the error–By describing the error that is occurring,
students gain the ability to understand what characteristic
problems sound or look like that can be used as part of their
own teaching.
• Diagnose the error–Once the traits of the error are described,
students can develop understanding of the external and
internal factors of performance that contribute to the
described issue.
• Strategize a solution–Only once the causes of an error are
known can students identify appropriate strategies for
correcting those issues. Trial and error is a very appropriate
method along with the use of modeled strategies from the
instructor or others. Students should be encouraged to think

about their primary instruments as well to consider inter-
instrument solutions for common issues.
Instructional videos. Similar to the videos created for this book,

students create a concept focused video targeted at instruction of
a single concept (for example, effective warmup) for a beginning,
middle school brass player. The intention is that this is a video that
could be placed on a classroom management system for students
to practice along with at home. By approaching instruction
asynchronously, brass techniques students are able to consider
concept-based instruction with appropriate engagement and
sequencing without needing to address issues of classroom
management in real time.
Instrument introductions. After the first rotation, students are
responsible for introducing the fundamental concepts of their
previous instruments to new students on these instruments. The
delivery of this instruction can vary, including small group team
teaching, one-on-one pairings, or full class instruction. In this way,
students have three experiences throughout the class to introduce
a brass instrument to a new student with support and supervision
from the instructor.
Peer teaching demonstrations. Using a common group method
book, students create a lesson to teach to their peers centered on
a single concept. Students are required to use the group method
book flexibly and to include at least one activity that is not based on
written notation, encouraging students to make use of non-visual
music literacies.
Instrument Assignment
Students with prior brass experience will play tuba in place of one
of the other instruments (for logistical reasons–we have two tubas
available for the course). All other students will do a rotation on

trumpet, horn, trombone, and euphonium. Instrument assignments
seek to create a balance of brass and non-brass players within
each instrument group per rotation. This design for instrument
assignments is done for two reasons:
1. Initially, logistical reasons. Butler’s instrument inventory is able

to support heterogenous assignments more readily than
homogenous assignments with fewer sections of Brass
Techniques. This also helps to maintain our instrument
inventory more effectively as instruments continue to be in
use all year.
2. More importantly, pedagogical reasons. Throughout the course
of the class, students develop proficiency in teaching brass
instruments before they develop proficiency in playing brass
instruments. A core precept of the course’s design is that as
capable musicians on an instrument (including non-brass
instruments), students have already developed an extensive
understanding of how to teach instrument technique to
others. As the course progresses, the heterogenous
assignments within the class allow for multiple levels of peer
mentoring to form. These pairings include brass musicians
mentoring non-brass musicians, more experienced teachers
mentoring less experienced teachers, and students from the
previous rotation mentoring new students on their new
instrument. As students move through instruments relatively
quickly, they become aware of the similarities across brass
instruments (e.g., foundational concepts of buzzing, fingering
patterns, air usage) as well as the peculiarities of each
instrument (e.g., subtle differences in embouchure, instrument
specific manipulations [right hand in the horn, slide positions
on trombone, adjustable slides on trumpet, 4th valve on
euphonium/tuba). The heterogenous grouping of the class
more closely resembles what these students are likely to
encounter in their own teaching practices, and this class
provides a model upon which they can build their practices.

Recommendations?
One of the benefits of open educational resources is the ability to

revise them in real time. If you have found this text to be helpful
for your class, please let me know! Similarly, if you have
recommendations for improving this text or additions that you have
used in your classroom you would like to share with others, please
reach out! I can be reached at bweidner@butler.edu.

37. Semester 1 Syllabus and
Lesson Overview
For those utilize Canvas, the Canvas course for this class can be
imported from Canvas Commons at https://lor.instructure.com/
resources/1e47825724c74a29a23f108eef3e150d?shared
The first semester of this course focuses on the introduction
of each of the five brass instruments through four heterogenous
rotations. Non-brass players will study trumpet, horn, trombone,
and euphonium while brass players will substitute tuba for their
primary instrument. The rotation structure allows for an emphasis
on brass, rather than instrument specific concepts and emphasizes
pedagogy as well as technique. The second semester of the course
emphasizes a single brass instrument, allowing students to develop
a legitimate secondary instrument within the brass family.
Syllabus
Course description:
Catalog:
Teaching techniques and materials of the brass instruments. The

class includes a performance lab and will meet two days per week
for 50 minutes.
290 | Semester 1 Syllabus and Lesson Overview

Further details
This is the first of two courses dedicated to the development of

brass techniques. Together, these courses focus on the
performance and teaching of brass instruments in a variety of
settings and levels (specifically trumpet, horn, trombone, baritone/
euphonium, and tuba). ME 291 will focus on beginning to early
intermediate techniques and practice on all five instruments.
Throughout this course, all students will get experiences on four of
the five primary instruments with a focus on developing beginning-
intermediate level competency for performance and instruction.
(Students who come in with a competency on one or more brass
instruments will focus on skill development on the others). These
skills will be built on further during ME 292.
Key concepts for ME 291 include:
• Proper tone production on brass mouthpieces

• Proper tone production on all brass instruments
• Fingering systems and pitch control in standard register on all
brass instruments
• Performance of early intermediate level solo literature on two
brass instruments
• Pedagogical strategies and common problems for all brass
instruments
• Maintenance and care of all brass instruments
• Effective pedagogies for small group, like instrument beginning
instrument instruction
Materials
All students will be expected to have the following materials and

supplies:
Semester 1 Syllabus and Lesson Overview | 291

• Weidner, B. N. (2020). Brass Techniques and Pedagogy. Open
Access text at https://pressbooks.palni.org/
brasstechniquesandpedagogy/
• Valve oil-petroleum based (Al Cass recommended)
• Phone/tablet/laptop/camera capable of recording short
videos—see Dr. Weidner if there are concerns
• Membership in NAfME/IMEA (visit http://www.nafme.org/
join for membership)
Additional resources for study:

Boonshaft, P. & Bernotas, C. (2014). Sound Innovations. Alfred.
Available in the Butler library online at
https://butler.on.worldcat.org/oclc/961435341Links to an external
site.
Various group method books in the Music Education locker
Objectives
At the end of the class, students will be expected to have developed

the following skills:
Performance
• demonstrate fingering or positions for the practical range of

each instrument including alternate fingerings where
appropriate
• demonstrate the production and control of characteristic tone
of each instrument in terms of posture, position of the
instrument, embouchure, breath support, attacks, releases,
and other selected styles of articulation
• perform and sight read music up to level of grade II difficulty
• perform major scales in one octave for concert keys of one

sharp through 4 flats
• perform a chromatic scale-1.5 octaves on all brass instruments
Pedagogy
• explain the principles of quality tone production for each

instrument.
• explain the interval of transposition for each instrument.
• demonstrate diagnostic skills for typical performance/tone
problems
• teach a planned, beginning lesson (including putting the
instrument together, posture, embouchure position, and
getting a first sound)
• coach a developing brass player through common technical
issues including identification of problems, diagnosis of causes,
and prescription of solutions
• verbalize knowledge of appropriate posture, hand position,
embouchure, technique, and presentation procedure
appropriate for successful start on the instrument.
• do basic maintenance and repairs on each instrument.
Major Course Assignments
Unit playing tests. Playing tests may be done in person during

office hours or submitted online. If submitting online, you may use
Panopto to directly add it to the assignment or upload your video
to a video/file sharing site (e.g. YouTube, Vimeo, etc.) and place the
link for the video in the response box on Canvas. Please make sure
to place the appropriate security settings on the video so that they
may be viewed by Dr. Weidner and other students in the class. Each
playing test will also include your assessment of your performance
that addresses your strengths, weaknesses, and recommendations

for improvement. Playing tests may be submitted at any point prior
during the week prior to the due date and time.
Beginner lessons. Throughout the semester, you will give three
beginner lessons in various formats. You will provide lesson plans
for each lesson in advance and video record your lesson which you
will then critique.
Diagnosis sessions. Regularly throughout the class, you will pair
with other students in the class to critique and improve their
performance. You will document what issues you identified,
possible diagnoses for each issue, and propose solutions to address
the issue.
Written tests. Written tests will address instrument specific and
instrument general issues of tone production, technique,
maintenance, and common issues for pedagogy.
Assessment Weighting
30% Playing tests

25% Beginner lessons
15% Written quizzes/tests
10% Diagnosis sessions
20% In class activities, Short assignments, and Professionalism
Music Education Professionalism
This course is part of your preparation as a professional in the field

of music education. When in doubt, consider how your actions
reflect your professional demeanor as a teacher in your own future
classroom. This pertains to your attendance, preparation,
interactions, timeliness, and more. These are the same
consideration you can have for your instructors as well. A few key
elements to consider:

Attendance: As a professional educator, showing up late or not
at all is not an option. Participation in class activities is a critical
component of this class. You are expected to be present and
prepared to participate from bell to bell. If you are going to be
tardy, absent, or leaving early from a class, notify Dr. Weidner in
advance. Your grade may be lowered by one grading increment
per absence after your second absence. Excused absence does not
excuse you from the material covered during the absence, and some
assessments may not be able to be taken at a later time. Extended
absences due to illness, disability, or other factors require
documentation from Student Disability Services or the Dean.
Preparation: As a professional educator, being prepared for the
activities of the day both physically and mentally is critical to your
success with your students. In this class, being prepared includes
arriving with all required materials to be able to effectively
participate and with enough preparation outside of class to be
effective. This also includes taking care of the instruments
assigned to you. You will be charged for misuse of the borrowed
instruments. After you have finished a playing examination on an
instrument, make sure to return it promptly so that others may
check it out. In some cases, your instrument may be used by others
in university ensembles as well.
Demeanor: As a professional educator, your presence and attitude
often dictates your effectiveness with your students. Within this
class, we will frequently do partner or small group teaching and
learning that you to both perform for and observe others critically
and compassionately. Every skill we develop in this class may not
come easily for everyone, and your demeanor in dealing with others’
strengths and weaknesses affects your abilities and theirs.
Technology usage: As a professional educator, technology will
always be a part of your classroom, and you are expected to model
responsible technology usage. Provided that you use technology
responsibly during class to support your learning and that of your
peers, you may use technology in the classroom. If you are not using
technology responsibly (e.g. taking personal calls/texts without

prior notification, browsing social media), a further discussion will
be had with the instructor which may limit or eliminate your ability
to use technology during class.
Course Schedule
Unit 1: Tone Production on Brass Instruments
This first unit is about getting students to produce a characteristic

tone with awareness of the various factors that impact that tone
(e.g., embouchure firmness/tension, air support, oral cavity shape,
posture). Students will tend to want to emphasize playing the “right”
notes. By emphasizing comfortable, supported, relaxed sounds and
deemphasizing specific pitches, students can learn to play with an
effective embouchure with good air support that they will build
upon as the course continues. Aural and experiential learning
dominate this part of the class, with little to no emphasis placed
on visual music literacy. Sound needs to develop before sight, as
students will become focused on playing what is on the page with
little concern for issues that cannot be notated, such as tone.
Lesson 1.1: Introduction to Brass Techniques
Introduction to the class and materials

Experiment on the mouthpiece and instrument to identify
effective and ineffective approaches to performance.
Assignment: Read/Watch Prelude, Chapter 1, Chapter 2, and
“Setting Up the Instrument” portion of the instrument specific
chapters

Practice: Guided Practice Lesson 1.1
Lesson 1.2: Fundamentals–Posture, Handling, and First

Sounds
Focus on creating a clear, consistent tone on any pitch with relaxed

posture and good air usage utilizing call and response and imitation
activities.
Assignment: Read/Watch Chapters 3, 5, 7
Lesson 1.3: Tone Production & Articulation
Emphasize consistent tone production when combined with legato

articulation. This is a great opportunity to introduce one note
improvisation or call and response activities
Assignment: Read/Watch Chapters 4 & 6
Lesson 1.4: Pitch Partials
Introduce the concept of lip slurs using vowel shaping (Ooo, Ahhh,
Eee) to encourage adjustment to the oral cavity, changes in air
speed, and firmness of the corners of the mouth. Some students will
not be able to move between partials yet, and emphasize that it is
more important to play with good tone than get to the higher or
lower note (at this point).
Assignment: Read/Watch Chapter 8
Practice Guided Practice Lesson 1.4

Lesson 1.5: Chromatic Manipulation with Slides, Valves, and
Rotors
Discuss the chromatic fingering pattern (0, 2, 1, 1-2, 2-3, 1-3, 1-2-3)
that is present on all valved/rotored brass and encourage melodic
exploration and improvisation.
Assignment: Read/Watch Instrument specific chapters aligned to
individual instrument
Lesson 1.6 & 1.7: Trumpet/Horn/Trombone/Euphonium &

Tuba
Meet with students in homogenous for half the class period to

discuss instrument specific concepts, including tuning adjustment
practices for each instrument
Trumpet–Use of valve slides and differences between concert and
marching posture
Horn–Right hand techniques and Bb side
Trombone–Slide handling and role of F attachments
Euphonium/Tuba–4th valve usage and posture issues for various
shapes and sizes of students
Assignment: Prepare and submit Playing test #1, Cleaning video
#1
Practice: Guided Practice Lesson 1.6 and Playing test #1
Unit 2: Pedagogical Fundamentals of Brass

Development
Students begin to assume some responsibilities for peer instruction,

and the instructor focuses on teaching the pedagogical aspects

of brass performance. By experiencing and discussing effective
practice, students build their own abilities on a second instrument
while starting to understand how to develop young musicians’
abilities. Students demonstrate their ability to plan a sequenced
warm up activity for students in their asynchronous Beginner
Lesson Video.
Lesson 2.1: Welcome to Your New Instrument-Rotation 2
Students from the previous rotation introduce students in the new

rotation to their new instrument. Make sure to cover posture,
handling, and first tone production. Students are able to tag team
with one another so no one student needs to know everything about
the instrument.
Assignment: Read/Watch instrument specific chapters on new
instrument
Lesson 2.2: First Lesson Basics
Introduce sequence of instruction for first lessons, modeling

specific activities (many of which were used in Unit 1)
Assignment: Read/watch Chapter 5 (Warm up Section)
Lesson 2.3: Musician Wellness and Warming Up/Warming

Down
Introduce a warm up sequence including long tone studies on

mouthpiece and instrument, lip flexibility, and dexterity activities

Assignment: Create a Warm Up Sequence to teach to students via
video lesson
Lesson 2.4 Tone Production and Articulation
Extend the discussion around articulation to include staccato and

accent with a focus on tone control when using separated or
stronger articulations
Assignment: Create a Beginner Lesson Plan to teach Warm Up
Sequence from previous lesson and Read/Watch Chapter 6
(Intonation section)
Lesson 2.5 Intonation
Discuss various methods for correcting intonation including

embouchure manipulation, tuning slides, and instrument specific
methods (e.g. trumpet valve slides, horn hand position, euphonium/
tuba alternative fingerings)
Assignment: Record Beginner Lesson Video for asynchronous
instruction of Beginner Lesson Plan on Warm Up Sequence
Lesson 2.6 Midterm review
Have students talk through fundamentals of posture, tone

production, articulation, and intonation along with pedagogical
practices for starting beginners and teaching musician wellness
Assignment: Playing test #2

Lesson 2.7 Midterm
Assignment: Cleaning video #2
Unit 3: Critical Use of Group Method Books for

Learning
Recognizing that most schools will use some sort of group method
book for beginning classes, this unit focuses on an approach to
using method books that place critical decision making on the
teacher and ensure conscious music teaching, as opposed to blind
adherence to method book sequencing. Students are introduced
to the concept of objective based teaching, and create a lesson
plan that they then teach to the class that focuses on a single
concept using the method book to support that concept in their
Class Teaching Demonstration.
Lesson 3.1 Welcome to Your New Instrument Rotation #3
In one-on-one pairings, students introduce one of their previously

studied instruments to a student who is new on that instrument.,
emphasizing posture and handling, embouchure, and first tone
production.
Assignment: Read/Watch Chapter for new instrument
Lesson 3.2 Fundamentals: Posture, Handling, and Tone

Production
Using students as models, the class collectively addresses issues

that have arisen in personal practice regarding setting up
fundamentals on the new instrument. Peers use IDDS to recognize
and correct issues in beginning players
Assignment: Complete Method Book Review
Lesson 3.3 Method Books
Review pages out of several group method books to identify core

objectives presented in individual exercises to understand how they
can be used to support conceptual learning
Assignment: Create Lesson Plan for Class Teaching
Demonstration
Practice Guided Practice Lesson 3.3
Lesson 3.4 & 3.5 Teaching Demonstrations
Students present short lessons with 2 activities including one

aurally taught activity and one activity from a group method book
focused on developing a single concept-based objective
Assignment: Read/Watch Chapter 8
Practice: Guided Practice Lessons 3.4
Lesson 3.6 Care & Maintenance of Brass Instruments
Discuss and demonstrate classroom based repair activities

including valve/slide removal, mouthpiece truing, and routine
maintenance

Lesson 3.7 Individual Consultation Day
Students are encouraged to set individual meetings to address

individual issues and practice instrument repair
Assignment: Complete Playing test #3 and Cleaning Video #3
Unit 4: Creative Activities in Beginning

Instrument Instruction
The final unit of the semester focuses on integrating various

instructional strategies
Lesson 4.1 Welcome to Your (Final) New Instrument
Set up the room in two concentric circles which will rotate

throughout the period. Students have 90 seconds with each partner
to either teach or be taught the fundamentals of their new
instrument. The goal here is to simulate the one-on-one experience
in most group lesson settings, where individual instruction is very
limited and needs to be targeted to specifics.
Assignment: Read/Watch Chapter on new instrument
Lesson 4.2 Improvisation in Beginning Methods
Introduce a variety of improvisation based activities with students

in small groups. Start with low risk, low requirement activities such
as call and response passing and improvised theme and variations,
and move on to more complex improvisation such as drone
improvisation, conversational improvisation, and melody builder.

Assignment: Read/Watch Chapter 10 & Create a Short
Improvisation Activity
Lesson 4.3 Using Composition to Support Beginning

Instruction
Model how to arrange and compose short melodies and duets to

focus on developmental needs, with attention on differentiating
instruction for students at various levels and with various abilities
Assignment: Create a Short Melodic Composition for 4.6
Lesson 4.4 & 4.5 Teaching through Improvisation
In groups of 3-4, students will lead the rest of the class in a short
improvisation activity that focuses on articulation, tone production,
or other non-melody focused fundamentals.
Practice: Guided Practice Lesson 4.4 and 4.5
Lesson 4.6 & 4.7 Composition Performance and Reflection
Perform the Short Melodic Compositions that were created and

discuss how they address the developmental needs and abilities of
the students within the classroom.
Assignment: Playing test #4 & Cleaning Video #4

38. Semester 2 Syllabus and
Lesson Overview
If you utilize Canvas, the Canvas course for this class can be
imported from Canvas Commons at https://lor.instructure.com/
resources/f3888ab9c9a34087bf2abbe2c98e7311?shared
The second semester of Brass Techniques takes a very different
approach from the first semester. While the first semester was
intended to be a sampler of brass instruments, the second semester
emphasizes the development of a single brass instrument as a
secondary instrument. The students select one instrument to stay
on throughout the semester, and they utilize it in a variety of
different settings to learn about instruction in different modalities
and traditions including Western chamber ensembles, jazz combos,
vernacular world music, and popular music. While still developing
skills on brass instruments, they are also developing familiarity with
non-large ensemble pedagogies for intermediate level musicians.
By the end of the semester, students are performing a single
instrument with an early high school level of proficiency, allowing
them to use that instrument as an example in future teaching
settings.
This semester takes on constructivist learning principles, with
much of the content being delivered through exploratory learning
activities with students working on specific tasks in small groups.
Unlike semester 1, where there was a clear agenda for each day,
several days in second semester are explorations of concepts over
a series of days, with the instructor moving in and out of primarily
student run groups that are working toward a presentation or
performance of their work.
Most of the readings that have been used for this course are
not included in this text as they are resources that students have
accessed through the university library. References have been

provided to allow for identification of these materials for use in your
classroom.
Syllabus
Course description:
Catalog:
Teaching techniques and materials of the brass instruments. The

class includes a performance lab and will meet two days per week
for 50 minutes.
Further details
This is the second of two courses dedicated to the development

of brass techniques. Together, these courses focus on the
performance and teaching of brass instruments in a variety of
settings and levels (specifically trumpet, horn, trombone, baritone/
euphonium, and tuba). ME 292 will focus on developing
intermediate competency on a single brass instrument for use
within various small ensemble settings. Additionally, students will
focus on developing competency for instruction of instrumental
students in various small group settings. These technical and
pedagogical skills will be built on those developed in ME 291.
Key concepts for ME 292 include:
• Intermediate techniques for brass performance

• Proper tone production on brass mouthpieces

• Proper tone production on a primary brass instrument
• Instructional strategies for intermediate musicians,
particularly in small group settings
• Pedagogical practices for various brass-centric music styles
including jazz, brass-focused folk music, Western chamber
music, and popular music.
Materials
All students will be expected to have the following materials and

supplies:
• Weidner, B. N. (2020). Brass Techniques and Pedagogy. Open

Access text at https://pressbooks.palni.org/
brasstechniquesandpedagogy/
• Valve oil-petroleum based (Al Cass recommended)
• Phone/tablet/laptop/camera capable of recording short
videos—see Dr. Weidner if there are concerns
• Membership in NAfME/IMEA (visit http://www.nafme.org/
join for membership)
Additional resources for study:

Boonshaft, P. & Bernotas, C. (2014). Sound Innovations. Alfred.
Available in the Butler library online at
https://butler.on.worldcat.org/oclc/961435341Links to an external
site.
Various group method books in the Music Education locker

Objectives
At the end of the class, students will be expected to have developed

the following skills on a secondary instrument:
Performance
• Perform of grade III/IV literature in various solo and small

ensemble settings with proper technique and tone production.
• Adjust intonation within 5 cents in the standard register of the
instrument.
• Use of articulation techniques with consistency and precision.
Pedagogy
• Plan skill-appropriate lessons for intermediate level students

focused on brass technique and performance.
• Teach intermediate students with proper scope and sequence
and awareness of student engagement.
Major Course Assignments
Student lesson planning/teaching/assessment. Students will be

planning and teaching three small group lessons to middle school
brass students at area schools throughout the semester. Lesson
plans will be submitted in advance for review. Each lesson will be
video recorded so that it can be submitted for a self-evaluation
and peer evaluation. These videos will be discussed in class to
address effective lesson planning and execution. All videos should
be submitted to the shared class Google drive found in the header
of the class Moodle page.
Chamber ensemble performances. Throughout the semester, each
student will be part of various chamber groups on their secondary
brass instrument. You will be assessed for both your own

performance and the effective performance of your small
ensemble. Chamber group assignments will be changed for each
rotation.
Peer teaching. Throughout the class, you will engage in peer
teaching in various small group settings. You will be assessed on the
clarity and effectiveness of your instructional delivery.
Assessment Weighting
30% Teaching activities

30% Chamber ensemble performances
20% Peer teaching
20% In class activities, Short assignments, and Professionalism
Music Education Professionalism
This course is part of your preparation as a professional in the
field of music education. When in doubt, consider how your actions
reflect your professional demeanor as a teacher in your own future
classroom. This pertains to your attendance, preparation,
interactions, timeliness, and more. These are the same
consideration you can have for your instructors as well. A few key
elements to consider:
Attendance: As a professional educator, showing up late or not
at all is not an option. Participation in class activities is a critical
component of this class. You are expected to be present and
prepared to participate from bell to bell. If you are going to be
tardy, absent, or leaving early from a class, notify Dr. Weidner in
advance. Your grade may be lowered by one grading increment
per absence after your second absence. Excused absence does not
excuse you from the material covered during the absence, and some
assessments may not be able to be taken at a later time. Extended
absences due to illness, disability, or other factors require
documentation from Student Disability Services or the Dean.
Preparation: As a professional educator, being prepared for the
activities of the day both physically and mentally is critical to your

success with your students. In this class, being prepared includes
arriving with all required materials to be able to effectively
participate and with enough preparation outside of class to be
effective. This also includes taking care of the instruments
assigned to you. You will be charged for misuse of the borrowed
instruments. After you have finished a playing examination on an
instrument, make sure to return it promptly so that others may
check it out. In some cases, your instrument may be used by others
in university ensembles as well.
Demeanor: As a professional educator, your presence and attitude
often dictates your effectiveness with your students. Within this
class, we will frequently do partner or small group teaching and
learning that you to both perform for and observe others critically
and compassionately. Every skill we develop in this class may not
come easily for everyone, and your demeanor in dealing with others’
strengths and weaknesses affects your abilities and theirs.
Technology usage: As a professional educator, technology will
always be a part of your classroom, and you are expected to model
responsible technology usage. Provided that you use technology
responsibly during class to support your learning and that of your
peers, you may use technology in the classroom. If you are not using
technology responsibly (e.g. taking personal calls/texts without
prior notification, browsing social media), a further discussion will
be had with the instructor which may limit or eliminate your ability
to use technology during class.

Course Schedule
Unit 1: Chamber Music Pedagogy
Lessons 1-3-Introduction to Chamber Music Practices
The unit on chamber music starts with an immersive experience of

preparing a short work for a chamber group (in this case, a simple
chorale). They are told to reflect on how their group collaborates,
how the music relates to the individuals in the group, and what
challenges their group experiences. The final 5 minutes of each class
period are a group reflection on strategies that work particularly
well.
At the close of Lesson 3, students perform for one another and
provide feedback utilizing solo/ensemble sheets and verbal
comments. Following the performance, we discuss what roles
individuals took on as part of the chamber ensemble and likewise
what needs for guidance or instruction were needed.
Learning task: Students break into quartets/quintets and are
provided with one of several collections of chorales. They are then
tasked with identifying a chorale and assigning parts in ways that
make logical sense for the performers’ abilities within their groups
as well as individual instrument voicing. With these chorales, they
arrange two phrases of the chorales to be performed in lesson 3.
Reading: Spanhove, B. (2000). Chapters 1-6. The finishing touch of
ensemble playing. (pp. 38-51). Alamire.

Lessons 4-8-The Instructor’s Role in Chamber Ensemble
Instruction
As a class, we discuss the role of the teacher as a moderator of

learning in the chamber setting who is tasked with providing
students with meaningful, task oriented guidance that allows them
to continue their own rehearsal without the teacher being always
present. In these discussions, we include the identification of
student roles for chamber groups–rehearsal leader, planner, time
keeper, record keeper–as well as looking at strategies for prompting
developing musicians to consider both technical and musical
elements.
Each class period starts with a 5-10 minute lesson rooted in our
readings or observations from the previous day. Students then break
into their chamber groups. During lessons 5-7, one chamber group
a day becomes the teachers for the other groups by visiting other
groups rehearsals and providing guidance (as opposed to rehearsing
the group). During these sessions, the instructor rotates around
to observe the “teachers” and provide guidance in how to prompt
critical thinking and independent musicianship.
On lesson 8, students perform for one another, providing solo/
ensemble style feedback in writing and brief commentary.
Learning task: Students break into quartets/quintets (different
from first rotation) and select a Grade 2-3 small ensemble piece
from our library collection that is on state lists. Over the course
of the five lessons, they rehearse as a chamber group and reflect
on their interactions to understand the role of both student and
teacher when working with developing musicians in chamber
groups.
Readings:
Yackley, A. (2021). Developing musicianship through chamber
ensembles: A sequential unit design. Music Eduators Journal, 108(1),
34-42. https://doi.org/10.1177/00274321211027628
Berg, M. (2008). Promoting “minds-on” chamber music

rehearsals. Music Educators Journal, 95(2), 48-55. https://doi.org/
10.1177/0027432108325870
Assessments:
Performance of chamber ensembles. Each student records
themselves during the group performance by placing a recording
device on their stand. A classroom recording is also made.
Self-evaluation of chamber ensemble performance. Students
evaluate their own performance utilizing language they would use if
providing feedback to a student in second person.
Peer teaching. Students are observed and then reflect on their
roles as teachers within the chamber setting, reflecting on the role
of the teacher to develop student critical thinking and listening and
student agency.
Unit 2: Vernacular Music Pedagogy
This unit focuses on the use of brass instruments in non-Western

art traditions, coupled with the differences in music learning that
are part of different cultural traditions. European brass instruments
can be found in the music of many cultures around the world,
as these instruments traveled with European colonizers. With this
said, this music has become endemic in many places and the
approaches and techniques used in performing Western brass
instruments (as opposed to non-Western brass instruments such as
the conch or didjeridoo) differ from the way they might be utilized
in Western art practices.
Throughout this unit, we discuss and utilize Patricia Sheehan
Campbell’s Five Phases for Teaching Music Globally (see reference
to chapter below) to discuss how non-native musicians can explore
music outside of their own practice.
This starts with Attentive Listening, where we together do
multiple listenings through a piece of music to understand its
characteristics, its structure, and connections to familiar elements.

This progresses to Engaged Listening where students work to
imitate and understand familiar elements of the music they are
hearing, not with the intention of performing it but actively
engaging with the recording. We next move to Enactive Listening
where we transition from listening and experimenting with
unfamiliar music to working to perform utilizing the conventions of
that style.
This is done in two phases. The first phase utilizes Mariachi music
and is modeled and guided by the teacher. The second phase has
the students become class experts on an unfamiliar style utilizing
Campbell’s model to later share with the rest of the class.
Lessons 1-3 Teacher Guided Exploration of Mariachi Music
For this portion of the unit, we use a video recording of Mariachi

Vargas performing La Negra. We begin by watching a video
recording multiple times, paying attention to what is familiar and
what is different from practices we have previously used. Students
gradually identify differences in timbre, in articulation, in posture,
and in music composition from what they have worked on in
Western art traditions.
The next stage of Engaged Listening is to work to imitate some
conventions of the music. The instructor guides the students in
exploring the bright, wide vibrato that is used, as well as the highly
articulate separation of individual notes. This eventually translates
into Enactive Listening as students learn individual musical parts
and eventually perform the main melody as a two part duet with
melody and accompaniment utilizing the style and performance
conventions observed in the recording.
Learning Task: Using stages 1-3 of Campbell’s Phases for Teaching
Globally, students will investigate La Negra with the instructor,
leading to a performance of the melody and primary
accompaniment with attention paid to the tonal features of
mariachi music.

Readings:
Abril, C. R. (2006). Music that represents culture: Selecting music
with integrity. Music Educators Journal, 93(1), 38-45.
https://doi.org/10.1177/002743210609300122
Campbell, P. S. (2016). World music pedagogy: Where music meets
culture in classroom practice. In C. Abril & B. Gault (Eds.) Teaching
general music. Oxford UP.
Sanchez, N. Carrillo, S., & Gradante, W. (2008). Teaching trumpet
technique to mariachi students. In W. Gradante (Ed.) Foundations of
mariachi education. Rowman & Littlefield.
Lesson 4-7 Student Guided Explorations of a Vernacular

Tradition
Students will break into one of three groups to investigate a modern

tradition utilizing brass instruments in a vernacular setting. These
Mexican banda-Banda Sinaloense MS-Es Tuyo Mi Amor
Romani čoček bands-Tara de Haïdouks-A la Turk
Indian Brass Band-Jaipur Kawa Brass Band-Man Chali
In these groups, students will engage in this same sequence of
Attentive followed by Engaged followed by Enactive Listening. This
includes additional research about these practices to understand
their origins. They then prepare a short 15 minute lesson for the rest
of the class that guides them through the Attentive and Engaged
Listening activities built around their musical tradition.
Learning task:
Students will work as small groups through the first 3 phases of
Campbell’s Phases for Teaching Globally, leading to a performance
for the class and short lesson for the rest of the class that addresses
a unique feature of a vernacular practice from an unfamiliar culture.
Assessments:
Performance in vernacular ensembles. Each student records

themselves during the group performance by placing a recording
device on their stand. A classroom recording is also made.
Self-evaluation of vernacular ensemble performance. Students
evaluate their own performance utilizing language they would use if
providing feedback to a student in second person.
roles as teachers within the vernacular setting, reflecting on the
role of the teacher to encourage engaged and attentive listening
activities.
Unit 3-Jazz Pedagogy
This unit serves as an introduction to teaching jazz to beginning

jazz musicians. Core concepts include attention to listening and
transcribing, especially as it pertains to developing style awareness,
as well as understanding the various roles present within a
traditional jazz ensemble. The goal is that students without a
significant jazz background could lead a beginning jazz ensemble
with confidence.
Lessons 1-2
With the instructor, students will listen, describe, and transcribe

the head of Moanin’ as performed by Art Blakey and the Jazz
Messengers. This tune works particularly well as it is melodically
built entirely around the blues scale and utilizes four motivic
variations on its opening riff with a clear, repetitive harmonically
derived accompaniment. Over the course of these two lessons,
students should pay particular attention to stylistic characteristics.
Hear it, sing it, play it is a mantra throughout this instruction as
students learn the stylistic characteristics of this standard.
Learning task: Students will learn how to play both the melody

and accompaniment of Moanin’ and play it within small groups with
stylistic fidelity.
Reading:
Carter, R. (2008). A multicultural approach to jazz education. In R.
Carter et al (Eds.) Teaching music through performance in jazz (Vol 1,
pp. 13-26). GIA.
Lessons 3-6
Each class period is split into two activities. Half is teacher led and
focuses on the various roles of the rhythm section, with emphasis
placed on bass and piano. Using a lead sheet for I’ve Got Rhythm,
students will learn how to build a bass line and accompaniment
figures from a chord progression and melody on their brass
instruments. They will also use I’ve Got Rhythm as the foundation
for applying improvisation techniques from first semester to a jazz
setting, including melodic variation, motive building, and
conversational improvisation.
The other half of the class will be spent in small group combos.
Students will be responsible for selecting a jazz standard and a
notable recording of that standard to transcribe (possibly also using
lead sheets). While the goal is not to create a pure transcription,
they should adhere to the style and character of their targeted
recording and include a melody, bass line, and potentially other
accompaniment layers by applying the skills presented in the
teacher directed sections of the lesson. While students can choose
any tune, the following have been effective tunes for students who
are new to jazz studies to work on in the past:
• All Blues-Miles Davis

• Autumn Leaves-Nat King Cole
• Blue Bossa-Kenny Dorham
• Desafinado-Stand Getz
• Freddie Freeloader-Miles Davis

• Corner Pocket-Count Basie
• Limehouse Blues-Cannonball Adderley
• St. Thomas-Sonny Rollins
• Take the A Train-Duke Ellington
Learning task:
Students will transcribe and perform a version of a jazz standard
based upon a notable recording of their choice, paying attention to
imitation of style. They should also have a brief chorus section over
which to take short, improvisational solos, finishing with a return to
the head.
Reading:
Azzara, C. D. (2015). Improvisation and composition. In L. Burton
& A. H. Snell (Eds.) Engaging music practices: A handbook for
instrumental music (pp. 181-198), Rowman & Littlefield.
Assessments:
Performance of jazz combo. Each student records themselves
during the group performance by placing a recording device on
their stand. A classroom recording is also made.
Self-evaluation of jazz combo. Students evaluate their own
performance utilizing language they would use if providing feedback
to a student in second person.
roles as collaborators within the combo setting, reflecting on their
role as both leader and ensemble member in interpreting and
performing their jazz standard.
Unit 4-Informal Music Pedagogy
This final unit builds upon the informal music pedagogy presented
by Lucy Green in her book, Music, Informal Learning, and the School.
For the students in brass techniques, this takes on a different
approach as it emphasizes student agency and creativity to make

music on their own terms, rather than following a prescribed
method or approach. Students are encouraged to choose music that
they prefer and utilize their brass instruments to create music that
is meaningful to them which may or may not be inspired by others’
performances or music.
When students are exploring informal music pedagogy, they need
to be encouraged to use all of their musical resources. A key feature
in this approach is that as a teacher, the instructor emphasizes the
lack of a “right” way to create this cover and emphasizes their role as
a resource. The instructor frequently needs to prod students to use
all of their available skills, as they feel it is cheating to use a piano,
search the internet, or rely on others to create their cover.
Importantly, this music is being prepared for a purpose, ideally
generated by the student. Setting up an impromptu performance
in the student lobby or for another techniques class has worked
well for providing the motivation to create a piece of music that is
meaningful for the students involved.
Lessons 1-3
This unit begins with a class activity to quickly create a cover of a

pop tune (Rick Astley’s Never Gonna Give You Up and Toto’s Africa
work well as a class activity as they are typically familiar and have
quick, sarcastic buy in). The teacher’s role is to encourage but not
lead, and allow students to make mistakes and create their own
means to a performative end.
Reading:
Green, L. (2008). Chapter 2. Music, informal learning, and the
school: A new classroom pedagogy. Ashgate.

Lesson 4-7
Students should be encouraged to create groups that they want to

work with who want to work on a similar piece of music. A key
feature is that students may drift between groups as they search for
who and what they want to work upon. They should be encouraged
to be flexible in their music making and not beholden to a specific
product or process from the start. Again, the end goal is that the
students have a clearly delineated time and place for a performance
at the end of this to give this creative activity meaning.
At the same time as they are creating their group pieces, the
instructor should be introducing approaches for sampling,
recording, and tracking music. In addition to creating a group
performance, each student will create a version of the piece with
themselves utilizing commonly available recording softer such as
Audacity, Soundtrap, GarageBand, or Acappella that are free or
readily available.

39. Sample Assignments
Playing Tests
• Rotation #1
• Rotation #2
• Rotation #3
• Rotation #4
• Playing Test Self-critique
Teaching Lessons
• Beginner Lesson
• Method Book Lesson
Cleaning Video
Sample Assignments | 321

40. Playing tests
Rotation #1
The first rotation playing test should include the following elements
(All exercises and pieces can be found in the Practice Materials of
Brass Techniques and Pedagogy):
1. 1 key from Dexterity Exercise #1
3. One piece from “Performance Pieces”
4. Written or video self-critique of your performance
Scoring rubric
10 points Pitch/Rhythm/Technique Accuracy in Dexterity
Exercise #1
Exercise #2
10 points Performance Piece
10 points Tone and fundamentals
Videos should be uploaded to a personal YouTube/Vimeo

account. Please make sure to set your video as unlisted (only able to
be shared by those who have the link) or public (anyone can search
for your video online).
If you have divided this into multiple videos, post the links for your
additional videos in the comments.
322 | Playing tests

Rotation #2
The second rotation playing test should include the following

elements (All exercises and pieces can be found in the Practice
Materials of Brass Techniques and Pedagogy):
1. 1 key from both Dexterity Exercise #1 or #2 (cannot be in Bb
Concert) utilizing differing articulations
3. One piece from “Performance Pieces” that is different from the
one in Rotation #1
Scoring rubric
Exercise
Rotation #3
The third rotation playing test should include the following

elements (All exercises and pieces can be found in the Practice
Materials of Brass Techniques and Pedagogy):
2.1 key (different from Exercise #1) from Dexterity Exercise #2
3. One piece from your method book of your choice that
demonstrates your ability to play with technical accuracy and
musicality. It should cover a range of no less than a perfect fifth.
(Note in the comments which method book and exercise you are
playing)
Scoring rubric
Playing tests | 323

Exercise #1
Exercise #2
Rotation #4
The fourth rotation playing test should be your beginner

composition.
Following your video, complete Written or video self-critique.
Scoring rubric
20 points Performance Piece accuracy and
Playing Test Self-Critique
View your video for Playing test Rotation #1 and respond as you
would if this video were submitted to you by a student. Your
feedback should be specific and critical. Every self-critique should
include both positive and constructive–every performance has
strengths (growth counts as a strength) and weaknesses. Your
review should include, at minimum, the following elements:
1. At least one response to each of the pieces in the playing test
2. At least one positive observation
3. At least one constructive improvement observation
4. At least one recommendation for specific practice approaches
to be taken to allow for improvement
Grading rubric
324 | Playing tests

8 points Inclusion of each of the points listed above
2 points Overall tone and presentation that is professional and
supportive of learning
Playing tests | 325

41. Lesson Planning
Asynchronous Beginner Lesson
Warm Up Routine
Create a warm up/daily technique routine that would be

appropriate for a beginning of second year brass player with 5-7
distinct activities in sequence. For each activity, briefly explain the
function of that activity in terms of preparing students for playing
and developing critical technical skills.
Beginner Lesson Plan
You should submit a proposed lesson plan for teaching a beginner

a basic warm up sequence on your current instrument. Make sure
to consider basic fundamentals including posture, air support,
embouchure, and tone production. Your lesson should be between
5-8 minutes in duration and include a list of objectives, activities,
and assessment measures using the attached lesson plan rubric.
Beginner Lesson Video
Teach the lesson you created in Beginner Lesson Plan. Make sure
to review feedback on your lesson plan before teaching the lesson.
The lesson should be video recorded–don’t worry too much about
video quality provided that your voice is clear and students can see
your engagement with your instrument.
326 | Lesson Planning

Your video should be uploaded to your YouTube channel. Make
sure to have it listed as either “Unlisted” or “Public.”
Rubric
Video-50 points
• 10 points-clear, sequential approach to instruction

• 20 points-professional demeanor and presentation throughout
lesson
• 10 points-effective use of time (clear directions, high degree of
student engagement, etc)
• 10 points-anticipation of student progress/challenges (as
opposed to just following the lesson plan)
Method Book Lesson
Method Book Review
Review the band method book provided in class for its strengths and
weaknesses as a text for instructing beginning brass students. Your
review should consider the developmental issues encountered by
beginning brass players and the responsiveness of the method book
to those needs.
Consider the entire method book, including the following
considerations:
• Getting Started-How do the first pages address the needs and

abilities of beginning brass players? Specifically, in what ways
does the book meet those needs and abilities? In what ways
will beginning players potentially encounter issues not
addressed by the book?
Lesson Planning | 327

• Sequencing-How does the method book address the
development of beginning brass players? Specifically, how does
the book address developing brass players’ growth
appropriately? In what ways does the book skip or ignore
important developmental steps?
• Inclusivity-How does the method book represent a range of
musical practices and approaches? Specifically, how does the
music within the method book simultaneously build student
abilities, maintain student interest, and introduce a variety of
music styles? In addition to what is included, what is not
included?
• Instruction-How does the method book guide students in
their technical development? Specifically, what instruction is
included that helps students better understand technique on
their instrument? What instructions will the teacher need to
provide apart from what is in the method book?
Method Book Lesson Plan
There are two parts to this lesson plan:

1. You will be teaching 5 minutes of class with your peers as your
class. For this lesson, you will be using a standard class method book
and preparing a concept-based lesson using an exercise from that
book. You should submit a Lesson Plan in advance of your

lesson including concepts to be addressed and 1 selection from a
method book that directly relate to that concept. You should have 1
objective, linked directly to a specific activity in your method book.
Your lesson plan should include the following: (25 points)
a. 1 objective based in 1 exercise from your method book
b. 1 warm up/preparatory activity outside of the method book
c. 1 activity using the exercise in the method book. This activity
should not be play the piece from the beginning to the end.
2. In addition to your lesson plan, you will also submit a pdf file
328 | Lesson Planning

of one of your exercise transposed for trumpet, horn, trombone/
euphonium, and tuba to be used in class for instruction. You may
use any notation software of your choice (e.g. Sibelius, Finale,
MuseScore, NoteFlight, etc.) (5 points)
Method Book Teaching Self-Reflection
In response to your teaching segment in class, provide a detailed

reflection that addresses the following questions:
1. What went well in your lesson, both in terms of your student’s
progress and teaching practices?
2. What could you have taught more effectively? What changes
would you make if you were to teach this lesson again?
3. If you were to teach this student again, what would be your
objectives for the next lesson?
4. Explain how this teaching experience either met your
expectations or surprised you.
Rubric
• 10 points-accurate representation of teaching video strengths

and weaknesses
• 10 points-complete response to all questions including
supporting evidence
• 5 points-professional, high quality writing
Lesson Planning | 329

42. Cleaning Video
Submit a video of yourself doing basic care and cleaning of your
instrument. It should include (at minimum) the following elements:
• Flushing and snaking of all tubing

• Washing of mouthpieces
• Oiling of valves/rotors
• Greasing of slides
Videos should be uploaded to a personal YouTube/Vimeo/etc

account. Please make sure to set your video as unlisted (only able to
be shared by those who have the link) or public (anyone can search
for your video online).
You can follow along with the cleaning video from our book. to aid
in the process of doing instrument cleaning.
330 | Cleaning Video

Author Bio
Brian N. Weidner is the assistant professor of instrumental music

education at Butler University. He holds a Ph.D. in Music Education
from the Bienen School of Music at Northwestern University.
Additionally, he holds an M.M. Music Education from Northern
Illinois University, a M.Ed. School Leadership from Olivet Nazarene
University, and a B.M.E. Music Education/B.A. English from Illinois
State University. He is also a National Board certified teacher and
was recognized as Indiana Collegiate Educator of the Year in 2023.
Before coming to Butler, he was a lecturer in the music and
education departments at Lake Forest (IL) College. Previously, he
taught at McHenry (IL) High School for 12 years, serving as its Fine
Arts Coordinator, Director of Bands, and Music Theory Instructor,
and is a National Board-certified teacher.
He has published articles in the Bulletin of the Council for Research
in Music Education, Journal of Music Teacher Education, Journal of
Author Bio | 331

Research in Music Education, Music Educators Journal, Psychology of
Music, and multiple state and local journals, is one of the editors of
Disruption in Music Education (Routledge), and was a contributing
author of a chapter in The Music and Literacy Connection. He has
presented nationally and internationally at conferences including
National Association for Music Education, International Society for
Music Education, Research In Music Education (UK), Society for
Music Teacher Education, College Music Society, and Colloquium
for Instrumental Music Teacher Education. His academic interests
include investigating the relationship between music and literacy,
the development of independent musicianship through large
ensemble instruction, and the use of disruption in self-replicating
cycles in teacher education.
Dr. Weidner is a member of the College Music Society Music
Education Council, the chair of the Indiana Society for Music
Teacher Education and a board member of the Indiana Music
Education Association. He serves as the facilitator for the Critical
Examination of the Curriculum ASPA of the Society for Music
Teacher Education. He also serves on the advisory committees for
the Music Educators Journal and Paedagogia: Teacher Action
Research.
At Butler University, he teaches courses in the undergraduate and
graduate music education program, including Brass Techniques.
Dr. Weidner can be reached at bweidner@butler.edu.
332 | Author Bio

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Brass Techniques and Pedagogy

Brass Techniques and Pedagogy

If you choose to use or alter these materials, you are under no

This book was produced with Pressbooks (https://pressbooks.com) and

Part I. General Brass Techniques and Pedagogies

Prelude: Introduction to Brass Techniques and 9

11. The Trumpet 145

Part III. Guided Practice Lessons

16. Guided Practice Lesson 1.1 217

Part IV. Resources and Activities

Fingering Charts 263

Part V. Instructor Resources

36. Course Overview 279

Author Bio 331

Prelude: Introduction to Brass Techniques

A brief explanation of how to use this book.

General Brass Techniques and Pedagogies | 5

Brass instruments have a millennia old tradition and history.

Getting Started with Posture, Breathing,

Before picking up the instrument, it is critical to have fundamentals

Tone Production Fundamentals on the

The mouthpiece serves as the starting point for good brass

Understanding how brass instruments function helps us to

6 | General Brass Techniques and Pedagogies

Brass instruments have a shared set of fundamentals that dictate

Pitch and Intonation

Pitch control is a constant demand for brass players.

Articulation on Brass Instruments

While each instrument has its own idiosyncrasies, the fundamentals

As music educators, students will approach you with questions

General Brass Techniques and Pedagogies | 7

8 | General Brass Techniques and Pedagogies

Brass instruments include a broad family dating back thousands of

Exercise boxes will include activities you should do as a

Common error boxes will help you diagnose and correct

This book is divided into four main sections.

• General Brass Techniques and Pedagogies discuss common

Musician Health and Wellness

It is critical that musician health is taught as part of beginning

• Instrument playing should not hurt. It may feel awkward

Open Educational Resources

• BY-If you use these materials, you must provide attribution of

More details on Creative Commons can be found at

It is important to understand the history of brass instruments as an

A Brief History of Brass Instruments | 17

During the Renaissance, brass

18 | A Brief History of Brass Instruments

Brass instruments began to be used more extensively in the 17th

A Brief History of Brass Instruments | 19

The 19th century was the period of greatest development and

20 | A Brief History of Brass Instruments

A Brief History of Brass Instruments | 21

22 | A Brief History of Brass Instruments

The two most important aspects of all brass playing regarding

Getting Started with Posture, Breathing, and Embouchure | 23

Proper posture on brass instruments requires a well-balanced, open torso and

Symmetrical and vertical posture in the torso establishes a

24 | Getting Started with Posture, Breathing, and Embouchure

In brief, the key considerations for proper posture