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    Basiscs Plus ( W. Guggenberger) Studies for 1 or 2 Trumpets


    Thinking in Sound  II

    How to use BASICS PLUS !  III

    Explanation of terms  V

    01. Mouthpiece-Studies  p. 001

    02. Long Tone Studies  p. 011

    03. Flow Studies 1  p. 025

    04. Flow Studies 2 p. 037

    05. Sound Development p. 047

    06. Arpeggio 1  p. 051

    07. Arpeggio 2  p. 057

    08. Arpeggio 3  p. 065

    09. Scales 1 p. 079

    10. Scales 2  p. 087

    11. Interval Study  p. 097

    12. Lip Flexibilities  p. 103

    13. Range Studies 1 p. 123

    14. Range Studies 2  p. 133

    15. Warming Down 1  p. 139

    16. Warming Down 2 (Pedal Tones)  p. 145

    List of Sources p. 150


    How to use:

    Specific performance instructions are introduced in every chapter. Follow every practice “Step“, and also pay attention to the hints containing tips for attentive observation of your playing. With the removable pages you can review these instructions while practicing. Feel free to find your own practice routine and modify the performance instructions to your own individual needs.  



    When practicing alone, the 2nd Part serves as a preliminary exercise to the main one. It is always based on the principle of simplification, in order to allow for the most musical and tonally consistent result possible. Transfer these experiences to the 1st Part, and follow the same musical impetus. Make sure that tone quality and ease of playing don’t get lost. For a satisfying result when playing as a duo, it is very helpful to practice the exercises in the solo version as well.



    You can use the two-part version together with a friend or a colleague, in a lesson (teacher and student), or in a group.


    The advantages of the two-part version are obvious:

     Any inconsistencies in your own playing, including purity of tone, intonation, dynamics, and rhythmic accuracy, are revealed immediately in ensemble playing.

     You automatically direct your attention more to the music and learn to listen to your duet partner.

     Duet partners can motivate each other and give each other tips.



     When you have mastered the fundamental exercises you can increase the difficulty level. The possibilities are limited only by your own imagination!



    One important remark, which will lead to a methodical understanding of your technique: the instructions always refer to trumpet technique in general and are not limited to the chapters in which they appear.



    Analytical thought in our left brain (intellect) often has a crippling effect on our body’s natural functioning. Mental pictures activate the right brain, which is so important for musical imagination, and have an immediate effect on our body’s physical activity. They support intuitive reaction.

     Use the power of your thoughts and give your entire mental space over to the mental picture, so that distracting secondary thoughts no longer find a place there. Observe your reaction and decide for yourself how you can integrate this technique into your playing.


    Practical exercise

    Exercises without the instrument are important in order to create new physical experiences that often, because of the strength of old habits, cannot happen with the trumpet in one’s hands. It is important to use the suggested exercises regularly and to transfer the newly acquired physical

     feeling immediately to the instrument. Trust the new feeling, even if it seems strange to you!



    Thus our „body awareness“ is in our ear: distribution of tension in the body, cramping or relaxation, muscle tone, posture, motor function and fine motor skills are all verified by the ear as regulating organ. One speaks of a cybernetic regulating cycle: mind (command) - muscle (execution) - ear (verification) - mind (correction of the order)

     Alfred A. Tomatis from „The Conscious Ear“


    The most important sensory organ for you as a musician is your ear. The goal of this book is to put listening to yourself more at the center of your practicing.

    Through the routine of „daily exercises“ we run the danger of limiting our concentration to mechanical procedures. Learning happens mostly through our senses: seeing, feeling, and hearing. The complex physical processes of playing a musical instrument can, however, only function when the analytical, logical thought of the left brain is in balance with the emotional, pictorial thought of the right brain. It is exactly this balance which is guided by our capacity for musical imagination.

     Every note we play is an expression of our individual personality and has a life of its own. This is the reason for the fascination that the trumpet exudes. We should give the same musical attentiveness to so-called „warm-up exercises“ that we give to the study of etudes and concertos. (After all, the E-flat Major concerto of Joseph Haydn begins with a simple scale figure).


    The two-part nature of the present exercises „programs“ our concentration to focus our thinking on the essential. The fundamental idea is always simplification, given by the 2nd Part or the preliminary exercises, and by the blending of the two parts, into which we are „submerged“.

    Embark, therefore, on a new way of thinking in sound, according to the motto Dale Clevenger, solo hornist of the Chicago Symphony Orchestra, so aptly formulated:


    „Your two best friends are your ear and your air!“