C Major. 4. F Major. 6. 9. Bb Major. Eb Major. Ab Major. 4. 4. &. Trumpet in Bb Scales and Arpeggios. ABRSM Grade 7. &. 3. 3. 3. 3. &b. &b. C Major. F Major. Bb Major. Eb Major. Ab Major. 4. 4. &. Trumpet in Bb Scales and Arpeggios. ABRSM Grade 8. &. 3. 3. 3. 3. &b. &b. 3. 3. 3. 3. &bb. &bb. 3. 3. 3. 3. Scales and arpeggios have always been an essential part of a fundamental practice routine. More Thoughts on Trumpet Scale Practice →.


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Why Practice All Those Scales?

This requires both a great base of knowledge and a keen sense of awareness. You may think you trumpet scales and arpeggios practicing scales and arpeggios, but you can also be engaging in a very methodical way of observing and refining your way of playing the instrument.

To practice effectively, we must rely on our senses of hearing, feeling and seeing…and we never know which sense will be the most acute at any given time. For example, if you can hear your sound become more airy as you descend, trumpet scales and arpeggios you see and feel the lips gradually lose their contact and alignment with each other?

Scales & arpeggios for the trumpet [music] / arranged by John Davies. - Version details - Trove

If you are not sure, go lower until the problem is obvious…until you can see and feel what your ears are telling you. Then try descending again and see if it is not only easier to spot the problem earlier, but to also apply the proper fundamentals before the problem first occurs.

Finding the place in the scale or arpeggio where the problem first occurs will help you accurately judge which of those symptoms was a cause and which were symptoms of a cause, making it easier to apply the proper solution in a proactive way. The starting position is paramount, and that includes trumpet scales and arpeggios only the embouchure formation, but also the mouthpiece placement, the mouthpiece weight distribution, posture, hand positions, and beginning within a state of complete relaxation.

Before takeoff, experienced pilots go down an extensive checklist for safety reasons. How extensive is trumpet scales and arpeggios pre-playing list, and do you check it carefully every time you set up? We are looking for a singular way of playing the horn…an embouchure set that works in all registers, and so for example, starting a scale on a low note with an erupted lip formation, or on a high note with a tight, constricted throat only works contrary to that goal.

Besides, even though scales and arpeggios are the most common ways of traveling from Point A to Point B in a musical context, they do not always begin on the root of the key. We should be able to encounter any key from any entry point of the scale or arpeggio.

Scales and Arpeggios for Trumpet and Brass Band Instruments, Treble Clef, Grades 1-8

After deciding on what your starting pitch will be, then choose the direction ascending or descending that you will have the most success…. If you are successful, trumpet scales and arpeggios the scale or arpeggio in the opposite direction should be more successful as well.

Learning the proper air support is essential. No matter how good your starting position is, if it is not supported properly with air the body will find another way to play or attempt to playbut nothing will work as well as a great starting position, supported with a relaxed and flowing airstream.

Scales and Arpeggios for Trumpet and Brass Band Instruments by ABRSM S

If the embouchure is not set efficiently, you will have to rely even more on the air. The fingers will also become stronger, will function better at higher speeds, and then will more easily remember all of the common fingering patterns.

Like the trumpet scales and arpeggios on the left, the fingers are arched like holding a baseballpushing the valves straight down from the top, for the most efficient stroke.

Valves are also less likely to stick this way. The tip of the little finger rests on the top of the finger ring, and the right hand thumb is below the lead pipe, between the 1st and 2nd valves, giving a little more leverage to the weakest 3rd valve finger. Although scales and arpeggios should be practiced both tongued and slurred, I like to begin with slurring in order to prioritize the airflow, and because it is less complex than tonguing.

Helps to eliminate the need for an embouchure change when passing between registers.


Clarity of articulation is another aspect of playing which can be greatly improved through scale and arpeggio practice. Various articulation combinations can be practiced within a scale, which can help to further train co-ordination between the tongue and fingers.

Scales and arpeggios are naturally designed to build endurance if you rest as much as you play. And finally, focusing on the purity of intervals whilst practicing scales and arpeggios greatly helps the ear to tackle trumpet scales and arpeggios issues.