Bob Reeves Brass Mouthpieces

ADVICE, STORIES, TRUMPET PLAYING

JERRY HEY LARRY HALL EXTENDED WILLIAM

ADAM TRUMPET ROUTINE
AUGUST 21, 2015 | BOBREEVESBRASS | 3 COMMENTS

About the Trumpet Routine

We have received many requests for the trumpet routine
that Larry Hall and Jerry Hey practiced together at Indi-
ana University under their trumpet professor Mr. William
Bill Adam. Larry and Jerry were generous to spend sev-
eral hours researching and compiling the exercises they
practiced along with some of the modi cations.

They provided some examples of how they would modify

individual exercises to keep them fresh and expand how
they trained their ears. Be creative and come up with
your own!
Larry Hall (far right) recording a project for Seawind.

This routine is not intended as a one-size- ts-all approach to the trumpet. It should be used as an infor-
mative look into their daily routine and how they expanded the exercises.

The Trumpet Routine

Mr. Adam ascribed to the rest as long as you play con-
cept. Practicing with a friend helped insure that and also
gets one used to playing in front of others.

Our daily practice was broken up into sessions. None of

this was rigidly adhered to. The 1st session was pretty
much the same everyday, but sessions 2 and 3 were pick
and choose to keep things fresh, interesting and chal-
lenge ourselves.
 Our practice session times could total 4 to 5 hours. Mr.
Adam always said 3 hours was a minimum comprised of
an hour for: basic maintenance, technique, and solo and
repertoire literature.

Jerry Hey taking a trumpet solo at the Playboy Jazz Festival.

1st Session
Clarke #1- Start on F# in the staff, F, G and expand outward.

The rest of the 1st session of the day is all Schlossberg:

#6 Start soft, Crescendo to next bar and Decrescendo
#23, 24,25, 27
#36B Start with variation A, then variations 2, 3, 4 and 5 going up a half step with each variation.
# 95 Sustain top notes resting or trading off with you partner at each breath mark.
#97* The goal was to play in one breath. Keep air relaxed. This can be extended out to F#.
#99 & #100 Play #99 as is resting at the end of each key signature, Start #100 on low F# and extend
exercise to F# an octave up or keep going as high as you can.
#102a*Each day pick a different variation of scales, (major, minor, harmonic minor). Also pick a varia-
tion of intervals, (3rds, 4ths, 5ths). Extend outward to F#.
#120-123, #128

*When extending #97 and #102a to F# both low and high, break up doing every one every day. Day 1,
start #97 on C, go to B, C#, A, Eb, G, F. Start exercise #102a on C, go to Bb, D, Ab, E, F#, F#. On day 2
swap these patterns for each exercise.

BREAK

2nd Session
Next session start with Clarke 2nd, 3rdor 4th Study. Always start on E below the staff and expand out-
ward to low F# and C in the staff. When playing the 2nd Study, change modes on each repetition, Major,
Minor, Diminished scales.
Arbans P. 14 #16-27 Play each exercise twice, 1st time all slurred, REST, 2nd time all single tongued.
Play a few articulated 8VA.

Arbans #46-50 Start with #47 and #48, transpose each in all keys. Then play #49, #50, then #46.

Schlossberg #45

Arbans double tonguing P. 175, #77-94 Play #88-90 in all keys

Some Arbans triple tonguing

Schlossberg Chord Studies #70 single tongue, #71 slur 1st 2 notes tongue next 2, #73 All Slurred

Arbans p.297 Characteristic Study #13 The goal is to play in one breath. Never heard anyone make it!
J

Other Arbans :

p.39 #3,4,5. p.40, p. 41

p.138 #35, 38, p.140 #41-47
p.142-p.151, p.56
p.125 #1, p.135 #23
p.28-36 Single tongue 8th notes, double tongue 16ths.

Obviously not every exercise was played each day but this material would get covered during the week.

Saint-Jacomes
157 Always single tongue, start with 1st exercise, 1st Variant triplets, #4 sixteenths, #11 sextuplets. The
repeated G is in the staff, try playing all these variations with the repeated G above the staff. Once Mas-
tered (J or L) try p. 161 and variations. CORNERS!!!!

OK, I THINK WEVE HAD ENOUGH FOR A WHILE

BREAK

3rd Session
Start 3rd session with another Clarke

Arbans Chromatic Triplets p.76, #1-5, p. 80, 10-23

Saint-Jacomes Bugle Call p.19 #26, p.24, p.49 #3, p.68 & p. 81

Selection of Charlier or Bitsch etudes, Art of the Trumpet (Originally titled Common Sense by William
Thiecke)

We usually nished off each day with Maggio Long Range Chromatic. 1st a exibility pattern to start out
loose. Slur from low C, G to C in the staff, lip trill between G and C then back to low C. Rest. Go down by
steps to low F#. Rest.

Play chromatically from low F# up to F# in the staff back to low F#, breath, F# in the staff chromatically
down to low F# back up to F#. Breath. Start on low G and do the same pattern and continue to go up by
steps. Continue upward to as high as you can go. It does get better but never easier.

You Do Not trade off or rest till youre done. And you WILL be done at this point.

Learn More about Jerry Hey, Larry Hall, and William Adam

Recording the tribute to Mr. Adam, from left to right: Bob

Reeves, Larry Hall, Charley Davis, Jerry Hey, Robert Slack,
Chris Botti, John Snell, Preston Shepard.

If you are interested in learning more about Jerry Hey, Larry Hall, or their teacher at Indiana University,
William Adam, check out our trumpetpodcast, The Other Side of the Bell.

Jerry Heys interview can be heard on Episode 22.

Larry Halls episode can be heard on episode 14.

The William Adam Tribute podcast can be heard on episode 15, featuring Jerry Hey, Larry Hall, Chris
Botti, Charley Davis, Robert Slack and many contributors.

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The Other Side of the Bell A The Other Side of the Bell A The Other Side of the Bell - A
Trumpet Podcast; Episode #24: Trumpet Podcast; Episode #22: Trumpet Podcast; Episode #15: Bill
Chris Botti Jerry Hey Adam Tribute
March 13, 2015 January 21, 2015 June 5, 2014
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Karl Sievers 2 years ago

incredible info. thanks John
1 Reply Share

pobodysnerfect > Karl Sievers a year ago

Agreed. Good stu!
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Luke J Stephens 2 years ago

Nice
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