As you pull out your Arban’s book for the millionth time, you’ve probably wondered what your favorite trumpeters practice. Do your heroes also rely on the same etudes and lip slurs? How many hours a day do they play?
Trumpeter and YouTuber Josh Rzepka had those same questions, and he decided to ask them. In a video titled “What Does Your Typical Practice Day Look Like?,” Rzepka interviews 17 very different trumpet players, legends and award-winners all, about their typical—and ideal—routines. The interviews vary in length; some go deep on what books they use and for how much time. Others are more general or philosophical. Together, they paint an illuminating portrait of the kinds of practice that go into a successful trumpet career.
- Michael Sachs
- Bria Skonberg
- Chris Coletti
- Bijon Watson
- Tage Larsen
- Randy Brecker
- Ingrid Jensen
- Brian Lynch
- Jose SIbaja
- Arturo Sandoval
- Selina Ott
- Roger Ingram
- Lessie Vonner
- Karin Bliznik
- Pacho Flores
- Kenny Rampton
- Tine Thing Helseth
Focus on Sound!
If there’s one thing most of the interviewees agree on, it’s that a good sound comes first. Many of the players start the day with exercises geared toward tone production, from buzzing to long tones to flow studies and lyrical etudes. Even jazz and pop players like Randy Brecker and Lessie Vonner include classical etudes in their routines in an effort to keep their sounds consistent and resonant.
Fundamentals, fundamentals, fundamentals…
There are other fundamentals that need daily work as well, and nearly all the players build flexibility, articulation, and range into their routines.
- Both Randy Brecker and Lincoln Center Jazz Orchestra’s Kenny Rampton use exercises from the Carmine Caruso method
- Cleveland Orchestra’s Michael Sachs and St. Louis Symphony’s Karin Bliznik swear by the Chris Gekker Articulation Studies
- For flexibility, both Sachs and acclaimed jazz player Brian Lynch recommend the Bai Lin exercises.
- The classics: nearly every player mentioned either Arban, Clarke, or Schlossberg.
Customize your Routine
And while they draw from various popular methods, the players have all spent time modifying and customizing their routines to fit their own personal preferences and needs. Acclaimed lead player Roger Ingram incorporates a tuner into his Schlossberg practice, and Lynch modifies flow studies to make them more similar to jazz patterns. Chicago Symphony’s Tage Larsen used to strictly follow Michael Davis’s 20-minute warmup, but he’s changed many aspects of the routine over the years to fit his own needs (he still has fun playing along to the included CD accompaniment!). Many of the players split their practice up into sessions of varying length, making sure to incorporate rest and recovery into the day.
How long to practice?
If there’s anything that varies the most between all the interviews, it’s when and for how long the players practice. Some folks are on the road constantly and only ever have a chance to warm up. Others limit their practice sessions to 90 minutes maximum, while Arturo Sandoval claims he used to practice eight hours a day!. Ingram likes to keep his trumpets laying around the house for short, impromptu practice sessions. And while many players like to warm up early in the morning, Brecker prefers to warm up in the afternoon and practice late into the night.
Chris Coletti
Chris Coletti, a former member of the Canadian Brass, describes a particularly interesting take on structuring a routine. Inspired by investors like David Swensen, he’s built a pie chart that incorporates the various fundamentals to whatever degree he deems necessary. Every practice session, no matter how long, follows the proportions of the pie chart, and at the end of the week, he adjusts the chart based on which areas have improved the most. Similarly to many of the other players, his systematic approach combines weekly consistency with constant reassessment and editing.
Just PLAY!
Of course, an ideal practice day wouldn’t be complete without some music. Many players’ routines change depending on what musical performances are approaching. Brecker likes to play along with records for hours every night, ramping up his playing time as a high-intensity gig approaches. Roger Ingram tries to play in a different style every day to stay flexible and inspired. Norwegian trumpet soloist Tine Thing Helseth, who admits she doesn’t like to practice, tries to keep things fresh, changing most of her routine completely based on what concerts are coming up. And Boston Brass’s Jose Sibaja likes to set aside some time at the end of his practice day “just to play.”
Conclusion
It’s clear that each player has thought critically and methodically about their practice routine, striving for a regimen that fits their technical, creative, and personal goals. Watch the full video for more from these trumpet greats! And check out the rest of Josh’s channel for other interviews, trumpet tips, and lots of other trumpet-related goodness.
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