Flexus

Laurie Frink & John McNeil

Gazong Press
500 2nd Street Suite 2
Brooklyn, New York 11215-2503
www.gazongpress.com
info@gazongpress.com

Copyright © 2003 by Laurie Frink & John McNeil

Printing History: Omnitone Press 2003

Gazong Press 2009
Gazong Press 2012

Cover Design: Frank Tafuri

Interior Design:Andrew Green

Notice of Rights
All rights reserved. No part of this book may be reproduced or
transmitted in any form by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior written
permission of the publisher.

ISBN 0-9748544-1-7
~"
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Thanks to:

Lois Martin

Lolly Bienenfe1d

Carmine Caruso

Andrew Green

JeniTaylor

Dan Steinhilber

J. c. Sanford
Sarah Wilson
Mike Walters
Frank Tafuri
Jack Bragin
About the Authors

Laurie Frink
Laurie Frink has been a freelance trumpet player in New York City since
the 1970's. In addition to extensive recording work, she has played trum­
pet with Benny Goodman, Gerry Mulligan, Mel Lewis, Maria Schneider,
Andrew Hill, Dave Liebman and Kenny Wheeler. She is a member of the
faculties of New York University,The New School and the Manhattan
School of Music.

John McNeil
John McNeil is a jazz trumpet player living in Brooklyn, New York. He has
played with Horace Silver, Gerry Mulligan, The Thad Jones/Mel Lewis
Orchestra and many others. John has led his own groups since the late
1970's and has recorded many critically acclaimed CDs. He is also an
active writer/producer on the New York Jazz scene.
1::. . ._._.__.. .__ - - - - - - - - - - - - --'W

&~~,N····ll~N~l>S
INTRODUCTION 6

FLEXUS 7

PRACTICING 8

HOW TO USE THIS BOOK 10

PRELIMINARY STUDIES: Long Setting 12

FLEXIBILITY 18

ONE. BASIC FLEXIBILITIES 18

TWO • FLEXANDO 24

THREE • ADVANCED FLEXIBILITIES 28

FOUR • INTERVAL STUDIES 44

ETUDE ONE 49

ETUDE TWO 50

ETUDE THREE '" 52

ARTICULATION 54

ONE • SLURRINGITONGUING 54

ETUDE FOUR 59

TWO • DEVELOPED SCALE 60

THREE • ARPEGGIOS/DIRECTION CHANGES 74

ETUDE FIVE 82

PEDAL TONES 84

QUICK REGISTER CHANGES 90

ONE • CONSISTENT INTERVALS 90

TWO • SPIDERS : 98

ETUDE SiX 1 04

THREE. CHROMATIC DISPLACEMENT 1 06

FOUR • TARGET PRACTiCE 118

FIVE • OCTAVE DiSPLACEMENT '" 122

SIX • 12-TONE STUDIES 126

ETUDE SEVEN 128

'"
ETUDE EIGHT 130

ETUDE NINE 132

ETUDE TEN 134

CD CONTENTS 135
5
 As an improvising trumpet player, you face unique physical challenges:

• You are more often than not operating at the limits of your technical ability.
• The mouthpiece is on the lips for long periods of time, creating endurance
problems.
• Emotion can take over, making you play louder and with more intensity.
• In an improvised solo there is often a dizzying array of articulations,
dynamics, register changes and tone variations.
All of these conditions are difficult to duplicate when practicing.
In preparing a written piece, even a very difficult one, your body learns to
accomplish the consecutive muscular demands of the piece through repeti­
tion. The improvising musician doesn't have this luxury. By definition,
improvisation is spontaneous and unrehearsed. Such unrehearsed, unplanned
movements can leave the body scrambling to coordinate itself, which invites
extraneous motion and can exacerbate existing bad habits.
It's a fact that the content of your improvisation is determined in large part
by your technique. You tend not to conceive ideas that are physically beyond
you. Therefore, to expand your vocabulary, you must improve your instru­
mental skill.
Although you can't practice inspiration, you can prepare your body to
execute what you are inspired to play. Therefore, to improvise music with a
wide variety of elements, you have to practice a wide variety of techniques.
As in all things musical, consistent practice is necessary for consistent
performance.
FLEXUS contains a wide range of technique- and endurance-building exercises
that address all of the fundamental elements necessary to play the trumpet
freely and easily. It is designed to help improvisors in all musical idioms-jazz,
classical and any others. FLEXUS synthesizes the teaching techniques of
Laurie Frink, John McNeil and Carmine Caruso, and represents an evolution
in trumpet practice that combines time-honored exercises with new and
unique concepts to create a technical approach for the 21st century.

6 FLEXUS
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To improvise effectively, the physical act of playing needs to be a conditioned

reflex-freedom of expression is only possible when the physical demands
of playing are under control. To this end, FLEXUS asks the student to momen­
tarily put aside the study of music itself and instead practice the muscular
movements involved in playing the instrument.

Learning comes through exposure and repetition-you expose yourself to

what you want to learn and then repeat the exposure. The great brass teacher
Carmine Caruso used the analogy of a baby learning to walk; the baby expe­
riences nothing but failure in its attempts until the first successful step. It
does not judge itself for its failures, but simply tries again. It is the repetition
of an action with no judgement attached that achieves the desired result. No
schedule or time frame is necessary. With enough repetition, any movement
becomes a conditioned reflex.

Timing and coordination are 100% of trumpet playing. What we call coordi­
nation is just the synchronized movement of muscles in time. When given a
consistent tempo, muscles coordinate much more easily. This results in
muscular balance, which leads to greater facility and endurance. To put it
another way, a balanced embouchure functions effortlessly and allows you to
move freely and easily, whereas muscles that are out of balance work harder
than they need to and thus get tired faster. Playing or practicing with incon­
sistent time also greatly reduces your accuracy-it's like trying to hit a
moving target while you yourself are moving.

It is also of utmost importance to feed a steady stream of air to the lips. No

matter what the physical demands-wide leaps, accents, quick movements,
etc.-the air stream needs to be consistent and constantly moving to main­
tain good intonation and flexibility. If you don't concentrate enough on
keeping steady air, the muscular movements of the embouchure and tongue
can interrupt the air stream, resulting in an unfocused sound and inconsistent
performance.

When undertaking a new course of study, the temptation is to abandon one's

existing trumpet routine. We advise instead that new exercises be worked
into a practice routine over a period of several weeks. Through performing
the right exercises daily, poor habits will gradually be replaced as the muscles
naturally find their most efficient balance.

FLEXUS 7
 The studies in FLEXUS should be viewed as calisthenics and played with
abandon. Because the demands are muscular rather than musical, no
musical value judgements need apply. Even the etudes, though compo­
sitional in nature, should be approached as physical skill builders.

This book will often push you to the limit of your abilities or beyond. As
a result, tone quality may suffer while exercises are being performed.
Don't let the sound or feel of an exercise affect how it is practiced.

The Right Message

To practice efficiently, it is necessary to maintain a consistent approach

and insist that the body conform to it. It's better to practice at a very
slow tempo that permits playing everything in time than to attempt a
faster tempo that necessitates slowing down for difficult passages. To
intermittently slow down sends the message that slowing down is
acceptable and that it's not necessary to acquire the skill to perform the
passage in time. Conversely, if a steady tempo is maintained, the body and
the subconscious are given the message that slowing down is not per­
mitted and they need to acquire the necessary skills to perform the pas­
sage at that tempo.

Similarly, Long Setting exercises (see page 12), by not allowing multiple
readjustments, give the message that the entire range of the trumpet
can be played with a Single embouchure set.

8 FLEXUS
~.
--
-------------_.
PRACTICING

Timing and Subdivision

Timing is the most basic element of trumpet playing, and to develop con­

sistent timing, the body need~ to be involved in the timekeeping

process. For all exercises in this book, tap quarter notes with one foot

and use the up/down motion to mark off upbeats and downbeats.

Starting each exercise with four preparatory foot taps will help ensure

secure attacks.

In addition to foot tapping, the focus of the conscious attention should

be on mentally subdividing each beat into sixteenth notes to help guar­

antee a steady pulse. Subdivision narrows the window in which muscu­

lar movements can take place, and makes it more likely that the proper

muscles will move together. This makes everything from wide leaps to

lip trills easier to execute. Practicing studies while consciously subdivid­

ing eventually results in subdivision becoming a subconscious habit.

Subdivision can even help with performance anxiety by taking the focus

off of execution and putting it on timing.

Singing

Learn to sing any exercise that is difficult to hear or has complex

motion. This is especially advisable with octave displacement exercises.

Accurately singing an exercise dramatically increases the odds of play­

ing it correctly. In addition, material that you can sing shows up in your

improvisations more easily.

FLEXUS is meant to be used as a supplement to other kinds of practice.

Many of the exercises in this book are physically strenuous and are

designed for practice days, not performance days. Also, play these

studies at or near the beginning of a practice session when the

embouchure is fresh. NEVER play these exercises when fatigued.

Practicing on a tired embouchure invites manipulation and forms bad

habits very qUickly.

FLEXUS 9
PRACTICING

HOW TO USE THIS BOOK

In a typical practice day, play at least one exercise from each section. At first,

play the exercises and sections in the order presented. Personal experience

may lead you to change the order of the sections and exercises on any given

day. For example, the first exercise in one section could be paired with the

first exercise in another section, the second with the second, and so on.

Preliminary Studies
The exercises in this chapter are meant to be played in order. When Exercise

One can be played comfortably, replace it with Exercise Two, then Exercise

Three, etc. Only one o/these exercises should be played in a single day.

rJ=i;;:ibility
"

Section One • Basic Flexibilities, pages 18 through 23

These exercises move quickly from one harmonic series to the next. Play

, three or four daily.

Section Two • Flexando, pages 24 through 27

These exercises require a consistent, ever-moving air stream from low to high

and vice versa. On~ or two daily.·

Section Three • Advanced Flexibilities, pages 28 through 43

An assortment of more challenging flexibilities that require and develop a

variety of skills.The studies on J?ages 40 through 43 can be played at any time

during your routine, and can be repeated at different times. However, the

other exercises in this section should be attempted only after Sections One

and Two can be played comfortably. Pages 29,30 and 36 through 39 are espe­

cially difficult. Depending on your skill level, play several of these exercises

daily.

~ectionEouF • Interval Studies, pages 44 through 48

These exercises require slurring over consecutive fourths and fifths moving

in the same direction. One or two daily.

J"...----_~ _

,Articula!~~~
B'ectionOne • Slurring! Tonguing, pages 54 through 58
~ Maintaining the same tongue position whether slurring or tonguing over the

entire harmonic series. Play every exercise in this section daily.

rS~ctionTwo • Developed Scale, pages 60 through 73

Slurring and then tonguing scale fragments and/or diatonic intervals. These

gradually lengthen and widen in scope, while the time in which they must be

executed stays the same. The exercises are written up to high D or E flat, but

need not be played that high until you're ready. Exercise Eleven is a different

format, but is a useful compliment to Developed Scale exercises. Only one

Developed Scale should be played in a single day, and it can be combined

with Exercise Eleven.

10 FLEXUS

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~tltre-.:.. .,...YJ PRACTICING

~y!
~~~Qllim=-Thre~ • Arpeggios/Direction Changes, pages 74 through 81
A series of arpeggiated chords which begin and end with a common tone.
The exercises on page 81 teach repeated rapid change in direction.
Depending on your skill level, play up to six a day.
\'­
!__e,ed_al
'.
Tones
---------... --_ .. -~-

Pages 84 through 89
In addition to the preparatory exercise on page 84, play only one other study
" from this section in a givert day.
f'

lQuick _Register Changes-­

£,e,etionDne • Consistent Intervals, pages 90 through 97

Exercises that gradually accustom the embouchure to rapid changes in regis­

ter through the use of consistent intervals. Three or four daily.

c:SectionIwo • Spiders, pages 98 through 103

Expanding interval exercises built around a central tone. One or two daily.

Se-<;:tionXhree • Chromatic Displacement, pages 106 through 117

Descending chromatics within a standing pattern. Four or five daily.

SeGtien-Fout • Target Practice, pages 118 through 121

Connecting the registers by playing the same three-note figure across four

octaves. Three or four daily.

SeGtionEive -and Six • Octave Displacement, 12-Tone Studies, pages 122

through 134

Displacement of one note, up or down,within a melodic line in both tonal

and atonal exercises. These are the most challenging studies within QUick

Register Changes. Your skill. level will determine the number of exercises

practiced.

FLEXUS 11
 The preliminary studies oncpages 13 through 17 are used to stabilize the
embouchure and allow it to come into focus before adding motion or
other challenges. They are adapted from Carmine Caruso's' original six­
note exercises.

These exercises are played without removing the mouthpiece from the lips
and are referred to as "Long Setting" exercises. All breaths are taken through
the nose, leaving the embouchure unbroken. These exercises teach the lips
to move from one note to the next inside the mouthpiece, and to maintain
the same setting throughout the full range of the instrument. Long setting
practice reduces extraneous motion when moving between registers, and
automatically increases endurance and accuracy.

By practicing this way, the body learns the relative position of each note.
In Exercise One, whatever adjustments are made to get from G to C have to
be undone to get back down to G on the repeat, thus making the notes feel
closer together. Exercise Two extends this relationship to low C, and so on.

Note: Long setting exercises are not isometric. Mouthpiece pressure and
tension in the corners should be relaxed during the measure rest.

Exercise One should be played once daily for approximately two weeks
before replacing it with Variation I. Likewise, continue with Variation I for two
weeks before replacing it with Variation II. After sIx: weeks, replace Exercise
One with Exercise Two. Remember,replace Exercise One-do not play both
Exercise One and Exercise Two. With Exercise Two, follow the same timetable
as Exercise One when moving to'the variations. Do the same in moving to
Exercise Three, Exercise Four, etc. As stated on page 11, the number of weeks
devoted to each exercise and its variations will vary with each individual.
Move on only when you can play a study easily. One of these exercises
should be a part of your daily routine as long as you continue to play the
trumpet.

12 FLEXUS
.:'- - ]I

PRELIMINARY STUDIES

One ~ = 62-72
BTN BTN

~ ~=======lo
~
H T T
- ~
H
i==kio
T T
I -~

~ .. 81m.
E-~ .. E-a

~~ 1-- ij r t n I - :~

Apply the following variations to each pitch in the above exercise.

Variat ion I Variat ion II

=$;J ~5- ~ .. I

Lip Bend Lip Bend

Lip Bends
A lip bend is achieved by using the lips instead of the valves to lower the

pitch. The process of bending the pitch down and then returning enables

the embouchure to fmd the resonant center of the pitch.

FL.EXUS 13
PRELIMINARY STUDIES

Tvvo

ta H
~
T
0

T
-
BTN

~
H
~O
T T
BTN
-

t1im. F1 II - ~ ~II -

1r r I 0 - ij r I
II -

1J ~ -0­
- ~ ~&
-

=tE O§ 0
- ~ 3£40 -

=fJ j§ 0
- ~ J==1 II
-

1 fJ ~II - @ j 0

Apply the following variations to each pitch in the above exercise.

Variation I Variat ion II

Lip Bend Lip Bend

14 FLEXUS
-=_.----------------------- :w

PRELIMINARY STUDIES

Three
~ BTN Continue ...

~~~o I-~o 1­
H T T H T T

... applying the above pattern to the following pitches in order:

~o.. o •• ~··o _
"IT e- -e-

Variat ion I Variat ion II

~F _ ~ 1 0

=£
Four
BTN Continue ...

~~~ 051 - ~J I -51

H T T H T T

using all of the following pitches in order:

1 0
~o 0 0 ~o 0

When comfortable with Exercise Four, add a repeat.

Variat ion I Variat ion II

~ F ~ ~i. ~ o ~

The pattern of breath and tongued attacks is the same

through page 17. All breaths are through the nose.

FLEXUS 15
PRELIMINARY STUDIES
Five

~ Continue ...

~r,----------=----~~:A=O2 J~-~~~O======-==::::;1
using all of the following pitches in order:

*==0==::;:;:=~(==.====0====;(;::;='=:;ft~n:===e:::O ==:::::i"~o ===::I::O~~o =::j~~O~o===1~

Variat ion I Variat ion II

lj§~ --- o

Six

using all of the following pitches in order:

=fi~~-O-~~~-o-~ft~-o-~~
Variat ion I Variat ion II

Seven
Continue ...

~t==0==========-===11
using all of the following pitches in order:

Variat ion I Variat ion II

16 FLEXUS
~'
~------
--"I

PRELIMINARY STUDIES
Eight
Continue ...

~ ~ ~ IIJtj - ~ ~ t=@n E- I
using all of the follo\Ning pitches in order:
-&
#0 -a- ~-& ..0.

1 ~o 0
0
0
10 0
;;;;]
Variat ion I Variat ion II

1 A=J
Nine
~
i,
~ I
II
~

1 J ffl 0 E - I~o I C~ntinr'

10 no ... using all of the follo\Ning pitches in order:

0 o !fl. 0 00 0 0 #0 0 #0 & #& n &

~
Variat ion I Variat ion II

~ ~ m -----e
=­ ~Io ~
Ten

~
_ Continue ...

~ &J - ~ ffiI2ii& I -ill

using all of the follo\Ning pitches in order:
~ 0 #0 -a- U-a- ..0. -a­
1 0tl'0
~ 0
Variat ion I
0 ~o 0 10
tI'
n #0 0 I I ~II 0 1 0
0

Variat ion II
0 ~O~~=====Jl

~ ~ ¥¥ ~-I -a- Zl
'------­--­ -a­ ~

FLEXUS 17
 ONE • BASIC FLEXIBILITIES

Flexibility is the most fundamental trumpet skill. Maintaining a steady ...-t> W; ".,L O--t'\d.. ~
airstream is necessary for good flexibility, and flexibility studies in turn
develop a consistent airstream.

The flexibility studies in this book begin at a fairly advanced level. If you
have not worked out the basic mechanics of lip slurs and trills, you
need to do so before attempting these exercises. Leave the mouthpiece
on for the duration of each two-line segment. Start with one through
four, then add exercises as you see fit.
One

-
~·I
---------_--...:_--------­
TW'o

. I

. I
18 FLEXUS
~"- - - - - - - - - - - - - - - - - - - ~--~

FLEXIBILITY • ONE

Leave the mouthpiece on for the duration

of each tvvo-line segment.

1 1
Three 3 2

.~~F'I
. /-p)57
()-I)\., 0-1.- '

1
Fo 1 2 1

¥t~'1
sim. 1
1
2 1

~~F'I

FLEXUS 19
ONE • FLEXIBILITY

Leave the mouthpiece on for the duration

of each t\No-line segment.

1
2 1 1
2--­
3 3 3
Five 3

~·I

1
2 2---­
Six 3 3 3 3

. I
1 1
2 --­ 2-­ 1
3 -­

20 FLEXUS
-=-~----- ~---"

FLEXIBILITY ~ ONE

Leave the mouthpiece on for the duration

of each tvvo-line segment.

1
1 2 1 2-- 1
Seven 2 3 3 3 3

j
2 1 __

~·I

1
Eight . 1 2 ~_ 1 2 --- 1
> > sim. 2 3 3 3 3-­

I
1

2_ 2 ~~ .

sim. 1 2 1
> > 2 3 1 _ 2 - ~ 1 --­

2 1

~·I
,.

FlEXUS 21
ONE • FLEXI ILITV

Leave the mouthpiece on for the duration

of each two-line segment.

1
2__ 2--­ 1
2 3 3 3 3
Nine
- ~ ~

==0==

. 1
Ten > slm. 1 2 __ 1_ 2-­ 1_
~> ~ 2 33 3
3

. I
1
1 2 1 2-­ 1
> > sim. 2 3-­ 3 3 3

2 1

::=0======1

22 FLEXUS

--~--------------""",
 f'; . .__.. __.___ . .__ '_'__ .0 __ . _

----'

FLEXIBILITY fI ONE

Leave the mouthpiece on for the duration

of each two-line segment.

Eleven 1 2

~
1 1

I
1 2 _
> >~ > > sim. 2 3

1 . 1

-
1

3--3-
2

0
1

~ ~ I

1 2 __
---­ 2 3

--­ o I
1 2
> > >/'""""'>. sim. 2 3--­

1 1 2__ 1
1 2- -­

I
Jj;l

FLEXUS 23
TWO • FLEXIBILITY

TWO • FLEXANDO

The goal of these exercises is to maintain a continuous air stream from

beginning to end-right through the change of direction. Aim for the

fmal note to keep the air from stopping or faltering at the halfway

point.After each line, take a short rest and reset.

1 Play 2 or 3 times vvithout stopping

2
o

#-- -- #
1
3

J :~
2

1
2 -------------­

24 FLEXUS

- ------"'
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"auQ aspJax3 U! se sa!Jas
o!uowJeLl aLI:}. dn anu!:}.uo:::>
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~
---------- 0
TWO
@ FLEXIBILITY

1
2
Three

---
====

Continue up the harmonic series as in Exercise One.

1
2
3
Fou r 010+ ------ ________

====

Continue up the harmonic series as in Exercise One.

1
2
Five 3

l~

~ ;;)

Continue up the harmonic series as in Exercise One.

__.I
26 FLEXUS

--------:~
,><.,­•
LZ SnX3l:::J
'auQ as!oJax3 U! SB sapas O!UOWJBLj aLj~ dn anu!~uoJ
~
IJ ;~ J7I
_II
I ~
I• ' \.
.
••. - _II .. II
I•
~ -. -<I • !f ... ~ .. ~ ~
~~
---- ~_---------------_~ ----­
--- - - - -E ual\as
~_---------- G
~
'auQ as!oJax3 U! SB Sa!JaS O!UOWJBLj aLj~ dn anu!~uoJ
THREE • FLEXIBILITY

THREE • ADVANCED FLEXIBILITIES

Attempt these only when adequately prepared.

Rest and reset after each line.

1
3

~IT!lm~~o 2
3

28 FLEXUS

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~
- - --- ---_._--­
E
Z;
~
----< '------<
__________________ E
~
----<~
____ E
Z;
---< '----< ~ ~ ----< '------<
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..
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~
--~----------
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~~~~~~
< < < < < O~
----------- 0
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THREE e FLEXIBILITY

.~

Rest and reset after each line.

0-----­
Three
~ >~
>
/~. ~~ >
r-it­
-~
>
-~.
•• • I.
··
·
I

u r r
2

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- - -~
- ··
I

U
··
T I I
r -
I I
r
1
>

1
2

>
2
3

>
1
3
> > >

>
1
2 _
3
> >

~-
> >
30 FLEXUS

------_._----~--
~-"-----
----"

FLEXIBILITY • THREE

The following exercises are a continuation of those on pages 18 through 22.

Leave the mouthpiece on for the duration

of each two-line segment.

~
1 2 1

~=r·t
----~~~~~-_....:...---

1
121
Tvvo 3 3 3

I
1
1 2 1
333

~~r· I

~
~

FLEXUS 31
THREE • FLEXIBILITY

Leave the mouthpiece on for the duration

of each two-line segment.

1
2 1 2 1
3
3
3
3

Three

2
3

=====.

. 2 1 1 1

Four

~
2
3

l~~~· I

. 2
1
1
1

===.===

32 FLEXUS

- - -----~--,...".,.
.
~.
- - - ­ ~

FLEXIBILITY It THREE

Leave the mouthpiece on for the duration

of each two-line segment.
1
1 1 2-­ 1
2
2 3 3 3
Five 3

2 1 ~

~Ol
. 1
S IX 1 2 1 2-­ 1

° I
1 2 1 - 1 ­
2 1

2 1
3 2

RJOO ffnlfJ° I
2 1 1 1
Seven 3 3 2 3 /

2
~
~L" I
-- ~ q ~ FLEXUS 33
TREE • FLEXIBI lTV

Leave the mouthpiece on for the duration

of each tvvo-line segment.
1
1 2 1 2 1

Ei

2 1
3 2

1
1 2 1 1
2
2 3 3 3
3

I l
..I
• ~

-
"II
2 1
3 2

1
2 2-- 1
3 3 3 3
"1' _

====
=="

34 FLEXUS
 ~~----_._---- -~------
~

FLEXIBILITY @ THREE
Leave the mouthpiece on for the duration
of each tvvo-line segment.

1
1 2 - 1
3 3 3
EI

. I
1
1 2 - 1
3-­ 3 3

Tvv elve
~~
~ ~~ ~
~-- .. i j,I I I
j
.. ­
"I F­
•.
7
"
r -r
-
~) I 'I II i ~.. •

l . II
1
1 2 - 1
3 3 3

Thirteen ----­
~

FLEXUS 35
TH EE @ FLEXIBI lTV

One of the problems faced by brass players is maintaining flexibility at loud

volumes. The following exercises address this problem. First, play an entire
series softly. When this can be accomplished easily, add a very pronounced
crescendo/decrescendo as marked. These exercises will teach the lips to
remain focused and flexible at all volumes.

One

~7771 TTZ ,..

.7 ,..
·7 ------- n
~
pp .Iff pp

~z TZ 771 .7
Ie ,..
.7 ------­
E30 ~
pp .Iff pp

-------°
lEpp
1

7 71
z TZ ,..
.7

.Iff
,..
·7
I
pp
~

----­
2

Rigz 7 71 TZ
.7
Ie ,.
.7
So ~

pp .Iff pp
2

~z 7 71
TZ ,..
.7 .7
Ie ----­
I
n
~

pp .Iff pp
1 ---_.._--_._.._-­
3

~z 7 71
TZ ,..
.7 ,..
.7 ------­
I ° ~
pp .Iff pp
1

~z 771
TZ ,..
·7 ,..
·7 ------­
t===!0 ~
pp .Iff pp

36 FLEXUS
~"T' ..
~ ~ ~ - - - - ~

FLEXIBILITY • THREE

Tvvo

~"'I, " ·7
Ie
I
.,
7.
------­
I
n
~
fff pp .Iff

~"'I "Z
·7
Ie
I
,..
·7 ------­
F30 ~
.Iff pp .Iff

Tiiw," "I , ,..

·7

pp
·7
Ie
----­
I ° ~
fff .Iff
1
2

~"'I
, " .7
Ie
EZ .7
Ie
t==-t!()
-----------­ ~
.Iff pp .Iff
2

~"'I , " .7
Ie
I
,.
.7 -------­
j n
~
.Iff pp .Iff

f6,
1

"!
' "
,.
.7 ·7
Ie -----­ 0
I ~
.Iff pp .Iff
1

=tIiii' , -------­
2

" ,'~ .7
Ie
I
.7
Ie t==!O ~
.Iff pp .Iff

FLEXUS 37
THREE • FLEXIBILITY

38 FLEXUS
l;ij!g. __. n_ ~

FLEXIBILITY ~ THREE

-----­
0
Four ~

~7771
0

~,7
.7
Ie ,.
.7
~
:tff pp fff

~7nl
",
2

--­ .7
Ie
I
·7
Ie
-----­
~o ~
fff pp fff

~//I
~
,.
.7
I ,..
.7
----
I
0

~
fff pp fff

~7771
, ,7------
1
2

,..
·7
-------
.,
,. t
n
~
fff pp fff

---
~77ZI
2
3

"z
.,
,. I
·7
Ie
---------­
r="()
~
fff pp fff
1

~7771
, ,7
3

,.
.7
I
,.
·z ---- 0
~
fff pp fff
1

~7771
, ,7 ·7
Ie
·7
Ie
------­ #0
I ~
fff pp -fff

FLEXUS 39
TH EE @ FLEXIBILITY

These exercises involve two complimentary skills: 1) maintaining a pitch

while moving the valves and 2) moving the pitch without using the valves.
Practicing the material in this section will dramatically increase your flexibili­
ty in a very short time.

Begin by playing Exercises One and Seven several times each. When these can
be played comfortably, add Exercises Two and Eight, then Three and Nine, etc.
Eventually, exercises 14 through 23 should form a daily routine, with earlier
exercises reviewed from time to time. Note: Exercise Six is very difficult. Keep
working at it and eventually you will get the third space "e" to come out.

One

Tvvo Maintain "E" pitch throughout

Three

Four Maintain "A" pitch throughout

j- J?
1 1 --------------- ?i. ~
Five

Six

Seven Lip Bend

40 FLEXUS
~~__
"""_-Tf'_-'F' _
J

FLEXIBILITY ~ THREE
Eight

~
Nine
f=ir+¥4r F¥+rV- -.. II
0--------­

lm~~
Ten

~
===-=­
~ i. ftj

r,
Eleven
o

~ F ,------c. I
Tvvelve 0

1 M=¥=J ~u ------ ~
Thirteen o ----­

~~e ~ ~ ~-------n ~

The following exercises are more advanced and require you to have
mastered One through Thirteen.

Fourteen
o
--
~ Fri.
tJ rF Fr F rF F is>
ftj
Fifteen o
--
~ r-Sf r Ff Fr Ff Fri.
r § ~
As soon as Fourteen and Fifteen can be attempted, they should be
played every day.
FLEXUS 41
THREE" FLEXIBILITY
Sixteen 0

l- r------- ---------
%========i==L===4==========0==========ai~
..

Seventeen o

Eighteen 0

Combine 19 through 23 vvith 14 and 15

Nineteen
0---­

1~~-~-----=---
=T~)

Tvventy 0--------

_
Tvventyone 0 -=====-_~------

1 ~--- __ o

Tvventytvvo
o

Tvventythree
o ---_---:.------------------------_

~. I
42 FLEXUS
 FLEXIBILITY • THREE

One Finger E~ major, but play D major

~ ------ - ---------
Finger F major, but play E major
~

~o~ 1
----- ----- ------ ---------
..

o
Tvvo
~
.. ~
Lip Bend
2

Th ------1 ­

1 2 1

2 1 -­

_____2

~~~O~gj

FLEXUS 43
FOUR • FLEXIBILITY

FOUR • INTERVAL STUDIES

The following exercises accustom you to slurring over consecutive

fourths and ftfths and to hear these intervals accurately. Play each line sev­
eral times without stopping. Try to maintain a steady air flow throughout.

One

--a---~I!
---- ----
I
- 0------+Ii

--- ----

44 FLEXUS
9v SnX3T:l
E 0
~
I-----~
~&~~

!===========A ~ ~
OM.l
FOUR • FLEXIBILIT

-------------

II

___ ~ -e­

--'"-----~--

IT I

------------ --
IT I

----- ---

E====~

---------------

46 FLEXUS
Lv SnX31::l
~L---._====_==_0 :
-- ----- :
q #
~ Sk
~~~~

r -­
~Sk~~

.A no:::!
FOUR" FLEXIBILITY

==-e-========
-----------

==-0======
----- ---

~
-u­

48 FLEXUS

...
 J

ETUDE • FLEXIBILITY
ETUDE ONE 1
2 1 2
J =113 to 140 3 3 3
----------==--.....:.....-_-----.::::....-...._-..:::...~-

~I
.;3 ­
1

. 1
_----------=--------~3 -­
~
1

~. ~-

6 6 6

1 . 1 --

1 2
1 2_ 3
---- - 3

- ----- 3 3

~~

~--o I
FLEXUS 49
ETUDE • FLEXIBILITY
,•
f
I
ETUDE TWO ~'

~ =94 to 118 1 1
2
2

(Lip Trill)

1
2 2
----­ ~ --;j­

=tr=o====~~I 3!!1J!8~f=O==

1
2_
3

1 --------
3

50 FLEXUS
1..9 SnX31::l
L
[====:::::::::::===.~ ~

(;
~
-
~~-
£ £
- - ~ (; ---(; ~
~
£ (; £ £ £
~--~ ~ ~ --~
_._ ._- _._-_._ ._ _-_ . _- _. _----------==--­
 "
J1
N
ETUDE It FLEXIBILITY

ETUDE THREE I

sim.

r "'" - ~~ .
~
~- . >
-
- J .~J­ ••
'"
<t
U _11
if
m tfI

_ tf:...-,.; mp
1

2 - - ----­

11' ;J;~E¥r#M@lHij-I~i-~~

= --===='-----~-: f p

52 FLEXUS
£9 SnX3l::l
--0
 ONE· SLURRING/TONGUING

Trumpet players usually play more efficiently when slurring-the airstream

is uninterrupted and there are fewer moving parts to coordinate. The ten­

dency of many players is to have one tongue position and airstream for

slurring and another for tonguing-in effect two completely different

approaches to playing the trumpet. The exercises in this section are

designed to develop a unified approach by juxtaposing slurring and

tonguing. The slurred notes coordinate the action of lips and air. Then,

while the pitch-producing motion continues, the tongue is added. The

goal is to keep the setup and feel identical when slurring or tonguing.

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Sometimes use legato tonguing, sometimes staccato.

One 1 _

~~~~.7~~ ze

54 FLEXUS

..

~,_.
".,
,
~i
j
I
ONE" ARTICULATION

Leave the mouthpiece on throughout. Breathe through

I
the nose, adding as many beats rest as necessary.

Sometimes use legato tonguing, sometimes staccato.

(. .. .)

2 1

1
2---­

.. I
Three
(. .. .)
~ ---­ sim.

1 _

1
2 - - - - - - - ­_ _
3

~S#~n~

56 FLEXUS
 -J

ARTICULATION e ONE

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Sometimes use legato tonguing, sometimes staccato.

2 ~ _
Fo 1 - 3

1 ~ 1

o 0
~
- 2 2

1 --~~
2 ---------­ 1 1

2 o

~<> !

FLEXUS 57
ONE • ARTICULATION

Reset after every fine.

Sometimes use legato tonguing, sometimes staccato.

J
1 .

1 _

1
2- - - - - - - - - - - - ­

58 FLEXUS
 ETUDE FOUR ARTICULATION • ETUDE
~=120 • ~ 3 >

~! ~I
3 3 3 3 f
~ 3 3

yl
3

=f11~~

~
3- 3

~~.,
3 3 3 •

~~--...". ~~

1?f FJF~ &t

P 3
~

1/ !J ---- .• • . .
~
1
2 - 1

i l
~
f> P
.

~ nif

3 f 3
~
I
. FLEXUS 59
Rit. P
 TWO • ARTICULATION

TWO • DEVELOPED SCALE

The following exercises are written with a C Dorian mode but should be
applied to as many scale types as possible. If these exercises are too strenuous
as written, reverse direction at G on top of the staff or play the entire exercise
in a lower key. Exercises One through Ten extend the Developed Scale to the
interval of a 5th. It should be extended in like fashion through 6ths, 7ths and
octaves. Play only one exercise from this section in anyone day.

Leave the mouthpiece on throughout. Breathe through the nose,

adding as many beats rest as necessary. Use legato tonguing
unless otherwise indicated.
One

~~ ~
I

60 FLEXUS

I .~.
 J

ARTICULATION II TWO

Play the previous exercise with each of the following variations:

~ ....-' ~ -...-" ~ '-.....:....-/

-----~ ~ ~

In the following variations, exaggerate the accents.

6 7 8

~ > ~> > ~> >

~ --- ~ '---"" ~ ~

When playing four consecutive tongued notes, introduce this variation as well:

1~
~-'.' ~.- .. ~ .. _.
19 20 21 22

I
FLEXUS 61
WO • AR ICULATION

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Tvvo

62 FLEXUS

-----~
 J

ARTICULATION @ TW

I
Play the previous exercise with each of the following variations:

~ ~:....,./:....,./~~:....,./

~ \..j ~--'~:"""/ ~>

~> ~ > ~ >

~ > ~ >

~> > > ~ > > >

I
~
~_ ..... ~.- .... ~ .. - ... ~ ... _.,
I 18 19 20 21

FLEXUS 63
TWO flil ARTICULATION

Leave the mouthpiece on throughout. Breathe through

If
the nose, adding as many beats rest as necessary.

Three

64 FLEXUS
 J

ARTICULATION «I TWO

Play the previous exercise with each of the following variations:

~ ~ ~~ ~ ~

~~ ~ ~ ~>

7 8 9

~> >~»

C::~

~~

When playing four consecutive tongued notes, introduce this variation as well:

16 17 18

~-
19 20 21 22

FLEXUS 65
TWO • ARTICULATION

The following exercise and its variations combine Exercises Two and Three.

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.
Four
Etc.
3 3

j~J~
Variat ion I Variat ion II

Variat ion III

Five

~
Continue sequence up to: ~

Cant. sequence down to:t======~

Ie­
66 FLEXUS
 J

ARTICULATIO ·TW

Play the previous exercise with each of the following variations:

~ -/ --/~~~

~~~ ~--/--/

~~»
~~ > > ~ > >

~ > > ~> > >

11 12

13 14 15

16
~
• . . ~ . . ~ .. ..
-
00

-
00

17
-
00
- 00 _0 _0

18
~ .. . .. . _~ . . .. -

19
-
- ­ 0

______________ • - _._ ~ • _e ._e

FLEXUS 67
TWO (t ARTICULATION

Leave the mouthpiece on throughout. Breathe through

Six the nose, adding as many beats rest as necessary.

,
.. .. - • -• -
110...1

'" 110
•~ •
u .. • -~-

~ ~~
Continue sequence up to: ~

I~
• • • •

Cant. sequence down to: ~ & I

Play the previous exercise with each of the following variations:

68 FLEXUS
 J

ARTICULATION ~ TWO
i

7 8

11 12

13 14 15

~~. ~
16 17 18 19

The following exercise and its variations combine Exercises

Five and Six.

Leave the mouthpiece on throughout. Breathe through the nose.

adding as many beats rest as necessary.

Seven
Etc.

Variat ion I Variat ion II

Variat ion I I I

~ FLEXUS 69
TWO

Eight
It ARTICULATION

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.
I
1:

Continue sequence up to: ~

Cont. sequence dO\Nn to:

Play the previous exercise with each of the following variations:

1 2

3 4

70 FLEXUS
Nine ARTICULATI N-TWO

~ ~
Continue sequence up to: ~

~ ~

Cont. sequence down to: ~ I

~ ~ -&

The following exercise and its variations combine Exercises Eight and Nine.

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.
Ten

Variat ion I Variat ion II

5 5 5 5

Variation III

~ FLEXUS 71
 TWO • ARTICULATION

Exercise Eleven should be played in tandem with a Developed Scale exercise.

The goal is to produce an A above the staff efficiently and then maintain the
same feel and sound while approaching the A from progressively lower
degrees. A above the staff is significantly different in timbre from G a whole
step below and generally feels like the beginning of the upper register.

Ultimately this entire exercise should be played with one setting; however,
begin by removing the mouthpiece from the lips and resting after every two
or three lines.

1
2

l~'BTN

72 FLEXUS
Continued ...

I'

 £L snx::l1:J
~~
~
l18 ,
IN18 , ~
IN18'~~
-~---
r .....
THREE • ARTICULATION

THREE • ARPEGGIOS/DIRECTION CHANGES

Leave the mouthpiece on throughout each exercise. Breathe through

the nose, adding as many beats rest as necessary. The first line
should be slurred the first time and tongued on the repeat.

One Slur 1st x, tongue 2nd x

TW'o Slur 1 st x, tongue 2nd x

74 FlEXUS
 I
'1

ARTICULATION ~ THREE

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Three Slur 1 st x. tongue 2nd x

.:~~:I

& I

Four Slur 1 st x, tongue 2nd x

.:~J:I
-- --

u I

FLEXUS 75
THREE e ARTICULATION

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Five Slur 1 st x, tongue 2nd x

$: J_tI
====::::::::!::tI

~------------------

u I
Six Slur 1 st x, tongue 2nd x

76 FLEXUS
 ARTICULATION ~ THREE

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Seven Slur 1 st x, tongue 2nd x

.:~J:I

~ -- --­

3~~ ~~~3
----==== _ t=~=~
~ ~ ~&

. Eight Slur 1 st x, tongue 2nd x

'--'

~~

~
~

3 3 3

~~3
r~.!1 3 3

FLEXUS 77
THREE • ARTICULATION
Nine Slur 1 st x, tongue 2nd x
~----~-- ~

~
~~
~~
~~~t
Ten Slur 1 st x, tongue 2nd x

-----------:-~----.- ~

~
~~
~
~~ul

78 FLEXUS
 ARTICULATION • THREE
Eleven Slur 15t x, tongue 2nd x

z$
I
Tvvelve Slur 1 5t x, tongue 2nd x
~-------~~---

- !~

~~ I

FLEXUS 79
THREE • ARTICULATION
Thirteen

3 ~ 3
~
~
~o t
Fourteen

80 FLEXUS
 ARTICULATION • THREE

Whether slurring or tonguing, repeated changes in direction are very

challenging to execute. Learn to execute Exercises One through Four
before attempting Exercises Five through Eight.

Slur each exercise at least tvvice, then single tongue it several times.
One

Tvvo

Three

Four

Five

Six

Seven

o i
Eight

FLEXUS 81
ETU E (I ARTICUL ION

ETUDE FIVE

J=80

~g

mf

~> y~
~i~~~~

>

~g . f
~> >

~I IT ! ~ fT'n l ~

~g~~
~ --=c==---~= f

~i

mf

82 FLEXUS
£8 snX31:.J
~
< < <
< < <
<
~ k~

f a
I~
t
 Pedal tones can be a useful addition to any trumpet routine. They aid in relaxation
and reinforce the concept that the lips-not the instrument-form the notes.
Because pedal tones increase the flow of blood to the lips, they also help to reduce
swelling and relieve stiffness on the day following a strenuous performance. They
can be used as a warm-down immediately after a performance as well.

Overuse of pedal tones can have negative effects. Symptoms such as a flabby, dead
tone, poor intonation, and loss of range or flexibility are the cue to suspend pedal
tone practice and seek the advice of a teacher. With the exception of the
Preparatory Exercise, it is important to practice only one pedal tone exercise in a
given day.

Since pedal tones can change mouthpiece placement and jaw position, they should
be immediately followed by a scale that covers most of the range of the instrument.
This refocuses the embouchure and teaches the body to maintain the relaxation of
the pedal register when moving into the upper register, resulting in increased range
and endurance. Pedal tones should be played in the middle of a practice session,
since playing them at the beginning can confuse the embouchure.

The following pedal tone exercise can be used as a warm-down at the end of a prac­
tice day or performance. This particular exercise can be used freely in conjunction
with other pedal tone exercises. If you have trouble producing pitches in the pedal
register, this exercise will help develop that skill.

84 FLEXUS

~--------"..",
 PE TONES

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Preparatory Exercise

1kdH_~
~
~
~
U ~~u
~
~ ~ ~ ~

i ~ ~ ~ ~ ~t=:=======u

~ ~~

1
1
2 - ­

~t~~

One
BTN

l~~':~' ­
BTN

------====== I ­

BTN

I ­

Continue the pattern down chromatically as far as possible.

Reset and conclude with the following scale:

-------- ~

FLEXUS 85
PEDAL TONES

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

Tvvo

~~j~==
-

-----------------------------
~
~'): ~ ~~ . I

Continue exerCise as
high as possible
Three

~'m=F ~'): ~j I
Continue exercise as
high as possible

86 FLEXUS
 PEDAL TONES
Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

One Repeat 3 or 4 times

~

~. ...;J: J_ Jl---:~
mf~ =ff

Tvvo
Repeat 3 or 4 times

--------------
_.~-=;:;J: J_;j I
mf --===== ff

Three Repeat 3 or 4 times

~

~.~;J: J_d :1
mf~ =ff

¥.,;, S
Four ~ Repeat 3 or 4 times

:1

FLEXUS 87
PEDAL TONES

Leave the mouthpiece on throughout. Breathe through

the nose, adding as many beats rest as necessary.

One 0------------­

2-------------­

Continue down the harmonic series to low F #.

0-----=============--- _ TN
T i f - - - - - - - - - - - :I

Continue down the harmonic series to low F #.

0------------­

Continue down the harmonic series to low F #.

88 FLEXUS
 PEDAL TONES

Fi N

Continue down the harmonic series to low F~.

~9: ffi#d B:N ~

Continue down the harmonic series to low F~.

~~ :;
Continue down the harmonic series to low F~.

0----------- ----­

S~n ~N

~ . - II

Continue down the harmonic series to low F~.

The pattern established by these exercises should be

continued as high as possible.

FLEXUS 89
o

U
I
C
K ONE • CONSISTENT INTERVALS

The prevalence of wide intervals and angular melodic lines in contemporary

music makes it absolutely necessary to be able to shift registers quickly and
efficiently. However, changing registers quickly is probably the hardest thing
to do on the trumpet. Many factors such as air speed, tongue position, lip ten­
sion etc. must be coordinated in order to do it effectively and without
embouchure distortion or extraneous motion.

The initial exercises in this section gradually accustom the embouchure to

rapid changes in register through the use of consistent intervals. Exercises
One through Eleven, pages 90 through 93, are built around diminished
seventh chords, which divide the octave evenly into minor thirds. The exer­
cises on pages 94 through 97 are based on augmented triads, which divide
the octave evenly into major thirds. Practicing these exercises will help you
develop a fluid connection between registers.

One
~ 6 6 6 6

1 Rub.to 1':'1 1':'1

Tvvo
~ 6 6 6

~
1
~
sim. 1':'1 1':'1

90 FLEXUS
 1.6 SnX31::l
====
9 9 X!S
9 9 aA!:::J
9 9 ..mo:::J
9
aa.H-I.1.
3N "S39N'fHO H3..LSI93!:1 >lOlnO
ONE «1/ QUICK REGISTER CHANGES

Seven 6 6

92 FLEXUS

-- ..­
------~
 QUICK REGISTER HANGES e ONE
Te

1
~
~ ~

Transpose the pattern ascending chromatically. On the tri­

tones and diminished arpeggios, descend to the lovvest
chord tone possible. Eventually, arrive at this final version:

EI

----­ ~#~

~~. ~~~ ~~

~
~~~~~

FLEXUS 93
ONE 4) QUICK REGISTER CHANGES

One

Tvvo

II

Three

1=====

1
94 FLEXUS
96 snX31:J
£ £ £
~
£ £
3NO • S39N H 3..LS193U >lOlnO

ONE • QUICK REGISTER CHANGES

Six

t====::==

3 3

Seven

~
3 3
3

3 3

96 FLEXUS
 QUICK REGISTER CHANGES It ONE

Eight

~~
3

3 3

3
3

Nine

Transpose the pattern ascending chromatically. On all

arpeggios, descend to the lovvest chord tone possible.

FLEXUS 97

TWO ~ QUICK REGISTER CHANGES

TWO • SPIDERS

These exercises are Long Setting. Breathe through the nose, adding as many
beats rest as necessary. Practice the first part of each exercise (up to the coda
sign) until it can be played comfortably; then add the coda, resetting in
between. Keep a continuous air stream through the center point of each line.

Exercises Seven, Eight and Nine are based on Diminished Scales. Exercises
Ten and Eleven are based onWhole Tone Scales. Twelve is based on a C Major
Pentatonic Scale.

Begin at.l = 60; double time when comfortable.

One

98 FLEXUS

---------""
 66 snx:::Jl=l
OM.1. ~ S39N'\1'H:> H3.1.S1931:1 >I:>lno

TWO @ QUICK REGISTER CHANGES

Four Slur throughout

Five Slur throughout

lF~~'

100 FLEXUS
 QUICK REGISTER C ANGES. TWO

Six Slur throughout

~~

l~~

(Exercises 7 through 9 are based on diminished scales)

Seven Slur throughout

~
i
~ ~
~

FLEXUS 101
 TWO @ QUICK REGISTER CHANGES

Eight Slur throughout

Nine Slur throughout

102 FLEXUS

I. ..
~.
 UICK REGISTER CHANGES • TWO
(Exercises 10 and 11 are based on vvhole tone scales)

Ten Slur throughout

~FMFtp==gHt~
~ ~ t:'\~
~ E+*=F ~

~ · ~ g=f t:'\

~g ~
Eleven Slur throughout

~FrFFFatF~
~
~~ g g ¢~t:'\
~

Tvvelve Slur throughout (Exercise 12 is based on a pentatonic scale)

~ F F F ~ F t r J r ~

f t:'\ ~

~ grFF~g F R ~
~ t:'\

~ ~ ~ gt FE ~ ~

FLEXUS 103
ETUDE • QUICK REGISTER CHANGES

ETUDE SIX

====
-====== f

mf

f
~====

104 FLEXUS
90 L. SnX31:l
-
====

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THREE • QUICK REGISTER C ANGES

THREE • CHROMATIC DISPLACEMENT

These studies are designed to connect the registers, resulting in freer move­
ment throughout the entire range of the instrument. Exercise One should be
practiced for at least one week before adding Exercise Two. Both exercises
should be practiced for at least a week before adding Exercise Three, etc. As
execution improves, additional exercises should be added. When pages 106
through 112 can be executed comfortably, make selected exercises part of
a daily routine.

Do each exercise three times:

}1 =90 }1 = 180 }1 =360

Leave the mouthpiece on throughout. Breathe

through the nose, adding as many beats rest

as necessary. Reset for each tempo change.

One

Tvvo Slur throughout

106 FLEXUS

-------------------.,
 QUICK GISTER CHANGES • THREE

Leave the mouthpiece on throughout. Breathe

through the nose, adding as many beats rest
as necessary. Reset for each tempo change.

Three Slur throughout

Four Slur throughout

FLEXUS 107
THREE ~ QUICK REGISTER CHANGES

Leave the mouthpiece on throughout. Breathe

through the nose, adding as many beats rest
as necessary. Reset for each tempo change.

Five Slur throughout

~~

~II
Six Slur throughout

108 FLEXUS
 QUICK REGISTER CHANGES e THREE

When the first part of this exercise can be

played comfortably, add the coda.

Leave the mouthpiece on throughout. Breathe

through the nose, adding as many beats rest
as necessary. Reset for each tempo change.

Seven Slur throughout

•
~~JI

~ ~
J I

FLEXUS 109
THREE 11» QUICK REGISTER CH NGES

Breathe through the nose, adding as many beats

rest as necessary. Reset for each tempo change.

Eight Slur throughout

Nine Slur throughout

110 FLEXUS

----~~----~~~---. _ - - - - - - - - - - - . " " ,

 QUICK REGISTER CHANGES @II THREE

When the first part of this exercise can be played

comfortably, add the coda.

Breathe through the nose, adding as many beats rest

Ten as necessary. Reset for each tempo change.

Slur throughout

•
~~

•
~ .­•
...~ • . ...~ • • . .
...~- • ~~J j .J
t.J
... ­
r r
-

vr .

~~~

---,
f1 J ~n J n~ 1
~ -
-. ~~ FLEXUS 111
 THREE e QUICK REGISTER CHANGES

Eleven Slur throughout

Tvvelve Slur throughout

112 FLEXUS

~-
- --- . ------------...,.,
 QUICK REGISTER CHANGES • THREE

Maintain a consistent airstream through the initial chromatic

figure and the progessively widening intervals.

One As fast as possible.

1 ~ --­
l~~fJ~1--­ ~

1~~~1
-..../ "--../

l~ biU±@Jj#'-----'~
~
I

f\, " I "Tn #'-----' 1':\ "------'

---, "'=
~ • r,. - ~- H­ - /'
tJ~
#~ ~
I

These exercises should also be played with this tongue/slur pattern:

FLEXUS 113
 REE It QUICK REGISTER CHANGES

Tvvo

-----

114 FLEXUS

-~---------------------------~--------~-----~
l--~--
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THREE • QUICK REGISTER CHANGES

Four

116 FLEXUS

-----~----~
L LL SnX31:J
~ ~~ ~
. ' .. ... J
- - • • • - -­
--.....J I I I I I I I I
\:I t.­
r r-"
••• • ••. II
I I I I

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FOUR • QUICK REGISTER CHANGES

FOUR • TARGET PRACTICE

When first doing these exercises, playa glissando between registers

as in the following:

:z
.... z

The glissando teaches the body to feel the distance between registers
accurately. Once the correct movements are established, the glisses
can be removed and the slurs played cleanly.

Transpose each line to G~, A, B~, Band C before moving on to the

next line. Reset between each transposition.

One

Tvvo

Three

118 FLEXUS

- ------- - - - ----~-----------------------".""
 QUICK R GISTER CHANGES l) FOUR

Four Slur throughout

~~~F~

Five Slur throughout

~
Six Slur throughout

~ ~d4l j f==!r §

Seven Slur throughout

~~~~

Eight Slur throughout

FLEXUS 119
FOUR • QUICK REGISTER CHANGES

Ni

Ten Slur throughout

Eleven Slur throughout

120 FLEXUS
 QUICK REGISTER CHANGES • FOUR

Tvvelve Slur throughout

LE==#P@i=t

Thirteen Slur throughout

~ a Et P j

FLEXUS 121
 FIVE • QUICK REGISTE CHA GES

FIVE • OCTAVE DISPLACEMENT

Octave displacement is a common technique used to create the angular

melodic lines often found in contemporary music. However, considerable
skill is neeeded in order to make it a part of your improvisational reper­
toire. To develop this skill, begin with an exercise that is tonal and easily
heard, such as the one below. Once you have developed the ability to
comfortably play Exercises One through Three, atonal exercises such as
those on pages 128 and 129 will be easier to execute.

Exercises One through Three are based on the following line. The first four
pitches are then displaced whenever they occur-first up, then down.

122 FLEXUS

1£--­ -------------------------------,.""
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r=========o==___.____====

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 FIVE ED QUICK REGISTER CHANGES

Tvvo

==u====

~o-

o I

124 FLEXUS

II
9~ l. SnX3l:J
1---­
0
1=====0

~"

I II
I 0
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 SIX • QUICK REGISTER CHANGES

SIX • 12-TONE STUDIES

One device used to organize modern improvisation is the 12 tone row.

When using this material, octave displacement is often employed to add
variety and interest. Unlike the exercises on pages 122 through 125, octave
displacement of atonal material presents challenges because of the diffi­
culty in anticipating the sound of the next pitch.

When improvising, not knowing the sound of the next pitch can result in
the embouchure using extraneous motion to coordinate itself, and often
missing the pitch entirely. For this reason, it is essential to learn to sing the
tone rows and as many of the exercises as your vocal range allows.

These exercises use octave displacement of the following 12 tone row.

Practice very slowly at first, and gradually work towards playing the exer­
cises as fast as possible.

These first two exercises displace every other note up an octave. Use a variety

of tongue/slur patterns. In general, try slurring any interval of a fIfth or less.

This would mean that the second line would contain no slurs at all. You can

and should try to slur an occasional wide interval such as a seventh or ninth.

One

~~mr:~

:~

126 FLEXUS

.----­ ---- -------- ----- - - - - ----------------------------"",

 QUICK REGISTER CHANGES fi SIX

This exercise displaces the fIrst note of alternating groups of two and
three notes. Another interesting possibility would be to arrange the
octave displacement in groups of two, two and three notes.

T. S2r= g~~
~j~r ~f~
~~~~;=!f
I etc. I
E!--'--------~

+ #t= 0 r 1 r=!
¥~==~======j~~ ~~~

~#t=~~~ ~
~ ffiry 43 ~ :1
Practice octave displacement, both up and down, with the
following tone rows. Begin by displacing every other note,
then every third note, etc. Use combinations of two- and
;1 three-note groups as in Exercise Three above.

,
~ 1 0 ~o
&0
~o
go 0
n #0
n #0 0
~o
~

1"
#0 0 .0 0 qo 0 ~o 0 ~)0%4

10 0 II #0 0 ~o n
~o 0
n &0 ~0%4
FLEXUS 127
 I

ETUDE It QUICK REGISTER CHANGES

I
ETUDE SEVEN

J= 76 Ruba~to ~

~----
~~I~~ --------­
mf P

~-=~~~

=====- mf

=====-- mf
1
128 FLEXUS
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------­
 ETUDE It QUICK REGISTER CHANGES

Studies 8,9 and 10 are based on 12-tone rows.

ETUDE EIGHT

~ =92

=i i r· mp-= = if
Tn mp
. .
=

~¥~~~

I
j

130 FLEXUS

.------------------.."",.
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ETUDE ~ QUICK REGISTER CHANGES

ETUDE NINE

132 FLEXUS
££L SnX31::l
-===== = ~ dim
I O---I~
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f
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f .~ ~ E
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fm f
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~
J *'

- - - - - - - - - - - - - - - - - - - . :JsaJ.:J
~~r~~====1B ~~ A~

ETUDE ~ QUICK REGISTER CHANGES

ETUDE TEN

~
~ ~:; ~;; -
•
n..-I
"­
U
r I I r v­

~~ m :
------­..
~ ~. ~~
-
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u vi •
-
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rif
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r

U
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I

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vi
n._

r
eI
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l.Il ell
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lilt­

f
134 FLEXUS
_ ,.. i""

~D-~D·M-fi~N+S~
INTRODUCTION

TRACK
1 THOUGHTS ON PRACTICING
2 HOW TO USE THIS BOOK
3 WHEN TO MOVE ON
4 HOW TO APPLY CALISTHENICS TO MUSIC

PRELIMINARY STUDIES

5 THE LIP BEND

I FLEXIBILITY

6 WHEN TO MOVE ON Exercises 3 and 4, page 19

7 Exercise 11, page 23
8 FLEXANDO Exercises 3, page 26
9 ADVANCED FLEXIBILITY Exercises 8 and 9, page 34
10 Exercises 1 and 2, pages 36, 37
11 INTERVAL STUDIES Exercise 1, page 44
12 ETUDE # 1: Discussion/alternate fingerings page 49

ARTICULATION

13 SLURRINGITOI\IGUING Exercise 1, pages 54-55

14 DEVELOPED SCALE Exercise 2, pages 62-63
15 ARPEGGIOS/DIRECTION CHANGES
Exercise 1, page 74
Exercises 1 and 5, page 81

PEDAL TONES

16 DISCUSSION/DEMONSTRATION pages 85, 87-88

QUICK REGISTER CHANGES

17 CONSISTENT INTERVALS Exercises 3 and 4, page 91

18
19 SPIDERS
20 CHROMATIC DISPLACEMENT
21 TARGET PRACTICE
22 OCTAVE DISPLACEMENT
23 ETUDE #7, Discussion
24 12-TONE STUDIES: Discussion
Exercises 2 and 3, page 94
Exercise 1, page 98
Exercise 3, page 107
pages 118-119
pages 122-123
pages 128-129
pages 126-127, 130-134

FLEXUS 135