Music is an art form that tells a story—one that allows individuals to express ideas they may struggle to convey through words, while finding confidence, safety, and comfort in the process. Throughout history, musical expression has enabled composers and performers to share narratives of revolution, secret love, profound loss, and immense joy. The same holds true today.
In my role as an applied faculty member, my responsibility is to guide students toward finding their own musical voice through the trumpet, whether in solo repertoire, chamber ensembles, or larger performance opportunities. For some, this journey comes naturally; for others, connecting with this “new” voice requires patience and care. My role as a teacher is to create a safe and supportive space where students can explore their expressive potential, even in moments of vulnerability. I often employ micro-performance exercises—short, low-stakes opportunities for students to perform—that gradually expand in scope until they replicate full recital experiences. Alongside this, I intentionally engage with students beyond music, discussing their broader academic and personal experiences. These conversations cultivate a sense of belonging, remind students that their worth extends beyond technical achievement, and foster deeper trust within the studio.
This foundation of comfort and safety promotes tremendous growth in musical performance. Yet the professional music world students enter today looks very different from the one I knew as a student, particularly in the aftermath of the COVID-19 pandemic. Today’s musicians are expected to perform in styles beyond the traditional canon and to showcase their work through digital platforms. To prepare my students, I incorporate twenty-first-century professional skills into the curriculum. For example, students create high-quality performance videos to share on YouTube, learning to use digital audio workstations (DAWs), microphones, and editing tools. These skills—combined with musical excellence—equip them to navigate freelance and contracting opportunities in an evolving professional landscape. By tailoring these projects to each student’s strengths and challenges, I have seen graduates consistently secure employment within their first year after graduation.
Research also shapes my teaching. One of my primary scholarly interests is highlighting new and rediscovered trumpet repertoire, giving voice to underrepresented and overlooked composers. In my studio, each student is required to perform a newly composed work or one by a historically underrepresented composer on every degree recital. This practice cultivates curiosity, promotes diverse programming, and amplifies the voices of composers beyond the traditional canon. I also encourage students to experiment with chamber settings, extended techniques, and unconventional repertoire pairings—skills that mirror the versatility now required in the professional world. This exploration strengthens both their adaptability and their confidence as performers.
At the heart of my teaching philosophy is the cultivation of a lifelong love of music. My goal is for students not only to achieve technical and artistic mastery, but also to carry an enduring passion for the arts into their lives as performers, educators, and patrons. When students are genuinely excited about their work, they engage more deeply with nuance, research, and practice. Because each student learns differently, I adapt my approach—sometimes through aural and visual modeling, other times through precise technical explanation. Once mastery is reached, I expose students to alternative methods, broadening their understanding of musical concepts and preparing them to teach and communicate effectively in their own careers.
Ultimately, I aim to help students develop into well-rounded musicians who contribute meaningfully to the next generation of performers and educators, while also fostering within them a lifelong connection to the transformative power of music.
*Jean-Baptist Arban's "Complete Conservatory Method for Trumpet" - Free PDF Download
*Herbert L. Clarke's "Technical Studies for the Cornet" - Free PDF Download
Edwin F. Goldman's "Practical Studies for the Trumpet"
*Marco Bordogni (Arr. Mark Tezak) "Melodious Etudes Vol. 1:Trumpet Part"
*Max Schlossberg "Daily Drills and Technical Studies for Trumpet"
*Bai Lin "Lip Flexibilities for All Brass Instruments"
Anthony Plog "Method for Trumpet" (Book 1-7)
*Theo Charlier "36 Transcendental Etudes for Trumpet, Cornet, or Bugle in Bb" - Free PDF Download
Allen Vizzutti "Trumpet Method" (Book 1-3)
Vassily Brandt "34 Orchestral Etudes for Trumpet"
*James Stamp "Warm-Ups and Studies"
Earl D. Irons "27 Groups of Exercises"
*Giuseppe Concone "Lyrical Studies for Trumpet"
These are just a sampling of method and etude books that are available. Please know that each book and exercise can be used to address multiple issues on the trumpet - so be open to trying different books and approaches to fix issues in your own playing. Every person is different in the way they learn and grow. We as teachers must be aware of that and be able to adjust and adapt to a style that works with any individual.
* -Indicates books that are typically required for purchase at the collegiate level. Each studio is different, and please be sure to check your schools requirements and syllabi.
In my role as an applied faculty member, my responsibility is to guide students toward finding their own musical voice through the trumpet, whether in solo repertoire, chamber ensembles, or larger performance opportunities. For some, this journey comes naturally; for others, connecting with this “new” voice requires patience and care. My role as a teacher is to create a safe and supportive space where students can explore their expressive potential, even in moments of vulnerability. I often employ micro-performance exercises—short, low-stakes opportunities for students to perform—that gradually expand in scope until they replicate full recital experiences. Alongside this, I intentionally engage with students beyond music, discussing their broader academic and personal experiences. These conversations cultivate a sense of belonging, remind students that their worth extends beyond technical achievement, and foster deeper trust within the studio.
This foundation of comfort and safety promotes tremendous growth in musical performance. Yet the professional music world students enter today looks very different from the one I knew as a student, particularly in the aftermath of the COVID-19 pandemic. Today’s musicians are expected to perform in styles beyond the traditional canon and to showcase their work through digital platforms. To prepare my students, I incorporate twenty-first-century professional skills into the curriculum. For example, students create high-quality performance videos to share on YouTube, learning to use digital audio workstations (DAWs), microphones, and editing tools. These skills—combined with musical excellence—equip them to navigate freelance and contracting opportunities in an evolving professional landscape. By tailoring these projects to each student’s strengths and challenges, I have seen graduates consistently secure employment within their first year after graduation.
Research also shapes my teaching. One of my primary scholarly interests is highlighting new and rediscovered trumpet repertoire, giving voice to underrepresented and overlooked composers. In my studio, each student is required to perform a newly composed work or one by a historically underrepresented composer on every degree recital. This practice cultivates curiosity, promotes diverse programming, and amplifies the voices of composers beyond the traditional canon. I also encourage students to experiment with chamber settings, extended techniques, and unconventional repertoire pairings—skills that mirror the versatility now required in the professional world. This exploration strengthens both their adaptability and their confidence as performers.
At the heart of my teaching philosophy is the cultivation of a lifelong love of music. My goal is for students not only to achieve technical and artistic mastery, but also to carry an enduring passion for the arts into their lives as performers, educators, and patrons. When students are genuinely excited about their work, they engage more deeply with nuance, research, and practice. Because each student learns differently, I adapt my approach—sometimes through aural and visual modeling, other times through precise technical explanation. Once mastery is reached, I expose students to alternative methods, broadening their understanding of musical concepts and preparing them to teach and communicate effectively in their own careers.
Ultimately, I aim to help students develop into well-rounded musicians who contribute meaningfully to the next generation of performers and educators, while also fostering within them a lifelong connection to the transformative power of music.
*Jean-Baptist Arban's "Complete Conservatory Method for Trumpet" - Free PDF Download
*Herbert L. Clarke's "Technical Studies for the Cornet" - Free PDF Download
Edwin F. Goldman's "Practical Studies for the Trumpet"
*Marco Bordogni (Arr. Mark Tezak) "Melodious Etudes Vol. 1:Trumpet Part"
*Max Schlossberg "Daily Drills and Technical Studies for Trumpet"
*Bai Lin "Lip Flexibilities for All Brass Instruments"
Anthony Plog "Method for Trumpet" (Book 1-7)
*Theo Charlier "36 Transcendental Etudes for Trumpet, Cornet, or Bugle in Bb" - Free PDF Download
Allen Vizzutti "Trumpet Method" (Book 1-3)
Vassily Brandt "34 Orchestral Etudes for Trumpet"
*James Stamp "Warm-Ups and Studies"
Earl D. Irons "27 Groups of Exercises"
*Giuseppe Concone "Lyrical Studies for Trumpet"
These are just a sampling of method and etude books that are available. Please know that each book and exercise can be used to address multiple issues on the trumpet - so be open to trying different books and approaches to fix issues in your own playing. Every person is different in the way they learn and grow. We as teachers must be aware of that and be able to adjust and adapt to a style that works with any individual.
* -Indicates books that are typically required for purchase at the collegiate level. Each studio is different, and please be sure to check your schools requirements and syllabi.
Podcast Interview:
Check out an interview I did for the podcast, Trumpet Teacher Talk, where I explain more about my pedagogical approach, what I look for in students, what I think many students struggle with, and many of my upcoming projects and performances. The show was recorded on November 13th, 2016.
Handouts and Clinic Packets:
Feel free to download my most recent handout created for the 2016 Virginia Tech Trumpet Festival. This packet is a compilation of methods and techniques gathered from my teachers that I have altered to best suit my personal performance and teaching style.
*I am not claiming direct creative rights to these methods. These altered exercises are presented only as an educational aid.*
*I am not claiming direct creative rights to these methods. These altered exercises are presented only as an educational aid.*
| 2016 Virginia Tech Trumpet Festival Warmup Hantout |
