The legendary trumpet professor Allen Bachelder simplified this with an example, by saying to his students that the proverb "practice makes perfect" is not entirely accurate. If we practice bad tone, bad articulation, bad dynamics, bad phrasing, etc., we will become very good at producing a bad tone, bad articulation, bad dynamics, and bad phrasing. The crucial thing in establishing a quality and substantive routine is to become aware of our learning process. In the various stages of our cognitive and musical development the level of awareness is different, and therefore the help of a teacher or a professional is needed.
Routine is also related to certain other practices and traditions. For a music performer to be able to establish their own good routine, it is necessary to have a broad knowledge of various previous practices. Our routine should synthesize all previous good knowledge and experience, and offer new creative solutions that face our own needs and that can further benefit others. In this sense, good advice from a good teacher or professional performer is needed as well. As for the trumpet, and the good practices associated with the bright examples of trumpet artists around the world, there are many. If we look closely, we will notice small differences and nuances, but there are generally common patterns that connect them.
When it comes to breathing, we should emphasize that historically, the old school of trumpeters prioritized physical strength, but modern approaches point equally to the efficiency, coordination and flexibility of breathing (power and capacity). Each pressure necessarily causes another pressure, and that threatens to limit our possibilities. Therefore breathing should be natural, with a balance between the vibrations of the lips and the distributed air. For the virtuoso Hakan Hardenberger, this is the starting position of his daily routine - to achieve a balance between the vibrations of the lips and the air.
Accuracy should be followed by observation of the behavior of the facial muscles: how they react, how fresh they are and ready for a serious challenge, or whether they need to loosen up a bit to avoid injury of the lips. Many trumpet pedagogues and professional performers recommend bandings at this stage of their daily activities.
Breaks are especially important. There are trumpeters who suggest that under normal conditions of the daily routine, the playing time should be proportional to the break time. After the break we move on. This is where the different nuances in practice begin. Some players continue with legato scales and slurs. Others focus on tongued scales and arpeggios. All this is recommended in order to achieve good breath control, really clean, crisp attacks in all ranges, speed of tongue, speed and automatic action of fingers, good rhythm, pulse, intonation, dynamics, register, and support. 2b1af7f3a8