What is the ii-V7-I Progression?

The ii-V7-I is a sequence of chords used in jazz. It has three chords:

Jazz drill using the ii-V7-I

1. ii (minor): The second degree of the scale, a minor chord.
2. V7 (dominant): The fifth degree of the scale, a dominant 7th chord.
3. I (major): The tonic or root chord, a major chord.

For example in the key of C major the ii-V7-I would be:

• ii: D minor (D, F, A)
• V7: G dominant 7 (G, B, D, F)
• I: C major (C, E, G)

This creates tension (V7) and resolution (I) so its a fundamental in jazz and classical music for improvisation and composition.

Why Are ii-V7-I Jazz Drills Important for Trumpet Players?

For trumpet players, learning and mastering the ii-V7-I progression gives you:

• Improvisation: Jazz improvisation is built on this progression. Knowing the ii-V7-I changes means you can build more cohesive and complex solos.
• Ear Training: Practicing ii-V7-I drills helps you recognize and respond to changes in real time.
• Technical Proficiency: ii-V7-I drills require good articulation, breath support and embouchure, so it’s a great exercise for overall trumpet playing.
• Phrasing and Timing: These drills can help you develop a better sense of timing, phrasing, and rhythm as you navigate chord changes.

How to Practice ii-V7-I Drills on Trumpet

1. Start with the Basics: Play Arpeggios

Before you get into complex licks or patterns, play simple arpeggios for each chord in the ii-V7-I. Start slowly to be accurate and in control.

• In C major:
• D minor arpeggio: D – F – A
• G7 arpeggio: G – B – D – F
• C major arpeggio: C – E – G

This will help you internalize the chord tones and understand the harmony of the progression. Practice arpeggios in all keys to be versatile with different songs and scales.

2. Scale Patterns

Now play scale patterns over the ii-V7-I. For example in C major:

• D Dorian scale (D, E, F, G, A, B, C, D) over the ii
• G Mixolydian scale (G, A, B, C, D, E, F, G) over the V7
• C Ionian (major) scale (C, D, E, F, G, A, B, C) over the I

Try different patterns, ascending or descending scales to get to know the tonal possibilities of the progression.

3. Add Chromaticism

Chromatic notes are used in jazz to add tension and color. Try chromatic passing tones in your ii-V7-I drills.

• For example, while playing the D minor arpeggio, add a chromatic passing note between F and A (F – F# – A).
• Over the V7 chord, use chromatic approach notes to lead into chord tones of the I chord. For example, approach the root of the I chord (C) from a half step below (B to C).

Chromaticism makes you more advanced.

4. Work on Patterns and Licks

After you’ve mastered arpeggios and scales, work on specific patterns or licks that fit the ii-V7-I progression. You can create your own or learn famous jazz licks from trumpet legends like Miles Davis or Clifford Brown.

For example, try this common ii-V7-I lick in C:

• Over the D minor (ii) chord: D – F – A – E
• Over the G7 (V7) chord: G – B – D – F – E
• Over the C major (I) chord: C – E – G

Licks build vocabulary for improvisation. Practice these in all 12 keys.

5. Focus on Articulation and Dynamics

When doing ii-V7-I drills pay attention to articulation and dynamics. Jazz playing isn’t just about playing the right notes it’s about how you play them.

• Mix legato (smooth) and staccato (short, detached) articulations in your phrases.
• Practice playing soft and loud passages and focus on control of tone and pitch at different volumes.

Good articulation and dynamics make your playing more expressive.

6. Improvise Over Backing Tracks

Once you’ve worked on the technical stuff start improvising over ii-V7-I backing tracks. This is where you can put your drills into practice in a musical context.

• Play along with backing tracks in different keys and tempos.
• Focus on playing musical phrases that flow through the ii-V7-I changes.
• Don’t be afraid to try new things and explore different ways of playing the progression.

The goal is to be able to improvise over the ii-V7-I in real-time using the drills as a foundation.

Trumpet ii-V7-I Drill Examples

Here are some trumpet exercises to add to your practice:

Exercise 1: Arpeggios

• ii (D minor): D – F – A – D
• V7 (G7): G – B – D – F
• I (C major): C – E – G – C

Do these arpeggios in different keys, up and down.

Exercise 2: Scale Patterns

• Over ii: Dorian scale (D, E, F, G, A, B, C, D)
• Over V7: Mixolydian scale (G, A, B, C, D, E, F, G)
• Over I: Ionian (major) scale (C, D, E, F, G, A, B, C)

Play these scales with different rhythms.

Exercise 3: Chromatic

• Use chromatic passing notes to lead into chord tones:
• F – F# – G (over G7)
• B – C (approaching I)

Exercise 4: Improvisation

• Use all of the above to improvise over an ii-V7-I.
• Focus on coherent musical ideas while keeping harmony in mind.

Conclusion

Working ii-V7-I on the trumpet is key to developing your improvisation, technique and overall musicianship. By doing these exercises you will become more comfortable with this progression and be able to improvise with freedom and creativity. Whether you’re a beginner or advanced player, do ii-V7-I in your practice and you’ll take your trumpet playing to the next level.

The post Mastering Trumpet with Jazz Drills appeared first on BBTrumpet.

What is the Concert B Flat Scale?

The Concert B Flat scale (also known as the C scale) is one of the most used scales in trumpet music. It’s important for trumpet players because many pieces are written in this key so it’s a fundamental skill to have.   C, D, E, F, G, A, B, C

C Scale on Trumpet Step by Step

1. Fingering Chart

Before you start, get to know the C Scale Known as the Concert B Flat scale fingering chart. This chart shows the valve combinations for each note in the scale:

• C: No valves
• D: 1st and 3rd valves (index and ring finger)
• E: 1st and 2nd valves (index   and middle finger)
• F: 1st valve (index finger)
• G: No valves
• A: 1st and 2nd valves (index and middle finger)
• B: 2nd valve (middle finger)
• C: No valves

Get to know this chart as it’s the map for your fingers as you play the scale.

2. Warm-Up

Start with a simple warm-up to get your lips, lungs, and fingers ready. Play long tones from low   C to make sure your embouchure is solid. If you want a strong & clear tone then constantly focus on your breathing and keep a relaxed embouchure.

3. Start with the Low C (Concert B Flat)

To get the low C, use no valves and gently blow into the mouthpiece. Focus on getting a big fat sound. Don’t rush—take your time to get the note steady and in tune.

4. Move Up the Scale

Now, play the C scale:

As you go through the notes, focus on your airflow. A steady stream of air will help you get a consistent tone.

5. Down

Once you get to the middle C, go back down the scale using the same fingerings as you went up. This will help reinforce your muscle memory and technique.

6. Metronome

Try utilizing a metronome once you can play at a slower tempo. Once you’re comfortable with the speed, start slowly and pick it up. This will help with finger dexterity and timing.

7. Tone

As you play, focus on the tone of each note. Every note should sound clear, even, and in tune. If a note is off, stop and adjust your embouchure or breath until it’s right.

8. Try it in Music

Play some simple songs or exercises in C to see the scale in action and improve your musicianship.

Tips

• Consistency: Practice the C scale daily. Keep on practicing as this will develop muscle memory which will help with overall improvement.
• Listen to Trumpet Players: Listen to how professionals play the scale. Pay attention to tone, phrasing, and articulation.
• Use a Tuner: Check your intonation regularly with a tuner to make sure you’re playing each note correctly.
• Get Feedback: If you can, get a teacher or experienced player to listen to you and give you feedback.

Conclusion:

Learning the C scale is a fundamental skill that will help you as you progress in your trumpet playing. Follow this and practice regularly and mindfully and you’ll be playing the scale with confidence and tone. Remember, the basics are the foundation of being a great trumpet player.

Happy playing!

Pops

The post How to Play the Concert B Flat Scale on a Trumpet appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:

Purchase the lesson and then we can arrange a time that is suitable via email or phone.

I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 150 for 1 hour lesson

Some accomplishments that set me apart from others:

I am world famous for teaching and have been mentioned in magazines and books written by other teachers.

I have helped players to become full-time Professional Players.

I am the first person to ever write about The Aperture Tunnel (TM).

I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).

I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)

I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.

I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.

I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.

I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.

I developed a new way to reduce facial tension in ONE day.

I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.

I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.

I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 1 Hour Trumpet Lesson appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:
Purchase the lesson and then we can arrange a time that is suitable via email or phone.
I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 75 for 30 Min lessons

Some accomplishments that set me apart from others:
I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
I have helped players to become full-time Professional Players.
I am the first person to ever write about The Aperture Tunnel (TM).
I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.
I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.

I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
I developed a new way to reduce facial tension in ONE day.
I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 30 Min Trumpet Lesson appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:
Purchase the lesson and then we can arrange a time that is suitable via email or phone.
I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 400 for 4 weekly 1 hour lessons

Some accomplishments that set me apart from others:
I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
I have helped players to become full-time Professional Players.
I am the first person to ever write about The Aperture Tunnel (TM).
I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.
I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.
I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
I developed a new way to reduce facial tension in ONE day.
I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 4-One Hour Weekly Trumpet Lessons appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:
Purchase the lesson and then we can arrange a time that is suitable via email or phone.
I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 225 for 4 weekly 30 Min lessons

Some accomplishments that set me apart from others:
I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
I have helped players to become full-time Professional Players.
I am the first person to ever write about The Aperture Tunnel (TM).
I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.
I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.
I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
I developed a new way to reduce facial tension in ONE day.
I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 4 Weekly 30 Min Trumpet Lessons appeared first on BBTrumpet.

Whistle the first exercise of an Irons flexibility study. This is the same movement that your tongue should use as you play.

My favorite exercises for this are the 1st 2 pages of the Arban Interval Studies. Page 125.

It is like using Taw for low notes Too in the mid-range and Tee a little higher. As we arch the front of the tongue toward the teeth a little this makes a more focused air-stream. The more focused the stream the less lip mass we excite and the higher we play. Arching the tongue (Forward) also moves the jaw, changing the lips vibrating angle. This makes changes to the amount of lip curl present and changes the pitch.

The commonly done type of tongue arch (center up and tonguing with the tip) stops helping when we get to the high register.
Doing this we would tongue with the tip on the top gum line and the arch would be farther back toward the center of the mouth.
This leaves a lot of room between the tip of the tongue and the space between the teeth where the air goes out. All of that room at the front of the mouth allows the air to spread out again.

It is very inefficient and was NEVER taught by any older proponents of tongue arch. H.L. Clarke, Claude Gordon, Raphael Mendez and Louis Maggio… all taught anchor tonguing (a forward arch). They didn’t teach this upward arch that is normally taught today. It was always a forward arch. A forward arch works 10Xs better than an upward arch.

Below:
This is a forward arch of the tongue and it rolls forward and pushes up to the top teeth and roof of the mouth in the double high register. It is like saying Tissss. For some the tongue anchors at the bottom teeth and for others, it anchors at the edge of the top teeth. This makes the air stream much more focused and even less lip mass is engaged.

Notice where the tongue anchors. In the past many teachers taught a concept called anchor tonguing. That would cause this action to happen naturally.

Tee at Middle C.

As you go higher the hiss gets more pronounced.

Hiss or Tiss at Double High C.

I sometimes hear people say that they tried tongue arch and it doesn’t help them.

The tongue arch is very dependent on how your tongue. If you think of teachers who taught arch like Clarke or Gordon; they also taught some version of anchor tonguing.

There are several reasons for this. When we tongue with the tip of the tongue AND use a high tongue arch; then we make a very small oral cavity and have a real tendency to close the throat with the base of the tongue.

Anchor tonguing combined with arch means that as we arch higher we tongue farther back on the tongue. This pulls the throat more and more open, creates a big oral cavity, and does something else too. This action creates a channel for the air to follow the groove of the tongue and focuses the air toward the center of the vibration. It literally feeds air to a smaller amount of lip tissue and helps to play higher.

A study in Japan in 2000 proved that this arching movement also made us make slight adjustments to the jaw. These movements make changes to the angle which the lips align (affecting the point of vibration) and to the lip’s tension/compression. This affects the use and amount of lip curl and changes the pitch.

In 1962 Dr. Robert Weast did some studies with a machine that blew pressurized air through rubber lips that were under tension.

His machine played a D with:
14 oz of air @ 1 oz of tension,
12 oz of air @ 5 oz of tension,
5 oz of air @ 8 oz of tension.

In his experiment: He had NO way to add lip compression. He could make the hole bigger and smaller by tension alone.

That meant less lip mass could be excited with less air. If we use a bigger lip mass we can get the same note BUT it takes much more air pressure to excite the extra mass.

In 1976 Brian Wadsworth did some experiments proving that the lips touch when they vibrate (a high-speed movie played back super slow). He also proved that given the same air pressure, a small width of air played a higher note than a big width of air (again using an artificial machine.)

Putting all of these together.

As we arch the front of the tongue toward the teeth we make a more focused air stream. The more focused the stream the less lip mass we excite and the higher we play. (This explains why we CAN play high without a tongue arch but with lots of stomach support and we can also play high with a tongue arch needing less stomach support of the air.) It has been this problem of BOTH groups being able to play well that has led to some heated debates. There is a mathematical reason why both ideas work. But for me, I feel that the tongue arch makes things easier.

It works for MANY reasons that all seem to add together.

Faster air speed and a smaller oral cavity are the things that used to be said about arch.

Now think about a guitar string. When we strum the string a note is played as the entire mass of the string vibrates. When we place a finger in the middle of the string and strum then only half of the mass can vibrate and the note sounded is an octave higher.

Our lips are not shaped in a linear fashion like the string. There is much more meat in the center so we don’t vibrate exactly half to change an octave but the idea is similar.

These things have been proven in experiments: directing a smaller air stream to the lips (making a smaller portion of the lip surface vibrate), slight jaw realignments (caused by the tongue motion which realigns the air stream AND changes the lip tension.

Which is the most important?
They are not in agreement on this. But it is generally felt that all of those contribute to increased range by changing tongue levels.

It is because of the Airstream focus and realignments of the lips that I teach anchor tonguing.
I hope this helps explain it.

By Pops

The post Anchor Tongue And Hiss appeared first on BBTrumpet.

There is a lot to be said about the value of listening when it comes to developing a good tone.

This listening is a 2-way street. You have to listen to players who have a good tone, and you have to listen to yourself. This is the hard part.

The sound that you hear behind the horn is vastly different from the sound that is projected into the audience. There is a very easy way to hear how you sound. Tape record your playing and use it as a learning tool. It is normal to not hear your own mistakes as you play. This means that many faults that you could easily fix don’t get addressed.

When you listen to yourself make a real assessment of what things really sound like. Don’t make a huge laundry list because that will discourage you. Just list the top 3 problems. You can’t look at a list of 20 problems and fix anything.

You want to really concentrate on one bad thing at a time. Pick your worst issue and start working on that. 

Look at it this way if I work on something that I do at 80% and make a 2-3 % improvement. Well, that won’t be really noticed. If, however: I start working on a skill that I am 30% at I can make big improvements and that will be huge to my overall playing.

A tape is a harsh and unforgiving judge. Every missed note, faulty articulation, or inaccurate phrase is there for you to study. Everyone should record themselves at least twice a month. Tone And Listening are the most important things that we need to work on. If we don’t really listen to ourselves then nobody else will want to either.

Pops

The post Tone And Listening appeared first on BBTrumpet.

Many trumpet players are too tense in both the face and their air to play low notes well. So they have Bad Sounding Low Notes.

I like to sigh haaaaa or daaaaa to tongue a low note. Sigh like when your are tired or trying to whisper.

Use the relaxed air stream to play the notes below Low C. Too much breath support makes it difficult to play those low notes well. Also keep low tongue levels and I actually roll the lips out very slightly. (I mean very very slightly.)

The lip aperture adjusts for both range and volume. Work on long tones include long crescendos and decrescendos. You know the stuff at the front of the Schlossberg. That teaches real aperture control.

I also like lip buzzing really low to help learn to vibrate well for low notes..

Lastly keep your higher Lip Setpoint (TM) even when playing low notes. If a player allows themself to lose that higher set then then need to break the mouthpiece seal to reset to play high.

Here is how I play pedal tones. I first play my 1 and only 1 Lip Setpoint (TM) which for me is G on top of the staff. I then play an arpeggio or scale down to the pedals. I breathe through my nose to keep my set and play a pedal exercise. I then play my G on top of the staff Lip Setpoint (TM) and play an arpeggio up at least 1 octave and usually 2. This way I learn to play the full range of the trumpet on one set.

Pops

The post Bad Sounding Low Notes appeared first on BBTrumpet.

I have an airy sound and I can’t play soft.

You have described what happens when one plays a spread embouchure. (Too big an aperture) Playing TOO loud, TOO high (for your muscle development), TOO long and using MPC pressure. This too big an aperture happens because we mess with the chops to try and get a bigger sound. There is a big difference between relaxed and making an open aperture. Too big an aperture always leads to air in the sound and not being able to play softly.

If you keep going it WILL get worse and not only will you have an airy sound but you will start losing both range and endurance.

Take 2-3 days off. Don’t let a mouthpiece touch your lips. Lip buzz for those 3 days. (This will help you to overcome the spread chop setting.)

When you start playing again play everything soft. Practice to see how soft you can play. (Again this helps to prevent a spread setting and works on range).

A very soft middle C has the same aperture size as a loud High C. Therefore, you can practice making smaller apertures without the damage associated with range work.

Work on Clarke Technical Study #1. Stay below Middle C. Just use the Low F# to Middle c part of the exercise.

Work on good breath control.

Keep trying to play it softer and softer. Try to make it whisper. The better you get at playing softly the better your overall playing will become.

After a week or 2 of this you should SEE and HEAR results.

Pops

The post Airy Sound appeared first on BBTrumpet.