“Playing the trumpet is simple, not easy, simple”

Note, January 2004: I originally "ghostwrote" this information to be included in a book Bert was asked to write. When that plan was scrapped I posted the material here. With a few changes this information can now be found on Bert's website.

James Stamp began his professional career at the age of 16. After playing in several theaters in Minneapolis he became First Trumpet of the Minneapolis Symphony Orchestra. In 1944 he relocated to California where he played for radio, television, and films. In 1954, at the age of 50 he suffered a heart attack. After recovering he developed a highly efficient approach to brass playing which he taught until his death in 1984.

I learned this approach to the Stamp exercises from Bert Truax, a student of Stamp and a member of the Dallas Symphony for 23 years and counting. It differs slightly from what is described in the forward to the method book and in other guides I have seen published. The main differences are that Bert has never discussed the lip-buzzing routines with me and the airstream is emphasized much more than is described in the other sources.

Time spent studying complex theories or thinking about problems is almost always wasted (“The professors can keep their theories, I’ll keep my job.”). By focusing our attention on a handful of good habits we can simplify playing and learn to work out our “bad days” rather than having to accept them. Learn to trust your ears, when you’re playing correctly you will hear it. When in doubt, simplify.

“They call it a wind instrument for a reason!” Don Jacoby.

Many difficulties can be overcome simply by making sure that the airstream is moving quickly and steadily. Roy Poper describes this feeling as being, “Like trying to blow out a candle 20 feet away.” The diagram:

The air moves as if we’re playing:

Remember Jimmy Cagney saying, “You Dirty Rat”? That is the “Brass Player’s Face.” The jaw is pushed forward. This opens the throat and gives the mouthpiece a solid foundation to rest on.

Hold the thumb and second finger about a quarter of an inch apart. Place them against the front teeth and grip inward with the lips. This is the feeling we want while playing, a firm grip on the mouthpiece with absolutely no smiling. By gripping with the circle of muscles outside the mouthpiece, the part of the lip within the mouthpiece can remain relaxed enough to vibrate fully. This gripping exercise can also be used as an isometric exercise, holding for about 10 seconds then relaxing for the same length of time. I usually do 3 sets of 10 “grips” at night after I’m done playing for the day.

Playing the mouthpiece should be like singing. Constant attention to pitch is essential. Internally hear what you want to happen, breath in rhythm and blow while gripping the mouthpiece and continuing to sing the phrase in your mind. The horn only amplifies what we put into it, good or bad.

If possible the mouthpiece drills should be done while accompanying yourself at a keyboard matching the pitch as closely as you are able. The mouthpiece should be held with the thumb and first finger about 1” from the small end. Remember to keep the airstream moving quickly and steadily.

One of Stamp’s most important rule is, “Stay down going up, stay up going down.” This helps to keep excess tension out of the high register and keeps the low register from collapsing. In time this has the effect of “compressing” the range, making the notes seem closer together. This allows you to play an exercise like the large intervals on pages 125-130 in the Arban quickly, accurately and easily. This approach is what allows Thomas Stevens to make a fiendishly difficult piece like the Robert Henderson Variation Movements sound easy.

Establish a tempo before you begin, breath in rhythm and blow while also playing the exercise on the keyboard.

On the second note, grip the mouthpiece slightly as described above. While maintaining the grip, keep blowing and continue the exercise. Your ear will tell your face exactly what to do if you stay out of the way and let it. The air will open up the lips just enough to play the descending intervals.

Many players over-emphasize the importance of pedal tones. They are a technique to encourage good habits but not a cure all. They must be played on the same embouchure you use in the normal range. The pedals may not sound full at first. Keep your grip on the mouthpiece and BLOW. Pushing the jaw further forward will also help. The pedal C can be played either 1-2-3 or open, the important thing is to blow through the note without letting the chops collapse.

GOING UP

From line five of the warm-up on, play the descending part of the line as before, locking and blowing through the pedal note. Stay down while going up, letting the air and the ear make the pitches. On the top note increase the grip slightly and BLOW.

Stamp taught that you should expand the range in both directions simultaneously. To facilitate this play the exercises as written until reaching fourth space E. Next repeat the exercise beginning on D flat and simply add an F at the top of this staff. Continue by playing the lines beginning on D and E flat the same way. Next begin on D flat and continue to A flat above the staff. Then D to A, E flat to B flat, and E to B. Finally begin on low C and ascend to the C above the staff. You can, of course, continue as high as you like, always using common sense to tell you when to stop. Personally I don’t like to play these exercises higher than I can buzz them. Remember an efficient, relaxed middle register, is an essential prerequisite for a usable high range.

Space prevents a detailed discussion of the other exercises in the “Warm-ups & Studies” book. The main points from the basic warm-up apply to all exercises. The scale studies are particularly good for familiarizing yourself with higher pitched instruments. On the piccolo it is very useful to practice this study on the A leadpipe, in the key of F. The studies “Three for Stamp” are much more challenging than they appear at first. On each fermata lock & blow into the center of the pitch. Once you are locked in, continue to the next fermata, staying locked into the center of every note. At first many players find they must rest after every two lines when they begin playing this study. The goal is to extend your mastery of correct tone production, don’t treat these exercises as an endurance test.

There is no such thing as "No Pressure." The balance between air flow (speed and volume) and mouthpiece pressure is the key to efficiency. As you learn this approach to sound production and incorporate it into all your playing you will find your endurance and probably your range will improve without focusing on them directly. Why worry about whether this is because of reduced mouthpiece pressure, an improved airstream, or stronger chops?

Once again, this is what I have experienced learning the Stamp routine from Bert Truax, it is different from how I have seen pressure addressed in other essays on Stamp and his teaching.

I hope these notes are helpful. Please feel free to contact me at matthewstock@sbcglobal.net