The Bill Adam

"Routine"

Like Max Schlossberg, Bill Adam did not merely hand out to a single routine to his students. These exercises were assigned and modified as necessary to aid in the development of the individual student. Lessons, practice and such involve much more than just playing a set of exercises. The intangibles of teaching are what make a teacher and lessons with them invaluable. Unfortunately, these elements cannot be communicated on the printed page
Most Adam students have made their own subtle variations to the routine so that it works best for them. This is the "routine" originally given to me by one of my teachers (John Pearson) and reinforced by both Rick Windslow and Jim Hale. I often modify it to fit my abilities of my younger students. Even if you know nothing of Bill Adam and his teaching method, doing the exercises will still help improve your chops and sound. The routine is only really effective if it is done consistently and with the guidance of a teacher who gives example by playing along with you in a call and response fashion. Sound is all! As you do the exercises try to enter deeply into the sound of the melody. Imitate your teacher's sound and level of intensity.
If you are truly interested in the Adam approach to trumpet playing, you really should take some lessons from either Bill Adam or one of his many students teaching across the country. To find one go to the Adam Tribute site. You may wish to view some well-known and inspirational Bill Adam quotes.

A. Buzzing the Leadpipe:

• Remove the tuning slide from your horn.
• On a Bb trumpet, the mouthpiece in the leadpipe should sound approximately an F (at the bottom of the staff).
• Sing the pitch.
• Place the mouthpiece to your lips, take a full, relaxed breath, and blow.
• Listen to the sound.
• The sound should be a resonant and full.
• Let the release of the air through the pipe be what holds the note steady.
• Use this as a warm-up or any time you have lost the feeling of "flow".
• Repeat as many times as needed
• As you are able, try the note a 9th above the F (keep it equally relaxed).

Hear the sound of a leadpipe buzz

B. Long Tones:

• long tones (begin on middle G and expand out chromatically one 8ve above and below)

C. Clarke's Technical Studies:

• Study #1 (Begin on middle F#, and expand outward by 1/2 step in each direction. Continue as high as possible)

D. Schlossberg:

• Schlossberg #6
• Schlossberg #31 (1st 1/2)
• Schlossberg #13 variation
• Schlossberg #14 variation
• Schlossberg #15 variation

E. Single Tonguing

• Schlossberg #17 (play 4 quarter notes on each pitch then repeat the exercise with 2 8ths, 3 triplets, and 4 16ths in a steady tempo)

F. Expanding Scales:

• Major Scales
• G major (middle G to E-a 6th away)
• Gb major-1 8ve
• F major-to the 9th
• E major-to A above the staff
• Eb major-to Bb above the staff
• D mixolydian-to high C
• Db major-2 8ves
• C major-2 8ves to the 9th
• Bb major-to high Eb
• A major-2 8ves and a 5th
• G mixolydian-2 8ves and a 7th
• Gb major-3 8ves

G. Arban Complete Conservatory Method:
"Pronunciation" Exercises (Go slowly: sing and slur each exercises.)

• Arbans #11
• Arbans #12
• Arbans #16
• Arbans #19
• Arbans #20

H. Schlossberg Supplements:
(This area varies with the needs of the individual.)

• Schlossberg #23
• Schlossberg #25 (from the root)
• Schlossberg #27 (first time with the real fingerings, 2nd with the alternates)
• Schlossberg #95
• Schlossberg #97 (single tongue, 1 breath)
• Schlossberg #99 (single tongue, 1 breath)
• Schlossberg #100 (single tongue, 1 breath)
• Schlossberg #116
• Schlossberg #117
• Schlossberg #120
• Schlossberg #121

I. Getchel First Book of Practical Studies:

• Sing
• Slur
• Try transposing to all keys (beginning with C trumpet).