Ingraining Haydn

I am currently trying to really get Haydn under perfect control. I have been looking to slow practice, and found a lot of great perspective from going really slow and making everything work efficiently. It also helps my brain figure out what it needs to be thinking when.

I still find that turning on Haydn to perform it requires intimate knowledge of the actual sensations of performance. I need to have how I’m doing it ingrained well. The biggest mishap is to blame trumpet playing on bad visualization in my head. If I’m not really sure how I want it to sound then how can I expect it to sound like I want it?

I am taking today to plot out the entire Haydn like I would be transcribing a jazz solo. I am transcribing it from my own brain and simply organizing my interpretation at the front of my brain so that it is there and ready when I need to dial it up.

Right now the most important thing is to give myself cues on what to think as the piece is going by.

I will try and lay out a “brain map” of the first movement of Haydn.

FIRST THREE NOTES. Hear them. Rhythm, pitch, articulation, vibrato, direction, slide location, tongue location. Sing.

The third note A connects to the ascending scale through the low c.  Long 8ths when using Bb trumpet. 


Sing out up through the scale and use a little slide in the top F.

Release the c with grace.

With ease, start again and this time blow through the c up to the top A adding a little 1st slide. The 16th notes are long and put some natural stress and length on the top A.

Come down easily without over moving.

Think 16ths on the trill and add the extra turn.

Support the ending A and use a little slide. Don’t sag.

Sing out and don’t be afraid if the lower A. Slide on these F’s and A.  Long tongued notes.

Slide for the F, keep the E up. Keep singing in sote voce. Use air and cocky vibrato. Not short.

Long air on the low c fanfare. Forward air landing in the f and keeping it supported. Don’t go flat.

*******so far I am seeing a nice controlled product but it does miss an intimate musical quality, concentrate on keeping the music in there*****

Continuing with this approach will require very regular reinforcement by repetition. Do not take a day off from reinforcing what you’ve established as the map. Work on getting the picture of Haydn first movement as clear and beautiful as you can in your minds. Hear the sound, feel the style know the map so you can stay on the path.


Gently support the high A. Slide and long on the F

Sweetly tongue down the scale. Keep the E up

Enjoy the chromaticism.

End the phrase simply and legato. B up.


Blow through the trills. Just think 16ths. No need to do too many trills.

Tongue the e and the g.

Don’t let the high g skyrocket.


Support the 16th note pick ups with long air. Place the last note with grace

Sink in the the phrase and enjoy the beauty.

End with elegant air. Simple f e d legato. Air all the way through and glide with the clear tongue.

Come in clear on the high g keeping the pitch down. Slur down and don’t cresc too early.

“And they danced the minuet” long

Lead to the down beat and go up the scale with purpose using 1+2.

Conclude under control. Trill and release beautifully. No punching.


First three notes LONG and elegant. blow through the f and even longer up to the A.

Little slide for that first F and leave it for the lower A. Snap it back before the D.


Lead the A but don’t go sharp. no slide. arrive with a full length quarter on the Bb

Long pickup and long notes back up to the Bb. Arrive for the second time.

Long pickup still, long sixteenths. Minimize movement and maximize air flow. Arrive for the third time in the same place. Nice full quarter on the Bb.

Enjoy the chromaticism up to the g not too loud with a cresc. Blow THROUGH the g and up to the Bb. Keep going forward. Don’t back off and don’t shy away from the Bb.

Efficient, supported, and light through the A and tongue the Bb.

Blow through the Bb, connect down and tongue the G

Blow through and gracefully land on the E. love the E.

Back up to the G, tongue with efficiency and zero tension

Blow through and gracefully tongue the arrival on the C

On ballerina toes leading up through the scale, 1+2 on the A going up and land gracefully on the A 3rd valve

Back up again then gracefully down WITH FOWARD direction! Ballerina down and long on the E.

Back up one more time and again ballerina down with forward air to start the next passage. Equal 8ths. Don’t make the last one longer.

Blow naturally through the 16ths. Long on the tongued notes. Don’t let the tongue get in the way.

Up to the c and don’t come down too fast. Keep your chops up there for the Bb and blown forward down the scale too.

Back up to the Bb and just a half set back down.

Finish with a cresc and a long F.

Breathe but keep the air going through the rest.

Don’t be shy up to the high Eb. Get cocky and let it ring.

Piano here for the chromaticism. Just be pretty and end the phrase with grace.

Crew up the half step and dim back. Just like Liam Exercise #1

Leave a Reply

Your email address will not be published. Required fields are marked *