Trumpet Practice Plan

Phase 3: Lyrical and Technical Repertoire (Grade 2–3)

Goal: Play 2–3 full solos with expression, clear dynamics, and secure technique. This is the “bridge” between basic range work and the demands of Il Triello (melodic lines, control, stamina).

Approximate duration: 8–16 weeks at 30 min/day.

Previous: Phase 2: Range Extension
Next: Phase 4: Il Triello

Skills you need before starting Phase 3

From Phase 2: Reliable high register up to high C with good tone; scale to high C even and in tune; double tonguing even and clear at a moderate tempo (if your Phase 2 piece used it); one lyrical piece (e.g. Trumpeter’s Lullaby) solid with expression and no stops.
You’re ready for longer, more demanding solos and for polishing dynamics and phrasing.

Skills to Build in Phase 3

Skill	What to do	How to know you’re doing it right
Phrasing	Breathe at the end of phrases; make the last note of a phrase slightly softer.	It sounds like sentences, not a string of separate notes.
Dynamic control	Practice crescendo and diminuendo on one note (4 counts each). Then apply in the piece.	You can get louder and softer smoothly without the tone breaking.
Stamina	Play the whole piece once at performance tempo. Then again.	Second run is as good as the first; you’re not exhausted or losing tone at the end.
Accuracy	Isolate hard bars; play them 3 times correctly in a row at slow tempo, then at performance tempo.	You can play the hard spots reliably, not by luck.
Double tonguing (if needed)	If a piece has fast articulated runs or repeated notes, use “ta-ka” from Phase 2; keep it even at tempo.	Fast passages are clear and even, not ragged or accented on every other note.

30-Minute Session in Phase 3

Warm-up (5 min): Long tones, lip slurs, scale to high C.
Fundamentals (5 min): One scale and one flexibility or dynamic exercise.
Piece work (20 min): Problem spots first, then full run-throughs. Use a backing track sometimes.

Phase 3 Piece List (Play in This Order)

Learn and polish three pieces. Use the primary choices below, or swap in one alternative per slot if you can’t get the music or want more variety.

Piece 1 — Lyrical, with clear phrases and dynamics

Primary	Alternatives
Petite Pièce Concertante (Guillaume Balay)	Romance in E♭ (Ostransky); Andante et Allegretto (Balay); Premier Solo de Concours (René Maniet, grade 2).

Focus: Lyrical line, dynamics (p, mf, f), breathing at phrase ends. Learn notes and rhythm slowly, then add expression.

Sheet music: Phase 3 — Lyrical and technical solos (Petite Pièce Concertante, Romance, etc.) and Concert and Contest Collection.

Piece 2 — Melodic shape and upper register

Primary	Alternatives
Maid of the Mist (Herbert L. Clarke)	Concertino (Haydn or similar); Andante and Allegretto (Balay); another lyrical solo from Concert and Contest Collection or your state contest list (grade 2–3, melodic with upper register).

Focus: Melodic shape, tone in the upper register, phrasing. Make the melody sing; keep high notes relaxed and in tune. (You already played Trumpeter’s Lullaby, Rigel, and Lyra in Phase 2; pick something new here so you keep building repertoire.)

Sheet music: Phase 3 — single pieces & collections (Maid of the Mist in Concert and Contest Collection).

Piece 3 — One more grade 2–3 solo (your or your teacher’s choice)

Primary	Alternatives
Andante (Capuzzi, arr. for trumpet) or Concert Rondo (Mozart, excerpt or simplified version)	Slavische Fantasie (Wurm); any lyrical solo from *Second Book of Trumpet Solos* (sheet music); Serenade or Trumpet Territory (Kendor Recital Solos).

Focus: Full run-through, stamina, and polish. Apply everything from Pieces 1 and 2: dynamics, phrasing, secure high notes. (Mira and other Phase 2 solos are already in your book; choose a new piece for this slot.)

Sheet music: Second Book of Trumpet Solos, Concert and Contest Collection, or your state contest list.

What to Work On for Each Piece

Learn the notes and rhythm at a slow tempo (metronome).
Mark breaths in the part; add dynamics and phrasing.
Run the whole piece; identify bars that collapse and work them in isolation.
Practice with backing track or piano when available.

Ready to Move On from Phase 3?

When:

You can perform all 2–3 Phase 3 pieces from memory or with minimal looking, with clear dynamics and phrasing.
You can play each piece two times in a row without major slips.
A recording of each piece sounds like “real music”—phrases and dynamics are clear; tone is consistent.

How to Self-Assess

Record a full run of each piece. Use a checklist: dynamics? phrasing? tone? rhythm? high notes?
Ask: “Would I be okay playing this for someone else?” If yes, you’re ready for Phase 4.

Videos to Watch (Phase 3 Skills)

Each skill links to the video section in Skills & Video Reference:

Dynamics — Playing soft and loud with good tone; crescendo and diminuendo.
Phrasing and expression — Shaping phrases, breathing, making it sound musical.
Double tonguing (if your piece uses it): Double tonguing.

See also the Skills → Video sections index.