Table of Contents

Lesson Page Material

Introduction 1 Review the Basics

2.1 4 Bar Lines and Time Signatures

2.2 7 Accidentals

2.3 10 Major Scales (C-Bb-D)

2.4 14 Tonguing and Articulation

2.5 18 Group Practice

Conclusion 19 Level Wrap-up

This course is designed to be used as an individual instructional study guide, as well as a class
learning tool. Each lesson should take approximately 30 - 45 minutes long including teaching
and practice time. Not everyone will progress at the same pace. It is advised to repeat or
come back to a lesson so as to reinforce certain concepts.

If you are using this as a class learning tool, please remember that E-flat instruments will not
sound at the same pitch as B-flat instruments.

Each student should take a placement test before being placed in a level. After a student
completes a level, there is a separate final test that should be completed and passed before
moving on to the next level. Be sure you have these materials.

In addition, the Brass Course is designed as a companion to the Music Theory course. Students
should utilize the music theory books to help advance their knowledge of music making.

Produced by The Salvation Army

Music and Gospel Arts Department

1st Edition
Copyright 2018 The Salvation Army
Canada and Bermuda Territory
2 Overlea Blvd. Toronto ON M4H 1P4
www.samagacb.com

Author: Marcus Venables

Contributors: Rachel Ewing
 Review the Basics

The fundamentals of playing a brass instrument are the same whether you are a
beginner or more advanced. It is important to develop good habits and follow
routines when practicing and performing. Here is a quick checklist.

How to Sit How to Breathe How to Buzz How to Play

Sit up straight Take a deep Say the letter M Place the tip of the
with your feet relaxed breath. and leave the lips tongue at the inner top
on the floor. Never strain your lightly together. of the upper teeth and
Don’t allow airway. The buzz is created buzz into the
yourself to sit in by the slight instrument. The speed
a position that vibration between of the air will change
will hinder your the lips and the air the register of the note.
ability to play. stream.

Here are a few other fundamentals you learned in Level 1.

Note name and fingerings

Note and rest values

Dynamics and Tempo

1 Level 2
Let’s practice

One of the best ways to create healthy practicing habits is by following a

routine. Here are some easy exercises you can use to begin your practice
session, no matter your level of playing.

a)

b)

c)

d)

2 Level 2
e)

f)

g)

Lesson Reminders:
Posture – sit up straight.
Breathe – always take low and deep breaths.
Cheeks – keep them firm, don’t puff them out.
Sound – make it nice and steady.

3 Level 2
 Lesson 2.1 – Bar Lines and Time Signatures

Music is divided into measures. Each measure is separated by vertical lines

called bar lines. Bar lines are like musical punctuation. In the same way that we
use punctuation when writing sentences, we use bar lines to help organize the
music. We call the space within the bar lines a measure. At the end of a piece
of music, there is a special bar line called a double bar line.

Notice at the beginning of this example that there is a time signature. The top
number tells us how many beats are in a measure, and the bottom number tells
us what kind of note gets one beat.

Look at the examples below. Notice the time signature and the count for each
measure. Try clapping and counting these out loud.

1)

2)

4 Level 2
Let’s practice

Be sure to look at the time signature and count the number of beats indicated
within each measure correctly.

a)

b)

c)

d)

5 Level 2
These last two exercises do not have any fingerings (slide positions) labeled. It is
important to know the fingerings. If you are still struggling, you can review
previous lessons or write in reminders where you need them.

e)

f)

6 Level 2
 Lesson 2.2 – Accidentals

There are many different types of scales. So far, we have learned the C major
scale. The notes are: C-D-E-F-G-A-B-C. Before we talk about other scales, let’s
take a look at accidentals.

A sharp makes the note A natural cancels a A flat slightly lowers the
slightly higher (semitone). previous sharp or flat note (semitone).
within that measure.

If you look at a piano keyboard, you will see white and black keys. The notes we
have learned are all on the white keys.

To keep things simple, let’s start by learning two new notes that use accidentals.

F is always 1st valve (3rd position). If

we place a sharp beside it, that will
raise it to what fingering?

B is always 2nd valve (2nd position). If

there is a flat beside it, what is the
fingering?

Accidentals last for an entire measure, even if the note is repeated within that
measure. They are only cancelled out when a natural is placed.

7 Level 2
Let’s practice

Be on the lookout for accidentals. For now, the fingering is labeled. Don’t forget
the other fundamentals like breathing and counting.

a)

b)

c)

d)

8 Level 2
e)

f)

g)

h)

9 Level 2
 Lesson 2.3 – Major Scales
(C-B -D)

The best way to gain more confidence and develop your skills is by practicing.
Like playing piano and other musical instruments, we improve our reading ability
by learning and practicing scales.

A major scale is formed by notes in a specific order, covering an octave.

Remember, an octave is the distance between two notes of the same letter
name (i.e. C to C, D to D).

A major scale can go up (ascending), down (descending) or both, and is

formed using tones (T) and semitones (S). In particular, the ascending scale is
built on the following pattern of tones and semitones: T T S T T T S

At this stage, you have learned all of the notes in the C major scale. This scale,
as explained in the previous lesson, uses no accidentals. Now, let’s learn two
more scales. The B and D major scales.

10 Level 2
Let’s practice

All of these exercises should be practiced at various speeds. Use these exercises
to help you review the new scales. The goal is to eventually have the scales
memorized.

a)

b)

11 Level 2
c)

d)

e)

f)

12 Level 2
Notice that up to this point, we have only used accidentals. The next few
exercises will use a key signature. A key signature appears at the
beginning of the piece and indicates what flats or sharps are to be
used. If nothing appears, you can assume there are no flats and
sharps unless they are marked as an accidental.

g)

h)

i)

j)

k)

Continue to work on these exercises throughout the rest of this level. Play each
one at various dynamics and speeds. Remember – even the most advanced
players practice fundamentals!

13 Level 2
 Lesson 2.4 – Tonguing and Articulation

Every note that is played on a brass instrument has a beginning, middle and an
end. What is happening at each of these moments? How are we starting and
stopping the sound of each note? In this lesson, we will look at several
articulation basics that help us play the notes in the right style.

“Too” vs. “Doo” & “Toh” vs. “Doh”

There are different approaches that can be taken when articulating or starting
a note. Here are four different syllables to think about when playing. They are
slightly different, but will become more noticeable as you advance.

T – Starting with the T syllable should give a concise front to the note.
D – Starting with the D syllable should give a smoother front to the note.

“Too” vs. “Toh" – Playing “too” is considered the default approach for brass. It is a
good way to blow air straight through the instrument and achieve a supported
sound. However, “toh” is useful if you want to achieve a deeper sound.

“Doo” vs. “Doh” – This concept is the same as “too” vs. “toh” except the front of
the articulation is now softened by the D syllable.

Short
To play short, you use a quick “too” articulation with fast air.
The air stream should be open and free, not stopped by
the tongue or by closing off your throat. Imagine flicking an
object with your finger.

Accented
To play an accented note, place a strong and well
supported “too” at the front of the note. Think of your air
stream as wide at the beginning before returning to
normal. The sound or shape of an accented note should
sound just as the symbol looks.

14 Level 2
 Connected
Playing connected is achieved when the air stream is
continuous without any interruption by the tongue. This is
called a slur. It is vital to make sure you move the valves
(slide) quickly between notes. Depending on the style of
the music, any of the syllables we’ve learned will be
required.

Long
The difference between slurred and long articulations is the
tonguing in between the notes. Much like slurs, you must
blow right through the note but clearly define the next note
with the tongue.

Let’s practice playing the different articulations. Notice that there are four
different ways to play the exact same notes. Can you hear the difference?

Lesson Reminders:
Another approach includes the syllable “tah” or “dah.” Each one promotes a
solid, supported sound and is an alternative to “too” or “doo.”
15 Level 2
Let’s practice

Here are several exercises that use various articulations. Play everything with a
lot of sound and good support.

a)

b)

c)

d)

16 Level 2
e)

f)

g)

h)

17 Level 2
 Lesson 2.5 – Group Practice

Here are two pieces to play as a group. There are two different parts, so read
the music carefully. Remember to listen to the other part as you play.

a)

b)

18 Level 2
 Level 2 Wrap-up

To finish Level 2, let’s review most of the material we have learned. We must
remember to watch for time signatures, accidentals and articulations.

a)

b)

c)

19 Level 2
20 Level 2