Michael Miller Arban Routine (J.B.
Arban Method)
Edited/modified by Conrad Jones/ Adapted by Kenken Gorder
Introduction:
This routine has several focus points that one must constantly be aware of when playing
this routine. Some important points that are imperative for this routine to be successful:
● Rest in between each exercise or line; rest as much as you play.
● Modify tempo and dynamic markings to fit individual needs.
○ Tempos provided are mostly goal tempos. You may adjust tempo to your needs,
but you must consistent and deliberate. If an exercise you play is unsuccessfully
played multiple times, consider decreasing tempo.
○ Whatever tempo you choose for each exercise should be written down and
followed for at least one week before increasing the speed by 2-3 clicks.
● If you are feeling adventurous, you may play entire or parts of this routine on other horns
than just the B-flat trumpet
● You may want to consider partnering with someone once every week or every other
week to mix-up your routine experience, or to better facilitate resting
● Ultimate rule of thumb when playing any routine: DO NOT turn your brain off; engage
and ENJOY!
Focus Points:
● Breath control: Can you limit yourself to a specified number of breaths and follow
through with your breath limit for each exercise? Can you avoid stacking breaths, or
efficiently ration one breath of air to play a section of an exercise with some air left over?
Can you take a quick enough “catch-breath” without breaking the exercises that have no
rests?
● Consistency: When playing each exercise, can you maintain a consistent quality of
sound? Can you maintain a consistent articulation throughout each exercise?
● Articulation: This routine is your chance to be very particular with your articulation. You
do not have to always follow the written articulations in the Arban book. You may
experiment or tailor each exercise’s articulation to your needs when you become more
acquainted with it:
○ If there is an exercise that has staccato articulations, but you need to work on
playing notes full-value, then change the articulation to legato for that particular
day. If it is the opposite, then adjust accordingly.
● Rhythm: Can you be rhythmically accurate when you are low on air while you play
through an exercise, or be very precise when playing dotted-eighth notes to
sixteenth-notes, dotted rhythms, or double-dotted rhythms?
○ Another aspect of rhythm that should be considered is the rhythm from your
breath to sound production. An additional element may be the rhythm and
coordination between your tongue, air, and valve depression or slide extension.
● Dynamic Control: In addition to consistency and breath control, can you play with as
much ease as you do playing loud as you do playing soft? What is your limit?
*The bolded and underlined “chapters” in the are indicated for those whose Arban
Trumpet/Cornet Method do not match the page numbers written in the “exercise” section
of this packet.*
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*Estimated length of routine: 45-55 minutes, if you rest as much as you play.*
Sample routine/practice schedule if played 3-4 times/week:
Monday Tuesday Wednesday Thursday Friday Saturday Sunday
Warm-up Warm-up Warm-up Warm-up Warm-up Warm-up Warm-up
10-15 min. 10-15 min. 10-15 min. 10-15 min. 10-15 min. 10-15 min. 10-15 min. break
break break break break break break
Miller Arban
Miller Arban Adam Routine Miller Arban Adam Miller Arban Adam Routine (mix of
Routine (played Routine (all Routine Routine (all Routine staccato or legato)
routine as 1-3 Hour articulations articulations w/ NEW TEMPO or
written) Break staccato) 1-3 Hour legato) 1-3 Hour TRANSPOSITIONS
Break Break
1-3 Hour Break Etudes/Solo 1-3 Hour 1-3 Hour OR
Repertoire/Fu Break Etudes/Solo Break Etudes/Solo
Etudes/Solo ndamentals Repertoire/F Repertoire/Fu Adam Routine
Repertoire/Fund Etudes/Solo undamentals Etudes/Solo ndamentals
amentals 1-3 Hour Repertoire/F Repertoire/F OR
Break undamentals 1-3 Hour undamentals 1-3 Hour
1-3 Hour Break Break Break Alternative Routine
Ensemble 1-3 Hour 1-3 Hour
Ensemble music/Miscell Break Ensemble Break Ensemble 1-3 Hour Break
music/Miscellane aneous music music/Miscell music/Miscell
ous music Ensemble aneous Ensemble aneous Etudes/Solo
music/Miscell music music/Miscell music Repertoire/Fundam
aneous aneous entals
music music
1-3 Hour Break
Ensemble
music/Miscellaneou
s music
OR
Day-off from
trumpet
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EXERCISES
CHAPTER: First Studies for #
1-10
1. Page 17 - #31 / Quarter Note = +/- 84bpm - 20 bars
a. Avoid “telegraphing” the octave leaps when you reach the half notes.
2. Page 19 - #40 / Quarter Note = +/- 100bpm - 32 bars
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3. Page 20 - #41-45 / Quarter Note = +/- 120bpm - 8 bars each
a. Alternate with playing loud and soft dynamics
b. Example: #41 is played piano and #42 will then be played forte, etc.
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4. Page 21 - #47 / Half Note = +/- 88bpm - 32 bars
a. If you play in the center of each note, you will get more sound output. This results
in less work that you exert, and saves your chops! Apply this to each exercise
you play.
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5. Page 22 - #48 / Half Note = +/- 80bpm - 32 bars
6. Page 22 - #50 / Quarter Note = +/- 65bpm OR as slow as you need to go to play the
octaves cleanly. 112bpm is a good goal eventually. - 40 bars
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7. Page 27 - #17 / Quarter Note = +/- 100bpm - 24 bars
8. Page 28 - #18 / Quarter Note = +/- 60bpm - 33 bars
a. Play as soft of a dynamic as possible with a “covered” cornet sound in mind. This
should be played “snappy” and stylized.
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9. Page 29 - #23 / Quarter Note = +/- 80bpm - 24 bars
a. Your goal with this exercise is for total evenness with the exception of the
accents when indicated.
b. Experiment with the articulations. Substitute the accents and staccatos with
legato/tenuto marks or place accents on a different note.
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10. Page 31 - #27 / Quarter Note = +/- 100bpm - 36 bars
a. Eventually increase tempo to 120bpm for single-tongue speed
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CHAPTER: Slurring or Legato Playing - for #11-13
11. Page 40 - #11 / Quarter Note = +/- 72bpm - 48 bars
a. Rather than increasing speed, gradually decrease the tempo to 48bpm. The
more you play this, lower the tempo by 2-3 clicks each week or every other week.
This is to build efficiency of breath.
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12. Page 44 - #22 / Quarter Note = +/- 65bpm - 6 bars each
a. Have a cornet sound in mind when playing this, and focus on the clarity of the
“whip” of the tongue’s motion. Goal tempo as you get more comfortable with the
lip trills would be 112bpm.
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13. Page 45 - #26 / Quarter Note = +/-88bpm - 16 bars
CHAPTER: Scales - for #14
14. Page 78 - #7 / Dotted-Quarter Note = +/- 60bpm - 20 bars
a. Do not clip the 2nd note of each note grouping; this will create an efficient,
effective, and even sound. Your goal here is to do as less work as possible, but
maintain an even and full sound.
CHAPTER: More Advanced Studies - for #
15
15. Page 125 - #1 / Quarter Note = +/- 72bpm - 10 bars each
a. Practice as indicated at the bottom ** indications. Use these slur groupings and
change to the alternative slur groups when repeated. Play this as comfortably
and as evenly as you can. Pace yourself with this one; rest as much as you play
in between each line.
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CHAPTER: Tonguing - for #16
16. Page 188-190 - Fanfare-Tonguing
a. Choose 3-4 fanfares to facilitate multiple-tonguing practice.
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