For Ex.

2, hold the instrument as previously explained, on the palm of the hand, and follow the instructions as in the first exercise.
However, instead of permitting the tones to go wherever they please, start on a definite note and end on a definite note.

Be patient and do not use pressure. Firmness is necessary, but pressure stops vibrations. The notes will respond themselves simply
by applying the proper lip contraction.

To the musician who is accustomed to pressure, the tendency when playing these high static tones is to farce, press or “jam” for
them. You will never develop in this manner, and undoubtedly hurt your lip attempting these exercises with the strong arm
method.

In the following Exercises, use the same lip formation but hold the instrument legitimately, instead of on the palm of the
hand.

Ex.3a The exercises in this group are based upon the major chords. Use the valves as indicated, the object being to make the lip
do the work.

Set the lip for the highest note in each measure and make it the best one in the chord. Spread the tone and hold it as long as
possible.

As you practice, crescendo each chord. Do not permit your playing at any time to become timid. Refer also to the paragraphs on
Breath Control, as you must breathe properly to give the lip good support.

If the top notes are coarse and rasping, you have too much flesh in the mouthpiece. To correct this, "thin out" the lips as described
in Ex. 1, taking care not to open them.

No pressure is necessary. The notes must be free and easily sustained without the slightest strain.

Ex.3b This exercise is similar to 3a with the exception that the notes are tongued instead of slurred. It may be practiced before 3a
if the student wishes.

Continue using the artificial fingering. It will be slightly false, but inasmuch as these exercises are especially for the lip, it will be
found more beneficial.

(1) Practice the. exercise separating one note from the other and, before each attack, breathe and adjust the grip upon the lip.
Make the attack a direct “pop” and as clean as possible.
(2) Practice the exercise using but one breath for each chord. As you improve, gradually increase the speed remembering
always to spread and sustain the last tone.

A common fault at this point is the inclination to strike a higher tone than the desired one. Don’t worry about this for the present.
The fact that you are attacking higher is a good indication that the system is advancing. Any lack of control will be corrected as
the student progresses.
Ex.4a The student must bear in mind that the more extreme the exercises, the slower the progress. He learned in Ex. l how to
produce these high notes and therefore should have no difficulty reaching the E above high C. However, the control necessary to
play the upper tones accurately will take time and patience.

This exercise adds to the register C#, D, D# and E above high C. These notes are practiced using the major chords as before,
merely adding to them the third above the key note. The top note, consequently, will sound like the second note of the chord, one
octave higher. Train tae ear as soon as possible to recognize these high notes.

The student must not slight the first four notes in his eagerness to reach the climax.' He should take plenty of time, especially in
going from the fourth to the last sustained tone. He should also acquire the feeling for the proper lip formation in producing good
high notes. This feeling, once learned, makes high note practice nothing more than a pleasure. .

Ex.4b The student must tongue and slur each exercise, eventually doing one as fluently as the other. Just as the pianist must have
his left hand as fast as his right, so the brass player must have equally good flexibility with both tongue and slur. Usually one
exercise develops faster than the other, and it is the student's duty to be more persistent with the slower of the two. There is
actually no difference in the grip upon the lip in either case.

However, the usual tendendy is for the tongue to interfere and distort the lip formation. By carefully analyzing himself, the student
will soon learn to overcome this difficulty.

Practice the exercise as described in E x 3b, that is (1) separating one note from the other, and (2) playing them all in one breath.
Make the highest note good, sustaining and spreading the tone.

Ex. 5a and 5b There is-no immediate necessity for producing the high notes illustrated in the following exercises. However, the
musician who has G above high c at his command has good reserve for meeting the none too easy requirements of present day
playing. In short, if a man can lift 2441bs., he certainly will have no trouble in lifting 1541bs. In the same manner, G above high C
developed will make the notes below simply inconsequential.
These exercises are. also based upon the major chords, the difference being that the fifth above the key note is added as the top
note. The only new notes are F, F# and G above high C, arid should be treated just as was the third above previously. Similarly,
develop your ear. Since there is very little opportunity, to hear others play these notes, you must train yourself to recognize them.
The feeling on the lip should be identical. "'The tendency may be to pull the flesh back too much, as this lip formation can easily
be overdone. The result in this case would be just as bad as if it were not formed enough. Experimenting only. mill teach
the one, and only one, lip formation for the upper notes.

Avoid scrappy tones, and under no circumstances use excessive pressure. The old method of playing with force is not the theory
of this technique, double tones indicate flabby lips

Practice both exercises as you did 4a and 4b.

When the student reaches this point successfully and can play G above high C fluently, he should have little trouble with the
following exercises. By accomplishing this technique he has developed something that only "one out of a thousand" ever had
previously, and from an embouchure standpoint, he has eliminated the greatest difficulty in playing the instrument .

Ex 6a, 6b and 7
In these exercises the student should use both the regular fingering and the artificial wherever it is possible. Keep in mind also that
you are dealing with “extremes” especially No 7, and the effort alone is invaluable.