An introduction to instrumental ear training
   
   Much of what we practice in the study of the trumpet has to do with training the body to respond to a sonic stimulus. Whether we are performing a written piece or an improvisation, the process is much the same: we are converting sound impulses into music. The fact that the result is musical is indeed nothing short of a miracle. I still often feel the frustration of trying to make the connection between what I hear in my mind and producing it on the trumpet. ItÕs a process I work with daily.  As I explore the nature and performance of music, I have found great benefit in combining the concepts and principles of traditional studies with improvisational studies. The following exercises, which focus on this combination, are an excellent way to practice instrumental ear training.
   Classic ear training without the instrument, although undeniably beneficial, is incomplete. For example, I cannot sing the complete range of the trumpet, so what I sing does not translate directly. Also, I am more interested in exploring the sonorities of the trumpet than the sounds of my voice. The sound/body/instrument relationship that is indicative of the highest level of performance is most easily recognized in the fluidity of a great singer. It can be easy to forget that we are singing on the trumpet; often one becomes distracted by technical and external concerns or fears of sounding bad. Remembering to sing on the instrument brings one back not only to the lyrical qualities of music, but to the connection of the sound/body/instrument. Improvising long tone exercises, in addition to traditional sound studies, will help refine this sound/body/instrument relationship. Developing the connection with oneÕs instrument is what inspires this concept of instrumental ear training.
   The following exercises will work well with a partner or alone with a tone generator, and can be utilized with students of all levels.  Player A sustains a tone, breathing when necessary, while player B tries to match that tone, striving for a spontaneous reaction rather than thinking about it.  Player B should make as many adjustments as necessary until the unison is found. The principles of long tone studies apply: proper posture, relaxed and complete inhalation, and relaxed exhalation while sustaining the core of the pitch.
   Once player B finds the pitch, both should sustain it for awhile, listening to the unison. Then player B introduces a different pitch and sustains it while player A finds that pitch. A comfortable volume (mezzo forte) is advised initially, but dynamics may be added as familiarity increases. This process can be repeated as long as the players wish.
   Some players may not know what a unison feels like. To many beginners, some consonant intervals can trick them into thinking they are playing a unison because it sounds "good". After several unsuccessful attempts to find the pitch, they may have to tell each other what the pitch is in order to experience the unison.
   The second variation of this exercise involves deliberately not matching the pitches. This may seem easy, but you may be surprised at how often you will automatically match pitches without trying. The players should sustain the pitches and experience the consonance or dissonance they create, breathing when necessary and following the same procedure as before: Player A sustains a tone, player B introduces a pitch, both listen to the resulting relationship, and then player B introduces the next pitch.
   The third variation in this exercise has both players sustaining pitches and experiencing the results with no aim at matching or not matching.
   The preceding exercises can be done without a partner by using anything that will provide a random collection of long tones that would be difficult to anticipate, such as a sequencer programmed to play a long series of whole notes at a very slow tempo or a recording of long random pitches. The goal is to listen and respond without thinking.
   When using an external sound source, it is important to practice the three variations of the exercise: 1) matching the pitches; 2) not matching the pitches; 3) playing with no concern for matching or not matching the pitches. In all three variations, the players should be listening and experiencing the relationships of consonance and dissonance.
The exercise can also be done alone with no sound source. While sustaining a pitch, visualize another pitch, either by thinking of another note name, singing another pitch, or simply thinking of a different valve position. Then stop, take a breath, and with as little thought as possible, attempt to produce the new pitch. If you donÕt hit the exact pitch, remember that the point is to sustain the new pitch, being aware of which pitch is being produced. When done in this manner, it will sound like a long tone exercise with a random selection of pitches.
    A variation of this exercise can be applied to learning difficult passages: slowly go from note to note, hearing each pitch as if it were being performed in a time warp, and then gradually add the rhythms and dynamics. This type of practice is a powerful tool in developing muscle memory through hearing the sound of the instrument and refining the sound/body/instrument relationship, thereby teaching one to react spontaneously. It is based on a fundamental principle of skill development: slow practice equals fast learning.
Instrumental ear training is a powerful tool for musicians of all levels.  With regular practice, it has the potential to move a player to another level of musical expression.