Chords for Playing Lead Trumpet by Wayne Bergeron
Tempo:
85.875 bpm
Chords used:
C
F
Gm
C#
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D#] [E] [C#]
[A] [G] [Am] [C#]
[Cm] [Gm] [Am] [C]
[A] [C#] [F#] [G#m] [C] [A]
[Gm] [C] [Gm] [D] [C]
[G#] [C] [F] Hi, Wayne Bergeron [N] here.
I just finished shooting a video called Playing Lead Trumpet for Alfred Music.
In this video, I discuss and demonstrate many aspects about style, intonation, sound, endurance,
equipment and many other topics associated with being a professional lead trumpet player.
I mentioned I'm 56 years old now, anyway at the time this video was shot, and I still
continue to draw on references from different teachers.
I recently took a lesson with Michael Sachs from the Cleveland Orchestra.
I was back there playing a gig with them, a Pixar concert, and he was kind enough to
give me a two-hour trumpet lesson, and I learned a lot from him.
So you never stop learning on this thing.
You never go, okay, I'm done.
And I'll tell the day I drop, I'm going to keep trying to get better at this, and if
I got to ask questions, I got to take lessons from people, that's what I'm going to do.
And that's the kind of passion you have to have when approaching this instrument.
[G#]
[Gm] That last note, bop, or dat, however you want to think about it.
That's a short note to me.
Because it has a dot on it, or a teepee, at that tempo it would sound funny to play it
shorter than that.
[G#] [Em]
[A#] It sounds kind of funny.
It says short, so I'm playing short, but at that tempo, that's too short.
So the tempo can determine the length of the note.
If this was faster, that might sound okay, that short.
The way we do a shake starts out as a lip drill.
When we're learning how to play this instrument, and we're doing our flexibility exercises,
many of the books have flexibility sections where you're going from one note to another.
In this instance, just a C to an E in the staff.
Okay, it doesn't sound very impressive, but that's how a shake actually begins.
A shake is an out of control lip drill.
And so that lip drill faster, which doesn't really sound very hip either, but if I shake
the horn a little bit while I do that, it makes it sound a little more wild.
[F] You [F#] [G] can [F] check it out at [Dm] your local music store [Fm] or alfred [F].com.
[D] [Fm] [C] [F#] [C] [F] [C]
[A] [G] [Am] [C#]
[Cm] [Gm] [Am] [C]
[A] [C#] [F#] [G#m] [C] [A]
[Gm] [C] [Gm] [D] [C]
[G#] [C] [F] Hi, Wayne Bergeron [N] here.
I just finished shooting a video called Playing Lead Trumpet for Alfred Music.
In this video, I discuss and demonstrate many aspects about style, intonation, sound, endurance,
equipment and many other topics associated with being a professional lead trumpet player.
I mentioned I'm 56 years old now, anyway at the time this video was shot, and I still
continue to draw on references from different teachers.
I recently took a lesson with Michael Sachs from the Cleveland Orchestra.
I was back there playing a gig with them, a Pixar concert, and he was kind enough to
give me a two-hour trumpet lesson, and I learned a lot from him.
So you never stop learning on this thing.
You never go, okay, I'm done.
And I'll tell the day I drop, I'm going to keep trying to get better at this, and if
I got to ask questions, I got to take lessons from people, that's what I'm going to do.
And that's the kind of passion you have to have when approaching this instrument.
[G#]
[Gm] That last note, bop, or dat, however you want to think about it.
That's a short note to me.
Because it has a dot on it, or a teepee, at that tempo it would sound funny to play it
shorter than that.
[G#] [Em]
[A#] It sounds kind of funny.
It says short, so I'm playing short, but at that tempo, that's too short.
So the tempo can determine the length of the note.
If this was faster, that might sound okay, that short.
The way we do a shake starts out as a lip drill.
When we're learning how to play this instrument, and we're doing our flexibility exercises,
many of the books have flexibility sections where you're going from one note to another.
In this instance, just a C to an E in the staff.
Okay, it doesn't sound very impressive, but that's how a shake actually begins.
A shake is an out of control lip drill.
And so that lip drill faster, which doesn't really sound very hip either, but if I shake
the horn a little bit while I do that, it makes it sound a little more wild.
[F] You [F#] [G] can [F] check it out at [Dm] your local music store [Fm] or alfred [F].com.
[D] [Fm] [C] [F#] [C] [F] [C]
Key:
C
F
Gm
C#
A
C
F
Gm
[D#] _ _ _ [E] _ _ _ [C#] _ _
[A] _ [G] _ _ _ [Am] _ _ _ [C#] _
[Cm] _ _ [Gm] _ _ [Am] _ _ _ [C] _
_ [A] _ [C#] _ [F#] _ [G#m] _ [C] _ [A] _ _
[Gm] _ [C] _ _ [Gm] _ [D] _ [C] _ _ _
_ [G#] _ _ [C] _ [F] Hi, Wayne Bergeron [N] here.
I just finished shooting a video called Playing Lead Trumpet for Alfred Music.
In this video, I discuss and demonstrate many aspects about style, intonation, sound, endurance,
equipment and many other topics associated with being a professional lead trumpet player.
I mentioned I'm 56 years old now, anyway at the time this video was shot, and I still
continue to draw on references from different teachers.
I recently took a lesson with Michael Sachs from the Cleveland Orchestra.
I was back there playing a gig with them, a Pixar concert, and he was kind enough to
give me a two-hour trumpet lesson, and I learned a lot from him.
So you never stop learning on this thing.
You never go, okay, I'm done.
And I'll tell the day I drop, I'm going to keep trying to get better at this, and if
I got to ask questions, I got to take lessons from people, that's what I'm going to do.
And that's the kind of passion you have to have when approaching this instrument.
_ _ _ [G#] _ _ _ _
[Gm] _ _ _ That last note, bop, or dat, however you want to think about it.
That's a short note to me.
Because it has a dot on it, or a teepee, at that tempo it would sound funny to play it
shorter than that. _ _
_ [G#] _ _ _ _ _ [Em] _ _
[A#] _ _ It sounds kind of funny.
It says short, so I'm playing short, but at that tempo, that's too short.
So the tempo can determine the length of the note.
If this was faster, that might sound okay, that short.
The way we do a shake _ starts out as a lip drill.
When we're learning how to play this instrument, and we're doing our flexibility exercises,
many of the books have flexibility sections where you're going from one note to another.
In this instance, just a C to an E in the staff. _ _
_ _ _ _ _ _ _
Okay, it doesn't sound very impressive, but that's how a shake actually begins.
A shake is an out of control lip drill.
And so that lip drill faster, _ _ _ _ which doesn't really sound very hip either, but if I shake
the horn a little bit while I do that, it makes it sound a little more wild.
_ [F] You [F#] [G] can [F] check it out at [Dm] your local music store [Fm] or alfred [F].com.
[D] _ _ [Fm] _ [C] _ _ [F#] _ [C] _ [F] _ _ [C] _ _
[A] _ [G] _ _ _ [Am] _ _ _ [C#] _
[Cm] _ _ [Gm] _ _ [Am] _ _ _ [C] _
_ [A] _ [C#] _ [F#] _ [G#m] _ [C] _ [A] _ _
[Gm] _ [C] _ _ [Gm] _ [D] _ [C] _ _ _
_ [G#] _ _ [C] _ [F] Hi, Wayne Bergeron [N] here.
I just finished shooting a video called Playing Lead Trumpet for Alfred Music.
In this video, I discuss and demonstrate many aspects about style, intonation, sound, endurance,
equipment and many other topics associated with being a professional lead trumpet player.
I mentioned I'm 56 years old now, anyway at the time this video was shot, and I still
continue to draw on references from different teachers.
I recently took a lesson with Michael Sachs from the Cleveland Orchestra.
I was back there playing a gig with them, a Pixar concert, and he was kind enough to
give me a two-hour trumpet lesson, and I learned a lot from him.
So you never stop learning on this thing.
You never go, okay, I'm done.
And I'll tell the day I drop, I'm going to keep trying to get better at this, and if
I got to ask questions, I got to take lessons from people, that's what I'm going to do.
And that's the kind of passion you have to have when approaching this instrument.
_ _ _ [G#] _ _ _ _
[Gm] _ _ _ That last note, bop, or dat, however you want to think about it.
That's a short note to me.
Because it has a dot on it, or a teepee, at that tempo it would sound funny to play it
shorter than that. _ _
_ [G#] _ _ _ _ _ [Em] _ _
[A#] _ _ It sounds kind of funny.
It says short, so I'm playing short, but at that tempo, that's too short.
So the tempo can determine the length of the note.
If this was faster, that might sound okay, that short.
The way we do a shake _ starts out as a lip drill.
When we're learning how to play this instrument, and we're doing our flexibility exercises,
many of the books have flexibility sections where you're going from one note to another.
In this instance, just a C to an E in the staff. _ _
_ _ _ _ _ _ _
Okay, it doesn't sound very impressive, but that's how a shake actually begins.
A shake is an out of control lip drill.
And so that lip drill faster, _ _ _ _ which doesn't really sound very hip either, but if I shake
the horn a little bit while I do that, it makes it sound a little more wild.
_ [F] You [F#] [G] can [F] check it out at [Dm] your local music store [Fm] or alfred [F].com.
[D] _ _ [Fm] _ [C] _ _ [F#] _ [C] _ [F] _ _ [C] _ _