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Trumpet and the Language of Music is a highly structured, five-chapter method with a consistent, physical approach. It promotes free blowing and creates a clear intellectual understanding of the language of music. With its complete and unified approach to playing the trumpet, this method will guide the player to a full three-octave range within a musical context.

See Ralph Allan Schwartz’ method book series right here. And read the full list of its endorsements below.


“Trumpet and the Language of Music by Ralph Schwartz is a tremendous work in size and scope. It is virtually encyclopedic in its included information. It is a systematic and organized progression of warm-ups and essential practice material that can be used in cafeteria-style. That is, the player can pick and choose from chapter to chapter to enhance the range, flexibility, and overall technique. Players will enjoy hopping about the book in an endless variety of ways to continue improving on the trumpet.”

Manny Laureano, Principal Trumpet – Minnesota Orchestra

“Ralph Schwartz’s Trumpet and the Language of Music is an incredible new resource for the trumpet community. Similar in scope to the Arban, this book truly is an encyclopedia of information showcasing a new spin on chromatic work, scales, and arpeggios. Schwartz also clearly lays out his progressive and thoughtful approach to flexibility and range building in every chapter but particularly in his exploration of the “Bugle Song.” These exercises are not only accessible for young players, but one of the unique qualities of this method especially for more advanced players, is how quickly Ralph’s exercises take you around various registers of the horn. While there is an extraordinary amount of information to digest, players can use this resource to identify where they could improve and to then use Ralph’s studies to guide and motivate their growth.”

Ryan Gardner, Associate Professor, University of Colorado Boulder

“Ralph Schwartz’ work, Trumpet and the Language of Music is THE encyclopedia of trumpet calisthenics! It is comprehensive and beautifully presented. The introductory written material is some of the best advice I have read – INSPIRING. The format is unique, as far as I know, and allows you to access and print out a little or a lot of material. This is intelligent material to build strength, flexibility and technique in a musical way.”

David Baldwin, Professor of Trumpet -University of Minnesota

“Ralph Schwartz’s Trumpet and the Language of Music method, challenges every trumpet player from the intermediate player to the top professional. This method takes you through every conceivable pattern of exercise to help you break through the ‘wall’ that so many of us have created for ourselves whether it be range, technique or any other barrier that keeps us from attaining the level of performance that we desire. His concepts and exercises take books such as those by Clarke, Schlossberg and St. Jacome to a graduate level. I recommend that every serious trumpeter should play from this method for their daily routine.”

Ron Hasselmann, Former Associate Principal Trumpet, Minnesota Orchestra. (1958-1999), Professor of Trumpet, St. Olaf College

“Ralph Schwartz was a wonderful part of the orchestra that accompanied many VocalEssence choral concerts. These concerts featured many of the important, but lesser known choral works, and Ralph was a marvelous part of the ensemble with his stentorian tone, accurate pitch and solid musicianship on every occasion.”

Philip Brunelle, Artistic Director and Founder – VocalEssence (formerly Plymouth Music Series)

“Ralph was a perfectionist, at the highest level. He wanted it to be perfect, every time he played it, every night. And it was. His playing was impeccable. Just give him a challenge and he’d be all over it. I am sure the angels in heaven now get to appreciate Ralph’s talents. He’s probably number one chair on trumpet.”

Lorie Line, Lorie Line Music, Inc.

“Mr. Schwartz was first trumpet in the Greenwich Symphony Orchestra for many years. His command of technique is first rate, and he couples a full round tone with a large dynamic range. In addition, he plays with a highly sensitive musicality and expressive power. He is a fine section leader and is a good teammate in helping to build a solid brass section. (1985)”

David Gilbert, Music Director and Conductor – The Greenwich Symphony Orchestra. Faculty Member, Manhattan School of Music, New York City

“Ralph Schwartz was a scholarship student of mine in the Master’s program at the Manhattan School of Music in New York City from 1973 to 1975. At that time, he was one of the top trumpet players at the school, playing a major role in the Manhattan Orchestra and other school ensembles. I found him hard-working, very talented and receptive to my school of trumpet playing.”

William Vacchiano, Principal Trumpet – New York Philharmonic (1935-1964). Faculty Member, Manhattan School of Music, New York City

“I would echo a lot of the comments that Manny made. There is extensive coverage of scale patterns, including encyclopedic treatment of the chromatic scale. Mastering these exercises alone would give a player extraordinary fluency in all major and minor keys. Ralph’s approach to lip slurs is also comprehensive, with excellent exercises for the beginner through the most advanced professional. Of particular interest is the wide range (wider than most other methods) of each of his exercises, and progressive building of more sophisticated patterns from simpler ones, which is very logical. Another unique and interesting aspect of the method is playing from fingering patterns rather than from notes in the staff. I think that could be particularly helpful for students as a means of solidifying the sequence of fingerings in all bugles. I found the practice of using accidentals in place of key signatures particularly helpful. Lastly, Ralph’s emphasis on getting to know the seven bugles is superb.”

Marty Hodel, Professor of Trumpet, St. Olaf College, Northfield, MN

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