Riffs · September 20, 2026
By Justin James · Jazz trumpet player and founder of JazzValve · Updated September 25, 2026
Play three short jazz trumpet licks with written notes, valve fingerings, and clear rhythms. Then turn each phrase into a practical call-and-response exercise.
I would practise these phrases on my B-flat trumpet at 60 bpm, isolating F4–G-flat4 before repeating the blues lick. I would listen for a clean valve change there and a centred pitch on the open G4–C4 descent.
jazz licks trumpet players can use immediately should be short enough to sing, comfortable enough to repeat, and clear enough to change. Start with the three original practice phrases below. You will need only a steady pulse and a few minutes.
These are teaching exercises, not transcriptions of recorded solos. Each introduces a useful jazz habit: outlining a chord, adding blues colour, or resolving tension.
All notes and chord names below are written for B-flat trumpet. Written C sounds concert B-flat, so a written C7 exercise needs concert B-flat7 accompaniment.
Set your metronome to 60 bpm, with one click per quarter note. First play straight eighth notes to check coordination. Then give the paired eighth notes a relaxed swing feel.
The fingering key is simple: 0 means open, and numbers show valves pressed together. C4 is middle C, just below the treble staff. G4 sits on the second line.
Keep the volume comfortable. A lick should feel like a short spoken sentence, not a lung-capacity test. Take a quiet breath before each attempt, then leave a bar of silence afterward.
If the valve numbers are unfamiliar, keep the trumpet valve chart nearby. However, learn the sound as well as the finger sequence. Fingers alone will not help you hear where a phrase belongs.
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Use this phrase over a written C major chord:
The first four notes rise toward G. Then E and C bring the phrase home. Because C, E, and G belong to the chord, the line sounds settled rather than bluesy.
On trumpet, the change from E4 to G4 releases both valves together. If one finger lags, an unwanted note can briefly appear. Keep your fingertips close to the valve buttons and maintain moving air.
Also, avoid punching the G with extra pressure. Hear its pitch before playing, because open fingering alone cannot select the correct partial.
Play the lick three times. Then sing it once without the horn. For a related exercise, try the C major triad inversions and drills.
Now use a written C7 chord or C blues setting:
The E-flat adds the familiar minor-third blues colour. Meanwhile, G-flat creates a brief rub before moving up to G. Let that movement sound intentional; do not treat G-flat as a wrong note to hide.
The F–G-flat change moves from valve 1 to valves 2 and 3. Practise that pair slowly because uneven valve changes can interrupt the line. Keep the tongue light rather than using it to force each note into place.
The final G4–C4 descent stays open. Your ear, air, and lip coordination must make the pitch change. Avoid simply relaxing until something lower comes out.
For more phrases in this sound, continue with the easy jazz trumpet blues riffs.
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This phrase moves from written G7 to C major. Put G7 on beats 1–2 and C on beats 3–4:
G, F, D, and B outline G7. Then B rises a half step to C, making the resolution easy to hear.
Low B3 sits just below middle C. Keep its response gentle and centred. If it feels unreliable, isolate B3–C4 before reconnecting the full phrase.
Listen to Miles Davis on “Freddie Freeloader” from Kind of Blue for blues phrasing and space. For contrasting articulation, hear Lee Morgan on “The Sidewinder.” These exercises are not quotations from either recording.
Then run this short routine:
1. Play one lick and leave one bar silent. 2. Sing the same phrase during the next silent bar. 3. Repeat it with a softer ending. 4. Change only the rhythm, keeping the notes intact.
Keep your jazz licks trumpet routine focused on one phrase until you can sing it and enter on time. Speed can wait.
Next, open JazzValve’s licks screen and choose one short lick. Play its displayed notes slowly, repeat the phrase three times, then play it once more with a softer final note.
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