For fun, try the Amsden's duets with a metronome and a friend. Make all the Allegri to Allegro molto ridiciloso. With a friend and a stopwatch you can compete by timing Clarke exercises (no mistakes allowed) or such.
Fast don't count if it aint clean.
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
Another vote for Clark Technical Studies. It is such a pain to play these exercises perfectly even but they train your fingers very well and since they go to all keys they are very useful musically, even though they seem very boring sometimes. It takes a lot of discipline to not speed up until you master them at the slow tempo, but that is the way to do it.
Bach Strad MLV 65GH
Yamaha 6445HGS C Trpt
1969 Conn 8b Artist
1958 Conn 38b
1965 King Silver Flair
1948 Holton Model 48
1941 Conn 22B
My favorite for part of a regular warmup is Etude V in the Clarke Technical Studies. If you can play it as directed - in one breath - you're probably doing pretty well on speed. You can always speed it up once you've achieved that. Several of the back-of-the-book pieces in Arban are excellent practice for speed; the faster parts of Fantasie Brillante can be sped up at will, just remember to slow down and really milk the slow part. And good old C O V already mentioned is a classic, as are some of Clarke's performance pieces.
Vintage Olds and Reynolds and Selmers, yes sir, yes sir, two gazoos full.
Aubertins, Bessons, Calicchios, Courtois, Wild Things, Marcinkiewicz, Ogilbee Thumpet, DeNicola Puje, Kanstuls, etc.
The OP is asking for speed. I agree that Arban aso are very good etudes to become a better player. But if you want to play Arban on speed you have to do scales, scales....and more scales.
Chopsgone (what's in a word) is fe right in his diagnosis that if you can play Etude V in the Clark Technical Studies as directed you're probably doing pretty well on speed but I suppose the OP is MORE interested in what to do if you are NOT able to play it as is directed.
The problem is that scales are not very popular or inspiring. But ask a piano teacher what their pupils have to do when they enter as self declared quite good players in the conservatoria and shiver.
BTW if you have a quite good fingering technic on piano you can very easily play scales on for example a saxophone, it is in some (OK, distant) way the same movement.
But the fingering on a trumpet, let's face the facts, is completely unlogic (is that an English word?). That means that if you want to master the scales on a trumpet you have to study them to a level that the movement of the fingers become something you don't have to think about. Because there is nothing linear in trumpetfingering you have to practise all types of scales in every key so to say in the infinite to develop real speed in different keys.
Sorry, bad news indeed.
Then we will all sound the same. Just name everyone here on TM, Clarke.
Common, lets learn patterns... fresh from your own creation... Transcribe other's.... figure what they are doing... that you like... Then blend them... Presto, chango... you sound like YOU. Not like Clarke. Listen to Till Bronner... He got his sound through transcriptions. List to Claudio Roditi... Again through transcriptions... Sure you can play fast by learning Clarke over and over again... Great work Clarke. But if you want to develop a fresh sound as did Bronner, Roditti or Onady, then keep it fresh and learn your own patterns over and over and over until you become as fast as Bronner, Roditi or even that Onady chap. Listen to what Rowuk says (and I). Patterns... 100's of time... But let me emphasize again... KEEP IT FRESH.
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