Its Been A Long Long Time Trumpet

The Complete Guide to "Its Been A Long Long Time" for Trumpet Players

I've been playing trumpet for about twelve years now, and honestly the most asked question I get isn't about technique or embouchure—it's about its been a long long time trumpet arrangements and how to actually play them well. This song has become a staple at wedding receptions, bar mitzvahs, and those moments when someone just needs a good melodic number that shows off without being technically impossible. The original recording dates back to the late 1950s, though many trumpet players first encountered it through various cover versions that circulated in sheet music catalogs throughout the 60s and 70s. What makes this piece work for trumpet is its middle-register emphasis—the melody lives comfortably between the written G above the staff and the D just below it, which means you're not stretching into altissimo territory or drowning in the pedals. The tempo marking is usually something like quarter note equals 108 to 120, depending on whether you're playing it straight or with a more relaxed swing feel. I recommend starting slow—maybe 90 BPM—and building up. Most people rush this when they learn it, which ruins the whole phrasing.

Essential Technique for This Piece

Long tones are non-negotiable. The melody demands even, consistent tone across register changes, especially when you move from the A around the staff up to that D. I use a Hans Lautens long tone exercise modified for this specific range: starting on middle C, hold for eight beats, then slur up a third to E, hold, come back down. Do this for twenty minutes before you touch the sheet music. Stagger breathing is critical here. The phrases are longer than you might think at first glance. I mark my scores with breath marks after every fourth measure minimum, sometimes even mid-measure on the turnaround figures. Nobody wants to hear you gasp during the second chorus at a wedding.

Its Been A Long Long Time Trumpet Sheet Music Sources

The standard lead sheets circulate everywhere online, but they're often incomplete—they miss the bridge section entirely or put the ending on the wrong chord. RealMusicNotes.com and Musicnotes both have decent versions, though I've found that the Fake Book standard version is the most reliable for live performance. If you're transposing for B-flat trumpet, make sure you adjust accordingly; playing in the original key puts you right in that sweet spot. One thing I wish every arranger would fix: the ending tag. So many versions just repeat the last four bars without the proper half-time feel. The real magic happens when you slow it down on that final descent, let the brass section hold underneath, and resolve to the tonic with a controlled decrescendo.

Common Problems and Fixes

Here's what I see constantly: players trying to use too much vibrato. This tune works best with a straight tone, maybe a very slight narrowing at phrase endings. Vibrato drowns out the melody line and makes it sound like you're overplaying something that should feel conversational. Another issue is timing on the pickup to the second chorus. You've probably noticed the way the phrase leads right back into the top line without a full stop. I practice this by counting "one-and-two-and" silently in my head while playing the transition, which keeps me locked in. The dynamic range is also misunderstood. This isn't a loud song throughout—it should start around mezzo-piano and build gradually. I always tell beginners: think of this as a story you're telling, not a declaration you're making. The quiet moments are what make the loud ones land.

Performance Tips That Actually Help

Eye contact with your bandmates matters more than you'd expect. When you're coming into the solo section or the final chorus, glance at the rhythm player so everyone knows where you're going. I've lost count of the times I've seen trumpet players nail every note but completely lose the band on the turnaround because they weren't watching. If you're playing with a accompaniment alone, lock in with the left hand. The bass note on beat one of each measure tells you everything about where the harmony is going. Listen to it, don't just play over it. Record yourself. I know this sounds obvious, but playing this piece for someone who hasn't heard it before versus hearing it back on playback reveals every timing wobble and uneven tone spot. I spent three weeks working on one particular measure last year after recording it—the run from that high G back down to middle C was slightly rushing, and I couldn't tell because I was focused on hitting the notes rather than the spacing between them.

What to Avoid

Don't add unnecessary embellishments. This melody stands on its own. Trills, grace notes, and extra passes through the changes belong in bebop tunes, not here. Keep it clean and let the harmony speak for itself. Also avoid playing too high on the last repetition. I understand the temptation to show off, but dropping down to the lower register for the final statement actually sounds more sophisticated and gives your embouchure a break. The biggest mistake I see is tempo inconsistency. If you start at 110 and drift to 125 by the end, it ruins the whole effect. Use a metronome until this feels completely natural in your bones, then trust your internal clock.

Practice Routine That Works

Here's what I actually recommend to students who want to master this piece in about three weeks: Week one focuses on getting every note right at 80 BPM with perfect tone. No rushing, no cutting corners. Just accurate pitch and even dynamics. Week two adds the expression—vibrato control, dynamic swells, the actual storytelling aspect. Take it up to 100 BPM.

Week three is performance simulation. Play it three times through back-to-back without stopping, as if you're on stage. Record each attempt and listen critically. Fix whatever bothers you. After that, you're ready. The piece will sound natural rather than mechanical, and your audience will have no idea how many hours you put into those long tones. The trumpet version of this standard has been performed by countless musicians across genres, and while there's no single definitive recording that owns it, the arrangements that work best share one trait: restraint. Play less than you think you need to, and the melody carries itself.