He demonstrated his daily practice routine with the trumpet ensemble playing each of the exercises as a group. The first exercise had the trumpet ensemble humming a pitch, "making the sound resonate in the body," and then play the same pitch on the trumpet while continuing to hum. It is through this study he feels "intonation, stamina, resistance and sound quality are improved." Next he took the trumpet ensemble through exercises that stressed the "fundamental principles" of trumpet playing. This began with a series of tonguing and finger exercises on different scale patterns and several different types of flexibility exercises. Dutot emphasized the importance of flexibility exercises for development. As the audience listened to the Lyon Trumpet Ensemble go through their daily practice routine, it became obvious why this ensemble creates such a powerful impression during their performances.

Dutot finished the first half of his master class by instructing the ensemble to purposely play poorly in a performance of a short choral. He demonstrated the steps he takes with a young group in forming it into an ensemble. First, he had the ensemble sing the music once with mouths opened and a second time with their lips together, trying to make the pitches resonate within the body. Next he had the trumpets play the music only with a mouthpiece visualizer and then buzzing the pitches with the mouthpiece. At this point, the ensemble was ready to play the music with greater artistic expression and without being concerned with the mechanics of playing the trumpet.

Two participants were invited on stage to play for Professor Dutot. Omar Butler, a student at Julliard, performed the first movement of Haydn's Concerto in E-flat. Dutot's comments dealt with relieving unnecessary tension while playing. This was achieved by having Butler first sing the music and then play it on the mouthpiece. He also encouraged him to breathe in time to the music. Dutot's suggestions created a significant difference in Butler's performance. The next participant was Wilson Portuondo, a student at the Mannes School of Music. He performed the first movement of Tomasi's Triptique. Dutot emphasized the importance of being comfortable and relaxed in your performance. He cautioned students not to play faster than their technical abilities would allow because this causes tension and nonmusical results. Playing at a slow tempo will relax the performer and result in a more musically appealing performance. His suggestions resulted in a noticeable improvement in Portuondo's performance.