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The No Nonsense Trumpet Book

















Available as an Electronic Book only (No printed books).

The No Nonsense Trumpet Book is 117 page Ebook. It is mostly text and 16 pages of music. It is an overview of the trumpet and every aspect is included. It covers more info than an 8 year college degree.

EMBOUCHURES:
Buzzing,
Costello,
Farkas,
Maggio,
Stevens &
Super Chops.

Pivot Types, Lip Compression, Tongue Arch, Sensation Playing, Embouchure problem chart.

Daily routine to get 8 octaves of c's.

Pressure, No Pressure, Lip Grip
Double & Triple Tongue (all three types)

MOUTHPIECES:
7 CUP DESIGNS, C, V, Convex & 4 types of Double Cups. 700 Mouthpieces in 5 different studies from 1942-1995.
Info from 38 companies. Mpc Customizing & Tone color chart. Tone Intensifiers, Weights & Materials, Rim Contours, Bites, Cup Depths, Shapes, Throats, Back-bores & Second Cup.
Learn what works and why.

HORNS:
Info from 41 companies. All Pro Horns from top 26 companies listed with options and prices. Save 40% on new horns.
Q. & A. to 14 manufacturers. Heavy vs. Lite, Bell Materials, Weights & Taper, Sound Posts, Heavy Caps, Hand Tuning, Valve Alignment, Tuning & Screw Bells.

ALSO: A real mouthpiece comparison chart. Some companies measure in 1/1000 of a inch, some in 1/64, and some in mm. These can not divide evenly into a nice neat box. One chart for a mail order firm lists all Bach # 5,6,7,8,9 & 10s as the same size. That was 6 sizes from one company in 0.15 of an inch. The error spread was over 2 sizes or .30 of an inch. The spread in mine is 1/2 a size 0.075 of an inch. Your second mouthpiece will match the primary one much better. A real mouthpiece customizing system. Learn how to rate on a scale of 0 - 100 the tone color, endurance and range of your mouthpiece or of a new one before you waste time and money on it. Also learn how to have your mouthpiece altered to make it perfect.

A real embouchure and playing chart & test. Learn to teach yourself like a pro would. Listen to yourself & circle what you hear on the chart. Then when you're through you'll know exactly what to work on. NOBODY will teach you as carefully as you will & I'll show you how.


The No Nonsense Trumpet Book
Ebook $ 25 (No shipping)

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'Pops,'
I'd like to thank you for your comments, help, and education in our lesson this past Tuesday.
More than anything else, I'm working to get that relaxed feeling and full ringing sound, and to get there consistently.
I think I'm succeeding at getting much of the tension out of my face and cheeks, although it feels strange and uncertain. But the volume (and ringing in my ears) tells me it's working. As I learn to play more relaxed, I'm confident that the basic feel you gave me for your other fundamentals will really kick in.

An interesting reflection: you've made a reputation (and some controversy) talking about high notes, and you can certainly play high.

But what really struck me was how big, loud, and clear your low notes speak!
Given that my #1 goal is to get that relaxed sound, this was a great sound for me to experience.
I'll let you know how things evolve, and I presume it will be OK to fire a few questions off as this develops.
Many thanks,
Craig D

More about trumpet lessons and trumpet book at my homepage.

Trumpet playing tips.
Factors for a dynamic embouchure on the trumpet.

When are people taught about a set point and trumpet playing?

ALL beginning trumpet students ARE taught the concept.
As first year trumpet students the range falls between low g and 4th space e. They are taught to set for a second line g. This prevents the need for lots of shifting, curling......
The problem comes in year 2 when the range of the trumpet student increases the center of range starts moving up. The set point should as well.
Non trumpet playing teachers are the reason this and a hundred other things are not taught. If you use a pivot and lower your tongue as you descend the g on the staff setting should be easy to add to your full time trumpet playing.
The concept is about setting closer to the needed top note than the needed bottom notes. In some groups setting on a middle c might be enough. In another ie playing Si Si MF (up to g over double c) setting on high c might be better. There is an old Big Band chart Harlem Nocturne where it is almost all below low c. The set point on this is of course lower (second line g).
If you can set for about an octave under the top note played then you get the benefits. This is a flexible IDEA it moves according to the range needed in a piece.

Less lip movement means less work. We all know that the less lip movement we use the easier playing is. I don't mean corner movement but the constant tensing / releasing compressing of the center.
I have always taught it this way in the past. I like to use page 125 line one of Arban. It is a c major scale up and down. But every other note is low G. It both starts and ends on the low g.
1. Play the low g then do the exercise. Most people have trouble on the top of the scale.
2. Play middle c then play the exercise. Here most people have trouble with the low g's.
3. Play a second line g and then play the exercise. Most people can cover the range spread very cleanly this way.
This shows the idea of a lip set in the middle of the range of the piece. If we set on the low end then we have to waste a great deal of strength to play the higher end. (Here it is only middle c.) If we set for the top note the tone and response of the low notes may suffer. (In younger players)
By setting in the middle we compress the range and don't work the chops.
This applies to ALL playing. In a piece with high c's in it set the chops for a note closer to the top like the g on top of the staff. That would compress the range of the same exercise played an octave up.
Compressing the range makes a piece more playable.
I use a 3 octave g scale from low g to g over high c. If I set for low g I can't play it. If I set for g on top of the staff and use a good pivot to make the low g clear I can play 3 octave scales.
To teach a more constant lip setting. I use Etude I in Clarke Technical Studies. A low note NEEDS a big aperture but a loud note CAUSES a big aperture.
Take a second line g and play it pp. Keep the aperture the same but add a lot of air and you CAN get a loud g on the staff.
I try to teach high note apertures by having the student play soft midrange notes then increase the air. Some have trouble controlling the aperture. So I wanted an exercise to teach that control.
Clarke I uses decrescendos when the notes descend and crescendos when it ascends. It changes that only when changing register (lip set point) like going to the high c part. I've been able to use this to better teach using air as an octave key.

This is described in several books found on my site.

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