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Trumpet Lessons and Trumpet Books improve Trumpet and Cornet playing.

My trumpet lessons and trumpet books have been mentioned and quoted in dissertations, magazines, other books, web sites and even you tube videos.

















Pops, You have single-handedly given me the confidence and the ability to meet - EXCEED my wildest dreams. When I first came to you I never would have believed I would tour with Maynard Ferguson!!!
Keith Fiala

Web Cam trumpet lessons on Skype and Phone lessons now available. Cornet and trombone too.

Day (3 hour) Lesson $ 300.

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All Day (6 hour) Lesson $ 600

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Featured student Rex Merriweather. Rex is in LA and has done Club, Studio, TV and Movie work.

Featured student Anne King. Anne is another LA musician. She has had many TV appearances (like this one on "Whose Line is it Anyway) and done tours with Guns and Roses, Don Henley, Ray Charles.....

Featured student Keith Fiala. Keith did a couple of tours with Maynard Ferguson and he is now playing in Austin Texas with a group call Memphis Train Revue.

2 video clips of Keith Wood at the end of an all day trumpet lesson with me.

Short lick and how he feels with the new set.

Arpeggio Low G up to Double D and down to Pedal D.

Unbelievable lesson, man!
Clint is a long-range thinker. He told me that he had a plan from our first trumpet lesson together, but it had to be in stages. First, he had to get my belly button (breathing) to work right. Then, straighten out my tongue arch. (and how he used compression) And finally, relax my facial tension.
If he had told me the whole plan, I would've wanted to rush things, just like a college kid. The kicker was when he said, "If you lived here in the area, we could've done all this in 6 months"! Oh well... The only thing I have to battle now is the habit of tensing when I see certain things coming up in the music.

One of the craziest things is that I feel warmed up all the time now. It's WILD! I just buzz in the pedal area and my lip hums all the time. I feel like the Ice Man who just broke out of his "wintery coffin"!
The hardest part was the first hour of our lesson. I could not play a note (even make a sound) for the first hour. Man, I was close to tears. It felt like he wanted me to change my embouchure - I saw weeks or months of trial and error ahead of me. UGH! Then it just seemed to click. A low G came out that made us both smile - BIG! For the remainder of our 8 hours together (including a couple of hours on trombone), I never got tired. I have only gotten fatigued once since, and that was our last song on New Year's Eve -
I haven't even been able to get a good practice in since then. All I've been doing is buzzing. Relaxed feel, dude!
It has truly changed my entire musical life.
God bless,
Keith

The most important part of what I do is LISTEN to the player and decide how much is enough for him to handle. Overload the student and they crash and under load them and nothing happens at all. That is why most people can not teach themselves they do not know where that line is. It took a few THOUSAND trumpet lessons for me to learn it.
Warm ups are to fix the problems you caused in yesterdays playing. No problems means no need to warm up.
Audio of me teaching a comeback trumpet player tongue arch using line 1 page 125 of the Arban book. The comeback player did all of the playing. I left out the 2 tries in the middle to save time.
Herb Alpert Audio of why all players learn to be tense and how to stop.
cornet Video clip of the loose buzzing that started the trumpet lessons.
Pops


I sometimes have people say "Pops you charge more than my local teacher."

Yes but there is a big difference.
1.) I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
2.) I have helped players to become full-time Professional Players.
3.) I am the first person to ever write about The Aperture Tunnel (TM).
4.) I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
5.) I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
6.) I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.
7.) I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.
8.) I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
9.) I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
10.) I developed a new way to reduce facial tension in ONE day.
11.) I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
12.) I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
13.) I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

You have a choice.
You can take lessons from the man that discovered, perfected and has taught these concepts to thousands, including pro players, or you can take lessons from somebody who may or may not have even read about those ideas. The difference is BIG.

Here are some examples.
A teacher from CA took a half day lesson on tongue arch from me and then wrote a book about it.
David Hickman (the 1st International Trumpet Guild President) put me and quotes from my books in his book "Trumpet Pedagogy" 14 times.


Why me? You don't know me and want some proof of who I am.
Some teachers have references like JB in New York, which seem shady. One teacher even gave himself a fake award on one of his own websites.

Day (3 hour) Lesson $ 300.

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All Day (6 hour) Lesson $ 600

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I have had "testimonials" from:
31 Authors who have written a combined 108 trumpet books (music, exercise, embouchure, history...);
61 college trumpet professors and noted teachers;
58 pro players who have recorded over 4,500 movie, tv and cartoon soundtracks;
9 trumpet embouchure clinicians;
3 International Trumpet Guild presidents;
12 International Trumpet Guild board members past and present;
8 mouthpiece and trumpet designers and makers.
I have been featured in articles in The International Trumpet Guild Journal, Wind Player Magazine and Overture an American Federation of Musicians publication. I have been mentioned in over a dozen books written by other trumpet teachers, in clinics, dissertations, forums, magazines, web sites and even you-tube videos posted by other teachers.

My references come from real players that you have heard of.
I met "POPS" on the Internet and he helped me through some frustrating problems that I was struggling with on the horn.
Herb Alpert
Pops is one cool trumpet teacher. Here I am, a long time student of Claude Gordon and what's my problem?? Tongue levels!! Pops diagnosed me right away and helped me out tremendously in a short time. Thanks!!~
Eric Bolvin
Hey Pops, keep up the good work. Even us "old pros" need a little help every now and then. I check in with your site regularly. Thanks.
Bill Churchville
Pops: I'm so glad I got your books - some great stuff in there for every trumpet player!!! Keep up the great work!!!
Kiku Collins
Many, many thanks to you and your knowledge of the trumpet and the embouchure. It has helped me immeasurably since my lesson with you!
Mark Curry
Pops: You have single-handedly given me the confidence and the ability to meet - EXCEED my wildest dreams. When I first came to you I never would have believed I would tour with Maynard Ferguson!!!
Keith Fiala
"Clint McLaughlin is one of the leading experts on embouchure. His books discuss many of the embouchures used by leading trumpet players. I consider his publications excellent resources!"
David Hickman
It was only after reading/playing your books, did I get the range thing!
Roddy Lewis
Check out Pop's trumpet books. This guy knows what he is talking about and can write it!!!! Thanks for all your intelligent advice.
Jim Manley
I think you're doing a great service for the brass community. I once heard that the art of teaching is in finding out how to explain the same thing in different ways to have it hit home for each individual student.
Matt von Roderick
You have said two things which have really helped me and have brought about an instant improvement in my trumpet playing. It's all 20% easier! So thanks again for your positive contribution to the brass world.
Eddie Severn
I have also been in the ITG Journal multiple times and written about in several books.
Article by 'Pops' in The ITG Youth Journal: Jan. 2008.
Article by 'Pops' in The International Trumpet Guild Journal: March 2010.
Book review of Trumpet FAQs by Clint 'Pops' McLaughlin, in the ITG Journal: Jan 2002.
Book review of The Pros Talk Embouchure by Clint 'Pops' McLaughlin, in the ITG Journal: June 2004.
Article about 'Pops' in Overture Magazine AFM LA,CA: May 2001.
Article by 'Pops' in Windplayer Magazine issue #64.
Bolvin, Eric (2007) "Tongue Level and Air", Faded Duck Publishing.
Harnum, Jonathan (2006) "Sound the Trumpet: How to Blow Your Own Horn". Sol-Ut Press.
Hickman, David (2006). "Trumpet Pedagogy: A Compendium of Modern Teaching Techniques", Hickman Music Editions.
Hickman, David (due in 2013). "Trumpet Greats", Hickman Music Editions.
Lewis, Roddy (2003). Embouchure Enhancement
Pocius, Jeanne, G (2007). "Trumpeting by Nature: An Efficient Guide to Optimal Trumpet Performance", Outskirts Press.
I also run a free Trumpet Ezine where many Pros participate.


Herb Alpert cornet I met "POPS" on the Internet and he helped me through some frustrating problems that I was struggling with on the horn.......
Thanks Pops..................
Herb Alpert

It was a pleasure to work with you Herb and I LOVE the Remix CD Whipped Cream and Other Delights: Re-Whipped that you recorded during our relationship. You continue to be an inspiration to all brass players.
Pops
In the last 40 years, I have helped thousands of trumpet players to enjoy playing again. I have also helped comeback players to become full time professional trumpet players. One such comeback player was Herb Alpert who had a 12 year layoff. Herb has released 8 CDs and done countless live shows since I worked with him in 2005.


All day trumpet lessons covers about 30+ 1 hour lessons. The reason is that each 1 hour trumpet lesson changes something. Each lesson has some warming up (down time), each lesson has some correction to the material you worked on (more down time). If ALL of the bad habits had been taken care of; then the new habits would take hold faster. Breaking ALL of the bad habits at once is the smart way to do it.

All day trumpet lessons are 6 hours and cost 600.
Half day trumpet or cornet lessons are 3 hours and cost 300.

Email me to set one up.

The difference between day and all day is how many things we have time to work on.
An average 1st lesson the student is too tight, uses too much mouthpiece pressure, needs to work on tongue arch or lip curl, needs to work on making lip compression, needs to work on resonance and being in pitch center and needs to work on breath support. Those 8 things can NOT be done in 3 hours. That takes a full day.


I have been on-line talking about lip buzzing and mouthpiece buzzing since 1995.
I have said over and over that it is possible to buzz with resting facial tension at a resting facial position.
It seems so easy to me.
I can ask a 5 year old to buzz and they will do the raspberry. (A Loose relaxed lip buzz.) Yet when I ask a trumpet or cornet player to lip buzz; they tense up, make a face, roll the lips, turn colors, and squeak out something much closer to a fart than a real buzz.

The 5 year old has vibrancy in his relaxed buzz and the trumpet or cornet player over dampens (creates so much resistance and stiffness that the lips don't vibrate freely) so he has no vibrancy.

This over dampening comes from bad habits we get in the 6th grade. We play a second line G and they tell us to tighten up to play an A. By the time we have enough lip muscle to play and some wind control we are used to TOO much tension on EVERY note we play. Most players never break this horrible habit.

Another area where we over dampen the lips is keeping the lips in. Most people keep the lips pulled in even for low notes. We really should only pull in for high notes but that is another 6th grade habit that we never break. In the 6th grade middle C was high (2nd line G for some) and we pulled the lips in against the teeth.
As an adult those notes are no longer high and yet most people still keep their lips pulled in tight to play them. To improve to the next playing level you have to break those grade school habits and replace them with new ones.

We can all play better without this excess tension.
This works with DMAs, working pros, college students, comeback players;.. everyone.
Now a comeback player doesn't have the facial strength of a working pro so he will have to do isometrics to build some strength before his range shoots up.

But isn't the pencil exercise going to cause tension?
NO.
We need some strength to play high without a strained sound. Our facial muscles work like any other muscle. If you can lift 100 pounds and I give you 100 pounds to carry; then you will struggle to walk across the room. If I give you 10 pounds then you don't even notice the weight.
If it takes 100%, 90%... even 50% of your strength to play a High C then it is always going to be a struggle. Get it down to 20% and it is easy.
When we struggle we get tense. That tension goes into the sound too.

I had a college grad here last month that had a sound quality change 2nd line G to 2nd space A, 3rd space C to 4th line D, 4th space E to F, G on top of the staff to A. By the end of the day he had a seamless sound and was even playing a couple of notes higher than before.

Listen to Doc play. His sound is seamless. He also plays 8-12 hours a day and warms up so different from most people that it gets talked about on the web.
Doc is trying to get rid of tension with every note he plays. He uses less and less tension; then he knows where his starting point is for the day.

Before I break the tension I have to replace the old need for it. I have to work on tongue arch, 4 different syllables for tonguing, breath support below the navel and once these things are working we can break the tension.


I teach trumpet based on the students' physical traits and not based on any one book or system. It is completely different from anything you may have experienced.

We work on how YOUR body wants to do compression, YOUR best way to support the air, how to reduce mouthpiece pressure, how to give you a sound as BIG as a house, RANGE, ENDURANCE, TECHNIQUE and TONE, TONE, TONE. Notice sound and tone are mentioned 4 times and range only 1 time. We have to remember what is most important.

As we develop as players we are often given challenges that we are not ready for. This leads to short cuts and bad habits. (Multiple embouchures, pressure....)

Even taking time off will NOT break the habits. Habits are ingrained and will comeback. You have to fix the need for the bad habit and then break the habit over and over and over.

That is why I do all day long lessons. I teach you the right way and then spend time helping you to break the habit. You have to be pushed until you are dead tired and then I have to NOT allow you to cheat. A second or third day helps dramatically in allowing you to use your new techniques in your everyda hspace=color1=0x006699y playing.

This approach is extremely effective. Embouchure changes can even be completed in a few days.

Many people think I only fix embouchure problems or teach range. Mainly because I can accomplish those tasks in an astonishingly short amount of time. However; I teach trumpet playing. That encompasses a great many skills.

The topic of embouchure changes is very popular now for trumpet and cornet. You can see many posts about them on several forums on the net. Many people mistakenly believe that I change the embouchure of most of my students.

I personally don't change embouchures unless the old embouchure is unusable. (No range, no endurance, bad sound.... But I only judge this after tweaking the air support, tongue usage.... I make sure all of the other things are working first.

Even then I don't like to do drastic changes. I don't like to put someone on a lip curl embouchure when they played open for years.... (I didn't say I would NOT do it I said I don't like to.)

This is because of down time. Embouchure changes from a tension based set moving to a compression based set will have a period of time when the trumpet or cornet player is worse than before. If they had gigs or were in a band then they can't perform for a while. Just looking at posts on different forums you will see people talking about 12, 18, 24.... Months and still not feeling like they control the new set.

That is because NO consideration was given to their facial structure and to HOW they built muscle and habits with the old embouchure.

Too many teachers and students think of ideal and NOT real world situations.

Some students can't take the frustration of being beginners again and at the bottom of the studio during a 2-4 semester embouchure change. Many of those drop out or change majors.

Again some teachers simply ignore this. It is almost like they don't even see it. My freshman year of college the teacher made 18 trumpet and cornet students do an embouchure change. The next year only 4 of those students were still in music at that school. The teacher still didn't learn and did the same thing to the next freshman class.

Again Too many teachers and students think of ideal and NOT real world situations.

Yes in an IDEAL world there is a good trumpet or cornet embouchure look. But there are physical reasons why many don't play that way. We have to take into account the facial structure and jaw alignment.

We sometimes have to make a compromise between IDEAL and REAL life.

Most of my students play trumpet for a living or at least half of their living and can NOT take ANY down time. That means any and everything we do has to make improvements in the sound and they can't go backwards.

To accomplish a "change" this way means that many Trumpet Greatssmall steps happen to get things ready.

i.e. When a person plays an open embouchure setting they build muscle in a way that hinders how a lip curl set works. They normally rely on tension to play. This hinders the sound production during a change because curl reacts differently when used with tension than when used with compression.

So BEFORE they can add a curl they need to break the use of tension with the trumpet or cornet. If you look at each stumbling block and work on it this way then there is NO down time. The problem is that the cure now becomes different case by case.

Some people learn to break the use of facial tension by learning to play very softly. Some people learn to break the use of facial tension by pulling the corners in and making a slight pucker because soft playing never did it for them. Some people learn to break the use of facial tension by............

See we are all different and learn in different ways and need different things.

Sometimes it is also a matter of when something is showed to a student. They have to be ready in more than one way for the trumpet lesson.

1.) They have to fully understand what they are doing and need to do. This is hard because some people don't like to ask questions and you never fully know what someone else knows. If they don't fully understand it then it makes it harder for them to do it.

2.) They have to be physically ready for the task. Someone who is using facial tension is NOT ready to switch to lip curl or compression. It would sound horrible. They have some unlearning of habits to do first.

3.) They have to be ready for the possibility of playing at a lower level for a while and to go back and cover old material again so the old skills are habits on the new set. Some people don't want to do this.

There are many things to consider when doing an embouchure change and I only mentioned 1 physical trait that needs to be overcome. There are several.

I think some teachers take these changes too lightly and without fully discussing what is going to happen with the student.


People email and call every week to ask me if this trumpet lesson will give them a reliable Double High C. Nobody can honestly say that they can do this. Yes there are some teachers who will say they do this for everyone. But they don't really do it. Nobody can.

In fact due to time constraints it really isn't possible for everyone to get that range.
Are you willing to practice trumpet or cornet 8-12 hours a day 365 days a year? Doc does.
No not every one has to spend this much time but some people do; so we have to keep a realistic goal in mind.

Everyone who has come for a trumpet or cornet lesson felt better about their tone, tonguing, flexibility, endurance and security of range.


One such player was Mark Curry. Besides making what I consider to be the best mouthpieces around; Mark also played lead trumpet for Woody Herman, and Ray Charles for years. Mark came in for a range boost. I surprised him by working on a few skills that I noticed could be perked up while I heard his warm up. WE did get around to range and endurance but we did other things first. The end result was he was very happy and mentions it on his website. Go buy a mouthpiece from him at Curry mouthpieces.

Another was Rex Merriweather who has clips on my sound page and his story is here. Rex warmed up with Woman of the Dark by Chase. I noticed some technique flaws and accuracy issues. After working on this we hit range.
Here is a quote from Rex:
"I shocked a few band mates after a show one night as I glided easily up to and just over triple high "C"! It really helped me to except the fact that I could do it, after hearing you play it."

Then there is Keith who was playing locally in Austin but wanted much more. He wanted to play with Maynard Ferguson. Well he finally got there but we worked on a LOT more than just range. IN fact on the Maynard Ferguson tribute page they make mention of Keith and his "Old World Sound".
Thanks.
He is also on my sound file page.


Some have even made huge range increases. An octave or more. BUT they were already very close and had the lip strength; just not the knowledge to do it.

My point is that nobody trying to remain totally honest can promise to turn you into, Maynard Ferguson, Herb Alpert, Doc or who ever your favorite player is.

Look at my sound files page and you can see that I have had seriously good results with some of my trumpet students.

Each of these got much more than JUST range work. I will NOT do JUST range work. What good is more range if you lose ton; e or it remains poor, or if tonguing and flexibility are not good? I work the total trumpet or cornet player.

Sound clips of my trumpet students.

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This site Trumpet College is about; Trumpet lessons and trumpet books by Clint 'Pops' McLaughlin - All major trumpet and cornet embouchures taught. Learn how to play effortlessly based on your facial structure. Thousands of trumpet and cornet students helped from serious amateur to pro level. Check out our trumpet lessons, our on line cornet lessons and our trumpet books. Trumpet playing, trumpet lessons. This site covers these topics: trumpet playing, trumpet lessons, cornet, cornet lessons, Herb Alpert, Maynard Ferguson, mouthpieces, embouchure. Thanks for visiting.
Pops
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