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Trumpet Lessons and Cornet Lessons

My trumpet lessons, cornet lessons and trumpet books have been quoted in dissertations, magazines and other books.


















How to improve usable trumpet range & cornet endurance quickly. How to improve usable trumpet range & cornet endurance quickly.

Tips and gratuities for trumpet and cornet lessons
Trombone, cornet lessons and trumpet books.

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Comeback Trumpet Players Guide.

Comeback Trumpet Players Guide.

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Air

AIR not lips.
Air power vs. embouchure change.
Trumpet Octave Key.
How can I keep my airway open?.
Teaching lip slurs.
Reserve Power.
Stomach Lift for trumpet and cornet.
cornet, trumpet lessons and trumpet books.Breath Control, Tongue Arch & Pivot.

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Beginners

How do you start your beginners?
Beginner cornet and range.
2nd year trumpet player wants range.
Beginner problems.

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Buzzing

lip buzzing for playing.Buzzing, Air and RANGE.
Buzzing is an exercise.
Cornet mouthpiece buzzingHow buzzing helps your playing.
Embouchure and buzzing.
3 types of buzzes.

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Embouchures

brass embouchures. An overview of Farkas, Maggio, Stevens, Superchops and Lip Buzzing embouchures.
Conserve Lip Movement.
Lip set point.
Open VS Closed embouchure /Which one?
How can I change my embouchure?
Extreme embouchures and playing exercises.
Farkas and high notes.
Tight Corners.
Endurance and embouchures.
Aperture.
Tooth / jaw alignment.
Mouthpiece Placement And Anchor spot.
Aren't embouchure problems really air problems?
Airy Jazz Tone.
Teaching The Stevens in Parts.
Trumpet.Arch vs compression vs tension vs aperture.

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Equipment

Trumpets.Wild Thing review.
mouthpieces. Mark Curry Mouthpieces.
Mouthpiece sizes.
Trumpet acoustics, nodes and super R#.
What should my 2nd horn be?.
Trumpet bore sizes.
Resistance, range and bores.
Trumpet Makes.
books.What trumpet should I buy?
Trumpet and mouthpiece design.
Drilling out mouthpiece throats.
Asymmetrical mouthpieces.
trombone, cornet lessons and trumpet books.Bach vs. Schilke mouthpiece sizes.
Jet-tone & Parduba.
Mouthpieces in MS & HS.

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Mental

Learning/Playing Paralysis.
Zen (Mental Aspect of playing.)
Nerves.
Proof vs Power of suggestion.

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Pedals

Range and Pedals.
Pedal Tones.
Systematic Approach.

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Practice

What is a good warm up?
Sensation Playing.
Practice schedule for Arban, Clarke and Schlossberg.
How can I tell what I sound like?
Is the Arban book complete?
How to practice a new embouchure.

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Problems

Playing Problem Chart.
What Causes An Airy Sound?
I use too much mouthpiece pressure and I want to stop.
Good tone only in middle register.
Playing everyday ruins me.
Braces.
Numb lips.
Bad first attacks.
Why do I have bad days?
Should your lips be sore after practice?
Air leaking through nose.

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Range

1st Lesson for range.
To PLAY High you must.
Building Musical Range.
Lip slurs and trills for range.
Range.
High note endurance.

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Testimonials

Testimonials.

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Various Topics

Naming the C's by register.
Adam & Weast test results.
Tonguing.
Low notes and Pivot.
Health concerns and trumpet playing.
Tell me about Don 'Jake' Jacoby.
Tell me about Tommy Loy.
history Trumpet History.
Why do you teach about things I've never heard of?

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Clint 'Pops' McLaughlin

All content copyright protected from 1995 to date.


Trumpet and cornet lessons.
Factors for a dynamic embouchure on the trumpet or cornet.

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

ALL beginning trumpet and cornet students ARE taught the concept.
As first year trumpet or cornet student 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 and cornet student increases the center of range starts moving up. The set point should as well.
Non trumpet or cornet 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 or cornet 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 for both trumpet and cornet. 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 trumpet or cornet 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 trumpet and cornet lessons found on my site.

This shows pictures and drawings of several cornet and trumpet embouchures.

Copyright protected from 1995 to date.

Thanks for visiting.
Pops