The Trumpet lesson videos on this page cover a great many topics pertaining to how to play the trumpet like a professional. Many of these trumpet videos were shot during actual trumpet lessons and will include one of my students in it.

Play everything on 1 and only 1 embouchure set.

Mouthpiece buzz to triple c.

Pencil exercise for low to high notes on trumpet.

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Are you a music lover looking to add the trumpet sound to your skills? Or maybe you’ve been inspired by the orchestra’s jazz solos or brass section. Whatever the reason, if you want to learn “how to play the trumpet”, look no further this is a complete guide for beginners with tips to become an expert.

This guide will take you through the steps of accurately playing the trumpet. You’ll learn the basic techniques, proper embouchure, breath control, and finger placement to produce that trumpet sound.

Whether you’re a complete beginner or a rusty trumpet player looking to brush up, we’ve got you covered. We’ll give you tips to overcome common problems like hitting high notes and building endurance and tone.

Unleash your inner musician and let’s make music. Join us as we play the trumpet with accuracy and fun. Let’s use this amazing instrument to make beautiful music. So, grab your trumpet, and let’s get started!

Trumpet basics

Playing the trumpet starts with the basics. As a wind instrument, the trumpet requires a set of unique skills and techniques to produce that sound. Let’s get into the trumpet basics and set the foundation for your musical journey.

First, we should learn what are the parts of the trumpet. The main components are the mouthpiece, the valves, the tubing, and the bell. Each of these parts plays a big role in producing the trumpet sound. Knowing how they work together will help you understand the instrument and its mechanics.

Now you need to learn how to hold the trumpet. The correct posture is key to control and tone. Keep your back straight, shoulders relaxed and arms in a comfortable natural position. Don’t tense any part of your body as it will affect your playing.

Choosing your trumpet

Choosing the right trumpet for you is a big decision that will affect your playing. There are several things to consider when choosing a trumpet; your level, budget, and personal preference.

For beginners, it’s usually recommended to start with a B-flat trumpet. This is the most common and versatile trumpet pitch, so it’s a great one to learn the basics on. As you get more advanced you may want to try other trumpet types; the C trumpet or the piccolo trumpet which have different tonal qualities and playing characteristics.

When it comes to the trumpet itself you’ll find a range of options; from student-level instruments to professional grades. Student trumpets are generally more affordable and designed for learning, professional trumpets have better materials and more features. Consider your budget and long-term goals when you make your decision.

Also, try out different trumpets before you buy. Visit your local music store or connect with experienced trumpet players who can give you advice and recommendations based on your needs and playing style.

Trumpet embouchure and breathing

Master the trumpet embouchure and develop good breathing techniques and you’ll get a rich, resonant sound. The embouchure is the way you position your lips and facial muscles to create the vibrations that produce the trumpet’s tone.

Start with the embouchure formation. Press your lips together gently, not too tight. The mouthpiece should be above the center of your lips, with the top lip covering a bit more of the mouthpiece than the bottom lip. This will give you a centered sound.

Breathing is just as important for trumpet playing. Breathe from your diaphragm, your abdomen should expand as you inhale and contract as you exhale. Don’t shallow chest breathing, this will limit your air support and cause fatigue. Practice deep, controlled breathing and work on maintaining a steady airflow while playing.

Try out different embouchure and breathing techniques and be patient with yourself as you develop these basics. Consistent practice and attention to detail will hone your embouchure and breathing and give you a more powerful and expressive trumpet tone.

Fingerings and scales on the trumpet

Fingerings and scales are the foundation for all players when learning how to play the trumpet. With the three valves combined, you can play a whole range of notes and melodies.

Start by learning the basic fingerings for the most common notes in the trumpet range. Practice single-note exercises, focusing on clean valve changes. As you get more comfortable, add more complex fingerings and explore the whole instrument.

Scales are the next step. Start with the major scale as this is the foundation pattern that will help you develop your technique, dexterity, and understanding of the instrument. Focusing on tone, rhythm, and finger coordination, practice scaling in various keys.

Gradually add more complexity to your scale practice, add different articulations, dynamics, and tempo variations. This will not only improve your technical skills but also help you develop musical phrasing and expression.

Fingerings and scales practice will be the foundation for more advanced trumpet techniques like arpeggios, intervals, and complex melodies. So invest in this foundational work as it will be the base of your trumpet playing development.

Trumpet maintenance and care

Proper maintenance and care of your trumpet is key to its longevity and performance. As a musician, you need to know the basic maintenance tasks to keep your instrument in top shape.

One of the most important parts of trumpet care is cleaning. After each playing session wipe down the outside of the trumpet with a soft, lint-free cloth to remove fingerprints and residue. Also, you will need to clean the valves, slides, and internal tubing periodically to prevent grime and debris buildup.

Lubrication is another part of trumpet maintenance. The valves and slides need regular application of valve oil and slide grease to operate smoothly. Follow the manufacturer’s recommendation for the type and frequency of lubrication and use high-quality products designed for trumpet maintenance.

In addition to cleaning and lubrication, make sure to store your trumpet properly when not in use. Keep the instrument in a soft case and avoid exposing it to extreme temperatures, humidity, or direct sunlight as these can cause damage over time.

Maintenance and care will not only lengthen the life of your trumpet but also give you a consistently good sound. Invest the time and you will get a good playing instrument.

Good tone and sound on the trumpet

Getting a good tone is one of the most enjoyable and difficult things about playing the trumpet. A beautiful sound takes time, practice, and a good understanding of the instrument.

The embouchure lies at the core of a brilliant trumpet sound. As we’ve already discussed, how you position your lips and facial muscles is key to the vibrations and the sound. Keep refining your embouchure, and try different levels of lip tension and mouthpiece placement to find what works for you.

Breath support is another key to tone production. Keep a steady, controlled air stream, and use your diaphragm to power your playing. Don’t force the air, this will give you a strained, unnatural sound. Instead focus on relaxed, efficient breathing so you can play long notes and phrases easily.

In addition to embouchure and breath control, pay attention to your articulation and tongue placement. How you attack and release notes can affect the clarity, precision, and overall sound of your trumpet. Try different articulation techniques, tonguing, double tonguing, and triple tonguing to develop a versatile playing style.

Practice, attention to detail, and experimentation will be the key to your trumpet sound. Get feedback from other players, teachers, or mentors, and don’t be afraid to try new things until you find what works for you.

Trumpet exercises and warm-ups

Having a consistent warm-up routine is essential for trumpet players as it prepares your embouchure, breath control, and overall technique for the demands of playing. Spending time on warm-up exercises will improve your tone, range, and endurance.

Start with long tones. Focus on steady air and a central, resonant sound. Gradually increase the range and dynamics of these exercises and play within your comfortable range.

Next, do some lip slurs. These are long notes without using the valves. This workout creates your embouchure adaptability and coordination and generally control and articulation.

Arpeggios and scales are also part of a warm-up for the trumpet. Hone diverse scale designs, and pay consideration to finger ability, cadence, and tone. Gradually increase the tempo and complexity as you get more comfortable.

Now add some articulation exercises to your warm-up, single tonguing, double tonguing, and triple tonguing. These will help you develop a clean technique.

Remember, consistency is key. Set a time each day for your warm-up and be patient with yourself as you build endurance and develop your trumpet skills.

Intermediate trumpet playing techniques and exercises

As you get more advanced in your trumpet playing you will want to start exploring more advanced techniques and exercises to challenge yourself and continue to develop your skills. These intermediate-level exercises will help you expand your musical vocabulary, and increase your range and overall trumpet mastery.

One area to focus on is interval training. Practice playing different intervals, from simple major and minor seconds to larger leaps like fourths and fifths. This will help you to be able to play different note combinations cleanly and accurately which is essential for playing more complex melodies and passages.

Another area to explore is double and triple tonguing. You’ll be able to play notes that are repeated more quickly and accurately with these advanced articulations. Master these and you will have the flexibility to play faster passages and contribute to a more dynamic playing style.

Expanding your range is also key at the intermediate level. Work on exercises that gradually take you out of your comfort zone, both in the high and low ranges. This will not only make you more versatile but also give you a fuller sound.

Also, work on more complex rhythmic patterns in your practice. Syncopated rhythms, polyrhythms, and irregular time signatures will help you develop your sense of timing and musical phrasing. This will make you a more versatile trumpet player.

As you get into these intermediate techniques remember to keep a balanced approach to your practice. Alternate between technical exercises and more musical playing to make sure your development is balanced and maintainable.

Next Step: Play the trumpet at an advanced level

You now have this complete guide to playing the trumpet with precision. From the basics to the advanced techniques, you have everything you need to get started.

Remember learning how to play the trumpet is a lifetime journey. There will always be new skills to learn, new music to master, and new ways to express yourself on this amazing instrument. Enjoy the process and keep getting better with practice.

As you continue your trumpet-playing journey consider:

• Find a qualified trumpet teacher or mentor who can give you one-on-one guidance on how to play the trumpet. Working with an experienced teacher will help you progress faster and overcome specific challenges.
• Join local music groups, school bands, community orchestras, or jazz ensembles. Playing with others will improve your musicianship, ensemble skills, and stage presence.
• Explore diverse sorts and styles, from classical and jazz to world music. Broaden your musical horizons and become a more versatile trumpet player.
• Attend live performances, concerts, and trumpet masterclasses to surround yourself with the artistry and inspiration of great trumpet players. Watching and learning from the best can be very motivating and enlightening.
• Set yourself achievable goals, whether it’s to master a new technique, expand your range, or play a difficult piece. Celebrating your successes will keep you motivated and engaged in your trumpet-playing journey.

Remember, the journey of learning how to play the trumpet from a beginner to an expert trumpet player is filled with both challenges and rewards. Embrace the process, stay dedicated, and let the magnificent sound of the trumpet be your guide. Happy playing!

– BBtrumpet

The post How to Play the Trumpet – A Complete Guide appeared first on BBTrumpet.

Pops The Trumpet Cop, trumpet cartoon videos answer serious trumpet questions. A great series for young or young at heart players.

Trumpet cartoon videos are a great way to get students attention and still teach meaningful lessons. Even my adult students love the trumpet cartoon videos and have learned from them.

Why take lessons with Pops.

Trumpet teaching is often 200 years behind times.

Use your embouchure tools in the right order.

Procrastination is our enemy.

Filming Lip Vibrations.

Why is there air in my sound?

Anchor Tonguing

Endurance and arch/anchor tonguing

About Resonance and mouthpiece buzzing (the aperture tunnel)

Why talent and desire don’t mean much

Pops the Trumpet Cop Videos

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The post Trumpet Lesson Videos by Pops page 1 appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:
Purchase the lesson and then we can arrange a time that is suitable via email or phone.
I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 400 for 4 weekly 1 hour lessons

Some accomplishments that set me apart from others:
I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
I have helped players to become full-time Professional Players.
I am the first person to ever write about The Aperture Tunnel (TM).
I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
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.
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.
I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
I developed a new way to reduce facial tension in ONE day.
I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
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.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 4-One Hour Weekly Trumpet Lessons appeared first on BBTrumpet.

I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:
Purchase the lesson and then we can arrange a time that is suitable via email or phone.
I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 225 for 4 weekly 30 Min lessons

Some accomplishments that set me apart from others:
I am world famous for teaching and have been mentioned in magazines and books written by other teachers.
I have helped players to become full-time Professional Players.
I am the first person to ever write about The Aperture Tunnel (TM).
I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).
I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)
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.
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.
I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.
I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.
I developed a new way to reduce facial tension in ONE day.
I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.
I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.
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.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 4 Weekly 30 Min Trumpet Lessons appeared first on BBTrumpet.

Whistle the first exercise of an Irons flexibility study. This is the same movement that your tongue should use as you play.

My favorite exercises for this are the 1st 2 pages of the Arban Interval Studies. Page 125.

It is like using Taw for low notes Too in the mid-range and Tee a little higher. As we arch the front of the tongue toward the teeth a little this makes a more focused air-stream. The more focused the stream the less lip mass we excite and the higher we play. Arching the tongue (Forward) also moves the jaw, changing the lips vibrating angle. This makes changes to the amount of lip curl present and changes the pitch.

The commonly done type of tongue arch (center up and tonguing with the tip) stops helping when we get to the high register.
Doing this we would tongue with the tip on the top gum line and the arch would be farther back toward the center of the mouth.
This leaves a lot of room between the tip of the tongue and the space between the teeth where the air goes out. All of that room at the front of the mouth allows the air to spread out again.

It is very inefficient and was NEVER taught by any older proponents of tongue arch. H.L. Clarke, Claude Gordon, Raphael Mendez and Louis Maggio… all taught anchor tonguing (a forward arch). They didn’t teach this upward arch that is normally taught today. It was always a forward arch. A forward arch works 10Xs better than an upward arch.

Below:
This is a forward arch of the tongue and it rolls forward and pushes up to the top teeth and roof of the mouth in the double high register. It is like saying Tissss. For some the tongue anchors at the bottom teeth and for others, it anchors at the edge of the top teeth. This makes the air stream much more focused and even less lip mass is engaged.

Notice where the tongue anchors. In the past many teachers taught a concept called anchor tonguing. That would cause this action to happen naturally.

Tee at Middle C.

As you go higher the hiss gets more pronounced.

Hiss or Tiss at Double High C.

I sometimes hear people say that they tried tongue arch and it doesn’t help them.

The tongue arch is very dependent on how your tongue. If you think of teachers who taught arch like Clarke or Gordon; they also taught some version of anchor tonguing.

There are several reasons for this. When we tongue with the tip of the tongue AND use a high tongue arch; then we make a very small oral cavity and have a real tendency to close the throat with the base of the tongue.

Anchor tonguing combined with arch means that as we arch higher we tongue farther back on the tongue. This pulls the throat more and more open, creates a big oral cavity, and does something else too. This action creates a channel for the air to follow the groove of the tongue and focuses the air toward the center of the vibration. It literally feeds air to a smaller amount of lip tissue and helps to play higher.

A study in Japan in 2000 proved that this arching movement also made us make slight adjustments to the jaw. These movements make changes to the angle which the lips align (affecting the point of vibration) and to the lip’s tension/compression. This affects the use and amount of lip curl and changes the pitch.

In 1962 Dr. Robert Weast did some studies with a machine that blew pressurized air through rubber lips that were under tension.

His machine played a D with:
14 oz of air @ 1 oz of tension,
12 oz of air @ 5 oz of tension,
5 oz of air @ 8 oz of tension.

In his experiment: He had NO way to add lip compression. He could make the hole bigger and smaller by tension alone.

That meant less lip mass could be excited with less air. If we use a bigger lip mass we can get the same note BUT it takes much more air pressure to excite the extra mass.

In 1976 Brian Wadsworth did some experiments proving that the lips touch when they vibrate (a high-speed movie played back super slow). He also proved that given the same air pressure, a small width of air played a higher note than a big width of air (again using an artificial machine.)

Putting all of these together.

As we arch the front of the tongue toward the teeth we make a more focused air stream. The more focused the stream the less lip mass we excite and the higher we play. (This explains why we CAN play high without a tongue arch but with lots of stomach support and we can also play high with a tongue arch needing less stomach support of the air.) It has been this problem of BOTH groups being able to play well that has led to some heated debates. There is a mathematical reason why both ideas work. But for me, I feel that the tongue arch makes things easier.

It works for MANY reasons that all seem to add together.

Faster air speed and a smaller oral cavity are the things that used to be said about arch.

Now think about a guitar string. When we strum the string a note is played as the entire mass of the string vibrates. When we place a finger in the middle of the string and strum then only half of the mass can vibrate and the note sounded is an octave higher.

Our lips are not shaped in a linear fashion like the string. There is much more meat in the center so we don’t vibrate exactly half to change an octave but the idea is similar.

These things have been proven in experiments: directing a smaller air stream to the lips (making a smaller portion of the lip surface vibrate), slight jaw realignments (caused by the tongue motion which realigns the air stream AND changes the lip tension.

Which is the most important?
They are not in agreement on this. But it is generally felt that all of those contribute to increased range by changing tongue levels.

It is because of the Airstream focus and realignments of the lips that I teach anchor tonguing.
I hope this helps explain it.

By Pops

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This is a tough area.  It depends on the playing level you are on. That’s why so many players have an incomplete picture of it. They think of it as 1 size fits all.

Ways That Lip Slurs Advance Your Playing

(Tongue level only is NOT true. They use the embouchure to make register changes like low to high. So the normal description you get from this group is a very inaccurate one trying to show an idea by leaving out the other factors like chops and air,)

The reason that air support alone doesn’t work well until they are more advanced is because they don’t have the embouchure muscles or control to handle that technique. They blat rather than play music. This ruins any concept of tone that they are trying to develop. That’s why I teach it last. Used correctly it is very controlled and musical. 

I take the work away from the lips of advanced players and make them learn to use better support. (Think gut slurs.)

In intermediate students, I focus on correct tongue arch (Anchor Tonguing). This is a forward arching of the tongue. WE arch forward towards the teeth for several reasons. It helps to keep the throat open, and it keeps the overall oral cavity larger for a big sound. Most importantly it is the only type of tongue arch that focuses the airstream which helps in playing higher notes. I also work on the idea of LIp Setpoint or always setting for the same note when we play.

With beginners they need to learn to move the embouchure.

When I play lip slurs in music I will use all 3 things embouchure, anchor tonguing and breath support If the slurs are big enough I will even use a pivot. This is why an experienced player can do the Irons so much easier and quicker. So when done correctly Lip Slurs Advance Your Playing.

Pops

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Subject: Re: Nodes, intonation, pedals and super R#.

Well the number of nodes inside a trumpet depends on which harmonic is being played.

I will discuss a Bbtrumpet using no valves. (The use of valves changes which harmonic is being sounded as in the use of alternate fingerings.)

The note 2 octaves under low c has only 1/4 of a complete wavelength in the trumpet. It also has only 1 node in the horn.

Pedal c has 1/2 of a wavelength and 2 nodes in the horn.

Low c has a complete wavelength in the trumpet and 3 nodes.
Second line g has 1.5 wavelengths and 4 nodes in the horn.

Middle c has 2 wavelengths and 5 nodes in the horn.
4th space e has 6 nodes.
G has 7,
Bb has 8 and

high c has 4 complete wavelengths and 9 nodes in the horn.

Super c has 8 wavelengths and 17 nodes while

2 octaves over high c (triple high c) has 16 wavelengths and 33 nodes in the horn.
(This accounts for the lead player that misses his super** and hits some weird unknown note. There are a lot of slots in this register.)

The vast difference in sound between the pedal tones and low c is caused by pedals not having a complete wavelength in the horn.

The nodes in a cylindrical tube are spaced evenly apart.

In conical tubing they shift toward the smaller end. That is one reason why more people can play pedals on flugelhorn than on trumpet. And why some trumpets resist sounding pedals.

If only cylindrical (straight) tubing were used then every note would require an adjustment by pulling a slide to fix intonation problems.

If the inside diameter of conical tubing is altered at a nodal point then every note that has a node at that point would have it’s intonation altered. Some good and some bad.

Therefore to fix intonation you must only alter nodal points that either correspond to only one note or to several that are out of tune the same direction.

Pops

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