Package includes:

• 14 Trumpet eBooks (1300+ pages, 3 hours of video),

All delivered by email links

Trumpet Books include:

• 30 minutes a day to better playing
• How the chops work (A picture guide)
• Chops builder (The pencil exercise)
• The Pros talk embouchure
• The no-nonsense trumpet from A-Z
• Trumpet FAQ’s: Frequently asked questions
• Air on the Move
• Tongue Arch & Aperture Tunnel
• Tension-Less Playing
• The 4 Trumpet Octave Keys
• Trumpet Range Pyramid
• Play The Trumpet Don’t Play With It
• New Expanded Range Clarke Book
• High Gear Low Gear

Trumpet Courses Online – 14 eBooks and Video Lessons

Structured guidance and clear practice material makes the job of playing the trumpet a lot easier. Whether you’re looking to take your skills to the next level or learning for the first time, online trumpet lessons give musicians a chance to learn on their schedule. This course bundle features 14 in-depth eBooks and several hours of video lessons, all aimed at helping players build technique, tone quality, and musical knowledge.

Over 1300 pages of lesson plans, the course is an indispensable aid for the novice and proficient trumpet player alike.

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• 14 Trumpet method books (1300+ pages, 6 hours of video) E-books,
•  Multimedia video course,
• 6 hour audio course,
• 5 subliminals (sleep learning)

All delivered by email links

eBooks include:

• 30 minutes a day to better playing
• How the chops work (A picture guide)
• Chops builder (The pencil exercise)
• The Pros talk embouchure
• The no-nonsense trumpet from A-Z
• Trumpet FAQ’s: Frequently asked questions
• Air on the Move
• Tongue Arch & Aperture Tunnel
• Tension-Less Playing
• The 4 Trumpet Octave Keys
• Trumpet Range Pyramid
• Play The Trumpet Don’t Play With It
• New Expanded Range Clarke Book
• High Gear Low Gear

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• Starter Set (7 books 330+ pages and 1 hour and 40 minutes of video.)

All delivered by email links

List of eBooks:

• 30 minutes a day to better playing
• Chops builder (The pencil exercise)
• Air on the Move
• Tension-Less Playing
• The 4 Trumpet Octave Keys
• Trumpet Range Pyramid
• Play The Trumpet Don’t Play With It

The post Starter Set – 7 Trumpet Books appeared first on BBTrumpet.

This package includes:

• 14 Trumpet books (1300+ pages, 6 hours of video) E-books,
•  Multimedia video course,
• 6 hour audio course,
• 5 subliminals (sleep learning)

• 1 hour skype webcam lesson

All delivered by email links

eBooks include:

• 30 minutes a day to better playing
• How the chops work (A picture guide)
• Chops builder (The pencil exercise)
• The Pros talk embouchure
• The no nonsense trumpet from A-Z
• Trumpet FAQ’s: Frequently asked questions
• Air on the Move
• Tongue Arch & Aperture Tunnel
• Tension-Less Playing
• The 4 Trumpet Octave Keys
• Trumpet Range Pyramid
• Play The Trumpet Don’t Play With It
• New Expanded Range Clarke Book
• High Gear Low Gear

Trumpet Lessons Bundle – Big Set and Training

Kicking off a new series on trumpet lesson bundles is not so much about filling the gaps, but instead addressing that for trumpet players who want to do it all in one place, practicing a structured personal curriculum can make practice an effective necessity. The Big Trumpet Set and Training bundle includes several different study guides, oriented to helping musicians reinforce basics yet keep advancing as artists.

Instead of looking for bits of advice all over the place, musicians have a structured sequence of resources at their disposal that walks them through essential aspects of trumpet playing from A to Z.

The post Big trumpet set and a lesson appeared first on BBTrumpet.

This package includes:

• 2nd Book Set (7 books 1000+ pages and 1 hour 35 minutes of video)

All delivered by email links

eBooks include:

• How the chops work (A picture guide)
• The Pros talk embouchure
• The no nonsense trumpet from A-Z
• Tongue Arch & Aperture Tunnel
• The Expanded Range Clarke Book
• High Gear and Low Gear
• Trumpet FAQs

Trumpet eBooks – 7 Book Learning Collection

For trumpeters that are more into reading and working through structured exercises, make sure to create a dedicated eBook collection. This 7-volume trumpet use series incorporates specifications lessons, natural and make doing activities and proven teaching concepts are going to help remaining musicians building up their procedures further.

On this page are links for downloading six trumpet practice books which spiral information: – Each volume focuses on certain aspects of playing the trumpet, enabling students to explore topics step by step, while gaining more control and confidence with their instrument.

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Trumpet FAQs is one of my trumpet books. It is a 119 page Ebook; of questions with my answers to them. I received these questions from players all around the world. The questions came from places like TPIN, the Trumpet News Group, and private email. The players were of all ages and levels of experience. From middle school students to full-time paid professionals.

The questions cover all aspects of trumpet playing such as:

• Air usage
• Beginners
• Braces
• Breath support
• Buzzing Embouchures
• 4 types of Embouchures
• Embouchure changes
• Endurance
• Lip Setpoint (TM) Mouthpieces
• My mouthpiece Chart (adjusted in .05 mm increments)
• Nerves
• Range
• Sensation Theory Drill
• Tone quality
• Warm up

This book also includes 72 concepts for playing compiled from teachers like Claude Gordon and Don ‘Jake’ Jacoby.

The final section of the book is a Trumpet-players Guide. This is an outline of the most important aspects of playing. This is a complete teaching tool by itself.

I ordered the complete selection of Pop’s trumpet books about 2 months ago. I have a degree in Trumpet Performance and therefore have spent A Lot of time analyzing different systems of playing.
I have learned more about “secrets” that deal with playing the trumpet than from any teacher I have had by reading the material presented in Pop’s books.
In one months time I have gone from playing a strong high E to a triple G.
My only regret is that I haven’t had the time to drive up to Dallas to study with him.

Roger

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The No-Nonsense Trumpet Book is a 117-page E-book. 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

Topics

• 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 the top 26 companies are 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 an inch, some in 1/64, and some in mm. These can not be divided 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 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.

‘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

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All notes are not created equally:
Many people think that every note on the trumpet responds the same way to an increase in arch, compression, breath support, or even facial tension. That isn’t what really happens.

Generally, when we cross over an open note we have to change something MORE.
Low D to low E to F, I am picking up fingers and making the horn shorter. I don’t need much change to play the pitches on the pitch. Going G to A, I am making the horn longer by using valves. I need MORE change (arch, compression, whatever) than I needed to change from e to f. Low C to D, G to A, 3rd space C to D, E to F, G to A: Each of these spots needs extra help to change notes.

Several of these sections respond slightly differently to different tools we use to play.
The notes below low C respond in one way. We all know someone with a good-sounding low C but a horrible low A, G, F#. They used the wrong tool. It could be too much arch, tension, or too much breath support. They approach the notes the same as higher notes, and the notes bark out.
Low C to 3rd space C is another section. It works great with arch but compression and tension alter the tone here. You can sometimes hear someone play and they have a sound quality shift in this section. They used the wrong tool. 4th space D to A above the staff responds to the arch differently than the previous octave. It takes a little more change to go from note to note. Some people don’t realize that just a little more arch would do it and so some people start adding facial tension or compression here and it is easy to hear sound shifts from C to D, E to F, and G to A.

There comes a point for everyone where you HAVE to make lip-to-lip compression to keep going higher. This can happen anywhere from A above the staff to F above High C but it is going to happen and you have to add a different tool.

Sadly many people use their lip compression too low and they even use facial tension in the middle register so they have NOTHING left to use. Think of these tools like a light switch. Once you push it then the light is on. Pushing it harder isn’t going to turn the light on more. Once you get to the end of the arch compression, or tension; trying to add more isn’t going to do anything.

That is one reason why I advocate that we do 1 thing at a time. Doing several at once; it is too easy to waste our tools and actions before they reach their most useful registers. Every embouchure has a different way of working so I am using an example of my embouchure. For me, Arch plays from Low F# to the top of the staff. A hiss from the tongue goes from A to D. Lip compression takes over there and as I get to the top of my range some facial tension creeps in.

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; it 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.

This is a chapter from my newest book “Tongue Arch & Aperture Tunnel (TM)”. It is 45 pages of text and diagrams plus it has 30 minutes of video covering various things. The videos include Andrea Tofanelli, Keith Fiala, Keith Wood, Rex Merriweather, and Me.

The post Tongue arch and aperture tunnel appeared first on BBTrumpet.

Most people work on range by playing scales and arpeggios. Most range books use these because they LOOK good in print. Scales to Double High C LOOK good. Sadly they don’t make your range playable in real music.

To play usable high notes, you need to practice music in the upper register.

I looked at a LOT of music for flute, clarinet, piano…

I looked for music that worked on basic trumpet skills but in a register that we don’t normally practice those skills.

“The Next Level” is a collection of music that will help teach you to PLAY music in the upper register.
This music will make you stretch out and improve your technique in the upper register and help you to become what MOST lead players are not.

A MUSICIAN.
I use this music in my in-person lessons and people are surprised that anyone tries to play this type of music in this register.
Regardless of your current playing level. “The Next Level” will not only challenge you, but it will also guide you to improvement in all areas of the trumpet.

It is 31 pages of info and music that will stretch your playing abilities.

Dear “Pops”,
I recently bought your books a week or more back, and they have helped me a lot on my range and my endurance.
I went from a C as my high note, to double C and even higher as my high note.
I want to thank you for helping me with your books.
Sincerely,

Adam

The post The Next Level: Play Music in the Upper Register appeared first on BBTrumpet.

Pops
This whole didgeridoo thing had me intrigued. So I ordered one and to my surprise, I couldn’t get a note (drone) out the thing for the first 1/2 hour. Geez – here I am thinking I am playing so relaxed. I can drone now and of course when I pick up the trumpet the sound is much fatter and more vibrant. It will take some practice – but thanks – a real eye opener for me. I will certainly recommend the ebook to guys.
Thanks again

Jim Manley
PS – The New Arban’s book is a b*tch!

The problem most players have is a simple misunderstanding of how physical actions work for each register. They don’t know what to change, when to change, or how to change their actions. Learning that sets your playing on fire.

Why can Pro players play 8-10-12+ hours a day and other people play an hour and lose their range?
Pros play differently than other players.

Did you know that we have 4 different octave keys?
4 things that help us to produce notes an octave higher but 2-3 are usually never used.

Most of us are too tense on even our low notes. As we play higher we get progressively more tense.

I have talked about this for over 30 years. I often mention that we tend to get tight as we go higher and that extra tension hurts the sound and the range.

Here is an example:
A player uses 10% too much tension to play G on top of the staff. He uses 10% too much MORE for A, B, C, D, and E. He tops out there. Sadly if he learned to relax out that extra 10%, then his range would be double high C. His extra tension wastes the strength and compression before he needs to use it.

Sadly almost everyone is too tight even on low C.

I am going to show you how to unlock your endurance and learn to play with little to no effort.

The main reason we struggle is because we fight the horn and fight our faces.

Another reason is that we fight, misuse, don’t use, or don’t even know about our 4 (FOUR) Octave keys. I tell you how to use those in this book.

This book shows you step by step how to relax and stop fighting when you play.

Once you see it you will understand almost instantly what has been holding you back.

I use Didgeridoo to help people learn to relax. A usable substitute can be found at Walmart and Kmart for 1 dollar. Didgeridoo could be a surprise but it relaxes you differently than say pedal tones. Pedal tones only relax the center of the lips. To play with less tension, you need to learn to relax the sides of the face. Playing pedal tones doesn’t help you to relax the sides of the face. (We need to learn to get more relaxed than we are at rest. We as brass players are tighter at rest than other people and we need to get back to regular normal resting tension levels.)

Yes, we can and should have a tensionless face in the low and mid registers. And a tension-less face (less tension) up high. No, you don’t need a tight face to play low notes.

You need to keep the top lip supple. Using tension from the side of the face stretches the top lip and hinders performance.
You played notes the 1st day you held the horn. They didn’t need tension. Just what are you going to tighten up when you have used those muscles already?

We all know that tension on the side of the face makes us lose resonance. As we get tighter the resonance slips away. Tension from the side of the face tightens the vibrating lip. The tension is in the wrong place.

We should control the corners and make compression BELOW the lip NOT from the sides. Tensing across the bottom lip doesn’t hinder how well the top lip vibrates.
We know we can touch the bottom lip and play but not touch the top lip. We know we can use more pressure on the bottom lip…. The same is true of tension. We need to shift the tension away from the top lip and to the bottom lip.

I am trying to show you that you have much MORE potential by changing WHERE the tension is used

Tongue arch and anchor tonguing are mentioned but it also talks about how and why it is used to compensate for the tension you relaxed away on the Didgeridoo.

It talks about resonance and tension, resonance and overtones, resonance, and the aperture tunnel (TM). The order of the steps is very important.

This is a 28-page E-book with 19 minutes of video examples and explanations.

Here is why players are too tight and are included in the book (I really want people to hear this).

Hi Pops
I just wanted to say that this the best $12 I’ve ever spent!
-wow- I’ve been banging my head against a brick wall for so many years now and after reading your book its just unlocked all that tension which i thought i needed to play.
Thanks again Pops-and all the very best !

Simon Taylor

For the first time in my life, I feel like I’m playing close to proper low C. I’ve been doing the aperture tunnel lip buzzing, and then trying to play the note using the relaxed face and not trying to create an embouchure. The low C is in tune (a first, since I’ve always played very sharp) and I can feel the buzz. It feels big like a trombone buzz. This is all from your new tension-less playing book.
Thanks Pops!

Marcus Harbaugh

Pops;
When I get this right I sound amazing and my A above High C is as strong as my A above the staff, an octave lower.

Wow Pops
I played an E over double C in Jazz band tonight. I felt loose, relaxed and I just knew it would happen, so I went for it. Those 4 octave keys you talk about really worked.

Dave

Thanks Clint
I purchased a copy of your Tensionless Playing eBook yesterday. While I already had most of your eBooks, I think this latest one is perhaps the most important of all that you have written.
Having read it through a number of times in the past 24 hrs, it’s obvious in my own playing (beginner) that I’ve been using way too much tension in my face to produce notes.
The major ‘A-HA’ moment for me was relistening to your 1st file I had heard that previously on your website, but the penny never dropped that you actually say players should lip buzz from low C DOWN two octaves. Hmmmmnnnnn…. how did I miss that before?
Answer….. waaaaayyyyy too much tension in the lips and face stopping those notes from coming out.

You’re spot on about how the pro players play vs the students and part timers.

I’ve had the opportunity to sit in the audience on about 25 occasions here in Australia, at times within 15 feet of the stage, when James Morrison performs. He plays for hours across an enormous range on trumpet (& trombone) without remotely breaking into a sweat. Beautiful, big, full tone from the pedals to beyond double C. While there’s clear muscular strength evident in James’ face, it is centered around the lips as per your diagram in the book.

Finally, I had an online lesson with Jim Manley recently….. absolutely brilliant player and wonderful guy. Your book reminded me of how relaxed Jim was when demonstrating amazing feats on the horn during the lesson. The epitome of tensionless playing from a pro.

Thanks for writing these ebooks. While it takes time for the penny to drop, I’m sure all round the globe people other than I will be having their own ‘A-HA’ moments from reading your books…. and the global trumpet playing fraternity will be all the better for those moments!
regards,

Brian Hayes

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