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

The post Trumpet FAQs: Frequently asked questions appeared first on BBTrumpet.

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

The post The no-nonsense trumpet from A-Z appeared first on BBTrumpet.

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

The post TensionLess playing: Made Easy appeared first on BBTrumpet.

People ask me every day why they can’t play high or why they don’t play well high.
Range books are written to make you FEEL good and not written with real life in mind.

They have you play lots of arpeggios. So you play 1 C, 1 E, 1 G, 1 high C. You don’t don’t build a base for the high notes. You build a range flagpole. It has no support and doesn’t work on the gig.

You won’t get a good high C by playing 10 high Cs a day. Not ever. Not in 1,000 years.

We should build a range like a pyramid. 100 high Cs a day, 80 high Ds a day, 60 High Es, 40 high Fs. Can’t go on to G until you increase the Fs to 50.

If your range or endurance isn’t there you start lower. 100 Gs on top of the staff, 80 As, 60 Bs, 40 Cs. Don’t do D until Cs get to 50 a day.
Or even lower. 100 Es, 80 Fs, 60 Gs on top of the staff, 40 As, and don’t play B until you increase the As to 50.

The idea of playing more high notes to improve range is why I wrote the New Expanded Range Arban book a couple of years ago.  It gives a lifetime amount of material to work with.

You play Arban exercises, songs, my weird exercises, and more songs… and all of these are in a dozen or more keys so that they fall in the part of your range that you are working.

There are thousands of ways to accomplish the goal of a good high note pyramid.

I have had countless questions about how to do this, what to play, where to start…

That is why I wrote this practice book “Range Pyramid Practice”. It is a 108 page Ebook. I have a playing test that shows you exactly where you need to start in the exercises to improve quickly and safely.

Then it has weekly exercises the lowest ones top out at 3rd space C and the highest ones top out at G above Double High C. (3rd G above the staff.)

The workload increases every week and it only takes 14 minutes a day. BTW 7 of those minutes is resting.

Range Pyramid Practice a 108 page

The post Trumpet range pyramid appeared first on BBTrumpet.

I asked some of the best of the best for their ideas about trumpet embouchures.

In this 244 page Ebook are the thoughts of over 70 Trumpet pros:

• 20 of them are Authors of over 72 trumpet books with 3 others currently writing books
• College trumpet professors and noted teachers
• Pro players who have recorded over 3,500 movie, TV, and cartoon soundtracks
• Embouchure clinicians
• 2 ITG presidents
• ITG board members past and present
• Mouthpiece and trumpet designers and makers

I chose these people because I know what they have to offer. They are top students of Legendary trumpet teachers like Adam, Broiles, Caruso, Cichowicz, Gordon, Herseth, Jacobs, Jacoby, Maggio, Mendez, Reinhardt, Schilke, Stevens and Vacchiano.

Many have become world-renowned teachers in their own right. Plus of course world-class players in all areas of playing including hundreds of years of combined experience in world-class Symphonies, and over a thousand years of combined experience in The Big Bands of Armstrong, Basie, Dorsey, Ellington, Ferguson, Gillespie, Goodman, Herman, James, Kenton, Mingus, Rich, Terry and Welk. Years of multi-show nights in Las Vegas, thousands of movie, TV, and cartoon recordings. Included are authors of method books, horn designers, mouthpiece designers, ITG Presidents (more than 1), College Professors, inventors, and innovators. In short, these people have been there and done it all.

You’ve ALWAYS wondered what these people REALLY thought about trumpet embouchures. Now you can find out. This may be the most exciting book you ever read.

“Congratulations to Clint McLaughlin for this informative collection of professional opinions.
“The Pros Talk Embouchure” is a helpful tool for better understanding both the differences and the common ground relating to the embouchure. It will hopefully lead to further candid discussions about this vital aspect of trumpet/brass performance.

ITG Journal June 2004

Pops,
Your book is just fantastic and thank you for inviting me to offer up some of my thoughts on the subject.
It is an interesting book regardless of anyone’s bias.
Whatever one believes already can be found in this edition to verify that he is correct in his analysis.
On the other hand for those who are still searching and do not have their mind made up already it has something that is bound to work for them.
Congratulations on a job well done.

John Haynie: Author of How to Play High Notes, Low Notes and All Those In Between, Professor Emeritus University of North Texas 1950-1990

Hi Clint…
Thank you so much for the copy of the embouchure book…
It is absolutely wonderful!!!
May be the most complete book on embouchure ever compiled…
You have done trumpet players a wonderful service!
Best wishes…

Bill Knevitt: Author of several trumpet method books including The Truth About How To Play Double High C On Trumpet.

Trumpet players who contributed to this book:

• Rune Aleksandersen
• Lynn Asper: Author, A Physical Approach to Playing the Trumpet
• Paul Ayick
• Rick Baptist: 850 motion picture soundtracks, 1000 cartoons
• John Bennett: 33 years in Vegas. Over 20,000 Shows
• Seneca Black: Lincoln Center Jazz Orchestra;
• Eric Bolvin:
• Girard Giz Bowe: From a students point of view.
• Joseph Bowman: The University of Tennessee at Martin
• Jim Buckner: Henderson State University;
• Sam Burtis: Author of ‘The American Trombone’
• Barbara Butler: Northwestern University
• Kevin Cearley
• David Champouillon: East Tennessee State University
• Kevin Cobb: American Brass Quintet
• Mark Curry: Curry Precision Mouthpieces
• John Daniel: Lawrence University
• Charles Decker: Tennessee Technological University
• Art Depew
• Vince DiMartino: President of The International Trumpet Guild 2002
• Nick Drozdoff
• Jon Faddis: Purchase College
• Mic Gillette
• George Graham
• Matt Graves: Author of Fundamental Flexibility Studies
• Mario Guarneri: 300 television and motion picture soundtracks; Inventor of the Berp.
• Nick Hansinger: Assistant Personnel Manager, Detroit Symphony Orchestra
• John J. Haynie: Author of “How to Play High Notes, Low Notes and All Those In Between” Professor Emeritus University of North Texas 1950-1990
• Clyde Hunt: Author of ‘Sail The Seven C’s’ ; Many CDs of trumpet Methods like Brandt or Schlossberg;
• Walt Johnson: Author of ‘Double High C in Ten Minutes’
• Bill Knevitt: Author of several Trumpet books
• John LaBarbera: University of Louisville
• Lucinda Lewis: New Jersey Symphony
• Roddy Lewis: 12 years in the West End in London
• Tommy Loy: 22 years playing National Anthem for Dallas Cowboys
• John Lynch: Author of “A New Approach to Altissimo Trumpet Playing.” Inventor of the “Asymmetric mouthpiece
• Jim Manley
• Gordon Mathie: Author of ‘The Trumpet Teacher’s Guide’ & ‘Drudgeries’ (Routines for advanced wind players); Professor Emeritus, Crane School of Music
• Leon Merian: Author of ‘Trumpet Isometrics’; ‘The Man Behind the Horn’; Jet-tone personal mouthpieces
• Rex Merriweather: CD “Chased”
• John Mohan: 1st trumpet of Musicals in Germany
• Gary Mortenson: Kansas State University, Publications Editor, International Trumpet Guild
• Dennis Najoom: Milwaukee Symphony Orchestra, University of Wisconsin – Milwaukee; Leadpipes and mouthpieces
• Vaughn Nark: 20 years with Airmen of Note
• Dennis Noday: Kenton, Ferguson and Rich; Author of ,”Dennis Noday’s High Velocity Trumpet Playing
• Flip Oakes: Wild Thing Trumpets
• Jim Olcott: Miami University, ITG past president
• Jeanne G Pocius: Teacher, Player and embouchure clinician
• J. Timothy Priddy: Navy band, Teacher, arranger, player
• Rick Rangno: The Central Band of the Canadian Forces in Ottawa, Canada.
• Charly Raymond: http://www.charlyraymond.com; Moderator on the Trumpet Herald Caruso forum.
• Chase Sanborn: Author of ‘Brass Tactics’, ‘Brass Tactics Companion’ & ‘Jazz Tactics’; mouthpieces
• Arturo Sandoval: twelve Grammy nominations; www.arturosandoval.com
• Carl Saunders
• Jay Saunders: UNT
• Eddie Severn: Author “Trumpet Solutions”
• Matt Shulman: Trumpeter, Composer, Inventor of the Shulman System for Brass
• Bill Siegfried: Teacher and player; “Virginia Grand Military Band”
• Karl Sievers: OU School of Music, Principal Trumpet Oklahoma City Philharmonic, Board of Directors International Trumpet Guild
• Richard Smith
• Dave Stahl
• Marvin Stamm: Stan Kenton and Woody Herman bands
• Al Stewart: Benny Goodman and Woody Herman bands
• Michael Stewart: Author of “Courting the Upper Register”
• Andrea Tofanelli
• Jon Trimble: Bobby Vinton, Wayne Newton, Branson Belle.
• Ole Utnes
• Mike Vax
• Robert Weast: Professor emeritus Drake University; Author of “Keys to Natural Performance” and “Trumpet Players, Principles, Quotes and Commentary of Trumpet Players and Pedagogues From 1584 to the Present“.
• Rich Willey: Author of ‘I’d Rather Be Boppin’ 24 Bop Duets Vols. 1, 2 & 3, Dixie Duets
• Keith Wood: Anita Bryant, Shoji Tabuchi.
• John L. Worley, Jr.: San Francisco State University

The post The Pros talk embouchures appeared first on BBTrumpet.

Learn new sound model concepts and how to dial in a sound for every phrase of a piece. Not just playing but turning it into music.

Learning the physical mechanics is only part of what it takes to sound like a pro.

There are REAL reasons why so many players practice and never really improve. They have nothing to do with talent. It has to do with the things that they think they know but don’t fully understand.

They played trumpet in High School and quit then they started back as adults. Not to be rude but that means they have a High School player’s experience and 1st hand knowledge. This means that they know those things as they relate to a High School level player but to break into the upper ranks is a completely different ballgame and they have no experience in that. Even college-level players lack the expertise that pros have and those college players have a great deal to learn.

I will give you 1 example of that. I have a friend who has a BM and MM in trumpet. He has a favorite player and listens to that player. He thinks he fully understands the sound model concept. Sadly he only gets the 1st level of it. I call that level the world globe. It contains everything but nothing is refined or defined enough to see the street where you live. To learn to refine the listening habits and define their sound and refine yours takes just a few minutes. But you have to go through the process and do it every time you play the trumpet. It is covered in my new book.

• There is a difference in HOW a pro player plays physically; which I have already covered in Tensionless Playing.
• There is also a BIG difference in HOW a pro player THINKS about playing the trumpet.
• There is a difference in HOW he listens and WHAT he listens to and for.
• There is a difference in HOW a pro player practices WHY he chooses what he practices and how to decides what to practice

Everyone thinks that they know how and what to listen for. That is entirely wrong. If they knew then how is it that a teacher can point out problems with the playing, the sound, the musical interpretations?

The answer is that they didn’t know WHAT to listen for or what it meant.

A player has to be taught this. OK, so what is the sound that you want?

Well, there are a minimum of 4 levels of things to listen to and to determine the sound. Some players use zero but most only use 1. They are using a world globe to try and find a street address. It doesn’t work. You have to learn how to make a country, state, and city map of sounds before you arrive at your street address.

We have to learn to hear what we sound like, and what pros sound like. We have to learn how to make a practice routine that fits the US and how to change it based on our needs.

There is a physical aspect to playing the trumpet that gets us in the ballpark IF we listen. That physical aspect is what I am best known for. It is about 1/3 of what I do with students who study with me for longer than just a tune-up lesson.
Most hobby players if they take a lesson only take a tune-up and get in the ballpark. They are happy to be there but there is so much farther that they can go IF they go to step 2.

The trumpet is so much more physical AND mental than any other instrument.

A brand new player can press the middle c on the piano and an in-tune middle c will sound. It won’t be a third off or under or over pitch. It will be resonant and not slightly out of pitch center. It will vibrate and not sound strained or forced.

That new player can play every note there is on the piano on day 1 and he/she can play for hours and hours without the sound changing and without getting tired, sore, or hurt.

Yet piano players spend years thinking about their craft. Most trumpet players never get past the physical basics in part because there is so much to do, in part because so few teach it and in part because they don’t know what the next step is.

This is the next step.

It also includes a section that helps you to find your current skill level and has the exercises and solos that you need to practice to reach the next skill level.
I have found myself using my book to help evaluate players and for suggestions on what to work on next.

This ebook is 62 pages long and gives you a good guideline on how to alter your thinking and how to proceed to the next step to play the trumpet.

How To Play Trumpet – Mindset and Method

Playing the trumpet is about more than just physical technique. Breath control, embouchure and practice routines matter, but a player’s state of mind can impact progress significantly. An emotionally engaged way of approaching practice and play, brings out abilities and strengths so much faster than rolling through prism scales with no context.

The thinking behind this technique is even easier: your perception around playing can change the way you are able to learn.

The post Play The trumpet: The Key Is How You Think appeared first on BBTrumpet.

I and countless other teachers have complained for years about people doing pedals the wrong way and creating problems in their playing.
Part of the problem was always how the exercises in the books were written.
None of them ever used a setpoint idea even though some of the teachers who wrote the books used a setpoint when playing.

I finally decided to write a pedal book explaining the HOW to play pedals and using a setpoint written into every exercise to promote ONE embouchure set for the whole exercise.

Playing the pedals correctly requires us to think more about keeping the normal embouchure and letting things build and correct by themselves. We can NOT change things to make them sound pretty as that disrupts the one embouchure set.

You will discover more flexibility between registers and more volume in every register as you work in this book. The range extension part uses pedals and high notes in the same exercise so that you build your ability to play 3, 4, and 5-octave lines. It feels amazing.

Pedal Tone Book – Trumpet Power Builder

Pedal notes are a special component of trumpet skills, which many players first recognize as they venture further along their musical career. These super low notes can sound a bit strange when you first hear them, but they are doing a vital job. These Pedal tones would make the embouchure relaxed, and also work on your air speed control as well as full instrument flexibility.

The Pedal Tone Book presents exercises that lead players through this frequently neglected technique, encouraging them to work on improved fundamentals as they do so.

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In the old versions the etudes were in one key. The top note was too high for younger players and not high enough to work on range for experienced players.
This was a problem and it bothered me when I was in Middle School (too high) and in High School and College (not high enough).

I decided to fix that problem. I took the 1912 version of the book and I wrote the studies and Etudes in different keys and covering the range from Low F# to Double C.
If you are working on making high E, F, (whatever) a more stable note; this book has exercises that use that note.

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