Best intro, EVER EVER, IN EXISTENCE

“Go practice” Me watching this video at 1:15am 🤷‍♂️

Excellent advice all the way through. Studied with Jake - he said there are no high notes - only notes further away than others. His approach was to avoid tension, always focusing on playing the note next to the last one you could consistently and comfortably play.

Sounds like good advice for any brass player generally

5:51 Nose breathing for circular breathing and specific exercises that call for it (some people will try to tell you never breathe through your nose without realizing there is a time and place to do so).

I was going to say everybody struggles to play high, but then I realized you were talking about notes...It's also a struggle to type high.

Great info! Mouthpiece pressure does help for a few minutes/seconds until the blood flow is reduced enough cause fatigue I find it you create the compression with the tongue the lips are more free and lip tension can be minimized also the jaw can remain open. To work on mouthpiece pressure Costello/Stevens Pen/Pencil and Palm Technique get it done. Another big issue trumpet players have is topping out at high C/D or F/G above high C, usually due to getting compression for the higher notes by closing the teeth/jaw. For this practice dropping/opening the teeth/jaw before each phrase. Another benefit is it opens the throat for more harmonics causing "PRODUCTION" a big boost in efficiency of tone aka Less air is needed for a way louder sound just like an opera singer does. Spit buzzing or tongue controlled embouchure is what I use to train and work the tongue Quiet playing is a similar aperture size to high notes so practice normal range as soft as possible is another great way to work those lips in a relaxed manner, another great use for H.L. Clarke 2nd study or 1st or 3rd etc...

Great Video, I never thought about what my corners do. I tried working a bit with them and somehow hit a Triple F

Great advices ! Also nice editing 🔥 I find the last advice IS one (if not THE) greatest 👍 Practicing to copy the good feelings when producing notes. I find your demo of a stuffy and Bad sound really Amazing 👏

Turns out I was focusing on the wrong cheeks!

Good, helpful material! Thanks.

Excellent thoughts, brother Freddy!

I feel called howdy. Pointed out everything I did wrong lol😂

Thanks. Great video!!!

Very good advice Thank you

Like it thanks I'll try too practice this.

Hey! My game is pressure, pressure, and more pressure! Until your teeth hurt and your overbite is gone! 😅

i could've used this 3 years ago when i was in my prime playing, might inspire me to get back to work lmao

As a horn player and teacher, I've learned that people use equipment that's too big. XL inner diameters, cups that are too deep, bores that are too big.

I started learning trumpet my freshman year and I am still having this problem in my senior year. My primary instrument is the saxophone so it’s a very different embousure.

play trombone, but very helpful

will you be attending TMEA

What’s the intro song

I have pretty egregious scar tissue throughout my upper lip, can't comfortably reach above the staff anymore. I feel that as I pull at my corners, the tissue is pulled thin and my lip has trouble vibrating. Do you have any idea if it's even possible to recover my range from before? Been looking for answers for a while now but it doesn't seem like many have had similar problems. I will try these tips to help but any info would be great.

Thanks, maybe I will get higher. I'm stuck at g''' for a year now.

It Germany we say it depends on your „Naturfresse“

why trumpet players struggle to play low? honestly it sounds better then playing ultra high notes

What purpose do tight corners serve if the lips in the mouthpiece are relaxed regardless?

Additional tip: practice with other instruments such as baritone and French horn. Just exercise, practice, and remember that if you practice poorly then you'll perform just like you practiced.

It's really interesting to see how the trumpet/brass world seems to be so incredibly different when it comes to teaching technique than any other instrument. For the most part, pianists who know what they are doing know the same techniques and if you follow them you will be fine. And then you switch over to trumpet and not two people will have the same way of doing things. I have heard everything mentioned in this video and also taken a step further, and I have also heard the exact opposite of everything said here. All coming from respectable players and teachers. After many many years of struggling as a professional and looking into pretty much anything related to trumpet playing, I have come up with a few main conclusions. 1. Air is overrated (both going in and out). Watch out for air teachers, these are the ones whose answers to everything is "just blow more air". If air was the most important thing for trumpet playing then tuba players would be the best trumpet players. 2. Corners and embosure strength in general is also overrated. People often confuse playing with way too much tension for embosure/corner strength. 3. Avoid extreme eeee shape with your tongue (which is what happens naturally every time anyone tells you to say aaah eeeh while sluring). Also, it's impossible to slur without your tongue moving, so if you can slur any two notes, your tongue is already moving. 4. Become obsessed with checking your teeth. Top and bottom teeth must be aligned. Use the pencil excersise (correctly, meaning you don't wrap your lips around the pencil tightly but instead focus on your jaw and teeth alignment). 5, Finally and probably most controversial, stop buzzing your mouthpice. Mouthpiece buzz encourages tightness in the lips and a closed jaw position that you will then have to undo, so why do it in the first place? The trumpet sound is absolutely not an extension of a mouthpiece buzz, and when it is, it creates that "student sound" we all know. Players eventually get rid of that student sound when they learn to relax and open up more, but they learn how to switch from buzzing to playing, but why do it in the first place? I hope this wasn't too much but this is something that I am passionate about after struggling for so many years and listening to the same b.s, practicing the same b.s and only getting worse.

I play the sax I dunno even why I am here 😂

I feel called out. He pointed out everything I did wrong lol😅

The top lip shouldn't be relaxed, there needs to be the right amount of tension in the right places all around the embouchure as well as all the other elements that need to be in place - air, teeth opening & angle (same as horn angle), the lips need to be in the right position relative to each other, tongue level, mouthpiece pressure and pressure distribution. The size of the aperture per say isn't what creates high notes, the change in tension of the vibrating tissue is what's important - the aperture size on any given pitch changes depending on how loud or soft it's played. Everything changes depending on the pitch and volume. All the parts of the whole need to be doing the right things.

OK but how do you crank the face filter up that high?

I have to smile at some of your claims. The non-stretching -- Haven't watched videos of Maynard or Jon Faddis set up their chops, have you? Lots of stretching there. The Darth Vader breath -- check out the video by James Pandolfi. Completely different approach that works well for some of us. Nose Breathing -- While I don't find it useful myself, there are a lot of Carmine Caruso advocates that use it not only while rehearsing but also in performance. Which makes my point: completely contradictory methods from various presenters and players online. No wonder we trumpet players are such a confused lot.

"You can practice like that for a thousand years and never improve."--Jerry Callet Tight corners are death to an embouchure. Jerry advocated tonguing through the teeth (no eee-aaa-ooo nonsense), relax the corners, use the minimum amount of (compressed) air to play (no deep yoga/wedge breath). If you "struggle" for high C, you're simply playing wrong. Believe me, I know the euphoria of finding "The Key" to trumpet playing only to realize it was just more snake oil. Claude Gordon Book. Irons Book. Colin Flexibility book. Caruso. Adam. Deeper mouthpiece. Wider mouthpiece. Maybe a heavy receiver? Heavy dust caps! Gap? Stamp? Maggio? Pedal tones? Long tones. Flow. All promised progress, but ended unhappily. Nobody can keep tiny facial muscles "firm" for a two hour gig; but you can stay relaxed that long. Also, two hours of AHH-EEE-OOO tongue-arching will result in a sore throat and an ever-increasing number of missed notes. Over breathing gets you dizzy. If the tongue stays between the teeth at all times, in contact with the lower lip, and the corners are relaxed, range, power and endurance will skyrocket. As far as breathing goes, Raphael Mendez had it right--Breathe as if for normal conversation. (Can you picture Maurice Andre strengthening his core with sit-ups?) I say all this not to troll or 'hate on" you, but because you're headed down yet another blind alley. You think your sound is open, ringing, and characteristic of the true trumpet sound (as I used to think mine was!) but I assure you it is not. Your g above the staff was slightly flat, like most players, and I'm sure things gets flatter the higher you go! And practice, practice, practice, just cements all the wrong habits in place. Most of the greats never practiced! Not for chop maintenance, anyway. Sure, to get a new piece under their fingers, but not to stay great players. Warmups, also, are a waste of time. Again, you seem earnest in your journey and I may come off as a know-it-all, but I feel your pain, brother! Check out Ralf Salamone on the True Power Trumpet KZfaq channel. He's Jerry's protege. Jerry's gone, but Ralf keeps his teaching alive. BTW, the trumpet can be played with ZERO air "going through the horn." As Vern Reynolds told Roger Ingram when Roger said his teacher was teaching him to "Fill the horn with air," What do you suppose they're filled with now? It's not your job to put air in or through a horn, it's already there! it's your job to EXCITE it! Check it out: kzfaq.info/get/bejne/jcCmd9mm3dCspok.html

I just don't like to hear the trumpet played high. (Piccolo trumpet excluded.) It's just too screechy. Yes, it's difficult, and a feat for those who can. But beyond that, I don't find it an instrument that's pleasant to hear in its extremeties.

You are making the same silly mistake that most professional and semi professional trumpet gurus make all the time. Playing high has very much to do with techniqe, but technique is nothing if you do not have the years of training that builds all the neccessary muscle in and around your lips, to make you able to control the very high air pressure from your lungs and chest and abdomen to produce the small, but strong airflow neccessary to give the high frequency sound you are after. You already have all the neccessary muscle. You never did after only the first year. You did not. You, obviously have the years and lip musculature that is neccessary. No beginner does. That is why many beginners struggle to top the first octave, and need time and practice to reach the D and E. After one and a half year of practice (more or less an hour - an hour and a half a day) i can comfortably play two octaves, from the low #F up to the G above the line, that is what the brass band requires. I am working to get higher, and my lip muscles are strengthening by te week. I can press up to a B above the line, but it is not yet possible for me to use that in playing. I will get there. When my lip muscles get strong enough. The techniqe takes care of itself. Without the muscles, you are nowhere. Takes years. Not just "good advice". Practicing scales up and down, playing what you can, and the high notes will come, one half-note at a time. Work at it. The Only Way.

Nearly ten minutes of video and I cant buy a magic pill at the end for high notes? Ridiculous. Just another lame video about how proper practice and hard work are somehow supposed to pay off. Thanks for nothing.