Great video Jon, I also use to practice starting on the higher note and proceed downward for 1, the muscle memory and muscle and ear flexibility training. Practical use though is low to high. Great video series.
These are things that do not usually come up in other tutorial videos . So, better subscribe to this channel and watch each and every video that is offered. If you would opt to learn these from a private teacher you would have to pay a fortune. Just appreciate the value of it.
Hey Jon!! Thanks for all your videos. Having a pro player offering support to those who aren't quite there is really motivating. Not only do you share your knowledge and experience, but you also share your curiosity and compassion. Kudos!!! I am a comeback player, and I mean comeback as defined between now and your last haircut. I don't pressure play or feel tired or soreness, but my chops always feel tight. I want to build my endurance so I can extend my practices. Any advice or comments would be appreciated. Brass On, from all us geriatrics. Genuinely, my personal thanks.
J P thank you very much for the kind words. I Honestly think the key is starting out with a lot of small sessions think of it this way, practice only during the commercial breaks of hour long TV shows. Do that over the course of 2 to 3 hours and you've played quite a bit of time. If you do it this way you're going to learn several things, one of them being how to take rests or how to take breaks. The next is to be fresh each time you pick the horn up. One other aspect is the concept of feeling refreshed after taking time off the horn. When you develop the discipline to do a practice session in this way then you can extend longer and longer how much practice between the breaks. In theory what will happen is you'll learn to play longer and longer feeling fresh and take shorter breaks and be able to come back fresh. Best, Jon
Hi Jon! Thanks for your great videos. We all really appreciate you taking the time to share your knowledge and expertise. Continuing on this subject, if you have an hour a day to practice, how should that time be allocated? Is it better to play three 20-minute sessions, resting as much you play during each session, or four 15-minute sessions, or something along those lines? I find after a morning warm-up, I can pick my horn up later in the day with minimal warm-up to continue an exercise set. After a 40 year layoff, I think I came back too hard too soon -- and I haven't seen much range progress in the past 2 years. I have been playing an hour to two hours every day, but in single sessions. It seems I should break that time up. Your thoughts on this would be greatly appreciated. Thanks again.
These videos are a god send, thank you! after watching one of the previous videos on breathing down and not filling my chest, i played a double c where usually Ab is where i would top out. thank you so much, i cant wait to work on these excersises. my bands have all noticed my immediate improvement, thank you!!
Jeremiah Austin wow so glad that some of this has helped. Don't work on this stuff too much at first slowly work it into what you're doing this stuff is kind of intense and can tear you up. Do it smart and it'll help. Best, Jon
Rufftips The best teacher that I have meet in my life and so great trumpet player. Where are you based? Congratulations and thank you so so much for your beautiful work.
Hi Jon I like your logic way to explain trumpet. Wonder though... Some says that fast air gets louder notes and compression high notes. Do you have Any thought on that?
dktrumpet There is also the faster air makes higher notes. The idea that if you hold some type of paper out the window of your car it flaps at a certain rate at a slow speed and as you speed up it will flap at a faster rate creating a higher pitch. Science is wonderful but it doesn’t tell us what we feel. I have always felt that energy is the best way to Explain range. I think about activating more energy to support the airstream in the upper register. I do think of this as compression. What’s happening in the mouth I think of as directing air and as a valve to release the compressed air. It can even be what helps us create compression. You don’t want to hold air back with your throat this is very bad so a way to make a smaller passageway so when we squeeze in our midsection is possibly the arching tongue and what we’re doing in our mouth. I think of louder as creating more sound. It should be the same function as when we speak softly and as we speak loudly we are trying to get something to vibrate stronger. Whether it’s on the mouthpiece or in the vocal cords you’re using more energy. So to put the two things together to play louder you use more energy. To play higher you energize the support or airstream. I think mechanics and position of the mechanics is what is creating the ability to play the higher note. The air then becomes the support mechanism to create the buzz. The pitch will be determined by a host of things. All of these have to work together to form a correct embouchure and aperture that allows the buzz to vibrate at the correct frequency. Without proper mechanics no amount of air is going to do us any good. Without the proper air support and flow The mechanics are useless. Tragically for us it is all about putting together an entire package. I preach air support and control and mechanics because I believe these things are the key to our success. I realize this doesn’t necessarily answer your question but it’s as good as it gets for me. I would have to be sitting down with a person discussing this and demonstrating and having them play and trying to figure out exactly what the proper verbiage to solve a specific. Science-based trumpet players tend to argue with me about certain verbiage that I use. My videos are meant to provoke thought and hopefully provide verbiage that opens up the thought process that leads to discovery. Best, Jon
@@Rufftips. Hi Jon Thank you for the answer. Very fullfilling and I am really happy about the part, where you write "play by feel". We can sertainly overthink and that is a problem. The thought of thinking energy will be usefull but I do have to play softer - I guess - I kind of "blow my upper lip into the mouthpiece", which gives lot of sound but lack of control with pitch. I have to do some work with your thoughts. So many thank you for this time!! Take care Erik Denmark
Thanks for the video but I'm wondering why some of the fingerings are not consistent with my trumpet fingering chart. For example at 6:38 of the video you say F# is valves 1,2,3. That's the low F# but it sounds like you're playing the high F# which is valve 2. Can you explain?
If you watch the video link that I sent you it shows what we call an overtone series. In this overtone series there are several notes that in a fingering chart will show it differently. They can be played with what we call alternate fingerings. If you're still using a fingering chart at this moment of your development the video you were watching here is a bit advanced. The video link I sent you shows and expanding exercise. In other words it starts with two notes, then three, then four, then five and so on. This video that is linked in my previous comment would be a better choice for you to concentrate your efforts on. Best, Jon
Hi Jon, I have been trying to figure out how to manipulate my air lately, however I have no been engaging my diaphragm. How do properly engage that muscle in order to unlock the upper register?
Jo Wow this is an incredible question! I actually understand what you are asking. The first step to changing this problem is to learn how to play with a more compact approach
Sorry this question requires a little bit more in depth answer give me a little time and I will get that to you. Unfortunately the first answer does not truly give you the information you seek.
In this video you might find some valuable information. ua-cam.com/video/13wyUXZj1X8/v-deo.html With out breath control we are prone to over blowing and using more air than we need. You exhibit a classic example of over blowing or working harder than needed. It is in the conservation of energy that you will find your answer. Best, Jon
Stephen Kramer I think it is worth exploring see what the results may or may not be and if it is compatible with the approach that classical player already uses. Best, Jon
I suppose what you mean is when did I feel I became a professional player. I started playing trumpet when I was 9 and started doubling on Bb/F Horn at 12. I had a trumpet (or a Bb/F Horn) in my face for hours a day from age 17 - 25 . I studied at school and with teachers throughout this period. I played with a Latin band when I turned 19 and played with them for 4 years. During this period I did a few obscure gospel and R&B recordings and was on 1 track of Chris Cain’s first CD. I did not feel I was a working pro by any means. When I turned 25 I quit my horn double and started working a lot more. This was my transition year. By the time I was 26 I was really working as a player and done with school. I taught and worked in a music store part time and played full time. I was working with a lounge act in Vegas and Atlantic City full time when I was 27. There was no looking back at that point I was doomed to be a trumpet player! Best, Jon
Great video Jon, I also use to practice starting on the higher note and proceed downward for 1, the muscle memory and muscle and ear flexibility training. Practical use though is low to high. Great video series.
Gee man, I love your videos! you Always load the stuff I really need! Thanks a million!
Lol well I will try to keep that up. Best, Jon
These are things that do not usually come up in other tutorial videos . So, better subscribe to this channel and watch each and every video that is offered. If you would opt to learn these from a private teacher you would have to pay a fortune. Just appreciate the value of it.
Hey Jon!!
Thanks for all your videos. Having a pro player offering support to those who aren't quite there is really motivating. Not only do you share your knowledge and experience, but you also share your curiosity and compassion. Kudos!!! I am a comeback player, and I mean comeback as defined between now and your last haircut. I don't pressure play or feel tired or soreness, but my chops always feel tight. I want to build my endurance so I can extend my practices. Any advice or comments would be appreciated. Brass On, from all us geriatrics. Genuinely, my personal thanks.
J P thank you very much for the kind words. I Honestly think the key is starting out with a lot of small sessions think of it this way, practice only during the commercial breaks of hour long TV shows. Do that over the course of 2 to 3 hours and you've played quite a bit of time. If you do it this way you're going to learn several things, one of them being how to take rests or how to take breaks. The next is to be fresh each time you pick the horn up. One other aspect is the concept of feeling refreshed after taking time off the horn. When you develop the discipline to do a practice session in this way then you can extend longer and longer how much practice between the breaks. In theory what will happen is you'll learn to play longer and longer feeling fresh and take shorter breaks and be able to come back fresh. Best, Jon
Hi Jon!
Thanks for your great videos. We all really appreciate you taking the time to share your knowledge and expertise.
Continuing on this subject, if you have an hour a day to practice, how should that time be allocated? Is it better to play three 20-minute sessions, resting as much you play during each session, or four 15-minute sessions, or something along those lines? I find after a morning warm-up, I can pick my horn up later in the day with minimal warm-up to continue an exercise set. After a 40 year layoff, I think I came back too hard too soon -- and I haven't seen much range progress in the past 2 years. I have been playing an hour to two hours every day, but in single sessions. It seems I should break that time up.
Your thoughts on this would be greatly appreciated.
Thanks again.
Excellent video! A lot of teachers would charge for this great advice. :) Thank you!
Love these videos, perfect balance, no flannel. Love it.
Superb, Jon!!!
Thank you.
Vraiment impressionnant.
Merci Monsieur.
Great video John! Very helpful,
Great channel and amazing concept! I’ll have to give this a try in my next practice session.
These videos are a god send, thank you! after watching one of the previous videos on breathing down and not filling my chest, i played a double c where usually Ab is where i would top out. thank you so much, i cant wait to work on these excersises. my bands have all noticed my immediate improvement, thank you!!
Jeremiah Austin wow so glad that some of this has helped. Don't work on this stuff too much at first slowly work it into what you're doing this stuff is kind of intense and can tear you up. Do it smart and it'll help. Best, Jon
Thank you.
thanks a lot Jon !!!
Thank you very much amazing
You are so so great! Thank you very very much 🙏
Louis Siciliano wow well thank you sir.
Rufftips The best teacher that I have meet in my life and so great trumpet player. Where are you based? Congratulations and thank you so so much for your beautiful work.
Louis Siciliano I work in the San Francisco Bay area
Thank you. Have a wonderful time!
Jack Sheldon on the wall!!!!
Best trumpet for beginner? Low price
My two cents here: start softly, then add more air little by little.
Hi Jon
I like your logic way to explain trumpet. Wonder though... Some says that fast air gets louder notes and compression high notes. Do you have Any thought on that?
dktrumpet There is also the faster air makes higher notes. The idea that if you hold some type of paper out the window of your car it flaps at a certain rate at a slow speed and as you speed up it will flap at a faster rate creating a higher pitch. Science is wonderful but it doesn’t tell us what we feel. I have always felt that energy is the best way to
Explain range. I think about activating more energy to support the airstream in the upper register. I do think of this as compression. What’s happening in the mouth I think of as directing air and as a valve to release the compressed air. It can even be what helps us create compression. You don’t want to hold air back with your throat this is very bad so a way to make a smaller passageway so when we squeeze in our midsection is possibly the arching tongue and what we’re doing in our mouth. I think of louder as creating more sound. It should be the same function as when we speak softly and as we speak loudly we are trying to get something to vibrate stronger. Whether it’s on the mouthpiece or in the vocal cords you’re using more energy. So to put the two things together to play louder you use more energy. To play higher you energize the support or airstream. I think mechanics and position of the mechanics is what is creating the ability to play the higher note. The air then becomes the support mechanism to create the buzz. The pitch will be determined by a host of things. All of these have to work together to form a correct embouchure and aperture that allows the buzz to vibrate at the correct frequency. Without proper mechanics no amount of air is going to do us any good. Without the proper air support and flow The mechanics are useless. Tragically for us it is all about putting together an entire package. I preach air support and control and mechanics because I believe these things are the key to our success. I realize this doesn’t necessarily answer your question but it’s as good as it gets for me. I would have to be sitting down with a person discussing this and demonstrating and having them play and trying to figure out exactly what the proper verbiage to solve a specific.
Science-based trumpet players tend to argue with me about certain verbiage that I use. My videos are meant to provoke thought and hopefully provide verbiage that opens up the thought process that leads to discovery. Best, Jon
@@Rufftips. Hi Jon
Thank you for the answer. Very fullfilling and I am really happy about the part, where you write "play by feel". We can sertainly overthink and that is a problem. The thought of thinking energy will be usefull but I do have to play softer - I guess - I kind of "blow my upper lip into the mouthpiece", which gives lot of sound but lack of control with pitch.
I have to do some work with your thoughts. So many thank you for this time!!
Take care
Erik
Denmark
Formidable
Thanks for the video but I'm wondering why some of the fingerings are not consistent with my trumpet fingering chart. For example at 6:38 of the video you say F# is valves 1,2,3. That's the low F# but it sounds like you're playing the high F# which is valve 2. Can you explain?
Please take a look at this video. ua-cam.com/video/Cufd8_xBpbc/v-deo.html
If you watch the video link that I sent you it shows what we call an overtone series. In this overtone series there are several notes that in a fingering chart will show it differently. They can be played with what we call alternate fingerings. If you're still using a fingering chart at this moment of your development the video you were watching here is a bit advanced. The video link I sent you shows and expanding exercise. In other words it starts with two notes, then three, then four, then five and so on. This video that is linked in my previous comment would be a better choice for you to concentrate your efforts on. Best, Jon
OK. That's helpful. Thanks.
Hi Jon, I have been trying to figure out how to manipulate my air lately, however I have no been engaging my diaphragm. How do properly engage that muscle in order to unlock the upper register?
Nigel Cathey The best short answer I can give you is cough. Have yourself a very good coughing fit and feel what your core is doing.
I have a question on how to stop getting pressure headaches from playing loud and high in marching band
Jo Wow this is an incredible question! I actually understand what you are asking. The first step to changing this problem is to learn how to play with a more compact approach
Sorry this question requires a little bit more in depth answer give me a little time and I will get that to you. Unfortunately the first answer does not truly give you the information you seek.
In this video you might find some valuable information. ua-cam.com/video/13wyUXZj1X8/v-deo.html With out breath control we are prone to over blowing and using more air than we need. You exhibit a classic example of over blowing or working harder than needed. It is in the conservation of energy that you will find your answer. Best, Jon
Jon, would you recommend these techniques for more classical oriented players?
Stephen Kramer I think it is worth exploring see what the results may or may not be and if it is compatible with the approach that classical player already uses. Best, Jon
Rufftips Thanks! Sorry if that is a strange question, I'm a casual amateur player but practice daily.
Hey John, about how many years were you playing trumpet before did you started doing trumpet "full" time or professionally? thanks I love your videos
I suppose what you mean is when did I feel I became a professional player. I started playing trumpet when I was 9 and started doubling on Bb/F Horn at 12. I had a trumpet (or a Bb/F Horn) in my face for hours a day from age 17 - 25 . I studied at school and with teachers throughout this period. I played with a Latin band when I turned 19 and played with them for 4 years. During this period I did a few obscure gospel and R&B recordings and was on 1 track of Chris Cain’s first CD. I did not feel I was a working pro by any means. When I turned 25 I quit my horn double and started working a lot more. This was my transition year. By the time I was 26 I was really working as a player and done with school. I taught and worked in a music store part time and played full time. I was working with a lounge act in Vegas and Atlantic City full time when I was 27. There was no looking back at that point I was doomed to be a trumpet player! Best, Jon