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Yes, there are many different versions of the Arban book. I am using one of the most current versions edited by Tom Hooten and Jennifer Marotta. I realize this is confusing but that problem is caused by the publishers. www.carlfischer.com/o21x-complete-conservatory-method-for-trumpet.html

@@stevenemerytrumpet4095 Thanks Steve!!

Yes! Sustaining stable sound with easy control and comfort is the first step. I don't mean to be glib but, air is free. You can get more whenever you like 😗. A very important thing to practice is learning to make a smooth, graceful yet quick transition from tone into inhale and back into tone. The first study is a great place to work specifically on the breath transitions to improve your skill and confidence.

Thanks Tom ⛺️

Hi “High-school Trumpet Player” Thanks for your interest in a private lesson with me. Here is how to proceed: While I do teach on line as well as in person it will be helpful to know a bit more about you before I can discern whether or not I may be able to help you. First, I generally do not teach younger students unless they are already accomplished players and I currently only have one young student whom I have committed to teach. Second, I charge $160USD for an hour lesson, payable through Zelle or Venmo (or PayPal if you are not in the U.S.) If you will kindly let me know more about yourself I will consider scheduling a lesson and then we will both have a better sense if working with me would be a good choice. You may contact me through my website. Here is a link: www.stevenemerytrumpet.com/contact When you write, please leave me your contact information including your name, preferred email address, phone number (so I may communicate with you quickly if necessary) and, since you are a minor, please provide contact information for your parent(s) or guardian. Also, please feel free to share a short version of your musical life story and, if you wish, you may also send a short recording of your playing. Simply hearing you play anything on the trumpet will greatly help me to know where to begin to help you in your trumpeting challenges. I look forward to the possibility of working with you. Thanks for your patience with this process, Steve Steven Emery Professor of Trumpet, New England Conservatory The Boston Conservatory at Berklee

HI Eric, Thanks for your interest in my channel and for your encouraging words. Honestly it is a struggle continuing to do this work but have always been hopeful that someone out there will benefit so when I hear that anyone benefits in some way, that keeps me going.

Hi Canadian 🌝. Thanks as always for your comments. I find them interesting and they are appreciated. However, I just spent half an hour trying to respond to you by replying through the "reply" function on my channel and lost everything I wrote. I will greatly appreciate it in the future that if you want to converse, that will contact me through my website submission form, That way I will have your email and you can even introduce yourself by name. You might even give me a little background about yourself. I am actually interested in people 😉 and am happy to answer questions but I have limited time and energy and find this method of attempting to communicating very unsuitable. BTW, it sounds like your sense of pitch is better than mine so sorry for all the out of tune content I post 😳

@@stevenemerytrumpet4095 yea, I hate it when that happens! ugh. sure thing Ill send you an email, since I was going to explore possibly doing a lesson anyway. best/Doug.

Hi Nathan, I am glad to hear that the timing is good. Enjoy the process 😉

That is a very important question. As you have noticed the mute creates some resistance and that can help you become more aware of how you should touch with the air flow (the bow on the string so to speak) but, practicing with a mute all the time (like playing with a very quiet mute to avoid disturbing he neighbors) can be very detrimental, primarily because you get a lot more information from the sound of the open instrument. Without that feedback to your ears there is a tendency to over drive the air and put a lot of unnecessary stress on your embouchure. It is great to compare the different feel with and without the mute and also to compare different mutes for bot the physical and aural feedback. Your nervous system likes a lot of data so don't be afraid to experiment.

​@@stevenemerytrumpet4095 that's my problem is I'm in an apt, and don't want to disturb the neighbours. Ill look at some different mute options. I currently use a wah wah mute. thanks Much appreciated 🙏

@@CanadianDivergent Actually one of the best options (if you like gadgets and have disposable income) is the Yamaha "Silent Brass." It works very well since you can actually hear yourself in headphones or ear bud while you are playing so there is much less tendency to push the sound. I used to use it for practicing in airports and hotel rooms when traveling. The next best thing I have found is the "Sshmute." This is also not inexpensive for just a mute but, I have tried them all and this is the best I have found. www.sshhmute.com

The key here is to avoid overthinking and theorizing. Your physical self doesn't understand theories, only direct experience. If the sound stops when you use only slight pressure that means something is probably significantly out of balance. I would have to observe what is going on to give you an accurate diagnosis but in any case the lips should form a cushion between the mouthpiece rim and the teeth. It may be compared to a supple, firm (but certainly not rigid) kissing sensation. It is important to consider that mouthpiece pressure comes not only from pushing the horn agains our lips but also from unrestricted air flow from behind the lips blowing the lips to the mouthpiece. This is what you WANT to experience. Flow air smoothly, very freely and easily "blow the lips to the mouthpiece." In person I could lead you into this experience in a matter of a few seconds but, trying to describe any of these things sufficiently with text is nearly impossible. As to my embouchure, while I am certainly aware of all the various kinds of embouchure formations, I don't follow any theories. Actually one self proclaimed expert declared that my embouchure "CAN NOT WORK." Of course you should consider that he got focal dystonia and can no longer play. As to the so called "balanced embouchure" if you are referring to the book of that title I can only say that that kind of embouchure set up generally works bet only as a way of attaining higher notes but flexibility, sound quality, dynamic control and response all suffer. If by balanced you mean the same amount of upper and lower lip now we are getting into serous theoretical thinking and that is an area of controversy which I will not address here. Since I understand the fundamental principles of why and how any successful embouchure functions (or fails to function) I just try to help my students to gain direct experience and understanding of those principles and then they can discover their own best embouchure set-up. As for my embouchure, I just do what works the best in all the musical necessities I encounter. Every person is unique and simply must discover how to use what God gave them to attain the desired results. It sounds like you may benefit from a lesson with someone who can discern what is happening and provide some helpful guidance. 😉. I did not even know what a piccolo trumpet was until most of my way through conservatory but since my playing skills were fairly well coordinated playing piccolo seemed pretty normal to me. I have observed that piccolo trumpet does help most players with the upper register. The small horn does make it much easier to play in a lighter style and to sustain sound for long periods in that register but generally one can't pay any higher on the piccolo than on a standard Bb trumpet. It is likely that those who seem to benefit from the smaller horns (except in terms of lightness of style and easier endurance) are very likely not using their bodies full capability to play the instrument in an easy and natural way.

@@stevenemerytrumpet4095 Steve thank you so much for that! haha yep, I'm a master at overthinking and overanalyzing. Hey let me know if you offer anything over skype or zoom? I would love to take a lesson. we can pretend I'm a beginner and go from there. :)

@@CanadianDivergent I do teach on Zoom but charge $150 for an hour lesson so I hope that would not be an obstacle for you. Just contact me by email through my website if you want to set something up.

@@stevenemerytrumpet4095 Ok Steve thanks! Ill see what I can do. thank you for all your responses.

Hi Jason, Actually I am a trained GR consultant and and dealer and have a kit of GR mouthpieces that I use as a diagnostic tool to find the best fit for a particular player and horn. If you are in the Boston area and you are able to come to my studio I can take you though the play testing process and see if we can find a good fit. If you will email me through my website I can give you more details.

@@stevenemerytrumpet4095 I will certainly do that! Cheers

Thank you sir. FYI, in regard to your previous inquiry about mouthpieces, I am in regular contact with Gary Radtke (GR mouthpieces) and as far as I know Gary intended to stop production in the new year. It may be (and I certainly hope this will be the case) that an investor is found to keep his groundbreaking work alive. Because o the current situation, if you look on eBay you can see that prices for used GR mouthpieces in unknown condition are often higher than that of authentic new GR pieces. I have been a dealer for many years and still have new GR pieces available but they are generally provided for my students or will simply be archived as authentic examples of Gary's work. We'll see what happens but I hope that the research, special tools, designs and unique processes that Gary invented will be put into faithful hands to carry on the work. If no faithful hands can be found then it has been an historic run. Thanks for your interest.

@@stevenemerytrumpet4095 hey Steven, thanks for the info! If you are a dealer, maybe you would have one that might be a good fit for me? They are pricey, and usually ( but not always) price is a good indication of quality. Where can I learn more about these? i.e. what makes them so good? also if you teach, is there anyway I could do online lessons with you once or twice a month? I totally get it, if you didn't want to go that route to teach students. but I do admire your playing. I have just started my comeback Journey. Its amazing to me how much I didn't know back in the 90's. I played for 4 years but got frustrated and quit. but now we have so many methods and embouchure knowledge available. That has made all the difference for me, being able to get advice by great trumpet players, who help others by uploading information and advice. great Vids. much appreciated. best/Doug

I use GR mouthpieces exclusively. I have been working with Gary Radtke for over 25 years. The Piccolo mouthpiece is a GR64PM cornet shank with a #41 cornet to trumpet adapter. The Bb piece is a custom design made for me by GR.

@@stevenemerytrumpet4095 thanks! ill look into them🙏🙏

Hi Jens, I am not sure what the flame of fire represents but hope you your are enjoying the content on my channel. Happy New Year.

Hi John, thanks for your encouragement. You just stated what I am always trying to do which is helping serious players to learn faster and perform better.

I suggest that you start by sustaining your freest, most beautiful sound. Then gently touch with the tongue to stop the air flow. Use the least portion of the tongue to do this. The tongue is very strong and can easily use much more force to stop the air than is necessary. Your air must remain as if you were continuing to sustain the note and be very aware to not squeeze the air with the lips, tongue or throat as you lightly touch. From that point, the tongue must be withdrawn very lightly and quickly to allow the air to flow precisely as it was doing before the tongue interrupted the flow. If you squeeze with the tongue or tighten the throat or fail to keep the air supported even as the tongue has created a momentary but complete seal to the air flow, you will not get a clean release of the air and your articulation will suffer. Also.... if the tongue does not release instantaneously, you will get the dreaded dwah, dwah. Good luck. And LISTEN.

Hi Jeff, The quick answer is: it is all breath skill. I practice getting the musical character by singing it until it sounds right. Then I work on transferring those vocal skills to the trumpet. It sounds easy but for most players it is not 😉. I know what I am doing but have trained those skills into the body so I don't have to think about it, just to aim at the musical target.

Me too! Too bad trumpet players don't have more great music to play but it is a very limiting instrument. Thanks for commenting.

@@stevenemerytrumpet4095 we could draw from other instruments. for example, studies on flute/cello/violin/ etc. all have potential :)

@@CanadianDivergent Of course. Maurice Andre was the master of stealing from baroque concerti for many instruments, especially oboe. Thanks for your interest in my channel. 🙂

Thanks for listening! If you are a fellow trumpet slave then I hope you are getting some fuel for your fire.

Thanks Gordon, Detailed explanations are what I do. Unfortunately, as you know, you can't learn this sport by explanation but by doing so I am very glad to hear that you have been putting things into practice. Today I just finished a several more videos on Develop Sight-Reading but those new ones will probably not be posted until some time in April. Many others are in line first and I hope you find them useful.

Hi Doug, Thanks for letting me know that you like the channel. Please tell all your trumpet friends. What I offer is not for everybody but at least it is free 😆. I love to hear stories like yours but I am sure that you can understand that I am unable to answer your message point by point. I hope to address the physical technical issues in more detail on my channel or website but don't yet know how to organize the material so that it will not be overwhelming. I can recommend a book for you that will offer a tremendous amount of very useful guidance on the subject of practice. It is by Molly Gebrian and is called Learn Faster, Perform Better. If you are patient and apply the various methods to your practice I believe that you will learn how to structure your practice so that it will be as efficient and beneficial as possible. Just google the title. Practicing is not self torture it is self discovery 😉

@@stevenemerytrumpet4095 thanks Steve. Ill check out that book.

There are a lot more of the Develop Sight-Reading videos in the pipeline. It certainly is helpful for me to go back and look at these after so many years and I hope you are also still enjoying the process.

Thanks for expressing your appreciation. I am encouraged to know when fellow strugglers find my channel content to be helpful. Merci beaucoup!

Thanks for the suggestion. That is a beautiful operatic trumpet solo and I will certainly considering doing a video on it. I will put that on my list but since I usually publish videos in the order that they were created it may be several months before you would see that particular video even if I made it today. I hope you can be patient but I appreciate your suggestion.

HI Gordan, There are many editions of the Bordogni vocalises. You can also find some of the original publications (even with their piano accompaniments) on IMSLP. The edition I use is a Carl Fischer publication entitled "Melodious Etudes for Trumpet. I hope that helps. Happy Holidays!

@@stevenemerytrumpet4095 I just ordered that edition from Amazon ( make Bezos richer again)) : arriving tomorrow. I'm excited to play this after hearing you and explaining your ideas!

I am so glad that they are finding my work helpful, it is a joy to share this'd I continue to hope that the seeds planted will bear fruit in time.

Happy Holidays to you too and thanks for the kind words and sentiments!

Thanks Stephen. Glad you found it helpful!

Thanks Chris, I will look forward to you explaining this when we next get together. I did a series on the "Develop Sight-Reading" Etudes by Roger Voisin and Gaston Dufresne which will begin public release the day after Christmas. Some of those etudes would definitely benefit from a customized metronome accompaniment since there are mixed meters and multiple subdivisions back to back.

Thanks Jon. Just play with this and see what you can learn by hearing and feeling the sounds for yourself. I'm glad my attempt to explain makes sense to you.

Hi Daniel! I hope you keep exploring. There is a lot of content and I hope that some of it will be a good fit for you.

Hi Leo!! Good to hear from you! To answer your question, probably not since the main reason I do excerpts is to suggest things that might help players find better ways to practice and to learn how to deal with physical challenges. Tchaikovsky #5 (and all Tchaik. except stuff like the Nutcracker 😉) is usually the same physical and musical challenges. I am however open to requests, especially from you 😘.

Hi Efren, Thanks so much for all your comments. You are the kind of person I was hoping would find me on RUclips. I wish you a sense of wonder, the joy of discovery and peace in the holiday season and during your trumpeting endeavors.

There are two kinds of whistle. If you blow with very gently and freely with very open , soft and supple lips you may find a whistling sound if you are forming a small enough opening in the lips. The whistle in the video can be usually only be achieved with a very clean and undamaged mouthpiece. If the piece has corrosion in the backbone it may not work at all. If the throat is too open it probably won't work. If you have any other mouthpieces to try one of them might work. Other than than that, don't really worry about getting the whistle. It is a just a reference point for how strongly you can move the air through the piece. Actually we don't play trumpet that way at all but, it is a very good way to (gradually and sensibly) develop blow power. Just do a few repetitions (8-10?) with high power one right after another. This will make your blower tired and warm your body up a bit 😆. I mainly work on refining my breathing system coordination the I am doing this exercise and then I focus on staying loose even when blowing at the maximum power of which I am capable. You don't have to make it whistle 😉. Please also check out the other two videos I did on the subject, thanks. And tell all your trumpet friends what an amazing channel this is 😁.

Thank you very much! Will do, its A fantastic channel​@@stevenemerytrumpet4095

Thanks for appreciating the value. I hope my work helps you in your work. 🙂

Thanks for expressing appreciation 😌

Yup. That is why they are called "orchestral etudes." He based many of the etudes on themes from the orchestra literature 😉

@ at the time back I early 90’s I studied a half of dozen etudes and they were very helpful

C trumpet, Yamaha NY, YM bell 🤓

My hope in offering these videos is they may help someone like you so....Thanks for letting me know. 😌

Thanks for subscribing! There different kinds of content on the channel and I hope you find some things that are helpful for your work and play 😁. Even if you never play in an orchestra there is always something to learn by experiencing the different styles and hearing the various accents of musical language. Keep on exploring, enjoying and discovering.

Hi Isidro! I hope you are enjoying growth and prosperity in your life and music. Please email me some time so we can catch up. God bless you and yours!

Thank you 😌. Skills are fun but if they give you freedom to make more music, then they are great 🌝

Hi Mark! Thanks for contacting me. It is very encouraging to hear that you are recommending my channel to your students. I know that there are many avid trumpet enthusiasts out there who who are not able to access (nor to afford) the kind of assistance and advice available in the fine (and expensive 🙄) music schools around this country and that has been the motivation for creating my channel. Plus, to be frank, I have seen so much questionable "instruction" on RUclips that I was hopeful that some serious players out there would find the resources I am creating to be helpful. It felt a little like sending a message in a bottle. You never know who might find it 😁. Please feel free to share my videos with anyone who you think would be interested and thanks again for a little encouragement to keep going.

Thanks Carlos. If I can do it maybe you can too 😉

Thanks 😊I'm glad you enjoyed it.

Gee thanks for the tip! How wonderfully observant you are 😉. You will be happy to hear that horn is now in the shop but....did that observation help you to look honestly and directly at your own stuff, be honest with what you see and hear and improve your playing? Hmm?

@@stevenemerytrumpet4095 YEAH! I've watched several of your RUclips. Watching the Clarke #1 study now. I play them everyday as part of the Mr. Adam (Bill Adam) routine. Thanks

Every player must find the best vibration with the best balance of musculature. Unfortunately for some of us dental realities make it unlikely to be able to play perfectly. I have worked with thousands of students over the last 50+ years and noticed that very few players are actually centered. In the same way, no one's face is perfectly symmetrical. If it bothers you just listen, don't look 😆

@stevenemerytrumpet4095 I get it. No worries

Yes please do report back. Just see what you can learn and try discover the easiest vibration without too much force. The challenge is that all the parts are interconnected and influence one another. Just realize that a tight throat and lip squeezing are symptoms of an imbalance between the air flow and the opening in your lips that the air flows through. If you squeeze or choke you have to blow harder to keep the air flowing past your lips. But, if you blow harder then you have to choke, press and squeeze to keep the air from blowing your lips apart. Try to find the balance between the easy, free flow of air and the gentle touch of the lips on that very free air stream. This is actually a very gentle and refined skill so be patient.

Hi Nate, I am very glad to hear that you have found the content on my channel to be helpful. Articulation is a huge subject but I can tell you one simple thing to pay strong attention to. If you play a long steady tone that sounds like your most beautiful personal voice that will be your reference for articulation. The key is when your tongue interrupts and then releases the flow of the air, the quality of the flow of that air stream must always be exactly the same as when you are sustaining your beautiful sound. All the tongue should do is lightly create a seal to stop the flowing air and then release the air. That process must be instantaneous in both the touch and release of the air stream. If the process of touch and release is too slow or, if the tongue, the throat or the "blower" change way the air stream flows in any way, then you cannot have a good "pronunciation" of the note. See if you can observe what is happening to the actual air stream when you tongue (either K or T) both when you stop and then release the air and don't disturb the flow or change your chops when you tongue. Above all...Listen to how the sound is affected! Good luck!