The Advancing Trumpet Player – Jeff Brandt says

May 31, 2017 by · Leave a Comment
Filed under: Advancing Trumpet Player 

Mark,

The books you have recently written, are ALL just fantastic! ”

“Give It The 3rd Finger” has certainly turned out to be a hit with people as I watch posts about it.

But, I have to tell you, “The Advancing Trumpet Player” book, has been extremely helpful to me!

The combination of all the things you put in there, from all the years from many different teachers, brought back to memory all those things, and IF, IF I would just do them daily as you state, I really begin to improve quickly, and gain back many of the strengths I once had, and I improve with much less stress. Your book WORKS wonders! It is a true must for trumpet players who want to improve or maintain. It’s great Mark.

Thanks for putting so much time, thought and effort into such a excellent resource for all of us ! You are a blessing, in many, many ways!

Sincerely,

Jeff Brandt
Director of Music Ministries and Solo Trumpeter
New Hope United Methodist Church
Valrico, Florida

Jeff, thanks so much for your kind words, and it makes me feel great that “The Advancing Trumpet Player” book has helped you so much.

For those trumpeters who want to chack out why Jeff was so excited to write, here’s a link to all the trumpet books….

http://mphmusic.com/trumpet

And if you play trombone or sax, here’s a link for you too…

http://mphmusic.com

As always, my best to you —

Mark Hendricks

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Here’s what Jeff Brandt had to say

May 30, 2017 by · Leave a Comment
Filed under: Comments and Testimonials 

Mark,

The books you have recently written, are ALL just fantastic! ”

“Give It The 3rd Finger” has certainly turned out to be a hit with people as I watch posts about it.

But, I have to tell you, “The Advancing Trumpet Player” book, has been extremely helpful to me!

The combination of all the things you put in there, from all the years from many different teachers, brought back to memory all those things, and IF, IF I would just do them daily as you state, I really begin to improve quickly, and gain back many of the strengths I once had, and I improve with much less stress. Your book WORKS wonders! It is a true must for trumpet players who want to improve or maintain. It’s great Mark.

Thanks for putting so much time, thought and effort into such a excellent resource for all of us ! You are a blessing, in many, many ways!

Sincerely,

Jeff Brandt
Director of Music Ministries and Solo Trumpeter
New Hope United Methodist Church
Valrico, Florida

Jeff, thanks so much for your kind words, and it makes me feel great that “The Advancing Trumpet Player” book has helped you so much.

For those trumpeters who want to chack out why Jeff was so excited to write, here’s a link to all the trumpet books….

http://mphmusic.com/trumpet

And if you play trombone or sax, here’s a link for you too…

http://mphmusic.com

As always, my best to you —

Mark Hendricks

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Comments from Dave Dennis on The Comeback Trumpet Player book

August 16, 2016 by · 1 Comment
Filed under: Comments and Testimonials 

The Comeback Trumpet PlayerComments from Dave Dennis on The Comeback Trumpet Player book

Hi Mark,

I have found The Comeback Trumpet Player  book an effective way to renew my acquaintance with my cornet. I am practicing up on my 1941 Conn 80a after — shall we say– more than 20 years. I had it restored earlier this year.  The old horn is slowly learning to sing again.

Having started from liver lips I have had considerable progress. The warm up section is especially valuable. I found the “rest as you play” instruction to be encouraging, especially when I was inventing notes that do not have  a place on any scale. The reminder to go slow and play well is helpful in coordinating rusty habits as well as replacing some unhelpful ones. Previously I had not given much thought to warm-down. Exercise 16 in the opening section really ends a practice session with a sense of relaxation. Because my cornet is larger bore the number of lower tones and bottom mid-range is helping me to build a tone I like. When I bust a note toward the top of my present range the “three strikes and you’re out” teaches patience and restrains my compulsions to overdo it. I chose to start with the G tonality studies. I appreciate the major and minor scale studies. My fingers are learning to cooperate again!

Your assigned Arban exercises gives me additional challenge as well as something to do during rest stops. My well-traveled book has now begun to molt and keeping the pages in order require attention. Gosh, it’s not even fifty years old yet! It is truly and old friend.

For those thinking about or starting up again, I highly recommend The Comeback Trumpet Player. It is varied enough to keep you interested and rigorous without being discouraging.

Keep on playing,

Dave Dennis
Knoxville, TN

Hi, Mark here…

Thanks Dave for your comments about The Comeback Trumpet Player systematic method book for trumpet players.

If you’re a Comeback Trumpet Player, this will help get you on track and keep you on track for years to come.

Read all about it at http://mphmusic.com/trumpet

If you’re more advanced already, I suggest you pick up The Advancing Trumpet player (you will see it at that same webpage).

More about The Comeback Trumpet Player – Tips and Comments

As always, my best to you —

Mark Hendricks

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The Advancing Trumpet Player – Tips #3

July 12, 2016 by · 2 Comments
Filed under: Advancing Trumpet Player 

The Advancing Trumpet PlayerThe Advancing Trumpet Player – Tips #3

Increasing endurance with little time to practice, airflow and buzzing, mouthpiece placement

One of The Advancing Trumpet Player book owners wrote to me and said…

Any advice for the comeback player using The Advancing Trumpet Player book, with people who have some time issues. Been playing 8 (come back after 25 off) years and still some of the warm ups I do totally wear me down. All of this info on air and buzzing, I’m not sure even how to set my mpc any more.

Thanks,
Mark S.

Hi Mark,

Thanks for your question.

When I was doing my comeback after 20 years of not playing, I also was frustrated with my endurance.  I remembered how I used to be able to play and play. But what I didn’t remember is the years of building up to that happened as I developed my trumpet playing. Even so, it was frustrating.

So how did I solve this?

I pulled out my Arban’s book, when to those old songs and started playing four measures at a time (usually one phrase). Then I would take the horn off my face and sing what I play and finger the notes. Then I would play the next four measures and then rest while I sang those. And continued this pattern to the end of the song. Then I would rest as much time as it took to sing through the entire song.

Then I continued this and did two pages of those songs. The next day I would start with the second page of the prior day for a little repetition of material and my second page on day two would be new.  And on and on in this pattern to the end of those old songs section.

Then I went back the first song and did eight measures, rest and sing eight, play eight, rest and sing eight, etc – and did two pages like that. Then next day, start with the second page and add the next page, etc.

Voila – I was resting as much as I was playing.

The problem is…. we hear people say “Rest as much as you play”, and we play and play for an hour, beat up our chops, then rest an hour, comeback to practice on beat up chops and wonder why things don’t work and we don’t improve.

Mark says… Rest as much as you play DURING each practice session, you should feel fresh and good at the end of your practice sessions. If you don’t, your not practicing correctly.  It does no good to practice on tired chops, you will only be developing bad habits, not good ones.

I included this “How To Increase Your Endurance The Easy Way” Special Report PDF in the Trumpet Players Sample Pack available for free at http://mphmusic.com/trumpet

Now as far as air and buzzing…

Let’s focus instead on sound, your sound.  It’s what people hear.  The don’t hear your air, they don’t hear your buzzing.

Focus on resonating the room with your sound.  This is not echo.  This is a thickness of sound that surrounds you when you play as you fill the room with your sound, you literally vibrate the room with your tone.  And you don’t have to play loud to do this. It’s more of opening yourself up so your airstream is easily moving through your horn and filling the room with sound on each and every note.

How do you practice this?

Those first few warmup exercises get you going on this in the Advancing Trumpet Player book, take your time, just get into the feeling of filling the room with your sound, resonate the room. I repeat myself, but that’s what I think about… listening for the room to resonate and tell me that I am playing correctly with a full and relaxed sound on each and every note, no matter if it’s short or long, low or high, soft or loud – resonate the room with the sound concept you are wanting to have.

Once you get the feeling of this it will carry over into all of your playing, if you pay attention to it. And you must on each and every note… resonate the room.

Okay enough of resonate the room 🙂

Mouthpiece placement…

Play a second line G with a full resonant sound with a comfortable mouthpiece placement, not too far left or right, not too far up or down… just make it feel good and sound good.  Let that be home base for a while. Build everything from that second line G.  Later on you may want to use top of the staff G for your setup, but that’s for later.  Get your in the staff sound resonating first.

Some more thoughts and things to do for mouthpiece placement…

A little more for mouthpiece placement….

Get a 8×10 mirror and put it on your music stand so you can see yourself

Start with directly centered under your nose and in half and half upper and lower lips left/right in the middle, even if feels lousy at first

Then just play 2nd line G, half note, half note, whole note – horn off lips and rest that much

Reset and do the same 10 times – Mezzo Forte – but resonate the room

Just try that setup and see where it gets you.  Try it for at least 5 days like this — practice other stuff too after doing this and don’t think about placement so much, it will carry over. After the 5 days, you will probably used to it.

You may then experiment with tiny adjustments up down left right to find the spot where your chops resonate the room the best – let the sound be your guide not so much the feeling of the chops — your chops will build the embouchure to support the sound you discover that resonates the room when you play.

Slow and steady and a little of this every day, and let it carry over to your other playing.

Once this 2nd line G starts resonating for you they way you like, then do the first Full Range Study that is in The Comeback Trumpet Player book, The Advancing Trumpet Player book, and the Full Range Studies for Trumpet book. Be sure to play each valve combination slowly, take the horn off your face between each one and rest as much as you just played.  Make sure you don’t slide note to note, make your chops work and resonate well on each note. Only go as high as it is easy, with the mouthpiece placement you are not trying to build range with this exercise, but rather just get things working well in the staff. You don’t need to go higher than top of staff G for this.  And your chops should feel good after doing this, if they don’t you didn’t rest enough or you went to high.

If you don’t have these books, get the free Trumpet Players Sample Pack – this first exercise is in the Full Range Studies sample PDF, just do that first page and extend the pattern up to top of staff G. Get the sample pack at http://mphmusic.com/trumpet

Remember to resonate the room as your guide to whether you are playing correctly.

Listen to the sound of the room, more than the sound of your trumpet.

Hope that helps!

Mark

To get a copy of The Advancing Trumpet Player, click here

To get more Advancing Trumpet Player tips and info, click here

The Advancing Trombone Player – Tonality Studies Commentary

June 25, 2016 by · Leave a Comment
Filed under: Advancing Trombone Player 

Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Tonality Studies Commentary

Here’s some tips on each of the exercises in the Tonality Studies, kind of the what, why, and how to practice each.

The most important rule – it’s better to play slow and correct, than fast and bad. If you practice playing incorrectly, you will only reinforce incorrect playing.

An interesting thought on these tonality studies – all of the commentary below applies to each of the tonalities, but what you will find is in each of the tonalities, each of the exercises will present different challenges due to range, fingerings, intonation, aperture, tongue levels, etc.

#1 – Believe or not, this is an interval study. Yes, the interval you on working on is the chromatic 1/2 step. Strive to have each and every note resonate clearly. Blow through the valves and out into the room. Get your tone to match on each note. Take your time, don’t rush. Think of this as a long tone study and move the air through the whole exercise. When tonguing, connect each note to the next, leave no space between the notes. Full value notes, not staccato. It’s all one long tone, your tongue is just articulating the beginning of each pitch.

#2 – Play with a full sound, not loud, just full. Once again this is all one long tone. Be sure you are not sliding between notes to get to the next note, it’s either one note or the other. Minimize the movement of your face and jaw as much as possible, use the beginning note as the homebase for your embouchure as you move through this exercise.

#3 – When first learning the scales, it’s okay to play one measure and the downbeat of the next. Then play the 2nd measure and the downbeat of the next, and so on. Once you have that, then you can string all of the measures together as written. Keep the air moving, don’t stop the air at the valves, resonate the room with your tone. End the first half of the exercise with a full tone note, let it really sing. Practice using all articulations, never staccato. Connect each note to the next, keep the air moving, your tongue is only there to start the next note, there should be no separation. As soon as possible, commit all scales to memory, close your eyes and play the scales. Get to the point where you see the key signature, the starting and ending notes, and just play.

#4 – Practicing these slowly is good, focus on getting your slide to move quickly and smoothly at the correct time. You may wish to repeat each two bar phrase. Make sure to keep the air moving past the values and resonate the room with each note. Match the tone quality on each note.

#5, 6, 7 – When first learning the scales, it’s okay to play one measure and the downbeat of the next. Then play the 2nd measure and the downbeat of the next, and so on. Once you have that, then you can string all of the measures together as written. Keep the air moving, don’t stop the air at the valves, resonate the room with your tone. End the first half of the exercise with a full tone note, let it really sing. Practice using all articulations, never staccato. Connect each note to the next, keep the air moving, your tongue is only there to start the next note, there should be no separation. As soon as possible, commit all scales to memory, close your eyes and play the scales. Get to the point where you see the key signature, the starting and ending notes, and just play.

#8 – When first learning the two octave chromatic scale, you may want to play the lower octave up and back down. Then play the upper octave up and back down. Use all articulations indicated. Then once you have that, put it all together as a two octave chromatic scale. Keep the air moving, stay relaxed as you ascend, there is no need to tighten up, just let the notes come out.

#9 – Play with a full singing style sound. Make this study as musically beautiful as you possibly can. Resonate the room with a full and relaxed sound.

#10 – Each note needs to speak clearly. Don’t make them too short, each note should resonate. Be sure to play this one three times, and get it to sound great the first time through it.

#11 – Once again, think of this as one long tone, it’s one stream of air, but the pitch changes each beat. No separation between notes, no sliding between notes. Listen closely to your intonation, know ahead of time the pitch center of the note you are about to play, then play that note right in it’s most resonant center. Use all indicated articulations so you learn to come into the notes from every which way.

#12 – When you first learn this one, practice it single tongue to develop the tongue and finger coordination. Then play with the double tongue articulation. It’s okay to slow down the double tongue to make sure your T and K tone quality matches. You must keep the air moving through the T-K that is going on, don’t back off the air flow on the K syllable. Each note should resonate and speak clearly.

#13 – Each note should flow into the next one. You may want to also practice this all slurred so that you get the feeling of it all being one long tone, then go back and add the slur-two tongue-two articulation. Make this sound effortless.

#14/15 – Play full value sixteenth notes, don’t try to play them short, they’re already short. Connect each note to the next, with the tongue only activating to define the beginning of the notes. Use all indicated articulations.

#16/17 – Practice this slowly and memorize it. Get the feel for the free air flow up and down the arpeggio. Make it sound easy and effortless. Stay relaxed as you ascend and descend. Use all indicated articulations.

#18 – When you first learn this one, practice it single tongue to develop the tongue and finger coordination. Then play with the triple tongue articulations. It’s okay to slow down the triple tongue to make sure your T and K tone quality matches. You must keep the air moving through the TTK and TKT that is going on, don’t back off the air flow on the K syllable. Each note should resonate and speak clearly.

#19 – Playing these slowly is just fine. You are after accuracy and tone quality. You can learn these by playing two beats at a time ending on the next downbeat, then start on that note and do the same, two beats and end on the next downbeat. Then go back and put it all together. Use all indicated articulations.

#20 – Just as in the two octave chromatic study, when first learning the two octave whole tone scale, you may want to play the lower octave up and back down. Then play the upper octave up and back down. Use all articulations indicated. Then once you have that, put it all together as a two octave whole tone scale. Keep the air moving, stay relaxed as you ascend, there is no need to tighten up, just let the notes come out. The whole tone scale will force you to hear the center of the next pitch so you can resonate the tone as soon as you play it.

#21 – Learn these augmented arpeggios one measure at a time, play a measure and end on the next downbeat. Start on the second measure and end on the next downbeat, and so on. Get the sound of these augmented chords in your head so you know where you are going with the pitch of each note so it resonates the room when you play each one. Once you have this, string the whole study together as one. Use all indicated articulations. Keep that air moving, it’s all one long tone. And resonate the room with every note.

#22 – Take your time, play it slowly. Rest between each section. Go for a full and beautiful singing sound, each note is clear and resonates the room. Match the tone quality of one note to the next, each note connects without break to the next. Use all indicated articulations.

If you don’t have a copy of The Advancing Trombone Player book, get full details here:

http://mphmusic.com/trombone

 

 

 

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The Advancing Trombone Player – Quick Start Guide

June 25, 2016 by · Leave a Comment
Filed under: Advancing Trombone Player 

Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Quick Start Guide

First of all…

Congratulations on your purchase of The Advancing Trombone Player book!

You’re embarking on a great journey complete with challenges and rewards… frustrations and fun too!

Here’s a few tips on getting starting using the ATP book:

1. Read the written materials in the front of the book during your rest time within your practice sessions, let the information there really sink in (read it many, many times).

2. When you first start using the ATP book, in the first session (the Warmup Routine), just play exercises 1-4 and 17 the first week. Then the second week add one more exercise (ie 1-5 and 17), then the third week add one more exercise (ie 1-6 and 17) and continue in this pattern until you are playing exercises 1-17 of the Warmup Routine daily. If at any time the additional added exercise is not to your liking (still difficult) at the end of the practice week, then stay with that routine for another week or so until you it becomes easier for you.

3. Always rest as much as you play DURING your practice sessions, not just between your practice sessions. You should still feel fresh at the end of the practice sessions, if not then rest more during the session. You don’t get better by playing incorrectly on beat up chops. Always strive to practice correctly. When you perform or rehearse with others, just play (your correct practice habits will be with you).

4. It’s really okay to play the tonality studies S-L-O-W-L-Y. Go for air flow (think of each exercise as one continuous long tone of air), resonant sound on every note (fill the room with your sound, no matter the length of the note), clean attack and articulations, etc. What you are wanting to do with slow practice is to give your body a chance to learn to coordinate all of the “moving parts” of trombone playing so that it becomes second nature (subconscious reflexes) and carries forward into the study when you incrementally speed it up to quicker tempo.

5. Practice all of the articulations notated (ie S, T, K, TK, TTK, TKT, Breath). This will get your embouchure learning to play each note in every which way and whatever direction.

6. When playing from the tonalities section, or the Arban’s studies section, or any other thing you practice… it’s okay to practice one measure at a time, or even two beats at a time, or whatever. You can always string things back together and play longer stretches of music as you get better. It’s more important to play correctly for short periods, than incorrectly for long periods of time.

7. In the fourth session of the lessons, play as musically as you can. Those short little songs in the Arban book are full of twists and turns that really can give your chops a good workout and get you playing with finesse, and if you do them as I prescribe, your chops will feel fresh at the end of that session. Follow the instructions in the fourth session on how to alternate in the full range studies a few days a week also.

8. Always strive to play with the best tone possible. That’s what people hear, so why not be aware of it all the time when you practice. If you really sound great, chances are you are playing correctly. Always be thinking to resonate the room, not just the horn. This is not loudness volume, this is resonance. You will hear the room “feed back” the sound to your ears when you get it right. This is not echo. It is more of a thickness of your sound in the air that resonates while you play.

9. Always strive to make your practicing sound musical – make music, that’s the ultimate end game, so do it all along the way too.

10. Consider taking some lessons, either locally with a good instructor, or with me via Skype (yes, it really does work well, and I am very, very good at coaching you along your ATP trail).

11. Contact some local ensembles and get going on playing with others (see this page for ideas).

12. Have fun and enjoy the ride!

You’ll find some other ATP tips here.

As always, my best to you —

Mark Hendricks

Full Range Studies for Trombone

May 12, 2016 by · Leave a Comment
Filed under: Full Range Studies, Trombone 

Full Range Studies for TromboneFull Range Studies for Trombone

A complete system to develop and maintain your range, sound, endurance, and flexibility from Low E to Double High Bb … and beyond! (90 pages)

The Full Range Studies for Trombone book can be used by all trombone players, at any level of playing. Whether you’re a beginner, intermediate, advanced, comeback player, or professional – this book will be very valuable to you over the years to come.

The “FRS” system consists of 18 studies. One study of the 18 should be played every other day on a rotation basis (1, 2, 3, 4…17, 18), and three times a week is recommended. You will do the complete rotation every 6 weeks. Don’t try to play all of the studies in one day, these are meant to build you up, not beat you up.

Each study session will take you approximately 20-30 minutes to complete. If you rest correctly during the practice session, your embouchure should feel good, not beat up. If you feel beat up then you didn’t rest enough or you went too far in the study. Only go as far in each study as you can without playing incorrectly. It does no good to practice incorrect habits. If you want to work on your pedal register, simply extend the exercises down into the lower octaves.

Get more info, samples, and get your copy now here http://mphmusic.com/trombone

As always, my best to you —

Mark Hendricks

Dave Ramsey – The Comeback Trumpet Player

April 13, 2016 by · Leave a Comment
Filed under: Comeback Trumpet Player 

The Comeback Trumpet PlayerDave Ramsey – The Comeback Trumpet Player

I’m Dave Ramsey in Philadelphia, PA.

I have a degree in Jazz trumpet from Temple University from 10 years ago.

I’ve been working a lot on composition for the past couple years so I’ve mostly just been doing long tones a few times a week. After starting to get ready for the performance I kept finding it difficult to practice longer than 10 minutes without taking a long break.

I picked up Comeback Trumpet Player and had a wonderful lesson with Mark. By following the structure of the book that specifically highlights a variety of exercises that strengthen all of my playing my lips feel better than they’ve ever felt and I can practice nearly all day. I’ve been using the book now for 4 weeks and continue to progress both through it and have energy to practice the jazz licks and songs I want.

Mark everything is going fantastically. My lips feel better than ever.

Thank you so much Mark!

Dave Ramsey
Philadelphia, PA

Hey Dave – that’s GREAT news!

It’s amazing how something as simple as resting during your practice sessions as I prescribe can make such a huge difference in your ability to practice more and get more accomplished in a shorter time frame… and still have your chops feel good at the end of the day and at the beginning of the next day too!

Check out all the trumpet books, each specifically targets an area of playing – however they all have efficient and effective practice concepts written into them to get you the most results in the least amount of time.

http://mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

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Full Range Studies for Trumpet

December 23, 2015 by · Leave a Comment
Filed under: Full Range Studies, Trumpet 

Full Range Studies for TrumpetFull Range Studies for Trumpet

A complete system to develop and maintain your range, sound, endurance, and flexibility from Low F# to Double High C … and beyond! (91 pages)

The Full Range Studies for Trumpet book can be used by all trumpet players, at any level of playing. Whether you’re a beginner, intermediate, advanced, comeback player, or professional – this book will be very valuable to you over the years to come.

The “FRS” system consists of 18 studies. One study of the 18 should be played every other day on a rotation basis (1, 2, 3, 4…17, 18), and three times a week is recommended. You will do the complete rotation every 6 weeks. Don’t try to play all of the studies in one day, these are meant to build you up, not beat you up.

Each study session will take you approximately 20-30 minutes to complete. If you rest correctly during the practice session, your embouchure should feel good, not beat up. If you feel beat up then you didn’t rest enough or you went too far in the study. Only go as far in each study as you can without playing incorrectly. It does no good to practice incorrect habits.

Get more info and get your copy now here http://mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

Full Range Studies for Trumpet – Quick Start Guide

December 22, 2015 by · Leave a Comment
Filed under: Full Range Studies, Trumpet 

Full Range Studies for TrumpetFull Range Studies for Trumpet – Quick Start Guide

Congratulations on your purchase of the Full Range Studies for Trumpet book!

Here’s a few tips on getting starting using the FRS book:

– The purpose of the book is to provide a complete system to develop and maintain your range, sound, endurance, and flexibility from Low F# to Double High C … and beyond! And it can be used by all trumpet players, at any level of playing. Whether you’re a beginner, intermediate, advanced, comeback player, or professional – this book will be very valuable to you over the years to come.

– The “FRS” system consists of 18 studies. One study of the 18 should be played every other day on a rotation basis (1, 2, 3, 4…17, 18), and three times a week is recommended. You will do the complete rotation every 6 weeks. Don’t try to play all of the studies in one day, these are meant to build you up, not beat you up.

– Each study session will take you approximately 20-30 minutes to complete. If you rest correctly during the practice session, your embouchure should feel good, not beat up. If you feel beat up then you didn’t rest enough or you went too far in the study. Only go as far in each study as you can without playing incorrectly. It does no good to practice incorrect habits.

– Be diligent in your practice, you will be rewarded for your discipline by following the routines in the 18 studies – using these studies in this step-by-step system will get you playing better, and much quicker, than a haphazard approach to practicing

– Rest as much as you play and rest as much as you play within each practice session, you should still feel good at the end of each practice session

– Always strive for a great sound on every note

– Always play musically – don’t just play, make music

– Slow and good is better than fast and bad – you will learn faster by practicing slowly, then speed up in small increments to improve your coordination to play faster and still sound good

– Practice all of the articulations when indicated (S=Slur, T=Tongue, B=breath, etc.)

– Use a metronome to help you improve your coordination as you speed things up

– If you can’t reach some notes, give it three tries and then move on – they will come in time

– Play with other people, whether it be duets, trios, quartets, quintets, band, orchestra, jazz ensemble, church services – get out there and rehearse, perform and make music with others

– Each study is meant to be played once and then move to the next one on the next FRS practice day of the week (every other day, three days a week is fine). These are not technically hard, so you don’t have to “practice” them with repetition, so just move on to the next study in rotation. Just keep progressing step-by-step through the lessons – and start with Study 1

– When you get to the end of the 18 studies after 6 weeks, start at Study 1 again and continue through the studies to Study 18. Then once again go back to Study 1 and do the same, again and again for development and maintenance

– As you advance in these studies, you can begin playing two phrases together without removing the mouthpiece and resting. Do the whole book this way (1-18 in rotation), then on the next time through the book do 3 phrases without removing the mouthpiece, and the next time through the book 4 times, etc. – always end your practice session feeling good so you can practice other things or perform later

For more info on the book and other trumpet books you may be interested in, visit:

http://www.mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

Comments about “The Comeback Trumpet Player” book

The Comeback Trumpet PlayerComments about “The Comeback Trumpet Player” book

Here’s a note I recently received about “The Comeback Trumpet Player” book for trumpet…

I ordered and have received your “Comeback Trumpet Player” book. I’m afraid I may be one of your customers with the longest distance to “come back”! I stopped playing over 40 years ago!!! I’m 68 years old now and about a year ago decided to join a community band. Many of my old band director friends are in it and I just really missed playing. Recently I also joined another community band that just started up at the local university. I’ve discovered that my reading and dexterity didn’t suffer as much as my endurance. At first, I could barely make it to the end of a 90 minute rehearsal. It’s getting better. I’m hoping your trumpet method will help me continue to recover some of my old skills. I don’t think the muscles of a 68 year old are capable of taking me back to the “stallion” I was in my 20’s and 30’s, but I’m already seeing some progress. Thank you for publishing your work!  — Brian C.

To get full details and your copy of The Comeback Trumpet Player – The Complete System click on this link –> The Comeback Trumpet Player

And you can read comments from other people too at http://mphmusic.com/blog/category/comments/

Best,

Mark

How To Increase Your Endurance The Easy Way for Trumpet

January 19, 2015 by · 1 Comment
Filed under: Trumpet 

How To Increase Your Endurance The Easy Way for Trumpet

One of the things all trumpet players need is endurance.

And there’s been a lot written, discussed and perpetrated over the years.

I’ve put together a free special report you can download with a strategy that I have found to work for me, and maybe you’ll want to give it a go too.

You can download a copy at this link:

How To Increase Your Endurance The Easy Way for Trumpet