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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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

.

All The Notes and More – Amazing Progress By Young Trumpet Players

July 14, 2016 by · Leave a Comment
Filed under: All The Notes And More 

ALL THE NOTES AND MORE for TrumpetAll The Notes and More – Amazing Progress By Young Trumpet Players

Mark,

Just wanted to give you some news on the progress of a couple of my students who I have using your books.

My student Travis who has two of your books will be a Senior in high school. He has decided that he wants to study Business Music and trumpet . Looks like he will be going to Shenandoah Conservatory of Music in Virginia with Chuck Seipp as his trumpet professor. He found out the cost is $30,000 per year (whew). He also found out that he is elegible for their President’s scholarship at $20,000 per year. They require a 3.7 un-weighted grade point. He has a 3.9. They also require 1200 SAT, he has a 1350. The music department also has money, so both combined will cover his cost for all 4 years. Travis, with hard work from your books, is playing a consistent high F, and a G 40% of the time. His scales are just stunning. And his all-state material is coming along really well.

Another student Jack, a 9th grader going to be a 10th grader when school begins, is playing  a consistent G and A. He is hitting a Double Bb about 15% of the time. And powerful. With time he will get it and above. Your material has also helped him. He finished the year at Plant Hi being 1st chair in concert band, 1st in trumpet quintet, and lead trumpet in Jazz Band. He got a Superior rating performing a grade 6 solo at district and state solo and ensemble. His most current success was to get the lead trumpet spot in USF’s summer Jazz band camp.  Your scale book (All The Notes and More) and 3rd finger book (Give It The 3rd Finger) has him playing miles above other students his age, and thus his reading, jazz and concert is superior. He decided last week that he wants to give auditioning for the All-Star Grammy Band a try.

With the aid of your books I have 2 very motivated young men on my hands. Thanks for what you have done.

And another update, the Trumpet Festival we do in Tampa is set for for October 10th. Our featured guest artists are Chuck Seipp and the sensational young player Geoff Gallente. I know both Chuck and Geoff use your books too. Chuck and Geoff are booked to do the workshops and perform on the concert that night.

John Baker
Tampa, Florida

Hi John,

Thanks for the update.

It’s great to hear the progress your students are making using the books I’ve written.

If people will actually have the discipline, by themselves as self-study or with a good teacher like yourself, they will get results.

For those who have the books, just follow those lesson plans and follow the instructions closely in the written materials in the books and the guides I’ve posted on the blog for each book.

To see all the trumpet books, see http://mphmusic.com/trumpet

To see all the trombone books, see http://mphmusic.com/trombone

To see all the sax books, see http://mphmusic.com/saxophone

And check the Categories column on this page to see more info on each book.

As always, my best to you —

Mark Hendricks

Amazing Progress By Young Trumpet Players

July 14, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

John BakerAmazing Progress By Young Trumpet Players

Mark,

Just wanted to give you some news on the progress of a couple of my students who I have using your books.

My student Travis who has two of your books will be a Senior in high school. He has decided that he wants to study Business Music and trumpet . Looks like he will be going to Shenandoah Conservatory of Music in Virginia with Chuck Seipp as his trumpet professor. He found out the cost is $30,000 per year (whew). He also found out that he is elegible for their President’s scholarship at $20,000 per year. They require a 3.7 un-weighted grade point. He has a 3.9. They also require 1200 SAT, he has a 1350. The music department also has money, so both combined will cover his cost for all 4 years. Travis, with hard work from your books, is playing a consistent high F, and a G 40% of the time. His scales are just stunning. And his all-state material is coming along really well.

Another student Jack, a 9th grader going to be a 10th grader when school begins, is playing  a consistent G and A. He is hitting a Double Bb about 15% of the time. And powerful. With time he will get it and above. Your material has also helped him. He finished the year at Plant Hi being 1st chair in concert band, 1st in trumpet quintet, and lead trumpet in Jazz Band. He got a Superior rating performing a grade 6 solo at district and state solo and ensemble. His most current success was to get the lead trumpet spot in USF’s summer Jazz band camp.  Your scale book (All The Notes and More) and 3rd finger book (Give It The 3rd Finger) has him playing miles above other students his age, and thus his reading, jazz and concert is superior. He decided last week that he wants to give auditioning for the All-Star Grammy Band a try.

With the aid of your books I have 2 very motivated young men on my hands. Thanks for what you have done.

And another update, the Trumpet Festival we do in Tampa is set for for October 10th. Our featured guest artists are Chuck Seipp and the sensational young player Geoff Gallente. I know both Chuck and Geoff use your books too. Chuck and Geoff are booked to do the workshops and perform on the concert that night.

John Baker
Tampa, Florida

Hi John,

Thanks for the update.

It’s great to hear the progress your students are making using the books I’ve written.

If people will actually have the discipline, by themselves as self-study or with a good teacher like yourself, they will get results.

For those who have the books, just follow those lesson plans and follow the instructions closely in the written materials in the books and the guides I’ve posted on the blog for each book.

To see all the trumpet books, see http://mphmusic.com/trumpet

To see all the trombone books, see http://mphmusic.com/trombone

To see all the sax books, see http://mphmusic.com/saxophone

And check the Categories column on this page to see more info on each book.

As always, my best to you —

Mark Hendricks

 

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 Comeback Trumpet Player – Tips #3

May 30, 2016 by · Leave a Comment
Filed under: Comeback Trumpet Player 

The Comeback Trumpet Player The Comeback Trumpet Player – Tips #3

I received this note from one of our customers, and I thought others may benefit from my answers too…

I have been making some progress through the lessons but my practice time has been somewhat restricted lately. I am concerned that I will spend one session warming up and then have little to no time for further lesson progression or just practicing music. Is there an expedited warm up regimen I can use. I have seen 20 minutes plans and others.

Second what should I use as a metric or success before I move on through the parts of each lesson? No mistakes/perfect tempo,  1,2,3 mistakes? My concern with some of the Arban’s and even your practice lines is I might never play it perfectly. Or do you just play the lines once through ignoring mistakes and work to correct them the second time around?

Hope these questions make sense.
Any advice is appreciated.

Thanks, L.

And my note back to him…

Hi L.,

Try this for the warmup routine.

Do all of 1-5.  This is basically a warmup.  Get the lips vibrating, get the air moving, sound clearing, embouchure responding to tongue and slur, and some flexibility too.

Then for the other exercises (which are a daily routine to cover more areas of playing), do lines 1,3,5,7 one day, then line 1,2,4,6 the next.  This assures you are covering all of each at least a few times during the week, and shortening the time.

As far as progressing through lessons week by week….

It is really at your own pace, and how picky and tough you want to be on yourself.

I’d rather have you play things slower, with a great sound on every note, and not necessarily the whole exercise meaning you can divide it up into doing a line at a time, etc – and piece it all together over time).

For the tonality studies (section 2), this works fine, because after the first 3 months you will be doing one tonality a day as improvement and review … and your sound, playing, and technique will be improve continuously.

For section 3 (Arbans) – same things, slower with great sound and accuracy is better than fast and bad. This approach yields the best results in the shortest period of time.

A lot of what we do when we practice is build the automatic response systems required to play, and we really must slow things down to do it – kind of like a kid learning to ride a bike – lots of wobbling and falling at first, but once the balance and memory response is developed, away they go.

And just as they learn to keep their balance, and pedal and ride faster, so will you in speeding up the exercises that need to be speeded up … but always, even at quicker speeds your sound must clearly resonate the room.  Each and every note.

You can read more about how to use the book at this link:  Comeback Trumpet Player

The Comeback Trumpet Player book – click.

Best,
Mark Hendricks

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David Cooper says this about The Advancing Trumpet Player

May 23, 2016 by · Leave a Comment
Filed under: Advancing Trumpet Player 

The Advancing Trumpet PlayerDavid Cooper says this about The Advancing Trumpet Player

Hi Mark,

I love your book “The Advancing Trumpet Player”.

It is quite a routine and works everything associated with trumpet playing.

The tonality studies really help to learn your scales and flexibility!!

I miss some days because of my work schedule but seem to pick up where I left off.

I do wish that there was more time for Trumpet!!!

This book is a major asset – Thanks Mark!!

David Cooper
Cataula, GA

Hey David, thanks so much for sharing your comments with everyone.

One of the biggest problems we all have in practicing is coming up with an action plan, a track to run on.

ATP is designed to be that kind of action plan.

You simply follow the lesson plans that are included, and if we get knocked off track for a little while, it’s easy to pickup where you left off and get back on the plan.

And there’s plenty of variety to keep your practice sessions interesting and challenging too.

If you have a copy already, dig in and stick with it… you will get great results.

If you don’t have your copy yet, get yours today.  It comes with my personal 100% money-back satisfaction guarantee.

Get it here:  http://mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

.

The Advancing Trumpet Player – here’s what David Cooper says

May 23, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

The Advancing Trumpet PlayerThe Advancing Trumpet Player – here’s what David Cooper says

Hi Mark,

I love your book “The Advancing Trumpet Player”.

It is quite a routine and works everything associated with trumpet playing.

The tonality studies really help to learn your scales and flexibility!!

I miss some days because of my work schedule but seem to pick up where I left off.

I do wish that there was more time for Trumpet!!!

This book is a major asset – Thanks Mark!!

David Cooper
Cataula, GA

Hey David, thanks so much for sharing your comments with everyone.

One of the biggest problems we all have in practicing is coming up with an action plan, a track to run on.

ATP is designed to be that kind of action plan.

You simply follow the lesson plans that are included, and if we get knocked off track for a little while, it’s easy to pickup where you left off and get back on the plan.

And there’s plenty of variety to keep your practice sessions interesting and challenging too.

If you have a copy already, dig in and stick with it… you will get great results.

If you don’t have your copy yet, get yours today.  It comes with my personal 100% money-back satisfaction guarantee.

Get it here:  http://mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

.

Merrill Perret comments about the 49 Long-Lost Arban Duets

May 3, 2016 by · Leave a Comment
Filed under: 49 Long Lost Arban Duets 

FORTY-NINE LONG LOST ARBAN DUETS FOR TRUMPET (...that Arban never wrote!)Merrill Perret comments about the 49 Long-Lost Arban Duets

I’m an amateur musician. I retired five years ago, after 35 years in aviation, and finally have control over my own schedule again. I’m primarily a trumpet player, but decided to take up the trombone a year and a half ago, both as a mental challenge and to fill in a hole in our local concert band.

I don’t know Mark personally, but became aware of him through Facebook and the internet. As a newcomer to the bass clef, I was pleased to find a book of duets that caters to a wide range of abilities while providing the technical basics we all know from Arbans.

Forty-Nine Arbban Duets For TromboneWhat appealed to me the most, though, was the ability to play these duets with any combination of two bass clef or treble Bb instruments. This versatility and convenience is a great feature.

Thanks, Mark.

Merrill Perret
Huntsville, Ontario

And thank you Merrill.

The original studies written by J.B. Arban that are the basis for these forty-nine duets are among the most assigned, practiced, played, and reviewed by all trumpet and trombone players – beginner, intermediate, advanced, and pro alike. But there were never duets based on them… until now! Practicing and playing them with your friends, students, and colleagues will yield tremendous benefits for all involved. You can download some free sample duets from the book, see the link below.

These new duets are based on the studies starting with the Syncopation Studies 1-38 then the Tonguing As Applied To The Trumpet studies 135-145 that are right after all the double tongue studies. The book contains both parts. There is a separate duet book of the same duets for trombone or other bass clef instruments… so if your trombone pals have their edition it’s easy to play the classic studies as duets with them too (or treble clef euphoniums too).

Get all the details on these “49 long-lost duets” at these links:

Trumpet – http://mphmusic.com/trumpet

Trombone – http://mphmusic.com/trombone

Get your copy today!

Mark Hendricks

 

 

.

 

Merrill Perret likes the 49 Long-Lost Arban Duets

May 3, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

FORTY-NINE LONG LOST ARBAN DUETS FOR TRUMPET (...that Arban never wrote!)Merrill Perret likes the 49 Long-Lost Arban Duets

I’m an amateur musician. I retired five years ago, after 35 years in aviation, and finally have control over my own schedule again.  I’m primarily a trumpet player, but decided to take up the trombone a year and a half ago, both as a mental challenge and to fill in a hole in our local concert band.

I don’t know Mark personally, but became aware of him through Facebook and the internet. As a newcomer to the bass clef, I was pleased to find a book of duets that caters to a wide range of abilities while providing the technical basics we all know from Arbans.

Forty-Nine Arbban Duets For TromboneWhat appealed to me the most, though, was the ability to play these duets with any combination of two bass clef or treble Bb instruments. This versatility and convenience is a great feature.

Thanks, Mark.

Merrill Perret
Huntsville, Ontario

And thank you Merrill.

The original studies written by J.B. Arban that are the basis for these forty-nine duets are among the most assigned, practiced, played, and reviewed by all trumpet and trombone players – beginner, intermediate, advanced, and pro alike. But there were never duets based on them… until now! Practicing and playing them with your friends, students, and colleagues will yield tremendous benefits for all involved. You can download some free sample duets from the book, see the link below.

These new duets are based on the studies starting with the Syncopation Studies 1-38 then the Tonguing As Applied To The Trumpet studies 135-145 that are right after all the double tongue studies. The book contains both parts. There is a separate duet book of the same duets for trombone or other bass clef instruments… so if your trombone pals have their edition it’s easy to play the classic studies as duets with them too (or treble clef euphoniums too).

Get all the details on these “49 long-lost duets” at these links:

Trumpet – http://mphmusic.com/trumpet

Trombone – http://mphmusic.com/trombone

Get your copy today!

Mark Hendricks

 

 

.

 

All 14 Arban Characteristic Studies played by Dorival Puccini

May 2, 2016 by · 3 Comments
Filed under: Video 

Arban 14 Studies - Dorival PucciniAll 14 Arban Characteristic Studies played by Dorival Puccini

Watch and listen to Dorival Puccini (of the Axiom Brass Quintet) play and give practice tips commentary to the 14 characteristic studies of the Arban Complete Conservatory Method for Trumpet.

So you can easily follow along if you don’t have an Arban book, you can open or download the 14 Studies PDF file to print, watch, and practice these 14 studies. Or if you would like to purchase the complete Arban book for trumpet, here is one that I recommend for those who purchase my books The Comeback Trumpet Player and The Advancing Trumpet player – get Arban book.

The Advancing Trumpet Player (ATP) and The Comeback Trumpet Player (CTP) books both contain 52 lesson plans that include studies from the Arban book as one of the practice sessions. The lesson plans progressively guide you in a step-by-step and balanced practice approach that contains a few studies from each section of the Arban book to give you a complete daily practice session to steadily improve all aspects of your playing. This is not done by just going one page after another but rather by a special planned approach to working through all of the Arban book which includes ultimately playing the 14 characteristic studies as part of the plan. There are differences between the ATP and CTP books: ATP has extra emphasis in the tonality studies on multiple tonguing (TK, K, TTK, TKT) all of the scales and arpeggios, plus the ATP has a few more Full Range Studies (10 instead of 4 in the CTP). You can see full details on both books and free samples, and how to order them and other books at http://mphmusic.com/trumpet

Here’s how to watch and learn from the video below:

All 14 characteristic studies are accessible in this video player. To see all of the studies, click the top left corner where you see the three lines and little arrow. A selector window will open. You can then select which study you want to video, and then close the selector window using the X at the top right of that window.

I hope you enjoyed hearing Dorival play and also appreciated his wonderful practice tips commentary too.

As always, my best to you —

Mark Hendricks

 

 

.

The Comeback Trumpet Player – Tonality Studies Commentary

April 21, 2016 by · Leave a Comment
Filed under: Comeback Trumpet Player 

The Comeback Trumpet PlayerThe Comeback Trumpet 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 meaures 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 fingers to work 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 meaures 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 sixteeth 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 Comeback Trumpet Player book, get full details here:

http://mphmusic.com/trumpet

 

 

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The Advancing Trumpet Player – Tonality Studies Commentary

April 21, 2016 by · Leave a Comment
Filed under: Advancing Trumpet Player 

The Advancing Trumpet PlayerThe Advancing Trumpet 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 fingers to work 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 Trumpet Player book, get full details here:

http://mphmusic.com/trumpet

 

 

 

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Tom Hall says this about The Advancing Trumpet Player book

April 18, 2016 by · Leave a Comment
Filed under: Advancing Trumpet Player 

The Advancing Trumpet PlayerTom Hall says this about The Advancing Trumpet Player book

I have been using The Advancing Trumpet Player for about 5 months. My sound, range, and endurance have all improved dramatically!

Mark’s books really do work!

Tom Hall
Retired Band Director and
Life-long trumpet player
Iowa Falls, IA

Hi Tom,

Thanks for your comments you posted on Facebook recently.

Best to you … Mark

If you haven’t gotten your copy of The Advancing Trumpet Player yet, go ahead and order it today. Be assured if you simply follow the lesson plans in the book, you will improve all aspects of your playing just like Tom did.

If you already have a copy, dig in and do the program. Some simple disciplined practice that progresses step by step is exactly what you need, and The Advancing Trumpet Player does that for you.

Order yours today, or at least get our free Trumpet Players Sample Pack … but don’t put this off, take some action now, you deserve it…

http://mphmusic.com/trumpet

As always, my best to you —

Mark Hendricks

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The Comeback Trumpet Player – Warmup Routine Commentary

April 16, 2016 by · Leave a Comment
Filed under: Comeback Trumpet Player 

The Comeback Trumpet PlayerThe Comeback Trumpet Player – Warmup Routine Commentary

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

When you first start using the book, in the first session (the Warmup Routine), just play exercises 1-4 and 16 the first week.  Then the second week add one more exercise (ie 1-5 and 16), then the third week add one more exercise (ie 1-6 and 16) and continue in this pattern until you are playing exercises 1-16 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.

#1 – The breath attack on the first note G of each set is to let your lips know that when you release the air stream you really want your lips to vibrate and instantly create your sound. Be sure to have your air pressure in place before starting the sound, the sound should start instantly. Exhale, inhale, release, resonate the room with your sound.

Match the tone color of the fingered notes to the open G sound. As you move your way down and up the scale, match the tone quality of each note to the others. Because you are using different valve combinations the tone quality will change, it’s up to you to make minor adjustments to get the tone quality to match note for note. Make sure to not slide the pitch from one to another, the pitch of each note should happen instantly. Keep the air moving through the valve changes. Always fill the room with your sound. Resonate the room.

Take the horn off your lips after each fermata. Rest as long as you just played. Note that each line of this exercise gets longer in length, learn to regulate your air flow, in and out.  After you’re done, rest at least two minutes, more is good.

#2 – Now we add the tongue attack (T) on the notes.  Get those first two eighth notes to resonate the room, they should not be staccato, just a full eighth note. By resonate the room, I don’t mean loud, rather get the feeling that you are filling the room with your sound to all the corners of the room and you can hear it coming back to you. This is not echo. It is you exciting the air in the room with your playing. Always, no matter what you are playing, resonate the room.

In measure two, three and four, connect the notes, do not slide between the notes. The note pitches are one or another, little notches of tone. Keep the air moving, think of everything as one long tone. Rest as marked.

#3 – Match the tone quality of each note, the fingered lower neighbor tone, the slur up, the fingered lower neighbor tone, the slur up, the fingered upper neighbor tone, the slur down, the fingered upper neighbor tone, and the slur down and hold. Keep the air moving, it’s all one long tone, just the pitches you play are different. Resonate the room.

#4 – Going from note 1 to note 2, it’s either the Db or the Bb, there is no Gb in the middle (same on the other valve combinations on the first two notes).  Then keep the air moving and slur down and up without sliding from note to note. Listen to yourself closely, each note has it’s pitch and tone quality, match them and smooth out any glitches.  All one long tone, resonate the room.

#5 – Go for a full singing sound as you play this one. Keep the open, relaxed feeling of the low notes as you ascend to the higher notes. Keep your concentration up after the top note and descend gracefully all the way down and hold. No sliding between notes.

#6 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed.  When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

#7 – It’s all one long tone, you are just changing pitches along the way. Match the tone quality pitch to pitch, especially the top note of the sets, keep the air moving all the way up and back down. No sliding, each note counts, each note resonates the room.

#8 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed.  When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

#9/10 – Once again, it’s all one long tone. Keep the air moving in a steady flow from first note through the last note. There should only be the notes heard that are written, no little extra notes when you slur up between notes 3 and 4. It’s okay to practice this slowly to get the feeling of the air flow, and the continuous resonating of the room with your sound. Give a little special attention to the next to last note of the phrase, it’s a little “curve ball” thrown at you to get you to change your valves quickly and have the note speak clearly, still with the same tone quality as the other notes.

#11 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed.  When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

#12 – Go for a full singing sound as you play this one. Keep the open, relaxed feeling of the low notes as you ascend to the higher notes. Keep your concentration up after the top note and descend gracefully all the way down and hold. No sliding between notes.

#13 – Wow, look at all of those Db notes. That 1-2-3 valve combination is the longest your trumpet gets, and it takes a little more concentration to get your horn to speak compared to other notes, and it’s up to you to make this happen. This study helps you learn how to match the tone quality going from longest to all the other valve combinations too, plus make it happen over a few different overtone partials. Be sure to do all of the articulations, this assures you are approaching this issue from every which way to get your chops working efficiently.  And remember, it’s all one long tone.  Oh, and… resonate the room.

#14/15 – Full length sixteenth notes, don’t try to play staccato, they are already short notes.  Resonate each one, every note counts, no fluffs accepted. Match the tone quality each note to the others, listen closely to the intonation of each note so you are playing the middle of the pitch when you attack the note. Keep reminding yourself that it’s all one long tone, the air keeps moving all the way from the first note through the last note. Get used to using that 3rd valve slide to get that Db in tune, it needs to be out for the Db and D, and for the 2-3 combinations (Eb and Ab) it’s in.  You can leave it out on anything other than 2-3, no airflow is going out the 3rd valve tubing if you don’t have the 3rd valve pushed down.

#16 – Go for a relaxed and resonate sound. Fill the room with your sound, not loud, just resonate.

If you don’t have a copy of The Comeback Trumpet Player yet, get details here:

http://mphmusic.com/trumpet

 

 

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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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Charlie Sweet comments on All The Notes and More

April 13, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

ALL THE NOTES AND MORE for TrumpetCharlie Sweet comments on All The Notes and More

Mark,

I have The Advancing Trumpet Player, Give It The 3rd Finger, and All The Notes and More.

I believe the All The Notes and More book is by far the best book for me.

It has all the pertinent, practical scales. and the exercises in all tonalities. I especially like the blues scales as I am playing in two jazz bands. It is also helping me get my range back.  I am a returning trumpet player (five years ago) and trying to get started in the right direction, this book is definitely working for me.

I highly recommend this book.

Charlie Sweet
Grand Junction, CO

Hi Charlie,

Thanks for sharing your comments with everybody, and thanks for purchasing the three books, and I’m delighted you are finding them all valuable to you.

Each book I publish typically targets a specific area of playing, however they are all written to create an efficient and effective way to practice so you get more accomplished in less time.  I think that’s what most people find when they really follow the practice plans in each book, and stick with the systematized approach.

If you’re reading this and haven’t gotten your copies of my study books for trumpet, trombone, or sax – check out these pages…

http://mphmusic.com/trumpet

http://mphmusic.com/trombone

http://mphmusic.com/saxophone

As always, my best to you —

Mark Hendricks

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David Cooper on the Full Range Studies for Trumpet book

April 12, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

Full Range Studies for TrumpetDavid Cooper on the Full Range Studies for Trumpet book

I have never met Mark Hendricks but when I saw his Full Range Studies for trumpet book, I had to give it a try.

Like most trumpet players, I have quite a collection of trumpet books, methods, sheet music etc. – I look forward to the every other day of doing the routines and it is quick and precise to the development of better trumpet playing!!!

I have been through the book on schedule and my wife even made a comment the other day that I was sounding really good!!

(I’ll take it!!)

I would recommend this book to all brass players!!

Thanks Mark!!!!

David Cooper
Cataula, GA

P.S. – When Momma’s happy, then you know it’s good…(Awesome)!!!!

Hi David,

So glad to hear your wife is noticing, that’s great… 🙂

One of the nice things about the book is you’re not playing the same thing every day, it makes it more fun to sit down and practice this stuff every other day, and it doesn’t drive your family nuts having to listen to you LOL.

Get your own copy today and get going…

http://mphmusic.com/trumpet

Best,

Mark Hendricks

 

 

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Pete Andrick – Full Range Studies for Trumpet

April 12, 2016 by · Leave a Comment
Filed under: Comments and Testimonials 

Full Range Studies for TrumpetPete Andrick – Full Range Studies for Trumpet

Hi Mark,

I’m a freelance trumpeter, in the metropolitan Detroit (MI) area. Most of what I do is in music theater, with some big band, and brass ensemble stuff worked in. I’m a former USAF bandsman, with collegiate study at the bachelor and master’s level, in music performance.

I found the MPHmusic site and an ad on the site pointed to the Full Range Studies book. The price of the book was rather reasonable. I decided on buying it after reading the commentary about the book.

An important aspect of the exercises presented in this book is that the progressions are logically laid out. I found that the progressions became easier to do while going through the exercises.

This book gave me a new way of enhancing what I have, regarding the upper register, and I think there’s a little more ‘pop’ or ‘sparkle’ to the sound. I would recommend this book based on that, alone. Follow the instructions included and you will not burn yourself out. Don’t force anything – keep the ‘natural’ aspect of playing intact.

Definitely a book worth checking. Best wishes!

Pete Andrick
Westland, MI, USA

Hey Pete – Mark here,

Thanks for sending in your comments about the Full Range Studies book for Trumpet.

And you are so right, players just need to read and follow the instructions and do the book and they will see progress.

Congratulations on that extra ‘pop and sparkle’ to your sound, that’s what people hear and know you by – it makes sense to really listen closely as we practice to always be making the best sound possible, no matter how long or short, low or high, loud or soft. Always be making music!

If you’d like to pick up a copy of Full Range Studies for Trumpet, hop on over to this page:

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

Hey Trumpet Players – here’s a great freebie for you!

December 21, 2015 by · Leave a Comment
Filed under: Trumpet 

FreeHey Trumpet Players – here’s a great freebie for you!

(updated as of 12/21/15 – download again for the newest version)

It’s the Trumpet Players Sample Pack.

These are sample studies and exercises from our books for trumpet you can add to your practice routines. And if you like them, we’re guessing you’ll want to purchase the complete print books too.

Here’s how to get the Trumpet Players Sample Pack, click this link and see the top of the page:

http://www.mphmusic.com/trumpet

Oh, one other thing…Be sure to check out out blog for lots of videos, event
updates and more at:http://www.mphmusic.com/blog
And also LIKE our Facebook page at:http://www.facebook.com/mphmusicdotcom

You can share this message with your friends,
I know they will appreciate you thinking of them.

As always, my best to you —

Mark Hendricks

The Advancing Trumpet Player – Quick Start Guide

December 19, 2015 by · Leave a Comment
Filed under: Advancing Trumpet Player 

Advancing Trumpet PlayerThe Advancing Trumpet Player – Quick Start Guide

First of all…

Congratulations on your purchase of The Advancing Trumpet 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 trumpet 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).

NOTE: if you purchased and received ATP prior to January 14, 2016… there is a typo on page 117, Lesson #7 – Session 2.  It should just read Eb Tonality – disregard anything else in that box.

12. Have fun and enjoy the ride!

You’ll find some other ATP tips here.

As always, my best to you —

Mark Hendricks

The Comeback Trumpet Player – Quick Start Guide

December 19, 2015 by · Leave a Comment
Filed under: Comeback Trumpet Player 

The Comeback Trumpet PlayerThe Comeback Trumpet Player – Quick Start Guide

First of all…

Congratulations on your comeback!

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 CTP 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 CTP book, in the first session (the Warmup Routine), just play exercises 1-4 and 16 the first week.  Then the second week add one more exercise (ie 1-5 and 16), then the third week add one more exercise (ie 1-6 and 16) and continue in this pattern until you are playing exercises 1-16 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 trumpet 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 comeback 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 CTP tips here.

As always, my best to you —

Mark Hendricks

Do you really know your scales?

December 11, 2015 by · Leave a Comment
Filed under: Music 

ALL THE NOTES AND MORE for TrumpetDo you really know your scales?

I mean major, all minors, diminished, whole tone,
blues, major and minor pentatonic, modes, chromatic,
and more!

And all of these in different patterns, arpeggios, ranges, and articulations too. And in all twelve keys.

Here’s the ultimate book for trumpet players (and any
other treble clef player)… ALL THE NOTES AND MORE!

Check it out and get free samples too at: http://www.mphmusic.com/trumpet

 

All The Notes and More for TromboneAnd there’s an edition for trombone players too…

Here’s the ultimate book for trombone players (and any
other bass clef player)… ALL THE NOTES AND MORE!

Check it out and get free samples too at: http://www.mphmusic.com/trombone

Give it a go…

Mark Hendricks

PS – tell a friend, I know they will appreciate you
thinking of them too.

PPS – be sure to  LIKE our facebook page at: http://facebook.com/mphmusicdotcom

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