hey ryan great video ! I'm developing better intonation with my trumpet and found it difficult to play in tune and centered but I'm still at it and won't stop until I've combined the two. You're centering the tone video and this video are critical pieces to the puzzle I'm trying to complete so thank you. Quick question though, while centering the sound and the playing in tune is possible for me on a long tones, what do you recommend for one to do for faster pieces ? Thanks

This is terrific. In orchestra, or in any context where the listener is back in the hall, what we hear is not what they hear. And what they talk about with the brass in general listening to the principal trumpet setting the tone for articulation and style is not talked about enough but is so important. It's not that the principal trumpet is more important than any other part, its that we (they) are usually the highest part in the brass, we do end up being the the QB for the brass section. Over the years, I've gotten feedback from other instruments that what I do as principal trumpet often sets the tone for other sections. It's a really critical role and an awesome responsibility.

I've had the pleasure of playing and trying out several professional level horns in all my years of playing trumpet, including several Bachs and Yamahas. Don't get me wrong, All the Bach models that I've tried are wonderful instruments with some even having some history behind them and they sound amazing. But I think the reason for choosing Yamaha over Bach is just simply that they always seem to treat me better. Broad spectrum sound, ease of playing (no matter what mouthpiece I use on it), and overall consistency and impeccable quality are just some of the reasons why I seem to prefer Yamaha over Bach.

Wow, I wish I heard this earlier! I love your approach to this

2:14. "The goal is to get the fifth to feel like the top note in terms of ease"? The top note is the hardest least easy note.

Great video. This was very helpful

How soft are you playing the long tones? I can’t tell because the Mic is picking up the overtones.

It sounded quite good. It goes to prove it’s the musician more than the equipment that makes the difference. And I like the shout-out to Orono, ME. I’m from Portland and had a lot of friends that went to the University of Maine, which has a good music program!

Ryan, what model is it? Looks like an early 6310Z or 636 (the horn designed by Bobby Shew and Bob Malone). I actually think it sounds great!! They are interesting horns with a stepbore design based on the old Martin Committee model.

Looks like a Bobby Shew.

You didn't mention which model Yamaha your friend owned. Sounds awesome

Hi Ryan, I’m sorry I missed this when it was live, but Excellent Trumpet Practice today I want to sound as good as You do eventually in the long run, but I am only starting again recently, after having not played for 22+ years (since Grad HS in 2002), I started again recently a few months ago as part of a “Community Band” for me locally. Thanks for the easing back into the normal amt of time practicing and playing tips at approx. the 9:50 mark

Just out of curiosity, what are the model #s for the two Yamahas?? A Cat Anderson story from his Conn Connstellation years on trying out the Conn Director (student) Coprion bell model: 'Are you sure this isn't your top of the line model?? I like the A better on this one.' There are some very nice horns out there masquerading as student models.

I have a Conn Coprion student trumpet and I like to play it sometimes because it sounds pretty .

I love how brass instruments really can be the epitome of a "diamond in the rough". I just finished going through my school's inventory of instruments which included about 15 student model horns (Bundy, King, Olds, Yamaha)...some of which were in ROUGH shape. I caught myself thinking "Dang...does this sound better than my Shires??" more than once while I was playtesting everything.

This reminds me of what Phil Parker told me in the 70's "First the man, then the mouthpiece and finally the instrument". You just proved that!

now days…..definitely a closer ‘Ford vs Chevy’ situation! You have your die-hard fans from both camps…. Yamaha pretty hands down some of the best beginning and intermediate horns….gap really decreases once you get to the Bach 180/190 series and the Yamaha artists custom series. Basically boils down to $$ and player preference. 5k for a horn is insane…my fist Bach 180s37 only cost $650…..in 1985! 🤣🤣🤣

I like to practice Clarke #2 with different scales: harmonic minor, octotonic (diminished) and whole tone. Other things to do with Clarke #2: play them upside down or play them in 7/4 or both. There's a great method book by Bryan Davis that has all these written out; recommended. I think it's called "Twisted Technical Studies" or something like that. Very helpful vid, Ryan; thanks for that.

Hi Ryan! Thank you so much for your videos. They are easy to follow and bring about a lot of epiphanies. We met at SOI 5 or so years ago. This explanation is so great, I think you can market it to more musicians than just trumpet. I know a lot of woodwind players this explanation would immensely

Real, natural and great. Thanks Ryan. I subscribe 👍

"Learn how to articulate within a slur." (Step 2). Nicely said. Thank you for putting the score on screen! That is excellent teaching.

I mic'd my cheap Alex rotary Bb out to ~0.436, which is close to where my old 49 Conn New York Symphony is.

Great stuff! Very nice collaboration

Many thanks, Ryan. This is inspiring me to change my warm-up. I've been free-buzzing for five minutes, sometimes just buzzing a ballad out of the Realbook. It probably helps more with pitch and intonation more than anything I incorporated some leadpipe buzzing into my warmup after a number of KZbin trumpeters recommended it - but I'm damned if I can hear it doing anything for my playing. It does remind me to pull all my slides out so they don't get frozen (that pesky little 2nd valve slide). I think I'll just start pulling my slides out and skipping the buzzing, LOL. Then I'll do slow tritone triad pairs as a "flow study" in all inversions over my full range (i.e. F#-C, B-F, etc.). Then Caruso "6 Notes" with bends, extending the range. 15 to 20 minute chunks of time works better for me. Yes, of course: long tones! One thing all trumet players can agree on - not every single day, though I know I should. Sorry for going on too long here, but again, thanks for a helpful vid.

Hey, so I am very mad at myself because I was doing well with extending range(along with tone and all fundamentals), however I stretch my corners and this is limiting me. I am switching to a more efficient embouchure, well, trying to. I keep doing the old habit of stretching. I want to play without making virtually any corner movement. How in the world can I get this out of my playing.(Btw I am trying the "Corners in" method but I end up stretching even when thinking that)

I'm a "comeback" player, and am struggling to get my range and tone back after 20yrs away. This is a really useful video, will definitely be a using it - thank you!!

Whatttt? You didn’t play any notes before the concert? 🫢blasphemy! Impressive 😎

Sorry about the volume of the music in the beginning. I uploaded one version and had copyright issues, so I changed the music for this track, but I didn't quite get the levels right.

Sorry for the negativity, but the background music at the start until 1:28 is way too loud.

What mouthpiece are you playing?

Hi, These are for me the best tips for correct breathing, the difference is immediate, well done!

Very similar to Jim Thompson buzzing book exercises on the horn

"So many players struggle with the low register" lol yea right, like the eternal struggle on the trumpet is the LOW register.

I'm new to your channel. This is excellent content. Thanks!

This video is awesome as usual. What is the record you have hanging up behind you?

I think we perform BETTER when music (or trumpet itself) is NOT the most important thing in our lives. There are musicians out there who say you have to give your entire life into music to be worth anything as a player. They are wrong. In fact, the most ambitious students I ever taught have always been the worst. Something happens to our minds that ruins the music when we get that deep into that unhealthy desire. Congratulations on having the guts to say that you are not one of those.

Well, probably a personal taste, but everyone talks about the 1st trumpets, the Solo man in any orchestra, but I always love the 2nd trumpet players, and most of them are awesome, unique ! Love this Low note’s approach. Thank you 👏

4:35 is the single thing I have to fix the most: that big open “OH breath”. Drives me up the wall, and it’s pounded into trumpeters brains from beginning band. So many bad habits formed from what many people think is good advice. And they wonder why their students can’t play soft. 😂 Instant share.

Your imagination about the back expanding is not. It is actual. That section of the torso does expand all the way around, made possible by the floating ribs. If you place your hand on the side of your ribs, you'll feel them expand and the upper waist balloon out like a frog. I learned this in college when studying singing. I also played trumpet at the time and used it six years ago when i came back to playing.

Amen, Bro!

Thank you for this video. It was very insightfu

Thank you for your recommendations they have helped my daily practice be come more interesting .

My teacher from my first two years of undergrad added flutter tonguing to the beginning of Butler’s Magic Three. The Magic Three + has greatly helped my playing!

I like to interpret lines 5-8 as continuing to be based on quintuplets instead of even 16ths and 16th note triplets.

I always enjoy Ryan's videos. Good stuff.

Almost like Thompson buzzing

Great stuff as always! Looking forward to applying!

so simple yet so effective. This is perfect for me as I'm finally tackling the arban's book in it's entirety. It's time to level up

The BERP is also a great tool in making things easier! (the plastic version)

Arban's number 29! What a tricky torture, still struggling with it...