Can someone post the youtube link please.

Auschwitz. No good saying 'don't go there' when you have just done it. Go to hell! Oh, I forgot; that's where you're going.

he did what on that dock???

Ralph, We often discussed Timofey Dockshitzer, and as you may recall, I sometimes prefer him to Maurice Andre'. The first time I ever heard him play was when I was still living and working in NY and listening to the classical FM station (WQXR? It seems likea lifetime ago). It was that Gozzo sound on a C trumpet. Before I arrived home from the office, I stopped at I think it was Tower Records at the time and bought the only CD they had left, and played it all the way home...and thensome. I have always admired what I consider to be the purest trumpet sound in classical music to be Dockshitzer's sound. I added some comments to the earlier post on cornet soloists but failed to add that I agree with you concerning Herbert L. Clarke; I have a CD of his cornet solos,and I was a bit disappointed in his sound (less so his technique). I think Kruyl, Liberati, and Caffarelli* were just a notch above, and as I stated in that commentary, I would include James Burke in that group. BTW, Ace, your playing on this video was some of the nicest I've heard you play in your introductions. *I omitted Jules Levy from my comments because on thetape Jerry lent me, his selections were so limited and the early recorded sound so bad, I couldn't really judge him on that.

Ralph, When it comes to cornet soloists and unbelievable tonguing, I would put James Burke (granted, he played a lot of trumpet as well) on this list. There are a number of his solos on KZbin as well as a website (I am not sure if it is still available) by one of his students, and I find his tone, power, technique astounding. I can't really comment on his range because the solos don't really call for stratospheric notes. As an aside, have you ever played the cornet? I think as an aside, you mentioned that you didn't care much for the sound, somewhat the way you feel about the flugelhorn. Also, do you know why Jerry never produced a cornet? I know I have quite a few of his cornet mouthpieces. Perhaps he felt that there was a smaller audience for cornets. I wish I had one of his C trumpets, although I am supremely happy with my King 2070 model. With that, I will take your advice after I return home from the holidays and not devour Arban's with multi-tonguing, simply because at this stage, my situation is less "hellacious" than it is hellish😂!

Ralph, Regards from Florida. I remember bringing Andrea Tofanelli to meet Jerry at his home in Staten Island and also reading an article in which Tofanelli, a really nice guy (we still keep in touch on occasion) mentioned at one time at the conservatory where he studied, one of his teachers had him change what was a powerful embouchure to one that was so weak that Andrea almost quit playing his beloved trumpet. I forget the circumstances that brought him and Armando Ghitalla together, but he is eternally grateful to him for resurrecting his chops. I later discussed all this at a later visit with Jerry's when I learned that Ghitalla himself went to Jerry based on what you described in this podcast. I have often wondered if this occurred before Ghitalla resolved Tofanelli's embouchure problem.

JazzR, I believe Jerry was referring to either Alessandro Liberati, or more likely, Reginaldo Caffarelli. I remember Jerry lending me a tape with some of the great cornetists of that era, and Caffarelli knocked my socks off. A lot of his etudes are listed on line.

Jerry had a recording of a cornet soloist (late 1800’s ?) who played in the double C range. His family was plagued with a brittle bone illness that was passed from generation to generation.. This gent, according to Jerry, tried to get his solos published but the publishers of the time refused citing the impossibility for the typical player to handle his arrangements.. I just don’t recall the name of the fellow.

Growing up near Roger Williams Park in Providence, RI, I would see a statue of a cornetist on his own little island where the Swan (paddle) Boats could be rented. I asked Julio Tancredi, my teacher, what the story was. Bowen R. Church, he said, was the most celebrated soloist of his time. Clarke praised him. Julio said Church would spend hours playing chromatic scales at blinding speeds and with every articulation, in all dynamics.. He liked to bend the elbow, as they say. BTW, Earl Irons recommended TKT for triple tongue in his book, especially above the staff, because TTK is more disruptive to the set-up. Jerry told me to practice the cough/K on its own to keep the tongue from slipping back into the mouth. The goal was to achieve the same pop as with the T.

I do the Clarke's #2 to work on articulation. I do each little study several times. As written, I work on a solid pop spit buzz attack. Then I'll do the SAME little exercise in minor, but with a major seventh K or Gu or cough tongue. Then I double tongue it again, in minor with the flat seventh. I then do a little spit slur alternate thing on the same exercise in whole tones. Finally I do it slurred, but chromatically. I feel great after this. I've even done some SPOT CHECKING (I DO NOT spend a lot of time up there) by doing double tonguing passages way up above high C. I practice Freedom Jazz Dance double tongued up an octave, and is is just popping out there. I am very careful with this and I'm not ready to deploy it on a gig, but I just might let it fly on a jam session! ;-) Here is my question, Ralph. When I do the cough tongue, I MAKE SURE to REALLY KEEP THE TIP OF THE TONGE ANCHORED AT MY LOWER LIP. The tip is way forward as tough I'm about to start a spit buzz, but KEEP it there when I do the GU.Clarke's number two is not written out of the staff, so I'm not risking tension creeping on. So, shouldn't the Ku/Gu/cough be compatible with the (sorry) TCE set?

Nice pop on the promenade!

I LIKED this video (as usual) but MORE because , as Ive mentioned to you before, my grandfather came to this country as a CORNET SOLOIST from Italy with Vessella's Italian Band and the Creatore Band..in the early 1900's ...He later taught my dad, cousin (B.U. grad and huge player on East Coast) and many players until his death in I believe, 1961, So at 8 I really never heard him play. (Just loved getting that quarter when we'd visit him on sundays) or he'd take me to the drug store below his trumpet studio to get a 'HORN" of ice cream as he described it (it was really hard to understand him) I was never lucky enough to get his cornet when eh dies, my cousin did, but HEY, he made a life career out of playing at the highest levels with some of the best acts and musicians. Thanks for NOT forgetting the CORNET SOLOSISTS. who played in parks aon bandstand on Sundays in the parks . .....Yes dad discussed Del Staigers many times at my dinner table' when i was a child., and our music store sold tons of Arbans and Worlds Method books...lol (helped pay my college tuition) problem with Del? he WASNT ITALIAN so therefore could NOT feel the passion and played like a mechanic..... as you KNOW, its an ITALIAN thing.

Thanks does Dave S. Know he sounds like a trumpet at times , ,

Joe, Ciao! You always bring something to the table and make the wheels spin in my mind. Just curious, did your Uncle Ray play a Jet Tone mp.? That was one of the smallest mouthpieces I ever bought in my great search for the Holy Grail of mouthpieces until the SUPERCHOPS 1S series, my favorite being the SB1 (See my comment to Nick). You raised two interesting concepts, the first being, how do you play on the outside of the mouthpiece (I assume he meant the rim)? I am trying to conceptualize controlling the sound, air, vibration, etc. The other is spitting the rice, or the old hair on the tongue concept of articulating. Ralph, correct me if I'm wrong. Didn't Jerry teach that at one point years ago. That would require the tongue going through the teeth and lips. Later, Jerry moved away from that because, especially in my case, when withdrawing the tongue, my intonation would suffer. With his last embouchure and the Lib tongue placement (as used by the great cornetist Alessandro Liberati (for newcomers to Ralph's podcast) articulating became much cleaner, faster. I am amazed that Uncle Ray Triscari's single tonguing was as fast as his colleagues' double tonguing. Giuseppe, you laid a lot on me to think about...playing on the outside of the mouthpiece. Damn, how I love these comments! Keep them coming, guys!

Nick, You always inspire this senior citizen (A.K.A. OLD DUDE) with your attitude and perseverance. Many thanks.

SUPERCHOPS 1SB. Of the last 3 mouthpieces designed by Jerry Callet, SUPERCHOPS 1SS, 1SB, 1SC, I prefer the 1SB on my Bb trumpets, my flugelhorns, and my cornets, (there are the SUPERCHOPS 1SS, 1SB, 1SC mouthpieces for each of these instruments), and while I can use the 1SB with all of them, with my C, D/Eb trumpets, I enjoy using the 1SC for my combination horn/mouthpiece sound on classical music. It's really a personal preference once you get used to playing them. I just enjoy switching from the 1SB and 1SC but either one does the job. I would rate them as far as variety of musical genres for my embouchure 1SB, 1SC, 1SS in that order. Sometimes if my chops are tired, I'll play some pedal tones on the 1SS. it was the first of the series to my recollection but I purchased a number of the series, so when I practice, rather than switch mouthpieces, I just keep my 1SB in my trumpet/cornet/flugelhorn and my 1SC in my C and D/Eb trumpets and switch horns. I only wish Jerry had designed one that I could use on my valve trombone that I enjoy warming up on. I hope this helps. To all you vets out there, thank you for your service and Happy Veterans Day.

Hi can you please write the name of the mouthpiece here Thanks

Hey Ralph- You may have already seen this version of Firedance by Vizzuti. His solo improv towards the end is not only amazing, but the camera person gets some nice closeup shots of his chops in action. He is ridiculously relaxed!! kzbin.info/www/bejne/gWmwhZeBl5dpjposi=fUIlQWvbZfVdWlZb

EXCELLENT video, Ralph. FWIIW, I am pretty sure I'm getting the feel. My warm up times are down, and my classical articulation feel real good! My jazz lead work feels great, and improving every day, now! Don't overblow, stop, spit buzz and reset, relax the corners. It works. BTW, smoke detector?? 🙂

Great video Ralph.. like we’ve talked about in the past I believe my uncles played hugely similar if not exactly like your protocol.. Both basically self taught.. one studied with Del Steigers the other 5 lessons with Maggio.. I asked my uncle Ray how he possibly could play on such a tiny mouthpiece and he said “I play on the outside of the mouthpiece “ and he said he tongued like spitting a piece of rice off end of his tongue. He said when most of the guys were double tonguing he usually was single tonguing. To me me conveying same message as you are except being self taught he described it best he could…

Do you need a battery for that smoke detector? 😊 Sorry, I couldn’t resist. I know, I’m goofing around off topic. Btw, I got a B5 project in the works. I think you’ll enjoy it.

Jerry was a very nice guy on the phone. The tone of his voice was calm and very positive. I could only imagine him in person. Charley Davis is a powerful player with a big, whole, beautiful tone. He is a second-generation Bill Adam student. He was able To play from the lowest note on the piano to the highest note on the grand piano. I haven't seen him since 2023; he was still hitting double C’s.

double c AHHHAAHAHAHAHAHAHAHAHAHAHAAHHAAHAHAHAHAHAA :)

Zum Kotzen, Sportsfreund. Keine Ahnung von Musik, geschweige denn vom Trompetespielen. Dumme Sprüche, großes Amimaul und nichts dahinter.

Was für eine scheiß Intro

Is your Getzen a LB (the LB. is stamped on the middle of the valve block)?

I can hear the "needle in cotton" on all those attacks refined to perfection. Makes for a thrilling sonority on that fanfare with all those parts combined! Sounds like Nick's complete devotion to this protocol has paid off superbly. He got out what he put in and that - as they say - is how it's done.

You sound great Nick!!!

since I couldn't comment on his channel (not that he needs to turn them on for the trolls) that was ACTUALLY a great recording of that piece @ mr Drozdoff :)

❤

Mr. Adam was all about the sound. If you’re making the correct sound, you’re doing it right. That simple. He had students isolate the main aspects of trumpet playing in a daily routine: long tones, blowing past valve movements, lip slurs and tonguing. This is the Bill Adam routine. It worked for me. I didn’t see whatever video Wane made, but he’s sick and despite that, you have every right to be skeptical of any approach to the trumpet. Not all students achieve the pinnacle of success, and I know other Bill Adam students I play with who have areas of weakness. I do as well, I’m sure. You may have met a couple of those in the past. It is what it is. I can’t see the comments. You probably blocked them because I can’t imagine any other student of Bill Adam who sees this wouldn’t try to explain in uncertain terms the Mr. Adam was an amazing person, teacher and father figure to many of us. He played and he taught people to play. I wouldn’t discourage anyone from knowing anything even if it doesn’t make sense to you. Keep playing l! 😊🎺

Also I think the idea was to steer the students away from mouthpiece buzzing because it's a completely different resistance which can make the student tight. It's a disagreement that's been going on for years

I believe that Wayne is in sync with the Bill Adam approach

One commender on the video said it well. I am copying his words here: "I don’t believe he says that the lips don’t vibrate. I believe he says that we do not need to vibrate them… they vibrate sympathetically to the standing wave, or in other words, the air causes the lips to vibrate and not the other way around. Watch John Harbaugh’s video on trumpet physics (on yt). By forcing the lips to vibrate we are only creating unnecessary isometric tension. The lips will vibrate as they must when we supply the air." So the vibration comes from positioned and not tightened lips that vibrate from the manipulated air pressure, not forcefully spit buzzing.

OK, I'll TRY not to get too technical. Many trumpeters make a serious EFFORT to get the PHYSICS right often miss parts of it or get it completely WRONG. Sadly, much of that is the case here. First, the lips do vibrate when. you play - period, full stop. In musical-acoustic-physics speak, the trumpet is a lip reed instrument. Second, if the first three minutes of the clinic, he contradicted himself with his demo. First he put the trumpet on the mouthpiece while he was playing, got a lame sound, AND THEN PULLED THE TRUMPET OFF OF THE MOUTHPIECE AND KEPT THE BUZZ GOING. He claimed that this showed the lip buzzing is somehow wrong. Then, he did the demo again, and when he pulled the horn off and the sound stopped. He claims that this shows that he's not buzzing those notes. This is WRONG. HE IS buzzing those notes but the resonance of the horn is amplifying them by virtue of the standing waves in the horn. The actual VOLUME of the notes of the vibrating lips is much softer. That is what he was inadvertently showing in his second demo pulling the mouthpiece off of the horn. HIs "bad" demos are, indeed, manipulated, though he may not realize that he's is doing it. Popping the horn with his hand simply demonstrates wind column acoustical resonance. It doesn't show that the notes are magically in the horn. He put acoustical energy with his had by slapping the mouthpiece. This is equivalent to the lips making only one cycle of a vibration. In fact, this actually serves to demonstrate the the lips DO vibrate. Now, there are some that claim to have seen videos that show that lips don't vibrate when they play. This is also mistaken, because of strobing. If the lips are vibrating back and forth 440 times per second, you have to use high speed video with a frame rate many times higher than the frequency you're looking at, not what you get with a cell phone and some fiber optics. Next, when you consider the physics of overtones on a wind column instrument, with large sections of tapered tubing (the bell, certainly and, though to a lesser extent, the lead pipe), you can verify mathematically and physically that the lips HAVE to be vibrating. The trumpet (and all brass instruments) is a closed end resonators with an overtone series tricked out by the tapers. This is sometimes called a variable acoustic length. There are many books that explain this - Benade, Rossing and Backus, come to mind, but I have already run too long, for a comment. There are also some nice articles by Dr. Thomas Moore for the ITG Journal's science desk. He was a professor of physics at Rollins college in Florida and specialized in experimental analysis of trumpets with holography among other things.. Ralph, I don't have a PhD, like you do (MUCH respect, btw), but I DO have a BSEE, specializing in electro-acoustics and communications, a MM in classical trumpet and a MS in physics. Musical acoustics is sort of my bailiwick. This long comment is intended to just scratch the surface here. In Wayne's defense, MANY clinicians often get in front their skis when it comes to musical acoustics. Hit me with an email, if you want more, Ralph.

Rumor is that Vincent Bach had a new lead pipe he had come up with and gave it to Sandy Sandberg to start the whole Doc Eterna trumpet. My teacher Dominic was a Getzen clinician at the time and in 1970 he got me a Doc Eterna for $200.00. Now having gone to college with a Conn Victor cornet....that was life changing. It was a wonderful horn d

Ralph have a great day.

How long does your kettle bell routine take?

Hey! Even though most of the projects i do don't require a lot of power, i have started implementing the technique you talk about where the tongue goes behind the lower lip, and although i use a more "conventional" technique for my technical playing, your technique has really helped me getting power with ease in the upper register and has saved me a lot of time that i would otherwise have to use doing lip maintenance :) So just, Thank you!

Ummmm…WTH???? 😮 I definitely prefer his playing to Nakarakov.

Same here. The link isn’t working.

I learned a lot listening to this cut. Thanks

That was outstanding! His sense of time and structure are so evident in that amazing stop time section!

I couldn’t hear the clip. The link kept taking to an AOL login page.

Italian trumpet players!!!!!

I can eat everything you mention including fruit juice except high glycemic fruit. My stomach goes nuts.

My favorite mode of exercise JUMP ROPE

BEANS ALSO!!!

I hate to comment on this.. but.. once I bought a cd of Wynton.. asked my uncle to listen to it… His only comment was” first 16 bars was nice” I think he felt too many notes and not musical.. not say the wasn’t great but

Racist? Ha!!! Have you not heard what this man has been saying? Wnyton is fantastic, period. Ralph has complimented Wynton many times. If you know anything about Wynton, he has had chops issues and has even had operations on his lips. I was told by people who know him well were commenting to me that he had decided not to play anymore. I could never imagine Wyton not playing the trumpet. But I do hope he takes Care of his health so we fans can enjoy his musical and personality for many more years. Thank you, Ralph, for sharing your opinion, even though I might not always understand and agree. Un imenso abrazo y te queremos Ralp. Con Amor. Carlos