I am continually grateful for the care and attention that was paid me by my teachers in the areas of foundation, mechanics, technique and musical perspective. Where equipment was concerned they made it clear that the sound must be heard first in my mind, that I must solidify my musical ideas with strong repeatable skills, and that only as those skills gained in strength would good equipment become more and more meaningful. The message they gave to me is the same one I give to my students: In order to get the most out of your practice time you need to prioritize your practice categories. After you have developed efficient and appropriate practice habits you can then look for optimal equipment.
Although the beauty of a trumpet sound, along with its power and brilliant color is what we initially fall in love with, it is our foundation on the instrument that provides the superstructure upon which we build our mechanics and technique. The foundation of our playing is developed and perfected on a daily basis. It is often called the “warm-up” and usually includes mouthpiece work, lip slurs, scales, rapid articulation studies, double- and triple-tongue drills, and lip flexibility studies. My own foundation practice is a combination of selected exercises from the Max Schlossberg book (“Daily Drills and Technical Studies for the Trumpet”) and the James Stamp exercises from the book “Warmups Plus Studies”. I believe that these two books are the most important books of foundational studies for all players, regardless of the musical genre (classical, jazz, commercial, etc.) in which one performs. My advice to a developing player is to choose a teacher that teaches a strong foundation as the basis for subsequent technical and artistic achievement.
Good mechanics are built upon the foundation that we put into place for ourselves on a daily basis. The terms “mechanics” and “technique” are often used almost interchangeably, though I believe that is a mistake. They are two very different things. Proper mechanics create ease of production. Ease of production then supports consistent facile technique. Therefore, good technique is a result of correct mechanics. As an example, if I execute a passage with fast finger technique well on an occasional basis, it means that I am capable of mastering physical speed against a metronome. It does not mean that my finger rhythm is even or that the sound is beautiful, or that I will always be able to produce that technique on demand. Good mechanics will promote a facile and reliable technique, but executing feats of fast technique does not necessarily promote good mechanics.
Musical perspective is the “total picture” that results from combining intuitive and learned musical knowledge. It is the total of what we know expressed in sound. One’s musical perspective is most effectively expressed when one’s foundation, mechanics, and technique are in good working order. Oftentimes, a player’s musical perspective is more developed than his or her mechanics or technique. This is fine because it is still possible to achieve an excellent musical result at each technical and mechanical level. A strong foundation, a high level of mechanical skill, and a strong technique coupled with well-developed musical perspective will produce a superior and clearer sound picture every time. Practice time therefore, should be devoted to each of these aspects on an on-going and consistent basis.
A few words about equipment: I believe strongly in the value of the after-market valve alignment. When the valves are aligned properly the “bugles” in each combination become unified in color and timbre and instrument will then blow evenly. The horn is then optimized and will play as it was meant to play. I prefer the Bob Reeves valve alignment and have been depending on it for over 20 years. It never ceases to amaze me how happy my students are with their trumpets after they have invested in a valve alignment. The current-day valve alignment is one of the significant advances in trumpet technology because in optimizing the instrument it promotes correct trumpet mechanics by encouraging players to blow straight through the trumpet instead of “tipping” the air in the direction that the pitches are moving.
If after a valve alignment the instrument is still unsatisfactory, instead of immediately running out and buying a new mouthpiece you should first examine the resistance created by the relationship between the mouthpiece and the mouthpiece receiver. If your mouthpiece fits in the mouthpiece receiver too far or not far enough its resistance may be wrong for you. Your mouthpiece might need to penetrate the receiver a little more, or be pulled back a little in order to discover a more favorable resistance. If this produces the sound and ease of blowing that you prefer then purchasing a new mouthpiece is unnecessary. If you still find the sound and/or the “blow” lacking you may wish to buy a new mouthpiece and repeat the fitting procedure.
My last point is about trumpet mouthpieces. We are in a golden age of choice where mouthpieces are concerned: there are many fine manufacturers producing excellent models from which to choose. Try everything you want to try. When you hear what you like buy it, have it fitted properly to your instrument, and begin to work with it. Bear in mind that when you first try a mouthpiece and find it attractive, you are just getting a glimpse into what it can be and can do for you. Your facial muscles will not immediately be accustomed to the new position appropriate to the new mouthpiece. Consequently, the mouthpiece might play nicely for you for a week or less, and then begin to give you trouble by making you tire quickly, making your tone airy, marginalizing your range and so on. If you work with it, play scales on it, articulate on it, practice your lip-slurs, all the while practicing carefully and correctly, in about four weeks the mouthpiece will begin to give back to you what you first found attractive about it and you will enjoy its benefits.
This article is aimed at high school and college students in the hope that they may gain a little perspective about what they have ahead of them in studying trumpet. Practice “smart”, get a good teacher and good information about your equipment, and you will enjoy the learning process more and make greater strides in achieving your technical and artistic goals.
Roy Poper has for more than 30 years maintained an active performing career of a breadth rare among musicians. His engagements span every facet of trumpet performance including symphonic principal player (Los Angeles Chamber Orchestra and L.A. Opera), film studio work (over 500 major motion pictures), chamber music (founding member, The Modern Brass Quintet), and “popular” genres including jazz ensembles, Broadway shows, and even recordings with Frank Zappa and the Mothers of Invention.
Equally respected as a teacher, he was for more than 20 years a member of the faculty of the University of Southern California School of Music prior to moving to Oberlin, OH in 2002 to assume the duties of Associate Professor of Trumpet at the Oberlin Conservatory. His book, Roy Poper’s Guide to the Brasswind Methods of James Stamp (Balquhidder Music), which serves as a companion to James Stamp Warm-ups and Studies (Editions BIM) has become an acclaimed addition to the trumpet method-book literature, thoroughly explaining how to execute and effeciently utilize James Stamps’ teaching methods.
He continues to be in demand as a performer, performing frequently in the greater Cleveland Area and Los Angeles. He has commissioned numerous works, some of which appear on his forthcoming CD, L.A. Trumpet Works. Roy has been recorded on the Crystal, Orion, Nonesuch, and Dorian labels.
About Roy Poper
Roy Poper has for more than 30 years maintained an active performing career of a breadth rare among musicians. His engagements span every facet of trumpet performance including symphonic principal player (Los Angeles Chamber Orchestra and L.A. Opera), film studio work (over 500 major motion pictures), chamber music (founding member, The Modern Brass Quintet), and “popular” genres including jazz ensembles, Broadway shows, and even recordings with Frank Zappa and the Mothers of Invention.
Equally respected as a teacher, he was for more than 20 years a member of the faculty of the University of Southern California School of Music prior to moving to Oberlin, OH in 2002 to assume the duties of Associate Professor of Trumpet at the Oberlin Conservatory. His book, Roy Poper’s Guide to the Brasswind Methods of James Stamp (Balquhidder Music), which serves as a companion to James Stamp Warm-ups and Studies (Editions BIM) has become an acclaimed addition to the trumpet method-book literature, thoroughly explaining how to execute and effeciently utilize James Stamps’ teaching methods.
He continues to be in demand as a performer, performing frequently in the greater Cleveland Area and Los Angeles. He has commissioned numerous works, some of which appear on his forthcoming CD, L.A. Trumpet Works. Roy has been recorded on the Crystal, Orion, Nonesuch, and Dorian labels.
Dontae Winslow is one of the most versatile in-demand trumpeter/arranger/composers on the Hollywood music scene. His trumpet/arranging/songwriting can be heard on classics such as Kanye West’s grammy winning “We Major” from the multi-platinum Late Registration, Jayz’s “I Made it”, Dr. Dre’s Compton Movie Soundtrack (where Dontae composed the iconic fanfare intro and played solos throughout the album). The Final track “Talking to My Diary” uses a 2minute jazz trumpet solo after Dre’s verse over a hiphop song which was Dontae’s 1st take. He also plays on Kendrick Lamar’s “County Building Blues”, Snoop Dog’s Ego Trippin, Aloe Blacc’s smash song “I’m the Man”, and Beyonce’s Huge Ego among countless other hits. He has toured in the band of Justin Timberlake since 2013 where he performs in the Netflix Movie “JT & The Tennessee Kids. Dontae has performed in front of millions in the 2020 Experience World tour, Legends of Summer World Tour, and Man of The Woods World Tour. He has alo been on the bands of Lady Antebellum (You Look Good), D’angelo (Vodoo), Kamasi Washington, Raphael Saadiq, Lauryn Hill, Jill Scott, and most recently has been the arranger, orchestrator, and Music director for Queen Latifah.
After touring with JT Dontae released a summer party anthem sure to get you moving entitled “Shit Yeah” with him producing the TNkids live band along with analog synths and sing rapping the verse/choruses.
His first private lessons were with Jari Villanueva, then continued trumpet and learned to read music from Carolyn Foulkes in high school. At The New School Dontae studied with Roy Hargrove who would become a life musical mentor until his passing. In college at the Peabody Conservatory of the Johns Hopkins University Dontae studied with Wayne Cameron for undergrad, and Langston Fitzgerald III for graduate in classical trumpet performance. He has always had great jazz lessons from Maryland based jazz giant trumpeter Tom Williams and has been mentored by Jon Faddis and Wallace Roney. As a recipient of the Thelonious Monk Institute of Jazz Fellowship at USC Dontae studied jazz trumpet, composition, and film scoring with jazz legend trumpeter/composer Terence Blanchard. Also at USC he studied with jazz legend Bobby Shew, string arranger Jeremy Lubbock, Studio trumpet legend Gary Grant, and Gospel Composer Margaret Douroux.
Dontae has produced songs for platinum artists Snoop, Dr. Dre, Avant, Mary Mary, and Keyshia Cole. As an arranger he has orchestrated/arranged and played trumpet in the show for Queen Latifah’s debut concert with the Boston Pops, and recently their 2019 Fourth of July Summer Holiday Concert series. Dontae is influenced by all styles of music especially European classical composers Shostakovich, Mahler, Stravinsky, Rachmaninoff and Chopin. In his playing you can hear his love for the soul and swag of Lee Morgan, the harmony of Woody Shaw, the pathos of Roy Hargrove, and the elegance of Miles Davis.
Internationally acclaimed cross-genre trumpeter Niall O’Sullivan has performed all over the world, from orchestral playing to his solo theatre show. Niall has performed in some of the world’s most stunning venues throughout Ireland, Europe, Asia and the USA.
When the trumpet world got word of his growing profile as a performer and recording artist, Niall became a performing artist for Schilke Trumpets, Chicago exclusively. This relationship has seen Niall represent Schilke across the globe, from Dublin to Los Angeles.
John Hutchinson is a trumpeter, arranger, composer, teacher and blogger. Graduating from the Royal College of Music, London in 1999, he began his freelance career working with many of the UK’s major orchestras as well as recording and performing with major international pop acts such as Joss Stone and Bjork.
These days, John concentrates mainly on his media composition and production, brass and jazz arranging, and his trumpet teaching at some of the UK’s top schools. Having worked alongside numerous trumpet manufacturers over the years he also now engages with over 50,000 trumpeters around the world each month through his specialist trumpet website, MouthpieceOnline.com.
Hub van Laar founded his company in 1990 in Margraten, near Maastricht, on the border triangle to the Netherlands, Germany and Belgium. Beginning as a workshop for brass wind instruments, the company expanded rapidly under the direction of Hub van Laar and Heidrun Jöchner to become an enterprise of world repute.
A new trumpet or flugelhorn is certainly not something one buys every day, and musicians develop a special relationship with their instrument. This is why Hub van Laar attaches great importance to individual and intensive contact with his customers. Over the years Van Laar has built up a wide range of trumpets and flugelhorns with all the technical requirements needed for all kinds of musicians and for every kind of music. These instruments were created in close cooperation with a number of musicians and have been continually improved, ensuring that the majority of customers will find “their” perfect trumpet or flugelhorn among them.
A native of New Orleans, Robert Karon received his Bachelor of Arts cum laude in Music from UCLA and Master of Music degree from the Juilliard School in New York City. He was the recipient of the Longy Award for achievement in Solfege. His teachers include Robert DiVall, Irving Bush, William Vacchiano, and Arnold Jacobs. Proficient in three languages, Karon toured South America, the Far East, and Europe during his two years with the Mexico City Philharmonic and played first trumpet with the Maracaibo Symphony Orchestra in Venezuela.
Bob Karon’s latest endeavor is his educational website 
Peter Bond has been a member of the Metropolitan Opera Orchestra since 1992. Raised in Rockford Illinois, his path to the “Met” was atypical; while his future orchestra colleagues were attending professional training programs like Interlochen and Tanglewood, Mr. Bond spent summers on the road with a drum and bugle corps and the rest of his time focused on big band jazz. This pattern continued through college at Western Illinois University, where he received a degree in Music Education. It was only in graduate school at Georgia State University that he turned his attention to orchestral trumpet, studying with John Head, Principal Trumpet of the Atlanta Symphony Orchestra. He has also studied on an “outpatient” basis with Vincent Cichowicz, Adolph Herseth, Arnold Jacobs, Robert Nagle, and James Pandolfi.
Toru “Tiger” Okoshi was born in the Year of the Tiger on March 21 1950, just outside of Osaka (Ashiya city, Hyogo) As a child he was, in fact, devoted to painting as he loves today. At 13, he had an enlightening experience to see Louis Armstrong Perform live in Osaka, Japan, only 6 months after he begun to play the trumpet. ”He was painting the air with his trumpet” recalls Okoshi. Today, Okoshi often describes the relationship with his horn: “When I play, I want to paint the air with my colorful tone. Choices between long or short strokes, quick or slow, high in the canvas or low, brighter color or darker, with a fat brush or a pen. Paint the air one note at a time.”
Tiger, who loves sports, was invited to perform “The Star Spangled Banner” at the opening game of the 2007 season between Boston Red Sox and New York Yankees at Fenway Park, as well as the playoff games in 2007 and 2008. Tiger’s trumpet was surrounded by 20 trumpets, 10 trombones and 7 Japanese Taiko drummers playing his original arrangement. In 1997, Tiger recorded a CD entitled “Hustle Tigers” for Japanese major league baseball team Hanshin Tigers.
Markus Stockhausen is one of the most versatile musicians of our time. He is as much at home in jazz as in contemporary and classical music. For about 25 years he collaborated closely with his father, the composer Karlheinz Stockhausen, who composed many beautiful works for him. With his brother Simon he realized several internationally acclaimed musical projects.
Freddie Jones is a popular jazz trumpet player and composer in the Dallas/Fort Worth Metroplex. With an amazing musical gift, Freddie Jones kicks up the energy of a room a notch or two and thrills a jazz-lover’s soul! Audiences are in awe of the sound this Freddie Jones can coax from his horns. Freddie has taken his trumpet and his group on the road throughout the southwest, performing in hot spots from Austin’s’ The Elephant Room to Little Rock’s Riverfront Auditorium to numerous festivals in the Dallas/ Fort Worth Metroplex, Oklahoma City, and everywhere in between. He has also performed in Paris, The Hague and Rotterdam. He has several cds to his credit. His band, the Freddie Jones Jazz Group, never fails to pull in the audience and deliver an exciting sound.
Students are required to practice and perform for other kids so that they may inspire each other and create a platform for dialogue about their goals and achievements. Having kids perform music, such as classical or jazz, at a skill level that shows great musicianship at an early age, can allow children to create and realize their own dreams and activities. Having quartets perform for kids who are homeless, ill, or in other at-risk situations brings a new dimension by which each child may begin to see beyond his or her present situation. Whether the child is the musician or listener, the idea is to create opportunities for each group to see other situations or to be inspired by their peer group.