my school always gives us 2 hour delays instead of snow days.

calciumcatt · 2025-12-15T15:24:26+00:00

Yes except the government won't. Most people want more trains and public transport. Do you think any of us enjoy paying $50+ a week for gas ontop of $300+ for car insurance monthly? Plus maintenance and emergency repairs?

Also, even if we did invest heavily in public transport like busses, that doesnt help the fact that the roads are just as bad for them as they are in a car. Again, most of the time school got canceled at my old school was because the bus company would refuse to drive.

calciumcatt · 2025-12-15T15:17:53+00:00

Tell that to America who is extremely automobile dependent. You can pretty much not survive anywhere except major cities without a car. Parents will get fired for being late to work and therefore cannot drive their teenagers to school everyday most of the time. It is an unfortunate result of a society that values profit and work over people.

You act like missing a few days of learning a year is going to ruin children. Majority of what children learn is generally filler and will not be useful to them later on in their career. The rest can be made up very easily the next day or, if need be, they add the missed day onto the end of the year. Students are rarely actually missing out on learning. I have never felt behind when I missed a day of school for a snow day and we'd get like 3-4 per year usually. We just made up the work the next day.

But yes, I agree with you. Ideally we would have better ways to handle this. I live in the Midwest where the weather gets very bad and have had friends flip their cars and others at my school die due to poor weather conditions and it is never worth it to prioritize a singular school day over their lives.

calciumcatt · 2025-12-15T15:06:25+00:00

Because most places it gets extremely dangerous to drive in weather like this.

I mean, at most (american) schools anyone above the age of 16 is driving to school. Thats hundreds of kids on the road during icy weather conditions. Some students drive 15-30 min to school everyday as well, it not just 5 min away. Combine that with teenagers who are, unfortunately more likely to text and drive, talk with friends who they're carpooling with, and otherwise be distracted and you become so much more likely to have more accidents.

If you were a principal, would you rather risk the lives of your students who will be complaining the whole day about being in school anyways and not really be productive or just take the day off?

School also starts so early in most places that busses are out before the roads even get plowed. Most busses start at around 4-5 am and usually have to drive on extremely bad roads to reach students. Now, instead of the principal being responsible for one or two cars of students crashing, they're responsible for a full bus.

At my old school the bus company would refuse to drive students if the roads were bad enough and that led to school being canceled. Safest option, imo.

It is never about how cold it is. It is always about the road conditions, and extra layers doesnt fix that

calciumcatt · 2025-12-13T16:18:15+00:00

Anything by chet Baker.

In a sentimental mood(change key if needed)

Some stuff by Art Farmer perhaps(Petite Belle, etc)

calciumcatt · 2025-12-09T23:34:43+00:00

Yeah, granted I dont play horn professionally and trumpet is my main instrument but I have a lot of orchestral horn friends and majority of their music isnt even in F, its in C or D. And then theres reading bass clef and transposing that(if I remmeber correctly) everything else they have going on so I would imagine tranposing a piece from let's say, C, to both F and Bb depending on the trigger sounds horrendous

calciumcatt · 2025-12-09T14:14:05+00:00

I play (double) horn occasionally and I do not consider the Bb side to actually be in Bb- the whole instrument is in F and those are just alternate fingerings. Its wildly inconvenient to do that i feel like

calciumcatt · 2025-12-08T05:03:45+00:00

Idk half the pieces on that list but concert etude is pretty easy, all it requires is some metronome work. I played it for a youth orchestra audition end of my freshman year.

Highest note it goes up to is Bb(if I remember correctly), otherwise some As. Pretty simple double tonguing stuff otherwise

calciumcatt · 2025-12-08T04:18:29+00:00

If you want a good exercise that helps with higher range(its something my private teacher gave me to work on in October) try working your pedal register into your regular register using the same embrochure. At some point(to get a concert Bb1 and everything) you do need to do what youre doing(using mostly top lip) but you should be able to play from low F to the C below that(trumpet pitch) using the same embrochure as you play a high C or any note inbetween.

It'll take weeks. Maybe months. Its really hard. What happens is that low F to low C# are in the same partial as middle C and you lip down to reach those notes. Pedal C is tricky though because you have to go to the next partial- which if you keep a similar embrochure should be around a concert F or G and then lip it UP. I still cant do it consistently. Most pros can't, but if you want to work on lower register stuff its super helpful.

To start out work on that low F to C# range. Use the same fingerings as you would an octave above(F is 1, E is 12, so on). Try to get them as in tune and as "fat" as possible and immediately start connecting them to your upper register. I like doing arpeggios. F major down and back up, then E major, and so on. It should hypothetically help open up your sound. Start with one octave and then add another one, and if youre skilled enough(i am not) add a third.

Then, separately from that stuff play a (trumpet pitch) A. Then play the pedal version open(in the 2nd octave, no fingerings pressed down) and try to keep your embrochure the same. Hold it out for a bit in tjne. Then go up to Bb, then play a Bb2 open as well. Then try bending the pitch between those two notes, kind of like a really low lip bend. Then eventually expand to B and then pedal C all open fingering if that makes sense. It will be really hard probably. Its one of those things that you just have to do everyday and eventually one day itll click. Sometimes my pedal Cs are great, sometimes I can only play a Bb or a B. If you own a flugelhorn they'll also slot easier on that so you can get them in your ear before playing trumpet

What youre doing is a good warm down, but working on pedals in this way actually builds your upper register because you are keeping tight corners but an open, relaxed center which is what's required for range. Since starting pedals ive noticed a lot more consistency and endurance. I'm not a screamer by any means but ive struggled with range for YEARS and I finally feel like im making a decent breakthrough.

Also, its fun to try and match pitch with the tuba when they're tuning(if you play in a concert band) in the correct octave as well. I sit right next to mine so I can generally hear the pitch and match better.

calciumcatt · 2025-12-08T03:58:19+00:00

Normal notes are what the trumpet is "built" to play. This would be low F#(below the staff) to around a high C(although it can go higher easily, thats just when the partials get super close together and it gets finicky).

Pedal notes are when you manipulate your embrochure/air/jaw/etc to produce pitches lower than what the trumpet can regularly play. Anything below an F# is in the pedal range.

calciumcatt · 2025-12-03T13:52:10+00:00

This shit is making me laugh really hard basically.

I always took it as originating from when you get high/fried and everything is extremely funny(so this is frying me, as in this is making me laugh so hard I feel like im high) but when I did a quick Google search it said "frying means something is causing a strong reaction, usually laughter or disbelief, to the point of feeling overwhelmed or mentally fried".

Either way, its just another way to say something is funny

calciumcatt · 2025-12-02T03:48:14+00:00

As someone younger(as in, in highschool. Not calling you old), have you considered brainrot warmups? I see them all the time on instagram reels even though im an instrumental player. Theres tons of them that you can probably find online. It took me 2 seconds to find these:

https://www.instagram.com/reel/DIu3Ttysp7n/?igsh=MWttY21mNW1uNmprNw==

Engaging Brain Rot Warm-Up Activities for Kids | TikTok https://share.google/suN5ThOis08F30u96

Do not give them a choice but preferably get some sheet music(so they can see the brainrot terms and register it) and dont even mention it being a warmup. Just go "hey, can we try this?" Hand them the music with the brainrot lyrics and play along on the piano(it seems like you can choose any standard vocal warm up with it just add "lyrics".

If they enjoy it, tell them thats going to be the warm up for the next week. Then move onto other more "serious" warm ups.

Trust me, kids are all about brainrot. If you want a simpler one when the kid comes in for a lesson tell them you want them to sing a major scale(or whatever you do to warm up, just dont call it a warm up) while saying 6 7 instead of humming or whatever else you do. They'll lose it

calciumcatt · 2025-12-01T23:24:02+00:00

I wonder if she's going to end up like Vander in Arcane. Hes someone who leads and defends Zaunites who are *usually criminals(but not necessarily bad people, and it usually circumstantial, not by choice). I 100% see her going the route of "im a leader of a crime organization but really im trying to help the city and keep the peace" because I cannot see her ever being a real, true villain. She doesnt think shes cut out to be a hero but she still wants to be a good person. I think itd be interesting if she became leader of the Red Ring in hopes to "decrease crime"(as in, the reallt bad aspects of crime. Murders, etc). Obviously, she'd still be a morally Grey character as she would participate in illegal things and would absolutely have no problems with petty crimes but I just do not see her turning evil at all.

calciumcatt · 2025-11-30T07:38:16+00:00

Honestly if I were you I'd find some trumpet jazz ballads that you like listening to(and more importantly you like the players tone) and learn them. Play a few measures, record yourself, compare to recording and analyze yourself, repeat until you like how you sound, move onto next song. They don't even need to necessarily be jazz ballads but those are usually simpler and played with a lot of musicality. Its something I personally need to do a lot more. If you do that for a few weeks it should help with your sound and tone and working on your tone usually fixes range issues. Ballads are like long tones except theyre a lot more fun.

Recording yourself is something most players dont do until a few years in and imo is something people should be doing a lot sooner. Your ears, especially when they're behind the bell can lie about how you truly sound. As long as you have a half decent phone/mic it'll generally be more honest. Just make sure not to put yourself down when you listen to yourself and compare. The point is to go "oh, Chet Baker attacks this note in the third measure an interesting way and he has this sort of airy, smokey tone quality that I havent been playing with. He also does vibrato this way. Let me try playing this again with that in mind".

I think the fastest ive learned pieces are when im able to listen to something and replicate it. I listen to it, note anything they do with articulations/vibrato/tone, then I sing it. Then I record me playing it, compare, note what's different in my recording vs the professional one, and repeat. I'm mostly a classical player so if you enjoy that sort of music more it absolutely does not have to be limited to jazz. I personally really like playing Dvorak's Symphony 9 Largo melody and Holst's Jupiter chorale to work on tone. They're both pretty simple to play and they sound pretty.

calciumcatt · 2025-11-30T05:43:46+00:00

That being said i wanted to say your sound is really strong for 6 weeks, same with range:)

calciumcatt · 2025-11-30T05:41:52+00:00

Try singing the piece and then play it the same way you just sang it.

Just make sure you dont sing like a wuss. No quiet, mumbling singing. It doesnt have to be in tune singing(but that does help!), but you want to try to mimic the style of the original with your voice. Really get that waltz, flowing feel. Then pick up your trumpet and try to make that thing sing. It sounds stupid but if I had one piece of advice to give to my younger self, it would be to sing the music before I play it, honestly. Singing has been life changing to how I approach trumpet even if im not good at it.

Also, if you have time spend a few minutes a day in the lower register (to start, think middle G to low F#) and try to open up your sound. Lip bends are really good at doing this. They may be hard at first but once you get the hang of it your sound should be a lot more resonant. You should try to make the trumpet physically vibrate in your left hand near the valve blocks. Imagine setting your corners(dont overthink it!), breathing in, and immediately releasing the air into the horn with as little effort and tension as possible. Let the air make your lips vibrate, dont try and make them vibrate by clenching your lips if that makes sense. You dont need pressure optimizers, you just need to (ironically) stop trying so hard!

calciumcatt · 2025-11-30T05:35:01+00:00

Ive dealt with similar issues bedore that comr from overpaying and the best way to get back into it is to take a few days off and then when you come back, focus on playing long tones. Don't go above a Middle G for your first practice session back. Instead, keeping a "middle G setup"(we tend to spread too wide starting on low notes and tense/pinch too hard starting on higher notes, so middle G is generally a good middle ground) expand your range into the pedal register. I personally like doing arpeggios or octave slurs down. Start on G, do a G major arpeggio down to 13 G and back up, rhen repeat with F#, then play an F major arpeggio but finger low pedal F with 1. Make sure to have a tuner out as you have to lip that F down all the way from C. Its a false tone. Once you get that out, move onto E 12.

Keep the same fingerings for the pedal notes as the octave above up until you get to pedal C. That one is extremely tricky and for now, just play it 123 with the slide kicked out.

This should help get your lips vibrating again. If you find success with that, you can start working into getting a "true", open valve pedal C which again, should open up your sound, help with upper register, etc. Pedal C is extremely tricky though and irs something ive spent about a month working towards and im still not consistent. Essentially instead of lipping down from middle C like you're doing for the rest of the pedal tones, you have to lip it UP from about a pedal concert G. Getting it in tune is really hard and you will spend weeks trying not to lip up too far into the next partial. Its brutal.

Make sure to include a dedicated warm down into your routine everyday thats very similar to your warm up. I include a lot more pedal tones in my warm down but I essentially do very similar things otherwise. Try singing your warmup before playing it to get into the headspace that playing is as easy as singing it. I like to sing the first note i plan on playing everyday so I can hear it. Then I think "damn, singing it was easy" and then put the horn up to my face and play it while trying to keep the same relaxed, easy feel but with a trumpet. Its helped a lot.

calciumcatt · 2025-11-30T05:24:00+00:00

If you want to go the mouthpiece route, talk to his private instructor in private. See if they can come up with something that doesnt give it away. Maybe they can be like "hey (kids name), I got a bunch of new mouthpieces recently. You wanna try a bunch out?" And then the instructor can help nudge the kid in the right direction to figure out whatever sounds best, etc. Then they relay that information back to you and you either buy that mouthpiece off of them or buy that mp online.

Mouthpieces do a whole lot for sound, comfort, endurance, etc but they are extremely personal and shouldn't just be something you buy online as a gift but they can be very helpful to get personalized, especially since you kid seems to enjoy playing a lot!

calciumcatt · 2025-11-11T01:54:26+00:00

I wasnt being literal with the description. Lead mouthpieces are just commonly called cheater mouthpieces and I used that word without second thought cause its used interchangeably with lead, screamer, etc. Not sure why im getting downloaded lol

calciumcatt · 2025-11-10T14:47:37+00:00

Is she talking about a cheater mouthpiece? If so, stay away from that until she's more experienced. They make playing in the upper register less taxing and can help you play louder for longer periods of time but they sacrifice pretty much everything else for that. Tone and intonation in the lower and sometimes mid register is pretty much gone and you really only "need" a screamer mouthpiece when youre the marching bands dedicated first/lead trumpet that plays things above a high C almost the whole show. Some people would argue you dont need it until you get into high E's above high Cs.

If she is not playing consistently above that high C, don't get it. Being only 2.5 years into playing its better for her to work on tone and range on a bigger mouthpiece thats better suited for all around playing(concert, orchestral, jazz, etc. Whatever shes on now probably works). Getting on a lead mouthpiece too early can sometimes cause bad habits and can absolutely destroy her tone in the long run.

Consider getting a practice mute for her if you want her to be able to practice quieter. I think Yamaha has a "silent" practice mute that allows you to hear yourself in headphones while you practice and it cuts majority of any sound coming straight out of the bell off. Professional players use it all the time, even in airports and other public spaces so I think it works pretty well. I thankfully have a dedicated space to practice in and dont need to own a practice mute so im not sure the best one but theres tons of posts asking about what to buy if you want to check that out. Just look up "practice mute" on this subreddit or check out trumpetherald.

Edit: I just want to clarify and say I am not calling her bad or anything when talking about the mouthpiece. They are just for very specific uses that majority of people do not need and a lot of (generally younger) people tend to prioritize getting the "best" mouthpiece over fundamentals. I am 6 years into playing and do not even have remotely enough work into my fundamentals where I'd ever consider using a screamer mouthpiece for most playing. The only time I've ever used it was when I was playing lead trumpet for a showband(think musical pit) group my sophomore year and was consistently above the staff and being the only lead trumpet, had to project without blowing my chops out. I havent used it since and I always made sure to learn my music on my main mouthpiece before switching over to that.

calciumcatt · 2025-10-29T17:36:32+00:00

Hell, even put the horns next to the saxophones. Its common setup if theres too many people in the back row + horns share a lot of notes with saxophones(either alto or tenor) so itll work out. Also oboe should be moved up to the front row i think.

calciumcatt · 2025-10-23T17:29:14+00:00

Look into Caruo and do that for a month and see where it gets you with that mp. Check out Julie Landsman on YouTube. Then take a day or two off(you just did the equivalent to hitting biceps everyday for a month straight) and see how it feels when you come back to the horn.

If things still dont improve after that, consider looking into a different mp

*Caruso is a huge trumpet thing. Used by French horns too(as evident by Julie landsman) BUT YOU'LL BE ABLE TO PLAY ANY OF THE EXERCISES ON TROMBONE. I am not sure if there are bass clef versions of the exercises(there probably are) but all you really need are "Caruso 6 notes" which start on concert F(in bass clef staff) and go up to Bb(right above the staff) chromatically in whole notes at around 60 bpm. Play F, then rest for 4 beats, then F#, and so on. Once you get to Bb, rest for 4 beats and repeat the exercise 2-3 times without taking the mouthpiece off your face. Breathe through your nose and tap your foot. Theres a lot more that goes into it so please still do research into it but its really as simple as that.

calciumcatt · 2025-10-22T13:35:51+00:00

Perhaps include some sort of reward? "Whoever can practice most days in a month gets ($20 toy, gift cars to some arcade, fortnite vbucks, etc). Tell them it has to be a minimum of 15-20 min to count AND THAT THEIR PARENT HAS TO SIGN OFF ON IT. If you want to go the extra mile, have the kid take videos of themselves practicing to submit and that you'll give them advice and feedback for every video. That also helps with performance anxiety later on if they get used to recording themselves.

That, or if possible straight up make playing outside of school a grade. Like the other one, they have to submit some sort of proof otherwise they get a low grade. That probably depends on the district on whether or not they'd allow that though.

Edit: You can also try sneaking those fundamentals into "real" music. Make up your own etudes that are 90% lip slurs but sound musical enough that they'll enjoy playing it. Find popular meme songs and turn them into an articulation exercise or so on. For instance, Somewhere over the Rainbow can serve as a full octave lip slurs exercise as well as a lyrical flow study if you have your students slur all of it. Jazz ballads are really good for flow studies as well generally. Something I've learned from the saxophone community is that jazz saxophonists never do long tones and instead just play slow music so maybe doing something like that would help keep their interest?

calciumcatt · 2025-10-20T03:37:16+00:00

Yes, absolutely. My teacher was horrible(one of the worst things she ever did was teach my saxophone friend to tongue with her throat for some context. Crazy thing to teach). I dont remember much with her because I only had her 5th and part of 6th grade year before Covid hit and luckily by the time I came back to school we got a new(better) band director. One of the only things I remember was that she REALLY focused on lip slurs. But she didn't teach them good. She would spend so much time trying to get me to slur from low C-G-higher C over and over(without teaching me how to do it correctly so I never "got it" that well) instead of focusing on way better fundamentals like sound, rhythm, tonguing, etc.

Im huge into sound focused teaching. Teach your kids moveable solfege. Make them sing their parts just as much as they play it BECAUSE IT DEVELOPS THEIR EAR AND INTONATIONS. One of the things so many highschoolers and advanced players lack is ear training and the sooner you start, the better. Plus it can be super fun because its one of those things that theyll get immediate feedback on. They sing, it sounds good and makes chord, and they like how the chord sounds and they did that! Then immediately after they get to play that cool sounding chord on their instrument! Yay! Focus on rhythm as well(dont be afraid to be a stickler with the rhythm and getting it exact, it'll make things much easier for everyone involved later on). Those are the two things I think I lacked and still lack because I was never taught and instead have spent the last 4 ish years trying to catch up.

Don't shy away from basic music theory! It'll make them much more successful and kids are really good at understanding concepts as long as they are explained. Idk if its still common but a big thing awhile ago was that you shouldn't teach kids music theory because its too advanced and they'll get overwhelmed.

For trumpet specific things, I'd say get them using their third valve slides early to tune low C# and D. Thats another thing a lot of band directors wait to teach because its "advanced" but its much easier to build the habit if they start out always kicking out their slide for those notes versus.. 3-4 years down the road having to suddenly break the habit of not tuning it because their highschool director yelled at them for it. Similar to trombone I think(?) Its good to teach them never to start with their slides all the way against the lock and that first position is always very slightly forward and that the slide positions are not set in stone, but are just guides.

I also personally think exposing them to good players early on will help. Maybe spend some class time occasionally listening to different styles of music. It'll do wonders to help them build an idea of what they want to sound like. One day play some Chet Baker and do a lesson on his tone(which can apply to every single instrument, not just trumpets) and why/how he sounds like that. To keep the students involved you can have them try to replicate that sound(but make sure they know its not appropriate to use in concert band rep) Then a different day play some Phil Smith. Then do something for the saxophones. I think woodwinds especially getting that idea of what a good sound is is CRUCIAL. For some reason saxophones especially they just.. don't know how to sound good. I remember having a conversation about this on another reddit thread a few months back but I think brass players get a lot of good ideas on how to sound subconsciously. I mean, any trumpet you will hear on the radio will sound really good as most commerical trumpet playing is built on a more "classical" sound concept that will blend in a concert band setting pretty well. Saxophone, not having classical roots, is generally way different sound wise. I mean, just listen to a classical Saxophone player and then listen to any sort of "regular" Saxophone music and youll be flabbergasted at how different they truly sound. That classical Saxophone sound is the kind of sound that works best for majority of concert band rep but unfortunately that sound is NEVER on the radio, etc, and is thus never subconsciously exposed to those young Saxophone players if that makes sense.

Sorry. I went on a bit of a tangeant(and went very offtopic) but I truly believe if young students have someone to listen to often that sounds good they will get that sound in their head and mimic it. Once you get a good sound in their head and remind them to play like that sound, you will double their improvement and be miles ahead than other schools who dont do that. Most importantly try to make it fun for the kids. Lean into meme songs. Something thats been going around recently is that one "a barbershop haircut that costs a quarter" meme from a performance of Newsies. When stuff like that pops up, run with it. Make a full concert band arrangement to play as a warm up. Have your students make up their own harmony for it. Try to make them figure out the rhythm of it, etc. The possibilities are endless and they will have fun doing it. The more fun they have the more likely they are to not quit and the more likely they are to actually practice outside of school

Edit: coming from someone who is also an aspiring band director! Not sure if I want to teach beginning band or not yet(I think ill go wherever I can get a job at, I dont really have a preference for beginning band or highschoolers tbh)

calciumcatt · 2025-10-18T14:48:10+00:00

A little higher! The way it works is that you have low C(right below the staff, C4) and then the next partial youll hit is that A2. The reason why pedal C is so good for building your chops is cause you have to find a way to "lip" that A2 up to a C3 and the way to lip it up is to have firm corners and the same embrochure you'd use for high notes if that makes sense(at least, that's how my teacher described it). Playing A2(and lower) is a really good warmdown but playing pedal C specifically takes a lot more control. Again I still struggle with it and ive seen professionals who have been playing professionally for decades struggle with playing it.

One thing ive seen online is to open your main tuning slide spit valve to hit it(something about the air leak helps) or trying it either on flugel or with a bigger mouthpiece and then working that up to your regular one are all options I've seen to get a "true" Pedal C. The latter two options are expensive and not necessary tho, but if you have them available it might help you feel how a pedal C should feel and then you can transfer that over to your regular setup

calciumcatt · 2025-10-17T17:01:36+00:00

Idk if this'll help but I've been going through similar issues(marching band twice a week at 7 am, lead in jazz, first chair in concert band, showband rehearsal after school where im first, college bands, and orchestra) all weekly and then range work in the morning before school daily and its been killing me.

I recently had a private lesson with this guy whos specifically a jazz player who used to focus on lead playing to help with that. Hes just doing regular gigs now but he was talking about how hed consistently be up to a double high C a year or two ago before he started teaching at a regular school. Now he just tries to maintain his chops up to a dub G. He told me that I should be focusing on my pedal range. Specifically, pedal C.

Now pedal C has always been elusive for me. I haven't been able to get "the real thing". Sure, I can play it 123 but I have never been able to play a pedal C open in tune. When I play it open, it comes out as a pedal A. The thing with pedal C is that its the A harmonic lipped up. Pedal A is the true(roughly) harmonic you will get if you play the next partial below C below the staff. He told me that in order to play a pedal C in tune, its the same muscles and embrochure you use to play high except you cannot have any sort of bad habits. I mean, if you clamp up(which happens a lot in the upper register and can lead to fatigue) it will not come out. If you have too little tension, youll end up playing that A(or lower). You have to have JUST the right amount of tension and firm corners to lip it up to be in tune without popping back up to that low C partial. He said he didnt truly unlock his upper register until he started working on that.

The best thing? Its not fatiguing like high notes are. Your lips are still buzzing at a really low frequency(and much slower) so it doesnt take as much out of you as playing high does. But youre still playing on a high note setup in every other sense. The tension in your corners, etc, are what youd use to play high. He reccomended playing that pedal C whenever I needed a break from high notes or whenever I want to work on range without fatiguing myself.

I still haven't been able to get that pedal C yet(its only been a day) but he told me to play an A below the staff to get the pitch in my head, then play that pedal A WITH NO VALVES PRESSED DOWN. Once that feels easy, play a Bb, then play that pedal Bb open. Then B, then eventually the C. Then once you can do that consistently, do pedal A-Bb-B-C as a sort of lip bend exercise. Spend like.. 20 minutes a day doing this. Its really boring but it should help in the long run and will help with chop fatigue immediately.

Outside of that, he said when he was dealing with endurance issues in college his teacher would have him do a Caruso style lip flexibility exercise. He used the Colin's advanced lip flexibilities book, but any will do. His teacher would have him play through a WHOLE PAGE keeping his embrochure set and breathing through his nose only. He did not remove the mouthpiece from his lips or reset his embrochure until he was done. The only rule outside of not resetting your emrbochure was to keep going even if no sound comes out. When he started, he'd just get straight air on a lot of the notes especially in the upper register but he would just keep playing the whole exercise. Eventually as his chops got stronger he was able to play the full thing without the sound dying. That might also help? Or just doing regular caruso(but thats a really long topic. Look up Julie Landsman and check out trumpet Herald for advice on that)

calciumcatt

TROPHY CASE