Young and developing trumpet players have a great deal to learn about themselves, the instrument, and the capabilities and potentials of each. Over the years I have condensed my comments regarding playing the trumpet into five main categories that students need to consider to become better trumpet players. Below is the first area of consideration for any trumpet player who wants to develop and improve their playing.

I. Physical Considerations

Posture is very important for trumpet players because posture affects breathing! Good posture aids in good breathing, and poor posture prevents good breathing. Trumpet players should look the same from the waist (belt) up to the top of the head, whether standing or sitting. When standing, both feet must remain flat on the floor, and should be spread apart approximately shoulder width. Weight should be equally distributed, with no leaning to one side or the other. Knees should not be locked. When sitting, the back should not touch the back of the chair. Feet may be flat on the floor or tucked comfortably under the chair. When standing, the body should “line up;” that is, the shoulders, hips, and feet should align. If a student is slouching or leaning backward or forward, the alignment is not correct, and breathing is adversely affected.

Holding the trumpet can also impact breathing. The left hand should hold the trumpet, while the right hand should play the trumpet (move the valves). It is true that young (small) students will need to place the little finger of their right hand into the leadpipe ring to aid in the holding and stability of the instrument. However, once a student reaches middle school, they should no longer use the leadpipe ring to help support the instrument. This will improve the dexterity of the right hand when pressing valves and will reduce the risk of a student using excessive mouthpiece pressure. The arms should form a "^". This positioning brings the elbows away from the body (allowing the lungs to expand fully) and keeps the wrists straight. As a result, the trumpet will be angled slightly, which allows for ease of finger dexterity and for the valves to be pressed at the “correct” angle.

My definition of embouchure is: “where you put your mouthpiece on your face.” There is no such thing as one “perfect” embouchure. Ideally, the mouthpiece will be centered, both vertically and horizontally. The reason for this formation is that air exits the body at the center of the lips (think blowing out a candle, but without puffing the cheeks). Similarly, the lip muscles “focus” into the center (like spokes in a bike tire). Because the trumpet embouchure is to be centered vertically (1/2 upper lip and 1/2 lower lip), I recommend AGAINST having trumpet players “double” on French horn, as the horn embouchure tends to be 1/3 lower lip and 2/3 upper lip. While it is also best to center the embouchure horizontally, there are many variables to be considered, including dental structure, musculature, braces, and so on. An appropriately placed embouchure will aid in tone quality, flexibility, and endurance.

The remaining four areas for consideration will appear in subsequent issues of The Advocate. I hope that you will consider these ideas and approaches to improving your playing!

Violin, viola, cello, and bass bows these days are constructed either of wood or carbon/ synthetic materials. Understanding what qualities these materials offer will help inform a buyer on what bow might be best suited for them.

Modern wooden bows are usually found to be made of either pernambuco or brazilwood. Pernambuco is a now endangered species of tree from Brazil, and very few bows are newly constructed from such a source due to conservation efforts. The wood is extremely sturdy, flexible, and can be crafted into a bow which offers a player the highest order of sensitivity and agility. As a result, a pernambuco bow typically has the highest price tag of any bow on the market.

A brazilwood bow (now the most commonly found type of wooden bow) is a composite wooden bow that is typically made up of several species of hardwood trees (usually from Brazil). These bows are normally a little heavier than Pernambuco, which lessens the “feel” for a player. (A Pernambuco wood bow is often more responsive to the vibrations of the instrument, which sends those vibrations back through the bow to the player’s hands). Brazilwood bows come in a wide range of construction quality, weight, balance (referring to how much weight the wood is distributed from the bow's frog to the bow's tip) and the resulting price points reflect that range.

There is also a large market of synthetically constructed bows as well. Fiberglass bows are typically the least expensive, and while they may offer the lowest level of craftsmanship and quality, they make up for it in their durability. This might be the best entry level option for the more accident-prone beginner player (parents take note).

Additionally, carbon fiber and carbon composite bows also offer great durability, and there is a continuously growing level of quality in their engineering and construction. One can find a range of price points and quality levels similar to that which exists for brazilwood bows. Typically, a carbon fiber or carbon composite bow might be a little heavier than their wooden counterparts (offering a little less sensitivity for a player).

In conclusion, selecting a bow is a deeply personal decision, as a player's ability to perceive the unique weight and feel of each bow paired with their own instrument is critical. It is generally advised that a beginner looking to purchase a bow should choose one that is generally more durable and less expensive, and then eventually (as their skills develop over time) search for and upgrade their bow to one that is best suited to their unique playing qualities and instrument.

Will is a private instructor for cello at JMC's Allison Park location and has an extensive career as a cellist. Recently, Will has been promoted to principle cello in the Westmoreland Symphony Orchestra!