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So, this is how I play after one month (4 classes and a lot of practice). I know it is far from perfect, but I'm pretty happy with my progress.

The music school where I take classes is throwing a pair of concerts in March and May and my teacher suggested me to participate (there will be a lot of musicians, so I guess that my little errors can be camouflaged, and it's a great opportunity!).

Any thoughts or recommendations? My main issue is that I play with a lot of tension in my body, I think, but I'm working on it!

I just started playing trumpet, it suits me better than a sax but the thing is I just LOVE John Coltrane. Dunno much about the differences between playing-musicality of trumpet and sax so my question is how much can i play sax-jazz with my trumpet, and specifically John Coltrane’s art? What would be the challenges, any positive or negative effects?

https://youtu.be/4AU2r2YLctk

(Not pictured) John Packer 051 - Bach 5c
Yamaha Xeno 8335G - Greg Black Kenny Rampton
Martin Committee 1945 - Monette B6-7 Unity
Lotus Universal 2023 - Monette B6S1 Resonance

My 9th grader is looking to upgrade to a "pro-level" trumpet, having played student trumpets from school for 5 years now. Plays in both concert band and jazz band. Private lessons since 4th grade. If it weren't for his bandwidth (see what I did there) he might've continued with a community youth orchestra. Really, really interested in getting his own horn. We are looking used, trying to keep it at $1K (his $). And have seen much advice about Strads and Xeno.

My question is more on tips and best practices for trying out a horn, and ultimately how you decide. We've been to 3 stores of far- each time in their practice rooms (one had room treatment and was pretty dead acoustically).

What do you play or try to discern? and how do you decide? how long do you spend with a horn to know whether you like it? I don't want him to decide because it costs a lot or is a Strad/Xeno.

My closest example personally is playing a particular Steinway once that felt soooo good in my stomach- there was def. some dopamine popping off (I studied 8 yrs classical piano as a kid. If I had $70K lying around and the space, I'd always want to play that piano for that sense of euphoria practically).

I've been trying to help him decide based on his feelings- but not sure what it is for a trumpet player- he often talks about brightness, seems to prefer it. Love the valve action of a Getzen.

One thing I've run across is a sense of stability- presumably a pro level trumpet will hold its pitch better? or somehow feel easier to play? It seems with a high end trumpet, it takes less energy to do ____ so that you can focus on the music itself. I just have little sense of that... Lead pipe bore size... what does that do to the experience of playing? Another datapoint: he really enjoys his mouthpiece (3c something) compare to the 7C that comes with his school trumpets.

One place, he was able to try a Xeno, Strad along with a student trumpet and an "intermediate." I had him wear a blindfold and I'd hand him the trumpets. Interestingly, he really couldn't tell a big difference- nor could I. But once unblinded, he gravitated to the $3500 Xeno lol.

Another, trying a Getzen vs a Holton he and I both noticed the latter had a bigger presence in the room; pretty cool. Anyhow, he's now open to models other than Xeno and Strads (esp given his budget) there seems to be more to explore. And, I doubt this will be his last "pro-level" horn.

Any tips appreciated.

I don’t know why I thought I could even try to do this yet lmao

Do these look particularly worn or just fine? Only photo I got of them

Thanks guys, appreciate any help!
Have a nice day ahead

In a storage locker in the winter will get from -10f to 30f. Will they be ok? What should I do for the valves.

Does anyone have any good recommendations for Lead mouthpieces my Jazz band season starts in a few weeks

Tiny excerpt from "I left my heart in San Francisco"

Still looking for materials to attach the mute onto the bell, and other small adjustments

I've only played a Jo-Ral bucket and that was only for a little bit, so I dont have too much experience with how it's supposed to sound

https://youtu.be/UT54GA3_NRc

Just a scale on the bucket

This is the song that made me want to learn trumpet, so I’ve been trying to learn it in between scales. I didn’t get to practice yesterday but I got to buzz a little.

Thought I'd post about a trumpet I've had for a while, because information about this model is rather scare, and I believe it deserves a bit more recognition.

This is my Boosey and Hawkes 607, made in England in the '70s or '80s. It was also released as a Besson Concord (exactly the same trumpet), and is the step up from the B&H 606 / Besson Crescendo. It's a step down from the even rarer Sovereign 906 and 907 trumpets. The difference between the 606 and 607 seems to mainly be the thumb hook and ring style pinky hook. Note, not to be confused with the Besson 600, a middle-of-the-road student horn.

It seems the 606/607 line was the product of a parts bin exercise by Denis Wick and George Reynolds of the LSO. B&H wanted a trumpet that could compete with the best models of the likes of Bach and Conn, etc in the USA, so they set about building the best trumpet possible out of parts that B&H already manufactured. The result was the 606, intended to be named "Sovereign", but they felt it fell slightly short of being as good as the best the USA could put out. Source.

I'm unsure where this officially places in the student/intermediate/professional hierarchy, but my impression is as follows.

This is probably the most compliant trumpet I've ever tried. It's effortless to play, and the Microbor valves are like butter - a real highlight of the design - probably some of the nicest valves I've played. The valve block is set further backward than usual. In fact, the ergonomics are excellent throughout the design. It's supremely comfortable to hold. It also feels extremely robust and well made and is nicely weighted and balanced. The sound is lively yet controlled, with a solid core, possibly a little darker than something like a Strad, but opens up when pushed and it feels like a medium-large bore. It's often the horn I reach for simply because it takes very little effort to play. In my opinion the sound isn't quite as refined as my Strad, not is it as open my newly acquired Arioso Super, but its responsiveness makes it easy to play very expressively.

Would love to hear from anyone else who owns or who has played a 606, 607 or Sovereign trumpet, and your thoughts. It cost me a princely £30 on Gumtree about 8 years ago. A nice condition 606 recently sold on eBay for £485.

I got this in today, it seems the sn is 33 and the model is 33-B, not documented historically previously by trumpet historian Jon Patton, who believes it to be a one of a kind, which adds to speculation that it may have been a prototype. Being a long cornet fits as it is modeled after a very popular design throughout the 1910-30's used by many makers in various slightly different forms.

bore at 2nd valve: 0.449"

bore at main tuning slide top: 0.417" bottom: 0.449"

Bell: 4.45"

Decent compression, good pops on slide pulls

All slides free

So, very cool, one of a kind horn, plays well. One thing I found very interesting is the extremely short valve throw and Buescher seems to have brought his male threaded valve caps used on many Buescher horns. I aligned the valves, had 1 too many felts under the buttons on valves 1 and 2. Plays with a very nice warm mellow tone.

Art Musical Instrument Co 1932-33 ART model 33-B sn 33. Top line long cornet made when Gus Buescher president of the company, evidently the 1st year in business from the serial number.

Low-Volume / Prototype Tracking: In standard high-volume assembly lines, makers only stamped digits corresponding to the serial number or casing position to avoid mixing up hand-fitted pistons. Stamping 33-B directly onto the valve barrel indicates F.A. Buescher's shop was manually logging a specific low-volume or pre-production part run through the bench setup, further supporting the one-of-one prototype hypothesis.

With wear out of the equation, the coppery finish on pristine pistons points to two specific manufacturing practices from early 1930s Elkhart shops:

• Solid Red Brass or Phosphor Bronze Pistons: Manufacturers frequently machined piston shells directly from red brass (85–90% copper) or phosphor bronze rather than nickel-plated yellow brass. These high-copper alloys were prized for their corrosion resistance against saliva and excellent wear characteristics when lapped directly into yellow brass casing walls. Unplated red brass pistons retain their reddish-copper hue across the entire surface regardless of age.
• Prototype / Early Production Bench Fitting: In low-volume, pre-production, or prototype builds—which aligns directly with Jon Patton's assessment of SN 33—piston sets were often hand-fitted and lapped in raw red brass or given a copper flash layer to test port registration and valve action without sending the block through the production nickel-plating line.

Having unworn red brass or bronze pistons lapped to exact tolerances explains both the coppery color and the tight compression.

Any additional info appreciated

According to Jon Patton at brasshistory.net:

"Art Musical Instruments was reported in the 1932 August/September edition of The Music Trade Review to have been recently incorporated with a capital stock of $450,000. FA Buescher, former founder and president of Buescher Band Instrument Co., was president, financial house owner RS Stryker was vice-president, and WH Dennison, a former auto executive, was secretary and treasurer. The factory was at 112 West Crawford St and was expected to begin production right away. There may have been limited production for 1932."

FA Buescher died in 1937, few ART horns have Buescher as President engraved on the bell.

• 1932 Gus Buescher and Harry Pedler Sr. form Art Musical Instruments with Buescher in charge of brass and Pedler doing the woodwinds, "American Triumph" models were the low-end brass and "Art" models were high end
• 1937 Buescher dies; Art becomes Harry Pedler & Sons 1939 Harry Sr. is president of Harry Pedler & Sons

I usually practice at home with a harmon mute to keep the volume down. Is there much of a difference between that and a Silent Brass? Do you think it’s worth getting a Silent Brass?

Who do you guys think are the best plays today to be listening to their playing and teaching when studying and learning. I’m talking technique phrasing masterclasses, both jazz and classical. Who inspires the most??

Before everyone comments it, I know I should probably get a teacher and ask them about this, i would still like feedback from here if you guys are willing. My question is regarding flexibility studies, there are a lot to choose from and more relevantly a very large range within those studies and im having trouble deciding what to play.

Collins lip flexibilities for example have basically the same exercise but going from a middle C to beyond mt range, is it recommended that I always practice the mid range and low stuff before moving on to the limits of my range? Or would it be okay to only do a couple of the easier exercises before moving on to what I really need to work on? With my current endurance and time constraints its not possible to get everything done obviously. And I encounter similar difficulties with flexus and scott belcks stuff that I also work from

Would it be okay to focus on high range flexibility and just practice mid range and low general exercises throughout my practice(ex: 5 mins on flexibility, but warm up/repertoire is a comfortable range), or would it be okay to split them up between different days?

Any advice would be much appreciated, just looking into how I can manage my time to maximize efficiency without sacrificing my current sound across the horn

Have played trumpet for 20 years and never need to have my own lol.

I'm in between -

A used Dennis Wick

https://www.ebay.com/itm/117466948054?_skw=dennis+wick+cup+mute&epid=11024437475&itmmeta=01M55ZBQXDN71AQ2D6F6A8KNX9&hash=item1b599361d6:g:-N0AAeSwbgNq0BXY&itmprp=enc%3AAQALAAAA0CHNgUiiE%2FjQhlDTaMiAde8ORrI3mgrj3uXUIl6k7MIIh87KJWPb8IdZAC67Es3JT6Pr9ZWIYqD4gNCpIwzhFVsPMtW4s5aGD0d1zpVB%2BkAKQ5UH%2FtedhXs3WpPIjWSLaXYM%2FexMmJwe4obTSYD5BXk9LCqKGbxWldU6%2BBXymx%2BIdciYz1pfv49gtScirsFJ9Id4QqNuMh27w7aqy%2B%2BNjXvJRSN4oz6uJT9zx3Mof8xfGpJz97wJbrGINMvl6JOqaRMrJlof1jA3gG1RWo%2FtUoI%3D%7Ctkp%3ABk9SR-z_rr-paA

And a new Humes & Berg 102 Stonelined

https://www.sweetwater.com/store/detail/HB102--humes-and-berg-102-stonelined-trumpet-cup-mute?cond=HB102&dhla=1&mrkgadid=&mrkgcl=28&mrkgen=&mrkgbflag=&mrkgcat=&acctid=21700000001645388&dskeywordid=2316302339169&lid=92700080611701496&ds_s_kwgid=58700008756205266&ds_s_inventory_feed_id=97700000007215323&dsproductgroupid=2316302339169&product_id=HB102&prodctry=US&prodlang=en&channel=online&storeid=&device=c&network=g&matchtype=&adpos=largenumber&locationid=9012285&creative=709852327567&targetid=pla-2316302339169&campaignid=21584506524&awsearchcpc=1

hi! some years ago I studied a trumpet book, but I cant remember which one it was and i couldnt find it. I memorized part of my favorite exercise (without dynamics or articulation tho) and maybe someone will recognize it and help me find this book or a similar one, pleassse

edit: Found it! 38 Recreational Studies for the Progressing Trumpeter by Sigmund Hering, #2

So I'm a trumpet student and I'm joining my school's jazz band in about a week. I know my trumpet isn't great, it's a used student trumpet. Basically it's really hard to move the third slide out. I can push it out, but only if I take my right hand fully off the valve casing and push the slide out with my thumb instead. I guess my ring finger just doesn't have enough strength to push it out. But the problem is that when I have to take my right hand off the trumpet to push it out and pull it back in, that takes a while, meaning I would still be pulling it back in while playing the next note (unless I'm playing something really slow or something).

So how can I fix this? I've tried putting lots of slide grease on it, but that hasn't really worked. I know some people will do that trick with the hair tie, but what i need is the opposite. Like a rubber band to pull it out, and I can just keep it pulled in the rest of the time, and then just let go a bit when I need to kick out.

Literally any help would be greatly appreciated.

edit: i'm not sure if the tubes are misaligned, i just got the trumpet a few months ago (may) and i'm assuming that whenever the shop i bought from first got the instrument from the previous owner, they looked it over to make sure it was in good shape and fixed anything that was wrong. the shop i went to is very trsutworth btw.

Looking to ask brass players in general.

hi i wanna switch from French horn to trumpet (I suck at the horn as well even tho ive been playing for like 4 years). Any tips on how to improve?