Master the Superchops Embouchure
No musician can concentrate on the musical part of a performance if his or her embouchure is collapsing. In order to truly teach brass instruments one must start with the basics and correct the core problems. Here is my unique advantage: I started at the bottom! I then spent 50 years learning how to play correctly. Though I am a teacher of brass embouchure, I will always be a student of these most royal of all instruments.

For more than 45 years, Jerome Callet has dedicated himself to helping brass players from around the world. His embouchure system, Superchops, overcomes the physical obstacles that severely limit brass playing abilities. Though very different from what is being taught by other professors of brass instruments, countless musicians attest to the tremendous improvements made possible by Mr. Callet’s instruction. You too can move to this higher level of performance!

Superchops is the purely physical technique necessary to play brass instruments with the greatest ease and finest sound. Though it has little to do with actual musicality, it has everything to do with becoming a successful brass player - a musician producing clear, centered, and powerful sounds in all registers in perfect intonation without strain or overblowing.

Open your mind and ears to the true sound of all brass instruments then express it in your playing. The Master Superchops Embouchure enables you to reach your musical goals!



New York Soloist sound file by John Liddle


It has been 6 years since I have been practicing Jerome Callet’s Master Superchops Embouchure. In that 6 year span of time I have noticed considerable progress and improvement in clarity, precision, and speed of my attack. This is a vitally important basic rudimental function necessary for all aspects of brass playing, be it Jazz, Classical or Studio work.

Jerome’s teaching technique applies to all formats and instruments of the brass family. I am now able to perform within a single engagement on trumpet, valve trombone, euphonium and tuba switching from one to another instantly. I do this on live shows as well as recordings. There is usually a void in knowledge of correct attack and articulation. This tends to lead to other bad habits and detrimental to playing progress.

Jerome’s Master Superchops Embouchure can provide the solution to the problems a player encounters. It sets a path of progress for the rest of their playing careers.

Mac Gollehon
Jazz trumpet soloist, band leader & composer, New York City

When I first met Jerry I was skeptical because I had heard about all the crazy playing techniques he has had in the past, but upon talking to him I couldn't dismiss the logic behind what he said. Good trumpet playing is not magic or only reserved for the gifted ones, it is a certain amount of air going through a tube at a certain speed. That is the same for all trumpet players. Jerry has turned my trumpet playing upside down or rather right side up! With the Master Superchops Embouchure, I am using less air, and less mouthpiece pressure, while playing with more power, having more endurance, being more articulate and playing high notes all the way up to double high C.

There is no reason why a trumpeter can't play lead with a big band, a sonata with a piano and third trumpet in an orchestra all in the same week, all on the same mouthpiece. The Master Superchops Embouchure allows me to do just that.

I am so thankful to Jerry for all the help that he has given me. I am now playing with the range, versatility, ease, and sound that I have always wanted. I challenge anyone to really, with an open mind, give his method a try and not see the results.

Herbert T. Smith Third Trumpet Rochester Philharmonic Orchestra Trumpet Instructor Eastman Community Music School

I was quite annoyed when I first read about Jerome Callet’s “ Trumpet Secrets “ book. I was on the way back from New York to Frankfurt sitting in the airplane reading the ITG Journal ( I had just finished the US concert tour with my orchestra). The point was: I had problems with my chops ( especially with range and endurance ) and I missed meeting Mr. Callet while I was in New York.

Being back in Germany – first thing – I bought the book and started practicing the Tongue-Controlled Embouchure. After a few days the benefits were apparent, but I needed some more help, so I set up a lesson with Mr. Callet and flew to NY again. This turned to be the best decision I had ever made!

I have found that Mr. Callet has enormous knowledge of how the embouchure works. That was about two years ago and my progress has been fairly remarkable since then. My range, endurance and ease of playing have improved so much after I started having lessons with him. Now at 39 years of age I am playing stronger than any time in my life and my confidence is soaring. For the first time in my career I have a real feeling of consistency.

Being a fantastic teacher, and also a nice person, I am still in touch with Mr. Callet via mail, email and telephone, so that I can benefit from his innovative mind and useful hints.

For making my “ re-birth on the trumpet” possible I cannot express my gratitude enough to him.

Csaba Kelemen
Associate Principal Trumpet
The Dresden Philharmonic Orchestra, Germany

My First Lesson with Jerome Callet was a real eye opener. Upon applying the basic TCE principles, I was suddenly able to play the same challenging passages with much less effort and strain. Under Mr. Callet’s tutelage, I have grown to embrace clearer articulation, a more brilliant tone, and greater endurance, all with less effort! This approach has made it easier for me to warm up faster as well! Because of this, my practice sessions are more productive, and I am able to work on more challenging music. The TCE principles have been the basis for a new warm up that I designed, which encourages students to develop consistent, clear articulation and build other techniques and skills, such as slurs and sustained playing, while maintaining the same setup from the clear articulations. Students have been successful using this warm up. With the TCE approach, I am confident that I will be able to play more effectively and efficiently as long as I desire.

James T. Decker
Assistant Professor of Trombone, Texas Tech University
Former Principal Trombonist, Honolulu Symphony
Tel: 808-386-4224

Jerome Callet’s teaching clearly addresses an issue that is of interest to all windplayers, particularly flutists and brass players who create their embouchures without the presence of a mouthpiece or reed inside of the oral cavity – how to generate air velocity and compression through the interaction of the tongue with the lips. I was led to Jerome’s book through my contact with brass players, notably Jim Decker, a wonderful trombonist. The concept explained in the book parallels in many ways my own thinking about how some of my favorite flute sounds, particularly those of great French flutists of the past, were produced, with many important and innovative differences. Mr. Callet has obviously spent a great deal of time thinking about the effect of tongue use on such common wind playing infirmities as lack of endurance, range, tonal beauty, overblowing, muddy articulation, etc., and has come up with his own very refreshing terminology to explain the specifics of his ideas. I have found the book very useful in my own playing and teaching, and recommend his method to both brass players and flutists.

Keith Underwood
Flutist/teacher: Mannes College of Music, New York University, Aaron Copland School, City Graduate Center