The clinic was a success. Everybody got a chance to work with Jerry and hear the difference. The players had no idea that every pitch they have played decays and falls flat after the initial attack which is not supported by the tongue. Rapid articulations tightened and cleaned up by every player. Intonation was cleaner and more defined at the start and end of the note.

The clinic also shows that this is a doing thing. There is no magic that immediately lets you play like Maynard Ferguson. MSC is about total trumpet playing. Taking the strain out of trumpet playing so one can work and focus on musicianship. Range and power are only a small part of MSC. What important is INTONATION clean articulation, extreme dynamic range, and flexibility. This way one can play all styles of music needed....and yes pasting a double C at the end of a four hour job is pretty frickin awesome.

We took a break and let some players tested the SIMA trumpets and Superchops mouthpieces. Everybody compared their current trumpet to Jerry’s SIMA. One of the players had a nice high G on his horn, this was about the end of his range, but on the SIMA his high G parts hair. What a difference.

A big thanks Jerry, Kyle Schmeer and to all that attended the clinic.

Mark Chuvala
Trumpet player and teacher, Washington DC
Check out for more photos:
http://www.callettrumpets.com/wash_dc_'09.htm

On July 7th, Jerry Callet came to Rochester for a Trumpet Master Class at the Eastman School of Music. There were 13 students - from age 13 to 84, and we had 100% improvement with the students. Everyone got one on one time with Jerry two times. This way of playing feels awkward at first but having the one on one time with Jerry helps to alleviate some of the unfamiliar feelings. Although there is a specific way that the lips, tongue and mouth need to be in order to produce the sound with the Master Superchops method, everyone's mouth, teeth and jaw are different, for each student, Jerry doesn't tell everyone to do the same thing. He has a way of giving each student exactly what they need to improve. Students learn at different rates and are at different levels based on the way they previously played, so for one student, they could barely make a sound, another student who studies with Herb Smith already knew the basic Master Superchops method and needed help getting up to the higher notes above high C. For our youngest student he took to the method so well he was playing up to high C. Previously he could on go up the top space G. He didn't even know the fingers to the notes above G. For our oldest student, after Jerry showed him the new tongue and lip position, he realized that when he first started playing trumpet, this was he played until a private teacher switched him to a more "conventional" method.

In addition to learning a new method that produces more power, higher notes, and more endurance with less effort and fatigue, everyone had a chance to play the new Superchops 1 mouthpiece. Without any debate, everyone felt that with this mouthpiece they had better articulation, better range, and a full centered sound. Many participants after playing the Superchops 1 once purchased one.

Herb & students

Herb Smith giving an afternoon concert

The workshop started at 9AM and went to 4PM. There was a lunch break at noon and Herbert Smith, student of Jerry Callet, and 3rd trumpet of the Rochester Philharmonic Orchestra played a recital demonstrating the new Master Superchops method. The recital was open to the public and an additional 50 to 75 people joined the seminar participants to here Herb's recital. Herb started off the recital with Arthur Honegger's Intrada For Trumpet. He then played the entire Hindemith Sonata followed by Herman Bellstedts' Napoli. The closer for the recital was a little known piece, originally played by Conrad Gozo, by the name of A Trumpeter's Prayer, composed by Tutti Camarata.

Overall, the Master Superchops seminar was a huge success. With 100% improvement from all the participants, and the type of turn out of students, there is a strong possibility for this to be an annual occurrence. Mark your calendars for the month of July 2008.

Herbert T. Smith
Third Trumpet Rochester Philharmonic Orchestra
Trumpet Instructor Eastman Community Music School
summer@esm.rochester.edu

We’ve all heard the expressions, “Seeing is believing”. In a dramatic two hour clinic at the International Trumpet Guild Conference at Rowan University, Jerome Callet Convincingly demonstrated to a packed room of very serious trumpet students from around the globe that the phrase should be “hearing is believing!”

The clinic began with a gracious introduction by Indiana University faculty member, renowned jazz performer, and ITG board representative, Pat Harbison. Pat encouraged everyone to listen up as he presented Mr. Callet, “a living legend”. Pat explained that he was first introduced to Jerome in the 1970’s as he quizzed excellent players like Mac Gollehon playing marvelously with seemingly no limits. Mac, generously assisting with today’s clinic, responded with humor, “Well it’s Jerry Callet’s fault!”

With that introduction, Mac, one of N.Y.’s most respected professionals, sporting a resume of over 800 recordings with musicians as diverse as Bubby Rich to Mick Jagger, was joined by follow Callet-student, Herb Smith, an Eastman graduate and current member of the Rochester Philharmonic. Mac and Herb proceeded to dazzle the appreciative audience with excerpts from the jazz and classical repertoire spanning five full octaves from the double pedals to double high C --- all performed with huge sound, tremendous power,crisp intonation, and astounding flexibility. The climax of the presentation featured the two virtuosi trading 8’s on jazz tunes that left the crown applauding for more.

To begin his discussion of what the has learned from more than fifty years of a nearly religious quest to uncover the shared traits of the world’s greatest trumpet masters Mr. Callet picked up his horn cold, fully exhaled all his air, then glissed in a seemingly effortless manner from doubt pedal C to a huge double high C. He asked, “How’s that for a 76 old man who hasn’t touched a horn in six days?!”

Mr. C. explained that the had transformed himself from a broken down forty year old,who diligently following the instructions of his many renowned teachers yet could not play a decent high C, into one of the most powerful players in the world. His trumpet feat proved his case. With the ease of someone who has recounted his discoveries thousands of time to appreciative students around the world, Jerome had the audience pleading for more.

At that time, Jerome introduced his most recent student, Yuriy Kravets. He asked him to play a classical excerpt of his choice. Though only 18 years old, Yuriy played impressively with a big centered sound and excellent technique. Jerry explained that Yuriy had taken just one lesson and merely two days earlier. Surely, Yuriy hadn’t gained that much musicianship in two days, so what’s the big deal? Jerry then instructed Yuriy to play in his “old manner”. The difference was startling! Gone was the big centered sound while the intonation and flexibility struggled. There was no mistaking the dramatic difference that a single lesson had made. Asked if he would like to go back to his old system, Yuriy exclaimed with a big smile, “no way!”

Next, Mr. Callet explained in great detail the essentials of his teachings that he now calls “the tri-labial embouchure”. It is his firm belief that great embouchures rely on concentrated development of both upper and lower lips in conjunction with a fully forward tongue. The tongue is shaped into a wedge between the open teeth. In this essential position the tongue supports and protects the lips while simultaneously creating tremendous air pressure inside the mouth. But as we say, “hearing is believing.”

Jerome urged all members of the audience to come forward and put his theories to the test. A few tepid guinea pigs stepped forward. With each student, whether 9 years old or 80, professional or amateur, he repeated the same routine. First, he had them play a low C scale in their traditional manner. Then, he instructed them individually with his specific placement of the tongue and unique use of air. After that, he had them play the C scale again. In each case, the significant improvement in sound, intonation, and ease of production was so dramatic that other audience members quickly jumped to get in line! Each player’s striking transformation, several dozen in all, was greeted with rousing applause.

Jerry giving embouchure advice to the trumpeters,
MNOZIL BRASS, Austria

Mr. Callet concluded his clinic with a helpful question and answer session. He instructed the audience to “ask me anything.” The sincerity of his teaching was visible to all. In dramatic fashion, he had proven to the appreciative audience that significantly improved performance and much greater ease of production are within each of us all. As so persuasively demonstrated, “Hearing is believing”.

Dr. Kyle Schmeer D.M.A.

Master Class at Cuivres en Fete 2005
Limoges, France August 17-23, 2005
Organized by Ensemble EPSILON: www.epsilon.asso.fr

Franck Pulcine (center) and his father Students were from France, Belgium, Japan, Austria and Finland

I met Jerome Callet in New York in 1983 in his work studio. I was, at that time, very impressed by the result and the performances obtained through his method as well as his conception of the trumpet and the embouchure. He was able to play 5 octaves on his instrument with a homogeneity of sound and nuances without parallel and an abnormal control. Twenty-two years later I was able, thanks to our Festival in France, invite Mr. Callet for the Master Class. The application of his method to the students, once it is put into practice correctly, gives an unbelievable sonority as a result, creating a rich and powerful sound, combined with a better support. I have myself applied his advice for some months. The results are surprising; developing the sound, the dynamics, the security of attacks, the support and the high register. There is nothing left for me to do but to recommend his “Trumpet Secrets” method.   Frank Pulcini Solo Trumpet, Radio Symphonie Orchestra Baden Baden/ Freiburg (SWR) Frank Pulcini Home Page

Workshop at 6th National Trumpeter’s Camp,
Aug 8-14, 2005 Balmazujvaros, Hungary
Organized by the Cultural Center, Balmazujvaros

Zoltan Molnar, Music Director of the Trumpeter’s Camp The trumpet players, teachers, and students from all over Hungary

This summer Jerome Callet was the guest professor of the sixth Hungarian Trumpet Camp. The camp was great with him. First I read his method book, Trumpet Secrets. It was the best I have ever read. I thought it would be wonderful to meet him personally, and I invited him to Hungary. It was a great honor for us that he accepted our invitation. His presentations were very useful for us all. The correct position of the tongue is very important for all ranges of playing, especially in the upper register. It helped me a lot, mainly when playing high notes. I have already used this system in concert, and I was able to play six C’s cadenza’s, from double pedal C to double high C. With Jerome Callet’s method, my sound is more focused. We (the students and myself) very much enjoyed studying with him. Hopefully, a lot of secrets will be discovered by me while using his method. Since I have been familiar with this system, I sincerely recommend the book Trumpet Secrets to all students and professional musicians.   Zoltan Molnar Principal Trumpet, Hungarian National Philharmonic Orchestra

Jerome Callet teaching group lesson

I had a fantastic practicing session last night, playing the entire 1st portion of the Alpine Symphony without any strain, and then some piccolo passages from the B minor mass. I did it just as you taught: “Draw both lips inside your wide open teeth” I achieved unbelievable results, as well as huge AND nice sound, with minimum effort! I was actually sucking my lips inside like a “Toothless grandmother” as you taught, and everything came very easily. I now feel like auditioning just for the fun of it. Thank you very much!   Csaba Kelemen, Associate Principal Trumpet, Dresden Philharmonic Orchestra, Germany

Jerome Callet Master Class in Denmark
Copenhagen: March 10-11 & Aarhus: March 13-14, 2004
(sponsored by Danish Musicians Union)
Kolding: March 15-16, 2004
(sponsored by Kolding School of Music)

Eighteen professional players (including 4 trombone players & 2 flute players) from Denmark and Germany attended the master classes in Copenhagen and Aarhus. The classes were organized by Maiken Ingvordsen, Project Manager of Danish Musicians Union.   “Thanks for 2 very good days at your master class in Copenhagen. As a 57 year old lead trumpeter, it was great to meet you and to experience your embouchure technique. Now I am a new Super-chop player.”   Benny Rosenfeld (Lead trumpeter, Danish Radio Big Band, Jazz trumpet player)

In addition, 4 brass players who are very eager to study “Tongue-controlled Embouchure” came from Norway to Aarhus and had 2 lessons. For more information, click and read “Lessons with Jerome Callet” by Ole J. Utnes (Vestford University College, Tonsberg, Norway). Click Here   At Kolding, Kurt Holm (Jerome’s old friend and the brass teacher of Kolding Music School) conducted the classes for about 15 young brass players.   Comments received from the students of Kolding Music School:

with students in Kolding Music School

“As illustrated on Trumpet Secrets book, Jerome Callet played double high C without pressing the mouthpiece hard against his lips. Since then, I have tried to work with his method, for example, when I rehearsed the Arutjunian Trumpet Concert. I was very happy to participate in the clinic.” –Jakob Ornsbjerk “I have discovered that I can use my tongue to get in the center of the tone. I can now play music more accurately, and with more power than before. It takes some time to adjust to this way of playing but in the end, you get more CONTROL over the instrument.” –Scoot Westh “Changing your embouchure is not something people can do overnight. But after I get used to it, I am sure that I will get it. “You constantly told us “It’s pretty easy”, and I am sure that it is. The hardest part is to lose the old habits.” –Ann B. Anderson ***A very special thanks to Erik & Torben Bond for their help.*** )

German Workshop with Jerome Callet
Sep. 9th -13th, 2003 Altenberge (conductor: Olaf Waldeck)
Sep. 8th & 14th, 2003 Dusseldorf (conductor: Otto Spindler)

“Set your tongue tip on slightly inside of your lower lip and spit-buzz. In order to make a sharp & effective spit-buzz, first, block the air by your tongue pressing inside of your upper lip to create the air compression and spit! The amount of air spit is very little, and both mouth corners must be totally relaxed. Now, bring your horn to your mouth and spit-buzz! Do not allow the tongue to recede from the lips. ” Every each morning, the class visualized this first step of the foundation of the “ Tongue-Controlled Embouchure.” Approximately fifty students from all over Germany, the Netherlands, and Hungary attended the workshop. Seven of them already had experience studying with Jerry in Germany or in New York. At Altenberge, the group lessons were held from 10:00am to 3:30pm, and then Jerry gave private lessons to mainly the professional players. In addition, several private lessons were arranged in Dusseldorf by Jerry’s old friend Otto Spindler. Jerry stated: “I believe that all students were able to understand my method. Good results will come as long as students repeat their drills.” -Yumiko Callet

Dieter Mobert (Moenchengladback Opera Orchestra) Alfred Holtmann (left), Geroe Radeke (right) at Embrassy- Blechblaser Collegium, Munster Teaching “Spit-buzz” using the hand instead of the trumpet Jerry is showing Horst Fischer’s embouchure to Mathias Donges & John Emms (in Dusseldorf). Bruce Rhoten   Otto Spindler (center) & Jerry visited Horst Fischer’s friend Stefan Will (left) for research (9/7/03)

Since your book arrived this afternoon, I read the text, remembering also what you said during your workshop in Germany. Then I went into my studio and blew down “ Star Wars”, and the entire Beethoven 7th Symphony, back to back,. Previously, I required considerable time between the works, but conscientious attention to the principles in the book carried me through to the very end! Now that was after a concert rehearsal this morning, and teaching this afternoon, (and I’m nearly sixty years old). The detailed instruction in your book has already begun to click for me, enabling me to feel some of the joy I used to have as young player. I wish I had had this information forty years ago.   Bruce Rhoten Principal Trumpet, North German Radio Philharmonic   You are the first trumpet teacher who teaches how Bach could write music like “H-Moll-Messe”, “Brandenburgisches Konzert Nummer 2”, “Kantate 172”, “Weihnachts-Oratorium”, and all that musical material which requires phenomenal trumpet playing, and KNOW that these most difficult pieces could be executed to his satisfaction by those trumpet players of his time, and on their lousy instruments, compared with the much advanced instruments we could use today. With best wishes for your further success improving the trumpeter’s world by your discovery of this “old fashioned” but now again extremely modern way of playing.   Otto Spindler Freelance trumpet player

Callet Canadian Workshop
Jerome Callet visits Toronto, Ontario, Canada (June 25-29, 2003) By Thomas Robins: President of the Encore Symphonic Concert Band, and Treasurer of the Toronto Musicians’ Association Local 149, AFM

John Liddle & Jerry             Bobby Herriot, Thomas Robbins, & Jerry

The Primary Purpose of the visit was to give private lessons to some of Toronto’s leading trumpet students, although trumpet players from as far as Ottawa attended. Over the first 3 ½ days some twenty-one students attended took private lessons from Jerry. The attendees included high school and university students, enthusiastic amateurs, and professional musicians, with ages ranging 15 to 75. John Liddle has been using the “tongue through the teeth” method promoted by Jerome for several years, and took advantage of the visit to review his technique and add refinements as recently published in Jerome Callet’s book “Trumpet Secrets”. At the completion of the intensive lesson schedule, John Liddle noted that all the trumpet players who took part gained a significant insight into Jerry’s tonguing approach, and by the end of their sessions had upwards of a ten fold increase in their tonguing ability and low to high note playing. On the Saturday evening of June 28, 2003, Jerry attended a “Salute to Bobby Herriot” sponsored by the Encore Symphonic Concert Band. This band is made up primarily of profession musicians in their 60s to 80s. Bobby Herriot is a well-known Toronto trumpet player, as well as a former President of the Toronto Musicians’ Association, and was recently elected Vice President from Canada of the American Federation of Musicians of the United States and Canada. John Liddle played Bobby Herriot’s composition and arrangement of “Essay for Trumpet”, using his new Callet-modified embouchure. The performance sizzled! Jerome’s Toronto visit concluded on the Sunday afternoon with an open workshop, attended by some of Toronto’s leading trumpet players, including Rainer Schimdt, of the Canadian Tribute to Glenn Miller Band, and Noel Methven, lead trumpet of the Toronto-based Swing Shift and Don Bowes big bands.

Callet Flute Master Class
At NYU May 19th, 2003
By Matt Hilgenberg, freelance trumpet, NYC

Keith Underwood, Jerome Callet, and student

On a beautiful May afternoon, Jerome recently held a master class at NYU. The class was designed to help students learn and apply the Tongue Controlled Embouchure to their playing. Sounds pretty normal. Wrong!!! This class was made possible by Professor Keith Underwood, flute instructor at NYU. It turns out that Jerome’s tongue control also works wonders for the flute player. The day started with some wonderful demonstrations of the natural trumpet by Bahb Civiletti, co-author of “Trumpet Secrets”. He played excerpts and talked about the history and application of that unique instrument. Then the individual flute lessons began. Most flute students were a little unaccustomed to spit buzzing, but the bravest were willing to give anything a try. Jerome helped students one by one open up their sound and articulation by having them arch the tongue behind the teeth and stick the tip between the lips. He explained that this lesson was easier for flute players to learn because they (unlike trumpet players) don’t have to vibrate their lips when they play. Professor Underwood was particularly impressed with the opening up of the students lower registers. Many also spoke about their airstreams being greatly reduced. Imaging, no more huffing and puffing! Jerome even gave a five minute lesson to a clarinet player, and opened up her sound as well! All in all, it was a very successful afternoon, and showed just how widely applicable the tongue controlled embouchure can be.