Legit Trumpet Quotes

Every time you sound good, your breathing is good
I couldn't imitate his (G. Mager's) playing, and I'm convinced one should never do that in any case.
Why don't you just pick it up and play?
What is fundamental is to have a good example of the sound and then to try to copy it as faithfully as possible.
Records are frauds, you know...to the extent that somebody other than the players and the conductor has a lot of control over how it's going to sound. Musicians are really meant to play for a live audience.

The American symphonic player of today is more sensitive, using a greater range of shadings and interpretation. Formerly, trumpet players were more circumscribed in their tonal response and intrepretation.
The battle is not with the instrument. The battle is with ourselves.

Playing the trumpet is hard because it is so easy.
Stay a day ahead of the struggle.
Warming up is a euphemism. I need to see that everything is working as it should.
I think about the concept of sound, not how I'm going to do it.

The biggest job of a trumpet player, particularly in an orcherstra, is to stay in absolutely top shape.
Playing the trumpet is such an intangible experience. The player is compelled to start from the beginning and build anew each day. It isn't like building a house, where we can resume building where we left off the previous day's accomplishments. Each new day we must rebuild the foundation of our musical structure.
The purpose of the daily warm-up and practice is to reach this high pitch of performance every day.
There is no way to realize your potential unless you throw yourself into it.
Great desire is indispensable. This ingredient is the catalyst that makes success possible.

William Vacchiano

Most successful performers have set routines, remember, repetition is the mother of perfection.

It is so easy to play right and so difficult to play wrong.
If the lips remain flexible and the tone is not forced, it will be possible to play easily any note, regardless of register.
Proper wind control is 98% of correct cornet playing.

I have never seen a country where they worry so much about their chops as they do in America.
If I play four or five hours at home, I can easily play an hour-long concert. My lips remain fresh the entire time.
From a musical point of view, it must be said that they need to be a bit more musical and take their time to make music. I want them to pay more attention to the attacks, the vibrato.
You must not forget that the lip is a muscle and it must be treated with care all of one's life. I massage with warm water in the shower, then with butter. It's the vitamin C in butter that is wonderful.
I built my staccato like the piano: my low register with the warmth of the cello; lyrical melodies like the violin; running notes like the clarinet.
Often I hear people say,"He is gifted, he doesn't need to work". This is wrong. I am convinced that I work much more than all the others.
It is important to practice often during the day, and not a long time. Play thirty minutes and rest fifteen minutes. Then play thirty minutes, rest thirty minutes. Play thirty minutes and rest an hour, The lips are a muscle and it is important to rest them frequently. In all, it is good to practice four hours per day.

Timofei Dokschitzer

Questions concerning performance practices are sufficiently complicated that it is difficult to talk about them, since the music speaks more eloquently that the word.
Try to determine that in the actual exhalation of breath there are already living fluctuations of the airstream, which will bring about he vibrato. It is best to use that as a point of departure and avoid using anything artificial by means of motion or lip movement.
Mouthpiece practice is particularly recommended after a long period of interruption, vacation, or sickness. It is not mandatory to buzz on a regular basis. Each should use it according to its appropriate suitability.
If a player wants to practice for two or three hours, divide the time into three sessions, forty to sixty minutes each, morning, afternoon, and evening (before dinner). Or, in two sessions of 60 to 90 minutes each, one in the morning and one in the evening.

David Hickman

Physical control should be learned by striving for musical results, regardless of physical feeling or appearance

To be a teacher you need to be as good a performer as you can be: you'll have more to impart to your students musically.
Today's musicians, listening to the near perfection found in most recordings, have begun to demand perfection of themselves and of everyone else. Higher standards are good, but too high is dangerous, and make us hypercritical and creates fear of performance.

Del Staigers

When a veteran in the business gives you advice, listen carefully to what he has to say. The chances are a hundred to one that he is right.
Lots of players can hit high C and play very rapidly and are still useless when it comes to ensemble playing.

Roger Voisin

Hitting high notes consistently has a lot to do with practicing. To play high trumpet and keep the flexibility to do other kinds of playing, which is necessary for studio work, you have to practice. I put in a minimum of three hours a day.

In order to play any brass instrument, you have to be a singer in your brain.
We should not think in terms of the trumpet player but of the man who is playing the trumpet.
We communicate through motor systems not sensory systems. Do not become involved in self-analysis while performing music. You must keep the product (your musical message) foremost in your mind.

Vince Pinzarella

You should be making progress in the first 10 minutes of playing.
Rely on the lungs (they don't get tired and don't know you've been resting a long time before an entrance).
Find your breaking point (in the low register for example) and work in that area. That is where the progress will be.

The greatest compliment: "You played so well that I forgot you had a trumpet in your hands".
Practice pieces each day that allow you to just play and do what comes naturally. This will help your keep from being tied up with technique.
We practice and develop trumpet technique because it allows us to express ourselves musically in an effortless and meaningful way.