Γιατί τόσοι πολλοί άνθρωποι έρχονται από τόσο μακριά για να κάνουν μάθημα με τον C. G.? Τι τον κάνει τόσο μοναδικό?Γιατί τόσοι πολλοί οφείλουν την καριέρα τους στην διδασκαλία αυτού του ανθρώπου?

Why did so many people come from so far away to study with Claude Gordon? What made him unique? Why do so many people owe their careers to this man’s teaching?

¿Por qué tantas personas vienen de tan lejos a estudiar con Claude Gordon? ¿Qué le hizo único? ¿Por qué tantas personas deben su carrera a este hombre de la enseñanza? 


چرا بسیاری از مردم از فاصله های دوربرای تحصیل نوازندگی نزد کلاد گوردون می آمدند؟ چه چیزی او را منحصر به فرد ساخته  بود؟ چرا بسیاری حرفه خود را مدیون به آموزش این مرد هستند؟

Pourquoi tant de personnes ont fait tant de kilomètres pour étudier avec Claude Gordon ? Pourquoi est-il unique ? Pourquoi tant de gens lui doivent leur carrière ? 

Claude était singulier de par le contenu de son enseignement et son approche de ce dernier. Son principe de base était que tous les grands trompettistes jouent de la même manière. Il a compris que jouer « comme il faut » transcende tous les genres de musique et n’a pas pris le chemin de ceux qui enseignent des solos. 

Perchè così tante persone arrivano da lontano per studiare con Claude Gordon? Cosa lo rende unico? Perchè così tante persone devono la propria carriera agli insegnamenti di quest'uomo?

Why did so many people come from so far away to study with Claude Gordon? What made him unique? Why do so many people owe their careers to this man’s teaching?

Why did so many people come from so far away to study with Claude Gordon? What made him unique? Why do so many people owe their careers to this man’s teaching?

Porque é que muitas pessoas vêm de tão longe para estudar com  Claude Gordon? O que é que o fez único? Porque é que muitas pessoas devem as suas carreiras aos ensinos deste homem?

Why did so many people come from so far away to study with Claude Gordon? What made him unique? Why do so many people owe their careers to this man’s teaching?

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Name • Instrument • Notes
Gordon Ait • Trumpet
Frank Abrahamson •
Bryan Adams •
Jerry Adams •
Jim Adams •
Roberts Alberts •
Burt Alexander •
Tim Allen •
Brad Allison •
Herb Alpert • Trumpet • Unknown number of lessons
Anne Marie Anderson •
Bob Anderson • Trumpet
Dennis Anderson • Trumpet
Manny Angel • 
Jeff Apmadoc •
Charles Armiger •
Brad Astalos •
Carl Azavedo •
Dave Bacon • Trumpet • possible and was on waiting list
Dave Banks • Trumpet

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Bb Trumpets

Claude Gordon Selmer Bb, Serial #495, with Bob Reeves Valve Alignment

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Arturo Sandoval Clinic

Friday, March 20th, 2015 at Anderson University
Anderson, South Carolina

Seating is very limited.
Call the box office at 864-231-2080 to get tickets.

Indicate attendance on the FaceBook Event Page.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Greenville County Youth Orchestra (GCYO) is now the name that encompasses two youth orchestras named the Young Artist Orchestra (previously GCYO) and The Philharmonic (The Phil) that take place at the Fine Arts Center, which is part of the Greenville County School District.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

Harry Kim will be a featured artist at the National Trumpet Competition. Harry will be doing a unique multimedia presentation on Life Lessons As a Musician that will be practical for anyone aspiring to a rewarding career. Also, Harry and Rick Baptist will be playing a concert with the United States Navy Band Commodores. Then, Harry Kim and Rick Baptist will do a panel discussion about the music business.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

Yo conocí a Claude en el verano de 1984 en el campamento CG Brass. Inmediatamente me deslumbró su actitud alentadora y positiva. El creía que todos podrían llegar a ser buenos músicos y lograr lo que otros dijeron que era para los talentosos nada más. El demostró cómo los grandes músicos tocan de la misma manera en lo fundamental (Definido como “Los siete ítems básicos”) y que cualquiera lo puede hacer. Yo comencé a tonar lecciones privadas con él, el 24 de julio de 1984 a la edad de 16 años.

من برای اولین بار کلود را در تابستان 1984 در اردوگاه برس (بادي برني) او ملاقات كردم. من بلافاصله مسحور نگرش مثبت و دلگرم کننده او شدم. او معتقد هر كسي با كمي استعداد می تواند تبدیل به یک نوازنده ي بزرگ در انظار دیگران شود. او نشان داد که چگونه همه نوازندگان بزرگ  به همان شیوه اصولي (یعنی تعریف شده به عنوان هفت مورد اساسی)مينواخته اند و آن روش می تواند توسط هر کسی انجام شود.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

I first met Claude in the summer of 1984 at his CG Brass Camp. I was immediately struck by his encouraging and positive attitude. He believed anyone could become a great player and accomplish what others said were only for a gifted few. He showed how all the great players played the same way in regards to fundamentals (i.e. defined as The Seven Basic Items) and that it could done by anyone.

I began private lessons with him on July 24, 1984 at age 16. I studied consistently over the next ten years and eventually became one of the staff at the CG Brass Camp.

A practice routine is a tool to become an excellent and consistent player. It also gives a scientific way to understand how to improve specific skills. These qualities are essential for a long successful career. Claude Gordon believed anyone could be a “virtuoso” if he knew how to practice.

Una práctica de rutina es una herramienta para volverse un músico excelente y constante. También da una forma específica para entender cómo mejorar habilidades específicas. Estas cualidades son importantes para tener una carrera llena de éxito para toda la vida. Claude Gordon creía que cualquiera podía ser un “virtuoso” si supiera cómo practicar.

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Oboe Reeds

Good oboe reeds are one of three elements (i.e. a good instrument, a good teacher, and good reeds) that are essential for oboe students to progress properly. Bad oboe reeds allow the student to play in a way that more easily develops bad habits that will last for years into the future. Good reeds result in less frustration for the student that practices correctly.

Machine Made vs. Handmade Reeds

Tools to make reeds and their cost

Skill to make reeds and their cost

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Woodwind Doubling

Good Reasons to play multiple woodwind instruments

• enjoyment of the different instruments
• to make yourself more marketable
     - jazz
     - musicals/broadway shows
     - orchestras (mainly primary/secondary instrument doubling)
     - weddings
     - parties
     - teaching

Rob Perry has studied with Jeff Purtle since May 2012 and KO Skisness shot this video of Rob at the Stomvi booth at the 2013 International Trumpet Guild Conference. Rob is a comeback trumpet player and at the time of this video he had been playing less than two years. Also, he had never played a Triple High C before studying with me.

James Thatcher is "arguably the most often heard horn player in the world" due to his performances on some 70 to 80 films per year for the last 20 years. He is principally a studio player, a recipient of the Most Valuable Player Award from the National Association of Recording Arts and Sciences.

Accompanied by Kuo-Pei Cheng-Lin on piano

Jon Lewis is one of the top studio trumpet players in Los Angeles and also in demand as a soloist and orchestral player.

Rick Baptist is one of the most recorded trumpet players in Hollywood, heard on over 1100 movies, 1600 cartoon, shows like Dancing With The Stars, and the Oscars for over 25 years. Rick knows what it takes to have a long successful career.

Dan Fornero is well known for splitting the Lead Trumpet book for Gordon Goodwin's Big Phat Band with Wayne Bergeron. Dan is also one of the original members of Harry Kim's Vine Street Horns, which can be heard on many of the Phil Collins albums, videos and live concerts. Dan is also one of the top call studio trumpet players in Los Angeles.

Well..I'm Walter from Italy....I'm a professional Jazz trumpet player and teacher in Italy near Garda Lake (north Italy close to Austria ) ....after 20 years of playing around Italy and Europe I wasn't happy at all because I wasn't really able to keep my standard always on the top....I used to practice 3-4 hours a day, doing warm ups (like buzz mouthpiece for 20 m

Ali Daneshkhah takes online trumpet lessons from Jeff Purtle and is from Tehran, Iran.

This one page etude was played in one breath by Ali after about one year of private lessons, having never had formal lessons prior to that. He also had never been exposed to many of the method books common to brass players in the United States of America.

Shawn Hines has studied privately with Jeff Purtle a number of years, taking trumpet lessons online since 2004. Shawn is a professional trumpet player based in the Boston, Massachusetts area and performs all over the United States of America. In addition to playing lead trumpet Shawn also leads his own jazz combos and big band.

Alex Iles is one of the busiest trombone players in Los Angeles, recently heard soloing on the iTunes live broadcast of Paul McCartney. Alex played lead trombone for the high note trumpet legend Maynard Ferguson for several years and has recorded numerous albums, movies, television and live productions.

When I started chemotherapy eight months ago I thought my trumpet days were over for a while. But I was wrong. Not only was I able to perform in various situations but my playing and sound progressed. Of course there were many bad days because of the medicine but I learned how and what to practice.

Hummel Trumpet Concerto - Allegro con Spirito - Ali Daneshkhah from Tehran, Iran

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon y Herbert L. Clarke son de los nombres más importantes en la historia de músicos de instrumentos de viento. Los dos disfrutaron carreras excepcionales de música, autores de libros, diseñadores de instrumentos y tuvieron un gran impacto en músicos profesionales de instrumentos de viento en sus lecciones privadas y a través de libros. Claude estudió con Clarke por diez años después de mudarse de Montana a Los Ángeles a mediados de la gran depresión de los años ‘30. El contenido de sus enseñanzas era idéntico.

Claude Gordon y Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

Claude Gordon and Herbert L. Clarke are two of the most significant names in brass playing history. They both enjoyed exceptional playing careers, authored books, designed instruments and had an enormous impact on professional brass players in their private teaching and through their books. Claude studied with Clarke ten years after moving the Los Angeles from Montana in the middle of the 1930s Great Depression. The content of their teaching was identical.

Claude Gordon and Herbert L. Clarke

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“¡No pare hasta donde yo llegué!” les dijo Claude Gordon a sus estudiantes. Esa fue la misma amonestación dada a Gordon de parte de Herbert L. Clarke. Los tres artículos anteriores se trataron de Claude Gordon, el contenido de su enseñanza y cómo aplicarla en una rutina de práctica diaria. Este artículo es acerca de seguir adelante en tocar instrumentos de viento y enseñanza.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

“Don’t stop where I have gone!” said Claude Gordon to his students. That was the same admonition given to Gordon from Herbert L. Clarke. My previous three articles dealt with Claude Gordon himself, the content of his teaching, and how to apply it in a daily practice routine. This article is about moving forward in brass playing and teaching.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

¿Con qué frecuencia ha escuchado que alguien es un gran instrumentista, porque tiene un "talento innato" y que los "talentos innatos" son raros? ¡Eso no es cierto! Tocar un metal es fácil si se hace correctamente. Mire a los mejores músicos y note que fácil lo hacen ver. Por el contrario, mire a los muchos estudiantes secundarios y universitarios como se ponen rojos tratando de tocar notas altas. Ellos tratan cada truco conocido con la esperanza de descubrir "el secreto". Pierden dinero y tiempo en boquillas, instrumentos y otros equipos.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

How To Practice

How often have you heard that someone is a great instrumentalist because they are a “natural” and that “naturals” are rare? That is not true! Playing a brass instrument is easy if done correctly. Watch the best players and notice how easy they make it seem. By contrast, watch the many high school and college students turning red trying to play high notes. They try every gimmick known hoping they will discover “the secret.” They waste money and time on mouthpieces, instruments and other equipment.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

Lo siguiente tiene la intención de mostrar cómo se aplica toda la información cubierta en el primer artículo titulado Cómo practicar. Como tocar un instrumento de metal es una experiencia física, es imposible para cualquier persona aprender y entender completamente el primer artículo sobre los siete ítems hasta que los hayan experimentado a través de la práctica diaria estructurada. Abrá aquéllos que "traten" algunas cosas y luego digan que no funciona para ellos. La verdad del asunto es que nunca entendieron lo que estaban "tratando" de hacer.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

O artigo seguinte tem como objectivo demonstrar como se deve aplicar a informação descrita no primeiro artico entitulado por "How To Practice"  Como Praticar.  Tocar um instrumento de sopro é uma expiriência fisica é impossivel a qualquer pessoa aprender e entender completamente o primeiro artigo, nos sete pontos até que eles sejam colocados em praticar com a devida routina de pratica diária.Alguns irão "tentar"  e depois vão dizer que não funciona para eles. A verdade da questão é que ele nunca entenderão o que foi que experimentaram .

The following is intended to show how to apply all the information covered in the first article entitled How To Practice. Since playing a brass instrument is a physical experience it is impossible for anyone to completely learn and understand the first article on the seven items until they have experienced them through daily structured practice. There will be those who “try” some things and then say that it does not work for them. The truth of the matter is that they never understood what they were “trying” to do.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

En 1912, Herbert L. Clarke escribió uno de los libros de métodos para la trompeta más comúnmente usado. Todavía lo usan hoy los profesionales serios y aspirantes profesionales que tocan la trompeta y metales. El tamaño del libro, 53 páginas, es sobrellevado por el volumen de la sabiduría contenida en sólo unos breves comentarios acerca de cómo utilizar el libro. Este libro, no obstante, al igual que muchos libros, ha sido objeto de reinterpretación. A principios de la década de los ’80, el libro fue reimpreso con traducciones en tres idiomas (Inglés, alemán y francés).

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

In 1912 Herbert L. Clarke wrote one of the mostly widely used trumpet method books. It is still in use today by every serious professional and aspiring professional trumpet and brass player. The size of the book, 53 pages, is far outweighed by the volume of wisdom contained in just a few brief comments on how to use the book. This book however, like many books, has been subjected to reinterpretation. In the early 1980s the book was reprinted with translations into three languages (English, German, and French). At that time the English text was changed, possibly for easier translation.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instrucciones.

El cornetín es sin duda uno de los instrumentos más fáciles de tocar con respecto a la digitación, y uno de los más difíciles con respecto a la embocadura.

Lleva un poco de analogía a la voz humana en su rango, y en la manera en que se lleva a cabo la respiración. Es por eso, que en muchas ocasiones se le ha llamado el tenor de la orquesta.

La manera en que se aprende a tocar es diferente en cómo se aprende a tocar cualquier otro instrumento.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Instructions.

The Cornet is without contradiction one of the easiest instruments to play as regards the fingering, and one of the most difficult in regard to the Embouchure.

It bears some analogy to the human voice in its compass, and in the manner in which respiration is conducted. That is why it has on many occasions been styled the Tenor of the Orchestra.

The manner of learning to play it differs essentially from that in which any other sort of instrument is learnt.

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Trumpet and Brass Playing Frequently Asked Questions

This is not meant to be a stand alone article, but to address questions from the first two articles, How To Practice and What To Practice, which should be read first.

Categories of Questions:

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Thirty years is a long time to play in a band let alone with the same horn section. Nevertheless, Lee Loughnane (pronounced Lock-nain) has done just that with the world-famous band Chicago. To my knowledge, no other horn section of any band has been together that long. Those of you who have been out there know that friendships have a hard time standing up to the rigors of road life. The staying power of this section attests to the uniqueness of their music and spirit.

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Trumpet And Brass Instrument Repairs

A professional level hand made instrument that is the quality above the usual mass produced assembly line instruments demands a quality repairman. The following repairmen are ones I have personally dealt with and watched as they produce precision, quality and beauty. They all go beyond the usual music store repairmen in that they have actual knowledge of manufacturing from the ground up and can build replacement parts if needed.

Rich Ita's Brass Instrument Workshop

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Or Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Buying A Trumpet Of Brass Instrument

Please email me if you are interested in buying or selling a Claude Gordon Selmer, Claude Gordon Benge trumpet. I occasionally have requests to help people locate these and will pass along names for free.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

Charles Brady passed away at age 72 on Tuesday, February 16, 2010 in Bakersfield, California. Mr. Brady was unusually humble for his accomplishments. He previously was principal trumpet with the National Symphony Orchestra in Washington, DC. He also made one of the best recordings of L'Histoire du Soldat with Igor Stravinsky conducting his own work.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

When shipping a brass instrument we must consider the fact that most cases don’t offer much protection with the exception of Walt Johnson Cases. Walt’s cases are superior in that they provide more protection between the instrument and the outer shell of the case. The interior of his cases are all foam and molded to the shape of each instrument as opposed to typical cases with a hard interior of wood and plastic. If the instrument is dropped or jolted very hard the instrument will be damaged from hitting against the inside of the case.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

The following scale sheets and musical vocabulary terms are for the South Carolina requirements used for All-State Band and Region Band.

Check www.bandlink.org for more info.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Claude Gordon trumpets are very special to me. I have exclusively played a CG Selmer trumpet since December of 1984, when Claude picked one for me, and I still love it. My goal with this page is to help players find these exceptional trumpets. They were modeled after the best Meha Besson Trumpets of the past, as played by Claude Gordon, Conrad Gozzo, and great players of that era. The leadpipe design on the CG Trumpets was designed by Claude in his work with Dominic Collichio, the famous custom trumpet builder of Hollywood, California.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

Read what these great artists say about Claude Gordon, his books, and his teaching. It really works for anyone that wants to learn to play correctly and it is the fastest way to develop as a brass player with strong fundamentals essential for a career playing any style of music.
________________________________________

I have known Claude for a number of years. I knew him as a great trumpet player and also a great teacher.

I think his new book should help everyone who is interested in being a good, strong trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

My name is John Mohan and I was a student of Claude Gordon from 1979 until 1995, although I only studied part-time between 1987 and 1990 due to my being on the road as Musical Director and Trumpet Soloist for two different international Circuses during that time. I consider myself extremely fortunate in having had the opportunity to study with Claude, as I feel that his tutorship is largely responsible for my success as a professional trumpet player.

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference 2010

Purtle Brass Conference 2010 Poster

Highlights

Purtle Brass Conference

July 7-9, 2011 at Anderson University

Inspiring Instruction In Practice, Playing and Business

Purtle Brass Conference 2011 Poster

Jeff Purtle (Host) - Claude Gordon's Teachings

Purtle Brass Conference
at Anderson University
Inspiring Instruction In Practice, Playing and Business

August 2 - 4, 2012

 

 

Purtle Brass Conference
at Anderson University
Inspiring Instruction In Practice, Playing and Business

Food

Chick-fil-A biscuits, Chick-n-Minis and Coffee will be provided free at check-in.
Everyone should sign-up for campus meals, which are excellent and a great social time.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Saxophone
864.354.3223
JP Management
jeff@purtle.com

Yamaha Artist Page:   http://www.yamaha.com/artists/georgeshelby.html

Recorded and/or Performed Live With: Beyonce, Aretha Franklin, Stevie Wonder, Earth Wind & Fire, Toto, Bruce Springsteen, Melissa Etheridge, Hilary Duff, Bono, Sting, Elton John, Natalie Cole, Chaka Khan, Bobby Caldwell, Patti LaBelle, Johnny Mathis and many, many others.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
Booking Inquiry: JP Management

HarryKimTrumpet.com for a complete list of credits

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

Harry Kim • Trumpet
864.354.3223
JP Management
jeff@purtle.com

HarryKimTrumpet.com for a complete list of credits

Recorded and/or Performed Live With: Phil Collins (multi-platinum albums and world tours), Aretha Franklin, Lady Gaga, Eric Clapton, Patti LaBelle, Alicia Keys, Santana, Andraé Crouch, Johnny Hallyday, Brian Wilson, Chick Corea, James Ingram, Chicago, Earth Wind and Fire.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

En este artículo serán explicados dos de los siete elementos fundamentales físicos para tocar instrumentos de viento. Este artículo tiene por objeto acompañar el artículo ¿Cómo practicar?. El artículo ¿Qué practicar?, también explica cómo aplicar todos los siete elementos básicos en una práctica diaria de rutina utilizando los libros varios de métodos conocidos. 

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

In this article two of the seven fundamental physical items of Brass Playing are going to be explained. This article is meant to accompany the article How To Practice. The article What To Practice also explains how to apply all the Seven Basic Items in a daily practice routine using the various known method books.

On January of 1999 the Claude Gordon Music Enterprise website was launched. The website went offline in late 2012 after the death of Eric Swanson, Claude's stepson, which was preceded by the death of Claude's second wife, Patty Gordon, in 2011. These are archived pages from the original site. Some of the content has been condensed, combined and summarized to show all the content on each page in an easy to find manner.

Homestead

The demands of working in Hollywood and being homesick for Montana's blue sky and tall trees prompted the Gordons' to choose a permanent home site in the San Bernardino mountains. A small airport in the heart of the Big Bear Valley determined the location.

What Would Claude Say?

Answers from the personal notes and lectures of Claude Gordon

Question of the Month Subject: Gadgets and Gimmicks...do they work?

"If you think for one moment that a gadget or a gimmick will make you a good brass player you are in deep trouble. And yet, you see them advertised over and over again in popular brass magazines.

ITG Conference 2017
Jeff Purtle Clinic

Hit it Hard & Wish it Well: Claude Gordon's Approach to Trumpet Playing

Wednesday, May 31, 2017 9:00-10:15am
Magnolia Ballroom
Hershey, Pennsylvania

Register for ITG 2017

Park City, Utah Trumpet Clinic
January 2017