Trumpetland articles

ISSN: 2254-8521

Historical Formation of the French Trumpet School

  • 2017-10-18

Ernesto Chuliá, a former student of Maurice André and faithful defender of the French school of trumpet playing, describes the pedagogical and musical characteristics of the French style in this article, extracting examples of some of the main methods such as Arban, Franquin or Vaillant. If you care about the history of your instrument you should read this article!

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What is the Buzzard, the P.E.T.E., and the A.P.E?

  • 2017-10-04

Warburton Music Products has created these three practice tools while keeping the trumpeter in mind, but how are they used and what do they do? With this wonderful article written by José Chafer, he helps clarify these ideas and, in doing so, opens our mind at the time we use them.

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My best lesson ever

  • 2017-06-14

We have the great pleasure of publishing a very interesting article on the legend, William Fielder (the teacher of great trumpeters such as Wynton Marsalis, Terence Blanchard, Terell Stafford and Sean Jones). Eric Wright, also a pupil of Fielder, has written this article to share with the members of Trumpetland. It is something that you should not miss, because in addition to being endearing, it will help you to further understand the concept of Song and Wind, popularized by the fabulous Chicago school, and that so many students find difficult to understand and put into practice.

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Basic guide to start improvising on the trumpet

  • 2017-03-22

Would you like to know how to play jazz even if you have no idea? Even if you are a classical player and your future is in the orchestra, it’s always good to know how to improvise correctly. This guide written by Matthew Simon will greatly help you to take those first steps. It’s a magnificent summary of all the basics that you should know. We could call it the ABC of improvisation.

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I’m not meant to be musician

  • 2017-02-22

In this article, professor Jordi Albert talks about the difficulties that arise with teaching that we may face as musicians, as well as emotions and the question of the general idea of what talent is or isn't.

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