The clinic was a success. Everybody got a chance to work with Jerry and hear the difference. The players had no idea that every pitch they have played decays and falls flat after the initial attack which is not supported by the tongue. Rapid articulations tightened and cleaned up by every player. Intonation was cleaner and more defined at the start and end of the note.
The clinic also shows that this is a doing thing. There is no magic that immediately lets you play like Maynard Ferguson. MSC is about total trumpet playing. Taking the strain out of trumpet playing so one can work and focus on musicianship. Range and power are only a small part of MSC. What important is INTONATION clean articulation, extreme dynamic range, and flexibility. This way one can play all styles of music needed....and yes pasting a double C at the end of a four hour job is pretty frickin awesome.
We took a break and let some players tested the SIMA trumpets and Superchops mouthpieces. Everybody compared their current trumpet to Jerry’s SIMA. One of the players had a nice high G on his horn, this was about the end of his range, but on the SIMA his high G parts hair. What a difference.
A big thanks Jerry, Kyle Schmeer and to all that attended the clinic.
Trumpet player and teacher, Washington DC
Check out for more photos:
On July 7th, Jerry Callet came to Rochester for a Trumpet Master Class at the
Eastman School of Music. There were 13 students - from age 13 to 84, and we
had 100% improvement with the students. Everyone got one on one time
with Jerry two times. This way of playing feels awkward at first but having the
one on one time with Jerry helps to alleviate some of the unfamiliar feelings.
Although there is a specific way that the lips, tongue and mouth need to be in
order to produce the sound with the Master Superchops method, everyone's
mouth, teeth and jaw are different, for each student, Jerry doesn't tell everyone
to do the same thing. He has a way of giving each student exactly what they
need to improve. Students learn at different rates and are at different levels
based on the way they previously played, so for one student, they could barely
make a sound, another student who studies with Herb Smith already knew
the basic Master Superchops method and needed help getting up to the higher
notes above high C. For our youngest student he took to the method so well
he was playing up to high C. Previously he could on go up the top space G.
He didn't even know the fingers to the notes above G. For our oldest student,
after Jerry showed him the new tongue and lip position, he realized that when
he first started playing trumpet, this was he played until a private teacher
switched him to a more "conventional" method.
In addition to learning a new method that produces more power, higher notes,
and more endurance with less effort and fatigue, everyone had a chance to
play the new Superchops 1 mouthpiece. Without any debate, everyone felt that
with this mouthpiece they had better articulation, better range, and a full
centered sound. Many participants after playing the Superchops 1 once
Herb & students
Herb Smith giving an afternoon
The workshop started at 9AM and went to 4PM. There was a lunch break at
noon and Herbert Smith, student of Jerry Callet, and 3rd trumpet of the Rochester
Philharmonic Orchestra played a recital demonstrating the new Master
Superchops method. The recital was open to the public and an additional 50 to
75 people joined the seminar participants to here Herb's recital. Herb started
off the recital with Arthur Honegger's Intrada For Trumpet. He then played the
entire Hindemith Sonata followed by Herman Bellstedts' Napoli. The closer for
the recital was a little known piece, originally played by Conrad Gozo, by the
name of A Trumpeter's Prayer, composed by Tutti Camarata.
Overall, the Master Superchops seminar was a huge success. With 100%
improvement from all the participants, and the type of turn out of students,
there is a strong possibility for this to be an annual occurrence. Mark your
calendars for the month of July 2008.
Herbert T. Smith
Third Trumpet Rochester Philharmonic Orchestra
Trumpet Instructor Eastman Community Music School
We’ve all heard the expressions, “Seeing is believing”. In a dramatic two hour
clinic at the International Trumpet Guild Conference at Rowan University,
Jerome Callet Convincingly demonstrated to a packed room of very serious
trumpet students from around the globe that the phrase should be “hearing
The clinic began with a gracious introduction by Indiana University faculty
member, renowned jazz performer, and ITG board representative, Pat Harbison.
Pat encouraged everyone to listen up as he presented Mr. Callet, “a living legend”.
Pat explained that he was first introduced to Jerome in the 1970’s as he quizzed
excellent players like Mac Gollehon playing marvelously with seemingly no limits.
Mac, generously assisting with today’s clinic, responded with humor,
“Well it’s Jerry Callet’s fault!”
With that introduction, Mac, one of N.Y.’s most respected professionals, sporting
a resume of over 800 recordings with musicians as diverse as Bubby Rich to
Mick Jagger, was joined by follow Callet-student, Herb Smith, an Eastman
graduate and current member of the Rochester Philharmonic. Mac and Herb
proceeded to dazzle the appreciative audience with excerpts from the jazz and
classical repertoire spanning five full octaves from the double pedals to double
high C --- all performed with huge sound, tremendous power,crisp intonation,
and astounding flexibility. The climax of the presentation featured the two virtuosi
trading 8’s on jazz tunes that left the crown applauding for more.
To begin his discussion of what the has learned from more than fifty years of a
nearly religious quest to uncover the shared traits of the world’s greatest
trumpet masters Mr. Callet picked up his horn cold, fully exhaled all his air, then
glissed in a seemingly effortless manner from doubt pedal C to a huge double
high C. He asked, “How’s that for a 76 old man who hasn’t touched a horn in
Mr. C. explained that the had transformed himself from a broken down forty year
old,who diligently following the instructions of his many renowned teachers yet
could not play a decent high C, into one of the most powerful players in the world.
His trumpet feat proved his case. With the ease of someone who has recounted
his discoveries thousands of time to appreciative students around the world,
Jerome had the audience pleading for more.
At that time, Jerome introduced his most recent student, Yuriy Kravets. He asked
him to play a classical excerpt of his choice. Though only 18 years old, Yuriy
played impressively with a big centered sound and excellent technique. Jerry
explained that Yuriy had taken just one lesson and merely two days earlier.
Surely, Yuriy hadn’t gained that much musicianship in two days, so what’s the
big deal? Jerry then instructed Yuriy to play in his “old manner”. The difference
was startling! Gone was the big centered sound while the intonation and flexibility
struggled. There was no mistaking the dramatic difference that a single lesson
had made. Asked if he would like to go back to his old system, Yuriy exclaimed
with a big smile, “no way!”
Next, Mr. Callet explained in great detail the essentials of his teachings that he
now calls “the tri-labial embouchure”. It is his firm belief that great embouchures
rely on concentrated development of both upper and lower lips in conjunction with a
fully forward tongue. The tongue is shaped into a wedge between the open
teeth. In this essential position the tongue supports and protects the lips while
simultaneously creating tremendous air pressure inside the mouth. But as we say,
“hearing is believing.”
Jerome urged all members of the audience to come forward and put his theories
to the test. A few tepid guinea pigs stepped forward. With each student,
whether 9 years old or 80, professional or amateur, he repeated the same routine.
First, he had them play a low C scale in their traditional manner. Then, he
instructed them individually with his specific placement of the tongue and
unique use of air. After that, he had them play the C scale again. In each case,
the significant improvement in sound, intonation, and ease of production was so
dramatic that other audience members quickly jumped to get in line! Each player’s
striking transformation, several dozen in all, was greeted with rousing applause.
Jerry giving embouchure advice to the trumpeters,
MNOZIL BRASS, Austria
Mr. Callet concluded his clinic with a helpful question and answer session.
He instructed the audience to “ask me anything.” The sincerity of his teaching
was visible to all. In dramatic fashion, he had proven to the appreciative audience
that significantly improved performance and much greater ease of production are
within each of us all. As so persuasively demonstrated, “Hearing is believing”.
Dr. Kyle Schmeer D.M.A.
Master Class at Cuivres en Fete 2005
Limoges, France August 17-23, 2005
Organized by Ensemble EPSILON: www.epsilon.asso.fr
Franck Pulcine (center) and his father
Students were from France, Belgium,
Japan, Austria and Finland
|I met Jerome Callet in New York in 1983 in
his work studio. I was, at that time, very
impressed by the result and the
performances obtained through his method
as well as his conception of the trumpet
and the embouchure. He was able to play
5 octaves on his instrument with a
homogeneity of sound and nuances
without parallel and an abnormal control.
Twenty-two years later I was able, thanks
to our Festival in France, invite Mr. Callet
for the Master Class. The application of
his method to the students, once it is put
into practice correctly, gives an
unbelievable sonority as a result, creating
a rich and powerful sound, combined with
a better support. I have myself applied
his advice for some months. The results
are surprising; developing the sound, the
dynamics, the security of attacks, the
support and the high register. There is
nothing left for me to do but to recommend
his “Trumpet Secrets” method.
Solo Trumpet, Radio Symphonie Orchestra
Baden Baden/ Freiburg (SWR)
Frank Pulcini Home Page
Workshop at 6th National Trumpeter’s Camp,
Aug 8-14, 2005 Balmazujvaros, Hungary
Organized by the Cultural Center, Balmazujvaros
Zoltan Molnar, Music Director of
the Trumpeter’s Camp
The trumpet players, teachers, and
students from all over Hungary
|This summer Jerome Callet was the guest
professor of the sixth Hungarian Trumpet
Camp. The camp was great with him.
First I read his method book, Trumpet
Secrets. It was the best I have ever read.
I thought it would be wonderful to meet him
personally, and I invited him to Hungary. It
was a great honor for us that he accepted
our invitation. His presentations were very
useful for us all.
The correct position of the tongue is very
important for all ranges of playing,
especially in the upper register. It helped
me a lot, mainly when playing high notes. I
have already used this system in concert,
and I was able to play six C’s cadenza’s,
from double pedal C to double high C.
With Jerome Callet’s method, my sound is
more focused. We (the students and
myself) very much enjoyed studying with
him. Hopefully, a lot of secrets will be
discovered by me while using his method.
Since I have been familiar with this system,
I sincerely recommend the book Trumpet
Secrets to all students and professional
Hungarian National Philharmonic Orchestra
Jerome Callet teaching group lesson
|I had a fantastic practicing session last
night, playing the entire
1st portion of the Alpine Symphony without
any strain, and then some piccolo
passages from the B minor mass. I did it
just as you taught: “Draw both lips inside
your wide open teeth” I achieved
unbelievable results, as well as huge AND
nice sound, with minimum effort! I was
actually sucking my lips inside like a
“Toothless grandmother” as you taught,
and everything came very easily. I now feel
like auditioning just for the fun of it.
Thank you very much!
Associate Principal Trumpet,
Dresden Philharmonic Orchestra, Germany
Jerome Callet Master Class in Denmark
Copenhagen: March 10-11 & Aarhus: March 13-14, 2004
(sponsored by Danish Musicians Union)
Kolding: March 15-16, 2004
(sponsored by Kolding School of Music)
|Eighteen professional players (including 4
trombone players & 2 flute players) from
Denmark and Germany attended the
master classes in Copenhagen and Aarhus.
The classes were organized by Maiken
Ingvordsen, Project Manager of Danish
“Thanks for 2 very good days at your
master class in Copenhagen. As a 57 year
old lead trumpeter, it was great to meet
you and to experience your embouchure
technique. Now I am a new Super-chop
(Lead trumpeter, Danish Radio Big Band,
Jazz trumpet player)
|In addition, 4 brass players who are very
eager to study “Tongue-controlled
Embouchure” came from Norway to Aarhus
and had 2 lessons. For more information,
click and read “Lessons with Jerome Callet”
by Ole J. Utnes (Vestford University
College, Tonsberg, Norway).
At Kolding, Kurt Holm (Jerome’s old friend
and the brass teacher of Kolding Music
School) conducted the classes for about 15
young brass players.
Comments received from the students of
Kolding Music School:
with students in Kolding Music School
|“As illustrated on Trumpet Secrets book,
Jerome Callet played double high C
without pressing the mouthpiece hard
against his lips. Since then, I have tried to
work with his method, for example, when I
rehearsed the Arutjunian Trumpet Concert.
I was very happy to participate in the clinic.”
“I have discovered that I can use my
tongue to get in the center of the tone.
I can now play music more accurately, and
with more power than before. It takes some
time to adjust to this way of playing but in
the end, you get more CONTROL over the
“Changing your embouchure is not
something people can do overnight. But
after I get used to it, I am sure that I will
get it. “You constantly told us “It’s pretty
easy”, and I am sure that it is. The hardest
part is to lose the old habits.”
–Ann B. Anderson
***A very special thanks to Erik & Torben
Bond for their help.***
German Workshop with Jerome Callet
Sep. 9th -13th, 2003 Altenberge (conductor: Olaf Waldeck)
Sep. 8th & 14th, 2003 Dusseldorf (conductor: Otto Spindler)
|“Set your tongue tip on slightly inside of
your lower lip and spit-buzz. In order to
make a sharp & effective spit-buzz, first,
block the air by your tongue pressing
inside of your upper lip to create the air
compression and spit! The amount of air
spit is very little, and both mouth corners
must be totally relaxed. Now, bring your
horn to your mouth and spit-buzz! Do not
allow the tongue to recede from the lips.
” Every each morning, the class visualized
this first step of the foundation of the “
Approximately fifty students from all over
Germany, the Netherlands, and Hungary
attended the workshop. Seven of them
already had experience studying with Jerry
in Germany or in New York. At Altenberge,
the group lessons were held from 10:00am
to 3:30pm, and then Jerry gave private
lessons to mainly the professional players.
In addition, several private lessons were
arranged in Dusseldorf by Jerry’s old friend
Otto Spindler. Jerry stated: “I believe that
all students were able to understand my
method. Good results will come as long as
students repeat their drills.”
Dieter Mobert (Moenchengladback
Alfred Holtmann (left), Geroe Radeke
(right) at Embrassy- Blechblaser
Teaching “Spit-buzz” using the hand
instead of the trumpet
Jerry is showing Horst Fischer’s
embouchure to Mathias Donges &
John Emms (in Dusseldorf).
Otto Spindler (center) & Jerry visited
Horst Fischer’s friend Stefan Will (left)
for research (9/7/03)
|Since your book arrived this afternoon, I
read the text, remembering also what you
said during your workshop in Germany.
Then I went into my studio and blew down “
Star Wars”, and the entire Beethoven 7th
Symphony, back to back,. Previously, I
required considerable time between the
works, but conscientious attention to the
principles in the book carried me through
to the very end! Now that was after a
concert rehearsal this morning, and teaching this afternoon, (and I’m nearly sixty
years old). The detailed instruction in your
book has already begun to click for me,
enabling me to feel some of the joy I used
to have as young player. I wish I had had
this information forty years ago.
North German Radio Philharmonic
You are the first trumpet teacher who
teaches how Bach could write music like
Konzert Nummer 2”, “Kantate 172”,
“Weihnachts-Oratorium”, and all that
musical material which requires
phenomenal trumpet playing, and KNOW
that these most difficult pieces could be
executed to his satisfaction by those
trumpet players of his time, and on their
lousy instruments, compared with the much
advanced instruments we could use today.
With best wishes for your further success
improving the trumpeter’s world by your
discovery of this “old fashioned” but now
again extremely modern way of playing.
Freelance trumpet player
Callet Canadian Workshop
Jerome Callet visits Toronto, Ontario, Canada (June 25-29, 2003)
By Thomas Robins: President of the Encore Symphonic
Concert Band, and Treasurer of the Toronto Musicians’ Association
Local 149, AFM
John Liddle & Jerry
Bobby Herriot, Thomas Robbins,
|The Primary Purpose of the visit was to
give private lessons to some of Toronto’s leading trumpet students, although trumpet
players from as far as Ottawa attended.
Over the first 3 ˝ days some twenty-one
students attended took private lessons
from Jerry. The attendees included high
school and university students,
enthusiastic amateurs, and professional
musicians, with ages ranging 15 to 75.
John Liddle has been using the “tongue
through the teeth” method promoted by
Jerome for several years, and took
advantage of the visit to review his
technique and add refinements as recently
published in Jerome Callet’s book
“Trumpet Secrets”. At the completion of the
intensive lesson schedule, John Liddle
noted that all the trumpet players who took
part gained a significant insight into Jerry’s
tonguing approach, and by the end of their
sessions had upwards of a ten fold
increase in their tonguing ability and low to
high note playing. On the Saturday
evening of June 28, 2003, Jerry attended a
“Salute to Bobby Herriot” sponsored by
the Encore Symphonic Concert Band.
This band is made up primarily of
profession musicians in their 60s to 80s.
Bobby Herriot is a well-known Toronto
trumpet player, as well as a former
President of the Toronto Musicians’
Association, and was recently elected Vice
President from Canada of the American
Federation of Musicians of the United
States and Canada. John Liddle played
Bobby Herriot’s composition and
arrangement of “Essay for Trumpet”, using
his new Callet-modified embouchure.
The performance sizzled! Jerome’s Toronto
visit concluded on the Sunday afternoon
with an open workshop, attended by some
of Toronto’s leading trumpet players,
including Rainer Schimdt, of the Canadian
Tribute to Glenn Miller Band, and Noel
Methven, lead trumpet of the Toronto-based
Swing Shift and Don Bowes big bands.
Callet Flute Master Class
At NYU May 19th, 2003
By Matt Hilgenberg, freelance trumpet, NYC
Keith Underwood, Jerome Callet,
|On a beautiful May afternoon, Jerome
recently held a master class at NYU. The
class was designed to help students learn
and apply the Tongue Controlled
Embouchure to their playing. Sounds
pretty normal. Wrong!!! This class was
made possible by Professor Keith
Underwood, flute instructor at NYU. It turns
out that Jerome’s tongue control also works
wonders for the flute player. The day
started with some wonderful demonstrations
of the natural trumpet by Bahb Civiletti,
co-author of “Trumpet Secrets”. He played
excerpts and talked about the history and
application of that unique instrument.
Then the individual flute lessons began.
Most flute students were a little
unaccustomed to spit buzzing, but the
bravest were willing to give anything a try.
Jerome helped students one by one open
up their sound and articulation by having
them arch the tongue behind the teeth and
stick the tip between the lips. He explained
that this lesson was easier for flute
players to learn because they (unlike
trumpet players) don’t have to vibrate their
lips when they play. Professor Underwood
was particularly impressed with the
opening up of the students lower registers.
Many also spoke about their airstreams
being greatly reduced. Imaging, no more
huffing and puffing! Jerome even gave a
five minute lesson to a clarinet player, and
opened up her sound as well! All in all, it
was a very successful afternoon, and
showed just how widely applicable the
tongue controlled embouchure can be.