Ralph Chittleborough (Australia)
Keith Maynard Mac Gollehon Alex Bernstein (Israel)
Kyle Schmeer Joe Kaminski Jerome Callet











 
I am a trumpet player from Romania.
Your work begins to be very interesting to me, but before trying any of your techniques, I would like to ask you 2 questions.
1. Do you use double and triple articulation(and how)?
2. Do you permit the air to get in the space between the top teeth and the top lip?

Bota Horatiu, Romania

My mother’s father and mother came from Romania in 1905 to the U.S.A. For double and triple articulations I use a spit-cough attack with the front of my tongue always in contact with both lips. All tones are produced by compression of the air inside the mouth. Do not try to put the air inside your top lip. I teach my method to all brasses plus flute and oboe as well. Many top pros are using it on all these instruments. Please call me if you need more help.

Jerome Callet



 
Thank you for the Superchops DVD`s. My progress is absolutely fantastic. I must however make a critical decision and need your advice. Due to an accident on my top front teeth, I have moved my mouthpiece 2/3 rd`s on the top lip and I’ve played like this for years. Should I go through the process of moving the mouthpiece more onto the bottom lip while in the process of an embouchure change? Please advice!

Gerhard, Germany

Try to keep a balance of 50 - 50 top and bottom lip. Do not do a radical change as it sounds like you are making progress. Please call me if you need more help.

J.C.



 
Hello Mr. Callet, It is possible to get the TCE-Technique book in Austria/Germany? I found your page on the internet and a I'm interested in this technique. When I'm whistling (I do a lot of whistling), I feel that I always touch the lower lips, I think this feeling is not far away from your method or?

Greetings from Austria, Walter O.

Sorry, all books have been sold out. But, my new DVD "Master Superchops" is much better than any of the books. You can see and hear each player as I teach it. Plus, you take a lesson from the DVD right in your own home. Without listening to your sound I can’t tell if your whistling is similar to my embouchure set-up.

J.C.



 
I had a phone lesson with you several years ago when I was living in Bangkok, Thailand. I am a flutist and student of Catherine LeGrand. I recently started working with a senior trumpet player at my high school, teaching him the spit buzz. . .he also had a lesson with Catherine and really sounds fabulous. We are going to do a recital together. Can you make any suggestions? Would Poulenc work? I'm looking for something that is just trumpet & piano. Thanks.

John Markert, Thailand

"Intrada" for trumpet solo by Arthur (Oscar ) Honegger, a Swiss composer, is great for trumpet and piano.

J.C.



 
Hi Jerry, Superchops 1 mouthpiece arrived at 4:30 PM. Just had time to caress her and get the heft and feel of her lines (stunningly sensuous)...and try a toot or two. Then, I had to head off to community band practice. Jumped right in with her, really comfortable. As I play 3rd and a lot of the time well below the staff, I thought the shallow cup might prove tricky..not so ! No major problem. I need a little work getting more pop when below "C" but I'm sure that will come. We were working on all new material for an April concert and I was so involved in sight reading I forgot I was playing on a new piece. How cool is that? Can't wait to get at her tomorrow and stretch her out a little bit. Nothing like a new piece to get the old juices flowing. I'll update you further when I get a little more mileage on 'er. Thanks for getting her off so promptly. Jerry, only a trumpet player could understand the urgency. Warm Regards,

Wm.McGrath (a.k.a. Billy King)



 
MR CALLET, I have just received CORNET SUPERCHOPS S1. I you in remercie. I plays with very good results. It is really a very great design with a perfect centering especially with the MSC position. Thank you very much for your work so right. Can you advise me for a mouthpiece approaching S1, but for the flugelhorn (Bach, Yamaha etc...)? ALL THE BEST

Patrick Geffroy Léa Fornaciari FRANCE

You could use a Bach 7 or a Yamaha #13 size flugel mouthpiece for your flugel horn.

J.C.



 
Received DVD; much more informative!! A quick question on your mouthpiece; are they applicable also to cornet? I'm a comeback player & the 2 mpc's I have are a VB 5C & a Dennis Wick RW 4B. From what I gain from your info the latter looks way off.
PS: I purchased a CD for Christmas by Russell Gray who is one of the leading cornet players in the brass band world in the UK. It is a recording of some of the solos from the Arban book played on Arban's cornet, which is kept by Courtois, and was loaned to Russell for the recordings. In the CD notes my eye was drawn to a comment by Russell. I quote:
"Over a period of 6 months my understanding of the instrument increased & I found that I had to use less air to produce the desired musical tone" I pass that on for whatever it is worth.

David Vamplew, UK

Russell Gray is correct, use less air. My mouthpiece will play on the cornet with less air and better intonation than any V. Bach mouthpiece. Please call me for more information.

J.C.



 
How can someone develop the superchops while keeping a gig? Can you maintain the normal embouchure while building the other and how long does that take? I play in a few high end GB and wedding bands and need to keep those so I can live. But, I really want a way to get that extra punch and upper register when needed on the occasional tune or when I get tired. Can you have both ways of playing and can you develop the spit buzz away from the trumpet or with a silent brass? Thanks for any info.

Stephen Furqueron

You can spit buzz without a trumpet. Many of my students play the most important jobs while changing. Phone me for more information.

J.C.



 
I ran across this, this morning. I am subbing on a job for the Montovani Orchestra later this year and wanted to know a little more about the music and musicians. I thought you might enjoy this recording. Thanks for everything as always!

Bob Riddle ( trombonist )

http://www.purtle.com/sound_template.php?qtURL=assets/sound/jeff/Swift1.mp3

Good luck on the new job! I have some recordings of Geoge Swift a great soloist. He also played shows and with dance bands. He used an old Rudy Muck shallow mouthpiece. When he heard the Beatles music he quit playing ( he thought “Music is finished!” ) and moved to Madrid, Spain to open up a dry cleaning plant. But he would go to the bull fights and blow the trumpet calls.

Jerry



 
Recently I ordered a Superchops 1 mpc from a guy on Trumpet Herald. Have heard through a few sources that it won't work well for a non-TCE player. Is that true, it's designed primarily for TCE/SC players?
How does the brightness of the SC1 compare with say a Schilke 13A4A or my Shew Lead. My Shew is almost too bright. I am a Reinhardt method advocate. Formerly Caruso with minimal benefits. Reinhardt has provided the most improvement and embouchure stability. Current range high G below DHC. Thanks for your help. I know this doesn't put any money in your pockets, but I have other players waiting anxiously to find out my results that may be purchasing.

Ken Sperry

SC1 mouthpiece works for everyone, not only TCE/MSC players. We have approximately 450 satisfied customers. In regard to brightness, please call me because the judgment will be different depending on players’ ears.

J.C.



 
Mouthpiece arrived safely today. Interesting first few blows!!!!!!!!!!!!!!!!!!!!!!!!!!!! My top lip sounded like a sail flapping in the wind on the pedals & got some booming notes above high C. I've had great difficulty establishing the tone but after 2 hours practice it's coming. My bottom jaw aches like it's never ached before. I'm sure the tongue aches as well but I have difficulty sensing this.
I have just one problem on the fit of the piece in the lead pipe. I have a cheap cornet & don't know whether the lead pipe has a large internal diameter. The mouthpiece is in the lead pipe to the shoulder & is still not seating properly. I've put some sticky tape around the joint (externally!!) & I'm playing away quite happily. Is it OK to machine a taper on the shoulder to get the fit or, although it doesn't look great, can I leave it with the tape until such time I get a decent cornet & then see what the fit is.

David Vamplew, UK

Yes, it is because of your cornet mouthpiece receiver. Keep doing what you are doing and wait until you get a good cornet.

– Jerry



 
My trumpet playing has improved heaps since my lessons. I am still somewhat inconsistent – but inconsistently better! I am focussing on hitting each note above g ontop of the staff without wandering up and down.
I can almost always hit high g. I could not make the ‘old toothless man’ embouchure work because it choked my throat too much which I think is my biggest problem. Have you seen any 30’s silver Conn 22b’s around?
I’m still keen to get one that you could do up for me. Hope all is well with you.

Ralph Chittleborough, Australia

I do not have any trumpet for you now. I will let you know when I find the right one. Feel free to call me when you need my help for your playing.

J.C.



 
When I grip the wedge and set out to play or spit-buzz, the wedge is showing between my lips at the sides of the center. The center only shows lip and I get a powerful tone with this setup. Is it OK?

Anders Ferry, Sweden

This is not a problem. Many great players show some tongue through the lips on the side of their mouths. Try not to place the tip of tongue behind the lower teeth. But, keep it on the lower lip.

J.C.

Sticking my "tip" on the inside/top of my lower lip, as you suggested in your previous mail, rather than behind the low teeth makes a GREAT difference for the better for me. Better focus, grip and sharper attacks.

- Anders



 
The following is a tribute to you, and all you have taught me:

I bought a new trumpet on Friday. It is an Eclipse. They are made in the UK and really wonderful. While I was at the factory testing out the different options, both the company owner (Leigh) and a local professional trumpet player (Noel Langley) were there to help me choose. After a period of me blowing up and down (up to high F and G above high C as well as low very powerful notes), both the owner Leigh and Noel stopped me and told me I had the most amazing sound. In fact, Leigh told me he had never heard anyone play like that in all his years as a trumpet manufacturer. Noel, the professional said he knew who I sounded like; Harry James !! Wow what a complement! I then told them that I use the Superchops embouchure and they were very interested to hear all about it. They did of course already know all about you. Being told I sound like Harry James was one of the proudest moments of my life, and it's all due to you. Thanks Jerome.

David Cole, UK



 
Is there feedback about the SUPERCHOPS 1 ?

450 players are now playing it (14 rejected it).

Is the SUPERCHOPS 1 a universal mouthpiece ?

Superchops 1 mouthpiece is being used in symphony orchestra, bigband, solos etc.

Is it a problem to change the mouthpieces in a gig ?

No problem. Please study our new DVD to get an idea.

Helmut Spitzbart, Austria



 
After spending some time playing the York trumpet I am very pleased with it and have put the payment in the mail which should arrive in two or three days. I am finding that the low range is harder for me with this trumpet, (below the staff A-G) but I'm sure that will improve over time as I get used to it and improve my MSC technique. Everything else about the horn is a big improvement: cleaner tone, short valve stroke which makes the fingers seem to be quicker, and better intonation all around. Thank you for your patience with me on the phone the other day when I was a little discouraged.

Tom Frey

When you perfect the new chops you will hear how beautiful the sound of this trumpet will be. Good luck and keep in touch.

J.C.



 
Will this mouthpiece help my range but keep the low notes strong? I am playing C trumpet and having a hard time finding a good mouthpiece for orchestral playing and hitting high notes. Thanks.

Tina Hutton

This perfectly balanced mouthpiece plays with ease in all ranges. At age 77 I play every day from double pedal F# to above double high C. Just last week, my friend, Herb Smith played third trumpet with the Rochester Philharmonic on the Brahms Academic Festival Overture using this mouthpiece. His low A’s were so strong that the first and second trombone complained that as his attack and tone covered them up. If you want to really improve your playing you then invest in my teaching DVD which shows how symphonic and jazz artist, and college professors are improving both their playing and also that of their students.

J.C.



 
Hello Mr. Callet - please can you help me ? I have a very big problem with my embouchure. I play about 2 hours daily. After a half hour my embouchure totally finishes. I begin daily with a warming- up program and I have the " Superchpos 1" mouthpiece and I follow your description - but I have continual problems - what shall I do ?? I hope you give me an idea.

Svend Erik Nielsen, Denmark

Please arrange a telephone lesson. I must hear your play to advise you correctly. When you practice as much as you do without good results you must change!
Do not worry about a language problem. I have been teaching many players in many countries via telephone. Let me know when is convenient for you.

J.C.



 
I just discovered your site. I will order your DVD soon. I have gone back and forth with the Superchops mouthpiece. I finally got the knack how to best use it. I am starting to get "Al Hirt" like playing. I am using less pressure and getting a little piece of my lip and tongue in the mouthpiece. It was an adjustment at first, but now it works for me. I also am using the deep cup you sold me a while back for church and Concert band playing. Hope you are well. Will can in the future.

Bill Miranda

Continued good luck to you. When you use the DVD it will be like taking a lesson every time you watch it. Results will be great the more you use the new mouthpiece. Remember don't overblow!

J.C.



 
Thank you again for the great lesson and insights! Your concepts and the DVD themes are fantastic, I´m working on everything, I feel it´s really fun and very effective. Would love to ask you for another meeting maybe in one/two weeks. School is keeping me quite busy with writing and preparations at this time. I´ll be in holidays again after 9th of May and stay in NY till mid of June. Would be happy if we could work also during this time period.

Christian Torkewitz, Germany ( sax & flute player and exchange student in The Manhattan School of Music)



 
I guess my tastes in music are omni-musical. There isn’t a style of music that I can’t get into. I can always find something in the music that I can latch on to. So doing a first CD, with only one style of music represented, would not represent me. All the music on this CD is me.

Herb Smith ( Third trumpet - Rochester Philharmonic Orchestra, Trumpet Instructor - Eastman School of Music )



Please visit www.herbtrumpet.com for purchase.
*Opening music of our website: “Trumpet.org” from his CD.

J.C.



 
I have your books, videos, etc. all the way back to Trumpet Yoga. My tongue is finally starting to work, I think. When it is working correctly, my lips are not the least bit tired after 3 hours of hard blowing in a big band. The dilemma is how to proceed into the upper register studies without straining and forming bad habits? My sound has improved and centered, the tongue works better when I do not think about it on the gig, it is staying in place. I had been working on the Tongue Controlled Embouchure for some time and finally became comfortable with the tongue over the teeth and resting slightly against the top of the bottom lip - very relaxed jaws and lips softly touching. But, how to go on up above high C is a question. It seems as though your exercises quickly jump. Oh, and I have experienced some accuracy problems in the mid and lower range and sometimes the tongue gets in the way. I don’t do free buzzing any more, and lips are finally relaxing. For pedal tones, use regular embouchure or different?

Dan Shaw

I can help you only when I hear on the phone your spit-buzz and your sound on the trumpet. Please call me and arrange the time when I can hear your play.

J.C.



 
Last we spoke, you asked me if I had any questions (which I didn't) and told me to call you back for a phone lesson when I had a stronger spit-buzz. I still don’t have a stronger spit-buzz, but I think I might have found what's been holding me up: the "lip line" or vertical point where the 2 lips meet - is it important for that to be near the cutting edges of the top teeth? I ask because I've found I've always initially set up with this lip line very far away from teeth, upper and lower. Does that weaken the embouchure?

Ray Berggren

Your lips should come inward against the tongue and teeth. For faster results you must phone me so I can tell you how to improve more.

J.C.



 
Jerome, you have done it again!!! This piece is the most comfortable mouthpiece I have ever played that is dark and warm but will sizzle in the upper register. I spent a little time on it late tonight. F's & G's no problem. Only thing is the backbore feels a little tight- G's want to fizzle out. I will also bring it to the Music store where other players can try. It feels like a 10S with the best rim possible!!!!! Talk soon.

David Perrico
Adjunct Faculty at University Nevada Las Vegas
Title: Conductor/Jazz Improvisation/Trumpet & Arranging


http://www.youtube.com/watch?v=v08dApaf2f0
http://www.youtube.com/watch?v=TEblhuq_jxE&feature=related
http://www.davidperrico.com



 
I just wanted to give you a heartfelt THANK YOU for the SC2 mouthpiece. If a mouthpiece can be a lifechanger, this is it. It's the most comfortable thing I've ever put on my face. It was a lifesaver this weekend. I'm not a guy that has a horn in my face for 8 hours a day--I'm happy to get in 45 minutes of solid practice time. Well, this Sunday I had a church job in the morning with my sacred jazz ensemble (lots of playing through a 1.5 hour service), went from there to a 2.5 hour dance band gig, and from there went to a 3 hour big band rehearsal. Whew! There is no way I would have survived that with my last mouthpiece, even with the TCE that Herb Smith has been teaching me. But even at the end of the rehearsal I was cranking out high Ds and Fs. Outrageous (for me, anyway)! So thanks again for all that you do for the trumpet community.

Jim Farrington



 
In the middle of March, Otto Spindler ( Dusseldorf, Germany), a trumpet player and one of my long time best friends sent us the invitation for his seventieth birthday celebration. I have a lot of unforgettable nice memories related to my career there. We almost immediately decided to accept his invitation. Meanwhile, we contacted Csaba Kelemen ( Associate Principal Trumpet, The Dresden Philharmonic Orchestra) to ask if we could visit Dresden to meet him. He has been a proponent of Jerome Callet’s Superchops embouchure method. His answer was “yes” and he generously invited us “Berlioz Requiem” performed by Berlin Philharmonic (May 15th & 16th). This magnificent music composes a full orchestra, a massive chorus, one tenor plus 16 trumpets and 16 trombones located above on 4 balconies. Csaba was selected one of 16 trumpeters. We were extremely lucky to have such an opportunity.

After celebrating Otto’s birthday on May 18th in Dusseldorf, he arranged a chance for me to teach some fine musicians at his home for 2 days. Thank you very much to Otto, Csaba and their member of families!
Jerome and Yumiko Callet
 
 Dresden

 
Kunsthofpassage, Dresden   With Csaba Kelemen at the entrance of Dresdner Philharmonie
Lessons and discussion with Csaba Kelemen at his studio


 Berlin

 
In front of Philharmonia, Berlin   Martin Kretzer, long time trumpet performer Berliner
Philharmoniker showing his rare collection of the famous
Heckel Trumpets of Dresden


Roman Rindberger (center), Mnozil Brass also joined the
Trumpet section of “Berlioz Requiem”


 Dusseldorf

 
Jerry’s 34 years of friend Otto Spindler.
At his 70th birthday party.
  Andrew Joy, First and Solo French horn player
at WDR Symphony Orchestra Cologne


Mini clinic at Otto’s house (from left) Otto Spindler, Andrew Joy
Jerry, Mariusz Lis (trombonist, Hannover)




 
I hope you had a safe and comfortable trip home.
Thanks a million for the lesson in Dusseldorf, also calling me and then giving so generously of your time, knowledge and experience. Our session has super charged my motivation and practice. The DVDs are a wonderful support. Mac Gollehon's playing thrilled me with its ease and great, great depth of expression. It is extremely rare to hear a brass player play so openly, easily and effortlessly from his heart. Thrilling for me and a great inspiration.

Andrew Joy, Germany
First & solo French horn player at WDR Symphony Orchestra Cologne




 
Thanks again for calling me and giving me your time and guidance. This is quite an experience. After thirty years of trying to figure out how tuckwell produced some of his inspiring playing, I now feel that I am hard on his heels. It is actually a mind bending experience to suddenly be able to PREDICTABLY PRODUCE the challenging licks and passages from our solo repertoire with grace and ease. Especially at my tender age of 56. I am now playing up to the G above high C with ease and a pretty and light as well as full and strong sound. My young students have also all had major break throughs.
I struggled in my practice room and on stage for decades with sections of the Britten Serenade. I went on stage for performances wondering how they would turn out. That is now a thing of the past. The predictability and reliability that I am now experiencing is both humbling and deeply gratifying.

Andrew Joy, Germany