It has been 6 years since I have been practicing Jerome Callet’s
Master Superchops Embouchure. In that 6 year span of time I have
noticed considerable progress and improvement in clarity, precision,
and speed of my attack. This is a vitally important basic rudimental
function necessary for all aspects of brass playing, be it Jazz,
Classical or Studio work.
Jerome’s teaching technique applies to all formats and instruments
of the brass family. I am now able to perform within a single
engagement on trumpet, valve trombone, euphonium and tuba
switching from one to another instantly. I do this on live shows as
well as recordings. There is usually a void in knowledge of correct
attack and articulation. This tends to lead to other bad habits
and detrimental to playing progress.
Jerome’s Master Superchops Embouchure can provide the solution to
the problems a player encounters. It sets a path of progress for the
rest of their playing careers.
Jazz trumpet soloist, band leader & composer, New York City
When I first met Jerry I was skeptical because I had heard about all
the crazy playing techniques he has had in the past, but upon talking
to him I couldn't dismiss the logic behind what he said. Good trumpet
playing is not magic or only reserved for the gifted ones, it is a
certain amount of air going through a tube at a certain speed. That
is the same for all trumpet players. Jerry has turned my trumpet playing
upside down or rather right side up! With the Master Superchops
Embouchure, I am using less air, and less mouthpiece pressure, while
playing with more power, having more endurance, being more articulate
and playing high notes all the way up to double high C.
There is no reason why a trumpeter can't play lead with a big band, a
sonata with a piano and third trumpet in an orchestra all in the same
week, all on the same mouthpiece. The Master Superchops
Embouchure allows me to do just that.
I am so thankful to Jerry for all the help that he has given me. I am
now playing with the range, versatility, ease, and sound that I have
always wanted. I challenge anyone to really, with an open mind, give
his method a try and not see the results.
Herbert T. Smith
Third Trumpet Rochester Philharmonic Orchestra
Trumpet Instructor Eastman Community Music School
I was quite annoyed when I first read about Jerome Callet’s
“ Trumpet Secrets “ book. I was on the way back from New York to
Frankfurt sitting in the airplane reading the ITG Journal ( I had just
finished the US concert tour with my orchestra). The point was:
I had problems with my chops ( especially with range and endurance )
and I missed meeting Mr. Callet while I was in New York.
Being back in Germany – first thing – I bought the book and started
practicing the Tongue-Controlled Embouchure. After a few days the
benefits were apparent, but I needed some more help, so I set up a
lesson with Mr. Callet and flew to NY again. This turned to be the best
decision I had ever made!
I have found that Mr. Callet has enormous knowledge of how the
embouchure works. That was about two years ago and my progress has
been fairly remarkable since then. My range, endurance and ease of
playing have improved so much after I started having lessons with him.
Now at 39 years of age I am playing stronger than any time in my life
and my confidence is soaring. For the first time in my career I have a
real feeling of consistency.
Being a fantastic teacher, and also a nice person, I am still in touch
with Mr. Callet via mail, email and telephone, so that I can benefit from
his innovative mind and useful hints.
For making my “ re-birth on the trumpet” possible I cannot express my
gratitude enough to him.
Associate Principal Trumpet
The Dresden Philharmonic Orchestra, Germany
My First Lesson with Jerome Callet was a real eye opener.
Upon applying the basic TCE principles, I was suddenly able to play
the same challenging passages with much less effort and strain.
Under Mr. Callet’s tutelage, I have grown to embrace clearer
articulation, a more brilliant tone, and greater endurance, all with less
effort! This approach has made it easier for me to warm up faster as
well! Because of this, my practice sessions are more productive, and I
am able to work on more challenging music. The TCE principles
have been the basis for a new warm up that I designed, which
encourages students to develop consistent, clear articulation and build
other techniques and skills, such as slurs and sustained playing,
while maintaining the same setup from the clear articulations.
Students have been successful using this warm up. With the TCE
approach, I am confident that I will be able to play more effectively and
efficiently as long as I desire.
James T. Decker
Assistant Professor of Trombone, Texas Tech University
Former Principal Trombonist, Honolulu Symphony
Jerome Callet’s teaching clearly addresses an issue that is of
interest to all windplayers, particularly flutists and brass players
who create their embouchures without the presence of a
mouthpiece or reed inside of the oral cavity – how to generate air
velocity and compression through the interaction of the tongue with
the lips. I was led to Jerome’s book through my contact with brass
players, notably Jim Decker, a wonderful trombonist. The concept
explained in the book parallels in many ways my own thinking about
how some of my favorite flute sounds, particularly those of great
French flutists of the past, were produced, with many important
and innovative differences. Mr. Callet has obviously spent a great
deal of time thinking about the effect of tongue use on such common
wind playing infirmities as lack of endurance, range, tonal beauty,
overblowing, muddy articulation, etc., and has come up with his own
very refreshing terminology to explain the specifics of his ideas.
I have found the book very useful in my own playing and teaching,
and recommend his method to both brass players and flutists.
Flutist/teacher: Mannes College of Music, New York University,
Aaron Copland School, City Graduate Center