An interview with John... Here are some excerpts from an interview following one of John's clinics. He was asked about sound, range, endurance and quality playing in general... AR: What do you think makes a good trumpet player? JB: Let me talk about what makes a "great" player. I like to think beyond "good." I urge my students to do the same. "Great" is the better goal. It's not unrealistic. AR: Hmm! Not just "good" but "great!" An ambitious approach, but why not? So, I must ask, what objectives and methods do you cite to encourage a player to become "great?" JB: Your implication is valid, of course (smile). Not everyone can be "great." But I ask my students to reach for the gold ring because many who do find that, as a minimum, they can achieve well beyond their highest expectations. But you asked specifically about objectives! In simplest terms, the great player is just that because he or she understands musicality and has the embouchure strength, flexibility, and endurance to execute whatever style or interpretation is called for in the circumstances. A lengthy monograph, maybe even a book, could be devoted to either subject. But let me mention one or two things about embouchure only, because it is the key. The embouchure has been a major issue with many of my students. It's the subject most discussed by students and has been the principal focus in most of my clinics. The emphasis as far as embouchure is concerned is on flexibility, strength, and endurance. They are the secret to extended range, sound quality, and convincing dynamics. It's all in controlling the embouchure. You can't go high just by forcing more air through the mouthpiece. To the contrary, the size of the aperture formed by the lips, and the ability to control that aperture, is the only way a player can consistently reach a double high C, or above. And, this is important! When you achieve a measure of true embouchure control, a good if not superb sound and the ability to play from triple pianissimo to triple forte naturally follow. AR: The theory, the concepts as you explain them are certainly understandable. But how does a player train to accomplish all this? JB: Not complicated at all. Rather simple, actually. Start with mouthpiece "buzzing." Get a clean and strong buzz on just the mouthpiece. Then add the horn. At this point the player should get a strong and clear tone. This simple exercise, which is covered by most lip flexibility books, will result in virtually an immediate improvement in a player's sound and range. Moreover, his or her endurance will be improved and playing will be natural. Like walking or riding a bicycle. Second nature sort of thing. I spend a lot of my time with students on mouthpiece practice and flexibility studies. I've written a series of additional exercises that work really well for increasing flexibility throughout the whole range of the trumpet. This kind of practice has enormous payoff. It may seem simple, and in a sense that's true. But it is the starting point and foundation for so many things, For that reason I give it considerable emphasis. AR: Any parting thoughts you'd like to leave, John. JB: Let me simply re-cap the major points I've just covered. Playing should be natural. It should never be labored. Embouchure flexibility is the key to good sound, extended range, wide dynamics, and great endurance. Flexibility starts with mouthpiece buzzing and is enhanced by exercises linked specifically to this technique. The great players have mastered these physical skills. But they also understand musicality. Strive to reach both these goals. AR: Thanks much, John. You've certainly caused me to think more about basics. You've surely convinced me that the fundamentals, and the way you approach them, will produce amazing results. I genuinely appreciate your taking the time to talk about these important things.