Callet at the workshops

German trumpet players Olaf Waldeck and Otto Spindler hosted the workshops on Jerome Callet's Tongue-Controlled Embouchure in Düsseldorf and Altenberge, Germany, in September 2003. Approximately fifty students attended from all over Germany, as well as other countries throughout Europe. Most of the students who attended the Düsseldorf workshop had taken lessons with Jerome Callet 25 years ago.  They had a great time: it was like a reunion!

 Jerome Callet, the author of Trumpet Yoga (1971) and Superchops (1987), has just published a new book called Trumpet Secrets Vol. 1 - T he Secrets of the Tongue-Controlled Embouchure - Playing without Straining. Through text and illustrations, this book explains how to use the tongue to increase the intra-oral compression of air necessary for optimal lip vibrations in brass playing.  In the past, many players have testified to having improved their range, sound and technique by following Jerome Callet's instructions. The book has been translated into German by Edward H. Tarr/Friedemann Immer, and into French by Niranjan Wijewickrema.

Edward H. Tarr says: "As a practicing trumpeter and trumpet historian, I am particularly fascinated by Jerome Callet's Tongue-Controlled Embouchure. This particular method of tone production might be a surprise to many who have been trained in the Classical idiom and have been taught to keep their tongue behind their teeth. But in fact Callet's method is identical with that used by French players of cor de chasse who produce special rip-like ornaments going into the highest registers, with no physical effort whatsoever".

Friedemann Immer says: "All trumpeters who have learned to play the trumpet with the tongue behind their teeth should hear Bahb Civiletti (natural trumpet player, co-author of Trumpet Secrets Vol. 1) play the modern and baroque trumpets with this method. His embouchure seems to not know tiredness, and his upper register, after hours of playing, is still clear, bright, strong and absolutely secure."

Peter Masseurs adds: "Even if someone already uses this system, this book is still refreshing. It brings inspiration, as well as new ideas to develop new disciplines. It is a must for every trumpet player to take notice of the contents of this book. There are so many methods written about playing the trumpet, but to my knowledge, the SECRETS have never been told like this."

Jerome Callet emphasized to those attending that as long as one uses the tongue and air correctly, every note will vibrate fully, and produce brilliance, clarity of tone, and accurate pitch. "To use your tongue as a good tool, you must strengthen your tongue muscle to work correctly.  Start with spit-buzzing. This is the most important part of executing my method. Place the tip of your tongue between your teeth, with the upper teeth touching the top of the tongue approximately one inch back from the tip. Pretend to spit a piece of hair off this part of your tongue. Start getting control of the lower register by spit-buzzing scales and arpeggios. The corners of your lips/mouth must be completely relaxed in all registers. Your throat and teeth must be very open to allow the tongue to be brought forward and thickened. When you ascend through the registers, squeeze your lips against your thickened and pushed-forward tongue while you blow without straining. Do not allow your tongue to recede from your lips".

Callet has now reached the age of 73, and is enjoying his trumpet playing more than ever. He plays up to six hours daily, and commands a register well above double high C. It has been over 40 years since he started a lifetime of research analyzing the physical elements necessary to develop a super power embouchure. In his new book, he categorizes his evolved ideas in "5 Secrets of Playing" with beautiful, informative illustrations and easily understandable text.

Before coming to Germany, Callet already had e-mail correspondence with some of the workshop participants regarding the Tongue-Controlled Embouchure. Several students even brought printed copies from Callet's website to clear up their questions: also, some were familiar with Callet's trumpets and mouthpieces.

At the end of the workshops, Callet encouraged all participants to contact him by e-mail or phone if they had further questions or needed his help. After returning to New York, he continued to check some students' progress on the phone by listening to their playing.

Websites:
Super Chops
Callet