Trombone Mastery Without Tension or Stress
Increasing your range on trombone has never been easier!

If you’re a trombone player and you want to master your instrument, increase your range, have a beautiful, singing sound, and play with confidence in any register…then I have some great news for you.

You have found a source, at last, where you can get the results you want on trombone.

And more important, how you can do that with ease and comfort!

Most trombone players, even as far back as the cave dweller, struggle to achieve mastery over their high range. There are experts who all have the answers to this age old problem and their solutions and strategies are valid. Just different than what you will learn in the Trombone Mastery Without Tension or Stress program.

Hi Everyone, I’m John Nepper, known by many as “Brassman” and the owner of Brassman Studios.

The good news is, for most of my clients, the adjustments to your trombone playing, that improve your high range, tone quality, and confidence are small, easy to implement changes that make a difference right away.

Look, if you can only hit a Bb or a C above the staff once and a while, it’s a fluke. A really cool fluke, but a fluke nonetheless.

Now, if it happens again, you may find yourself getting excited. I know I did.

And of course, if it happens a little more often, you want it to keep happening. Right?

So the question is, how can you hit that exciting high range consistently; knowing exactly how you did it and having confidence that you can hit it again and again and again. Easy.

Not so easy. It if were easy we’d all be playing high F’s, people would be asking for our digits at parties, and want selfies with us to show to their friends. You know, to show them how cool we really are!

When I first started going for those notes way above the staff, I felt frustrated because they just weren’t coming out, or coming out as consistently as I wanted them to. Not only was it frustrating, it was embarrassing at those times when the note wouldn’t come, or worse yet, it splattered all over the stage, and the players in front of me.

It seemed like everyone in the audience heard it, and judged both the missed note, and me, as a mistake. ‘

I stopped looking at my range and my success or failure in getting those notes in the upper register as something to be feared, and only obtainable through luck or an extreme amount of pressure and pain.

“I’m not making a big deal out of that note. You shouldn’t either.”

I remember a turning point in the quest for high range and the fear that sometimes accompanied those “dreaded” notes. It happened at a recital at Michigan State University where Peter Damm, principal hornist with the Dresden Symphony was playing. Near the end of the recital he went for a note and missed. As he continued to play, he simply shrugged his shoulders and raised his eyebrows as if to say, “I’m not making a big deal out of that note. You shouldn’t either.”

That was in 1980. Clearly, it made an impact on how I think about range on brass instruments in general, and specifically on trombone.

Just imagine…

How much more confidence you would feel in the upper register if you could do this?

What would be the impact if you were able to increase your range by 2 notes, 5 notes, 10 notes?

Let’s face it; there are a lot of areas of your trombone playing that need your attention.

I found that focusing my attention on releasing or relieving tension was the most surefire way to make those notes a part of my quest for trombone mastery  without working any harder.

I don’t know about you, but those kind of results make me REALLY HAPPY!

I imagine by now you’re wondering, “Who is this person, John Nepper and how does he know so much about trombone mastery and high range?”

My story begins about the same way any brass player’s does, note by note, go a little higher, go a little lower. Sound familiar? There are some players out there who jumped in the high range right away and never had any problems or any worries about getting those notes.

And then there’s the rest of us.

I increased my range in high school and thought I was doing pretty well. Bb’s came easier and easier…

And then, they didn’t.

I went through an embouchure change in college that nearly ended my trombone playing.

Fortunately, I kept hearing my mother’s voice in my ear, in my head, in my sleep. “Once you start something, you must finish it. No quitting.”

“Mom, I started playing trombone when I was 10. I think I’ve given a pretty good shot, don’t you?”

The moral of the story is that I didn’t quit.

I wish I could tell you that I immediately gained mastery over my high range and lived happily ever after.

However, being a student in the game of life, I have gained a lot of wisdom about playing trombone from some wonderful mentors, and experiences in the music world, as well as participating in experiences that are directly related to skill mastery in any area.

“I don’t want others to struggle to gain mastery over all things trombone in the ways that I struggled.”

Can you relate?

I believe a large percentage of us feel that way and yet so many people I work with allow that struggle (and fear) to hinder their ability to be successful at playing trombone without tension or stress.

love to see people:

-Experience success in their trombone playing, no matter what level they are at.

-Take action to improve their playing.

-Feel the pure joy of making music on trombone.

-Commit to something they desire and have passion for.

What’s inside Trombone Mastery Without Tension or Stress?

Step by Step video breakdown so you can see it in action
Video Lesson 1

What do a hula hoop, a Chinese finger trap, and a carabiner clip have to do with trombone mastery? In all three of the above examples, the harder you try to make them work, the less success you experience. In order to play with mastery on trombone without tension or stress, we need to understand what that stress is, where it comes from, and how to reduce or eliminate it.

Video Lesson 2

There are two keys to the kingdom of trombone playing. You will be given these two vital, crucial, extremely important, keys to that kingdom in this video.

Video Lesson 3

There is only one embouchre. There is only one embouchre. There is only one embouchre! If you are thinking you have to have one embourchre for low range, another for mid range and still another for high range, STOP! This video lesson will show you how to get the notes you crave on trombone without adjusting your embouchre, head, chin, shoulders, knees and toes.

Video Lesson 4

A grapefruit, the Himelech Manuever, squeezing your cheeks, and other tension-creating techniques that are actually keeping you from getting the notes you want on trombone. In this video you will learn the role of breathing in trombone playing, stress reduction, tension release…and life. “The answer to all life’s problems…and to playing masterfully on the trombone is directly related to your breathing, and airspeed.

Video Lesson 5

The third key to the kingdom of trombone mastery is revealed in this video lesson…and it’s not what you think. In this video you will learn the extreme importance of correct articulation, the right vowel/consonant combinations to use to increase both your high and low ranges, and the one vowel/consonant combination to never use in trombone playing.

Video Lesson 6

Speed comes slowly. So does mastery, excellence, and adding notes to your range on trombone. The notes will come through persistence, patience, and practice. In this video you will learn to practice patience in the persuit of excellence.

This program is for you if:
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You can only get the high notes once in a while, but more consistence and the knowledge to create it.

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You can only get the high notes in the first five minutes of practice, but want the knowledge to create lasting endurance in your practice and performance.

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You are tired of feeling embarassed every time you crack a higher note.

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If you are ready to take your trombone playing to a "higher" level.

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If you have the drive and the passion to be a better trombonist but just need some specific guideance.

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If you are a trombone player!

This program is no joke. You’ll increase your high range and play with more confidence in a very short amount of time.

You can work hard, or you can work easy. There is always a choice. The trick is to learn how to make the hard and diligent work of being a successful musician, easy…without tension or stress.

I keep cracking notes in my upper range. Will Trombone Mastery Without Tension or Stress teach me how to fix that?
This is one of the cornerstones of Trombone Mastery Without Tension or Stress. In this video series you have very clear answers to address and “fix” the problems related to cracking notes in the upper register.
I was taught that I needed a low range embourchre, a middle range embouchre, and especially a high range embouchre. Is this true?
Switching embouchres for different ranges is actually what causes more tension and stress in your trombone playing. In Trombone Mastery Without Tension or Stress you will learn how to use one embouchre for all ranges. You only need one.
Do I need to know how to read music in order to take this course?
You do not need to be able to read music in order to achieve success in this course. You can get all of the information you need from the video lessons. However, reading standard music notation will take you to higher levels of mastery on trombone and open up more possibilities for you as a player. The supplemental resources are written in standard notation. Without being able to read the music, you will need to work a little harder with the information in the videos to benefit from this course if you don’t read music.
What if I don't achieve the results promised in the Trombone Mastery Without Tension or Stress™ video course?
Individual results may vary based on how much time and energy is spent in individual practice and adherence to the principles being taught in the Trombone Mastery Without Tension or Stress™ video course. Please see our money back guarauntee if you are truly dissatisfied with the program.
Will these techniques and strategies work for any wind instrument?
While there are some variations in technique and specifics about embourchre, etc. many of these techniques can be applied across the wind instrument spectrum.
QUESTION/OBJECTION
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