Ongakunotomosha The Trinity "Trumpet" Consultation Room / Three professional musicians guide you to your own unique answer. [Scheduled for release in late October 2026 ☆ Pre-orders now being accepted!!]

The Trinity "Trumpet" Consultation Room: Three professional musicians guide you to your own unique answer.

Written by Tomoyuki Hasegawa, Aki Matsuki, and Takashi Shinozaki

Size/Number of pages/A5/136 pages Publication date/October 2026
ISBN code: 9784276145719
Product Code / 145710


What makes this book unique and unlike other books on the subject is that three principal trumpet players from professional orchestras simultaneously offer advice on a variety of trumpet-related issues.
Depending on the nature of the consultation, the three may offer different perspectives or similar advice, but readers can find the answer that best suits them—the right answer for them—from among the diverse range of responses.
Furthermore, by introducing various approaches to solving problems, this content aims to broaden the perspectives of amateur musicians who tend to be short-sighted.


●Table of Contents

First, author profile

Chapter 1: Questions about musical instruments
Question 1: What should I be careful about when trying out and buying a new trumpet at a music store?
Question 2: Please tell me how professionals select instruments. Are selected instruments really good instruments?
Question 3: What should I be careful about when buying a used musical instrument?
Question 4: I heard that it's good to run milk through the tubes of a new instrument.
They also say, "It's better to do a break-in spray." Are these true?
Question 5: How often do you clean the inside of the pipes? Is it okay to clean them right before an actual event?
Question 6: Is a mouthpiece with a larger inner diameter better? What are the advantages and disadvantages?
Question 7: My mouthpiece has become discolored. Will this affect the tone?
Question 8: Is it best to insert the mouthpiece into the instrument in the same direction every time?
Question 9: I'm looking for a double (or triple) case. Can you recommend one?
Question 10: If the first player uses a C trumpet, should the second and third players also use the same C trumpet?
Question 11: When choosing between a C-pipe and a B-pipe, what criteria should I use?
Also, do you change your mindset when you switch instruments?
Question 12: When playing the rotary trumpet, should I change to a special mouthpiece?
Do I need to change my blowing technique?

Chapter 2: Advice on Techniques and Playing Methods
Question 13: Regarding how to sit in a chair, the teacher said, "Don't use the backrest, but sit on the halfway point of the seat."
They say, "Sit with your back straight," but how do professionals sit?
Question 14: When setting the mouthpiece on my lips, is it better to put it on starting with the upper lip?
Question 15: Are there people who are suited or unsuited to this based on factors such as lip thickness or teeth alignment?
Question 16: When taking a bracelet, do I always need to take a full breath?
Question 17: Are breathing techniques necessary? Or are they unnecessary if you can control your breath?
Question 18: I have trouble playing notes above G in tuning B. How can I broaden my range?
Question 19: How long is a warm-up necessary? What are the thoughts of professional musicians?
Question 20: Do professional musicians cool down after a demanding performance?
Question 21: Is practicing pedal tones necessary? What is the purpose of that practice?
Question 22: I can't do lip trills. Please tell me the purpose and methods of practicing them.
Question 23: When I use tonguing in the lower register, the sound becomes blurry. Could you give me some advice?
Question 24: My tongue gets tangled when I play scales quickly using double tonguing. What are some ways to practice this?
Question 25: How can I play each note evenly using triple tonguing?
Question 26: Please explain the difference between using double and triple tonguing.
Question 27: My tonguing and fingering aren't synchronized. What should I do?
Question 28: My lips got tired during rehearsal. How can I get through the actual performance in this condition?
Question 29: I want to improve the durability of my lips. What kind of exercises should I do to achieve that?
Question 30: My lips are acting up, and it's becoming difficult to produce sound. How can I get out of this slump?
Question 31: When I play at fortissimo (ff), I've been told that "the sound seems to spread out horizontally." What could be the reason for this?
Question 32: When I crescendo, the pitch goes up. How can I fix this?
Question 33: At ff (fortissimo), the sound distorts and double buzzes. How can I prevent this?
Question 34: My notes waver when playing in the low register at pp (piano), so I'd like to know a technique to play them stably.
Question 35: When playing a diminuendo in a high note, for example, in Mahler's Symphony No. 2 "Resurrection"
How do you play the high C in measures 185-187 of the fifth movement?
Question 36: In measure 268 of the first movement of Mahler's Symphony No. 2 "Resurrection," there is an espressivo marking.
Yes, I do. What kind of mindset should I have when I play?
Question 37: The Spanish Dance from Act 2 of Tchaikovsky's ballet music "The Nutcracker"
In the solo, I can't get the slur from E-flat to high B. It's difficult...

Chapter 3 Other questions and advice regarding performances 38: Is there a meal I can eat to give me energy before a performance? Is it better not to eat too much before a performance?
Question 39: Please recommend some valve oils and maintenance products.
Question 40: Do professional musicians take care of their lips? What lip balms or other products do they use?
Question 41: What do professional musicians keep in their instrument cases?
Question 42: How many straight mutes do you own? How do you use them differently?
Question 43: To what extent do you check the score of the piece you will be performing?
Question 44: When I'm performing solo, my heart races and I get nervous. What can I do to cope?
Question 45: Are there any orchestral works that are particularly challenging to perform, even for professional musicians?
Question 46: When I'm working with orchestral scores, I can manage if it's in C, but when it's in F or D, I get completely lost. How should I deal with this? I also want to improve my sight-reading skills.
Question 47: Please tell us about any incidents that occurred during your performance.
Question 48: What kind of instruction books do professional musicians use for individual practice? What instruction books do you recommend?
Question 49: Please recommend some solo pieces that are easy for intermediate amateur players to learn.
Question 50: Can you recommend some pieces that sound good for an intermediate-level brass ensemble?
Question 51: What are some things I should be mindful of as a matter of courtesy when attending lessons?
Question 52: Do you pay attention to dental care, which is important for wind instrument players?
Consultation 53: I'm 60 years old and I'm afraid that age-related decline will eventually prevent me from playing my musical instrument.
How can I extend my career as a musician?
Question 54: Please tell us about your pride and dedication as a professional musician.
Question 55: Please give a message to all trumpet lovers.

Editor's Afterword




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