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TRUMPET LESSONS
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Greg Spence takes you step-by-step through every stage of your trumpet playing development — from building a solid foundation to mastering advanced techniques.
This proven method helps you extend your range, create a richer and more resonant sound, and make playing feel easier and more natural.
By combining efficient playing principles with a clear, structured process, you’ll learn faster, play with confidence, and experience real breakthroughs in your trumpet performance.
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Dear Brass Players, If you’ve iever felt like playing the trumpet is harder than it should be… you’re in the right place.
After years of wasted practise time then decades of teaching and performing around the world, I’ve discovered that great brass playing isn’t about working harder — it’s about working smarter.
My 10-Step Tune-Up and the WindWorks Trumpet Academy are designed to help you play easier, freer, and with more confidence and consistency than ever before.
Thousands of players around the world have already experienced those “ah-ha!” moments — and I can’t wait for you to have yours too.
So grab your horn, jump into the free 7-Day Test Drive, and let’s make your breakthrough happen.
It’s time to discover just how easy playing the trumpet can really be!
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Here's what you get when you enrol today:
1. PREPARATION & DIAGNOSTICS
The concept of “stillness” refers to a state of physical relaxation and mental calm that allows for effortless, efficient trumpet playing.
Physically, it means removing unnecessary tension so the body stays relaxed while air moves freely — “stillness of body, movement of air.”
Mentally, it’s about quieting the mind, letting go of control, and trusting the process so the body can play naturally.
This balance of calm focus and free airflow leads to better sound, range, endurance, and consistency — the foundation of the 10-Step Tune-Up and WindWorks approach.
2. BREATHE EASY
When Greg Spence says “energise the lungs,” he’s talking about activating the breath in a natural, efficient way — not by forcing or pushing air, but by allowing the lungs to fill and release energy freely.
Here’s the essence of what he means, simply put:
Energising doesn’t mean blowing harder — it means creating life and movement in the breath while keeping the body relaxed.
You use inhalation energy (a deep, open, relaxed breath) and release energy (allowing the air to flow naturally) rather than muscular effort.
The lungs act like a balloon or bellows — you energise them by filling them efficiently and letting the air move, not by straining to push it out.
This is part of Greg’s “Body’s Concert Hall” concept — where the body becomes an open, resonant space that supports the sound effortlessly.
In short, “energise the lungs” means breathe with vitality and flow — not force — so the air moves freely and naturally powers the sound.
3. PLAY AS EASY AS HUMMING
Is Greg Spence being serious when he says, “Brass playing is no harder than humming?”
Yes — Greg Spence is absolutely serious when he says “brass playing is no harder than humming.”
What he means isn’t that trumpet playing is easy from the start, but that the physical process of creating sound should feel as natural and effortless as humming when done correctly.
Here’s the deeper meaning behind it:
Humming can feel effortless. When you hum, the sound happens freely — you’re not forcing air or tightening muscles. Greg uses that same sensation as a model for brass playing: free vibration, no strain.
The instrument amplifies vibration — it doesn’t need force. Most players overblow or tense up, believing power equals volume or range. Greg’s method shows that when you align the body, air, and resonance, the horn does the work — just like how your body amplifies a hum.
It’s about mindset. The statement challenges traditional beliefs that trumpet playing must be physically hard. Greg wants players to let go of struggle and rediscover ease — that efficient playing feels simple, even when producing advanced results.
So yes — he’s serious. It’s a teaching philosophy and psychological reset, reminding players that the trumpet should feel as relaxed, resonant, and easy as humming when played efficiently.
4. EMBOUCHURE MYTHS
Greg Spence’s approach to creating and developing an embouchure is widely regarded as revolutionary, especially within the brass community.
Here’s why:
1. He Flips Traditional Teaching on Its Head
Most traditional trumpet instruction focuses on formation — how to “set” the lips, tighten corners, or buzz into a mouthpiece.
Greg does the opposite: he teaches players to remove tension and let the lips respond naturally to air energy and vibration rather than trying to make them vibrate.
Instead of “blowing” or “pressing,” his method is built on balance, awareness, and release — allowing resonance to happen, not forcing it.
2. He Redefines What the Embouchure Is
In Greg’s view, the embouchure isn’t a “shape” to copy — it’s a dynamic balance system between air, vibration, and aperture response.
in 4 simple steps, he encourages players to:
Observe what the mouth naturally does when preparing to play
Let the aperture (lip opening) form itself through efficiency, not muscular manipulation
Use the WindWorks “Body’s Concert Hall” concept to align breath, body, and awareness
This shifts focus from control to coordination and sensation — a subtle but game-changing difference.
3. It’s Rooted in Science and Psychology
Greg integrates anatomy, acoustics, and motor learning psychology — helping players understand why bad habits form and how to reprogram them.
This approach has helped countless musicians recover from conditions like Musician’s Focal Dystonia and embouchure collapse, where traditional “tighten and blow” methods fail.
4. The Results Speak for Themselves
Many professional brass players, educators, and comeback players describe Greg’s system as life-changing.
It’s not just a new embouchure method — it’s a complete rethinking of how sound is produced on brass instruments, grounded in efficiency, awareness, and freedom rather than effort.
In short:
Greg Spence’s embouchure approach is revolutionary because it replaces decades of tension-based teaching with a scientifically informed, body-aware, and psychologically freeing system — one that makes brass playing feel natural, sustainable, and joyful again.
5. ARTICULATION SECRETS
Greg Spence’s 5 Ways for Articulation is a simple yet powerful system that helps brass players understand how to start notes cleanly, efficiently, and without tension.
Each “way” demonstrates a different balance between air and tongue, helping players discover what creates the best sound with the least effort. By exploring all five, players learn:
How to start notes without force or distortion
How the tongue interacts naturally with airflow
How to achieve clarity, consistency, and control across all registers
Ultimately, the 5 Ways for Articulation helps players develop efficient, effortless articulation that supports resonance and freedom — not resistance — in their playing.
6. DISCOVER YOUR AIRSTREAM
For Greg Spence, airstream and air direction are absolutely central to efficient brass playing because they control how freely and accurately the lips vibrate — which directly shapes sound, tone, and ease of playing.
Here’s why they’re so important in his method:
1. Air Is the “Fuel” of Sound
Greg teaches that sound is created by air energy interacting with the lips, not by force or muscular effort.
A consistent, steady airstream allows the lips to vibrate naturally and keeps the tone resonant and centered. If the air is uneven, the sound becomes unstable or strained.
2. Aperture Corners Determine Pitch and Efficiency
Instead of thinking about blowing hard to change notes, Greg focuses on how the air is directed through the aperture.
By subtly changing the aperture horizintally, players can move through registers smoothly and effortlessly — no pinching, squeezing, or overblowing needed.
This is especially crucial in the high register, where traditional “blow harder” methods cause tension and fatigue.
3. It Builds Awareness and Consistency
Greg encourages players to feel and observe the flow of air rather than control it.
This awareness helps eliminate unconscious tension, allowing players to:
Maintain tone quality at all dynamics
Play longer with less effort
Transition between notes and registers with precision
In Short
Airstream and aperture function are at the heart of Greg Spence’s teaching because they connect breath, body, and sound in the most efficient way possible.
When the air flows freely and is directed correctly, the horn resonates — and playing feels as easy as humming.
7. PREPARING TO PLAY
Greg Spence’s “V for Visualiser” drill is one of his signature WindWorks exercises designed to help players see, feel, and understand how air flow and aperture shape affect sound production — without tension or the instrument getting in the way.
Here’s a breakdown:
What It Is
The “V for Visualiser” uses the fingers to play the role of the mouthpiece rim that allows you to experience the feeling of efficiency required while practicing.
To develop efficient playing, the brain needs to experience the desired feeling so using the fingers, (or a visualiser) is a powerful learning drill.
What It Teaches
The drill helps players:
Understand the true aperture shape — it’s not tight or forced but a natural, relaxed opening.
Develop awareness without pressure — since there’s no mouthpiece or trumpet, there’s no temptation to squeeze, buzz, or overblow.
Greg often says, “If it doesn’t work freely here, it won’t work on the horn.”
The Visualiser gives immediate feedback on tension, air flow, and embouchure balance — long before the horn is involved.
Why It’s So Effective
The V for Visualiser drill connects the concepts of:
Stillness (no unnecessary movement)
Energised air
Natural aperture response
Effortless sound creation
It helps players replace years of forced habits with awareness and freedom, forming the foundation for efficient, tension-free brass playing.
In short:
The V for Visualiser drill teaches players to form a natural aperture, building the foundation for effortless sound production — it’s the bridge between understanding the body and making the trumpet resonate easily.
8. MOUTHPIECE MYTHS
Greg Spence often talks about “mouthpiece myths” — common but misleading beliefs about trumpet and brass playing that cause players to overthink, overblow, and create tension. His goal is to help players understand what actually matters for sound and efficiency, and let go of outdated or misunderstood ideas.
Here are the main mouthpiece myths he challenges:
1. “You have to buzz your lips or mouthpiece to play well.”
Greg completely rejects this idea.
He explains that buzzing promotes tension, not resonance — because buzzing forces the lips together unnaturally.
In real playing, the lips should respond freely to air energy and vibration inside the mouthpiece, not create the sound themselves.
“We don’t buzz to make the trumpet work — we let the trumpet work for us.”
2. “A smaller mouthpiece gives you more range.”
Many players think tighter or shallower mouthpieces help them play higher. Greg explains that while a smaller mouthpiece might give an extra note or two, it makes playing the higher range more efficient noting that there can be substantial changes in tone.
He emphasises that range comes from efficiency, not equipment — and that the right setup should feel comfortable, not restrictive.
3. “You can fix your playing with a new mouthpiece.”
Greg calls this “mouthpiece hopping.” Players keep changing gear hoping it will solve endurance, tone, or range issues — but the real issue is usually inefficient playing habits.
He teaches that no mouthpiece can compensate for tension or poor technique — fix the body, not the hardware.
4. “The mouthpiece needs pressure to seal and produce sound.”
Greg shows that pressing too hard against the lips stops vibration and causes fatigue.
Instead, the air column and natural lip response create the seal — gentle contact, not pressure, is what works.
In Short
Greg Spence’s “mouthpiece myths” expose the false belief that sound and range come from equipment or force.
His teaching flips that thinking: it’s not about the mouthpiece — it’s about balance, air, and awareness.
When the body works efficiently, any decent mouthpiece works beautifully.
9. LEADPIPE MAGIC
Greg Spence prefers playing the leadpipe rather than just the mouthpiece because it gives players a far more accurate and useful sensation of what efficient trumpet playing actually feels like.
Here’s why:
1. The Leadpipe Creates Realistic Resistance
Play only the mouthpiece causes players to overblow and tense up to make a sound.
The leadpipe, on the other hand, provides the same natural resistance you feel when playing the full trumpet — but without valves, notes or expectation to distract you.
This lets players focus on the feeling of pure airflow, resonance, and freedom.
2. It Teaches the “Release, Don’t Blow” Principle
On the leadpipe, you can’t force the sound — if you do, it instantly feels wrong.
Instead, Greg teaches players to release air naturally and let the vibration occur with minimal effort.
This builds the sensation of free flow — what Greg calls “energised air through a still body.”
3. It Reinforces Efficient Embouchure Response
The leadpipe amplifies feedback from the lips — if the aperture is too tight or the air direction is off, it won’t resonate properly.
Players learn to find the most efficient combination of air energy, and aperture balance by feeling when the leadpipe “sings.”
That resonance becomes the physical reference for what efficiency truly feels like.
4. It Bridges the Gap Between the Visualiser and the Trumpet
Greg’s progression often goes:
Visualiser → Moutpiece → Leadpipe → Trumpet.
The Visualiser shows how the air and aperture work.
The Mouthpiece has a feeling of resistance
The Leadpipe lets you feel it in action with real resistance.
The Trumpet completes the process by adding musical context.
This step-by-step path ensures the player brings ease and awareness into their playing instead of reverting to tension.
In Short
Greg Spence prefers the leadpipe because it’s the perfect training tool for learning how efficiency feels — it provides the right resistance, rewards relaxed air flow, and trains the body to play freely and resonantly.
As Greg often says:
“If you can make the leadpipe sing easily, the trumpet will play itself.”
10. AN INSTRUMENTAL CHANGE
The 10-Step Tune-Up is such an instrumental change because they completely transform how a player experiences sound production.
Rather than trying to control the trumpet with muscle and effort, Greg’s method retrains players to let the body, breath, and instrument work together naturally.
Here’s why that’s so powerful:
1. It Replaces Force with Efficiency
Traditional methods often teach players to “blow harder,” “tighten up,” or “support more air.”
Greg flips that thinking — he shows that great playing comes from removing tension, not adding effort.
When you feel how little is actually needed to make the horn resonate, playing becomes easier, more consistent, and far more enjoyable.
2. It Builds Awareness and Body Connection
Each step — from the Visualiser to the Leadpipe — helps players see, feel, and hear what efficient playing really is.
That awareness becomes the foundation for every improvement: better tone, control, range, endurance, and freedom.
Instead of guessing, players start to understand exactly what their body is doing.
3. It Retrains the Brain — Not Just the Lips
Greg’s approach taps into motor learning psychology — helping players rewire old habits by using mindful, step-by-step exercises.
This is why it’s been so effective for players recovering from Focal Dystonia, embouchure collapse, or years of plateauing under tension-based methods.
It’s not a “quick fix” — it’s a true reprogramming of how the brain and body coordinate sound.
4. It Unlocks Freedom, Confidence, and Consistency
When players stop fighting the horn, they rediscover the joy of music.
Notes speak easily, tone opens up, and endurance skyrockets — not from strength, but from balance and release.
As Greg often says:
“When you stop doing what’s wrong, what’s right happens automatically.”
In Short
These steps are revolutionary because they restore the natural, effortless mechanics of playing that most players lose through years of forced technique.
They shift trumpet playing from a physical struggle into a psychological and physiological balance — making it feel as easy as humming, yet more powerful, controlled, and expressive than ever.
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WANT SOME PROOF?
Rex Richardson: International Trumpet Soloist
“The physiology of brass playing has been shrouded in myth and misconception for decades, leading to pedagogical practices that are at best useless, and at worst quite damaging. Trumpet virtuoso and myth-buster Greg Spence has sorted us out, setting forth a method that defuses the madness. At once brilliant and stunningly simple, Mystery to Mastery is essential material for the global community of brass players.”
REVOLUTIONARY
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A NEW, EASIER WAY TO PLAY
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The world’s best players turn to Greg Spence for help.
Now he is sharing his secrets in 10 game-changing steps.
Are you frustrated and struggling with:
• Inconsistent playing or
• Range and Endurance Issues or
• Technical Limitations or
• Performance Anxiety?
World-renowned brass educator Greg Spence is considered the best in the business when it comes to solving brass playing issues.
Greg’s revolutionary 10-Step mechanics Tune-Up is based on 35 years of real-life experience.
Why practise alone? Watch Greg’s videos, follow his examples, and you will immediately feel the difference.
Get all of the information FREE for 7 days. PLAY NOW – PAY LATER, no obligation and hassle-free cancellation.
YOU DON’T EVEN NEED YOUR INSTRUMENT TO START RIGHT NOW!
The secret to overcoming your playing problems is NOT picking up your instrument, but rather understanding what is breaking down.
Discover why Greg’s approach is saving playing lives and how it is the opposite of what brass players have been taught for years.
No one else is teaching this powerful approach, which is why so few reach the top level.
Allen Vizzutti: Trumpet Legend
“Mystery to Mastery” by Greg Spence, is a wonderful addition to the trumpet player and trumpet teacher’s literature. It is concise and logical. All teachers’ will welcome such an organized and functional program. I HIGHLY RECOMMEND IT!”
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May 26-30 (2026) Rochester, USA – Presenter @ ITG 50th Anniversary – Eastman School of Music NY
James Morrison: Jazz Multi-instrumentalist Megastar
“Trumpeters finally have a guide that makes sense. Greg Spence has managed to take what can sometimes be a complicated process (playing the trumpet) and explain how it’s done in a way that will definitely get results. Anyone at any level will benefit from this no-nonsense approach that really does go Step-by-Step all the way to MASTERY!”
DID THE BRASS WORLD GET IT WRONG?
Almost everyone ignores the FEELING of playing and focus purely on sound.
THE BRAIN LEARNS BY THE FEELING!
Discover the feeling of efficient playing and watch your playing skyrocket.
“It’s the opposite to how I played for 20 years.”
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There is global confusion about the role of the body, how brass instruments work and how to learn effectively.
Discover the truth behind:
• Acoustics/Physics
• Physiology
• Neurology
and experience the best sounding, easiest notes you have EVER played.
You Won’t Believe How Powerful This Learning Technique Is…
PRO - LIFE CHANGING LESSON
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F#*k you’re a genius!”
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A WHOLE NEW WORLD
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RECOMMENDED IT
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I WAS SCEPTICAL
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THIS IS TOO EASY
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THE KNACK
“I’m now doing that E just effortlessly, to me its just beautiful.”
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