Hey there Oscar, welcome to WindWorks and thanks for your email. I don’t put the valve fingerings under the notes as I want people to learn them from memory asap. Here is a fingering chart:

As far as tunes go, there are so many millions of beginner tune books already out there, we focus on getting you playing super easily so when you play your fave tunes, you are developing wisely. I hope that makes sense.

Best Wishes and happy playing,
Greg

Welcome Osacar
You have come to the right place
Wish I had known about this when I started
would have saved yers of slow progress.
Enjoy It
go slowly and get the basics working then the higher notes are as easy as the lower ones
Greg is brilliant !

Be a slow student and keep on going back to the fundamentals.
Greg is a “Legend”. He knows how it will work for you.
I am an advanced trumpet player and learned A lot and still Learning.

Greatings,
Ron

I started to learn trumpet 3 years ago but I was unable to do clean A, B and High C. Just before I gave up I took the lessons of Greg. The singing C series helped me to rebuild the way I play. I think I am almost there. Initially my lips were tie and the sound was dirty when I tried shape change. But after practicing for a few months I am able to focus on natural exhale and the lips vibration as instructed. I could play from C to High C softly now. It takes time. The result is wonderful.

The instruction of Greg is wonderful.

Hi Greg. I hope I’m doing this right but am still getting used to your site – and think I may have made a mistake in an earlier communication. My name is Digby Fairweather; I’ve been a progfessional jazz trumpeter for 50 years (I’m 75) but was introduced to your course by a fellow player Paul Higgs who has used lockdown to complete your course. It looks wonderful and I’m making a start. I also am a dystonia sufferer for the past four years (it crept up on me but got a lot worse even in the practice room!) but I’m working hard to cope with it – which, in the past, has (unfortunately) involved having a drink to dull those neurological ‘can’t do this!’ prompts. For thepast week I’ve begun absorbing (and trying out) process-practice (from the ground up – includimng mouthpiece to lead pipe to horn which gives me a strong pedal tone – excellent!) but am currently still in the midst of gigs which means that I have to divert from process-practise to the old ways. Would I be right in adopting your fifteen minutes a day for process-practice and (beyond your inspiring video) do you have any further tips for a dystonia sufferer? I’d be happy to show you what I can – and can’t – do if I could book a ten-minutesession sometime.

I found an interesting drill yesterday. I played the mouthpiece from the other size like a mini trumpet, i.e. put the shaft inside the mouth. It did not make any sound initially. But when I reduced the amount of air exhaled, it whispered at a soft C note. It seems to be a way to practice passive reduction. That means very little air is required to play note C. It also imitated the opening required to allow free throw of air. I don’t know whether it is a good way or a wrong way to find the shape. Hope I could receive some feedback on this finding.