I did not attend....I got this off the oTHer site and thought it had some valuable info and thoughts. NOTES FROM CHARLES LAZARUS MASTER CLASS Donâ€™t make playing complex â€“ break it down to the simplest common denominators. Know exactly what you want to sound like. Listen as you play. Ask yourself, â€œHow did it sound?â€ â€¦ not â€œHow did it feel?â€ or â€œWas it technically correct?â€ Technique is the ability to play one note and have it sound the way you want it to sound. What character/style am I trying to project? The trumpet is a megaphone for what youâ€™re thinking! There are only 12 notes. There are only two rhythms (2 and 3). Everything is built on these basics. Breath: we take deep breaths to relax. The quality of our air determines the quality of our sound. Warm-up: start in the middle register. Many people start too low (second line G), which is really part of the lower register. He starts on third space C so that the first note of his day is in the middle register. When heâ€™s not touring, heâ€™ll push his total range â€¦ but work to the extremes in warm-up, do just go straight to your personal limits. Donâ€™t play super-high/super-loud first thing! Maurice Andre advice: â€œNever force.â€ Balanced practicing â€“ â€œcover everything I have to doâ€ Balance practice effort based on performance demands â€¦ donâ€™t over-practice on days youâ€™ll be performing! Daily, hit contrasts: connection of registers; scales vs. intervals; soft vs. loud; slurred vs. tongued; flexibilities For him, 2 hours/day is the â€œperfect amountâ€ of practice. Keys to effective practice: focus; have a plan; have specific goals; do several sessions a day â€“ 15 minutes is good for starters. Herseth said he never played for more than 30 minutes continuously. He â€œreinvents himselfâ€ every two years â€¦ revisit all fundamentals from the ground up. Mouthpiece buzzing â€“ itâ€™s a good exercise, but donâ€™t do too much. Benefits: ear training (like singing), centering pitch, good to keep focus. He does maybe 1 minute/day. His experience is that too much mouthpiece buzzing makes him tight. To be able to do anything, you have to believe you can do it. To play well, you have to know exactly how you want to sound! â€œWhat do you do when youâ€™re tired and you have to play anyway?â€ Focus on rhythm and stay in the framework of the music. Use lots of air, donâ€™t slip in to shallow breathing (stress response). â€œWhere do you tongue?â€ Fairly far forward, but the exact position really depends on the geometry of oneâ€™s mouth. Then again, oneâ€™s perception of where one tongues is not necessarily accurate. The most important factor: know what you want the articulation to sound like! Approach all styles by listening. Playing jazz keeps him loose, playing classical keeps him focused on the ensemble and on blend. The approaches feed each other. There are three threads that connect people to music: melody, rhythmic groove, and harmonic structure. Focus on these!