I just had a great lesson with Barbara Butler this Saturday and learned a lot. I don't think she will be too offended if I share some of the great things I learned. Here are some notes that I took:

She does not understand why we spend so much time comparing ourselves with others when we could be using that time to improve ourselves
Cannot lift yourself up by putting others down
She has a “board” (board of success) with 50+ former students who won good-great jobs
“There is no secret level” meaning there is no higher level that is attainable only by some. This is what the guys on the board knew. They were exposed to that “shock” level of playing every day of school so auditions did not phase them.
Every trumpet player has a 1 – 20
1 – Strongest facet of trumpet playing
20 – weakest facet of trumpet playing
The top professionals have this too, but their 20s are so close to their 1s that the lay person cannot tell a difference. Me, I have a 1-20, but because I spend most of my time focused on the 1-10, my 20 is much lower than my 1.
My playing was too “closed in.” What she meant by that was that I wasn't letting the sound go. She said “you have to first hear your sound after it bounces off the back wall.” Also, think that there is a turtle on the ground, and that it is moving. Your sound has to catch the turtle and continue moving with it and not come back (not sure if turtle is the best analogy, I think maybe a train would be better!)
Hakan Hardenberger gave a masterclass at Northwestern:
3 top “star” students (all have big-time jobs now) played for him and he said they didn't have enough resonance in their sounds
he said most people play notes “Ball”, but he plays notes “bALL”
When you get shaky lower notes, you need to exhale all of your air and take in a new breath
Intonation issues on some descending notes in the Honegger (Ab)
Air doesn't play rhythm. She had me put my hand on her belly and feel how she exhaled. The air never stopped moving no matter the rhythm or volume of the notes
Rubato means to “steal time,” and my rubato was “illogical” in Charlier #2
When you take time away, you can give it back elsewhere
PL (Phrase Line) – 90% of our notes are leading notes. Where are the arrival notes and where is the final note?
How can we show leading? By rushing the rhythm? Maybe, but not in orchestral playing. Crescendos:
Can show leading by speeding up the vibrato at the end of a note
Way too much ritardando at the end of Beethoven Leonore 3, should only ritard maybe the last note or two
Beginning of Leonore 3 needs to be much more in tempo
having a good high register and playing piccolo are not the same, but are associated with each other
first things you need to practice on every day are the things you are not good at
you can intersperse these things in a regular practice routine; for example, Stamp 1 with extensions to high notes and peddles
Need to be able to play in the peddle register as if it were the same as any other register; not a fake register
No difference between a player who has lots of talent and one who has worked hard. If they can do the same things, no one will think anything about it. They are =