Brandon presents a comprehensive flexibility training course for all levels, beginning with pitch bends and simple slurs, progressing through articulation exercises and more extreme patterns, and culminating with advanced concepts in flexibility. Scores and exercises are taken from his personal teaching collection, as he demonstrates dozens of exercises in all seven valve positions.

Brandon begins by defining flexibility as not just the ability to perform lip slurs, but being able to bend notes. Here, Brandon presents simple bending exercises that he starts his day with, and gradually transitions to some simple flexibility exercises. Always remain within a range that allows you to play comfortably, and take the speed gradually faster.

Some of the most important music for the trumpet comes from the early twentieth century, as composers experimented with the exciting potential of the trumpet within new forms and tonal systems. Brandon Ridenour discusses some of the highlights of this era: Hindemith's Sonata, the Arutiunian Concerto, as well as selections from two of the most impoartant etude collections for trumpet.

If you struggle with the upper register, it may be due to closing off your aperture. Brandon discusses practicing the upper register via flexibility, navigating very wide interval leaps, and how to troubleshoot issues.

Patterns in music are often angular and don't match the neat up-and-down motion of the flexibility exercises we usually play. Brandon shares a variety of exercises from Laurie Frink's Flexus book which challenge even the experienced lip slur aficionado!

Who said scales aren't fun? In this course, Brandon dives into a universe of scale, arpeggio, and pattern practice, providing exercises taken from his own teaching studio. Tracing a progression from basic up-and-down scales to advanced Herbert Clarke variations and pentatonic patterns, years of practice lie within these lessons!

In his first of three courses on Style, Brandon Ridenour teaches two monumental pieces from the Baroque and Classical periods – the Tartini Concerto in D Major originally for violin, and Hummel's famous concerto for trumpet. He discusses style, articulation, how to practice important moments, and provides a detailed overview of note shapes at the end of the course.

The trumpet is capable of playing a truly vast range of styles. In his third Style course, Brandon works on jazz and contemporary stylings – from Rhapsody in Blue to Louis Armstrong, to his arrangement of Debussy, through one of his own etudes.

Much of the piccolo trumpet repertoire has been stolen from violinists and oboists, but it is nevertheless musically rich and endlessly fulfilling! Brandon discusses some trademarks of Baroque trumpet playing, how to taper notes, and how to be sure you're singing in the second movement, despite working with such a small instrument.

Brandon discusses the context in which this piece was written, and how that might inform the way we play it. Going through the work's key sections, he shares insight into vibrato, pacing, interpreting chromaticism, and more.

Hummel wrote one of two Classical concerti for the trumpet, and while it continues to grace concert stages around the world, there are inherent challenges in playing in the Classical style. Brandon explores each movement, focusing on how to develop the appropriate style for this legendary concerto.

The often misspelled (and mispronounced) Arutiunian Concerto was written in 1949-1950, yet exemplifies the Romantic style better than almost anything written for trumpet. Brandon shares insight into the cadenzas, the main theme, slow section, the muted passages, and more.

Brandon teaches the three Style etudes from Charlier's legendary etude collection.

One of the most celebrated American orchestral compositions, Rhapsody in Blue has become a fixture in the contemporary trumpet repertoire. Brandon discusses the jazz-inspired inflections in this piece, how to work with a harmon mute, and more, along with Peter Dugan, veteran of tonebase piano.

You could call the Bitsch etudes the more angular cousins to Charlier's. Brandon discusses the first six, how to practice for interval accuracy, and what type of articulation is most appropriate.

Brandon's arrangement of Debussy's Reverie evokes the sound world of Miles Davis: rich, velvety harmon-muted sounds above a shimmering backdrop of modal harmony. Brandon discusses how to create that trademarked harmon mute sound, as well as how to get started with modal improvising.

Often regarded as one of Louis Armstrong's most innovative solos, "Wild Man Blues" is a breathtaking technical and musical accomplishment. Brandon goes under the surface of Armstrong's sound and style, exploring articulation, rhythm, vibrato, time feel, and much more.

Brandon's fifth Transcendental etude is all about lyrical leaps. He prescribes some Bai Lin exercises to help you get comfortable slurring wide intervals, and goes on to discuss his musical approach to this piece.

The trumpet is capable of playing a truly vast range of styles. In his massive course on Style, Brandon Ridenour teaches some of the greatest hits (Hummel, Arutiunian, Rhapsody in Blue, Tartini) and more, tracing an arc from the Baroque era through present day. What are the fundamentals that allow us to play music convincingly in a wide variety of styles? More importantly, how do we convey the right musical message when we play?