After a long layoff from using TCE, I’ve been using your new TCE Power Training book as part of my daily routine for two weeks, now. My focus has been on the Introductory Einsetzen/Ansetzen exercises and the first three Power Drills. I have strictly followed your instructions while practicing all exercises and drills. I love how the Einsetzen/Ansetzen exercises so naturally set up the TCE. So far, I’ve noticed a marked improvement in the focus, clarity and pitch of my sound, particularly in articulated passages. Thankfully, I have already received some compliments on the “fullness” and “compact” nature of my sound. In addition, my endurance has also improved significantly due to the application of the forward tongue and the corresponding reduction of mouthpiece pressure. I can play through one or, sometimes, two page exercises or songs without removing the mouthpiece from my embouchure. My top notes seem easier to play, as well. Finally, the historical section is a very interesting read and is a great introduction to the whole method.
I have the following questions for you. Is the book intended to be progressive, or do you recommend that students work through each of the sections in parallel? So far, I have only focused on the spit buzz articulation. When do you have students incorporate all five articulations?
I’ve copied my trumpet friend/colleague Harvey Samuels on this review. I know that he has recently received this book, as well, and I look forward to future discussions with you both on this topic!
Many thanks,
Scott Diamond



Thanks, Bahb,

Too tempting to pass up! I’ll order one when I get home this Sunday.

I asked the wrong question, I think. I should have asked if you practice or perform on the ventless trumpet or if you advocate its use. I seem to remember your name on a panel of adjudicators at a trumpet competition a ways back, and one section of the contest required “no holes employed.” The reason I ask is I was thinking of taking up the nat as a hobby– that is, no pressure to switch to modern and back again (I’m no pro, but a lowly high school bio teacher). I’ve looked into it to the extent that I understand the technical differences, but style, no. Articulation inegal is one point of confusion– there are others, rest assured.

That being said, I certainly feel a skype lesson could benefit me, perhaps when I’m off this summer.

Thanks for the review,






Enjoyed our hang and would love to just drive out and play duets whenever you’d like.

My funny Bloomington story:  playing quartets on Friday.  All the “grad students” were lining up to play first.  This was after my second lesson with you and I was enjoying the benefits of what TCE was starting to do for me.  I also enjoy watching these hot dogs struggle through one quartet, rub their lips and hand it off to me.  I ended up playing first on everything and had plenty to spare.  Then they were scratching their heads.

“How did you do that?”, they asked.

After thinking about it, I remembered that you said I was to say simply, “I’m practicing”.  Do I did.  Ha ha ha.

They wouldn’t have believed it anyway.

Ill email Monday with a proposal.

Tom Siebenhuhner





I am interested in your new book “TCE Power Training”. How can I get it? I am working hard on TCE using the materials that I received from you below. So far so good. I can really see the advantages of TCE, but have a lot of work to do. I am three months now using only TCE and I don’t think that I could go back to my old embouchure again. I played a 3 hour dance gig last night and I sounded good.


Jack Grandman

H Bahb,
I’ve been using a personal version of TCE since the early 2000s, with 60-years of amateur trumpeting in total. (Regional symphonies, big band, funk/rock, church and brass bands). A non-practitioner of TCE “showed” it to me one day and I was off and running, with immediate improvement in range and endurance. I still needed a lot of extra energy above high-C, but I had range up to double-C, when I playing a lot, and reliable C, D and E when I’d been off the horn for a couple of weeks. This was a substantial improvement for me, even though my instruction was limited mainly to “try it, you’ll like it”, with no specifics from anyone that had actually done it.
I had an TCE-epiphany a few months back, when warming up, I was up at high-C and started a slow trill by merely changing, very slightly, the position of my tongue in the orifice that it created by my tongue’s placement against my bottom lip and the top lip. Both lips and tongue form this orifice, but I’d been wrongly pressing against the bottom lip with the tongue and pushing upward with the bottom lip to go up in range. This resulted in more pressure and muscular effort. I still got tired, just not as tired as before my adoption of my interpretation of TCE. Adjusting the orifice, on the other hand, required almost no additional energy, with G being reliable and easy and double-C an everyday kind of thing, that I did in warm up, whether I would use it in play or not. Notes just fly out of my piccolo, almost effortlessly.
Anyway, I was pleased on the very first day that I tried TCE and thrilled now that I’ve learned to do it with even less energy expended. I thought that you’d like to know that even a somewhat botched attempt at TCE was still a success. Of course, the tone is as rich and full, as it ever was. Thanks to you and Mr. Callet for bringing this back to the trumpet world.
Now, to the new book. I’m interested in a copy. How do I get it?
Best regards,
David Stephens
Colorado, USA

Happy, blessed and prosperous  New Year to you as well!

The new TCE3 mouthpiece got  a few weeks ago  is awesome. It plays great.
Do you  make any Flugelhorn mouthpieces?

David P

Thank You, Robert
Yes, stories and jokes are made to be told and told again, turning among us, sweetening the existence of human beeings; so, why not in Your website ?
Ok, I will contact Mr Egger for the baroque mouthpiece question.
“Â bientôt”!



(Did You know that my Orchestra plays mainly in the “Théâtre des Champs Elysées”, that for convenience we name “TCE” !!!)

Should I ask You what mouthpiece You play on baroque trumpet ? I should buy one, because some of my students wants to play on those instruments, so I must work on it a little bit, but I don’t understand very well the Egger or Naumann lists and specifications. And reading about a mouthpiece’s qualities or measurements or playing on it is not the same !

Sincerely Your, Raphaël DECHOUX



Hello Mr Civiletti

My name is Raphaël DECHOUX, I am principal cornet/3rd trumpet in the Orchestre National de France, and trumpet teacher. Today, I have ordered an paid (via paypal) 4 items on Your online store:

- the TCE training manual (42$ + 19$)

- “trumpet secrets”, secrets of the TCE (67$ + 19$)

- the “monster chops” dynamic resistance device (52$ + 15$)

- “monster chops” 14oz rubber bands (8$ + 2$)


Dear Bahb, thanks for your help, inspiration and advice to my students.

Leon Petre, still trumpet player and teacher.

Retired principal trumpeter of the National Orchestra of Belgium.


Hi Bahb,

Thanks for sending your mouthpiece.  As you know we trumpet players buy and buy mouth pieces.  We want an edge. We want to play those crazy high notes.  I’m know different. I have played on Warburton, Schilke, Bobby Shew, Marcinkiewicz and within the last year Jerome Callet’s.  I was not satisfied with Jerome Callet’s ven though it as a double cup like the Parduba I could not center the notes above the staff.  I would always wonder would I hit that  b-flat or would I miss?  So after a year with reluctance I decided to try your mouthpiece.  Bahb I have to tell you when I received the little box I was both excited and nervous.  The first night I played at home. I was able to play pedal tones up to a D above double C.  I though this is interesting.  Lets see how it does in a 2 hour rehearsal.  I was absolutely tickled.  My articulation was spot on. Playing pianissimo was easy and clear.  Slurring through a phrase up and back down was smooth.  I pulled my tuning valve in because I wasn’t playing sharp. I played louder than I had before and therefore was able to back off, so at the end of the night my chops were still fresh. For the first time in a long time I found I was enjoying playing.  I wasn’t having to work at playing each note. The lead trombone player looked over and saw it was me playing and not the lead.  Wow! That’s saying something.  I like this mouthpiece and I am going to keep it and sell my others.  Thank you Bahb for a great mouthpiece.

Charles Miller in Washington State.


Dear BAhb …I am quite interested in this method    I think as a kid I actually started playing this way but my music teacher made me stop and had me put butter on my lips to retrain my embouchure.  In any case here is my address  It should have been on Paypal    but oh well    …thank you for you time ,you are certainly a gift from the angels..

Michael B.

Hi Bahb!

Thanks for the very helpful and informative replies to my questions. I’m really loving the exercises in your TCE training manual and the DVD is a big help in letting me know what sound to emulate. Thanks again for everything!


Hey Bahb!

I got my order. Thanks again for signing my book and DVD. Both were well done and really helped me with my TCE playing. Just wondering if the top and bottom lip are completely even or if you use any slight lower lip tuck behind the upper lip or other lip overlap, etc.? Also, does the top lip stay neutral or do you roll it in or out slightly, etc? With TCE, I find that I have great endurance at normal volumes when playing in orchestras and small brass ensembles, but when I play very loud and high for extended periods, my aperture tends to still open up for extra volume and I end up overblowing with alot of pressure which kills my endurance. Do I just need to work on strengthening my tongue and air compression or are there any other tips for extended loud playing in the upper register (I play part time in an alumni drum and bugle corps which requires extended loud and high outdoor playing)? Thanks again and wishing you continued success!


Hi Ron:
I will answer your question as best as possible.


  1. Q- Just wondering if the top and bottom lip are completely even or if you use any slight lower lip tuck behind the upper lip or other lip overlap, etc.?
  2. A- Ron everyone is different. Just keep in mind that you must keep the tip of your tongue anchored to the top of your lower lip. Where the lips tuck will be personal to you. It is the sound that is most important! If it sounds right it is right, if it sounds wrong it is wrong.
  3. Q- Also, does the top lip stay neutral or do you roll it in or out slightly, etc?
  4. A- I can only say that I do roll my bottom lip towards the face of my bottom teeth. I stonglly suggest that you do not get overly analytical.
  5. Q-  but when I play very loud and high for extended periods, my aperture tends to still open up for extra volume and I end up overblowing with alot of pressure which kills my endurance. Do I just need to work on strengthening my tongue and air compression?

A- Compression is the key to volume control. Playing loud is a matter of air speed. The faster the air the louder the sound. You need to work on your compression. Try to think of playing inside of yourself. Especially when playing out side. I hope these answers are helpful to you. All the best, Bahb!

Thanks Bahb,
This is easy now.  Staccatissimo with the forward tongue.  Definitely feeling lip and trying for the “pop” in the attack – like a stopper in a bottle.  Amazing how the correct tone follows the correct attack!!
Gu helps me feels the the forward position and multiple tonguing is much more clearly enunciated.
So, the next question would be, how do I perform the legato for devolving back into. Duah, duah, duah?  To my ear, even if I connect the pitches, the tongue stroke is too heavy.

Tom S.



Hey Bahb, I wanted to give you an update on my switch to TCE. I have noted in the short time, (2 1/2 months) that it is certainly progressing my playing faster than any other method I Have tried. I play for my wife's vocal group (Jubalheirs) and from the first concert in January  to the second concert just 3 weeks later, I already am having more endurance and myrange is holding up well. Still working on the range aspect and not using so much air. Ordered the TCE3 mouthpiece today and look forward to seeing what does with my sound as well. Thanks again for the TCE method, it is certainly producing results in my playing, and I look forward to being able to play these concerts with endurance and power to play any chart to the fullest. Andrew D.

Hi Bahb well I can't seem to get a break to call you. What would be the best time to call Bahb.
All is good with the TCE. I am now feeling very comfortable with the setting and tongue never disconnects. A blessing indeed.
I am using your TCE3 with much success and easy.
Low notes are a problem in the mornings, but once I warm up and do the double pedal notes it opens up full and rich sounding notes.
Just loving it right now. Thank you so much for all your help. Manny C.



Dear Mr. Civiletti, Congratulations on all your wonderful work! Your extraordinary, heavenly sound is that to which I aspire. Please ship today if convenient. I will look forward to receiving very much. Thank you. Don Bill


Hi Bahb,
Just wanted to let you that I received “Trumpet Secrets” yesterday…..looks great! Thank you so much for sharing your wisdom and experience.

Take care,
Gary Thomas

I just wanted to say thank you for all you’ve contributed to my professional development in playing as of late. I am comitted to mastering the TCE method. Never have I been so passionate about learning a particular trumpet method. I have always been in love with playing baroque music. To that end, I know that this method will take me there. I wanted to express to you my goals, because it bodes well for both of us to know what my goals are. I look forward to our continued lessons and I thank you for everything you are doing for me.

Take care.
God Bless.
Mark Weakley

Hallo Bahb!

First of all I have to say thank you for your lesson in Ochsenhausen. I reflect a lot about your ideas of trumpet playing, and it acts! The only problem is that I have 2 wonderful children and I want to be a good Daddy, so I have not as much time for practicing as I would like…

I´m still a bit concerned about the sound of your TCE 2 mouthpiece, I thought it is to bright. But everybody hearing me playing says it is good! Even if I record myself it sounds bright — but good!

So can you send me an pay-pal-request for both your mouthpiece and the “Trumpet Secrets” book of Jerry and you? I still don´t exactly know how it works….

When I´m practicing I look for:

  • a pure and centered sound
  • no duah articulation
  • not playing too loud, but pp
  • an anchord tip of the tongue at the bottom lip

I have started to apply some of the five tongues to my playing. It is all working very well.


Hi Bahb

I really enjoy this new CD of yours. It really helps me to see your level of playing with TCE. As I told you at my lesson. My absolute favorite music is classical from the Baroque period. Here at my hotel I have Vivaldi, 4 seasons, and Bach, Conserto De Brandemburgo 1,2 and 3. Yes, I bought this double CD in Paris last summer for 3.50 Euro. But this recording of yours is outstanding. Since I put the CD in my player, I have not changed it to another one. I just enjoy it that much. Not only do I hear how skillful you are, but I also hear something that most people will never be able to duplicate: “THE ART OF YOUR PLAYING!” All I can say is wow! I am so exciting studying with you that I share with my wife about you and of course I played this CD with her. When I showed her the picture of your trumpet she asked me where are the valves and how does he flutter notes like that. I told her that it doesn’t have valves. She was shocked. I told her people would think that his lips makes these beautiful, kind of like ornament flutters, but it is the tongue. She said that it is very impressive. I am proud of you Bahb. Nice job on this CD. May you sell many CD’s. You and your companions deserve it! I also looked at the booklet and I can’t believe that you did this in Belgium. The funny thing is that I am here in Brussels as I am writing this to you. And of course I brought my trumpet. I practiced for 3 and 1/2 hours both Einsetzen/ansetzen excercises and the 5 articulations as well as few other excercises. It is really difficult to practise with my old bundy and a pratice mute, but I still get a lot out of it. I really want to advanced with TCE. It’s in my blood and always on my mind. I know my major problem is that I still have in my head what I think how the trumpet is played verses how really it is played. Sounds funny, but I see that I really have to break these bad patterns of thinking with the trumpet. Even though I know the correct way to play, my old self keeps on resurfacing – mainly the air issue; too much air as you even mentioned to me at the last lesson. In any case, I really desire to achieve a professional level. I enjoy taking lessons with you. You really demonsrate an understanding of my experience level. Also I can see you enjoy teaching; these skills are essential for quality instruction. Again, nice job on the new CD, I know you and your companions worked hard to put this together. I will see you December 22nd at 1PM. Say hi to your wife. Take care.

Hope you’re well and thanks so much!


Hi Bahb

Just to briefly update you – back from a rehearsing a whole range of opera extracts including some demanding trumpet parts – went very well for me – solid, confident attacks and clearer articulation than I’ve ever managed – just a delight to play. Another rehearsal on Friday with the performance on Saturday – I’m playing more consistently and with greater confidence than before.

Also spit buzzed a g above high c recently, which gave me a shock (and my young pupil) – never managed that before in my life.

Getting on well with all the exercises including double pedals.

Hope you’re well and thanks so much!


More than a year ago, when I was surfing around in the web looking for some buzzing tips I found at last a page with a strange named trumpeter called “Bahb”. Even more stunning was the confrontation with an anatomic graphic. I never before had heard about putting the tongue through the teeth to produce a sound on the trumpet.

But after reading more about the fundamental idea it seemed to be a plausible matter. Curious about this I wanted to discover the whole background and ordered the “Trumpet-Secrets”-book, later the “TCE Training Manual”. After reading again and again I felt there was a need of personal instruction.

I had the chance to meet Bahb in Belgium this spring.

Although being a little bit excited about what might happen, Bahb just in his person destroyed my fears. Looking back from now I can say that I have never had a teacher who involved himself in the matter and the student he faced, not missing good humor. Any time I asked him in this lesson, “why?” he gave me a reasonable answer. And it always worked. After learning double pedals and some Einsetzen/Ansetzen trials I moved up to a high C in a manner I never did before, really fine sound without any strain. I can say: a highly efficient one hour lesson.

After a few weeks of practice I decided to take a phone lesson controlling my progress. Because of some trouble with the Skype program we had a regular telephone lesson. I was a little concerned about this shortcoming but again Bahb convinced me teaching only by ear. We talked about some things coming to mouthpiece discussion. I was using a rather large one. Considering costs I decided to invest in a new mouthpiece and ordered a reproduction of Bahb´s own mouthpiece (Callet X5C). This pushed me forward in range and endurance. It seems fit to the TCE – fantastic powerful sound, definitely worth the money.

His “Instructional DVD” at last gives me a steady available self-control over the correct sound of the five articulations which are the essential issues besides double pedals of developing this embouchure.

The unanswered question: Why did nobody ever describe this evident fundamental function of the tongue in such a clear way, as you can read in Bahb´s books and get demonstrated at his homepage and all the available media?

After all and as a resume, Bahb did change my attitude to trumpet playing totally. I have to thank him for this experience and I hope many people may share this with me.

Keep on, Bahb!

Wolfgang Brecht, Mannheim (Germany)

A letter from Carmine Fornarotto (8-25-07)

In my experience as a trumpeter and teacher, I had three students who had the potential for a professional career in music. One became a lawyer, one stayed in music education and Bob ( Bahb ) Civiletti.

Bob has distinguished himself in two areas of performance, Big Band and Baroque music. But it is his concerts and recordings of the Baroque repertoire that has earned him great respect and admiration. His sound is warm and powerful, when power is called for. He has carved out a special niche for himself. I deeply appreciate that we still keep in touch and enjoy visiting with him when he travels to Florida.


Carmine Fornarotto , Retired trumpet
The New York Philharmonic

Dear Bahb

One year has passed since you’ve been in Winterthur,Switzerland. From that day on, TCE started to be a very important part in my daily practice. It changed my musical life tremendously, even if I think, that I haven’t already learned 5% of it. My endurance and ability to play higher notes increased incredibly in that short period of time. I’m 44 years old and couldn’t imagine, that I’II be able to change my embouchure in such a radically way. Now I look forward becoming a better player with every year of my life. All of my colleagues think that getting older means becoming a weaker embouchure. Now I know that this statement is completely wrong. With the right technique (TCE) we can get better every day! Your DVD ( I’ve ordered some months ago) is a great help for me and I hope, that one day you’ll be back in Switzerland, so I can take one or two lessons from the master himself.

Thanks a lot for giving me a new perspective of how to play a trumpet and I send you my best wishes from Switzerland.

Andreas Kirschner December 6, 2007

Good Morning Maestro:

This is a brief note to congratulate you on the DVD describing the TCE and tongue placement. It was a great help to me in my “climb up the mountain.”

My progress is going well with the effort still reducing, especially when I practice at least 30 min per day. If I could do a couple of hours daily I might “break glass!”

Feel free to include me in your testimonials!

Most Cordially yours,
Robert W. Carter,
Formerly trumpeter with the Atlanta Symphony & Metropolitan Opera and student of the great Izzy Blank

I had the great pleasure and privilege of working with Bob Civiletti for three days during the recent March break. My raison d’etre for this was to understand and have demonstrated to me Bob’s TCE method. I didn’t go to see Bob so I could walk out the door at the end of the lessons being able to play Double C’s but to take on board a method of playing that really works. A method that has been in existence for hundreds years and yet in my 30 plus years of playing had never heard of (why is that??)

Being a trumpet/cornet player myself and having been taught how to play I will use the term “old school” because that was how my teacher(s) did it (and no doubt how their teachers did it as well.) I had a number of preconceived ideas on how to play which have worked well over the years. The three days I spent with Bob were a revelation because it opened my eyes and dispelled a few trumpet myths.

Bob is a gifted and insightful teacher and puts things over in an easy to understand way but more importantly can show you. As the student in all of this (I’m 51 years old by the way) I went with an open mind and a willingness to learn and I wasn’t disappointed. For me now, I know I’m on the right path and it’s down to ME to do the WORK!! (Don’t expect Bob to wave a magic wand)

When you see and hear Bob play the Brandenburg Concerto 2 on a standard Bb trumpet and in the original pitch of F and not break a sweat that speaks volumes to me that TCE works.

Chris Reed

This is a follow up to the TCE Clinic Bahb Civiletti conducted on March 4th at the Raleigh Music Center in Raleigh North Carolina.

There were approximately 20 participants who were very eager to see what TCE is. Bahb started off by giving a little background on himself, his relationship with Jerome Callet. How they formulated the TCE system and co-wrote the book.

Bahb then described and demonstrated the TCE system and the different articulations, then he worked with each of the students for at least 15 minutes per student getting them started on TCE.

I have been to many clinics over the years and this one is by far the best one I’ve ever attended. The way that Bahb conducts this clinic is a basic step by step approach that is not confusing and you can actually start to apply immediately. What was truly amazing were the younger trumpet players who picked it up immediately without any trouble at all, us older more experienced guys apparently think too much therefore causing us to pick it up slower. But everybody was catching on.

Bahb’s teaching techniques made all of the participants feel comfortable playing in front of strangers who are hanging on every note you are playing trying to learn the TCE way.

By lunch time I heard comments from people expressing that they felt that they already got their monies worth, and we had at least 3 more hours to go.

After lunch Bahb was back at it working with each student until everybody had their 15 minutes of time. Although the clinic was suppose to be from 10am to 4pm, due to some time commitments Bahb taught one of the attendees early and Bahb didn’t finish until 5:30 or so. At that time Bahb offered to do a recital demonstrating the TCE embouchure playing several movements of song he was working on with his natural trumpet.

I personally don’t care much for classical music and the such but when Bahb started his recital with a little lecture of the time period and how the music / trumpet was developed you can really begin to appreciate the music because Bahb’s passion for this brings you in. So I’m leaving the Classical door open.

To wrap it up, Bahb was playing from 8:30am till 6:15pm and still kept going and going. We were so impressed and pleased with the results of this clinic we are planning to have another one. Perhaps twice a year to keep the TCE program going in this region.

I hope other trumpet players who are looking for a means to improve their embouchure come together and get Bahb to conduct a clinic in your region. Well worth the money.

Mike O’Toole

A letter from Franz Streitwieser
The Streitwieser Foundation Trumpet Museum
Kremsmunster Austria, February 3, 2005

Finally, the late great Adolph Scherbaum has a successor
Robert BAHB Civiletti, however, takes it a step further with the long, natural Baroque Trumpet, playing the highest written Clarino Concerti of the Rococo Period with ease and a clear tone in the stratospheric range. His sensitive interpretation is excellent! His intonation and easy trills remind one of the praise that Leopold Mozart wrote about the stunning virtuosos of the Kaiserlich Trompeter in Vienna under the direction of the Composer/Kapellmeisters J.J.Fux, Antonio Caldara, Luca Predieri and Johann Georg von Reutter II. The names of several court Trumpeters were, Chief Trumpeter Franz Küffel, Franz Joseph Holland, and as J.J.Fux wrote in 1732 “an entirely special virtuoso” Johann Heinisch. Johann Heinisch was court trumpeter when Johann Georg von Reutter II was court composer. Reutter’s concerti would not have been composed if not for the stratospheric range (to the 24th harmonic “g” above high “c”) of Heinisch and magnificent trills that were described as “pure wizardry”. The extreme virtuosity of BAHB’S TCE technique enables him to play the concerti of the previously mentioned composers and others like nobody else on the Natural Trumpet with great style. He has a clear tone from the bottom to the highest range ever written for the Trumpet. BAHB reveals his technique openly and freely not like the great Scherbaum who talked about a secret but never told anyone about it. In his book ” Trumpet Secrets ” (Secrets of the Tongue Controlled Embouchure-TCE) co-authored by Jerome Callet he claims to have re-discovered the ancient secrets of the fabulous trumpeters of the 18th century.

If trumpet playing would be an Olympic activity today as it was in ancient Greece, BAHB Civiletti would win the gold medal easily every time.

Franz X. Streitwieser
The Streitwieser Foundation Trumpet Museum

From a newspaper review: “Luxemburger Wort” (Voice of Luxembourg!) regarding a master class which was given at the Capital Conservatory on June 14th, 2004

BAHB Civiletti explained a rarely used playing technique: the “Tongue–Controlled Embouchure”. Trumpet playing has its technical limits, especially when it comes to notes which are at the top of the scale. With the TCE, the American trumpeter BAHB Civiletti has set this limit further up and has made again possible the performance of difficult baroque works.

The secret of the TCE lies within the forward setting of the tongue and the relief of the lower lip. BAHB Civiletti is a master in this playing technique. These days, invited by Conservatory Professor Charles Consbruck, he demonstrated his ability in front of 30 attendants in the capital conservatory.

The trumpeter’s international renown had not only woken the curiosity of Luxemburg musicians but also of brass players from Switzerland, Belgium and Germany.

With a lot of ability, a good dose of humor and a great deal of virtuosity, he showed this technique, mastered by very few musicians, with a recital of three rare pieces from the repertoire: the D major concerto by Joseph Riepel and the C major and D major concerti by Johann Georg von Reutter.

I had the pleasure, to translate together with Ed Tarr the “Trumpet Secrets” into German. The method is detailed and forcefully explained and contains a lot of historical examples, that shows, that the “tongue–-controlled embouchure” was already used in the “old times”. As a Trumpeter, specialized in Classical and Baroque Music, I’m glad, that BAHB Civiletti added the chapter about “Trumpet Secrets” for the Baroque Trumpet.

For all, they have learned, to leave the tongue when playing behind the teeth: you should hear BAHB Civiletti playing the Trumpet and Baroque Trumpet with this method. His embouchure seems not to know tiredness and his high register is also after hours of playing still clear, bright, strong and absolutely secure.

Prof. Friedemann Immer

Edward H. Tarr
Internatioal soloist, recording star, musicologist and teacher
Director Bad SackingenTrumpet Musuem

“BAHB is one of the up and coming stars of the Baroque Trumpet… his book ” Trumpet Secrets ” will benefit all who want to play the entire range of the trumpet “.

Dear BAHB!
Here are some words about your clinic. Maybe that there a lot of mistakes in the English version. Please feel free to correct them.

” As nearly the most trumpet players I also did a long year search for a method that makes my trumpet playing easier and more efficient to be able to express on the trumpet whatever I want. All methods that I studied in this time have not had a mentionable success, until I met BAHB Civiletti and his method of the Tongue-Controlled Embouchure. I first met BAHB, one year ago, he taught me the basic principles of the TCE.

After working hard on these basics I met BAHB again a few weeks ago for a two days clinic to become more and more familiar with the TCE. This three days staying with BAHB did a multiple to improve my trumpet playing than all the lessons, methods and years of searching before! My sound became more cantered and powerful, my endurance and my high range increased enormous!

Therefore I only can highly recommend this outstanding method to all who want to have a fundamental improvement in their playing.”

Ansgar Brinkmann
Solo–Trumpet with the “Niederrheinische Sinfoniker”
Moenchengladbach, Germany

And here is the german version:

“Wie wahrscheinlich die allermeisten Trompeter war auch ich jahrelang auf der Suche nach einer Methode, die mein Spiel leichter und effektiver macht, um auf der Trompete das ausdruecken zu koennen was ich will.

Alle Methoden, die ich in dieser Zeit studierte, haben jedoch keinen nennenswerten Erfolg gezeitigt. Bis ich BAHB Civiletti und seine Methode des Zungengesteuerten Ansatzes (Tongue–Controlled Embouchure) kennenlernte. Bei unsere ersten Begegnung vor einem Jahr hat BAHB mir die Grundlagen dieser Methode beigebracht. Nachdem ich intensiv daran gearbeitet hatte, habe ich BAHB for einigen Wochen für zwei Tage bei einem Workshop wiedergetroffen um mit dieser Methode noch vertrauter zu werden. Diese drei Tage Arbeit mit BAHB haben mein Spiel um ein Vielfaches verbessert als alle Unterrichtsstunden, Methoden und Jahre des Suchens zuvor! Mein Klang ist zentrierter und kraeftiger geworden, Ausdauer und Hoehe haben sich enorm verbessert!

Darum kann ich diese herrausragende Methode waermstens allen Trompetern empfehlen, die eine grundlegende Verbesserung ihres Spieles erzielen wollen.

Dear BAHB!

This morning I played the Haydn–Concerto with our Orchestra and I want to say you a really very big and warm THANK YOU!!!! Without your help I would not have been able to play this Concert in the way I did: totally free and easy, without any strain! I had the freedom to play the Concert as I want or in other words: I played the trumpet and not the trumpet played me! So thank you for your very successful work with me! I never thought that I would ever be able to play the trumpet in that way!

Then I want to ask you to send me your CD’s, if possible with a personal dedication. I heard your CDs with Dieter and was completely thrilled! I know a lot of CDs with the Barocktrompete, but yours are the best!

All the best,


Dear BAHB!

In my review I only wrote the truth: it seems to be unbelievable but this three days with you really did more for me then all the other teachers, methods and years of searching and practising…

By the way. I did a “transformation” from your studies for the Baroque trumpet to the normal b–flat trumpet so that I know have a lot of “BAHB–Style” studies for the b–flat trumpet. I hope I can show you my Variations in September. I think they work very well and you would like them (I have not written anything new, I just “transformed” them so that they are very good practicable on a b–flat trumpet).

All the best to you,

Ansgar Brinkmann
Moenchengladbach Germany

Workshop held by BAHB Civiletti 14,15, June in Mönchengladbach Germany. In this workshop BAHB Civiletti introduced the tongue-controlled embouchure. It was astonishing how BAHB could play the whole day long from low f sharp to c 5. This unique method makes a trumpeters life much easier. I am very pleased to have been shown a new, more direct approach to playing the trumpet. The quality of my sound is now more centred with a clearer attack. Every player who attended this workshop left as a better player. BAHB individually attended to each player’s problem in a most engaging and patient way. All enjoyed the 2 days.

Dieter Möbert
Trumpeter Niederrheinische Sinfoniker


I hope you had a good trip home. Thanks again for these 2 impressive days of learning.

I have been practicing the TCE in the last days and yesterday I played my first gig with my big band trying to apply it. Interestingly, it is quite an improvement even though I am certainly not yet mastering it. But I noticed that it gives me more security in my normal play and especially the lower notes get out with more volume and crisp. In any case, if I forget to put the tongue onto the lower lip, I do start to get the feeling that something is wrong.

I keep on practicing and please let me know when you will be back in Germany.

Take Care,

Wolfgang Zebe
Frankfurt Germany

Dear BAHB,

I would like to give you a short overview, over my status, so that you know, what your students for progress make:

Since the Workshop with BAHB I have worked much on playing with less air and build the compression inside the mouth. This was another new important “kick” for me (In every lessons with one of you, I get a new important “kick”, that’s so unbelievable for me and so effective. I have never made before such a experience in my life with learning the trumpet. It’s like a “super Highway” to learn the trumpet. Thank you.)

I can feel the compression now very good in the mouth and my playing is so much improved, especially in the lower register. Above all the deep register got completely different quality with me and I experienced now that I can produce with the flat and small mouthpieces beautiful full tone.

I tried also again the DT–10 out and my sound is not bad also on it. I find the DT–10 somewhat more comfortable at the lips, but the W46 has for me more overtones and sounds altogether a little fuller.

And – today I played the first DoubleHighCs – correct ones – not whistled “bullshit” ;-) ones, that I could play before (that ones was no tones). I can lay me down comfortably on the floor and play from C3 to G3 (and if I make in such a way far progress, I think also soon to C4).

I continue to work and I have still enough exercise material of BAHBs Workshop.

And if I stabilized in the next weeks the Double High C, I will announce myself and play it for you, that you can hear, which progress your students make. And then I need new lessons for the C5 ;-) ))…

I’m so happy to have now the ability to play the trumpet and not the trumpet with me… And can work now more and more to the artistically part of the trumpet playing, what i could do never before, because my embouchure don’t let me in the past – and that was a hell way in the past…

In deep gratitude

Kuno Seebaß
Allgäu Germany