Set reasonable expectations

[Lionel]

It is so easy to lay the horn down. A couple weeks becomes two months. That then turns into two years. You won't lose anything permanently but it can get buried kinda deep for a while. Don't feel bad as even professionals find themselves rusty as hell at times.

I never layoff longer than a month but this is enough to lose much of my endurance. Not just the ability to keep up my strength but losing accuracy. The sensation on my embouchure can go from marginal confidence to downright "clam junction". Oddly I never lose any of my top end range at all. Back in the 1980's I used to brag and purposely lay off the horn a whole six months (I wasnt playing professionally then). Then after a six month layoff take a cold horn from the case without warming up on even one note.

And accurately pop a solid high F. Top of 3rd ledger line, treble clef. I used to challenge my friends to a bet that I wouldn't miss but I never got any takers. It was a dumb idea of course. Because range without general technical dexterity is next to useless.

So re-start your overly rested chops with just a 5 minute practice the first day back. Then quit for two days. Don't even blow the second day. On the third day play ten minutes. Double that the fourth. Stay away from thd upper register for two weeks.

This is also a great way to learn to double on the larger low brass instruments. Avoids that terrible numb chops feeling upon returning to the smaller mouthpiece trumpet. Doubling on low brass is a most practice dependent technique. The paragraph above an excellent way to begin doubling.

If you're patient? You'll find yourself back in the saddle in two weeks. Trumpet players who regularly take too much time off are oddly better at getting back into shape than those who never miss a day but suddenly find themselves with zero chops. Due to a vacation, new job, baby or illness.

And as you're getting back into the game, allow your mates to play some of the harder stuff
This aids your recovery and makes for a good fellowship in the trumpet section.

While German bands aren't my cup of tea these are some of the best groups for comeback players to join. They test your aggresiveness, endurance and reading skills. I am always impressed with the quality of chops found in amateur German "oOOM Pah" bands. Because they rehearse often and challenge themselves physically at every performance.

Probably the best thing for a comeback player to do is to schedule himself at least one playing commitment per week. Practice at home doesn't cut it. As we generally won't challenge ourselves enough. And if you really want to get good? Set yourself up with a minimum of three community playing engagements a week.

But most important,

Dont over do it!! The first two weeks are crucial. Stay patient? And in 2 weeks you'll sound top notch. And that good looking flute player will wonder why you had left the group for so long.

There's just something abt flutes and first trumpet players. Birds of a feather. Some of the prettiest ladies. And they know we're watching...
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).

[GeorgeB]

Sounds like a lot of good advice there, Lionel. In my case, though, I made a comeback last spring after a 50 years lay off. I played with a 5 piece combo in the 50s and 60s. I was just your ordinary weekend warrior playing weddings, teen dances, private parties, special occasions. I quit to concentrate on a career in the printing and publishing industry. It was the right move for me at the time. I made my comeback because it seemed the best therapy in dealing with the loss of my wife. However, after 50 years the sounds I was making on that old student horn in the closet was pretty bad. However, like your advice, I took things slow and was sure not to over do it. I started my comeback in March and was playing 1st horn with a local community band by September. I am 80 going on 81 so I am not the player I was in my teens and twenties, but I am pretty happy where I am today. I don't play much over a G or A above the staff, but my daily practice includes scales that include an E above high C and I keep with that because it makes playing down below that much easier.
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GeorgeB
1960s King Super 20 Silversonic
2016 Manchester Brass Custom
1938-39 Olds Recording
1942 Buescher 400 Bb trumpet
1952 Selmer Paris 21 B
1999 Conn Vintage One B flat trumpet
2020 Getzen 490 Bb
1962 Conn Victor 5A cornet