All of us want better tone quality for ourselves or our students. Players and teachers are being judged constantly on the sound of their students or ensembles. Lets face it, TONE is the first thing people talk about after hearing someones playing. Its all about the sound! One can forgive some missed notes if the sound is amazing.

What is an easy way to see quick results?

That’s a trick question! There is no easy way. Everyone wants a quick fix. Just switch to this mouthpiece or change to this instrument. There are so many articles and posts about secrets to high notes and secrets to tonguing faster. There really is no substitue for individual time spent on the instrument, but while spending that time, students must know what to think about in order to improve their playing.

If there are no other thoughts running through the student’s brain when they are playing their instrument, they will sound like they always have sounded. Instead, we need to fill our minds with the thoughts and sounds of professional players that are playing and performing at the highest level. I consistently tell my students that the number one way to improve your sound is to intentionally listen to fantastic professional players. Why do we start talking with the same accent of the location we live? Why do we say certain phrases like our friends when we hang out together often? We just pick it up. More is caught than taught!

What are professional players thinking to play so well? 

These are five thoughts that I use consistently and have gained from professionals including but not limited to Philip Collins, Dan Zehringer, Charles Decker, Kurt Dupuis and Winston Morris. I have taken their advice and formed my own thoughts to help young musicians improve what they are thinking when they are playing.

Clear – Simply put, thinking the word CLEAR. I like to offer the thought of a very still placid lake, early in the morning with out a single ripple, standing on the bank seeing to the bottom. With that single thought in mind, I have them play. Clarity is a simple thought more than an analytical approach to embouchure. (in most cases)

Centered – This is always tough to get because the center of the brass sound is small. I usually draw a bullseye and show the students what happens when you miss slightly above or below the bullseye. I challenge them to think about nailing the bullseye in their mind. Not only that, but the center to the sound has a slight “buzz” running through it. We start by playing with a big volume against a wall to hear the buzz or lack thereof. Then, closing the eyes, we think about nailing the bullseye and hearing the buzz.

Bright/Colorful – This one is particularly tough for low brass players. Low brass players are constantly thinking “dark”. While this is not a negative thought, generally the darker the colors the less resonance or ring the sound has. Instead, think about bright/primary colors like red, blue,yellow, etc. This thought can change a person’s sound almost immediately. I have heard students with airy, closed, dull sounds turn it around immediately by thinking about a brighter color. There is a time and a place for dark tones, but the majority of the time bright primary colors are the most resonant.

Resonance – If a student can nail clarity and centered they will most certainly gain the resonance. Resonance is the ring that stays with the sound. The more colorful, clear and centered a sound, the more resonance it will have.

Projection – This is the effortless thought of pushing your sound easily and quickly through the instrument and immediately affecting the listener. In order to get the sound to project, I have the students think about blowing the instrument away from them. We start the sound with a breath attack and think about the air blowing freely from inside the body to the listener across the room. If a student is accomplishing clarity, centered and bright/colorful, projection and resonance happen naturally. One should not force, but think about being in a constant state of relaxation.

Having correct thoughts of the end result is generally better than flooding a players mind with analytical embouchure thoughts. Sure, there are times this is necessary, but if a student has a good fundamental “setup” try changing their brain instead of their embouchure. These thoughts can transform an individual coupled with daily listening of professional players.

Check out more information on the Brass Academy page if you are interested on this or other clinics for your high school brass musicians.

This is a past post that was done in 2018, but wanted to take a moment to repost it because the information is so valuable for the marching arts training this time of year. Enjoy these thoughts from professional musicians.

When you talk to music educators there are many different thoughts on how to teach a resonant release to students. For example, “Just stop the air,” or “breathe in.” When you talk to professional players however, they all say the same things.

The release of a note must be sent to the audience.

I thought I would take the questions to a few professional musicians who are performing or have performed at the highest professional level. First is Philip Collins, who performed as Principal Trumpet with the Cincinnati Symphony for 35 years. This was his response:

“The note has to ring out into the hall whether the note tapers or stops abruptly. Picture a violin bow longer than needed. It continues to move after the note stops. Let the notes flow and sail out beautifully into the audience.”

The second response is from Stephen Campbell, who performs with the West Virginia Symphony, Cincinnati Symphony and the Lexington Philharmonic Orchestra. This was his response:

“You have to send the note into the hall! Take the note to your audience.”

The third response is from Sean Vore, who is a member of the Dayton Philharmonic Orchestra. His response was:

“A great ending to a note resonates in the space you are playing in, even if you are in a practice room. No tongue or throat cut-off, just experiment with the end of the fuel supply and let it resonate.”

There is a common thread of “sailing” or “sending” the note to the audience and letting it resonate. The more professionals I perform with and the more high level groups I perform with it seems a common practice and thought  to “push” or “sail” the note to the audience so the audience can feel the resonance of the note. By simply stopping a note we lose the “sail” or “send.” The emotional connection of the music is what it is all about.

There must be a high level thought process when releasing a note just the same as when you begin a note. The mind must visualize what the air is doing and how it is meeting the listener to create the emotional experience. Like flying a paper airplane with a relaxed “flying” motion,  the air must be set into motion with the same intentional purpose.

It is extremely important to not fill the mind with analytical thoughts but instead to visualize what the air’s purpose is in fulfilling the musical connection. There should never be a thought to do something to the end of the note “just because that is what I have always been taught.” Simply, the note should continue in motion, and the resonance of the note should continue into the hall until we begin the next note. Let the listener connect with the resonance.

Air is constantly in motion. 

On this episode I talk to Wayne Dillon about the upcoming exciting 50th season with DCI, the return of judges to the field and advice on how to grow a high school band program. Wayne is a retired band director as well as a DCI, BOA and WGI world renown adjudicator.

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On this episode of Music on Purpose I spoke with Andy Harnsberger about his success as a marimba soloist and what motivates him on a daily basis to continue his work ethic at age 54. Andy is also Director of Percussion at Lee University in Cleveland TN and talks about his philosophy of teaching and thought process for young students. Check out this episode for resources and information to become a stronger performer.

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On this episode of Music on Purpose, Steve Patrick joined me from Nashville, TN. Steve owns his own line of brass mouthpieces called Patrick Mouthpieces. He also started an incredible resource to learn from studio players in Nashville called Lessons with Studio Musicians. Steve toured with the Maynard Ferguson Band and has played and recorded with any big name artist you can imagine. He talks about his long career as a freelance player and studio musician.

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On this episode of Music on Purpose, Hiram Diaz joined me to discuss his success as a performer that ultimately led to him winning a job with the President’s Own United States Marine Band. We talk about what is takes to be successful in an audition and how to prepare. He give thoughts on sound concept and fundamentals of playing. He also talks about what life is like in the Marine Band. Hiram is a wealth of knowledge and an easy going charismatic guy.

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The 2020 Kentucky All-State Band Music, specifically the trumpet audition music, is pulled from The Arban Complete Conservatory Method for Trumpet and Theo Charlier 36 Etudes Transcendantes. Both excerpts are advanced etudes that will take careful practice to master and most importantly will take time to capture the musicality, both written and unwritten, to be successful at the highest level. My hope is these recordings and descriptions help you prepare and give you some professional thoughts for an accurate presentation.

Preparation thoughts:

1. Be able to play the notes and rhythms early. You do not want to spend time a month before the audition learning the notes. The majority of the practice time should be on the details of sound, articulation and musicality. Get those notes learned NOW!
2. Start SLOW. Do not try to play the etudes at the given tempos right away. While preparing, only play as fast as you can play accurately. Get all the details in your slow practice.
3. SET GOALS. Use a practice journal and set goals and keep track of your progress. You need something to hold you accountable in your preparation.
4. Play in front of people often. While this years audition will most likely be virtual, practice putting yourself in situations that put you on edge to see how well you really are prepared.
5. RECORD YOURSELF. Invest in a quality mic for you phone and record yourself often. If you are serious about being successful you must consistently record and listen back to how you sound.
6. Seek professional help and advice. Get in some lessons or ask for someone QUALIFIED to listen and critique. Also, some of the best advice comes from professional players NOT on your instrument.

TECHNICAL ETUDE – Charlier No. 1

Some things to consider in this etude. Articulations must be correct and the quality of the tongue needs to be consistent. The slur placements are tricky. Take great care in playing the exact right slurring.

Do not over articulate the accents. While those notes should be stressed, the style of Charlier and French music should not be overdone. Be musical with the accents but do not bang them.

At the end of line 5 and line 10 Charlier uses a small “v” symbol to give the performer a slight break. His exact french words are “Ce signs v indique une respiration.” Make this slight rest or respiration musical and beautiful and take advantage of this to help you continue along without running out of air.

The beginning direction in the original book says “sans force” which means without force. Be light while still playing big. Again, do not overdo the accents.

Look for ways to be musical inside of the technique. When you record yourself listen for your own flair and musicality while noting the dynamics Charlier has written into this etude.

Most importantly, the tempo is marked at 108-120. This recording is at 104 because I felt the tempos given are too adventurous for most students to be successful. The tempo really doesn’t matter as much as the cleanliness. Only go as fast as you can play accurately and beautiful with stellar articulation control and consistency. Fast and dirty is worse than slow and clean. Do not think you must go 108-120 to be successful.

LYRICAL ETUDE – Arban Characteristic Study No. 11

Some things to consider in this etude. This etude hangs around the start of the upper register on the trumpet, and while it is not really high, it takes strength and endurance. Consider practicing the Db Major scale up to high Ab. Normally high school students only practice the Db Major scale in the middle register. Work on these patterns in the upper register prior to practicing this etude.

Lip slurs and flexibility. You can certainly get by in measure 12 using alternate fingerings but take this opportunity to practice lip slurs and flexibility. The only way you can be successful with these measures is by not pressing and forcing. Do not work too hard on the lip slurs. Let them happen with steady air flow and very slight movement of the tongue/aperture.

This etude should sound dark and rich and more cornetish. Try not to play too bright on this etude and bring out the soloistic and rich qualities that the cornet would display.

Be musical and with the dynamics given and also do not be afraid to add your own flair.

Lastly, the tempo is marked at 80-88. In my opinion it is too fast. I recorded this slower and took a bit of liberty at times to make a musical statement. Keep a steady tempo and do not change the tempos, but consider what you can do within the steady tempo to make this more beautiful and lyrical. Have fun playing gorgeous music.

If you are interested in lessons either in person or virtual, please contact me. I would be happy to help you have a successful All-State audition.