Another great one! All of these episodes are so good to come back to occasionally for a re-listen/re-enforcement. Thanks so much for your hours and hours of work putting these together.
@@JoshRzepkaMusic For sure, man. I'm in this game to learn and keep trying to grow and get better. Hearing from master practitioners is always valuable - and fun! (Also, Mute Monday is fabulous and you're partly to blame for me buying more mutes than I probably need 🤣)
Thanks a ton for this series, Josh! It's been fun and interesting checking these out recently (as well as your mute videos). Looking forward to all 15 :)
Really great video, Josh! I think for me what Bijon talked about was really interesting. I also really resonated with the short idea that Brian lynch talked about. But back to Bijon, not exactly, but sort of along the lines, maybe?? Or this could be a topic of discussion for a whole different video and possibly someone may address it in your next video. Anyway, I was thinking, after all that we do to prepare for performance, or rehearsal once we or I get there, sometimes feels like it all goes out the window. There always seems to be this tug of war between having to compensate for intonation adjustments, volume, tempo, all the playing with other players that contribute to endurance going out the window and difficulty trying to make the music. One of my conductors made a statement that was a "A-HA" moment for me. He said that we (the trumpets) sounded like we were playing at home in our practice rooms. Quiet, careful, stiff, etc. I think all of the contributors from todays video helped with the concept of yes, practicing all aspects of trumpet playing in our practice rooms is of utmost importance and must always be our goal to strive for consistency and progress, but when we get to the rehearsal or performance, hopefully we've done our due diligence and can focus on NOT focusing on mechanics BUT FOCUSING on making music. I hope this make any sense?
Thanks, Glenn! Yes, that all makes sense. Yes, it could be an entire video ... I had one I filmed last year (and lost the footage accidentally - so I need to re-do it) that touched on this topic a bit actually, it was the 3rd video in the series on recital prep. I don't recall, but I may have touched base on this point in video 2 ... but the idea that we should practice in large rooms, stages, etc, whenever possible, but certainly as part of the process for getting ready for a recital - otherwise we'll likely be out of our zone and very likely to overblow and then run out of gas when we get to this big room with different acoustics as we try and "fill it up" or "play out". So basically, preparing for the acoustic space that we'll be in as part of the practice and simulating the live performance as much as possible. I also had touched base on practicing with the suit, shoes, etc ... no variables that are unknown. That's why Maurice Andre even practiced outside in the cold and in a hot sauna, to simulate hot stage lights and sweating, as well as drafty and cold churches that were built hundreds of years ago.
@@JoshRzepkaMusic and as to the my other point(s) of the tug of war when playing in an ensemble, in MY opinion can only be worked on by playing in an ensemble in real time. I've found out over the years that yes, we want to play with the best ensembles we can, but I've gotten a huge education on the tug of war notion, playing in ensembles where the level of musicianship can vary all over the map! I would hope that I've gotten better at adjusting immediately to whatever the issues are. Now, I'm not saying I'm awesome or anything but like everyone just trying to learn how to play this MF'er we love, hahahahaha!!!!
The comments regarding tone resonated with me for sure, and you could easily tie the breathing thoughts into that same concept. Then practicing for the moment (I think I might have talked about that with student recently, regarding an upcoming chair audition)
I take away from the comments a need to focus on my "voice" while practicing. Looking for the pretty note, as Chet Baker says. Too easy not to practice with feeling, Yeah, I work on phrasing, but not always with my personal sound in mind, Anyway, thanks for a good video.
I think he was emphasizing the importance of working on technical things. And exposing yourself as much as possible to playing situations where you are "on the spot". Does that sound right?
My take was that he made 3 points: 1st being lip trills show us that the air does the work moving from note to note. 2nd being - prepare for being in a performance, and something like pushups prior to a run through at home can help simulate the extra stress/adrenalin that a live performance brings, useful for those who have yet to get super comfortable with live performances. 3rd was a little more complicated, but my takeaway was that it can be beneficial (and not detrimental) to study all aspects of the horn and understand multiple different schools of thought, even if you may not feel that it is directly impacting you, and even if it's not how you personally play. Some schools of thought are ... "follow the sound, and air ... don't worry about certain intricacies as the sound/air will sort that out", that's great for more natural players. But other schools of thought are rather hands on in comparison (and necessary for some people), discussing aperture, tongue position, specific breathing ideas, etc. Basically, don't discount learning other approaches and understanding more, even if you initially don't feel as though it will personally benefit you.
![SAFEPLANET - ดาวเคราะห์ [ THE PLANET ]](http://i.ytimg.com/vi/4X1XL3I_k3c/mqdefault.jpg)
Karin Bliznik for me was the best take-away from this awesome episode, Thank you!
Awesome, thanks for checking it out and commenting! Karin has got such fantastic insight in this series, I'm glad you connected with that. 🎺🎺
So many great thoughts thanks for sharing them for us!!!
Thanks for stopping by, so glad you're digging them!! I'm working on the next one today .. hopefully I'll be able to post it in a few days.
Really enjoyed Bryan Lynch and Tine Thing Helseth's answer! Thank you for that great ressource....
Great!! Thanks for checking out the vid!
Another great one! All of these episodes are so good to come back to occasionally for a re-listen/re-enforcement. Thanks so much for your hours and hours of work putting these together.
Thanks, Bart!! 🙏🙏 Seems like you’re enjoying them as much as I am. Glad to put the time in for something that’s so helpful to the trumpet community.
@@JoshRzepkaMusic For sure, man. I'm in this game to learn and keep trying to grow and get better. Hearing from master practitioners is always valuable - and fun! (Also, Mute Monday is fabulous and you're partly to blame for me buying more mutes than I probably need 🤣)
Wonderful advices and concepts from these fantastic trumpet players. Thank you so much for sharing this episodes!
Glad you enjoyed it!
Just outstanding again Josh!
Many thanks!! 🙏
Thanks a ton for this series, Josh! It's been fun and interesting checking these out recently (as well as your mute videos). Looking forward to all 15 :)
Thank you so much!! I appreciate the kind words, and you stopping by🎺🎺
Really great video, Josh! I think for me what Bijon talked about was really interesting. I also really resonated with the short idea that Brian lynch talked about. But back to Bijon, not exactly, but sort of along the lines, maybe?? Or this could be a topic of discussion for a whole different video and possibly someone may address it in your next video. Anyway, I was thinking, after all that we do to prepare for performance, or rehearsal once we or I get there, sometimes feels like it all goes out the window. There always seems to be this tug of war between having to compensate for intonation adjustments, volume, tempo, all the playing with other players that contribute to endurance going out the window and difficulty trying to make the music. One of my conductors made a statement that was a "A-HA" moment for me. He said that we (the trumpets) sounded like we were playing at home in our practice rooms. Quiet, careful, stiff, etc. I think all of the contributors from todays video helped with the concept of yes, practicing all aspects of trumpet playing in our practice rooms is of utmost importance and must always be our goal to strive for consistency and progress, but when we get to the rehearsal or performance, hopefully we've done our due diligence and can focus on NOT focusing on mechanics BUT FOCUSING on making music. I hope this make any sense?
Thanks, Glenn! Yes, that all makes sense.
Yes, it could be an entire video ... I had one I filmed last year (and lost the footage accidentally - so I need to re-do it) that touched on this topic a bit actually, it was the 3rd video in the series on recital prep.
I don't recall, but I may have touched base on this point in video 2 ... but the idea that we should practice in large rooms, stages, etc, whenever possible, but certainly as part of the process for getting ready for a recital - otherwise we'll likely be out of our zone and very likely to overblow and then run out of gas when we get to this big room with different acoustics as we try and "fill it up" or "play out". So basically, preparing for the acoustic space that we'll be in as part of the practice and simulating the live performance as much as possible. I also had touched base on practicing with the suit, shoes, etc ... no variables that are unknown. That's why Maurice Andre even practiced outside in the cold and in a hot sauna, to simulate hot stage lights and sweating, as well as drafty and cold churches that were built hundreds of years ago.
@@JoshRzepkaMusic and as to the my other point(s) of the tug of war when playing in an ensemble, in MY opinion can only be worked on by playing in an ensemble in real time. I've found out over the years that yes, we want to play with the best ensembles we can, but I've gotten a huge education on the tug of war notion, playing in ensembles where the level of musicianship can vary all over the map! I would hope that I've gotten better at adjusting immediately to whatever the issues are. Now, I'm not saying I'm awesome or anything but like everyone just trying to learn how to play this MF'er we love, hahahahaha!!!!
The comments regarding tone resonated with me for sure, and you could easily tie the breathing thoughts into that same concept. Then practicing for the moment (I think I might have talked about that with student recently, regarding an upcoming chair audition)
Thanks checking out the video, and thanks for sharing. 🎺🎺
Pun intended?
Tone always resonates with me. Well, I hope! 😳
thank you for doing this Josh!
You're welcome. So glad you're enjoying the videos, thanks for checking the out and chiming in!
I take away from the comments a need to focus on my "voice" while practicing. Looking for the pretty note, as Chet Baker says. Too easy not to practice with feeling, Yeah, I work on phrasing, but not always with my personal sound in mind, Anyway, thanks for a good video.
Yes!! It's essential ... don't just get caught up in playing "accurately", or "correctly", spend the time to allow your voice to grow.
What was Chris Coletti trying to say.
Overall? Or the last part? He made an interesting point at the end, but it may benefit from repeat viewing.
@@JoshRzepkaMusic I think overall. I did start working on lip trills today.
I think he was emphasizing the importance of working on technical things. And exposing yourself as much as possible to playing situations where you are "on the spot". Does that sound right?
My take was that he made 3 points:
1st being lip trills show us that the air does the work moving from note to note.
2nd being - prepare for being in a performance, and something like pushups prior to a run through at home can help simulate the extra stress/adrenalin that a live performance brings, useful for those who have yet to get super comfortable with live performances.
3rd was a little more complicated, but my takeaway was that it can be beneficial (and not detrimental) to study all aspects of the horn and understand multiple different schools of thought, even if you may not feel that it is directly impacting you, and even if it's not how you personally play.
Some schools of thought are ... "follow the sound, and air ... don't worry about certain intricacies as the sound/air will sort that out", that's great for more natural players. But other schools of thought are rather hands on in comparison (and necessary for some people), discussing aperture, tongue position, specific breathing ideas, etc. Basically, don't discount learning other approaches and understanding more, even if you initially don't feel as though it will personally benefit you.
Were not born with little trumpets lol
yup!!