Just the video I needed! Grabbed my trumpet, and started these pop bends to the low register. Holy crap… that’s what it use to feel like!!!

@thatsnotspit

2 ай бұрын

I'm so glad I reached out to him. I've been testing it out with students, it works really well so far.

@Scjdrilldesigns

2 ай бұрын

@@thatsnotspit I’m fairly sure I taught one of those 😂

Amazing talk. So many good points about the low notes and centering!

This was a great episode. I've heard Tony's story before in a few different places, but it's always great to be reminded of the different ways all of us find our place in the world. (and not just on the trumpet) And the low register discussion was eye-opening. I think I had actually forgotten what Stamp was all about but this discussion put it all into focus again. It's bizarre how these concepts get cloudy in our minds, even the ones we work on daily. And cheers @tptboy1974!

@thatsnotspit

2 ай бұрын

I'm so glad this episode happened. I learned a ton. You're right, the low register discussion was incredible.

Excellent video, gents!

Funny I’ve followed you for a long time, Ryan, but didn’t realize I haven’t subscribed. Until today😂😂.

Great interview and information! Please ask the guest to provide as many playing demonstrations in these videos as possible. I would love to know if Tony struggled with mouthpiece pressure and how he fixed it. His bottom teeth are not flat and I have some students who struggle to get the mouthpiece feeling comfortable on uneven teeth. How separated are his teeth and how far down on his bottom teeth is the mouthpiece placed? Maybe in the next interview. Cheers!

@thatsnotspit

2 ай бұрын

I appreciate the feedback! I'll if I can get this info from him.

Some win their positions legitimately because they are great players, but some were hired because of nasty stuff going on behind the scenes. It's VERY unfair to the hundreds of other candidates who sometimes spend over $1K for airfare, hotel, food, and transportation. Sometimes they lose more because many of them need to take time off from work. The only way to make auditions fair is to hire third-party judges randomly who are all kept separated somehow during the auditions.

@thatsnotspit

Ай бұрын

I don’t think an unbiased third party is the solution, but I do think auditions that don’t auto advance anyone and are blind to the end would help the problem you are describing. I agree, audition procedures are often problematic.

@yishihara55527

Ай бұрын

@@thatsnotspit How would auditions that are blind to the end help when at least one member on the audition committee could easily identify the person that they want to hire simply by the whole sonic package that the player presents? It's a fool's game and I feel sorry for all the people who lost money traveling to auditions when they never had a chance. I am not saying that it's "binary" (that auditions are either rigged or not rigged), but there are sure many shades of gray. They might start as un-rigged as possible but then end up rigged as they go on. I actually would prefer the old system where conductors simply listened to a player. This is because conductors are interested in having the very best players in their orchestra while players are more concerned with getting their friends into the orchestra. You hear that, brass bros? Who's got the keg?

@maxsteel32

Ай бұрын

@@yishihara55527 If the audition committee is able to pick a person based only on the sonic package the player presents how is that unfair? Unless you are saying that someone has an inferior sound that makes them stand out, but the committee picks them because they know that person sounds like that. Honestly, that seems highly unlikely. Conductors can be just as biased if not more than a committee. Blind auditions are the best way to ensure that sound is the only factor and the statistics on women in orchestras after the move to blind auditions bears that out.

@yishihara55527

Ай бұрын

@@maxsteel32 "If the audition committee is able to pick a person based only on the sonic package the player presents how is that unfair?" Because there are times when they are simply identifying their friend or whoever by their "sonic fingerprint" and ignoring superior players. If things were so straight, then we wouldn't need a blind in the first place. There are so many ways for the orchestra to get the player that they decided on in advance. They are basically at war with the union and will do anything to have their way. Also, what makes you think that a small camera can't be hidden somewhere? But honestly the "sonic fingerprint" is enough. It's the equivalent of seeing someone's face. There could be 500 violinists auditioning, but I'll know when Pinchaus Zukerman plays each and every time.

@yishihara55527

Ай бұрын

@@maxsteel32 I had to laugh once when I got to the finals for a principal position of an orchestra. Hundreds of candidates came and I was in a hotel for a week. Among the final five was a rich donor's daughter who had a very cheap Yamaha [instrument] and was nowhere near the level of the others auditioning. She didn't get the job, but I think they needed to ensure that she got to the finals in order to keep that donor's money coming in. That audition was behind a screen with a union rep standing by our side during each round. Please tell me how a screen was effective during that audition.

Hmmmm... Dynamics issues? They are usually excuses to tell candidates who protest about not getting the position why they didn't get the position. In the end, it's always about the overall artist. They either get a yes or a no, which normally comes within seconds after they start playing. Many people don't want to face that brutal truth. Do you really think that an orchestra isn't taking Herseth if they thought that a section marked piano projected a bit too much. It's OK to project as long as the character is still piano. There have been stories about people who messed up a lot during their auditions for the best orchestras in the world yet still won the positions.

@thatsnotspit

Ай бұрын

I agree with you that it’s ok to project as long as the character projected. Tony agrees with that too, as he said on an excerpt like Schumann 2, there is an acceptable range to play. I think the meaning of our conversation was playing in the dynamic extremes is probably not the best strategy in auditions, something I have done many times. So, for me, it was a helpful topic to explore.