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[Music] the role of the solo cornet is really the lead voice of the brass section we have our there's no kata master in a band we have a principal clarinet to sort of functions as the leader of the woodwinds and the principal cornet solo cornetist functions there's a lead voice in the brass section so essentially that's my role a cornet is similar to a trumpet but it's slightly different in design a trumpet is cylindrical throughout the piping and it flares at the Bell a cornet is conical and as iron versus cylindrical and it gets gradually larger and larger as it goes through the instrument it gives it a little more mellow sound it blends better with The Woodlands playing a solo in front of the band is what I'm most satisfying and terrifying at the same time experiences it's stressful but it's always incredibly satisfying when it's all said and done and the whole suite my favorite solo is in the second movement it's something I'll warm up on some days just because it's it's the kind of tune that'll get in your head and you just be humming it all day long it's very beautiful for me getting warmed up is just a matter of getting a little bit of flexibility in my lips so the things I'll do right off the bat are sort of start in the middle register the horn and maybe do some slurs or so just to get some vibration happening in the instrument and I often start in that bit of register and sort of stay there for a few minutes and then go down to the lower register of the instrument and then sort of work my way up so it's I don't do a long warm-up where it takes me half an hour it takes me usually about two minutes to get where I'm feeling where I can start my daily routine then which is very different than a warm-up maybe some people think of them in the same way but for me there are different things warming up is just getting where I can produce sound from my instrument now my routine would be the next thing I would talk about there's certain building blocks that you want to work on sound articulation flexibility agility on the horn so each day after I get a little bit warmed up I'll do some articulation studies usually I'm just looking for a nice pop on the note where it's responding quickly and have [Music] [Applause] [Music] improving my high register one of the big things that I do and I'm not exactly sure why it works I've talked to other teachers and professionals about it and they all kind of agree that the better my low register is the easier my high register is and I think is something about the just the ease of how I'm getting up into the upper register so each day I do touch the low register a good bit before I start getting up high and I'll even work on into the peddle register which is below the actual instrument it's not the prettiest sound but it is something that's helpful for me again not the prettiest Senate I would never do in a performance but when I have those notes vibrating and being able to kind of force the sound down there when I go up the high register it feels good and easy and I'm sort of trying to keep that same airflow that I was using in the low then just apply it to the high I'm not really changing too much I'm not pushing or tightening up that's one thing I think most young players struggle with and I did four years and I do still from time to time is tension in the body and as much as you can be at ease doing what you're doing even though it's not easy and it's the the natural thing is to when you're going high and you get nervous is to tighten up everything and but it just sort of closes everything down so it makes it harder to actually achieve what you're going for so as much as you can stay and I loosened down I think about having my shoulders relaxed and my body sort of settled [Music] I'm doing my best through all those registers to kind of have it be the same so that's something I've found has been very helpful for me is just keeping the low even with the high and it makes the high seem a little less daunting when it's if you're thinking of Oh while you're playing hi [Music] [Music] one of the things I found working with students is a lot of them even in a collegiate settings that good schools have an underdeveloped sound they they can play difficult concertos and excerpts and things and that's all well and good but it doesn't sound good so you're hitting all the right notes but the sound is not pleasing so for me one of the most basic things I do still is just play a note and I'll manipulate the note in different ways to try and get it to be the most beautiful note at least at how I hear a beautiful note you just there and right at the end I felt like it was there it's starting to ring a little bit and have a little bit more body it's it's a matter of finding that sort of sweet spot in the sound because you can play it the same note with the same fingering and it had it sound wildly different so there's a pretty big target for each note to where you hit it so the better you can get it's entering that target right off the bat the more success you're going to have in creating just a pleasing sound [Music] and one of the thing that's really gonna help create a pleasing sound or help and assisting a student have a good sound is listening to good other players that's another thing I seen neglected a lot unfortunately and it's sort of baffling in this day of YouTube and iTunes and it's all at our fingertips the music but people don't listen to great trauma players so if you want to be a good orchestral trumpet player listen to Dave build your listen to Chris Martin listen to Phil Smith if you want to be a great jazz player listen to Clifford Brown listen to Louie Armstrong you have to get those sounds in your head if you can't do that if you don't know what you're trying to sound like you're not going to produce that sound I think that's a real pivotal thing for students to do [Music] you