Chris Martin Master Class

Discussion in 'Orchestra / Solo / Chamber Music' started by Alex Yates, Jan 20, 2006.

  1. Alex Yates

    Alex Yates Forte User

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    I know I promised a full report by today, but I have fallen a bit short. Here is an outline of Chris Martin's master class from last weekend in NC. If any of you have specific questions, then I will go into detail. I honestly didn't know how much detail to give since he is supposed to have an article in the next Jay Freedman newsletter. I will probably edit tomorrow and add some more things, but I wanted to meet my promised deadline and put up something before the day ends.

    First of all, I must say that Chris Martin and I go back 12 years having attended conservatory together. It was wonderful to see him again as my friend and respected colleague. That being said, I have tremendous admiration for him as Principal Trumpet of the Chicago Symphony. It was a thrill to watch him give a master class and hear him play such a wonderful recital. (the program is listed on the WCU site.) Not included are the two encores he performed on cornet - Napoli and Those Endearing Young Charms. It was an inspiring experience in several ways.

    He opened the master class with the "Intrada" by Otto Ketting.

    [​IMG]

    Not necessarily in order, he covered the following topics:

    His experiences in auditions - both good, funny and bad; he did a lot of listening to all kinds of players beginning at a young age and still recommends it; perfection is not key in winning an audition - taking lots of auditions is; know exactly what you want to say with the music before engaging; being in the NOW on a never-ending ascent to greatness (based on a discussion he had with John Hagstrom); all experiences every time we pick up the horn, teaches us something; recommended reading by Don Greene (sports psychiatrist ); his own 4 week plan to recital and audition preparation; his strength building routine; do you play because you like to "hit the ball" or "score points"?

    That is all for now. I am turning into a pumpkin.
     
  2. Sophar

    Sophar New Friend

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    Does he talk about Tone Production

    Does Mr Martin talk about tone production? Does he answer why they switched to Yamaha trumpets?
     
  3. tpter1

    tpter1 Forte User

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    Wow, Alex. That must have been truly inspiring in many, many ways.

    Could you go into a bit of detail about the 4-week preparation? Is it similar to the outline in the French Arban book?

    Whatever he plays on will sound great, I'm sure!
     
  4. Alex Yates

    Alex Yates Forte User

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    Re: Does he talk about Tone Production

    Honestly, Chris has always played a Yamaha. We were the only two at Eastman that played them way back when. John Hagstrom supposedly had a lot to do with the new design, hence "Chicago Model". Dizforprez knows more of the intricacies that went into this and might be better suited to answer. Chris did not address this in his master class at all.

    In my own opinion, the horn seemed more compact physically and produced a very compact, ringing sound. Chris sounded great, but different than when I have heard him in the past. He still sounded like Chris though. He breezed through what most would find a challenging recital. :-)
     
  5. ROGERIO

    ROGERIO Mezzo Forte User

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    deleted
     
  6. Alex Yates

    Alex Yates Forte User

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    His four week preparation routine dealt with preparing for auditions and recitals. The result was to peak at the correct time, avoid burning out too quickly, and therefore have a plan leading up to the "day". The first two weeks were spent learning the least familiar tunes and figuring out exactly what you want to say with each piece. This is important and should not be glazed over. One should know EXACTLY what they want to say musically without doubt. Mixed in with this was strength building - which is an hour routine he incorporates into his daily trumpet diet. Weeks 3 and 4 should be spent auditioning for anyone or thing that will listen. Taping was one of the most important things. Chris admitted to being made most nervous by a recorder (and I agreed whole-heartedly!), but also admitted how important it was on the road to progress.

    I have to run to teach right now, but will return. I just didn't want to leave you hanging Glenn. ;-)
     
  7. tpter1

    tpter1 Forte User

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    Thanks, Alex. I really appreciate that.
     
  8. dizforprez

    dizforprez Forte User

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    Alex,

    What was your take on his strength training ideas? What he does for strength would kill most peoples chops.
     
  9. romey1

    romey1 Banned

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    Oct 25, 2003

    Please elaborate........

    romey
     
  10. Alex Yates

    Alex Yates Forte User

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    Oh yeah. He describes it as an hour routine cut into four 15 minute sessions. He said he would play for fifteen minutes, alternating between methods and etude books, keeping the horn on the face the entire time.....THE ENTIRE TIME....to where the last note, even if it were a middle "G" would be an effort. Rest five minutes and do it all again. The second session would make it to probably 10 or 11 minutes - REST 5 minutes - do it again - REST 5 - and hang on for as long as you can for the final session. Of course, a lengthy rest is in order after this before facing other tasks on the trumpet.

    I always wondered what he did for endurance and this seems to be his recipe. :-)
     

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