Adrian_H

Not trumpeters or musicians or artists or people or kindred spirits, but a single musical conscience connecting the minds of all trumpeters!

Top that!!!!...

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Adrian

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gregc

I certainly does seem to me, and my teacher agrees (he is a school district trumpet teacher) that the schools here in the US basically gear kids up to play the classical reportoire. Fact is, I don't think my teacher played much jazz till he started teaching and went for a Master's (studying jazz).
As a student, I don't mind learning a lot of the classics. I'm figuring it will train me fine for most any kind of playing after I hit a certain level.....
of course, I could be wrong...
and who's got time for much else anyway. Tough call, is it diversity or watering down. I don't pretend to know. Good discussion.
gregc

Bear

ya know, I never really played jazz until I hit college, had a natural knack for lead playin' and now it seems that that is all I do now... So I can see how we kinda get suckered into certain styles. Now, I love classical rep but I don't get many calls to play it, which is a shame. I also don't like audition lists. I'd have to agree with Manny on that. What do you get out of playing four or five measures of a theme for an audition? I'd rather play a whole piece...

PH

I think there are a couple of things at work here.

1) For years many classical trumpet teachers disrespected jazz and even counted their students who played jazz as being "less serious". Anyone who bought into this line of thinking avoided playing anything but "serious music." A lot of those people are university trumpet teachers today.

2) On the other hand, a lot of jazz musicians who were subjected to this sort of ignorant disrespect developed a complex and proceeded to act and speak as if everyone who played anything BUT jazz was a square out of touch automaton. I know that I have to watch reacting like this based on the emotional experiences and programming I received in my student years.

3) I think the key thing is the balance between versatility and specialization.

To me, it is important for a student or developing player to work toward being musically diverse and fundamentally sound. A student player should focus the majority of their practice and study on eliminating weaknesses and blind spots. This helps one develop a basis of mastery of the craft.

As someone matures musically I find that in the modern world it is generally helpful to specialize. In today's world it is even a specialty to be versatile. For example a modern studio musician specializes in being able to play in any style on any horn in the appropriate style.

As one finds their artistic voice they usually discover that they relate more and communicate more effectively in certain musical styles and contexts. They may also find that their strengths are concentrated in such a way as to give them a strong and unique voice playing certain kinds of music.

A student works to eliminate weaknesses. An artist works to enhance their strengths.

timcates

I hereby nominate Pat for post of the day!!!

especially this gem:
WOW!

''

TC

Bear

seconded. All in favor? "aye" Any oppose? *crickets in teh silence...

Motion Carries!! Congrats Pat!