rowuk

Not all of us have had the pleasure of meeting you and therefore only know what the admin has told us.
What do you do for a daily routine? What horns have you played in the orchestra since you started and what mouthpieces do you use (I just thought we would get all of the geek stuff out of the way first!).

How did the discipline of being a marine change your playing? Did you learn something there that would help us?

Robin

__________________
Whenever I feel blue, I start breathing again.

thomashooten

Hi Rowuk,

Thanks for the question. As far as a daily routine, I focus on fundamentals. Breathing, buzzing, Schlossberg, some Vizzutti (bk 1) for multiple tongue and flexibility, Arban for intervals, and Sachs daily routine book as well. There are many other things that I add from time to time...finger work,
sight reading, etc...In general I don't tend to stick to one particular routine. For me, I need to keep it different to avoid getting stuck in a rut.

As far as Equipement- I play a Yamaha Chicago C trumpet.
That is what I played when taking these last couple of auditions.
Schilke Piccolo, Stomvi Eflat\D, Yamaha B flat, Schagerl rotary- Europa model.

My mouthpiece is a Yamaha 17B4 Stock
Piccolo is 7e or 10 1\2 E


I did learn a lot in "The President's Own" Marine Band. Being in the military shows a person what extreme discipline is about- I think that influenced me. The band members have strong rhythmic intergrity, great sightreading skills, and are required to perform under many challenging conditions.

Thanks for the questions, I hope that helps.
Tom

practicegeek

Tom,

I'm just a little curious about your experiences going from playing in the Marine Band to going to an orchestra. Did you have to change equipment or maybe how you approach practicing in between or any of your "concepts" when going between the two groups or do you just do everything basically the same (with obvious consideration for whatever music you are playing)? Thanks.

-PG

thomashooten

Hi PG,

Thanks for the question. I would say that going from
the Marine Band to playing 3rd\assistant principal in
The Indianapolis Symphony I did not change much.
However, I did make a signifigant change in my
approach and performing when I was preparing for
two principal trumpet auditions. These areas were
the core of my sound and the musical line
that I made while playing. My sound needed
to have more "burn" in it, and my musical phrasing
needed to be well thought out, demanding the
listeners attention at all times

The biggest change however happened once
I got to Atlanta and started playing with the
symphony. I now have developed and continue
to work on having a very "red" sound when
certain pieces call for it, especially when playing
over tutti orchestra.

I should say that each person is different
though. These two things were areas that
I knew needed work on by recording myself
and taking private lessons.

Thanks
Tom Hooten

trumpetnick

Tom,

English being my 3rd language, sometimes I lack knowledge of the pro jargon (or other)....Can you explain what "red" and "burn" should mean in plain simple english?

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

practicegeek

Tom,

Thanks for the insight. When you were trying to get more "burn" in your sound did you change equipment or just approach? or both? I don't want this to come off as just an "equipment" question from some little kid. I have a masters degree and am teaching and trying to win my first gig, so I'm just curious as to things you've changed along your way. One thing that I'm always thinking about when I play is if the sound matches what's in my head, but also if it's right for the job I'm going for. I play actually very similar equipment to you and have worked alot on getting that burn in my sound that you mentioned, but wonder if going for that orchestral sound is the right way to go if I audition for say...the Marine band, or one of the other D.C. bands. Obviously you have to play the music very well in the audition to advance or win (duh...), but is what I am mentioning here something to "worry" about?? or am I wasting time and energy thinking about that sort of thing?? Thanks.

back to practicing...

-PG

rowuk

Tom,
it is cool that you talk color! I think Stravinsky often needs yellow(or a light orange). Many times I hear the high parts on the picc and they sound more "white" instead of the more aggressive D-trumpet sound.

Nick,
I feel that we often talk about dynamics when we should discuss color. I often get told "the trumpets are too loud" when what they really mean is that the sound is too dense and they can't hear themselves as well. A lighter "color" would help here.

A "red" orchestral excerpt would be the solo in the Bartok concerto for orchestra or the end of Pictures at an Exhibition. Holst Saturn is a VERY bright yellow for me. The second movement of the Haydn is green.
Ask the string players that sit in front of you in the orchestra what "burn" means.(just kidding). Burn is the red hot around the edge of your sound - everything except the core when you are playing loudly.

__________________
Whenever I feel blue, I start breathing again.

thomashooten

Hi Tptnick

I will PM you

THanks for the question.

trumpetnick

Thanks for the info both Robin and Tom...

Tom,

I wanted to ask you question and this thread seems to be the right place for...

How did you get to become the new TM residence artist? I bet that there is a story behind, cause TM owners seems to pick atists because of existing relationship, and not just because a trumpeter is experienced and good musician...So, what is your story?

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

thomashooten

PG

You make an excellent point.
First of all, I am not talking about equipement. Although, sometimes
this could be a factor. During my development I generally believed that I was the ingredient that needed changing.

I believe that you are correct to question (to some degree) what group you are auditioning for. I think you understand that whether it be for the Marine band or anyone else, you should be a clean player with a good sound, intonation, time, and musciality. Actually, for the Marine band and other military groups, the audition music usually is suited to what they play. Meaning that you don't have to worry about playing a march like an orchestral piece. Just be flexible in many different styles.

It has been my experience that this burn or "red" sound that I'm talking about should be used very little, if at all during the audition process. Please keep in mind that everyone is different, and that is how I have had to adjust my personal approach. I use this sound only in very loud tutti sections of the orchestral literature WHILE performing in the orchestra. I think generally, it is not something you would want to do when on stage alone during an audition. But of course, play FF with a very exciting sound and PP when the music calls for it. I'm ONLY talking about EXTREME loud playing.

Thanks,
Tom