Also, he is not showing off, he is showing her *A* correct way to play it. Which is SUPER helpful. Music is an aural art. It is exceptionally helpful to have an audio "Crutch" to go of off. And to have that crutch be of a true master is priceless.
What an fantastic teacher. In watching these few minutes I've gained knowledge on how to be both a more effective teacher,player, and student. Hardenberger truly is brilliant.
He's really on point - this is a piece for trumpet and piano, not trumpet with piano accompaniment: there's a difference. Reminds me of the story I heard James Galway tell about his audition for the principal flute position in the Berlin Phil in 1969. On the day of the audition he took his solo pieces (with their piano accompaniments) for a quick run through with the audition pianist whom he was meeting for the first time. Galway said the pianist rifled through the piano parts, looked at Galway and said in complete seriousness " what do you think this is, a piano audition? Can you not play something easier?"
wow.. he's a true master... even though I play saxophone, his sound.. and musicality really affected my playing/sound on the sax. Thanks for posting this!
Having a very good ear for intonation is essential on any instrument if you are going to get even to a good amateur standard. Some are born with this ability. For the rest it is a case of ear training. Whilst the girl on the clip is very competent and can certainly play the notes, Hakan is teaching her the most important thing: MUSICALITY. The acid test when playing a piece (or even a study) should always be "does this sound enjoyable or not?" It isn't an olympic sport, it's art.
Having a very good ear for intonation is essential on any instrument if you are going to get even to a good amateur standard. Some are born with this ability. For the rest it is a case of ear training.
His tone seems warmer. Is the C trumpet naturally that way, or is the warmth caused by his great technique and especially the glorious decrecsendoes (sp?) and perfect pitch??
Bb trumpet usually has the fatter sound. But, as you see here, it all depends on the player. Hardenberger‘s C trumpet sound is just fantastic, while I do not like the student‘s Bb trumpet sound at all. It is brittle, unfocused, and flat, as if she had alerady been playing a long session before and was fatigued.
Gentelmen, I am sure Hakan is an outstanding performer, Of course there are many turmpet idioms and always one who stands out the most. In jazz to name a few , Winston Marsalis , If you like screamers Maynard Ferguson and the best of two worlds Doc Severinsen, so you see is a matter of respect and admiration for those who perform the trumpet to their most of their habilities. They are all great in their way of playing so enjoy it .
Seems to be working... In music it seems sometimes words just aren´t quite accurate... or it's difficult to explain what you mean... much better to hear what he means... no?
my freshman year of wind ensemble in college required me to play on C trumpet. and I had no C trumpet, lol and i had to borrow my professors rotary C trumpet and learn all the pieces of my music transposing Bb to C on Carmina Burana! it was a nightmare but became fluid after one semester i was able to transpose sight reading. Its actually pretty easy compared to others lol
starwarsjunkie7777 Yea, how to, but not reading directly. My teacher sits in one of Sweden's best symphony orchestra and he tried to transpose a quite hard piece directly and failed quite hard. He definitely can transpose easy pieces but not when it become more complex. Why would he btw?
HINT : If audio is not syncronous to video (I had the same problem while watching it on youtube in the browser) try to download this video (e.g. real downloader, which worked for me ) and play it with a better player (e.g. VLC player ) The downloaded mp4 file is fine with VLC player.
Hakan is teaching, and demonstrating, how to FOLLOW THROUGH with the sound... to create a consistently clear and continuous sound. His intonation is fantastic. When he is quiet, he maintains clarity and continuity. The student doesn't get the concept he is trying to teach, and demonstrates. She continually cracks notes because she is pushing to hard instead of allowing the note to "sing" with continual support and flow of breath. When she plays, she "BLATS" and then cuts back on the sound. She does not know how to follow through or how to control her breath. It is why she "cracks" so much with her tone -- which is harsh. You immediately hear it when she plays. I am surprised she got along as far as she has in her studies without learning the principles Hakan is teaching. Hakan demonstrates the "classical" orchestral sound that can project throughout the hall, while also maintaining the clarity of a soft, "piano" sound when the music calls for it. The concept is all about CONTROL and making the horn SING with the consistency of sound that follows through.
You're just showing your ignorance. My teachers were equally demanding of me regarding the basics of sound production and purity.... in the same kind of way as Hakan is demonstrating. Listen at 0:36 and then go back to hear the student. The difference is like night an day. BTW: I've been playing for over 53 years and can perform some challenging pieces. So I don't think I'm in the KID category. Besides, my one teacher, Don McComas (Asst Principal of the Phila Orchestra) had the right to demand excellence from me, considering I had a scholarship at the New School of Music in Phila back in '70. A student does NOT become better if they are "coddled" by the teacher. I even push myself today when I practice and continue to improve by doing so. Lately, I've been playing Telemann Fantasies originally written for violin. Let me know when you've mastered those.
@@nojuskareniauskas7586 You're just showing your ignorance. My teachers were demanding of me. One was Don McComas, Asst Principal of Phila Orchestra, who taught me at the New School of Music (I was on scholarship). I've been playing for over 53 years. So I have some experience on multiple fronts. Of late, I've been working on Telemann Fantasies that were originally written for violin. Let me know when you've mastered them.
@megatone1D The voicing in C vs Bb has NOTHING to do with a person's ability to produce good, clear, consistent sound without "blatting". I know firsthand, because I have both, including 5 other trumpets. Besides, Seymour Rosenfeld (Phila Orchestra), who was known as "King of the Bb" was a master of sound. And he did NOT play a C trumpet. So it blows your claim apart.
@megatone1D You clearly did not read and understand what I wrote. The student's inability to play is not directly attributable to Bb vs C..... LISTEN... don't presume you know. Not going to waste any more time with you.
I see you point, but she just on the cusp of become a great player. Sure he's very honest, but at this level you simple can't pander to students. To have a lesson with Hakan, I would expect him to be brutally honest.
What does he says at 6.14? " the xxxx is going that way, and the air is going that way" - what is that xxxx? brother needs to know. if could help please post it! thanks!
Alright so help me out here, when playing, you should be able to sound like your almost singing the piece? You play the beats but at the same time it sounds as if you singing it...
@bassbonemexie he means that she is projecting so well that the sound is going out and coming back instantly hard to explain but thats the easiest way to put it
It seems to me that most written-in staccato notation is superfluous. I ALWAYS considered that to be a damn unnecessary tease when I was studying with my professor. And I told him so;He agreed If you want full-value yet soft volume sixteenth notes, DON'T WRITE THE MUSIC WITH THE DAMN STACCATO NOTATION !! Eliminate the unnecessary crap. Then players will know leading up to the tonguing of the passage to just play it the way it was meant to be played. I want to kiss her embouchure. Me like.
É fato....estudar com Um Mestre é outra coisa....quer dizer....sempre que desejamos aprender algo o correto é procurar quem realmente tem conhecimento........isso faz toda a diferença.........parabéns...a todos os bons professores de trompete do Brasil.
