First of all: His tone is so good because he is playing on cornet. Second of all: This is random but I recently took a private lesson with Phil Smith and I was able to get an autograph.
... these recordings date from around 1974 and were issued on the American Nonsuch label at a time when Schwartz was co-principal to William Vacchiano in the New York Phil.
Jared Profenna agreed. In my prime endurance years that were better than most, a reliable range this high always escaped me for live performances. I’m probably too old to ever figure it out, but embouchure (actually tongue shaping) techniques specific to creating extra high range seem to have surfaced in recent years.
Ah he is really a man of culture, much respect, but when he plays above middle c he is a little bit out of tune like his pitch goes a little bit sharp, we can hear it at 2:23 those Bb, which is a little bit out of tune.
Fine playing but for me the definitive recording of the Herbert Clarke cornet solos will forever remains Gerard Schwartz (now a distinguished conductor) on cornet with William Bolcom (now a distinguished composer accompanying on piano. These recordings
@@philsmith214 I think he is talking about your name, "Phil Smith", as it is the same as Phil Smith's name. He believes you are attempting to impersonate him.
not really. cautious, slow paced, and dedicated practice will bring up results in no time. It is a matter of letting the tongue move lightly without interrupting the flow of air. The tongue should not obstruct air or become an obstacle.
Adam, I'm always glad to hear high notes. Esp since my accident last summer. Injured my mouth and I'm freaking re-learning my embouchure from scratch!! Its probably the best thing for my playing but it has been a huge disappointment to lose my whole beautiful upper register!! Prior to the accident last August I had command of everthing up to a high G. Or one whole step above Smith's last note... But after the injury? I couldn't play my regular way... All of my upper register inc that beautiful high G was just freakin gone... But today my new embouchure improves daily.
Jorge Callico I recently had to reset my embouchure as well. I played with almost entirely bottom lip. My rang dropped drastically but it’s slowly coming back, and my tone has gotten pretty good.
Same with Missouri. It is also too short to play it on its own. It's not one of Clarke's most advanced or difficult compositions. Compare it to Bride of the Waves, Debutante, The Southern Cross... Etc.
vous jouez très bien mais c'est loin d'être un chef d'oeuvre .Plutot une pièce pour le conservatoire.Malheureusement les concertos pour trompettes de qualité sont rares Sinon bravo S'il n'avait pas eu maurice andre et ses transcriptions pour trompette piccolo le répertoire serait bien mince contrairement au cor en soliste et en musique de chambre voir mozart
As if his beautiful tone and impeccable articulation wasn't enough, he had to show off with that obscene ending. Phil and I could never be friends.
His tone is so good it gives me chills
Me too!!!
His every note is lovely. It takes a beautiful tone to make even long tones a piece of art.
First of all: His tone is so good because he is playing on cornet.
Second of all: This is random but I recently took a private lesson with Phil Smith and I was able to get an autograph.
Wonderful rendition of a Clarke classic by a master cornet soloist and his good friend, composer Joseph Turrin at the piano.
... these recordings date from around 1974 and were issued on the American Nonsuch label at a time when Schwartz was co-principal to William Vacchiano in the New York Phil.
Thank you for letting us know about it. That recording is truly special.
Wow, I was just thinking he sounds a lot like Gerry Schwarz on Cornet Favorites.
Nice touch at the end....reaching an F on demand was a rare occasion for me.
Jared Profenna agreed. In my prime endurance years that were better than most, a reliable range this high always escaped me for live performances. I’m probably too old to ever figure it out, but embouchure (actually tongue shaping) techniques specific to creating extra high range seem to have surfaced in recent years.
Blistering. From all those days playing in the Sally Army Band!
wowwww esecuzione perfetta! preciso,pulito edi carattere, eccellente!!
EXCELLENT!! great tone, technique, phrasing.
excellent work
Such a thicc sound
Ah, a man of culture, I see...
Much respect.
Ah a man of culture
Ah he is really a man of culture, much respect, but when he plays above middle c he is a little bit out of tune like his pitch goes a little bit sharp, we can hear it at 2:23 those Bb, which is a little bit out of tune.
Love me some Herbert L Clark
920º a curtir, é uma linda música com ótimo profissional no solo ficou top
I am currently playing it within my studies, i would say that i found myself in it😝
Impeccable & virtuosic. But in some way hard to define, Gerard Schwarz’s recording is masterful.
you are crazy. estas loco . que hermoso sonido
Imo, this has so much Rubato for me to enjoy. But doesn't taste away from the insane triple tonguing and amazing tone
綺麗、、
Fine playing but for me the definitive recording of the Herbert Clarke cornet solos will forever remains Gerard Schwartz (now a distinguished conductor) on cornet with William Bolcom (now a distinguished composer accompanying on piano. These recordings
MrPoupard you’re right. The Gerard Schwartz recording of this is completely stunning and on another level with the nuance
@@meat. Schwartz's recording of The Debutante on that record till knocks me sideways - 46 years later!
I have this exact tone like to the dime
Still sounding good to me 👍
fake
@@user-cu9qk8dz1t what is ?
@@philsmith214 I think he is talking about your name, "Phil Smith", as it is the same as Phil Smith's name. He believes you are attempting to impersonate him.
@@user-cu9qk8dz1t whats fake ?
@@cringychild123 been my name 59 and a half years pal
Im doing this for my trumpet practice and the tutuku bit is so hard
Try tukudu instead, I find it really helps when I play
Or TaKaDa
Triple tounge is so hard. I am teaching it at the moment
Hard to spell too.
Can i sample you
not really. cautious, slow paced, and dedicated practice will bring up results in no time. It is a matter of letting the tongue move lightly without interrupting the flow of air. The tongue should not obstruct air or become an obstacle.
practice on your GF
@John Engels or tu-ku-tu tu-ku-tu
Why did that F at the end sound so high?
Adam James he took it up an octave
that's what im saying
'Cause it was...lol
Adam,
I'm always glad to hear high notes. Esp since my accident last summer. Injured my mouth and I'm freaking re-learning my embouchure from scratch!!
Its probably the best thing for my playing but it has been a huge disappointment to lose my whole beautiful upper register!!
Prior to the accident last August I had command of everthing up to a high G. Or one whole step above Smith's last note...
But after the injury?
I couldn't play my regular way... All of my upper register inc that beautiful high G was just freakin gone...
But today my new embouchure improves daily.
Jorge Callico I recently had to reset my embouchure as well. I played with almost entirely bottom lip. My rang dropped drastically but it’s slowly coming back, and my tone has gotten pretty good.
0:34
Boom boom bap...tisssh...boom boom bap...cymbals crash
2:03
Top
I can touch the piece
Haha
This is a grade 2 in Texas :(
Same with Missouri. It is also too short to play it on its own. It's not one of Clarke's most advanced or difficult compositions. Compare it to Bride of the Waves, Debutante, The Southern Cross... Etc.
Oh this looks easy...oh
Norm
or not
ez for me
69th comment
I wonder if he got that F on the first take
vous jouez très bien mais c'est loin d'être un chef d'oeuvre .Plutot une pièce pour le conservatoire.Malheureusement les concertos pour trompettes de qualité sont rares Sinon bravo S'il n'avait pas eu maurice andre et ses transcriptions pour trompette piccolo le répertoire serait bien mince contrairement au cor en soliste et en musique de chambre voir mozart