The student sounds the best when he/ she imitates great sounds and goes for great musical end products, rather than manipulating structures of the body in order to get musical results.
I've picked up the trombone a week ago, the first wind instrument I play and this has been sooo informative, even if I never come to play anywhere close to this!
@@42SV692s I took some introductory lessons, but online due to the pandemic which has been ever raging here in Brazil. It is difficult to have classes online, as the call quality is not always the best. It helped me start off with proper posture and embouchure, I guess! Hopefully I can take some further lessons next year.
God band directors are a pain. They know exactly what they're talking about but none of them have any clue how to say it. Like he's clearly just telling the kid to make sure he hits the accents on the beat and he has to say some nonsense about how he wants him to "make sure that every single note has your focus and your most wonderful sound". He keeps saying meaningless or subjective shit like "play it with heart" when he's clearly just asking him to play more legato and with less strong accents. Everyone's classically trained there and knows the same terminology but band directors just tend to be the sort of people who don't give a shit about that kind of thing. 47:50 we've all been there when the adjudicator/special guest/whatever gets a little too carried away and makes you do something in front of the crowd that makes you want to curl up and die
@@AyushZ22 I do not mean to lessen the importance of people like Jesper Sorensen or the huge value and opportunity that listening to and learning from an expert musician like him is. While my language was admittedly casual and a little rude what I was meaning to get across from my comment was simply that professional musicians and people in that space like band directors, music teachers and adjudicators are often the artistic sort of person who describe technical things in abstract and emotional terms and that it can be frustrating or difficult to translate the great advice they're giving into something more concrete/practical. I do not mean to seem like I'm discrediting or insulting anyone nor do I want to appear like I'm giving advice from an expert's point of view as I'm of course not one. I'm only reminiscing over the kind of thoughts and feelings other music students and I shared with eachother way back in the day during my years taking learning a musical instrument seriously.
I get what u mean. But certain phrases when attached to emotional and more human feelings will more likely produce the result wanted. When you are asked to play more legato, many people will focus too much on the technical espect and not on the musical one. Osinato staccatos can be just described as that, however the feeling it is trying to convay can be different according to the piece. It can be light and bouncy or sharp and brash and many more. Musical notations are not perfect, that's y conductor often bring in emotion when describing what they want I personally feel that music is almost all emotion and putting too much emphasis on the technical espects of music can actually negatively affect it
![[PMF 2019] Open Masterclass ~Trombone~ ／ PMF公開マスタークラス～トロンボーン～](http://i.ytimg.com/vi/xdrPkrilg3U/mqdefault.jpg)
![[PMF 2019] Open Masterclass ~Trombone~ ／ PMF公開マスタークラス～トロンボーン～](/img/tr.png)
さすがはマスタークラス！演奏のレベルも高いが先生の的確な指導のおかげで生徒さんの演奏が良くなってる。
The student sounds the best when he/ she imitates great sounds and goes for great musical end products, rather than manipulating structures of the body in order to get musical results.
18:45 tatatatata
27:20 tuwa
37:04 slide tonguing
This is great! The trombone is capable of so much expression. After 54 years of playing, I am still learning.
Thank you for uploading.
Jesper is one of my favorite trombone players if my top favorite
上手すぎ、、、
Beautifull!!!Thank you.
32:15 high register tutorial
Amazing 🤩
I've picked up the trombone a week ago, the first wind instrument I play and this has been sooo informative, even if I never come to play anywhere close to this!
I can't put recommend picking up a brassinstrumet! Have you considered taking lessons?
@@42SV692s I took some introductory lessons, but online due to the pandemic which has been ever raging here in Brazil. It is difficult to have classes online, as the call quality is not always the best. It helped me start off with proper posture and embouchure, I guess! Hopefully I can take some further lessons next year.
講師は神レベルだけど、生徒もクッソ上手いな
Great teaching here
21:00 〜 演奏は言うまでもなく教え方も素晴らしい😱
I’m glad that I’m in quarantine
Amazing performance!!
Great video , very interesting
bravooooo
What is that kind of trombone?
Does any one know what horn the student is playing on? I think its the bach prelude but im not sure
I think it’s a Conn 88H
@@FzBone198 also recommend Conn 88H
It might be a newer conn 88h but the sound isn’t as good as a older conn from the 60s. He needs a better trombone.
I think Jürgen Voigt J-188
A German guy speaking English to Japanese translator.
He is Danish.
What is the name of those pieces ??!?
Derek Bourgeois concerto for trombone
breathing tips 100% gießkanne
Was bedeutet das? 🤣
breathing tips : how to not become better
Yes😂😂
The student sound more tunned than the master.
通訳が意訳にしてもはしょりすぎ
まじでそれ思いましたw
God band directors are a pain. They know exactly what they're talking about but none of them have any clue how to say it. Like he's clearly just telling the kid to make sure he hits the accents on the beat and he has to say some nonsense about how he wants him to "make sure that every single note has your focus and your most wonderful sound". He keeps saying meaningless or subjective shit like "play it with heart" when he's clearly just asking him to play more legato and with less strong accents. Everyone's classically trained there and knows the same terminology but band directors just tend to be the sort of people who don't give a shit about that kind of thing.
47:50 we've all been there when the adjudicator/special guest/whatever gets a little too carried away and makes you do something in front of the crowd that makes you want to curl up and die
dawg just shut up you dont know what youre talking about, these guys are there for a reason and hes not a "band director"
@@AyushZ22 I do not mean to lessen the importance of people like Jesper Sorensen or the huge value and opportunity that listening to and learning from an expert musician like him is. While my language was admittedly casual and a little rude what I was meaning to get across from my comment was simply that professional musicians and people in that space like band directors, music teachers and adjudicators are often the artistic sort of person who describe technical things in abstract and emotional terms and that it can be frustrating or difficult to translate the great advice they're giving into something more concrete/practical.
I do not mean to seem like I'm discrediting or insulting anyone nor do I want to appear like I'm giving advice from an expert's point of view as I'm of course not one. I'm only reminiscing over the kind of thoughts and feelings other music students and I shared with eachother way back in the day during my years taking learning a musical instrument seriously.
I get what u mean. But certain phrases when attached to emotional and more human feelings will more likely produce the result wanted. When you are asked to play more legato, many people will focus too much on the technical espect and not on the musical one. Osinato staccatos can be just described as that, however the feeling it is trying to convay can be different according to the piece. It can be light and bouncy or sharp and brash and many more. Musical notations are not perfect, that's y conductor often bring in emotion when describing what they want
I personally feel that music is almost all emotion and putting too much emphasis on the technical espects of music can actually negatively affect it
わたしのダメ出し スライドを引きずるな リップいのちでしょ。そしてもっと音はソフトにやらわかにです 魅力ないわー