The before-&-after comparisons are striking. I thought you would demonstrate the two approaches in your living room so we could closely hear what you’re doing in the “correct” hall version.

This is terrific. In orchestra, or in any context where the listener is back in the hall, what we hear is not what they hear. And what they talk about with the brass in general listening to the principal trumpet setting the tone for articulation and style is not talked about enough but is so important. It's not that the principal trumpet is more important than any other part, its that we (they) are usually the highest part in the brass, we do end up being the the QB for the brass section. Over the years, I've gotten feedback from other instruments that what I do as principal trumpet often sets the tone for other sections. It's a really critical role and an awesome responsibility.

This is an awesome video, thanks for doing yeoman’s work and clearly presenting this. Definitely changes things in my conceptualization.

Great content guys! My undergrad professor always said that as a musician you have to think like an actor on a stage. From where we sit in the audience they look normal but when you meet them face to face the amount of makeup they wear makes them look strange.

Fantastic demonstration and so many actionable ideas. Thank you both

This is interesting. Dave Monette often does tests of his horns outside from 400 feet away to show how the sound carries. He also does a video with Manny Laureano in the hall as your doing and videos him up close and far away to demonstrate what the horn does close and far

This is GREAT! I feel like coming to Bama now! LOL Many professionals don't want to dive into this topic, but it really does make a huge difference when players are aware of these factors. It actually goes deeper than articulation. There are students of Arnold Jacobs who talk about how...and get ready for this...a musician might need to play with a CRUDE SOUND on stage as it may end up sounding spectacular in the hall (Full transparency: I have never be able to let go and sound "bad" for the greater good). This is an issue that can get quite complex because variables change when playing in a different hall. They also change when making orchestra recordings depending on mic placement. We are only human, so I guess the best course of action would be to set up a recorder quickly and see how you sound (either somewhere in the hall if it's a concert or close if it's a recording). The real problem would be a live broadcast or a concert that is being professionally recorded with mics near each stand because you can't play two different ways at the same time. While doing this, be sure to remain disciplined and don't add any false accents, etc.

When you audition, do you adjust your playing based upon the judges’ distance? Do you even know their distance if you’re behind a screen?

Now I want to play in a big hall again

Hi Ryan, thanks for your videos and what a nice sound. Excuse me, what model is your trumpet? greetings from Mexico

I enjoy your videos and the two of you together were particularly fine. So I have a question. Sometime ago in the universe far far away, I was principal trumpet of the Podunk Philharmonic. When I did the Tchaikovsky, I always tried to play the note before the 16ths very short to make sure the 16th stood out as exciting. Think Roger Voisin. Your thoughts?

But you sound great ! 🎺

I don't actually know if this is true, but one of my teachers told me once that part of the reason that Tchaikovsky wrote the trumpet parts at such outrageous dynamics is that the instrument technology wasn't as good, so he was always asking for more in those places from the players. Also, gotta give a shout-out to the phrase "way up in the nosebleeds." When you actually think about it, that term is so, so ridiculous, but we use it all the time.