Archived under: Lists & FAQs | Brass players
Two Low Brass Master Classes
Yesterday at Arizona State we had not one but two master classes with low brass guest artists, Joseph Alessi and Jason Ham.
First up was Joseph Alessi, Principal Trombone of the New York Philharmonic. After a short, great performance with piano he worked with two students. The one pull away comment I took from him related to working on excerpts. The student played them well but for one in particular Alessi asked him what the orchestra played right before his entrance. When the student replied that he did not know Alessi said “‘I don’t know’ is never the correct answer.” He further explained to the class that you have to have the music going before your entrance in your head to play it really convincingly. For a horn example I can’t imagine playing the Shostakovich 5 low tutti excerpt well without clearly thinking two bars of the piano part before the entrance. Piano part? If you are not sure what I mean listen to it and memorize it.
The very next hour we had a master class with Jason Ham, Euphonium in the West Point band. I missed the beginning of his class but wish I could have seen it all. Toward
the end he addressed the topic of hesitation attacks. His angle was the game of darts. A good attack has very much the same form and feel as a good throw of the dart. It is tempting to set up a board in my office to give people the feel, it is actually quite a good example visually and for the feel of the attack being in one motion, just like a good throw of a real dart.
There were many other points in each class. These are both players you should see present classes whenever you have the opportunity. And check out their websites linked above, there is much to be found in both.
Related to this article
- Background on The Brass Gym for Horn
Very early in my tenure at ASU I realized that Sam Pilafian was accomplishing some very interesting things with his breathing/warm-up class and warm-up materials in the tuba/euphonium studio. I was aware of these materials before I arrived at ASU– unpublished versions of his warm-up materials... - A Couple Classes I Wish I had Taken as an Undergrad
There are a couple courses I wish I had taken as an undergraduate–courses normally taken by music education students. While my undergrad degree is in performance, I actually started out doing a music business degree program with the goal of becoming an instrument repairman. Part of... - Thinking about Grad School? Think about your Music Theory Classes Now
Back on 4/14/05 I put up a short post on my original HTML blog about theory classes. As we are in the midst of auditions this post again came to mind, the target audience being younger undergrad horn majors who aspire to make it on the... - A Master Class with Philip Farkas
One of the guest artists at the 1989 Southwest Regional Horn Workshop was Philip Farkas. Among the materials I inherited from then ASU Professor of Horn Ralph Lockwood were five VHS tapes of sessions at that workshop, which I am now converting to DVD format so... - The Potsdam Brass Quintet Celebrates 40 Years
How many currently active brass quintets have reached 40 years? Not many, the only three that I know of are the American Brass Quintet (1960), the St. Louis Brass Quintet (1964) and the Potsdam Brass Quintet (1968), the faculty brass quintet of the Crane School of... - Friedrich Gumpert, Master Teacher of the Horn
Often hornists will look back on their “genealogy” in terms of who their teachers were, the teachers of their teachers, etc. A number of my teachers were Farkas students and I took several lessons with Farkas directly, so this would be a major influence if I... - Nerves and Accuracy
One thing I have become convinced of lately is that certainly there are non horn players who think that horn players miss notes mostly because of nerves, as in that is the main reason horn players would ever miss notes in something we have worked out...





