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Totally new aspects.... never heard before

This is counterintuitive. You cannot prepare for a job until you win an audition. Once you win an audition, then you can prepare for the job, every orchestra is different and plays different repertoire. I play in an opera orchestra and we do musicals almost 50% of the time. In other opera houses they play musicals maybe 10% of the season or less. We do 4 symphony concerts a year, some do 8 or more. Why look at whether you can play the whole next season BEFORE you even have your technique and musicality in order for all the excerpts and concertos at the audition? That’s like saying to a high school student “you have your entrance exams that you’re prepared for, but can you write a 50,000 thesis yet?”. Get your technique and musicality in order. Win the audition. Be a nice person that is dedicated every day, ask for feedback from the orchestra boss and the people in your section in higher positions if you’re not the principal. Learn on the job. You will make mistakes. Be ready for every program at least a few weeks before. Nuff said. “Are you ready for retirement?”.

Excellent advice! There’s more to music than just the relevance of your own instrument.

Chick Corea was a genius (that word definitely applies here). I love his piano concerto and now this! Can't wait to hear it!

I don't think people will want to listen to that trumpet music

She sounds like a trombone.

Maravillosa!!!

Thank you 😊

awesome

☠️🤣🤣🤣

She's still talking about Trumpets, right? RIGHT??

"It just felt good, period" "What are you doing it's so big" "But it feels so good" "Because it fits around your top teeth" I questioned my professionalism when I realised she's talking about the other kind of horn sorry

Absolutely correct❤❤

Gotdamn she has a beautiful tone

Qué maravilloso sonido! Es Usted extraordinaria, realmente una excelente ejecutante del french horn.

Maravilloso sonido, muy bonito!!! 👏👏👏

It definitely doesn’t sound any different. But it does feel different. The best way I can describe it is that gold feels more pillowy and doesn’t really seat as well, and silver has more of a bite but seats better. I was never a big fan of gold mouthpieces personally, but a ton of players love them.

Not really sure why he had a glissando to Ab at 1:18-1:19?

Bro I play trombone and she’s just messing around playing random things but my goodness does she sound amazing

Sounds like he has a mute in

Was this recorded with a five dollar microphone?

Probably the best rendition of this solo ive hearf

A trombone

Subdividing 16ths and playing them built into the melody. Helps me stay grounded in tempo.

Advancing your career is about more than just how you play, it's what you know.

Which Laskey mouthpiece is your favorite?

We are proud to be continuing Scott Laskey's incredible legacy.

That's pretty epic, indeed!

Military band members, what are some highlights of your career?

The mental preparation is just as important, if not more so, as technical preparation.

The more you listen, the more you know!

Do you have any tips for practicing for professional auditions?

What brand of earplugs are you using Joe?

'Nothing too complicated' is crazy bro reached high d (above C above middle C) in one of the arpeggios

Can we have more Sheridan videos please?

I’ve always assumed gold mouthpiece musicians are secret pirates

When I was playing a lot - gold plated mouthpieces were easier to play for a long period, especially at loud volume levels. Your mileage may differ.... 🙂

In my case: Courtois Legend AC550bh bass trombone, Doug Elliot custom mouthpiece, Ergobone harness, Yamaha slide lubricant, La Tromba T2 valve oil, a water spray bottle, some Allen keys and small screwdrivers, Hermann tuning slides lubricant. In my mute bag: Denis Wick Cup mute, Tom Crown straight mute, music reading glasses, pencil case, Boss Brass and Woodwind tuner, Boss DB60 metronome and my two music folders… one for each wind ensemble.

probably the best Eb I have heard in my entire life of existence

I’ve just tried a Laskey for the first time….what can I say? I thought that comments about them were just sales pitches. Not so... I’ve played Gregg Black (another great maker), and Griego (also great), but Laskey was a jaw-drop moment. It’s the most balanced mouthpiece I’ve ever used. I’m on the Alessi 67 solo and symphony. The symphony is deep - like a 4g, but it feels easy. The 67 is wide, like a 2g, but it’s so well-balanced that I’ve adapted in only a couple of weeks. I used a Griego 3 before. Wonderful mouthpiece. I won’t be changing.

Hrhhrrr hrrr thrRhh

Man's playing is crispy!!!😮‍💨🙌🏾🙌🏾🙌🏾

is no one seeing his mouthpiece scar.

ワルキューレの騎行！

I didn't realize this was an ad. Didn't learn anything.

Brilliant. On Saxes & Clt I thought it was finding a good reed. Warm up is checking breath control, intonation on 8vs 5ths & 4ths... That Arbans Brass approach works. On Woodwind, fingers do as they're told but it don't mean a thing if you don't Sound right. Thank you for reminding us of that. Your sharing of ideas helps a lot of other wind players. Thank you.

Recently switched from my silver shilke 51d to a gold denis wick heretige 5ABL and im loving it.

Es tu, brutus? Snake-oil and carpet-bagging. "Gold looks somehow...'golder' than silver, but...silver looks...how was it explained to me...more silver than gold." "BUT...I was told to say (lest I offend against a purchase), that that 'might' not be the case for everybody. Hopefully none of you are as color-blind as your are tone-deaf. How then will we cause you to buy multiples of the same thing to make additional money from delusion posing as ambition? LOL!

I played this in World Youth Orchestra in the 70's. The night before the concert we were out having dinner, and I got up to leave, in advance of the group, to spend some quiet time reflecting upon what...'risks' I might take with my solo. The principle oboist, with whom I been struggling to flirt despite language problems, asked me where I was going. I said I was going to work on my solo, and she said, 'what solo?' I said Bolero of course, and she said, "There's a trombone solo in Bolero?' I first thought it was a joke, then a language problem, but it wasn't. Indeed, most of the young principle woodwind and string players, for whom soloing was a daily affair, had never made, or factored an independently advised (by account of its technical challenge and consequence) or consideration of trombonist's 'learned' anxiety over a simple...throw-away...'statement of the theme'. In fact, most did not even account it 'as' a 'solo' as such for what little ensemble consequence it had. It was on that occasion that I was...'schooled' anew, to receive the greatest gift of contextual reorientation a teenage trombonist could ever hope for. I only ever played it once again, but I never lost any sleep over it after that fortuitous moment. If you want to win peels of laughter from other orchestral principles, talk to them about the 2nd trombone 'solo' in Scheherazade. LOL! I left Aspen the year prior to my first stint in WYO because we spent 2 hours talking about it. This acculturated 'low' brass-esteem (pun intended) is why first trombonists are generally called principles rather than soloist!

Timooooo the trombone itself