What is winning, and how do I get it? The most appreciated parts of winning tend to be the beginning inspiration and the prize at the end, but what do you call all the stuff that make up the middle? In the end it tends to be all those middle parts which define winning more than the prize. The Denis Wick Artist and Ambassador groups are made up of professional musicians who have all experienced all the glory and humiliation that winning has to offer. Here is some great advice from Aaron Tindall on how to navigate your road to winning.
My first contact with Malcolm Arnold was in 1947 and was a memorable one. Although I had played with several amateur orchestras in my hometown, Luton, it was at the age of 16 that I saw and heard a professional orchestra for the first time. It was the London Philharmonic Orchestra, in the nearest local approximation to a concert hall, the Vauxhall Motors works canteen.
Heritage mouthpieces carry the mass of the mouthpiece in the lower region of the cup which provides the focus of a HeavyTop mouthpiece. To compensate the extra weight in the cup, Denis Wick thinned out the upper walls of the cup and underparts of the rim. This creates one of the most responsive and projecting mouthpieces you will ever try. They share sizing with the American Classic 1.5C & 3C, the Maurice Murphy 2C and 4C, and Classic 4X and 5X. What are those sizes? Find out below.
The Heritage mouthpiece for Trumpet is Denis wick's newest installment to a long list of amazing tone-producing products for trumpet players. Both the HeavyTop and Heritage utilize additional mass to provide focus to the sound, but in much different ways. While the HeavyTop provides extra mass throughout the mouthpiece, the Heritage localizes the mass of the mouthpiece to the base of the cup, and then thins out the upper walls and rim to add sparkling projecting and response to a focused foundation. Check out Denis Wick Artist Victor Haskins in this demo of both mouthpieces to get a better idea of what both can do.
My long-suffering wife said, “You’re just never satisfied!”. Many a true word is spoken in exasperation. I had tentatively suggested, in about 1969, that somebody ought to design mutes that actually played in tune and worked in every register. We had been recording film music with Bernard Herrmann, who had helped to make all those Hitchcock films such a success. He was contemptuous of the old fibre mutes that I and my LSO trombone section were using. He called them "psychological mutes” and we knew what he meant. Our trumpet colleagues were using a famous US make but they always played slightly sharp with a very tinny sound and we did not blend at all. I had found a newer American trombone mute since then, thinking that it would solve our problems. Great sound! Unfortunately, they were just too big to handle easily and on one (for me) memorable occasion refused to come out of the bell of my trombone, then finally slipped from my fingers with a…
I had always believed that I had a well-gauged sense of the risks associated with leaving my instrument unguarded in a publically accessible place. Frankly it’s a bad idea and I try to avoid doing so at all costs.
For those of us learning and working from since March, endurance practice has taken on a whole new meaning! There is a whole different sense of endurance when it comes to practicing by yourself at home. There are many distractions, it's harder in someways to motivate yourself, and the unpredictability of performing with another human does not challenge your ear and muscles in the same way. Because of this, we may need to rethink our at home practice goals and routines if our main, or only, performance opportunities are at home right now. If this is resonating with you, these tips from Denis Wick Artists Estela Aragon and Jason Klobnak are just for you!
If you haven't checked out Denis Wick Artist Josh Rzepka's "Mute Mondays", this episode is the one you want to start with. Josh will take you through details about the mutes and perform excerpts on them back to you so you can not only learn about, but actually hear the subtle differences between the mutes.
Try these sound improving tips now! Did you know that quiet practice was only a side benefit, but not the main purpose of the Denis Wick Practice Mute? Denis actually created it to be a practice tool that could be used for opening up a player’s throat for breathing, broadening the tone, and helps fix a host of other playing issues as well. Here are 5 ways you can use the mute to improve your playing this week.
Congratulations. You just earned a degree in music. You and thousands of other qualified graduates are eager to enter the workforce when you suddenly realize that your degree isn’t your passport to employment. So, what are you going to do all summer? Then, after that, what are you going to do all year? You’ve got six months before that first student loan payment arrives…
Denis Wick Artist, Buddy Deshler, can definitely be described as a quickly rising star in the trumpet world. Find out some tips and advice on gear a career from Buddy's life experience, in this interview with Denis Wick Artist Manager, Mary Galime.
In order to find your own path, looking over the maps and roads that were created by those who went before us is a huge help. Matthew Hartnett knows what it is like to start with nothing and make something great. In addition to that he has mentored a lot of up and coming musicians to find the same success he has found. This week we want to highlight Matt's achievements by sharing this recent article about him in the Houston Voyage (you can read the full article here).
Something I consider one of my biggest or at least most influential failures is something most people probably wouldn’t even think of as a failure. My rookie year of drum corps, I joined mid-season and hung on by the skin of my teeth; people I still know from that year say they don’t even remember it but from my perspective it was the first time I felt like I couldn’t catch up and achieve at a high enough level no matter what I did. My second year I came back and was infinitely better, pushed myself harder than I ever had before for anything, and the group did worse taking 13th place which is one spot out of finals. In real terms it was still a great achievement, but I was crushed because I had put in my best effort only to find out I wasn’t good enough for what I wanted.
Sometimes the line between an epic win and epic fail is nearly invisible. Here is Jason Klobnak's epic tale of the best moment of his life. In July of 2001 I was on tour with our university’s Jazz I in Europe. We were playing in Paris, London, Manchester, Belgium, and at the North Sea Jazz Festival in the Hague over the span of almost 2 weeks. On one of the last nights of performing at the North Sea Jazz Festival I had a solo that at the time seemed to come from some other place. The kind you hear others talking about that the creative was so overtaking that it seemed like I was along for the ride. The audience went nuts. As a performer, there’s probably no greater high than moments like those.
Adam Savage of the Mythbusters has a phrase-turned-mantra, "Failure is always an option." It means that if you set out to do something and try as hard as you can, you will learn so much along the way that the original goal doesn't even matter. My professional career is still a toddler, turning five years old this May, and I've been incredibly lucky during that short amount of time. That said, there's plenty I've set out to do that didn't pan out. I've taken auditions for military bands, for Cirque du Soleil (twice), for brass quintets, and I've won exactly zero of them. I've had conversations with nationally televised late night and Sunday morning news shows, and exactly zero of those have come through.