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2005 INTERNATIONAL TRUMPET GUILD® CONFERENCE
GRAND HOTEL BANGKOK, BANGKOK, THAILAND TUESDAY – FRIDAY, JUNE 21 – 24, 2005 |
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Thursday, June 23 Brian Evans presents his thoughts and theories relating trumpet playing to a vocalist’s technique and musicianship. Being a dual professional in both trumpet and voice, Brian is in a possibly unique position to compare and draw parallels between various technical and musical aspects of vocal and trumpet performance. In this lecture-performance-master class Brian will provide practical demonstrations of his ideas as well as involving students to display strategies that can be used in teaching as well as performance.
Kari Brooks, reporter From “ta, ta, ta” to “fa, la, la,” every musician searches for ways to make playing and singing easier. But what if you could find similarities in both, therefore creating one universal approach and killing two birds with one stone? That has been Brian Evans’ angle of attack for years. Having been blessed with both a powerful tenor voice and a beautiful trumpet sound, Evans definitely received the good end of the gene pool. He now teaches others his voice techniques and how to apply them to playing the trumpet in order to improve sound, breathing, and fluidity. Evans starts out by singing an excerpt from Caro mio ben by Tommaso Giordani, in which he displayed his wonderful diction and style. Singing, he explained, is nothing more than simply speaking and breathing on a pitch. The only thing about a voice as opposed to a trumpet is that you only get one! When we were younger our teachers told us to sing through our instruments. With this in mind, Brian showed the audience how when he sings, he focuses his sound through the resonant point, or “mask,” which is in the eyes and nose area of the skull. The same applies to playing trumpet…one should focus on putting sound through the horn’s resonance, not just into it. As the lecture continued, Evans discussed how to emulate the smoothness of a voice through the trumpet and also how to seamlessly transition from one note to the next, without the “flup” in between. He also talked of how to find the sweet spot in your playing/voice. Brian Evans proved that there is much to be gained by thinking outside of the box. By incorporating different techniques and approaching things in a new light, immediate progress and insight is sure to be found.
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Prelude |
