A wonderful interview with one of the best musicians I’ve ever had the opportunity to work with.

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Aqua Utopia|海の底で記憶を紡ぐ
hello vonnie
dirt enthusiast
h
NASA
trying on a metaphor
Jules of Nature
cherry valley forever

Kaledo Art
will byers stan first human second
almost home
I'd rather be in outer space 🛸

pixel skylines

oozey mess
Lint Roller? I Barely Know Her
noise dept.
he wasn't even looking at me and he found me
Alisa U Zemlji Chuda
occasionally subtle
seen from United States

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seen from United States
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seen from United States
seen from United States
seen from France
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seen from United States
seen from Indonesia
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seen from Germany
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seen from Türkiye
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seen from Australia
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A wonderful interview with one of the best musicians I’ve ever had the opportunity to work with.

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Not feeling to inspired to practice all those d-minor scales this week? Read this article from www.bulletproofmusician.com
TMEA All-State Bootcamp Week 1 - Introduction & Wurm Etude No. 26
Staring today and continuing until All-Region auditions at the start of December, I will be posting weekly practice suggestions to help you prepare for the TMEA All-State process. My goal in these posts is to suggest some supplemental material take can boost your fundamentals that you can then apply to the etudes. For a while we will focus on one etude a week but as we get closer to the audition date we'll make sure to keep all three etudes under our fingers. Be sure to come back every Monday at 9:00am CDT for the latest installment.
Week 1 - Wurm Etude No. 26
The hard great thing about playing in minor keys is you're really dealing with three scales in one. In order to comfortably play this etude the performer should be comfortable with the d natural minor scale as well as harmonic and melodic minor. In addition to having our fingers feeling at home in d minor we need to make sure our tone is solid throughout the range on the piece (two full octaves from low b-flat to high b-flat.)
This week's practice regimen comes from the Arban's book.
I. First Studies - No. 34 III. Scales - No. 57-62 III. Scales - No. 71 (Note: depending on which edition you're working from the pages numbers can be different but the chapters & exercise numbers should remain the same.)
For all these exercises, be mindful of the key signature. The Arban's book has a lot more studies in major than in minor so we're going to change some things to make this work for our needs. For each of the exercises, change the key signature so you are working in d-minor. Furthermore, be sure that you are practicing in all three types of minor scales (adding the necessary accidentals as you go.)
If these studies don't appear difficult to you from the start, it might be tempting to start flying through them at top speed. Be sure to keep in mind that we are working on two aspects of our performance this week, fingers dexterity and tone quality throughout the range. My suggestion is to start the week at a slow tempo and really focus on the quality of your sound. Can you make those high A's sounds just as full and dark as the your middle register? Over time you will build up your muscle memory in the fingers and by the end of the week you can push up the tempo. Lastly, be sure not to cut the staccatos too short, we want to insure we are playing with a full tone all the time.
Best wishes as you begin your journey!
www.jeffsummers.com
TMEA All-State Bootcamp
Greetings fellow trumpet players. Starting Monday I'll be starting a new series called "TMEA All-State Bootcamp". It's going to be a weekly series giving practice suggestions for anyone working on the Wurm etudes that are part of the TMEA All-State process for 2014-2015.
Please be sure to come back every Monday morning at 9:00am CDT for the latest installment. Until then happy practicing and have a wonderful weekend!
www.jeffsummers.com

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TMEA 2014-2015 // All-State Band Audition Etudes // Cornet/Trumpet // Selection 3
TMEA 2014-2015 All-State Band Audition Etudes Cornet/Trumpet
Wurm – 40 Studies for Trumpet
Selection 3 Etude Title: No. 38 Tempo: Quarter Note = 84-100 (Play from beginning to end) Errata: The articulation in m. 1 should match that of m.5. The F in beat two of m. 8 should be an F-sharp. The third beat of m. 28 may be treated as an 8th note as in mm. 8 & 16
Performance Guide:
This is a stylish piece, which has traditions in Polish dance that should be played with a great deal of character and exaggerated expression. If the etude is played too fast the style will not have as much musical impact. Special attention should be paid to the dynamics and mixed articulations. Taking care to begin the etude "piano" as marked and returning to the soft dynamic at mm. 9 and 32 will create an appropriate mood.
All trills should evolve from slow to fast rather than just a blur of fast notes. It is suggested that the notes at the end of mm. 8 and 16 be played with plenty of length for a musical release. This is also true for the quarter note at the end of m. 24. The performer is encouraged to play the dotted 16th notes in mm. 26, 27, 30 and 34 full value and the 32nd notes clearly for good musical affect.
Extra dynamics should added to express the performer’s musicality, particularly slight decrescendos or tapers at the ends of certain phrases (mm. 16, 24, etc.).
(visit TMEA.org for the latest information)
TMEA 2014-2015 // All-State Band Audition Etudes // Cornet/Trumpet // Selection 2
TMEA 2014-2015 All-State Band Audition Etudes Cornet/Trumpet
Wurm – 40 Studies for Trumpet
Selection 2 Etude Title: No. 36 Tempo: Dotted Quarter Note = 40-52 (Play from beginning to end) Errata: M. 4 – the three 16th notes after the first note should be slurred. M. 21 – the two 8th notes on beats 4-5 should be slurred.
Performance Guide:
This is a very expressive and soloistic study that challenges the performer to demonstrate beautiful phrasing, quality of tone and control of the instrument from low F sharp to high C. This piece should never sound anxious and can be played with an appropriate sense of rubato. Phrase endings can slow down naturally, allowing for a good breath before beginning the next phrase (mm. 8, 16, 27-28).
The first two notes of m. 23 can slow down, allowing time for a good breath for the next phrase. M. 24 should not be rushed, rather played expansively as it leads to the subito pp in m. 25. The overall rhythm of the etude should be mastered first without the trills or grace notes. Adding these later will solidify the musical phrasing and overall learning process. As trills are added resist the temptation to play too many notes. The trills and grace notes (always placed before the beat in this style) should sound appropriately elegant, not hurried or compressed.
Though the overall dynamic is marked piano, the tone should always sound full and the performer, comfortable. There should be moments when a mf dynamic is reached for the sake of contrast. It is often helpful to think of the softest dynamics in a soloist way and as a color or character, rather than with just a concept of volume. Repetitive rhythmic figures such as those found in mm. 21-23 should be crafted and shaped for the sake of musical contrast and effect.
(visit TMEA.org for the latest information)
TMEA 2014-2015 // All-State Band Audition Etudes // Cornet/Trumpet // Selection 1
TMEA 2014-2015 All-State Band Audition Etudes Cornet/Trumpet
Wurm – 40 Studies for Trumpet
Selection 1 Etude Title: No. 26 Tempo: Dotted Quarter Note = 60-72 (Play from beginning to end) Errata: none
Performance Guide:
This etude in composed primarily in key of d minor. It will be very useful to become fluent in this key separately from the etude by practicing various scale patterns focusing on the d harmonic minor scale (which includes B-flat and C-sharp). Diminished 7th chords (made up of all minor 3rd intervals) are also present and should be mastered apart from the etude (mm. 24, 29, 34).
The only dynamic marking is mf, allowing the performer to craft the dynamics and phrasing according to their own taste and to convey a creative sense of musicality for the listener; efforts should made to provide clear dynamic contrasts throughout. It will be helpful to consider this etude in five parts: mm. 1-12; 13-21; 21-28; 29-downbeat of 36; 36-end.
It is appropriate to add a slight ritard at the end of each section to aid in preparing for a healthy breath for the next section. Careful attention should be given to the pitch on the low D’s and C- sharps, using the valve slide(s) to make proper adjustments. Though the non-slurred sixteenth notes are marked staccato, the performer is encouraged to play all these with a healthy tone and length (not too choppy) rather striving for the “illusion” of staccato. The proper sense of contemporary staccato style can be achieved by playing slightly detached or separated eighth notes and tonguing long 16th notes with a firm attack.
(visit TMEA.org for the latest information)
Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
Ira Glass
not really, but seriously

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It’s late, but I can’t sleep because the bomb squad trucks keep driving past and they’re very loud. I know that I’ll wake up tomorrow to a new city; a city still absorbing the shock, a city getting used to it’s new pre- and post-.
I’ve got the picture Jocelyn took on her way home from breakfast...
A gorgeous campus photo by Amyn Kassam.
I miss Austin.
HSO $1 Concert (Taken with Instagram)
Picked up this old concert announcement while in Vienna (Taken with Instagram)
Free, automatic espresso machine at breakfast? Yes please. (Taken with Instagram)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Welcome to Salzburg (Taken with Instagram)
Statue of Herbert Von Karajan in Salzburg (Taken with Instagram)