To assist musicians as they express themselves on their chosen platform, is very purpose driven. Tip of the hat to your willingness to serve those you relate so well with. You will do exceptionally well, enjoy your journey as you without doubt will uplift others! wade-bergner.com. Namaste, Wade
Freedom For Musicians is well into changing the world of “Notes”.
Seems to be an affair of the heart where you are pouring in everything you have. And the results are coming through load and crystal clear.
Amazing how proud you should be the emotions behind which are like music to my ears.
Susan Patricia Connor Lewis
Director / email@example.com
What an amazing site!
I love the energy of it! I am not a musician myself, but I do love music. Your site is easy to navigate and it’s easy to find everything I was looking for. The best thing is I have found some new music that I really love – the artists are amazing and I’ll be keeping a close on the updates! I look forward to checking through more of some of your amazing music. Thankyou!
Karen and Jacky
Thanks for providing a fabulous platform
As a musician myself I really love what I’m seeing here. I don’t perform professionally any more but did so for many years with my partner. These days we still write, record and play and are in the process of creating an archive website for our back catalog to live on. We were slogging away way before Facebook, Youtube and all the other social platforms existed.
A Quiet Revolution
Freedom for Musicians seems like a really innovative concept for musicians to promote and distribute their digital music. I admire the work you are doing in this industry to solve the problem of exploitation by the big labels and distributors. I look forward to seeing the success of Freedom for Musicians.
This composition, a flashy concert piece with piano accompaniment, is designed to test the aspiring trumpeter. It is deliberately very scalic in places and showcases the performer’s double tonguing, dexterity and range.
Coba is an ancient Mayan city in Mexico and the Rain Dance depicts the chaotic climb to the top of the Nohoch Nul pyramid (137 ft.). The Mayans dance to keep rain at bay as the dark clouds make their way towards the summit.
Ashley Buxton Bmus(Hons) -Brass performer, teacher, composer, arranger and conductor.
Ashley Buxton is the Director of Music at a Grammar School in the Midlands. He has an impressive background that includes 12 years as a trumpeter in the Regimental Band of Her Majesty’s Coldstream Guards. Ashley joined the Army at 18 as a professional Trumpeter and was awarded the Besson Brass Player of the Year 2000 at the Royal Military School of Music and the Royal Military School of Music Certificate for Exceptional Proficiency on the Trumpet/Cornet. His career enabled him to travel and perform on live TV, at a royal wedding, on 36 commercially recorded CDs, at Live 8 and in premier concert halls around the world. Having gained a BMus Hons Degree in Music from Trinity College in 2007, Ashley left the army for a career in teaching in 2011. He gained Qualified Teacher Status with Bromley Schools’ Collegiate and Bullers Wood School and is currently enjoying working with musicians and students in the Midlands. In his spare time, Ashley can be found working on commissions featuring compositions/arrangements for a multitude of instrumentalists, ensembles and media.
The Stratos Brass Embouchure Training System is an adjustable attachment for all brass instruments designed to improve your embouchure. The Stratos Embouchure System helps to reduce mouthpiece pressure by counteracting the natural urge to pull the instrument closer to your face. This will directly improve your range, power, tone, stamina and overall playing. The Stratos System is handcrafted in the UK from high-quality aviation grade polished aluminium and simply attaches to the leadpipe of any brass instrument.
Power Without Pressure
The Stratos Brass Embouchure Training System is a high-quality practice aid which reduces mouthpiece pressure and ensures a good jaw position. Excessive mouthpiece pressure restricts the flow of blood to the lips which results in reduced stamina. This is because the muscles at the sides of the lips are hardly being used and these muscles determine lip tension. The Stratos System encourages a balanced “floating” jaw position by reducing mouthpiece pressure and ensures the correct muscles are used. By using the Stratos System to encourage the correct position, musicians will develop an even tone throughout the entire range of their instrument.
The Stratos Embouchure System is incredibly versatile and can fit onto the leadpipe of any brass instrument. The system is easily adjustable to ensure the sprung cushioned cup sits comfortably against the musician. The Stratos System is handcrafted in the UK from professional aviation grade aluminium which is then polished to match the aesthetic of your brass instrument.
“I want one and I want it now”Jens Lindemann CM – International Trumpet Soloist
“STRATOS is particularly useful in my warm-up, to focus my mind on the basics of a good embouchure set-up. Really useful … a great bit of kit”David Pyatt – Principal Horn, London Philharmonic Orchestra
“As an educator and a trombone player, I was so amazed with the STRATOS as a beneficial aid for the chops (lips) that every brass player should have. I believe this to be an invaluable tool for busy educators like myself. I would recommend it to all brass students.”Lord Chris Jeans – International Trombone Soloist
FFM’s Uganda Ambassador, Innocent Wodonya is raising money to help young musicians in Uganda. They need to buy instruments to continue the fantastic work already being done by the David Kiwana Wind Orchestra. Please visit their GoFund Site and pledge a few pounds/dollars/yen to help them give music to young people in Uganda.
“We are a starting a wind classics band and we intend to give chance to our players to play music and we really need your support for us to do it please whatever you give will help give a chance to one African child to play music . Thank you all friends around the world .
Help spread the word!”
The international language of music spreads love and friendship around the world and FFM Records will ultimately record and distribute a digital album for our Ugandan friends to create a sustainable source of income for the future.
The music education outreach that music provides is a priceless lifeline for many Ugandans creating opportunities for personal development much needed in the area.
Please help us help these wonderful musicians be the best they can. Roger Moisan LTCL PGCE
(CEO Freedom For Musicians)
The band was formed in 1981 and is made up of former musicians from the seven regiments of Her Majesty’s Household Division Bands namely:- The Life Guards, Blues and Royals (now the Household Cavalry Band), Grenadiers, Coldstream, Scots, Irish and Welsh Guards Bands. The present Household Division Musicians Association Band follows a long tradition of music making by musicians from these famous regiments.
Most of the members are still playing in leading London Orchestras, London Theatres, or teaching in music colleges and schools throughout the country.
The Band performs at numerous public and private engagements, most notably The Chelsea Flower Show, Eastbourne Bandstand, and at The Royal Hospital Chelsea. The Band rehearses at The Royal Hospital Chelsea, with which it is proud to be associated.
The band rehearses once a month on a Sunday morning from 10.30am – 12.30pm at The Band Room at The Royal Hospital Chelsea.
David began his musical career at the age of 13 as a trombonist for Barnstaple Town Military Band and Bideford Town Brass Band. In 1987, he joined the Army and was posted to the Band of the Worcestershire and Sherwood Foresters Regiment. During his two years at the Royal Military School of Music, David took a change of course, studying flute and classical piano under Graham Mayger and Veronica Clayton respectively. It was while he was at Kneller Hall that David discovered his passion for writing band arrangements.
After postings to Northern Ireland and Cyprus in the early nineties, David successfully passed an audition for the Life Guards Band of the Household Cavalry. During a series of summer concerts for the Household Cavalry band, David was persuaded by the Director of Music to take yet another musical change: he became the principal oboist of the Band, a position that he held until he left the army in 1998. During his military service he has performed all around the world, playing for all the members of the Royal Family, The Lord Mayor of London, as well as countless Ambassadors and diplomats.
Everyone starts playing trumpet at different ages, but we all start as beginners. From the first cracked note to all three movements of the Haydn Trumpet Concerto, teachers from all around the world skillfully nurture their students’ talent on the trumpet.
TRUMPET PLACE is a website dedicated to bring trumpet students and teachers together in a collaborative space. It seems that many trumpet players in school don’t take lessons, simply because they can’t find a teacher!
If you’re a trumpet player, TRUMPET PLACE is the new online trumpet hub for students, teachers, and performing players throughout the United States. The mission of this website is to provide an affordable listing tool for teachers, so that they can keep doing what they do best: teaching the next generation of trumpet players how to fanfare, flutter, and feel that jazzy rhythm.
One of the most difficult parts of being a trumpet teacher is finding private students. It seems that less and less musicians go into private teaching because not enough students want to take private lessons. The truth is, they don’t know where to find us!
Whether you choose to teach virtually or in person, TRUMPET PLACE provides the platform for students to find you where you are. Help parents learn about your location, your schooling, credentials, and any other information to help them make a decision.
“Though there is too much poverty, too many wars, too much hatred and divisiveness in the world, we believe that with love, understanding, kindness, compassion, warmth, respect and humaneness, this beautiful world of ours could be a much better place for every woman, man, child and all of the animals, creatures and nature that live on our planet.”
All proceeds are dedicated to the Louis Armstrong Foundation
On 20th March we celebrated the 100th anniversary of Bernd Alois Zimmermann’s birth. For this reason, many concerts featuring his compositions will be performed worldwide, including one of his most famous works, the Konzert “Nobody knows de trouble I see” für Trompete in C und Orchester. This week, the Helsinki Philharmonic Orchestra under the direction of Fabien Gabel and with Håkan Hardenberger as soloist, will play it on 23 March, and on the following day it will be performed by Paul Hübner together with the WDR Sinfonieorchester, conducted by Brad Lubman in the Funkhaus in Cologne.
Originally, the NDR commissioned Zimmermann to compose a piano concerto. However, by referencing the existence of countless piano concertos, Zimmermann was able to convince the NDR to promote the trumpet, which was somewhat neglected as a solo instrument, thereby making repeat performances of the work more probable. He had already made drafts of a trumpet concerto years earlier and completed them after he was commissioned. It was premiered on 11 October 1955 in the Studio X in Hamburg with the Sinfonieorchester des Norddeutschen Rundfunks and the trumpeter Adolf Scherbaum under the direction of Ernest Bour. At the time of the world premiere, the work was titled “Darkey’s darkness”. After a few years, however, Zimmerman learned that the word “Darkey” was used to describe a person of color in a contemptuous way, so he changed the title of his work to “Nobody knows de trouble I see” in reference to the spiritual that is used in the composition as cantus firmus.
Bernd Alois Zimmermann – Trumpet concerto: Crossover to reconciliation
The spiritual is at the center of the concerto and its structure is similar to that of a chorale prelude. Apart from this modern kind of a cantus firmus, Zimmermann also uses jazz elements and a twelve-tone-row as the basis for the composition. This special row appears frequently in Zimmermann’s work: It is also used in his Concerto for oboe, his film music for “Methamorphose”, and in his ballet Alagoana. By fusing these three formal principles, Zimmermann hoped to demonstrate a kind of fraternal connection in the music in response to the political realities of his time. As a soldier in the NS-regime and during the composition of the piece, Zimmermann’s awareness of the struggle of people of color in the USA to achieve equality and overcome endemic racial discrimination was heightened. He honors this struggle in the spelling of the title: Instead of “the”, Zimmermann uses a spelling based on the sound of the word as it was passed on through oral tradition, “de”.
“By the way I have recently finished a trumpet concerto with the title “Darkey’s darkness”. The negro spiritual “Nobody knows de trouble I see” underlies the work and the musical characteristics of the spiritual inform and imbue the work with the struggles of the coloured people.” –Bernd Alois Zimmermann, 1954
After this week’s concerts, the concerto can even be heard again. On 6 April, it will be performed by the ORF Radio-Symphonieorchester with Håkan Hardenberger as soloist under the conduction of John Storgårds. In addition, as part of a Zimmermann concert series, the SWR Sinfonieorchester conducted by Ingo Metzmacher will perform the trumpet concerto on 28 April with Håkan Hardenberger again as soloist.
The most recent edition of the Schott Journal is dedicated to Bernd Alois Zimmermann. Therein you can find all events about the anniversary and an insight into his most important works.
The Italian Brass Week is an international festival born 19 years ago under the artistic direction of Luca Benucci, the first horn of the Maggio Musicale Fiorentino. During these years, the festival and the Association have dealt with the formation of thousands of young artists from all over the world, with the aim of consolidating a reality that too often goes unnoticed and give the opportunity to emerging musicians to participate at a primary visibility event for the world of brass and music.
The mission is the enhancement of great Italian and foreign talents, through promotion and cultural exchange. The festival gives the opportunity to young students, new professionals and professionals to take part in an event of international importance, to play and learn from the most important musicians in the world of brass, being part of the greatest orchestras, conservatories and universities.
The high level of training and the quality of the event were rewarded with the bronze medal of the President of the Republic and with many other awards, obtained for the importance of the event and for involving generations of young musicians, who were trained and they have become excellent interpreters.
The Italian Brass Week has moved to various locations in Tuscany, Santa Fiora, Vinci, to land last year in Florence, because Florence is an important reference for cultural growth. It is a city devoted to hospitality and already culturally renowned as a meeting point between present and past.
During these years the artistic quality of the festival has always been guaranteed by the presence of virtuosos and soloists from all over the world, Italian, European and international teachers, jazz bands and brass ensembles who participate, compare and play together in an important moment for the professional growth of all the young people taking part in the festival.
To boost or not to boost; that is the question. The mouthpiece booster has been around now for about 25 years and was originally developed by Denis Wick in response to the Bach Heavytop Mouthpiece Range. “What does it actually do?” I hear many brass players ask. Well, to start with, it doesn’t boost anything. What it does do is add mass to the mouthpiece, thereby reducing vibration loss at the busy end of the instrument. This enhances the sonority and weight of sound creating a richer, darker timbre with more overtones. No, it doesn’t make playing easier but fortissimo dynamics hold together better.
I have used mine for many years now but am selective in which genres it is appropriate for. Always orchestral as conductors love the sound but not for jazz and big band playing.
There are now many versions of the booster available which fit different mouthpieces with alternative weights, but the most versatile and simplest is still the Denis Wick model. There are boosters to fit every brass instrument from cornet to tuba and they provide an extra option for the versatile brass player.
Check out the ‘With and without’ video and see if you can tell the difference.
Stratos is the brainchild of trombone player Marcus Reynolds who suffered a terrible accident when a stage collapsed while the band was playing. This left Marcus with serious facial injuries which devastated his playing and career. He invented Stratos to enable himself to rebuild his life as a musician.
“Following a serious stage accident that led to major reconstructive surgery, he had to battle to learn to play again. This struggle gave him insights about the brass embouchure that he used to develop the STRATOS system. The development and refinement of STRATOS took nearly 3 years but has resulted in a system that is used successfully by hundreds of brass players world-wide to improve their embouchure and playing.”
In a nutshell, Stratos is a small device that attaches to the instrument or mouthpiece and regulates the amount of frontal pressure the player may place on the area of contact with the mouthpiece. This has the immediate effect of freeing up blood flow to the delicate musculature of the embouchure and lip tissue, thus allowing improved endurance and sustainability of playing. Jaw alignment is also a result, causing the airstream to flow directly into the centre of the mouthpiece, thereby maximising tone and the weight of sound. A more relaxed embouchure develops, improving flexibility, slotting and range. The air stream is more effective as a result of continued use, making the whole brass playing experience much easier, which, in turn, lets the player focus more on the music and less on the physical aspects of brass playing.
I personally use Stratos in my warm up each day to set the embouchure ready for my practice session. I then play a variety of exercises:
Claude Gordon Systematic Approach lessons 2 and 7
Charles Collins Lip Flexibilities Etude 1, Etude 5
Max Schlossberg (various exercises)
Cat Anderson Whisper G
I use Stratos during my session when practising a lyrical phrase. I play the phrase once then remove the plunger on the device and repeat. The freeing effect is immediate and causes the muscle memory to ‘kick in’ when playing that phrase.
Teaching beginners with Stratos is brilliant as you can set up a student’s embouchure correctly and most effectively from the outset. Their progress is faster, more sustainable and ultimately more satisfying for the new player.
Finally, it is my opinion that Stratos is the simplest yet most brilliant addition to the brass playing world, bar none. As with all great inventions, it is often necessity that gives birth to a new concept and if it wasn’t for Marcus having to rebuild his playing from scratch, we wouldn’t now have this asset to our brass playing lives.