Artist Insights

Our Artist Insights series aims to give you fresh ideas and approaches to help you reach your musical potential. Bringing you closer to our artists, this series gives you access to tips, tricks and experiences from professional musicians around the world and is a resource that you can always come back to.

During my many years as a performer and teacher, one of the most difficult things to master is the art of practice itself. We know that we have limitations and it’s easy to focus on small parts of our technique that need working on, but we are not always able to compartmentalise our entire technique and start working on the whole thing. In this article I will try to provide you with a personalised schedule of practice.

Sitting next to other great players is really the only way to learn about playing. You can listen and watch Youtube forever, but until you’ve felt the wind next to you (or behind you) move, and felt the tonguing and heard the sound of the note coming from a great player beside you, you cannot really comprehend what the difference is.

Our Artist Insights series aims to give you fresh ideas and approaches to help you reach your musical potential. Bringing you closer to our artists, this series gives you access to tips, tricks and experiences from professional musicians around the world and is a resource that you can always come back to.

Our Artist Insights series aims to give you fresh ideas and approaches to help you reach your musical potential. Bringing you closer to our artists, this series gives you access to tips, tricks and experiences from professional musicians around the world and is a resource that you can always come back to.

Benjamin Mellefont, Principal Clarinet of the London Philharmonic Orchestra, has shared with us his personal and interesting take on professionalism in music.

As our next contributor to our Artist Insights series, Sérgio has written an interesting article about musical creativity and comprehensiveness and what becoming an eclectic artist in today's music scene entails.

Yamaha artist Eirik Gjerdevik, tuba soloist and conductor, has collected for us some hints and tips that could come handy when practising on your tuba along with some consideration on the effect your playing has on your band. Click here to read the full article.

In questo articolo voglio discutere alcune delle mie riflessioni mentre sviluppo la mia interpretazione di un brano musicale. Quando studio una partitura, il mio obiettivo generale e la mia responsabilità è di essere il più fedele possibile ai desideri dei compositori.

Quando ci sentiamo senza ispirazione o vogliamo un motivo per esercitarci, quali tipi di opzioni possiamo mettere in atto per ricominciare di nuovo la nostra routine? Spesso nelle nostre carriere come studenti di musica e musicisti professionisti, abbiamo sbattuto contro il muro di ciò che in pratica etichetteremmo come noia o letargia. Ci sono così tante ragioni per cui sappiamo che dovrebbero farci alzare dai divani per fare la nostra ora o 4 ore ... o anche 10 minuti di contatto con i nostri strumenti, ma l'attrazione e la motivazione ci sfuggono.

Tuning a mallet instrument requires a deep understanding of complex physical phenomenon. The biggest question is, when does an instrument sound tuned? To answer this question, you need to align physical and subjective aspects.

Erik Janssen, direttore di molte band ed ensemble, dai principianti al livello professionale, giudice e insegnante, in questo "Artist Insights" ha condiviso la sua esperienza personale su come rendere la band la tua squadra migliore.