B.Mus (Humber College)
A recent graduate of Humber College, Matt has quickly established himself as a respected performer in the city’s music scene. While at Humber, Matt had the opportunity to study with some of Canada’s finest jazz and commercial musicians; Brian O’Kane, Alistar Kay, Shelly Berger and Andy Ballantyne, to name a few.
As an active member in the freelance community, Matt’s playing has taken him to such venues as Roy Thompson Hall, The Rex Hotel and the Jazz Bistro. You can find him leading his own trio in intimate venues around the city, or playing with many different jazz, funk or brass bands around the GTA and other Southern Ontario areas.
Get to know Matt…Beyond the Bio!
Hobbies: Cooking, golf, & coffee making
Musical influences: Clifford Brown, Leroy Jones, Clark Terry, Earth, Wind & Fire, and Chicago
Favourite food: Fish burrito
Least favourite food: My mom’s rice – although, everything else she makes is excellent.
Favourite music: Jazz
Favourite song: It’s Always You
Favourite movie: Spirited Away
Favourite movie music: Indiana Jones Theme
Favourite musical theatre/opera: West Side Story
Best quote from your teacher: “BLOW!” – Alistar Kay
Favourite quote: “They teach you there’s a boundary line to music. But, man, there’s no boundary line to art.” – Charlie Parker
Favourite book: Last Wish – Andrzej Sapkowski
Best thing about teaching at ABC: Sharing my passion for music with youth
Latest Homework from Matt
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Homework for feb 24th
Abi:
Continue to work on those 5 note slurs; Aim for having C-> high G comfortable. Take full breaths and crescendo up so you can use the air to your advantage. If you’re having trouble with one interval in particular, change the starting note, or practice some of those rips I mentioned. That will activate your core, and the corners of your face.
Swan Lake is sounding better. If you pre plan your breathing you’ll be able to play the phrases with a lot more confidence & musicality. I’d like to hear that again for next week. Check out Shenandoah if you have the chance as well.
Matt:
Those minor scales are sounding better. Check out the arpeggios & aim to get them memorized.
I don’t have many notes on the rep this week. All of them have been coming together nicely and with more time they will be great. My only thought is that they would benefit from a more legato (smooth) tongue. That will give the music more momentum and allow you to incorporate more dynamics into your playing. Remember to take full breaths and always play with a full sound.
Homework for Jan 17th
Scales!! Ahh!!!!
This is a big topic. I think you began to understand a little bit of what I was talking about. I’ll review (hopefully) most of what we chatted about this lesson. The main concept here I was trying to get at is major scale + alterations = new scale. If you remember that formula you’ll easily be able to analyze and learn any scale. For example C maj + b7 & b3 = Dorian. This is where thinking about scales in numbers really comes in handy. Try to have that going in the back of your head at all times.
Heres a quick list of the major modes and the alterations. For next week, I want to hear one Mixolydian scale and one Lydian Scale.
Major/ Ionian: It’s just a major scale
Mixolydian: b7
Dorian: b7 b3
Natural Minor/ Aeolian: b7 b3 b6
Phrygian: b7 b3 b6 b2
Locrian: b7 b3 b6 b2 b5
Lydian: #4
We also talked about pentatonic scales, which are major/ minor scales with notes removed. Lots of pop tunes use pentatonic scales for melodies so by learning these you’ll be able to easily pick up on some pop melodies by ear.
Nice job on Theme from New World Symphony. You sight read that pretty well. Good for you! For next week, I want to hear a more polished version. Emphasize the dynamics and articulation while practicing this to make it sound alive. This is more important than the notes and rhythms! Continue to sight read some new songs from your book if you would like.
Preferred Books for Matt’s Students
Click to buy them here, and they’ll come right to your house! What could be easier?
Technical Studies
This work has been especially written to enable the cornet student to conquer any technical difficulties he or she might encounter in the literature for the instrument. By carefully following the instructions in this book, the student will build up strength and endurance without strain or injury to his embouchure. If this lips remain flexible and the tone is not forced, it will be possible to play easily any note, regardless of the register.
Arban Complete Conservatory Method
The New Authentic Edition of Arban’s Complete Conservatory Method contains the same tried and true comprehensive system of study that Arban developed over a century ago, and this completely re-engraved edition has been painstakingly edited by prominent trumpet performers and teachers Thomas Hooten and Jennifer Marotta, adding some of their own insights with respect to how trumpet is taught today. The Arban Complete Conservatory Method is the definitive must-have for all trumpet players.
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COMING SOON
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COMING SOON
