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 Nov 18
Abi:
I hope you start to include the long tones and octave jumps into your practice routine. I’ll explain them again quick. Start with a long tone on Low C, then jump an octave to high C. From each of those notes you expand in an outwards direction, alternating high and low ex low C, high C, low B, high C#, low Bb, High D, etc.. until you reach F# on both sides. From there we started to do the octave jumps. F#, Mid F#, High F#. Try to get all the way up to C! When going for the higher notes, activate your core and really tongue hard. That will help the air to speed up, allowing the notes to come out a little easier – think spitball.
Ab, and Db Major for next week.
Since we didn’t get to do any duets this week it would be nice to hear Arabian song, with the second duet part for next week. If you want, try to set aside time to check out sight reading some other songs.
I’d also like to see 4- 8 bars of the Propellor song written out for next week. If you have an issue figuring out the key signature, just put down your best guess and add accidentals if you need to.
Here are the links to all the duets I’ve sent so far, and the google drive with me playing the other parts!
https://documentcloud.adobe.com/link/track?uri=urn:aaid:scds:US:fc6a86f0-edc3-4b6d-a4d8-5f16b4105e2b
https://drive.google.com/drive/folders/1DZdYvu1GP-lQXJqVq22ABrjqgY_g53oe?usp=sharing
Matt:
Nice job with everything we’ve been working on so far! The more time you spend on the horn with focused practice and having fun will benefit you
Try to incorporate lip slurs into some of your practice sessions. These exercises are so good for air control, sound development, and range. If you can do four note slurs (C->G->C->E) I think you will notice a big difference in your playing. While doing these, remember to take a big breath and blow a consistent stream of air, you could even crescendo to help out those higher notes.
German Dance is coming along really well. As soon as you get the rhythms and the notes down more, it will be easier to take a deeper look at the articulation, dynamics, and phrasing included in the piece. Please practice this with a metronome, it will be the best way to get the time and rhythms feeling very solid.
It’s always great if you can check out majors scales during your practice sessions as well. I know we didn’t look at any this week, but try to review C, F, Bb, and Eb major, as well as their arpeggios with a metronome!
Homework for Sept. 20
Listen to the playlists!!!! Have fun!!! Breathe!!!!
What to practice:
MP Buzzing/ Lead pipe buzzing: 5 – 10 mins. Big focus here is to remember the breath! Try both mouthpiece and lead pipe to decide what you like better. Play quiet to loud, to quiet – start and end with just air. Try moving the pitch around as well. Explore until you feel comfy everywhere! As I mentioned, this is also a good place to work on tonguing. You want the start of the note to be very precise & clear – make it pop.
C major scale (concert Bb): 10 mins. The G-A is a good interval to work on. don’t be scared, it’s easy! Once you feel like you’ve mastered that, try for the full scale… or even the first half! Do it slurred, legato tongued, and staccato tongued. They will all feel different but remember the air ALWAYS keeps moving forward. the tongue just gets in the way for a split second. Think of the hose analogy.
Lip Slurs: 15 mins. I’m glad you discovered its more comfortable to start high and slur low. You made it sound easy!! Start on G and slur down to C & back. Go through all 7 finger positions or until you can’t go any lower. From there, add a note on top. Ex: Low G -> D -> G (they will all have the same fingering) and expand from there. If you feel good about it, I’m sure you can make it from C -> G to the high C. Subtle movements… think pressurizing air stream.
O Canada: Nice. You know what you need to do to make it better for next week. Articulation… Dynamics… phrasing… Sounds much better! Pick any song from the book, or a song you like and we can chat about it.
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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