Collected MP3 Files - Complete Works For Sale!

June 22, 2009

This is the complete collection of all the mp3’s I’ve made over the past 18 years. These range from the naive to fairly interesting. They all have meaning to me. There are 98 files. Many of these are already on sale at Snocap for which there is a link on the home page here. The package here is for the entire collection – no partial sales. At 69 cents each the price is $67.67. After payment is received they will be shipped to you either via Yousendit.com or Skype, whichever is most convenient for each of us.

Note: The files from my CD, "No Man Is An Island" or the CD, "Intercontinental Drift," are NOT on the list. The 98 files were originally distributed via mp3.com, ampcast.com and mp3unsigned.com. They are not on a CD or on Itunes. They are only available here or at Snocap.

Click on the Order Music tab above.

Here is a complete list of the tunes included:

MP3 Sales List:

110 Blues
1104
A Call to Giving
Ambient Experiment
Arban Characteristic Studies 1 – 11
At The River - My Arrangement
Baroque Fanfare Tune - Anonymous
Been There, Done That
Bowen by Haydn
Breath of Life
Carnival of Venice
Changing Skies – by Peter Drozdoff
Telemann Concerto in four movements
Coro by Handel
Creation by Haydn
Debussy Fanfare for two trumpets
Die Bankelsangerlieder
Dispersing Mists
Drozdoff Suite for Unaccompanied Trumpet in three movements
Duet from Lakme by Debussy
Electronobop
Elegy
Eternal Noon
Falling For You by Peter Drozdoff
Fanfare by Dukas
Fanfare by Reich
Feels Like Love by Peter Drozdoff
Foolproof by Peter Drozdoff
Forest Green (traditional hymn)
Fringing
Getting My Modal Down
Halleluiah Chorus – Handel
Haydn Trumpet Concerto – Mvmt. 3
Hornpipe – Handel
Hydronium
Introspection
Jobbing Blues
Kepler-Brahe
La Grace – Telemann
Lament A
Lazy Afternoon at the Beach
Let’s Get Nuts
Manteca – Gillespie
March by Haydn
Metamorph Letting Off Steam
Michigan Shores Nocturne
More Neutrons Please
More Than a Wish
Muted Ambience
Natashinka
One Minute Wonder 1- 6
On The Steps of the Temple
Outside Inside Out
Party Next Door
Phaeton’s Fall
Phaeton’s Toys
Pivot
Plant Talk by Peter Drozdoff
Rigadoun by Andre Campra
Rondeau by Mouret
Scherzo by Cheetham
Secret Place
Serenity by Ives
Sharagan and Fugue by Hovanhess
Shut the Front Door
Small Voice
Summer Phunky Physics
The Asymmetric Jump
The Call by Ralph Vaughn Williams
The Rejoicing by Handel
Things Not Seen
Toccata by Martini
Untutored Lips
What Are We Doing Here
Whose Life
Yon Form Rows

On Roger Ingram's Master Class on June 20, 2009:

June 22, 2009

Yesterday (June 20, 2009) I attended a master class given by Roger Ingram. I thoroughly enjoyed it. I found Roger to be friendly and kind. He was eager to share with folks EXACTLY how he did things. It is as though he wants everyone to be able to do what he can do. His positive attitude in that regard was wonderful to behold.

In this little news piece, however, I wanted to comment on some things that struck me as a trumpeter, teacher, physicist and trumpet-clinician myself.

I have heard from quite a few folks about something Roger discusses that differs from my ideas in my clinics. This has bugged me a great deal as I think I have a good understanding of how things work on trumpet and like to promulgate the thought that this understanding can help one play better. I had to see for myself if I was missing something. The short answer was yes and no.

First, let me address the part that conflicted with my ideas. I have long been saying that in order to play the upper register, one must keep the aperture smaller. Roger says with great emphasis the exact opposite. Now, I need to elaborate a bit on MY position. In my lectures I ALWAYS address the notion that in playing loudly the aperture gets bigger. In playing softly the aperture gets smaller. In playing low notes the aperture gets bigger. In playing high notes it gets smaller. This is in my power points, too (they're available for sale here).

Well, I asked Roger to elaborate a bit on his discussion and he did so deftly and with kind eagerness, again to his great credit. He showed how he and many west coast lead players set their chops up by playing VERY softly with a scratchy tone to get the feel of the high notes facing them. The tone Roger produced was airy and fuzzy - scratchy (his word). Then all he had to do was "lean into them" (again, his words) and they would fill out. This he did and he produced an overwhelmingly loud and clear tone.

What stuck me in watching Roger do this was that he actually VERIFIED and SUPPORTED my explanation. When he was playing the scratchy tone in setting his chops up, the hole was very big. In fact, it was TOO BIG for the soft volume he was playing at to set his chops up. That's WHY the tone was scratchy. By leaning into it, he was increasing the air flow and compression and set the whole aperture into proper vibration and the sound fills out. I contend that, if he wanted to PLAY those high notes sotto voce with a piccolo trumpet like clarity, he would HAVE to set the hole up smaller than he did. However the needs of the moment did not require that. This thinking was clearly verified in a Wayne Bergeron clinic I attended almost two years ago. In any case, the ideas about lower larger, higher smaller, louder larger softer smaller, completely fit what Roger was describing. In playing a loud high note, the hole MUST be larger than if you were to play it softly. Roger is describing exactly what it takes to DO WHAT HE DOES and he explains very well – well enough so that anyone at his clinic should be able to go home and start working on his methods.

So, this was the part I DIDN'T miss. It takes a lot of air to play like this. However, a lot of air is a complicated thing. Roger also points out that the higher you play the LESS air it takes. This also squares with my video clips and discussions about air.

What I did miss by getting some second hand info was Roger’s explanation of how he sets his chops up for this. He explained how he uses a French horn set with the mouthpiece rim set in the red of the lower lip and slightly rolled out for this big open set. He then sets up scratchy high notes like that softly. All he has to do at that point is add air (lean into it). It really works. Now I personally play with my lower lip rolled inward a bit (Walt Johnson style), so this method feels a bit strange for me, but it clearly works and should work for some. He explained that this was how Maynard did things.

I did walk away with something very important to me about all of this. I refer to squeak tones in my video lectures. Well, these squeak tones are VERY similar to those scratchy high notes Roger plays in setting up his form. They have the same purpose. So something that I hit on by messing around with my chops, applying ideas I’ve learned over the years, hybridizing Walt Johnson’s ideas into my methods squares with what Roger Ingram is doing. I take that as a positive. This is what I hope folks caught onto there. It was those SCRATCHY tones that Roger was using to set up his chops that struck me as the mother lode of information for a player looking to take the “next step!” It would be easy to focus on the aperture thing, but by using that method he was demonstrating over and over, you can easily set your chops up to do exactly what he did!

Now, I just read an email Roger sent to me. He made a very interesting point and I want to work it in here for further clarification. He did NOT disagree with me on any partricular issue. He DID want to point out WHY he urges folks to set up with such an open aperture for the high notes. This is to facilitate the effective use of the very small high register mouthpieces. Using this open set allows him (or anyone else for that matter) to use the smaller, shallower pieces without getting too far into the mouthpieces. I did not mention that as I tend to have no problem with the smaller mouthpieces. In fact, I'm in TOTAL agreement with something Roger said. He said that one should ues the SMALLEST mouthpeice one can stand given the demands of the music. So, I have even slipped and done some information filtering based on my point of view. I hope I've shed some more light on what was discussed.

In conclusion, I also liked Roger’s open and thoughtful discussion about mouthpiece switching – using the tool for the job and not worrying about it. He was also very open and honest about discussing the current vagaries of the business of jazz trumpet playing and big band lead playing. He also went into a lot of intersting history of the evolution of lead trumpet playing. Origianlly, the high note stuff was a designated hit man on fourth or fifth trumpet and a separate player laid the style and groove down from the lead chair. With the advent of Bill Chase, the parts became fused. Roger really fleshes this out nicely.

I would heartily recommend that folks go hear what Roger has to say. You can’t help but learn something, but you’ll need an open mind and you’ll need to stay totally focused.



-->Nick Drozdoff

Trumpet Mastery! Learn to Play With Joy and Without Fear!

March 4, 2009

Well, folks, my effort to create a trumpet summer school with classes of three to ten players failed. It simply wasn't meant to be. Perhaps next year, with more planning and some corporate support, I'll be able to pull that off. I want to extend my gratitude to those who did inquire.

I DO want to offer this as an alternative. I will most likely be teaching in summer school, but I will be free every day from 2:30 PM on. My group lessons can still come into play. Just go to my  Nick's Music tab or my Online Lessons tab to get a feel for this. My one hour group lesson goes for $130 and will include no more than three students at a time. So if you and some friends are all intereseted in working with me, this can be an alternative to trumpet summer school.

I am eager to share my latest personal breakthroughs as a player with you. I am confident I can help YOU find YOUR own way of figuring out to play the trumpet better, more efficiently. I expect to  see you play with no fear and with joy!

Thanks for reading.

Nick Drozdoff

WEB CAM LESSONS ARE LIVE AND UP AND RUNNING!

December 28, 2008

As of this morning (Saturday, November 15, 2008), I have done a full test run of the Skype driven Webcam lesson setup. All is up an running, so, beginning Monday, I am open for business.

So, whether you are on the East coast, West coast, living in a remote area of the US or living overseas, you can setup a live lesson with me. This has the advantage over phone lessons as it is face to fact.

For details, click on the Online Lessons tab above. There are three options for study.

I am very excited about being able to share with you directly like this. Of course the free Youtube driven lessons will be left up for those who are interested.

A Little Help From My Friends!

October 13, 2008

Folks,

I get hundreds of emails a month, mostly from trumpeters from all over the world looking for help with chops problems or looking some elaboration on the ides voiced in my video clips.

I do the best I can to repsond to each and every one. I do fall behind ocasionally, but I get to them. I often have folks contact me with many follow questions. Again, I respond to each and every one. All of this, like my video clips, are offred for free.

What I DO ask is that folks buy a CD. Consideering that a private lesson goes for $75 per hour, the $15 for a CD includ8ing shipping and handling is a small price to pay, by comparison.

In ored to keep this up, though, the CD sales need to increase. At this point only about 1 or 2 percent of the folks who get in touch with me have bought a CD.

I will continue to help anyone who asks. Just consider the other side of the coin, please.

Thanks!

Nick Drozdoff

Now, you can buy individual tracks of Drozdoff's music as well as his CD's! December 9, 2007

This web site is dedicated to the trumpet work of Nick Drozdoff, his compositions and his CD's Also coming will be a video section with both performance and lecture demos and instructional materials. An online lesson program is currently under development as well.

Please browse the various sections indicated by the tabs at the top of the page. Also, listen to the tracks and samples while browsing.

Drozdoff is an endorsing artist for the New York Trumpet company an performs exclusively on instruments provided by Felix Vayser of the New York Trumpet Company. Drozdoff also plays John Lynch Asymmetrical Mouthpieces exclusively.

Now, you can purchase individual MP3's of Drozdoff's music via SNOCAP by following the link. Of course, to get the FULL FIDELITY of the CD's you'll need to buy the CD's.

Also available at SNOCAP are Drozdoff's older ACID driven tracks.

Finally, the cover art for "No Man Is An Island" was done by Steve Hashimoto (who also played bass on Meditation #1). Steve can be reached at hashimoto@aol.com .

The photography (such as the main photograph for this page) for No Man Is An Island was done by trombone virtusoso and expert photographer, David Gross of Algonquin, Illinois. 

 

"A Curious Yellow" Picked as the Best Jazz Piece of 2007 by WAMIA
December 9, 2007

Australian composer, Adrian Kelly, wrote “A Curious Yellow” for his CD, “Intercontinental Drift.” It is composed for string quartet and specifically Nick Drozdoff’s flugelhorn work.

Recently this piece won the Western Australian Music Industry Association Award as the best jazz piece of 2007. This is truly an intercontinental project. The original CD tracks were recorded in Perth and the trumpet parts were recorded in Saratoga, New York. However, Drozdoff recorded his part on Curious Yellow upon returning to Chicago.

You can hear the entire piece by going to the little media player at the top of the page and using the little pull down window to the right side of it to select “Curious Yellow.”