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Martin Fröst is the name of the performer.
He is from Uppsala, Sweden.
He studied at the Royal College of Music with Sölve Kingstedt and Kjell-Inge Stevensson .
He sounds very light when he plays and that would be a good thing to imitate because if I am too rigid I won't be able to play at fast tempos. His tone is also very good and it would be a good thing to imitate because it would get rid of all fuzzy sounds that comes with bad embrasure.
He is creating good tone quality by keeping his chin flat and edges of the mouth firm. His cheeks are also very flat.
He moves is body when he plays in sync with the music. Because this piece is more upbeat he ends up crouching, standing back up, and moving his clarinet around while he plays. His fingers move very quickly in sync with his toungue. He also kind of moves his body along with the rhythms.
His air is very focused and directed, which makes it easier for him to play the faster parts.
His performances matches the mood of the song. His body seems rigid yet he is moving in a very loose manner, being able to move back and forth in sync with the song. His body also moves down when he plays the lower notes.
In the beginning he somewhat smiles when he plays which I didn't really think could be done, meaning I didn't think it was that common. I am also surprised by how much he is moving. This sound doesn't get worse simply because he is moving, meaning his body is moving yet his clarinet isn't moving from in his mouth.

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Martin Fröst - Vivaldi - Concerto for Clarinet & Orchestra No.1

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Favorite performance and about the performer and itself

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Favorite performance and about the performer and itself

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Emmanuel Pahud was born in Geneva, Switzerland. He studied with michel debost and others in the national conservatore de paris.
He sounds very bold in his music and I find that most likely due to the fact he seems to be very efficient in his breathing structure and whatnot.
The shots allow me to see very clearly that he is in fact very solid with his fingering and there is no hesitation or anything within it.
In general he is very fluid and must have performed this multiple times before.
He also doesn't do anything out of the ordinary that I do not know already, yet still sounds absolutely amazing, most likely due to the type of his flute, which has holes in it as professionals prefer.

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Debussy: Syrinx for solo flute (Emmanuel Pahud)

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James Galway was born in December 8, 1939. He was born in Belfast, UK. Hes studied in GuildHall school of Music in London, UK. The way James Galway plays is really amazing. His fingering is smooth ans he shows no sign of hesitation. His tone is very good and I loved the sound quality and tone. One thing he did that I thought was good was he played using vibratos and that was awsome because that is something I want to perfect and incorporate it while playing the flute. Other than that he didnt do anything too crazy with the flute like beatboxing. And His posture and his embouchure is relly good which helps his overall quality of airflow.

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Name of the performer (clarinet) is Arngunnur Árnadóttir. She is from Reykjavik. She studied clarinet at Hochschule fur Musik "Hanns Eisler" in Berlin. She sound so warm and I like that. She is creating the quality of tone by moving. She more her body side to side while playing. She moves her fingering very fast and I think that is very cool.

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Wolfgang Amadeus Mozart: Clarinet Concerto in A major, K.622

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Jasmine Choi is a Korean-born, American flute player. She studied at the Curtis Institute of Music and the Julliard School, with Julius Baker and Jeffery Khaner. Although this piece differs from traditional flute pieces, she displays wonderful articulation, dynamics, and emotion throughout her playing. She creates this quality of sound by tonguing very fast to sound like a train, and by taking breaths strategically. While playing very fast and short notes, her body is rigid and begins to bend, like a singer hitting a high note. She also moves her head back and forth to control her airstream. Despite the speed and complexity of the notes she is playing, she still articulates and uses dynamics very clearly, all while controlling her breathing. She uses the circular breathing technique to make it seem as if she is not taking any breaths while trilling for over a minute. She performs very well and uses her instrument not just to make music, but to tell a story. Her way of playing is out of the ordinary, as she uses the flute to mimic the sound of a train. Throughout the intricacy of this piece, she finds a way to show emotion, both through her movements and her sound.

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기차 경주 - 이안 클라크 / 최나경 플루트 I. Clarke | The Great Train Race for Flute Solo

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This is Jean-Pierre Rampal from Marseille, France. He studied flute from Paris Conservatoire and was taught by Gaston Crunelle. His sound is very light and fluttery, which is something I want to achieve, since he is also able to project the sound very well. He moves his head a lot when he plays, and his body language indicates that he is very into the music that he is playing, and gives us a sense that he is enjoying everything that he is playing. Since the piece is very fast paced, there was not much space to breathe, but he was accentuating all the downbeats to bring out the importance of each note with the percussion. His playing is very impressive and the velocity he is playing at is really fast but he still keeps the preciseness of his notes and articulations. There was nothing surprising but I did like the amount of trills, and he subdivided many of the notes which weren't in the original piece. (Ishaanbhi Mishra)

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Badinerie from Suite No. 2 for flute - Johann Sebastian Bach - JP Rampal

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The performer’s name is Sharon Bezaly.

She was born in Israel and then moved to Sweden.

She studied at the Conservatoire de Paris with Alain Marion and Raymond Guiot.

When she’s playing her tone and the way she sounds isn’t rigid or breathy, but instead smooth. I think she achieves this by having good air support and articulation.

Also, she sounds very clear and every note is well articulated even when she’s playing fast, which would be a good thing to imitate.

She keeps her hand and fingers more relaxed instead of stiff which allows her to articulate her fingers better and play faster. Also, her movements match the music. When the music is faster her movements are quicker and more sudden. On the other hand, when the music is slower her movements are more relaxed, loose, and flowy.

She uses and controls her air really nicely and could go many measures without having to take a breath in between, and doesn’t seem to run out of air before she’s done playing a note and ready to take the next breath.

She didn’t do anything that I didn’t already know could be done, but I still found it cool that you can clearly hear every single low note and high note being played and each note sounds light and smooth when she's playing at a fast tempo.  (Skylise Sze)

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Sharon Bezaly encores March 13th 2008 in Lahti

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Mark Turner is a saxophone player. He was born in November 10, 1965 in Ohio, US. He studied in  California State University Long Beach then transferred to Berklee College of Music and studied with Avishai Cohen.
He sounds very nice and gentle although saxophones create big sounds and I would love to be able to imitate how he plays because he could create nice soft sounds very smoothly and sounds very nice. He creates the tone by supporting the air a lot because in saxophones it's very hard to create soft sounds, so he's using the air very nicely and controlled. He's standing while playing and closing his eyes and looks very concentrated. His moving around a bit, but very naturally as he seems like he's very into what he is playing. He's moving his fingers very quickly and smoothly. His air is very controlled and steady. He's tonguing is perfect and he's very confident. He seems very calm while performing, concentrated, and seems like he's having a lot of fun. It's really admiring that he can play for 14 minutes and he seems very confident. I didn't know that you could move your body, but still play without any wonky sounds and plays perfectly.

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Mark Turner Quartet - "Along Came Betty" @ musig-im-ochsen, Muri

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Jim Walker was born in Greenville Kentucky. He studied at the University of Louisville and they taught at Southern California Thornton School of Music. Their sound comes out much smoother which makes their flute tone sound nice and soothing. Their posture is nice and their fingers are naturally positioned on the flute making it easier for them to go faster. They didn’t really do anything different; they just followed normal flute playing and probably got good at it.(Ameya Ravate)

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Jim Walker and Tim Carey Play "Pan Dreams" pt 1

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Jonathan Leibovitz was born in Tel-Aviv, Israel. He studied at the Buchmann Mehta School of Music with Yevgeny Yehudin and at the Music Academy in Basel with François Benda. He sounds very smooth when he plays and keeps that tone when he is playing at both soft and loud dynamics. I would like to imitate this because it means that a wide variety of tempos, dynamics, articulations, etc. would always sound beautiful. He is creating this sound with good air support and a strong embouchure. His mouth is firm and he doesn't look strained at all, even after he has been playing for a long time. His fingers are able to move very quickly and they match his tonguing. He moves around a lot when he plays, and the way he moves matches the emotions of the piece he is playing. For example, when the piece is going at a quick tempo and he is playing fast, he is moving a lot, and when the tempo is slower, he moves his whole body in big circles. I noticed that his breathing is very controlled because he never really takes any big breaths, but still gets through long passages easily. His trills and articulations were also really clear. He performs really well and you can tell that he gets into the music not only through his sound, but his body movements. Even though he didn't do anything I didn't know about, I just found it interesting how he would almost crouch when playing low notes and lean back when playing high notes. I also admired how he is able to bounce his head side to side while playing to match the energy of the music.

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Israel Philharmonic - הפילהרמונית הישראלית

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Jonathan Leibovitz, Mozart Clarinet Concerto - 3rd mvt

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Kenny Garett is an American jazz musician and a composer. He was born in October 9, 1960 in Detroit, Michigan, U.S. In 1978 he gained acceptance to the famous Berklee School of Music but he chose to join Mercer Ellington on a tour instead. In High School, he studied with Marcus Belgrave, a trumpeter.
His tone is soft and pleasing, and he sticks to the dynamics almost precisely. He uses and controls his air so well that I would love to be able to play just like him. He is standing when he is playing and he moves his body along with the music making it look like the saxophone is a part of his body. His tonguing is amazing and he is really concentrated in playing the song in the alto sax. It is really interesting that he can play the piano in the beginning and play the sax for almost 14 minutes with all of it being memorized. He mostly looks like when he is playing and I didn't really understand why. Maybe it is the music and the mood in the song. But overall he plays amazing and sounds amazing.

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Kenny Garrett and Sounds From The Ancestors: Tiny Desk Concert

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Sébastian Jacot is a talented Swiss flute player from Geneva, Switzerland. He studied at the Conservatoire Supérieur de Musique de Genève under Jacques Zoon, a known Dutch flutist. Sébastian Jacot has a very gifted way of playing. His tone is perfect, as he is stable and can hit high notes flawlessly. He is graceful and powerful with his playing, and is heard over the orchestral accompaniment, even when they can be loud. Sébastian moves his head quite often, mostly to sway along with the music and convey emotion, but also when he is articulating, quivering as he climbs the scale but his tone is still supported. As he gets louder and higher, he seems to get taller and lean forward, and when he is quieter he seems to lean back. His posture is great and his back is flat as seen in the video, where we can see shots from the back. Sébastian keeps his hands relaxed yet on the go at all times, as there are no flaws. He is effective with his fingers, and controls them well, yet he uses them with elegance and grace. He takes quick yet deep breaths, and blows a constant, focused stream of air, never trembling. He also doesn't run out of air, even when he hasn't breathed in a while and has hit high notes. His breaths are spaced apart, sometimes passing more than 20 seconds. His horn angle is very good as well, and that seems to help expand his sound. He is very confident with his playing as he seems to know and understand the music. He stands out from the background and it's always easy to hear him. He is also skilled in the way he plays, as he can vibrato, even when hitting high, long notes. Never does he fail to vibrato, and he seems to understand where and when he should use it. There are also parts in the video where he jumps octaves. He sometimes goes from the 1st to the 2nd and the 2nd to the 3rd without hesitation. There is no pause or breath, and it flows very nicely. He uses dynamics skillfully, as he plays lower notes loudly and shifts to playing softer with higher notes. He demonstrated uses of crescendo and decrescendo especially near the end of the piece. He does not seem to be nervous or intimidated, instead he seems proud and happy to play, which is admirable. There is no 'new' skill that I have not learned yet, but I would like to learn how he can keep a stable tone and how he can play so fast without falling behind. Throughout the piece, he seems to be energetic and emotional over a long time, which is very special. Overall, Sébastian Jacot is a very talented flute player with lots and lots of skills.

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Sébastian Jacot- Reinecke Flute Concerto

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James Houlik is the name of the performer.
He is from New York, United States of America.
He studied at the State University of New York at Fredonia, the University of Illinois, Ball State University, and Eastman School of Music with Cecil Leeson and Sigurd Raschèr.
He sounds very intentional when he plays. Every sound that comes out of his sax is intended. Even when he's holding out a whole note, he adds texture to the note by meaningfully adding vibrations. His purposefulness and control would be a good thing to imitate since they allow the important parts of the music to be highlighted and let the meaning of the piece come through.
He is playing with a good tone since he keeps his embouchure loose, but firm and he only breathes when he needs to. His air is also very directed.
His fingers move easily and glide across the keys, especially during the quicker parts of the piece. When he's playing, his shoulders move slightly in beat with the song and his facial expressions often match the note he is playing (go higher as he plays in upper registers and vice versa). During one part of the orchestra accompaniment, he began dancing to the beat of the music.
In general, his performance is truly amazing since he is able to play through various tempos with ease and he's able to lead the rest of the orchestra well. The orchestra, performer, and conductor are all very in tune with each other. He was also able to move to different octaves easily without low or high notes sticking out, and instead, they were played smoothly and beautifully.
I thought the triplets between lower octaves and higher octaves were cool since he was able to transition really well and it was interesting to see the call-and-response between the orchestra and the soloist. Another memorable part was the crescendoing trill which the orchestra mimicked as well as the staccatoed (but not choppy) notes. Also, in some of the conductor's close-ups, he was very interesting to watch since his emotions were intense.

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Russel Peck's "The Upward Stream"  - James Houlik. Maestro Thomas Ludwig conducting.

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The performer's name is Daniel Stein and I think he's cool because he performed a solo recital at Carnegie Hall during his freshman year in college. I also like Handel Sonatas because they are very pretty to me. Daniel Stein was born in Palm Beach Gardens, Florida. He completed college at MIT and studied with Jacques Zoon in Geneva, Switzerland. I want to imitate the way he plays because his notes are clear with a quality tone, all the notes connect nicely, and he plays a good vibrato. He does this by having a good embouchure and breathing technique. When he plays, he seems to take a step forward or a step back and move the end of his flute a little higher or lower. I found his movement just right as he moved with the music but didn't overdo it. His performance was excellent.

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Handel: Flute Sonata in A minor (HWV 362), I and II

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Wynton Marsalis was born in New Orleans, Louisiana. He studied classical music at school, and jazz at home with his father. At 17, he was one of the youngest musicians admitted into Tanglewood music center, and later he applied to Julliard and got in.
His sound is very clean and crisp, so even when he plays faster runs, you can still hear every individual note, and they don't run together. He leaves space between his notes, especially the faster ones, so that he can get from one note to the next without having the rhythms get messed up because of his notes running together.
His tone is really clear, even at fast sections or at his upper and lower range. His tone is also good when he plays fast parts at a quieter dynamic, so his notes are still clear.
When he plays, his body is relaxed and not rigid, and he moves a little with the music. His air is fast, and he is able to take bigger breaths without leaving gaps in the music, so that he can go through phrases without having to take a breath and break the noise.
When he played, his face changed slightly and his body moved depending on what notes he was playing, like when he played a higher note, his body would move up a little and his eyebrows would go up with the notes. When he played a quieter section, his body kind of shrunk down a bit.

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Haydn Trumpet Concerto (3rd Movement): Wynton Marsalis, trumpet

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(Aarav Seluker) "Winter Spirits" by Katherine Hoover performed by Mimi Stillman

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(Aarav Seluker) "Winter Spirits" by Katherine Hoover performed by Mimi Stillman

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Mimi Stillman is a professional concert flutist borin in Boston, Massachussetts and she finished her studies at the Curtis Institute of Music. Additionally, she studied with Julius Baker and Jeffrey Khaner who are renowned flutists. Katherine Stillman has perfect pitch and balance almost as if it's a jw pepper recording. Stillman's fingers are natural positioned on the her instrument and makes everything seem flawless and consistent. For the majority of the time, her instrument is straight, almost as if she doesn't get tired. Some things I noticed were that her pitch was vibrating very often, almost as if it was on purpose. Maybe it was induced vibrato. While she's playing she moves her body according to the note length and articulation. If it's legato and the note is long she moves her body slowly and if it's staccato or marcato, her movements are more rigid. Additionally, she can change octaves and dynamics with ease, it's really seamless. Although her style was certainly interesting, there wasn't anything new that I would like to or haven't learned yet. Overall, Stillman is a very consistent, emphatic, and talented flute player who is very expressive when it comes to music.

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"Winter Spirits" for Solo Flute - Katherine Hoover

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Eastman Percussion Ensemble (Vir Mehrotra)

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Eastman Percussion Ensemble (Vir Mehrotra)

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The Percussion Ensemble was formed in September of 1920 in Rochester New York, in the Eastmen School of Music. The Percussion Ensemble studies at the Eastmen School of Music. They are also directed by Micheal Burritt. Their sound on the mallets is very clean and intentional. They can create beautiful chords by placing their hands in complicated places that are hard to put mallets, and are moving their fingers with proper technique. this also allows them to use optimal sticking which is singles, not using one hand for natural and one hand for sharps. I hope to emulate this sound by increasing the dexterity of my wrist so I can make more complicated chords with four mallets. Overall I think that the general sound is amazingly layered with the drums like timbale and darbuka. This makes the sound very complex and cool.

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Eastman Percussion Ensemble: Fandango 13

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David Childs is a Euphonium Player. He was born in Grimsthorpe, United Kingdom. He is an alumni of the Royal Welsh College of Music and Drama and is now an international visiting tutor and full time professor of Euphonium at the University of North Texas. The way he plays is amazing. His fingering is amazing. It is very smooth and very fast. Although he is playing very fast, he has great tone. He is playing at a very fast tempo, but you are still able to hear every note clearly. I think this is something that would be great to imitate because even if I learnt to play as fast as him, it would be useless if I didn't have a good tone. He is able to keep a good tone by keeping his mouth firm. While he is playing his body is very still and you don't see any part of his body really moving other than his fingers. Overall I think he is performing really well. His posture and embouchure were really good which helped a lot with the quality of airflow.

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David Childs - Flight of the Bumble Bee - Euphonium

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University of North Texas Percussion Quartet (Maya Rakshit)

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University of North Texas Percussion Quartet (Maya Rakshit)

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Something I notied is that when they play the mallets, especially when they go fast, the place from where they hit the bottom keys to the top keys is not a lot, so it lets them go faster because they are not moving as much. They also have good control especially for playing with four mallets, and they have nice control over the dynamics. Another thing I noticed was that even when they were switching instruments, they seemed to be on time and not speeding up or slowing down even though there was not conductor to help them. Something I liked about this piece was that it used a lot of unconventional instruments like the stick and the spiral cymbal.

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Escape Velocity by Dave Hall - Percussion Quartet

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The performer's name is William Welter.
He is the principal oboe of the Chicago Symphony Orchestra.
He was born in Nebraska and raised in Iowa.
He graduated from the Curtis Institute of Music in Pennsylvania and studied with Richard Woodhams, the principal oboe of the Philadelphia Orchestra.
When he plays, he sounds light and airy and doesn't hesitate at all. His tone is smooth and soothing in a way, and I like how that sounds and hope to imitate that.
His posture is well which also helps the the quality of his tone when he's playing. He keeps his chin flat and creates a great tone.
Something that he does is move a lot with the music while he's playing. It shows that he's very into the music and in sync, and conveys emotions and feelings of the song, which is a very happy one. When he reaches higher notes, he tilts his head up a little to demonstrate meaning and significance of it, which I enjoyed.
The piece he's playing is quite fast, and he doesn't breathe that often, but his airflow is still super smooth and clean and when he takes a breath it sounds appropriate in the music. It sounded directed and right.
He didn't necessarily do anything "cool" or "different" I think, but I still really enjoyed his performance.
In general, I like how he's performing since it shows he likes the music, and also his tone and embouchure are light and very nice.

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William Welter performs Mozart's Oboe Concerto

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The Lafayette Percussion Ensemble in Easton, Pennsylvania at Lafayette College where the percussion ensemble studies at. The director at the time of this performance was Larry Stockton who retired a year ago after being at Lafayette for 45 years. All the notes played by each instrument are played with such precision and confidence which is something I want to imitate because even if they made a mistake I don't think I would notice. For the mallet percussion they are hitting the bars in the sweet spots every time to create that perfect sound and after every time they hit the bars they bring the mallets right back up with the upstrokes. Their bodies kind of move with the song making them in sync with what they are playing. Even though there are a lot of mallet instruments none of them are overwhelming and everything just pairs well together.

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Harry Potter Medley - Lafayette Percussion Ensemble

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Sabine Meyer was born in Crailsheim, Germany on March 30th, 1959.
She first learned clarinet from her father at a young age before going on to study in Stuttgart with Otto Hermann, and then finally with Hans Deinzer at (get ready for this one): The Hochschule für Musik und Theater Hannover. She went on to become a part of several orchestras as well as a very successful solo artist.
I think the most impressive thing about the way her clarinet playing sounds is the seamless transitions from register to register. Personally, I think I need to work on this, as it improves the overall tone quality of legato sections, especially when moving between registers.
I can tell that her embouchure moves very slightly when she needs to hit higher notes, and that it is in time with her fingers. This probably helps with tuning. There is one part near the beginning when she slurs between a note in the chalumeau register and clarion register without squeaking at all, which I found to be very impressive.
Seeing as she is the soloist and is standing up, she get very expressive with her movements. I think a very cool thing is that despite moving her posture all over the place, she manages to stay in tune and have good tone quality. She also doesn't seem to need to breathe a whole lot, which is probably due to great breath control. She also has good finger dexterity, which would make it easier to play those large intervals and fast passages.
Her performance is very expressive, and the movements almost mimic the music. This would also be a good time to talk about how she fits in with the orchestra as a whole, they all seem to move in sync, as if they are all feeling the same emotion at the same time. The dynamic contrast is there, and her tone quality during softer parts still holds strong. This was a very good performance of a very famous piece.
I think this performance was less about trying to do something absolutely revolutionary and more about perfecting something that already exists so that you can enjoy it more.

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SABINE MEYER - MOZART CLARINET CONCERTO ~live - Rico Saccani conductor

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Nobuya Suguwa was born in Saga, Japan. He studied at the Tokyo University of the Arts with Yuichi Omuro. He has a very smooth tone, something I would definitely like to imitate. His embouchure is firm to prevent any air from slipping out and seems to contribute to the fluidity of his sound. He does move his body and instrument along with the music, especially at the end of short phrases. He shapes his air well to ensure that the tone is full and resonant rather than too airy. Considering the length of this piece, he did an amazing job of maintaining a rich tone rather than allowing it to become scratchy. There wasn't anything that I thought was "cool" or very different, but nevertheless, he had a really great tone which I would definitely like to improve on after listening to this.

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Nobuya Sugawa plays J.S.BACH Saxophone Solo Recital

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John Parker is an American trumpet player born in High Point, North Carolina. He did his undergraduate in the University of North Carolina. He has played for famous orchestras across the country but currently plays for the Houston Symphony as principal trumpet.
He has an amazing smooth tone when he plays. He doesn't lose his quality of tone when he plays in different registers, It always sounds good. I want to imitate that. He is also able to quickly move between registers easily. His vibrato sounds really good.  His air is focused and he breathes in the right places so that the music feels connected and there aren't any awkward breaks.
When he plays, he stands up straight with good posture and embouchure. He moves his lips up and down the mouthpiece in order to play in different ranges. He also has good control of his dynamics when playing in different ranges and moods.
When he plays really fast notes, he makes sure that every note is clear and even. You can hear every note individually and doesn't sound messy. He also double tongues with clarity to play the fast notes.
I think that he also coordinates well with the orchestra and plays with the right dynamic so as to not feel overpowering but also so that we can hear him.

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Arutiunian Trumpet Concerto - John Parker, trumpet, with the UNC Symphony Orchestra

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Michael Lowenstern is a bass clarinet player who was born August 23rd 1968 (55) and grew up in Chicago Illinois. He studied at several places including the Interlochen Arts Academy, The Eastman School of Music, Stony Brook University and the Sweelinck Conservatorium Amsterdam. Over this time he played with other musicians like Charles Neidich, Harry Sparnaay, Richard MacDowell and John Bruce Yeh. They are very fluid and articulate with the way the play, and I want to work on sounding more fluid and in time and try to move away from sounded patchy to put it that way. I think they way they create such great sound is through their embouchure and tounging. His body is almost interpretively dancing along with what he plays and his fingers also move in time with the music. He's also very specific with where he breathes so he doesn't have to worry about coming in late or slightly off so I think I should spend more time thinking about where to breath in my music. They perform very professionally and are entertaining to watch. Something cool he talks about is that when playing "over the bridge" in certain pieces you can play open G while pressing down on some of the lower keys which makes it easier to switch fasterk, so I thought this was pretty interesting.

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Emmanuel Pahud is a Swiss and and French flute player. He was born in Geneva, Switzerland. He was born into a non-musical family. He studied and practice the flute from age four to twenty two. He was taught by flautists such as François Binet, Carlos Bruneel and Aurèle Nicolet. While listening to this piece I noticed how he crescendos and decrescendos in the beginning.  He is also able to hold long notes without his breath wavering. This is something I struggle with and I can overcome this by increasing lung capacity through breathing exercises.

Later on as the piece increases tempo, Pahud is able to tongue quick notes with precission making it look effortless. He is also standing as he is playing, allowing him to sway with the music and move. His posture is also upright and straight.

Overall, Pahud's graceful and silvery tone shows mastery in his skill. His control over his embouchure allows him to quickly play high and low notes and his steady, long breathing helps him play slow parts of the piece.

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Emmanuel Pahud plays Fauré: Fantaisie, Op. 79 – with Orchestre de chambre de Paris, François Leleux

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Mission Impossible- Lafayette Percussion Ensemble (Maya Mani)

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Mission Impossible- Lafayette Percussion Ensemble (Maya Mani)

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This piece was performed by the Lafayette Percussion Ensemble in 2015, directed by Larry Stockton. The Lafayette Percussion Ensemble is based in Easton, Pennsylvania, at the Lafayette College.
The players have incredible striking technique, loudly and clearly projecting and hitting the instruments to produce clear and concise noise. For example, I noticed that the rolls played on mallet instruments were incredibly clear and did not sound harsh. Another example would be the incredible drum solo in the middle of the song, which added interest, or the interesting sticking techniques of the bongo player. I think their ability to clearly produce the music without the addition of any wind or string instruments is incredible.
Additionally, I really liked the visual elements of this performance, such as the unique and fun introduction of the piece and all the players. I also noticed that during measures of rests, the players would nod their heads along to the music or use their body language to indicate themselves following the music.

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mission impossible - Lafayette Percussion Ensemble

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Joseph Lullof is the performer. He was born in May of 1960. He studied in Michigan State University with Jim Forger but later went to the University of Wisconsin and played with the Milwaukee Symphony Orchestra.
His tone is very gentle, graceful and smooth tone which I would love to put in my playing. His embouchure is secured and has very good control in his breathing. He moved his body and  instrument during his performance, closing his eyes and getting into the music. His articulation, slurring, and dynamics are very good throughout the piece. His tone really bought the piece to the next level making it very musical and beautiful to listen to.

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GLAZUNOV Concerto for Alto Saxophone and String Orchestra with Joseph Lulloff, saxophone

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David Sanborn is a profesional alto saxophone player. He was born on July 30, 1945. He is from Tampa, Florida. He studied at Northwestern University where he studied music, then transferred to University of Iowa, where he played and studied with Saxophonist J.R Monterose.

He sounds really smooth and quicked pace but with the right amount of sound and quality that makes it really nice to hear. I would love to imitate how he toungues the notes and still make them sound so clear and smooth like they are connected by a "slur" in between the notes. He doesn't take small breaths but takes bigs ones to the have a more soothing sound than a more chopped one. He is moving his body around in the same time he is playing a different note, it seems like he thrusts more foward when he is playing a higher note, and he thrusts back when he needs to play a lower note. He closes his eyes in a way that insures that he is concentrating. He breaths when there is a downbeat for the drums and uses it his opportunity, you can't really tell when he needs to breath because he nevers lowers his pitch and continues to stay with the right volume. They perform like they're enjoying what they do, he taps the buttons with a hard press, over-exagerating and performance wise that looks really cool. Overall, he is very talented and great Alto sax player.

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David Sanborn - Mindblowing Sax Solo (Montreux 1997)

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Amy Porter was born in Wilmington, Delaware and played the flute and the trumpet since she was a child. She dropped the trumpet to focus on playing the flute at 17 and studied at the Julliard School where she was taught by talented players Samuel Baron and Jeanne Baxtresser. Porter is able to keep her sound very steady while using vibrato perfectly throughout the entire performance. She consistently plays with a very clear, focused tone even when playing low notes that are often difficult. Her control over her embouchure and airstream, focus all her air into her instrument, allows her to play for a very long time without needing to take a breath or showing any signs of struggle. Porter seems to have great control over her air and times her breaths according to her music without it taking away from the performance. She moves to different pitches and dynamics seamlessly, making it sound effortless and very comfortable to listen to. Even when playing fast notes, she is able to move her fingers very lightly and only put the smallest amount of pressure on her instrument despite the stress and difficulty of the music. Porter seems very relaxed and confident while playing and often moves according to her music, dynamics, and pitch. Overall, I think Porter is a great flutist because of her amazing performance abilities and control over her sound.

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Amy Porter performs Passacaille by Rhené- Baton

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The Karos Percussion Ensemble (Mysha Pandya)

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The Karos Percussion Ensemble (Mysha Pandya)

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The Karos Percussion Ensemble is a world class ensemble that plays over 100 percussion instruments. They are currently a group of 14 percussion players who all strive to promote classical percussion music.
They are all Korean players who also studied in Korea.
In the video, they were all moving around like they knew what they were doing and with a sense of confidence. All of their stickings were great and overall they are a great ensemble.
They were all with the tempo and nobody was slowing down or going too fast. All the dynamics were good and made sense. When multiple people had the same part they were all moving together. Their eyes were on their music and on their instruments but they did always once in a while look up at the conductor.
One thing I liked was that they were exaggerating their movements a lot and that made the video fun to watch.

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Pirates of the Caribbean  (캐리비안의 해적) - Karos Percussion Ensemble

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Hayley Miller is from American and she studies at Boston University. The conductor of this piece is Benjamin Zander. She sounds light, but you can hear her articulation which is great. She has a full sound without sounding too overpowering. She seems to move with the music and flow as it goes. Her fingers don't move much up from the keys and her eyes are closed while she is playing. You can definitely also hear her breathing. She is preforming very well and there seems to be no errors. I liked this piece because she seems quite young but still is very skilled. She probably could improve on certain things but that is still pretty impressive. Im surprised she didn't make any tone errors and she played for like 10 minutes straight. You could also hear her over the whole orchestra which is pretty cool.

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Chaminade: Concertino for Flute - Hayley Miller (flute), Benjamin Zander (conductor)

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The person playing this is Christoph Siezten and he is from Luxemburg and he studied music at  Anton Bruckner Private University. He studied with Bogdan Bacanu and Leonhard Schmidinger. He sounds very relaxed and he sounds clean. At some parts of pieces we play, yes I want to sound like that and it takes practice and reading music carefully to see which parts are forte,piano, or mesopiano. He is using his body flow to play and making sure his hands are relaxed and at some points he flows to the tempo with his body to plat perfectly. He has a very good UP stroke and he has earbuds in so he can't hear himself but he knows which notes to play so that he doesn't mess up. He is performing really well and something he does that's really cool is that he plays both the marimba and the xylophone at the same time. He switches in the middle and he plays G and A on the marimba and let's it ring and plays a soft melody on the xylophone.

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Emmanuel Séjourné: Attraction (short version) performed by Christoph Sietzen

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The performer is named Céline Moinet.
She is from Lille, France.
She studied at the Conservatoire National Supérieur de Musique under David Walter and Maurice Bourgue.
When she plays, she sounds clear and effortless. Her sound quality and tone are both very good, and I would like to imitate that, especially trying to sound more light.
She is producing a high quality sound because of her embouchure. It is not so tight that it sounds strained, but not so loose that the sound is unsupported. She is also standing with good posture.
As said before, she is standing with her back straight and sways and leans along with the highs and lows of the music. Her body movement is very fluid and matches the atmosphere that she creates with her instrument.
She is performing with a lot of confidence and you can tell she is invested in her music by the way she moves and her facial expressions. She has a lot of dynamic contrast and seems very self-assured.
I thought her facial expressions were pretty cool. Sometimes, when the piece got more intense, she would furrow her eyebrows or something like that, which demonstrated her expression through her music.

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Schumann - Romances for oboe & piano : II. Einfach, innig

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This performers name is John Parker
He is from High Point, North Carolina
He studied at University of North Carolina
His sounding was great and more realistic. I want to imitate my trumpet to John Parker better by my angle of the trumpet.
John Parker seems to have his trumpet pointing higher and is playing loudly.
His fingers move rapidly due to the faster notes and the speed of the tempo. He is standing and his posture is good.
He grew up performing in a wind ensemble and made him a concerto trumpet player for an orchestra.
The fact he can keep up with the tempo can be pretty challenging.

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Arutiunian Trumpet Concerto - John Parker, trumpet, with the UNC Symphony Orchestra

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Hans Nickel was born in the Netherlands in 1958. He has been the solo tuba for the WDR Symphony Orchestra. He is a professor at Hochschule für Musik und Tanz in Germany. No info about where he studied.
He blended his sound with the orchestra very well. He created a very big sound with clear tone. He was also able to create good sound during the 16th note runs in mvt I. In mvt I (Allegro Moderato) there were very big jumps which were probably 2 or more octaves that he was able to get to cleanly with very good tone.
In mvt II (Andante) his phrasing is very good. He also knows when it's a good time to add a little vibrato. He is able to reach high notes without having to strain or blast. There is no change in his face when he goes for a high note either. He looks very relaxed while playing.
In mvt III (Allegro Molto) during fast passages he took quick successions of breaths instead of one long breath. When he fingers he tends to keep his fingers straight. There is almost no breakage in his sound. His double tonguing is light, in time, and with good tone. It sounds like he's filling up the entirety of his instrument.

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John Williams – Concerto for Tuba and Orchestra | Hans Nickel | Sanderling | WDR Sinfonieorchester

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Denis Viktorovich Bouriakov (Vanessa Reyes)

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Denis Viktorovich Bouriakov (Vanessa Reyes)

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The name of the performer is Denis Viktorovich Bouriakov. He was born October 25th, 1981 in Simferopol, Ukrainian Soviet Socialist Republic (USSR). He studied flute at the Moscow Central Special Music School from the age of 11 till the age of 19. He moved to London at 19 to study at the Royal Academy of Music, with William Bennett. His sound is very smooth and clear, especially when he plays higher notes. I want to imitate that sound because  when I play high notes, it doesn't sound as clear as that. He also doesn't look like he's working too hard to get high notes out and he looks pretty chill when playing. He stands up while playing, and I'm not sure if that is greatly impacting the way he sounds. I think he's creating that tone/sound by keeping his embouchure smaller for high notes, and switching it so that his embouchure is slightly more open for the lower notes. His body moves down then up and so does his flute every time he takes a breath. Or when he's doing a run he  lowers his flute and then brings it back up to where it was, and it's not too much either. His posture is pretty good although he is slightly leaning forward, but that's only because he is standing up and he has to look down to see his music. His fingers move really fast and so smoothly and it's really cool because the sound comes out so smooth because of that and it's beautiful. His air support is very good and it appears that all the air he blows goes right into the instrument and he's not wasting any air which makes him able to play for longer without a breath. His performance in general is really good and I like the way he performs this piece because he looks invested in it and he really seems to care about this. Something I thought was cool about his performance is that he had his flute positioned in a way I hadn't seen before. He kind of had it in the left corner of his mouth instead of underneath, so his flute was sort of angled while he was playing. He also probably had to angle his air to play that way, and I thought it was cool because I haven't seen anyone play like that. I feel like teachers always say not to have your flute or head angled because it's bad posture, but the way he played seemed so perfect and it did not seem like he had bad posture. I would like to try playing like this sometime in the future. Overall I liked this player and the piece because the performer was different from other people I have seen perform, and the music choice was very pretty and it sounded elegant which I liked.

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[Daegu Flute Music Fair] F. Liszt / La Campanella / Flute : Denis Bouriakov

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Aaron Rivkin was born in Philadelphia and has been playing the euphonium since he was 11.  He went to Ithaca College and the Royal Northern College of Music. There he studied under Steven Mead and David Thornton and received his Masters of Music in 2011. He plays very well, paying special attention to his dynamics and articulation, all while maintaining good tonality. You can tell he is tonguing very lightly by the way the notes "bounce" even in the more legato movements. Additionally he has very good control of his air support and his sound is warm and full. I would love to be able to play like this. I tend to tongue a bit heavier and it's especially hard to play faster pieces that require 16th or 32nd notes. Also I have noticed that my sound isn't very loud and it can be quite airy at times. He is creating his sound by maintaining a very good embouchure. The corners of his mouth stay tight and his chin maintains a flat position. He also has very good air support and that is why his tone is always so good. He seems to move his body along with the music by lightly swaying. His fingers are also in a curved position with the pads of his fingers on the top of each valve. Also his facial expressions seem to change, for example when playing higher, more legato sections like in movement 1 and 3, he raises his eyebrows or sometimes even closes his eyes. However when playing faster and lower parts like in movement 2 or 4 he makes frowning expressions. Overall his performance is very impressive, especially the dynamic contrast and the quality of his tone.

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Frisco Percussion: Shared Space by Ivan Trevino (Srivishal More)

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Frisco percussion is a high school percussion group in Texas who sound very professional. They sound very content and focused as they are all in tune with each other. I want to sound like the blonde girl playing that vibes by herself in the middle of the piece because she took full advantage of the pedal and it sounded very clean and elegant. I noticed that the people playing background melody hit the bar on the edge so that it sounds more dull and not as rich and deep. I also noticed that only some of them are doing the upstrokes and those who are, get a more resonating sound. Some of them lift their sticks up very high to symbolize the resonating feeling and allow for the viewers to follow the music with their eyes along with what they are hearing. The group is preforming very well as they are all in time and together. I didn't know you could have 5 people playing the same vibraphone.

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Frisco Percussion: Shared Space by Ivan Trevino

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Jonathan Russell is a bass clarinetist and composer born in 1979. He has a B.A. from Harvard University and a Ph.D. from Princeton University. Jonathan's tone sounds beautiful and his volume stays consistent in between dynamic changes. His playing overall is extremely smooth and flawless. I think he creates this quality of sound with his breathing technique and embouchure. He stands tall and has a relaxed but attentive posture. His fingers move with ease and very quickly during specific parts such as his couple minutes long solo around 7 and a half minutes in. He doesn't look like he's losing air, in fact, he looks like he has very well controlled air support. Overall, he's performing with a lot of focus and dedication as well as confidence. At multiple points throughout the piece, he's the main instrument playing and he plays flawlessly with no signs of nervousness or error. One part that I found really cool was at around 8:40 when he went down to the low notes and I'm not sure what it was but the whole low part sounded really cool. It was either a trill or change in embouchure. Either way, I sounded really cool and that whole solo with the really fast parts and wide variety of low and high notes sounded really cool to me.

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Jonathan Russell: Bass Clarinet Concerto • Kaleidoscope Chamber Orchestra - Benjamin Mitchell

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Andrew Hasher is a musician/Alto Saxophone player from Austin Texas. He studied at the University of Michigan and is a customer support specialist at JazzHR. The way he plays is very nice, he has a great tone and every note seems to just smoothly fit together. You can tell that he likes what he is playing because of his posture while he plays and how he portrays his emotion through the piece. He isn’t stiff and is able to move freely both body wise and finger wise. The way he doesn’t just stand in one place and play but instead moves around and goes with the music is very interesting. I want to play like him because the way he uses his air to support the sound is very smooth and comforting, and makes you want to listen to more. Even when playing different tempos and dynamics, all of it sounds very supported. His notes aren’t sloppy, they are very clean even when he is playing fast and repetitive where it is easy to sound messy.

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Henri Eccles: Sonata for Eb Alto Saxophone and Piano

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This is Carol Wincenc. She is from Buffalo, NY, and she started playing flute when she was 9. She studied at Oberlin and Manhattan school of music, and got her master's degree from Julliard. She also studied in Italy with Severino Gazzelloni. Wincenc. She uses a lot of air support when she plays, and you can tell because she can play for a long time before taking another breath without losing volume or trying to squeeze out whatever air she has left. She also articulates her notes very well, and her tongue is in sync with her fingers. When she plays tied notes she does not rush. She moves her body with the music when she plays. Her back is straight which helps with her breathing and her horn angle is not very tilted. I liked that she can hit higher notes while keeping good tone quality and using dynamics.

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W.A. Mozart, Flute concerto no. 2 in D, K. 314

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1. Martin Wilson
2. N/A
3. He studied at the royal colege of music in London, and it is unclear who he studied with
4. They sound really smooth in the way they produce the notes, and it would be best to try to immitate that way of playing
5. Suprisingly enough they are puffinf their cheeks to make the sound
6. While playing they stand with perfect posture
7. N/A
8. In general the performation just seemd really calm composed and overall super porffesinal, which makes it fun to watch
9. He plays extremely fast notes which I thought was cool

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The performer's name is Heinz Holliger. He is from Langenthal Switzerland. He studied in the conservatory of Bern with Sándor Veress and Pierre Boulez. Listening to his performance, I noticed his sound was clear and his tone was really good. I think it would be great if I could imitate his sound, because a tone like his, makes a huge difference in the overall sound of the orchestra/band. Something I noticed him do is getting stronger when playing higher notes. When I play, I tend to get weaker when playing higher, which makes my tone sound bad. By playing like him, I can aim to produce a stronger, clearer sound. While playing, he tends to move his oboe with the music, which  I feel adds a lot of expression to his playing, giving it the emotion and personality Mozart had intended upon writing this composition. He doesn't breath that much while playing, but when he does it's quick so it doesn't affect the music. He quickens his airflow during the higher notes to produce a stronger sound, like mentioned before.  His preforms really confidently, which means there is no hesitation in his playing. I think it helps that he memorized the music, which adds a bonus level of confidence/understanding of the piece. Something I thought was cool in his playing was how he really brought the piece to life, conveying the actual meaning and purpose of the piece through his playing, body movements and dynamics. I also thought it was cool how he only took a breath when it was the end of a phrase, which shows that he is aware of the difference between what made sense in terms of breathing and what made sense in terms of musicality.

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Mozart - Oboe Concerto KV 314 (Holliger) FULL VIDEO

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Harry Carney was a Baritone Saxophone player. He was born on April 1, 1910 in Boston, MA, and died October 8, 1974, New York, NY. He was in high school, when he got into the Ellington band when he was 17, and dropped out of education, and stayed in the band for the rest of his life; 47 years. His sound is very crisp and clean, and has a certain "punch" to it. His quality seems to be from perfect embouchure. I want to imitate is clearness of sound, and how his crescendos sound very smooth. He breathes in such a way that its unnoticeable; I couldn't hear him breathing at all during the recording. His performance is incredible, and he seems really into it; like nothing else will stop him from his music. His posture is perfect, (probably because of the lack of screens!) and I want to replicate everything about his playing. He also invented "Circular Breathing" which allows him to breath while playing. In the end of his song, he held a note for a minute and a half using this tenique. It is one of the most absurd and coolest thing I have ever seen, and I would like to replicate it, but it is very difficult to learn.

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Sophisticated Lady - Duke Ellington - Harry Carney (baritone saxophone)

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Ian Bousfield(February 16, 1964, York, UK) is a British trombonist musician. he first started learning the trombone at the age of 7, taught by his father, and at the age of 13 went on to become the principal trombonist of the National Youth Brass Band. He has a very toned sound and hits notes perfectly. he can play fast notes and can play very low and high notes. He sways to the music which almost enhances his sound, which is backed up by a clear and unbroken air flow. He overall performs well and feels the music he is playing.

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Demarre McGill is an exceptional flute player. He was born and raised in Chicago, Illinois. He is most famous for being the principal flutist of the Seattle Symphony. He has received a bachelors degree in flute performance. He studied under Julius Baker and Jeffery Khaner at the Curtis Institute of Music. Then continued to study with Julius Baker at The Julliard School where he received a masters degree in music. He sounds very elegant and goes through every note very smoothly. I hope to go through my notes smoothly like him and not be choppy with them. He is very precise with his articulations and that is how he is able to create that quality of sound. You can hear when he does a staccato or when he slurs and tongues his notes. His fingers are very controlled when he moves them. He doesn't rush his finger movement. When I see things like eight notes or sixteenth notes, I read it weirdly and over complicate it and end up moving my fingers more than I need to and it makes a weird sound. He doesn't do that and I want to mimic that habit. He always keeps his back straight allowing for the best air flow. He never seems to change his embouchure and never has too much air or too little air. He does seem to have a variation of facial expressions and kind of like hops every time he breathes again. In general, they have a really good performance. Some of the best that I've heard and I thought that it was the best general performance out of the videos that I watched. One thing that was different about him was that he was playing a golden flute, and I just thought that it was really cool and makes him stand out from everyone else.

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Prokofiev Flute Sonata, 4th mvt - Demarre McGill