Boa noite pessoal, neste artigo o excelente trompetista Chris Gekker fala sobre a importancia de praticar o ato de ouvir. Nos fala da importancia do equilibrio entre horas de estudo ao trompete e horas de ouvir outros musicos, gravacoes, concertos, etc.VIDEO: Chris Gekker tocando o primeiro movimento da Sonata de Eric Ewazen.Listening OuvindoWritten by Chris GekkerTo improve as trumpeters, it is necessary to practice with consistency, intensity, and intelligence. Also crucial, and sometimes overlooked, is that to develop our musicianship we all need to listen: to other trumpet players as well as all types of instrumentalists, singers, and types of music.Para desenvolvermos como trompetistas e necessario praticar com consistencia, intensidade e inteligencia. Tambem e crucial, e por vezes esquecidos, e que, para desenvolvermos nossa musicalidade precisamos ouvir: outros trompetistas, bem como outros instrumentistas, cantores, e outros tipos de musica.Practicing builds our skills and conditions us physically to deal with our instrument. Listening develops our overall background and knowledge of music, and more specifically inspires and nurtures an inner ideal of how we want to sound. The great Arnold Jacobs has said that "good" and "great" brass players often possess the same amount of talentwhat makes a trumpeter "great" is that internal conception that is continuously strived for.Estudar/praticar constroi nossas habilidades e nos condiciona fisicamente para lidarmos com nosso instrumento. Ouvir desenvolve nosso conhecimento geral sobre musica e mais especificamente inspira e nutre um desejo interno sobre como queremos soar. O grande Arnold Jacobs disse que 'bom' e 'grandes' musicos dos naipes dos metais, geralmente possuem a mesma quantidade de talento, o que faz um trompetista 'grande' e aquela concepcao interna que e continuadamente esforcado para.In a perfect world, we would all be able to regularly attend fine concerts, but this is not likely for most, and pretty much impossible for young players. So recordings are vital for our listening education. I remember, as a young boy in the early 1960s, sitting with my parents, listening to the Jackie Gleason Orchestra on TV, hearing Bobby Hackett's beautiful cornet floating through. In junior high I heard a great professional in person for the first time:Num mundo perfeito, nos todos teriamos a possibilidade de assistir excelentes concertos. mas isto nao e possivel para muitos, e quase impossivel para jovens musicos. Portanto as gravacoes sao vitais para nossa educacao no ouvir. Eu lembro, quando era jovem no inicio da decada de 60, sentado com meus pais, ouvindo Jackie Gleason Orchestra na TV, ouvindo o som lindo de cornet de Bobby Hackett. No colegial ouvi o grande profissional ao vivo pela primeira vez: Emerson Head. His playing was so expressive, so exciting, and I started practicing hard and listening to every record I could, making full use of the public library in my hometown of Alexandria, Virginia. Some almost got worn out: John Ware's posthorn solo on Mahler's Symphony No. 3, Clark Terry, and Maurice Andre. In high school my parents gave me Miles Davis' Filles de Kilimanjaro, which really turned my world upside down. During my first year at the Eastman School of Music, Gerard Schwarz's