That’s Not Spit, It’s Condensation!
- Episódios
- 208
- Publicação
- semanal
- Último episódio
- 5 nov 2026
Sobre o podcast
“That’s Not Spit, It’s Condensation” is a weekly podcast with conversations and discussions about all things music. In it, we’ll peel back the layers of what makes great musicians great, hoping to inspire others to achieve their maximum potential.http://thatsnotspit.com
Episódios 208
#212: From Getting Cut in the First Round to the Houston Symphony Finals
Daniel Santos felt prepared for every audition he took. He’d learned the music, run mock auditions, done the work. Then he’d get on stage and it wouldn’t show up. He’d play the first excerpt, start analyzing …
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Daniel Santos felt prepared for every audition he took. He’d learned the music, run mock auditions, done the work. Then he’d get on stage and it wouldn’t show up. He’d play the first excerpt, start analyzing everything, and the mistakes would snowball. Montreal, Phoenix: cut in the first round.
Free Winning Auditions workbook: http://www.goldmethod.us/auditions
Daniel is a trumpet player in the U.S. Air Force Band of the Golden West. In this episode, he talks about what was actually going wrong in auditions. He was playing too safe, trying to be perfect, and evaluating himself the entire time he was on stage.
He also explains what changed. He had a structured plan for his preparation and recorded himself every day. He built real evidence that he could trust his playing. And he learned that the committee isn’t listening for reasons to cut you. They’re rooting for you.
His results since: through a full first round at San Francisco Ballet, a round in Dallas where he played exactly the way he wanted to, and then the finals with the Houston Symphony.
If you’ve ever walked off stage thinking “that’s not how I play,” this one’s for you.
Connect with Daniel: Instagram @danielsantos717
Ryan Beach: ryanbeachtrumpet.com
Kathleen Costello: kathleenbcostello.com
Instagram: @thatsnotspit#211: Why You Don’t Play Like Yourself at Orchestral Auditions
You’re organized. You’re recording yourself. You’re running mock auditions and putting in the hours. But once you get on stage, with the committee listening, something changes, and you don’t play the way you …
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You’re organized. You’re recording yourself. You’re running mock auditions and putting in the hours. But once you get on stage, with the committee listening, something changes, and you don’t play the way you know you can in the practice room.
Download your free winning auditions workbook here:
http://www.goldmethod.us/auditions
In this episode of That’s Not Spit, It’s Condensation, Ryan Beach and Kathleen Costello explain why the usual audition prep (more practice, more mock auditions, trying not to care) doesn’t always carry over to the stage. They also name the state you need to be in to play your best when it counts: flow state.
You’ve probably been there before. It’s the performance where two hours flew by, where you weren’t thinking about mistakes, nerves, or the committee, just the music. Some players call it being “in the zone” or playing “out of your mind.” It can feel like magic, but it isn’t. Flow has conditions, and you can build them into your practice.
In this episode:
-Why players who sound great in the practice room struggle at auditions
-Why more practice, more mock auditions, and “just don’t care” often don’t fix it
-What flow state is, and why it’s behind your best performances
-The most important condition for flow: keeping your attention in the present moment
-Three more conditions to explore: clear goals, immediate feedback, and skill/challenge balance
-Why players who make mistakes sometimes advance over players who played “perfectly”
-Answers to “I just need to get better at my instrument” and “this is supposed to be hard”#210: The Habit That Makes Your Best Playing Consistent Under Pressure
More practice and more effort won’t fix inconsistent playing. If sometimes you sound great and sometimes you don’t, and you don’t know why, this episode is for you.Maybe your preparation goes well and the …
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More practice and more effort won’t fix inconsistent playing. If sometimes you sound great and sometimes you don’t, and you don’t know why, this episode is for you.
Maybe your preparation goes well and the audition doesn’t. Or one audition goes great and the next one, a few weeks later, doesn’t come close. Keep that up long enough and you walk into every audition not knowing which version of you will show up.
Download our free Winning Auditions Workbook
http://www.goldmethod.us/auditions
Ryan Beach and Kathleen Costello talk through the practice habit they use to find out what actually causes their best playing: neutral instruction journaling. Instead of writing “sharp,” you write “aim lower.” Instead of grading yourself, you record what you’ll try next and whether it worked. Over time, that record becomes proof you can trust, and a clear idea of what to focus on when you’re under pressure.
In this episode:
Why “keep practicing” and “get more information” don’t solve inconsistency
What it actually takes to play consistently
How performance journaling differs from a diary or gratitude journal
Three journaling mistakes: the activity log, the error list, and positive-only
How to turn judgments into instructions
Why it doesn’t take much time, and how it saves you from solving the same problem twice
Pages from the journals Ryan kept while preparing for his Atlanta Symphony trial and Philadelphia Orchestra finals#209: Why You Play Worse in Auditions Than in Practice | Tessa Vermeulen
If you're looking to understand what goes in to winning an orchestral audition, download our FREE winning auditions workbook!http://www.goldmethod.us/auditionsWhat if the way you think about orchestral …
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If you're looking to understand what goes in to winning an orchestral audition, download our FREE winning auditions workbook!
http://www.goldmethod.us/auditions
What if the way you think about orchestral auditions is the reason you play worse in them?
Tessa Vermeulen, second/assistant principal flute of the Alabama Symphony Orchestra, joins Ryan Beach and Kathleen Costello to talk about audition preparation from the inside. Tessa trained at Carnegie Mellon and Juilliard and won her Alabama Symphony job while still finishing her master’s. She was technically and musically prepared long before she started working with us. What she wanted was consistency: a way to stay mentally present on stage no matter what happened that day.
In this episode she talks about:
Why an orchestral audition isn’t an exam, and what changes in your playing when you stop treating it like one
Why the purpose of practice isn’t to prevent mistakes, but to trust yourself to come back when one happens
How she practiced specific points in her excerpts to bring her attention back to the present
What happened when she cut her finger days before an audition
Why her goal for her most recent audition was to “not try,” and why she counts it as a big moment even though she didn’t advance
Why it’s okay for some parts of your preparation to feel easy
If you take orchestral auditions on flute or any other instrument, and you play better in the practice room than you do behind the screen, this conversation is for you.
Connect with Tessa
https://www.thethinkingflutist.com/#208: How To Consistently Play Your Best In Orchestral Auditions
Most players who can't produce their best playing in an audition assume the problem is skill. If they could just get a little better, the pressure wouldn't matter. For some players that's true …
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Most players who can't produce their best playing in an audition assume the problem is skill. If they could just get a little better, the pressure wouldn't matter. For some players that's true. But there are a lot of musicians who can already play well enough to win a job and still can't reliably show it on the day. If that's you, the problem isn't the skill you have. It's your access to it.
Free Winning Auditions Workbook
http://www.goldmethod.us/auditions
In this episode we talk about what's actually going on when preparation doesn't survive the audition, and what to do about it. Why committees can only respond to what they hear in the moment. Why doing all the "right" things, the hours, the organization, the smart practice techniques, the books, still leaves people walking off stage knowing that wasn't representative. And the shift that changes it.
That shift is attention. Under pressure your skill doesn't degrade, your attention does. And your attention is the thing that transfers from the practice room to the stage, because it's been getting trained the whole time, whether or not you were training it on purpose. If your practice is built around noticing what went wrong, that's what you've trained your attention to do, and that's what it will do in the round.
We get into:
-What a committee is actually deciding, and why it isn't who's the best player
-Why "I need to improve my skill" is the first conclusion almost everyone jumps to, and when it's the wrong one
-The difference between raising your ceiling and getting access to the ceiling you already have
-What attention training is, and where it came from in our work, including the breath meditation we learned from John Baker, a former major league player and mental skills coach
-Why the real skill isn't holding your attention in place, but knowing where to return it when it wanders
-What changes in the practice room when the goal of a repetition is your attention rather than the sound
-What it looks like on stage when you've spent the whole preparation building the headspace you want, instead of trying to find it in the moment#207: The Goal of Orchestral Audition Preparation (No One Showed You This)
Most players preparing for orchestral auditions are working hard on the wrong target. They practice, organize, record, run mock auditions, and work on the mental game, and still walk off stage knowing they have …
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Most players preparing for orchestral auditions are working hard on the wrong target. They practice, organize, record, run mock auditions, and work on the mental game, and still walk off stage knowing they have more than they showed. The problem usually isn't effort or talent. No one ever showed them what their audition preparation is supposed to produce.
In this episode, Ryan talks about the actual end goal of audition preparation, what has to change in your practice to reach it, and the part most players skip: becoming the type of person who trusts themselves when it matters most.
Grab your FREE Winning Auditions Workbook:
http://www.goldmethod.us/auditions
We look at it through three books that changed how we coach:
📖 The Rise of Superman by Steven Kotler — flow state, and why it's the target of your preparation
📖 Peak Mind by Amishi Jha — why your attention, not your skill, is what breaks down under pressure, and how attention can be trained
📖 Inner Excellence by Jim Murphy — values, belief, and deciding who you want to be at the audition
In this episode:
-Why your best performances all sound the same when players describe them
-Why "your skill doesn't degrade under pressure, your attention does"
-How balancing challenge and skill changes the way you practice
-Turning audition day from "how will I sound?" into "who do I want to be?"
-One action step: pick the book that matches where you're struggling most, and read it
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Available on Apple Podcasts, Spotify, and Google Podcasts!
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http://www.linktree.com/thatsnotspit#206: Practicing Like This Is Why You Don't Have Confidence At Auditions
FREE Winning Auditions Workbook:http://www.goldmethod.us/auditions-Orchestral audition preparation usually breaks down in the practice room, not on stage. Most classical musicians walk into an audition still …
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FREE Winning Auditions Workbook:
http://www.goldmethod.us/auditions
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Orchestral audition preparation usually breaks down in the practice room, not on stage. Most classical musicians walk into an audition still wondering whether they practiced enough — and that question is what stops you playing with confidence under pressure.
If you struggle with audition nerves, inconsistent playing, or the feeling that your practice isn't transferring to the stage, the cause is probably how you were taught to practice orchestral excerpts in the first place.
Find what's wrong and fix it is the most common practice instruction in music, and nobody tells you what to do when the fix doesn't work. So effort becomes the only tool you have, and every practice session turns into a verdict on whether you're good enough. Practice like that long enough and you train your attention to hunt for mistakes — which is the attention you take on stage.
In this video:
-Why audition anxiety usually starts in your practice routine
-The two beliefs that turn a practice session into a test
-What a practice repetition looks like when you stop trying to prove and start gathering data
-How to build a practice routine that produces real confidence under pressure
-Why the progress you're chasing today isn't available today
For orchestral musicians, conservatory and graduate students, and working professionals preparing for professional orchestra auditions.#205: This Podcast Is Changing. Here's Why.
Kathleen Costello joins That's Not Spit, It's Condensation as co-host. Kathleen has been principal clarinet of the Alabama Symphony Orchestra for 20 years, played with Pittsburgh Ballet Theatre …
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Kathleen Costello joins That's Not Spit, It's Condensation as co-host. Kathleen has been principal clarinet of the Alabama Symphony Orchestra for 20 years, played with Pittsburgh Ballet Theatre Orchestra, and performs in a chamber trio. She's also the co-founder — with Ryan — of the coaching program behind this show.
In this episode we talk about where this podcast is headed: a resource for classical musicians preparing for professional orchestra auditions, and for anyone trying to perform well under pressure.
We share the four beliefs that will guide every episode from here:
1. The problem isn't you. The problem is your system.
2. Under pressure, your skill doesn't degrade. Your attention does.
3. Winning an audition is a question of committee trust — and they can't trust you if you don't trust yourself.
4. The goal isn't to win the audition. The goal is to become the person who can win the audition.
If you're taking auditions and want to understand what a committee is actually listening for, grab the free workbook: http://www.goldmethod.us/auditions
Ryan Beach spent 11 years as principal trumpet of the Alabama Symphony before leaving in February 2026 to coach musicians full time.#204: Everything I Know About Winning Auditions
Download your FREE audition preparation workbook here:http://www.goldmethod.us/auditions-In this episode, I'm sharing everything I know about how to win a professional audition, with actionable steps so …
Notas do episódio
Download your FREE audition preparation workbook here:
http://www.goldmethod.us/auditions
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In this episode, I'm sharing everything I know about how to win a professional audition, with actionable steps so you can apply this to your own audition preparation.
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Orion Miller's episode on Jason Heath's podcast:
https://www.youtube.com/watch?v=pCn6D6OglI8#203: Why Do Auditions Burn Players Out (and To Do About It)
https://live.ryanbeachtrumpet.com/auditionsSupport the show
#202: Jordi Albert - What 1500 Trumpet Players Taught This PhD About Getting Unstuck
Dr. Jordi Albert has spent 27 years researching trumpet performance, trumpet pedagogy, and musician health. After working with over 1,500 trumpet players — from beginners to professionals — he has developed a …
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Dr. Jordi Albert has spent 27 years researching trumpet performance, trumpet pedagogy, and musician health. After working with over 1,500 trumpet players — from beginners to professionals — he has developed a research-backed methodology for solving the most common trumpet problems fast.
In this episode, Dr. Albert breaks down:
Why 98% of professional trumpet players experience learning difficulties
How inner hearing and audiation directly affect your trumpet technique
The neuromotor science behind embouchure problems and how to fix them
Why focal dystonia and overuse syndrome are more common than you think
How to practice trumpet more efficiently using sports science
The role of lip health and biomechanics in trumpet performance
Why working harder on trumpet isn't always the answer
How to get unstuck on trumpet without changing your entire approach
Whether you're struggling with trumpet high notes, trumpet endurance, trumpet articulation, double tonguing, triple tonguing, embouchure problems, or flexibility, this conversation will change the way you think about practicing and performing.
Dr. Albert is the founder of the Global Institute for Music Research (GIMUR) and director of Your Trumpet Studio. His doctoral thesis on learning difficulties in expert motor performance on the trumpet was published by the Polytechnic University of Valencia.
🎺 Learn more about Dr. Jordi Albert: jordialbert.com
🎺 Your Trumpet Studio: yourtrumpetstudio.com#201: Dr. Genevieve Clarkson - What Drum Corps Taught This Tuba Professor About Teaching
Tuba professor and Bluecoats drum corps instructor Dr. Genevieve Clarkson joins the podcast to talk about what it really means to be a great music teacher. From purposeful practice and growth mindset to the …
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Tuba professor and Bluecoats drum corps instructor Dr. Genevieve Clarkson joins the podcast to talk about what it really means to be a great music teacher. From purposeful practice and growth mindset to the unexpected lessons learned teaching at the highest level of drum corps competition, Jenny shares a philosophy of teaching that is equal parts inspiring and actionable.
In this episode we cover:
- What makes a truly successful music teacher
- How to help students practice more effectively
- What drum corps taught her about teaching fundamentals
- Why potential matters more than perfection
- How to give feedback that builds confidence instead of fear
- The Repertoire Expansion Project and why new music matters
Dr. Genevieve Clarkson is Associate Professor of Tuba and Euphonium at Oklahoma City University and Lead Brass Instructor with the Bluecoats Drum and Bugle Corps, the 2024 DCI World Champions. Find her at genevieveclarkson.com and on Instagram @GenevieveClarkson.
#200: Chris Martin - NY Phil Principal Trumpet's Practice System
Praised as “brilliant…impeccable” by the New York Times and a musician of “effortless understated virtuosity” by The Chicago Tribune, Christopher Martin is Principal Trumpet of the New York Philharmonic. Prior …
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Praised as “brilliant…impeccable” by the New York Times and a musician of “effortless understated virtuosity” by The Chicago Tribune, Christopher Martin is Principal Trumpet of the New York Philharmonic. Prior to this, he was Principal Trumpet of the Chicago Symphony Orchestra for eleven seasons. Mr. Martin has enjoyed a distinctive career of more than twenty years as solo trumpet of some of America’s finest orchestras. As a soloist, Christopher Martin is in great demand in New York and around the world and has made several world premieres. Martin’s passion for new music has seen numerous works brought to life in both the orchestral and wind band repertoire. Christopher Rouse’s Heimdall’s Trumpet, John Mackey’s Antique Violences, and Julie Giroux’s Taboo were composed for Mr. Martin. Christopher Martin’s discography includes a solo trumpet performance in John Williams’s score to Steven Spielberg’s Lincoln (2012). 2019 saw the release of Antique Violences with Jerry Junkin conducting the Dallas Winds. Mr. Martin serves on the faculty of The Juilliard School. Christopher Martin is a Yamaha Performing Artist.
#199: Kevin McKee - From Trumpet to Composer (Centennial Horizon)
In this episode, I'm sitting down with composer and trumpeter Kevin McKee to talk about his journey from trumpet performance to composition, how his playing background shapes his writing, and what makes …
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In this episode, I'm sitting down with composer and trumpeter Kevin McKee to talk about his journey from trumpet performance to composition, how his playing background shapes his writing, and what makes his music so idiomatic and enjoyable to play. We dig deep into the inspiration and interpretive details behind Centennial Horizon, Kevin's evocative three-movement work for trumpet and piano inspired by Colorado. Kevin also shares details about his book Kevin McKee's Musical Jungle Gym for Trumpet, a gamified fundamentals method designed to keep students engaged through style studies, card-based practice routines, and QR-linked recordings.
We covered:
-How Kevin got started composing and what kept him going
-Writing music you actually enjoy vs. chasing trends
-The personal story behind Centennial Horizon (movement by movement)
-Performance tips straight from the composer
-The Musical Jungle Gym: who it's for and how to use it
-Blocked buzzing as a tool for embouchure recovery
-Kevin's advice for aspiring composers
Find Kevin's music and get in touch at kevinmckmusic.com#198: Dr. Molly Gebrian - Why Your Practice Isn't Working (According to Science)
Most musicians are practicing wrong—not because they're lazy or untalented, but because traditional practice methods don't align with how the brain actually learns.Dr. Molly Gebrian is a violist …
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Most musicians are practicing wrong—not because they're lazy or untalented, but because traditional practice methods don't align with how the brain actually learns.
Dr. Molly Gebrian is a violist, neuroscientist, and author of Learn Faster, Perform Better. She teaches at New England Conservatory and has spent years translating brain science into practical strategies for musicians.
In this conversation, we dig into:
- Why taking MORE breaks leads to FASTER progress
- How mental practice can solve problems physical practice can't
- The truth about talent (spoiler: it's irrelevant)
- Why mistakes are essential for learning
- The "old way, new way" technique that breaks bad habits in minutes
- How to practice in 30-minute segments for maximum efficiency
- What actually causes performance anxiety (and how to manage it)
If you've ever felt frustrated in the practice room, stuck on a plateau, or wondered why hours of practice aren't translating to results—this episode will change how you think about practice forever.
Molly's Website: www.mollygebrian.com
#197: Stephen Wadsack - Why This Trumpet Player’s Beliefs About Confidence Held Him Back
Confidence wasn’t missing — it was misunderstood.In this episode, Ryan sits down with trumpet player and educator Stephen Wadsack to unpack how deeply held beliefs about confidence can quietly shape — and limit …
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Confidence wasn’t missing — it was misunderstood.
In this episode, Ryan sits down with trumpet player and educator Stephen Wadsack to unpack how deeply held beliefs about confidence can quietly shape — and limit — the way we practice, perform, and grow as musicians.
What starts as a conversation about auditions and orchestral playing turns into something much deeper: how confusing confidence with arrogance, or treating it as a personality trait instead of a byproduct of clarity, can hold even highly skilled players back. Together, they explore how humility, organization, identity, and understanding your fundamentals can actually create the confidence most musicians are searching for.
If you’ve ever felt confident in some settings but not others, struggled with comparison, or wondered why hard work doesn’t always translate into freedom on stage, this conversation will resonate.
#196: 3 Common Trumpet Practice Problems You Don't Have To Accept
Many trumpet players experience frustration, inconsistency, or uncertainty in their practice — and assume that’s just normal.In this video, I break down 3 trumpet practice habits that are common, but don’t have …
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Many trumpet players experience frustration, inconsistency, or uncertainty in their practice — and assume that’s just normal.
In this video, I break down 3 trumpet practice habits that are common, but don’t have to stay that way.
These habits often feel normal because they’re widespread, especially when players work hard without a clear system, feedback loop, or defined outcome. The goal here isn’t to criticize how you practice — it’s to help you understand why these experiences happen and what can change them.
In this video, you’ll learn:
Why certain frustrating practice experiences are so common
How these habits affect progress, confidence, and consistency
What principles I use to create clearer, more productive practice
How to rethink practice without invalidating your past experience
This video is for serious trumpet players who want to practice with more clarity, intention, and confidence — whether you’re a student, amateur, or professional.
If you’ve ever felt like you’re working hard but not seeing the results you expect, this will help you understand what’s actually going on.#195: My Philadelphia Audition - What It Felt Like To Make the Finals
In this episode, I share the full story of my recent audition for the Principal Trumpet position with the Philadelphia Orchestra — one of the highest-profile trumpet auditions in the world. I made the finals …
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In this episode, I share the full story of my recent audition for the Principal Trumpet position with the Philadelphia Orchestra — one of the highest-profile trumpet auditions in the world. I made the finals, but the real takeaway wasn’t the result. It was the stillness, clarity, and confidence I felt throughout the entire process, even when things weren’t going my way.
If you’re a trumpet player, brass musician, or anyone preparing for orchestra auditions, I hope this story gives you insight into how mindset, identity, organization, and deliberate practice all come together under pressure.
#194: Ron Von Dreau - The Secret to Growing a 60+ Student Music Studio
In this episode of That’s Not Spit, It’s Condensation, I sit down with tubist and teacher Ron Von Dreau to talk about what it takes to build and sustain a thriving private teaching studio.Ron has taught in …
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In this episode of That’s Not Spit, It’s Condensation, I sit down with tubist and teacher Ron Von Dreau to talk about what it takes to build and sustain a thriving private teaching studio.
Ron has taught in Texas for decades, managing studios of 60–80+ students while also teaching at the university level, directing band programs, and balancing freelance performing. His story is full of lessons for anyone building a teaching career: from starting with only a handful of students to learning the business side of teaching, earning trust with parents and band directors, and keeping students motivated year after year.
We cover:
-Ron’s eclectic career path from chamber music to teaching to band directing
-How he grew his Texas studio to over 80 students
-The importance of reputation, professionalism, and communication
-Pedagogical “non-negotiables” that guide his teaching
-Why fundamentals and flexibility matter more than flashy methods
-The business realities of running a private studio (payments, scheduling, taxes)
-His advice for young teachers starting out
Whether you’re a brass player, a music educator, or someone curious about what it takes to make a living teaching, this conversation is packed with insight, honesty, and practical advice.
👉 If you enjoyed this episode, don’t forget to like, subscribe, and share it with a friend who might benefit from Ron’s wisdom.Taken from "That's Not Spit, It's Condensation!" Episode
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Available on Apple Podcasts, Spotify, and Google Podcasts!
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http://www.linktree.com/thatsnotspit#193: 4 Skills That Separate Audition Winners from Everyone Else
In this episode, I'm going to break down the real reason auditions feel so brutal—and what separates the winners from everyone else. It's not luck. It's not just talent. It's a learnable set …
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In this episode, I'm going to break down the real reason auditions feel so brutal—and what separates the winners from everyone else. It's not luck. It's not just talent. It's a learnable set of skills that anyone can develop.
If you’ve ever walked off stage thinking “I thought I was ready… what happened?”—this is for you.
You’ll learn:
✅ The mindset shift that changes everything
✅ Why fundamentals actually matter
✅ The power of a clear, consistent plan
✅ And what most people misunderstand about deliberate practice
If you're ready to take auditions seriously—and stop leaving your success up to chance—listen to this episode and apply what you learn.
If you’re interested in working with me in my audition program, click the link below for more info:
https://live.ryanbeachtrumpet.com/audition-program
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Join my Skool community and watch my free masterclass on the GOLD Method of Practice Organization
https://www.skool.com/practice-independence-6092/about?ref=df99ad5a74574d09b881eb405135b71f#192: Doug Lindsey - Master Lip Trills and Unlock Effortless Trumpet Technique
In this episode, we break down how to master lip trills, develop faster and cleaner technique, and play with more freedom—without adding tension.You’ll learn why “lip trills” aren’t actually about the lips, how …
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In this episode, we break down how to master lip trills, develop faster and cleaner technique, and play with more freedom—without adding tension.
You’ll learn why “lip trills” aren’t actually about the lips, how to train your air and embouchure for effortless control, and the exact exercises that build dazzling technique you can trust in any performance.
We also explore how brass band playing can transform your musicianship, the mindset shifts that speed up progress, and practical advice for staying motivated and consistent.
What you’ll learn:
•How to do lip trills on trumpet (and why most players overcomplicate them)
•Trumpet flexibility exercises that improve range and control
•How to build speed and clarity without overthinking
•The embouchure setup that makes lip trills easier
•Why brass band playing develops dynamics, blend, and endurance
•Mindset tips for overcoming plateaus in your playing
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Dr. Douglas Lindsey joined the faculty at the University of Oklahoma in the Fall of 2023. Prior to his time at OU, Dr. Lindsey was the Associate Professor of trumpet and brass area coordinator at Kennesaw State University.
As a soloist, he has performed many times each at the International Trumpet Guild conference, at the Atlanta Trumpet Festival, at the Trumpet Festival of the Southeast, in numerous faculty and guest soloist recitals across the country, and with many high school, community and college bands across the country. Recently, in collaboration with pianist Kristy Olefsky, Dr. Lindsey released his first solo album, Impressions of France. Alongside pianist Judy Cole, he has performed solo recitals all over the Southeast as a founding member of Duo Trompiano.
As an orchestral musician, he has performed as principal trumpet of the Memphis Symphony, as section trumpet with the Atlanta Symphony Orchestra, as principal trumpet of the Georgia Symphony Orchestra, as section trumpet with the Macon Symphony, and spent two summers as an orchestral fellowship winner at the Aspen Music Festival.
His love of building community through music is highlighted by his leadership role in the Georgia Brass Band where he served as President and Principal Cornet for many years. This work culminated in the Georgia Brass Band earning their highest ever placement at NABBA. Recently in 2023 he was tapped to play principal cornet for the award-winning Fountain City Brass Band. In addition to a large variety of concerts in the United States, the band will also travel to England to compete alongside some of the world's finest bands. In addition to brass bands, Dr. Lindsey has spent time on tour in the award-winning University of Wisconsin Brass Quintet and as a member of the Mirari Brass Quintet.
Previous to earning his DMA at the University of Wisconsin-Madison, Dr. Lindsey studied with Allan Dean at Yale, earning his Master of Music with the distinction of winning the John Swallow excellence in brass prize. Prior to Yale he studied with Ray Mase, Louis Ranger, Kevin Cobb, Scott Moore and Richard Rulli. Dr. Lindsey received his music performance and music education degrees magna cum laude from the University of Arkansas-Fayetteville. Dr. Lindsey is a Mercer and Barker mouthpiece and Schilke trumpet artist.
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Available on Apple Podcasts, Spotify, and Google Podcasts!
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http://www.linktree.com/thatsnotspit#191: Victor Djonorh - What Middle School Band Directors Really Do (And Why It Matters)
In this episode of That's Not Spit, It's Condensation, I sit down with Victor Djonorh, longtime band director at Summit Middle School and assistant director at Edmond Santa Fe, to dive deep into the …
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In this episode of That's Not Spit, It's Condensation, I sit down with Victor Djonorh, longtime band director at Summit Middle School and assistant director at Edmond Santa Fe, to dive deep into the realities of teaching music at the middle and high school level.
We cover:
🎵 How he accidentally became a tuba player
🎓 Lessons from his time at Oklahoma City University
👨🏫 What he wishes he knew as a first-year teacher
💡 How he keeps students engaged (and why relationships are everything)
📈 The balance between high standards and student well-being
🎺 Why modeling on your instrument matters more than you think
🧠 How he stays inspired through burnout and busy seasonsWhether you're a music educator, band director, or just curious about how great teachers make a difference, this episode is full of insight, humor, and practical wisdom.
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#190: Johanna Yarbrough - From Orchestral Challenges to Teaching with Impact
In this episode, I’m joined by Johanna Yarbrough, who recently transitioned from her role as second horn with the Detroit Symphony Orchestra to become the Professor of French Horn at Louisiana State University …
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In this episode, I’m joined by Johanna Yarbrough, who recently transitioned from her role as second horn with the Detroit Symphony Orchestra to become the Professor of French Horn at Louisiana State University. What begins as a conversation about career trajectory quickly unfolds into a vulnerable and deeply insightful look at the realities of orchestral life—and what it means to grow beyond it.
Johanna shares her early path through public school band, studying abroad in Norway with Frøydis Ree Wekre, and winning the DSO job straight out of Colburn. But we go far beyond the résumé. We dig into:
The hidden toll of orchestral pressure on mental health
How her identity became entangled with achievement
Learning to separate musical excellence from personal worth
The challenges of orchestra culture, groupthink, and navigating difficult personalities
What she now sees as her mission: helping students become not just better players, but better people
From beta blockers and burnout to purpose and pedagogy, this episode explores the messy, human side of a music career. Whether you’re an aspiring orchestral musician, a college student, or a seasoned player wondering “what’s next,” Johanna’s story will hit home.Available on Apple Podcasts, Spotify, and Google Podcasts!#189: Is Vennture the Future of Mouthpiece Design for Trumpet Players? | Doug McVey
Doug McVey is the founder of Vennture mouthpieces. He guides the technical direction of Vennture, oversees the development of VennCAD, and designs the tooling and processes used to produce Vennture custom …
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Doug McVey is the founder of Vennture mouthpieces. He guides the technical direction of Vennture, oversees the development of VennCAD, and designs the tooling and processes used to produce Vennture custom mouthpieces.
www.vennture.mp
#188: How to Teach Trumpet: Lessons from 30+ Years of Experience
Michael Anderson is the recently retired Professor of Trumpet at the Wanda L. Bass School of Music at Oklahoma City University. He is a member of the International Trumpet Guild Board of Directors and ITG …
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Michael Anderson is the recently retired Professor of Trumpet at the Wanda L. Bass School of Music at Oklahoma City University. He is a member of the International Trumpet Guild Board of Directors and ITG Journal editorial committee, Executive Director of the Guild’s web site, and chairman of the ITG technology committee. He is the ITG Journal columnist for Trumpet Technology and has presented and performed at several ITG Conferences. Previously to his OCU appointment, he was on the music faculty of Dana College in Blair, Nebraska.
Anderson was project manager of the ITG Journal anniversary CD-ROM, distributed to guild members in 2001 and is currently working on a DVD of all Journal articles and music supplements for the membership to be released in 2008. He founded and administrates the Trumpet Players’ International Network (TPIN), the oldest and most active Internet discussion list dedicated to the trumpet.
His degrees are from Illinois State University (BM), and the University of Nebraska-Lincoln (MM). Primary teachers have been Dennis Schneider, Herbert Koerselman, and Arnold Jacobs. During his 2003 sabbatical, Anderson observed and studied with master teachers including Bill Adam, Vincent DiMartino, Ronald Romm, Michael Ewald, Karl Sievers, and William Pfund.
Anderson is a tenured member of the Oklahoma City Philharmonic, the Lyric Theater Orchestra and the New Covenant Methodist Church Band. He performs regularly as a duo with Oklahoma City University Organist Timothy Olsen. He was a member of the Lincoln (Nebraska) Symphony Orchestra for 21 years, and performed often with the Omaha Symphony and Opera Omaha. He was a founding member of the Omaha Brass Ensemble, and the Nebraska Brass, and was a member of the Palladium Brass Quintet. He was musical director for the Omaha Big Band and the Omaha Jazz Youth Project. He is an active freelance trumpeter, and has played for countless national tours; recording sessions; and jazz, orchestra and chamber music events.#187: Sound, Self-Belief, and the Path to Trumpet Mastery | Karl Sievers
Karl Sievers grew up in Louisville, KY. His teachers include Leon Rapier, former principal trumpet in the Louisville Orchestra; Louis Davidson, former principal trumpet in the Cleveland Orchestra; William Adam …
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Karl Sievers grew up in Louisville, KY. His teachers include Leon Rapier, former principal trumpet in the Louisville Orchestra; Louis Davidson, former principal trumpet in the Cleveland Orchestra; William Adam at Indiana University; and others. Karl holds a DMA in Trumpet Performance, is in his 24th season as principal trumpet in the Oklahoma City Philharmonic, and has recently retired from a Presidential Professorship at the School of Music at the University of Oklahoma. In addition to his orchestral work, he plays lead trumpet in jazz, commercial, and Broadway show venues. His passions outside of music include fitness, motorcycles, fishing, and family.
#186: What It Really Takes To Win A Top Opera Job (Trombone Edition) | Will Baker
William A. Baker, was appointed Bass Trombonist of the Lyric Opera of Chicago Orchestra in 2024 by Music Director Enrique Mazzola. He also currently serves as the Principal Bass Trombonist of the Monterey …
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William A. Baker, was appointed Bass Trombonist of the Lyric Opera of Chicago Orchestra in 2024 by Music Director Enrique Mazzola. He also currently serves as the Principal Bass Trombonist of the Monterey Symphony, a post he has held since 2018. From 2021-2024, Will primarily performed with the San Francisco Symphony, including over 200 performances, and European Tour, and the 2023 SFS recordings with Maestro EsaPekka Salonen.
A native of Walnut Creek, California, Will has performed with the San Francisco Opera and Ballet, the Detroit Symphony, San Diego Symphony, Alabama Symphony, and Malaysian Philharmonic.
Will began his professional career in Iowa, performing as the tenured member of Orchestra Iowa from 2013-17 and the Des Moines Symphony since 2014-18. In 2016, while artist in residence with the Southeast Iowa Symphony (SEISO), Will commissioned and premiered a new bass trombone concerto by composer Robert Tindle titled At Sixty Miles An Hour. In 2018, Will premiered the Wind Ensemble arrangement with Travis Cross and the UCLA Wind Ensemble.
Will graduated Cum Laude from UCLA with a BA in music performance, studying Euphonium and Bass Trombone with Patrick Sheridan. He then earned a Masters Degree in Bass Trombone performance at Northwestern University where he studied with Michael Mulcahy, Randall Hawes, Peter Ellefson, and Tim Higgins. After school, Will continued his studies with Kyle Covington of the San Diego Symphony, and all the members of the San Francisco Symphony brass section.
#185: Writing An Etude Book and the Benefits Of Brass Band On Trumpet Playing | Jen Oliverio
Dr. Jennifer Oliverio is a celebrated cornet and flugelhorn player who holds the positions of principal cornet with the Fountain City Brass Band and flugelhorn with the Athena Brass Band. Jen is currently the …
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Dr. Jennifer Oliverio is a celebrated cornet and flugelhorn player who holds the positions of principal cornet with the Fountain City Brass Band and flugelhorn with the Athena Brass Band. Jen is currently the Assistant Professor of Music in trumpet at Missouri Western State University and one of the directors for the Fountain City Youth Brass Academy.
Jen is an avid supporter of new music for cornet and flugelhorn, having commissioned and premiered solo works by Lucy Pankhurst, Dorothy Gates, Kevin Day, Andrea Hobson, Jen Mitchell, and Joel Collier for her premiere solo album Enigma. Her work on Enigma received overwhelmingly positive reviews and was nominated for the 4barsrest Album of the Year, a silver medal in the Global Music Awards, and winner of the 2023 American Prize in brass performance. Jen has served on the board of directors for the Fountain City Brass Band, the Athena Brass Band, the Visionary Panel for the National Youth Brass Band of America, and currently as the column editor for the International Trumpet Guild’s cornet column.
As a clinician, Jen regularly performs and presents at national and international festivals including: the International Trumpet Guild Conference, Brass Institutes of America, International Women’s Brass Conference, PRIZM Chamber Music Festival, and the Eastman Summer Trumpet Institute. In her freelance work, Jen has performed as an extra with the Kansas City Symphony, Rochester Philharmonic Orchestra, the Alabama Symphony and is a founding member of the Trilogy Brass Trio.
As a teacher, Jen has had students accepted as semi-finalists in the National Trumpet Competition, semi-finalists for the International Trumpet Guild solo competitions, and as winners in the North American Brass Band Championships solo and ensemble competitions.
Jen is proud mother to son Ben and wife to husband Patrick.
#184: Preparing For Solo Competitions and Handling Failure | Grace O'Connell
Grace O’Connell is a highly diverse musician with equal passions for soloing, orchestral playing, and chamber music. Grace frequently plays in the Nashville Symphony Orchestra and Huntsville Symphony Orchestra …
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Grace O’Connell is a highly diverse musician with equal passions for soloing, orchestral playing, and chamber music. Grace frequently plays in the Nashville Symphony Orchestra and Huntsville Symphony Orchestra trumpet sections and is also a dynamic soloist and active competitor in national and international competitions. Most recently she was named first place winner of the Roger Voisin Memorial Trumpet Competition (2024). She was also named first place winner in the International Trumpet Guild Solo Division (2023), MTNA Young Artist Solo Division (2022), as well as the National Trumpet Competition Undergraduate Division (2022). She has been a featured soloist with the Eastern Music Festival Orchestra, Southern Stars Symphonic Brass Band, and Middle Tennessee Sinfonietta. In 2021 and 2023, Grace was the recipient of two separate URECA Grants from MTSU, aiding her in completing several solo trumpet recordings for digital release which are available on various music streaming platforms.
She is currently pursuing a Master of Music degree from Yale University and holds a Bachelor of Music from Middle Tennessee State University. Her primary teachers include John Aley, Michael Arndt, and Kevin Cobb.
#183: Building the Upper Register and How To Win An Audition | Chris Smith
Christopher Smith brings nearly 20 years of major orchestral and ensemble experience to the role of Principal Trumpet of the San Diego Symphony Orchestra. Prior to joining the SDSO, he was 4th/Utility Trumpet …
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Christopher Smith brings nearly 20 years of major orchestral and ensemble experience to the role of Principal Trumpet of the San Diego Symphony Orchestra. Prior to joining the SDSO, he was 4th/Utility Trumpet with l’Orchestre symphonique de Montréal (OSM) for 11 years, and served as Acting Associate Principal Trumpet from 2015-18. He has performed with OSM on eight international tours (two as Associate Principal Trumpet), numerous live broadcasts on Mezzo TV and Medici.tv (several as Principal Trumpet), and five recordings, including as lead trumpet on MIKA et l'Orchestre symphonique de Montréal.
Prior to joining OSM in 2008, Mr. Smith performed for eight years in “The President’s Own” United States Marine Band, one of the world’s finest wind ensembles and America’s oldest continuously active professional musical organization. The Marine Band’s mission is to provide music for the President of the United States and the Commandant of the Marine Corps, performing at The White House for The Presidential Inauguration, events of national importance, holidays and ceremonies. Members of The Marine Band also participate in state funerals and full honors funerals at Arlington National Cemetery, including live trumpet performances of “Taps” on national television, which Mr. Smith provided on numerous occasions. He also performed on five U.S. tours totaling over 40 concerts and, as an E-7 Gunnery Sergeant, supervised and mentored junior Marines. Mr. Smith also led small ensembles and was a co-founder of the Valor Brass quintet, which performed two tours and over 10 recitals, including a standing-room-only recital at The Midwest Clinic in Chicago. As a decorated veteran of the Marine Corps, Mr. Smith is a strong supporter of the United States military and is thrilled to connect as a member of the SDSO with the military community in the greater San Diego area.
In addition to his tenured roles in OSM and The United States Marine Band, Christopher Smith has served as Associate Principal Trumpet in the Seattle Symphony (2011-12 season), Acting Principal Trumpet in the Pacific Northwest Ballet (2017-18) and 2nd Trumpet with the Des Moines Metro Opera (2010-11). He has also performed as Guest Principal Trumpet with the Indianapolis Symphony Orchestra, Auckland Philharmonia Orchestra and Grand Rapids Symphony; lead trumpet with the singer MIKA; guest performer with the group Pink Martini. He has taught as an adjunct instructor at McGill University, led over 30 masterclasses throughout North and South America and privately coached both professional and collegiate trumpet players.
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