The Most Significant Development in Music Education

I was thinking about this the other day.

There is a new development in the field of music education. The more I think about it, the more I realize how profound it is.

That development: YouTube

OK, it's now time for my "you young whippersnappers" moment...

When I was in college and had to learn a new piece or be inspired by a new player, what did I do?

• How many professional trombone recordings were available?
• Who was performing within driving distance?
• Could I afford the time and money needed to see them perform?

Imitation is enormously powerful. Young players need to see and hear top players in order to set the bar.

YouTube does that.

Yes, there can be laughably bad videos. That guy trying to explain triplets was a screamer.

But (I hope) everyone saw through that.

I type "mozart tuba mirum" into the search box and I get 519 results instantly.

I'm a trombone professor and yet, in one morning, any of my students can gather more information about performances of this excerpt than I could in all of my studies throughout the pre-YouTube era.

For instance, if one of my students said, "You know, Solti once had the trombone player stand for the Mozart Requiem solo." I would probably reply with, "No way. Where did you hear that nonsense?"

How about this search: "joseph alessi trombone"

291 results

"arthur pryor trombone"

103 results

"ravel bolero orchestra"

652 results

Of course, youtube also gives us...

"justin bieber"

1,380,000

Stop and reflect for a moment on just how profoundly this is changing the world of teaching and learning music

Youtube: Riding with Ian

In case you haven't seen it:

Mahler 3 - Dudamel and La Scala

This video was sent to me by my DMA student.

If you haven't seen it, I suggest this...

Listen first to the solo, then jump back and watch it.

any surprises??

Mahler 3 solo - Jorgen van Rijen

Here's a nice one from youtube.


Interesting how much he moves around. Still, he sounds great. I wish the camera didn't spend so much time on the conductor. Oh well.

And heeere's another Mahler 3 (the slide position guide at shown at the beginning might provide a clue)...

What's the Opposite of Legato

Alright, so we all know about legato (Rochut, Bordogni, etc.)

There doesn't seem to be a catch-all term for articulated playing.

Staccato (well, that seems to be just short)
Marcato (well, that implies weight)
Detache (maybe, but isn't that basically staccato?)

We could be technical and say mezzo-staccato.

What about generic adjectives:
Bouncy? Pointed?

Maybe this alludes to a bigger issue.

Buddy Baker had his articulation numbers to indicate gradations of attack.

I've seen hints of a trend against playing the B-flat 7 chord of the Mozart Requiem in a totally legato style.

Still, wouldn't it be nice if there was one handy word....

Any ideas out there?

The Inverse Ping principle

Here's a general rule I try to follow when tonguing...

Softer notes = more ping at the beginning of the note
Loud notes = less ping

For example, in Hungarian March, I want to let the air do the work on that run. I feel as if I'm using very little tongue since there's so much air.

On softer notes like, maybe, the scherzo from Tchaik. 4, I use more "ping" or "pop" at the front of the note.

Maybe I'm wrong here but it seems to work...

It seems so simple...

I'll start with a story from a former student. He was studying with Jim Markey and struggling with Bolero. Then Markey said something that seemed to really help (I'm paraphrasing here, of course)...

"Can you make that sound better?"

Hmm, so simple it seems silly. But.....it worked.

I tried it today in a few lessons. When the student seemed to be wrapped up in some detail or other, I'd simply suggest, "Can you make that sound good?" or "Make those notes sound good."

..... it worked every time.

Shouldn't this be obvious??

Still, I even tried it on myself and...it worked.

Sometimes the simple stuff is the most profound.

Try it:
In your next practice session, remind yourself, "Make each note sound good."

As Jacobs would say, "Make every note worth $50."

(of course, with inflation, each note has probably risen to $72.50 or, if you're using gas prices as a model, $465.99)

Atlanta Audition thoughts

When you don't see any posts, it means either it is summer and my brain has gone soft or it has been a crazy busy time and I need my sleep.

So, after 10 years, I finally went and took a real professional audition...Atlanta Symphony.
This was a good experience for me although the quality of my preparation left a lot to be desired. Still, all this got me to thinking about the whole audition thing.

Some random thoughts for those of you who fancy winning one of these things:

• Build that collection of recordings. Know the whole piece, not just the excerpt.
  
• As you play the excerpt, can you "hear" the orchestra around you?
• Can you sing the excerpt in tune?
• Are you taping yourself regularly? Before you buy a plane ticket, can you play a "recorder audition" well enough to advance?
• An audition tests two skills: your playing skills, and your pressure-handling skills. If you work on one and not the other, you'd better get pretty lucky on audition day.
  
• Can you write out the excerpt from memory? Did you get all the details right?
• On section excerpts, can you play the other parts? From memory?
  
• Have you looked at the score for the piece? Can you translate all the terms? Do you know what instruments outside the trombone section come into play?
• When you practice the excerpt, are you forcing yourself to play it with only shot? The third try may sound great but you won't get three takes on stage (although they gave me two on Mozart Requiem).
  
• What are your dynamic extremes? Try the loudest and softest excerpts at their extremes and then be able to gauge where you want to place things, dynamically.
• Are you absolutely, completely and totally sure you are playing things in tune? How do you know?
  
• Are you totally, completely and absolutely sure you are playing things exactly in time? How do you know?
• Tone, time and tuning are the stage. You need a solid stage but you also need to put something musically interesting on that stage.

I suppose there's lots more but that's enough for now.

Oh yes, about the BoneWeek Fanfare. Well, I started one and ran into a wall. It doesn't help that I've been so busy. I'll try to either finish this week or let them know that I'll have to skip this year.

Ahh, spring break.

doo-doo Bolero

OK, this one's obvious, maybe, but still useful.

In a recent lesson, a student's Bolero didn't have good time. I took a deep breath and stood next to him saying, "doo-doo-doo-doo-doo..." in 16th notes.

Like this:





Hey, it worked. Even on the next run-through when all he had was the memory of my "doo-doo's"

Reminds me of Tony Chipurn, who always told me to play Bolero with "lazy 16th notes."

He was right on the money as always.

Letting Bruckner Bark

Here's an entry from today's trombone master class.

We did an orchestral excerpt class focusing on the finale to Bruckner's 8th symphony.
Here's that opening passage:




Everybody starts fortissimo on an F-sharp out there in that treacherous 5th position.

Perhaps you've heard that, if it is in tune, a note will sound louder.

Why? How?

Sound waves can either reinforce each other or cancel each other out..








Here's a picture of two waves that are slightly out-of-sync.
Of course, if they were out of tune, you would see the peaks of one wave closer together than the other so this picture isn't perfect but hopefully you get the idea.

Here's the thing: when out of phase, the waves partially cancel each other out. Here's a great link explaining this concept.

In fact, I once saw a dog wearing collar that used active noise cancellation to cancel out the bark.
Something like this:














So, if I understand it, the collar has a microphone that records the bark and a speaker that plays it back out of phase, canceling the original sound.

Of course, we don't want to use noise cancellation in Bruckner!

Play it in tune and it will not only sound louder, it actually will be louder.

Alessi Seminar Notes, Day 8.."Jaw Droppers"

Please note:

These entries from the Alessi Seminar are not a literal transcript. I took written notes and then typed them up. I have made every effort to be accurate but, as you might expect, each blog entry is a meager substitute for actually being there.

Remember that many of the things Mr. Alessi says in these masterclasses are in the context of addressing the needs of a particular student and should not be seen as universal mandates to be mindlessly followed.

If you are serious about pursuing musical excellence on the trombone, there is no substitute for actually attending one of Mr. Alessi's seminars. You'll be glad you did.

Today began with the usual warm-up sessions (ours was led by Paul Compton) followed by trombone choir rehearsals. After lunch, we boarded buses and traveled to St. Paul's Lutheran Church for our second concert which consisted of soloists, chamber groups and both trombone choirs.

In the evening, Joe gave another masterclass. The performers were:

me - a maestoso etude followed by Mahler's 3rd
Casey Thomas - Castereded Fantasie Concertante
Miguel Rivera - Morales Fantasy for Trombone and Piano
Josh Bynum - excerpts

Once again, I don't have notes to share from my own coaching. Here the notes I wrote down from the remainder:

• Joe discussed the problem of excessive tension in slide technique. He suggested that, sometimes, you need to just let go. Just play it.
• He noted that many times he tells his students to do something and they tend to overdo it, going too far with a suggestion.
• He gave the analogy of great athletes and how they stay so loose.
• He referred again to the idea of a "dead man's float" (floating in pool, completely relaxed) as he discussed staying relaxed in a performance.
• He suggested, "Try to wean yourself from the music." Don't be so dependent on the music as you perform. For a demonstration, he moved the music stand farther and farther from the student. "I think that's a good test as you learn a piece. Do you have to be so dependent on the music?"
• In faster passages, relax the slide more. Don't try to stop the slide in each position. "It becomes more of a glide." He demonstrated, playing a repeating chromatic scale at faster and faster tempos to show how the slide action becomes smoother as you speed up.
• To free yourself up while tonguing rapidly, let the tongue come back. Don't try to spit out every note. "Start thinking 'dah' "
• When killing time with colleagues from the NYPO, they chat about everything and sometimes talk shop. His colleague Phil Smith (Principal Trumpet) likes to use the term "the gully" to describe that spot on the roof of the mouth where one should place the tongue when tonguing rapidly.
• Some passages you should know so well that you can wake up in the middle of the night and play them. While the student was playing a challenging, fast passage, he also suggested that one should make phrases out of the notes.
• He demonstrated a scale exercise he likes to do, suggesting that we do this every day with the metronome:

• When a student played a rhythm that wasn't accurate, he said, "You cannot lie about rhythm." He gave the analogy of someone who cheats on their golf score.
• He praised the UNM Wind Ensemble Conductor, Eric Rombach Kendell, because he makes his students sing their parts. He then gave a short demonstration singing and conducting in strict time.
• He talked about playing a Bordogni vocalises in 5 ways:

1. As is
2. Tenor Clef
3. An Octave Down
4. An Octave Up
5. In Tenor Clef Down Two Octaves

• He began one vocalise and expected the student to be able to play along with him from memory.
• He pointed out that, in particular, there were two Bordogni etudes that everyone should have memorized and be be able to play in those five ways without using the music. This, I believe was the one, he was playing with the student:
  

In a humorous moment, after playing the first etude with the student, he asked audience to sing the other Bordogni every trombone player should know. Sure enough, we all started singing:

• In talking about high range he said, "The higher you go, the sweeter you play. That's my motto."
• He suggested that a good way to develop the high range was to get a fake book and start learning some of the standard jazz ballads. Be able to play them in the high range.
• He observed that, when he goes into the high range, it's easier if he eases off a bit. "Let the note go up there by itself." He also said, "I almost try less."

Although I have been trying not to interject my own opinions into this blog, I do want to point out that, as he was making these comments, he was demonstrating some of the most beautiful, effortless high playing I have ever heard. I think it's fair to say that a lot of jaws were dropping.

• Concerning long practice sessions, he said, "You can play ten hours a day but I don't think it's going to do you any good." He went on to note that he doesn't get his endurance from playing ten hours a day.
• As you descend into the low register, be sure to maintain an embouchure. There should be no air escaping.
• If you rely on single tonguing for too long, the tongue is going to get tired. He sometimes will alternate between single and double tonguing.
• He gave another demonstration of tonguing while accenting the KAH syllable (tah-KAH). He pointed out that if you really want to develop strong double tonguing, you need to practice it very slowly. He also pointed that you can practice it while walking down the street.
• He pointed out that, at faster tempos, the syllables "da-da-ga" worked better (than "ta-ta-ka")

Mozart Requiem

• In the opening figure, he talked about 'air management' suggesting that one option was to go a little faster.
• Many people have the problem of using a different tempo for half notes and the quarter notes.
• Concerning intonation, he said that you have to microtune. Every partial is in a different place.
• On the legato arpeggios (beginning on low B-flat) he advised the student to let the last note of each arpeggio relax a bit. I believe he meant to not clip those notes off.
• He advised the fourth position D as passing tone in the legato lines to avoid 'sawing.' He demonstrated repeatedly jumping back and forth between first and third positions as a sawing motion.
• At one point, Joe and the student played through the excerpt together for pitch. This was a common practice with many of the excerpts presented at the seminar. With other students, he would sometimes play along playing from one of the section parts from memory.
• With this excerpt, the pitch has to be right on. You just have to listen more.

Hungarian March

• On the ascending quarter notes, he suggested starting with the trigger B instead of 7th position for better intonation.
• To help with timing, he had the audience sing the opening tuba arpeggio right before the big run. After we did it, he joked, "You guys are late."
• Since he had already worked on this excerpt with the student in a private lesson, he had the student recall some of the concepts presented in the lesson:
• Joe had suggested "symmetrical breathing," meaning taking breaths in the same places rhythmically.
• In the ending of the excerpt, he had suggested using the D in the alternate 4th position.
• On the opening scale, Joe had noted that most people tend to use too much tongue and not enough air.

The Ride

• He praised the student for playing the excerpts from memory.
  
• He noted that, when playing this excerpt, he hears rhythms from the piece in his head. He sang the rhythm pattern of the accompaniment and one of the singer's lines.
• He suggested these slide position choices for the opening of the ride (the minor version):

Someone asked if, in a live hall, would he bring down the pitch of the last A-sharp (given that it is effectively the third of a major chord). He said that he would bring it down a bit.

He suggested a sequence for working out this excerpt with respect to intonation.

First, play the long notes (beat 2 and 3 of each measure):

Next, practice the excerpt without the dotted rhythm, using straight eighth notes:

Or, if this is giving you trouble, you could practice it this way:

He suggested also practicing the excerpts using subdivisions:

As a demonstration, he had the student play the original excerpt while he played the subdivided version.

Another practice technique was to isolate portions beginning at each 16th note.

Concerning breathing, he suggested two-bar phrases.

That's all for now.

Alessi Seminar Notes, Day 7...Be True to the Music

Please note:

These entries from the Alessi Seminar are not a literal transcript. I took written notes and then typed them up. I have made every effort to be accurate but, as you might expect, each blog entry is a meager substitute for actually being there.

Remember that many of the things Mr. Alessi says in these masterclasses are in the context of addressing the needs of a particular student and should not be seen as universal mandates to be mindlessly followed.

If you are serious about pursuing musical excellence on the trombone, there is no substitute for actually attending one of Mr. Alessi's seminars. You'll be glad you did.

These notes are from the morning masterclass, Saturday Aug. 7th. In the evening we heard the first participant recital.

This morning's performers were:
Louise Bremer - Bach Sarabande, and excerpts
Sam Schlosser - Tomasi Concerto, Mvt 2 and 3
Paul Compton - Life Pictures by David Schipps
Weston Sprott - Crespo Improvisation No. 1
Stephen Lange - excerpts

Incidentally, before I begin writing up my notes, let me point out that these musical selections were the choice of the participants themselves, not assignments given by Mr. Alessi

Bach Sarabande

• Joe noted that they asked for this solo in every round of the NYPO bass trombone audition because it showed a great deal about the players.
• He noted that there is a difference between somebody who just plays the notes and an artist.
• Be careful how you release the notes. As an analogy, he gave a demonstration where he shook the student's hand and then abruptly turned away.
• In the context of good note endings, he compared it to polishing something and then finishing it so you have nice sheen.
• "If you're going to take a breath, then the note before the breath needs to relax." In this instance, he was referring to quick breaths taken between phrases (as happens frequently in the Bach).
• He observed that one of the things he loves about music, especially with the breath, is figuring out a way to make it work, musically.
• If you really need to come up for air, why hold on to the preceding note for so long? Perhaps you can release it a bit sooner "then it becomes a less stressful event."
• The release of a note "shouldn't be like a karate chop."
• This piece has to be totally pure. The notes all have to be polished.
• Concerning the repeats, if an audition committee requires you to take the repeats, don't breathe in the same places on the repeat. Variety is good.

Schumann Rhenish Symphony

• As you play this slow chorale, think of the back beat to keep the time steady. "Concentrate always on the back beat."
• If you run out of air on the long note, keep up with the rhythm. Don't make the bar shorter.
• He did not feel that the bass trombone should crescendo to help the principal part as it ascends.
• He iterated the idea that he would rather hear somebody play the chorale very soft, possibly missing a note, than play it safe with a middle dynamic.
• In response to a question about whether one should use alto trombone when playing this excerpt in an audition, he advised against using alto. He cited the added problems of having to bring a second instrument to the audition and the difficulty of switching horns in the middle of a round.

Haydn Creation

• On hearing one note which flared just a bit, he reminded the student to "polish the note."

(end of creation notes, sorry I didn't write down more)

• The opening of the Tomasi Concerto (mvt 2) should be like a nocturne...not too loud, very peaceful, even on the high notes.
• Regarding the 'blues' section he said, "You don't want to make this sound like American jazz." he advised the student to keep it subtle and not add too many glisses.
• For the opening of movement three, he reminded the student to "keep it joyful."
• He talked about "launching" a new section with an energetic note (in other words, the last note of the trombone phrase which 'launches' the next passage for the orchestra/piano. He credited Sam Pilafian with this term.
• There's a lot of people with very powerful chops but sometimes they tend to lean on those chops too much.
• He repeated the oft-heard phrase, "Blow slower, aim lower."
• As a demonstration, he had the student purposely aim high on the first note and then repeat, aiming lower. He then demonstrated some pitch bending, trying to find the spot "where the room resonates." Later, he added that when you tend to blow things on the high side, "they tend to become a little diffused."
• Even in music that begins fast, still take a slow breath, if possible. Don't use a quick, tense breath.
• "Let that note sit down to where it resonates."
• Although I have avoided most embouchure comments in this blog, I will note that he advised several students during the seminar to say the 'M' when forming the embouchure.
• While doing some imitation work with the student towards the goal of a resonant tone, he said, "Try to get that sound out in the hall."
• Be careful not to ride on top of the notes with a fast air stream. Joe demonstrated by playing the solo from Rimsky Korsakov's Russian Easter Overture to show an easy, resonant sound.
• You need to spend a lot of time thinking about the ends of notes, not just the beginnings.
• In some lyrical pieces, composers will write many small slur groupings. Often it is better to play a long slurred phrase instead of trying to bring out the groupings.
• For soft attacks, he said, "Introduce the air very slowly into the instrument."
  
• For soft playing, he suggested practicing with no tongue. He loves when he is able to play really soft breath attacks.
• You don't want to use this 'no-tongue' approach in performance, just for practice.
• You've got to develop that suppleness and sensitivity that soft playing requires.
• Often, when presented with a forte-piano figure, it sounds better not to drop too quickly to the piano dynamic.
• In coaching, he often uses the phrase "be true to the music."

Health and Exercise
In a short question-and-answer session he was asked about physical exercise. When he can find a good pool, he likes to swim. At one point, he was swimming over a mile before he would go to rehearsals. He also likes jogging and cycling. Sometimes he bikes into New York City from his home. In college he did some weight-training and found that this made it much easier to hold the instrument.

He observed, "If you take care of your body, it's easier to play." He also noted that losing weight helps the breathing because there's less weight to lift when you're breathing in.
He commented that he would love to do one of these seminars when he was 70 years old but also stressed that he wouldn't keep performing recitals if he felt the quality of his playing was slipping. He also spoke about the importance of healthy diet.

Mental Focus
In talking about the mental focus required for auditions, he referred to Olympic athletes training four years for a single event. He advised that it's not a good practice to go into an audition while having to deal with a lot of distractions. "Focus on the task at hand." He also advised, "One day at a time."

At the audition, he suggested that you should try to find a place to just be by yourself for a moment. "Hear the piece in your head before you perform." "Be in the moment."

He observed, "Playing a performance is like taking a journey." It may be a bit scary at first but you just move from point A to point B.
"Prepare and execute."
He noted that, in a performance something is always going to go wrong. That's normal. Just stay the course.

St. Sean Sym. No. 3

• He discussed the option of performing this excerpt without alternate positions as something worth considering. He recently performed this piece without using alternates.
• He reminded the student that it has to be exactly in tune. "You want maximum resonance on every note."
• Before you choose to play alternate positions, try it first with the main positions and make sure it is in tune before you add in the alternates.
• For this excerpt, it is best not to use vibrato or, at the very most, minimal vibrato.
• He asked the audience, "How many of you intimately know Schubert's Unfinished Symphony?" (only a few people raised their hands). He said this response made him sad since it is such a great piece. He raised this question in the context of praising the principal clarinetist of the National Symphony in a recording of Schubert's Unfinished Symphony.
• There are a lot of pieces that are overly marked and might benefit from a simpler approach.

Also Sprach Zarathustra
(the fugue subject excerpt)

• Be very careful on the pitch of the notes following the opening D-A-D.
• It is not a weakness to put arrows in your part (for tuning)
• Rhythmically, this can be a problem in auditions. He demonstrated an interpretation which lingered too much on the half notes.
• He described Glenn Dodson (former principal trombonist of the Philadelphia Orchestra) as the "the most exciting playing I have heard in my life. Period."
• At one point he was teaching himself to relax and play no matter what came out.
• The student, a member of the St. Louis Symphony, described using 'little reminders' to help himself relax. He works to hear the orchestra sound in his head before he starts and likes to sometimes practice the excerpts with the recording.
• Joe noted that there are too many excerpt jocks out there who only know the excerpt and not the whole piece.

(the excerpt with the leap to high D)

• Remember that this appears in both the first and second trombone parts.
• It is best to slur to the high D if you can.

Bolero

• If you do Bolero too many times without listening to the accompaniment, you don't really get it.
• He noted that the one thing he hates about the job is all the waiting the trombonists must do before coming in for an important passage. He compared this to a "field goal kicker waiting on the sidelines."
• One of Joe's favorite recordings of Bolero is Glenn Dodson's performance. The tempo was very slow, 58 1/2 (don't choose that tempo in an audition!). Joe was sitting next to Dodson during the recording session.
  

Til Eulenspiegel

• Concerning the accented notes in the run, be sure to accent them equally, "6 on, 6 off." Be sure to really bring these notes out.
• In working with Dave Finlayson on this run, they decided that it wasn't necessary to use the same slide positions.
• Joe used to get together with a friend to play excerpts. He used the phrase "duets on the excerpts."
• He related a story in which Norman Bolter and his brother used to go out and face each other, standing at opposite sides of a field. In playing out, "have a target" that you practice at.

That's all for now.

Alessi Seminar Notes, Day 6...Beat Boxing

You might be asking, "What happened to day 5?" Well, that was a day off for everyone.

On to Day 6 (which, by the way, was Friday, Aug. 3rd)

Please note:

These entries from the Alessi Seminar are not a literal transcript. I took written notes and then typed them up. I have made every effort to be accurate but, as you might expect, each blog entry is a meager substitute for actually being there.

Remember that many of the things Mr. Alessi says in these masterclasses are in the context of addressing the needs of a particular student and should not be seen as universal mandates to be mindlessly followed.

If you are serious about pursuing musical excellence on the trombone, there is no substitute for actually attending one of Mr. Alessi's seminars. You'll be glad you did.

This morning's performers were:

Joseph Rodriguez - orchestral excerpts
Nathan Dishman - Stojowski Fantasy
Nicole Abissi - orchestral excerpts
Jared Lantzy - Schnyder Concerto mvts. 2 & 3
Ben Perrier - Arrows of Time, mvt. 3

Here are comments from my notes:

Mozart Requiem:

• Concerning the opening arpeggio, Mr Alessi noted that it was fine to take a breath, if needed, in that passage as long as it was done in time. At one point he demonstrated, snapping the subdivisions and suggested that one should "breathe after the last snap," meaning after the last upbeat before the long B-flat. Later in the coaching, he sang the excerpt, demonstrating a very quick breath before the long B-flat.
  
• He spoke about the importance of a smooth legato, commenting that, 30 years ago, the legato that was going around "was very caveman." He warned against getting the "wah-wah" in legato, describing this note-shape as being "like footballs."

• "When you tense up to play soft, you have two choices: don't tense up or don't play so soft."

• He described that requiem solo in this way, "It's a beautiful little melody. There's not much we have to add."
• Someone asked if vibrato should be used in this excerpt. He replied that it wasn't really necessary. If you do use vibrato, don't use it too much..."just a little sprinkle here and there."
• Concerning excerpts, he said that the hardest thing is to be out there and get scrutinized during an audition.
• He reminded us to "hit those excerpts constantly." (in the context of someone who is serious about winning an orchestral audition).

Hungarian March

• He observed that the level of reverberation in Avery Fisher tends to expose bad attacks.
• In reference to the ascending quarter notes before the big run, he commented, "That scale tells a lot." He reminded the student to get the slide to the next position ahead of the note.
• He used the phrase, "no-man's land" for the gaps between the separated articulations.
• As for the big run, he spent time demonstrating triads built from the longer notes in the run: C-A-F, A-F-D, C-E-G. These notes have to be very stable.
• Of the run he pointed out, "You have to keep reminding yourself what is simple about this."
• When you do any exercise related to an excerpt, be certain to play the exercise with perfect rhythm.
• Be sure not to "telegraph" the next note by moving the slide early, causing a small gliss.

• He sang the run while snapping three big beats:

• Be certain not to slow down at the end of the excerpt. Stay on top of the beat.

(end of Hungarian March comments)

• Concerning any changes to the embouchure, he commented, "You have to be like a policeman to yourself." In other words, you will need to be constantly vigilant.
• He went into a demonstration in which the student lay on his back (keeping the feet relaxed) with one hand laying on the belt buckle. He had the student first fill up the lower part of the lung (closer to the belly), followed by the chest. He then had the student place the finger vertically on the embouchure while breathing in. He suggested that we try this relaxed breathing exercise at any time of the day if we felt we weren't breathing well. Upon returning to the standing position, the breath should just as simple and natural.
• Concerning the placement of the feet while playing, he suggested that we try lining up the feet as if centered on two perpendicular lines on the floor (like a helicopter landing pad). By lining the feet along these line, the feet are aligned and you are facing directly forward.
• He suggested that we might try videotaping ourselves to check posture.
• He recommended that we practice posture and breathing first without the instrument. Then, when the instrument is introduced, be certain that we don't revert to a different posture.
• He reminded us that, as we extend the slide past 3rd position, to be certain the fingers don't reach out for the bell. This causes many trombonists to play sharp.
• For descending into the low register with a rich sound, he called to mind the rich warm quality of Bing Crosby singing "I'm Dreaming of a White Christmas"
• He pointed out that, when the pitch is exactly right, the tone will sound more rich.

Mahler 3

• When playing the opening notes, count 1-2-3-4 (the quarters) rather than 1-2-3 (the half notes). Later he added that he likes to let the sound bleed a little into the next beat.
  
• When you get to the low A's, think 'dah.' "Let the air do more work than the tongue."
• As you descend into the low range, make the air go slower.
• When articulating in the low range, watch out for a chewing motion in the jaw.
• At the end of the first excerpt he suggested that we should "try not to smash these notes. Play them in a singing manner."
• He reminded us that many other musical elements have to be in place along with a big sound.

Ein Heldenleben

• He observed that this is one of the hardest excerpts to play, rhythmically.
• With respect to the occasional out-of-tune notes, he pointed out, "Those few notes start to add up in an audition."
• He observed that, in practicing, he's happy to just focus in on a single measure and really polish it (to apply what has been learned)
• As you play, be careful not to look so "student-like." (meaning with a frantic, tense expression in the face, eyes wide-open)
• It is important to memorize those excerpts that are important to you.
• Concerning the long low F he said, "If you have to take a breath, that's not the end of the world."
• He built on this idea be describing the notion of gaining and losing "points" in an audition. If you play something really well, you gain points and this gives you some license. Of auditions he said, "I want to give these players points." (as they begin their audition). He went to note that some players play with a poor tone or faulty rhythm and they don't get those points.
• If you memorize something and you're able to play well from memory, that means you really know it.
• Concerning tempo choices in excerpts: choose tempos that are "good averages." Don't choose an odd tempo just because one recording goes at that speed.
• For any excerpt, you should know the piece as whole well enough to be able to sing some of the themes. Thinking of these themes can relax you. "You have to put yourself in the piece."

(end of the Heldenleben comments)

• It is important to be able to tape yourself at half speed, especially to study legato and attacks. In discussing the various technologies available to accomplish this, a member of the audience mentioned a website called The Amazing Slow Downer
• He went into a demonstration of correct hand position when holding the slide. He stressed the important of keeping the thumb straight (like holding car keys as you're about the unlock the door) for better control.

"Beat Box" Demo

Mr. Alessi invited Anthony Barfield to the stage. Anthony composed one of the pieces Joe performed on his recital earlier in the week. Using a microphone, Anthony put on a very impressive display which he referred to as "beat boxing." If you closed your eyes, you would swear you were listening to a drum synthesizer. Joe told us this was a great example of internal rhythm. Joe then got up on stage and played Hungarian March while Anthony provided a "beat box" accompaniment. Everybody loved it! Joe pointed out how it is so much easier to play when you have a beat like this.

Moving on...

• If we are trying out an adjustment in technique, it might feel strange. In this context, he observed, "Alien doesn't mean bad." In other words, just because a new way of doing things feels strange doesn't mean it's wrong. He recommended that sometimes it is good to explore new things, even if they are alien.
• While the student was playing a fast, technical passage, Joe suggested that he pretend he was just playing a nice F (the note, note the dynamic)
• As you descend into the lower register, don't allow that embouchure to collapse.
• If you are playing a fast, technical passage filled with awkward intervals and tricky rhythms, be careful you aren't "slicing up your air like mincemeat." He also referred to this kind of playing as "hacking and slashing."
• When you see a difficult passage, don't freak out. When approaching such a passage, Joe observed, "I'm just pretending I'm playing a chorale."

Mini-Lecture on Slide Technique

• Joe observed that people have to have more "respect for the slide."
• He placed two water bottles on the stage, each bottle representing (I believe) the exact point in time when a new note begins. He asked us to consider the question, "When should you move your slide in legato?"
  
• He used the phrase "within the technique, stay relaxed in your own environment" for the avoidance of tension.
• He demonstrated a passage of slow, widely-spaced staccato notes with a quick slide motion in between so that the slide was well-placed before each new note.

(end of lecture)

• When you practice double-tonguing, try emphasizing the "kah" syllable...
  tah-KAH-tah-KAH-tah-KAH
• When multiple tonguing a fast passage, be sure to maintain the right pitches. Later he reminded us to practice technical passages slowly enough to maintain a good tone.
  
• You have to respect a difficult passage and take enough time to learn it at a slow speed
• If a highly technical passage in a solo is marked 'forte' consider not trying to play it so loudly. Don't try to "muscle it out," especially if you are playing alone at the point in the solo.
• With respect to demeanor during auditions, he recalled a recent audition in which Lisa Albrecht was given the one-year position to replace Jim Markey. He observed that is was amazing to see the difference in demeanor of someone who has been there before.
• In terms of playing difficult material, he wants his approach to be "like taking a stroll in the park."
• He demonstrated transposing a difficult passage into the middle range to work on tone quality.
• He observed that, in a lot of the lessons he teaches, they simply devote time to getting the first note of something.

That's all for now...

Downbeat Ride

It's a unique experience working on excerpts over the years. You first encounter them as young as high school and, if you're serious, you'll end up playing them hundreds (thousands?) of times over the years.

As time goes by, you build habits...hopefully good ones. When bad habits creep in, sometimes it helps to play the excerpt in a different way.

One example is the famous/infamous Ride of the Valkyries. In a previous blog, I pointed out how your rhythm might be better if you related it to a familiar tune such as, say...The Mexican Hat Dance (see "Horns and Sombreros" in the archives.)
Here's a variation on the ride. Leave out the dotted rhythm and just play the downbeat notes.


















Why? This variation should improve intonation and may help with developing a steady tempo. Put it another way, if you struggle with this version, the actual version probably isn't going to be a big success. Conversely, if you learn to nail this, it should help with final product.

Hope this helps.

Surprise Rides and Such

Two stories, somewhat related.

Recently a student was struggling a bit in a lesson when, outside my window, a formation of helicopters flew by unexpectedly. When he saw them, without thinking he launched into Wagner's Ride of the Valkyries.
Interesting...the struggles present in the piece we had been working on suddenly vanished as he played this unexpected Ride without thinking. Remember those words: without thinking (at least not consciously!).

At the Eastern Trombone Workshop (which I sadly couldn't attend), Ko-Ichiro Yamamoto
apparently did a master class and spoke about playing bass trumpet in Wagner's Ring Cycle. If I understand correctly, he talked about picking up the horn at various times and playing some of the solo passages without relying on warm-up notes. (hope I got this right).
Interesting: being ready to go without needing those warm-up notes.


Reminds me of that movie, A Fish Called Wanda, in which Kevin Kline awakes to his alarm clock, immediately grabs a gun and fires at a target. (Followed, if I remember correctly by blowing up a rubber boot or something psycho like that).

I assume you know about the whole helicopter ride of the Valkyries thing.

By the way, this video has some violent war footage, don't click to view if you'd rather not see such things.

William Tell: Off the hook?

A quick question to think about: the William Tell excerpt is marked at hn=108. I don't believe I've ever heard a recording at that tempo.
Check out the William Tell recordings on TromboneExcerpts.org and you'll find they're all doing the run in the high 90's.

Here's the rub. Normally we should listen to recordings to guide us in our excerpt preparation. But what if the recordings let us off the hook??? Do you really walk into an audition and play it at 96 or 100?

Is that being accurate or is it copping out?

(Actually, I'd really like some famous guy to say,
"Oh you should really play that at 96"
thus saving me hours of toil.)