Tuesday, October 27, 2009

Aharoni's New Book (and I continue banging the relaxation/embouchure drum)

I recently got a nice email from Eliezer Aharoni, former bass trombonist of the Jerusalem Symphony. He had a few nice things to say about my new book, Simply Singing for Winds.

Mr Aharoni, if you don't know the name, authored one of the real classic books for bass trombone,
the New Method for the Modern Bass Trombone. A more exhaustive book I have not seen.

He has come out with a new book, The Non-Classic Bass Trombone, which has some nice tunes in a pop style along with a play-along recording.

He has posted some YouTube videos that mostly feature Micha Davis,Bass Trombonist of the Israel Philharmonic.

One nice thing about these video: they show the player(s) from some different camera angles.
I've never heard Micha Davis before but I really like his sound and his relaxed physical approach.

Anytime you watch a great player, be sure to take details of both sound and sight and store them in your memory vault. Four details that jump out at me when I watch Micha Davis play...

  • Really nice centering of sound on low notes
  • Very relaxed demeanor, especially notice that the slide arm isn't too tense.
  • The second uses a variety of camera angles including a brief close-up of Aharoni's embouchure. Notice those firm corners.
  • Lastly, notice that Davis is able to play most of these low notes without having to puff out the cheeks. Yes, it can be done.



Wednesday, October 21, 2009

The Lips Don't Care...

So here's a saying that has been forming in my mind. Let me know what you think...


The lips don't care about the tongue.
They only care about air.

The horn doesn't care about the lips.
It only cares about vibration.

The audience doesn't care about the horn.
They only care about sound.


Perhaps it then follows that you should...

Focus more on: Air, Vibration, Sound

Focus less on: tongue, lips, horn

Wednesday, October 14, 2009

NYPO Mahler 3 ..quick before it goes down

http://nyphil.org/attend/broadcasts/index.cfm?page=broadcastsByMonth


If haven't had a chance to hear it yet, move quickly. They pull it down on Oct. 16th!


Thursday, October 01, 2009

"Ironing Out" those intervals












Here's a way to think of tuning.
Take one of those simple tunes (somebody should come out with a whole book of those things!) and really work it over, listening carefully to the intervals. Don't just play it in sequence from beginning to end. Go back and forth. Pause on a lot of notes.

Listen, listen, listen.

Have the tuner on but don't stare at it. Use it to check what your ear is telling you.

Think of an out-of tune melody like a wrinkled shirt. Just as you would work over the wrinkles carefully with an iron, you need to work out those wrinkles in your tuning. Back and forth, be patient. Get everything to line up.

Wednesday, September 30, 2009

The surfer dude and the salesman



Here's a simple analogy that came up in a lesson.

On the inside, be a cool surfer dude.
On the outside, be a salesman.

OK, so what does this mean?

Basically, it means: keep your cool on the inside while presenting exciting, charismatic music on the outside.

I know I've done some blog posts about this before. We want our playing to be exciting but we can't let ourselves fall into that trap of getting too carried away with the music that we tense up and start forcing the sound.

Monday, September 28, 2009

Some upcoming events...

Three things coming up...

Wed. Oct 7th
United States Air Force Band Concert...Koger Center for the Arts
(they will also be in Charlotte and Sumter)
Here's a link to their calendar.

Fri. and Sat. Oct 9th and 10th
The Carmine Caruso International Jazz Trumpet Competition
Koger Center for the Arts.
Here's a link.

Mon. Oct 12th
My Faculty Recital
(program forthcoming)

Thursday, September 24, 2009

The Bad Middle

Here's a new idea has cropped up in lessons. When you're working on some technical etude, there's a range of tempos (tempi) that I refer to as the "bad middle."

What's the bad middle? Not slow enough for things to sink in and not fast enough to really stretch your technique.

I've started suggesting to students when they are working up something like a Kopprasch or a Tyrell that they should think of practicing either at a really slow, deliberate speed or lock those seat belts and go for it.

Why do we practice technical etudes? Well, to build our technique. If that's the case, think of using the etude as a tool to make you a better player.

You can learn a lot from playing a Kopprasch very slowly and sweating the details. You can also learn a lot from really challenging your personal speed limit.

When thinking of your practice tempo choices, think about that "bad middle."

Tuesday, September 01, 2009

A Great Online Trombone History

Congrats to Will Kimball who has posted a very nice timeline of trombone history complete with many pictures and a bibliography.

This is the nicest such history I have seen. It appears that a lot of hard work went into this project.

Saturday, August 29, 2009

One post bites the dust

You may have noticed a recent post that showed the David Letterman show from this past summer. The musical guest was Dianne Birch and part of her backup band was a trombone quartet including Joe Alessi and Dave Taylor. I embedded a nice YouTube link.

Well, YouTube pulled the video so the post seemed pointless.

So, pfft, it's gone.

Friday, August 28, 2009

When wrong feels so right...Huzzah!!

OK, a bit more on the whole dotted-eighth sixteenth thing.

Before I did a posting on the "creeping triplets" you can get when faced with a long string of dotted-eighth sixteenth rhythms.

But what about slow tempos ("tempi" for the elite)?

Often people actually end up playing the sixteenth note too fast. But here's the catch...
sometimes, it feel so right to do it.

I'd put money down that in the land of college-level juries, most committees out there are far more likely to complain about that sixteenth being too slow in fast music and complain about it being too fast in slow music.

dotted eighth-sixteenth
when wrong feels so so right

Slide Clarity, a Haiku

This is a new term for me: slide clarity.

I hear someone play a legato run and everything blurs together at times. We don't think enough about the clarity in the slide.

Here's my haiku...

quick to the right spot
at the exact right moment
arm is not too tense



Can anyone out there think of their own haiku to add?

Thursday, August 27, 2009

Great comments, by the way..

Usually these posts receive few or no comments. However, a while back, I did a post on
"What's the Opposite of Legato?" which generated (as of this date) some great, really thoughtful comments.

I wanted to thank John Bailey, Hoyt, Matthew Parunak, Greg and Justin for their contributions!

Everyone else, you may want to back and check it out.

Wednesday, August 26, 2009

Auditions: the notes before the notes

Yesterday, I was behind the screen for the Augusta Symphony bass trombone auditions. 7 people showed up and we ended up with one winner and 6 disappointed people.

One quick observation from this experience...think about those notes you play before the first official notes of your audition.

  1. Ask before you go on stage, "Are we allowed to play warm-up notes?"
  2. If you do play any notes, keep it to 10 seconds or less.
  3. Make sure anything you do has a clear purpose (mostly to test the acoustics of the hall)
  4. Decide in advance what you will play; don't just doodle. Perhaps you can have a 5-10 second routine that you always do to check the space and make sure everything is working.
  5. Avoid glisses; other committee members might not look kindly upon this (however, I don't think this was the case yesterday).
  6. Include a few articulated notes to listen for the amount of echo you'll be working with.
  7. Most importantly: SOUND GOOD. You may think these notes are for you but they are listening and, whether or not you like it, you are making your first impression.
Imagine the committee sitting behind the screen as someone comes out to play.

First of all, they don't know when you are going to start. They may be sliding papers around or whispering to someone. If you start to play some warm-up notes and sound uncertain or if you seem to go on forever for no apparent reason, you will have strikes against you before the first excerpt has even begun.

Conversely, if you play just a few notes with a great sound, the inevitable effect on most committee members will be, "OK, here is someone who has potential."

Sunday, August 23, 2009

I'm back (and simply singing)

Summer's over and it's time for me to start posting some entries on the blog again.

The biggest event for me, was a giant family trip West in the mini-van (6,816 miles) to see family and national parks. More than that I'm guessing nobody really cares about.

The biggest event which may actually interest you is that I've finished the second book of my three-book trilogy. This one I've titled "Simply Singing for Winds" (after discovering with consternation that the title "Simply Singing" was already taken).

People who have studied with me know that I like to incorporate simple tunes into my teaching. I can use them to do a lot of effective teaching. I've finally done what I wanted to do for a long time: expand my little packet of 40 Simple Tunes into something just a little bit bigger.

Have you ever noticed how so many teachers/players keep returning to the same few sections of the Arban Method. The one I see used most often is that little section of tonguing tunes. Same thing with Bordogni/Rochut...there are those few etudes that everybody keeps going back to. I remember my first lesson with Arnold Jacobs when I showed up with the nice solo I wanted to work on and, in a short time, he left that and want to #2 in the "Rochut Book." I also remember a fair amount of time devoted to buzzing "Pop Goes the Weasel" on our mouthpieces. It was on that simple material that the real teaching took place.

That's why I wrote this book: to have a lot of simple material available to play.


Suppose you want to get together with a friend and play in octaves...
Suppose you're bored with your warm-up and want to warm up playing tunes...
Suppose you want to work on your high range or low range by transposing tunes...
Suppose you need work on clean tonguing...
Suppose you want music to buzz on your mouthpiece...
Suppose you want to warm down playing simple stuff in the pedal register...
Suppose you need to sing more during your practice sessions (because I'm guessing you aren't singing enough!)...

You get the idea. That's what this book is all about.

Anyway, enough advertising. Ensemble Publication plans to publish it but, in the meantime, I'm just selling them myself.

If you want to see more description, some samples, or even order the book:
here's a link.

Thursday, June 25, 2009

Orbits (76 +4 [or more])

A rare piece was performed at NYC's Guggenheim Art Museum on June 21st.
Orbits by Canadian composer Henry Brant (1913 - 2007).

The work is scored for 80 trombones, soprano and organ.

Here's a link to the New York Times article about it.

There are several YouTube videos, of course. I've embedded two that you give you an idea of the event...



Monday, June 22, 2009

New(er) Building Blocks

Summer months...not much to blog about at the moment.

I have been working quite a bit on my third book and am almost done with a demo version. This one weighs in around 120 pages. I'm quite excited about it.

This morning, I took some time to write out some of the tweaks I've made to the "Building Block" warm-up routine this past year. They include some extensions (faster, higher, louder, softer)that I've been in the habit of adding on as I practice.

You can find the newest version here.

Tuesday, June 02, 2009

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?

Tuesday, May 26, 2009

Palmetto Posaunen at Spoleto

Last Friday I had a chance to play two performances with the Palmetto Posaunen on the first day of the Piccolo Spoleto festival in Charleston, SC.

We had some guy named Wycliffe Gordon solo with us on two tunes. Here's one of them.
Oh, by the way, the first soloist, Steve Wilson, got his master's at USC. (I can't claim to have imparted any jazz wisdom, however)


Thursday, May 21, 2009

IMSLP - a little trombone

OK, this is mildly interesting. I was doing research and ran across the Internet Music Score Library Project (IMSLP).
I noticed, in the categories, a section breaking down all the music by the instrument featured. Clicking on the "trombone" category I found two pieces...free for download..

Rimsky Korsakov, Concerto
Biduo d'ouro, a trombone/tuba duet by Zoltan Paulinyi

(Can't say that I know that second piece.)


The RK was uploaded by Lyle Neff. I haven't met him but I'm guessing he's either a librarian at the University of Delaware. or a hotheaded Canadian nationalist.

Thanks Lyle!

(and, just in case, Long Live Canada!)

Wednesday, May 13, 2009

The Ripple Effect


Here's something I like to mention to my secondary trombone classes...

Let's say such a class has 10 students. If each student has a career as a band director, let's guess that each year they will encounter roughly 40 new students. Over a career of, say 30 years, each student will directly impact the lives of 1,200 people.

Multiply that by the 10 students in the class and I would guess that what I teach a single secondary trombone class might impact the lives of 12,000 people.

(Not to mention the small percentage of those 12,000 people who, in turn, might do some teaching of their own.)

So, if I teach something dumb like: "Mouthpiece pressure isn't important. Don't worry about it."
Think of how that one bad idea ripples outward over time.

(no, I don't teach that)

Of course, I hope I can pass along something good.

Here's one example which I picked up at en ETW masterclass given by Randy Campora, bass trombonist of the Baltimore Symphony.

Think of the corners of your embouchure as the flagpole, anchored in cement.
Think of your lips as the flag, blowing in the breeze.


I don't know if this was original with Randy but that's where I got it. In other words, the ripple passed from him to me. I include this in my handouts to my secondary trombone classes and sometimes even include it as a quiz question. Rarely do any students miss it.

So, if I teach this class for 20 years, this one idea could conceivably impact 240,000 people.

And now the ripple has passed through me to you....

Monday, May 04, 2009

The Crutch Paradox



Classes have ended and it's the time of year when I turn my thoughts to what I want to get done over the summer and what changes I want to implement next year.

Of course, my list of things I want to accomplish over the summer is wildly unrealistic (as in.....if I could work without break for a year or two, I might get them done).
Oh well....at least I have lots of ideas!

But this posting is about that other list: what I want to do differently next year. To me, teaching is an art form. I am always looking to improve my craft. Sometimes I want to apologize to past students because I feel I have become such a better teacher now then I was for them.

Some questions, though, I struggle with and have yet to find a really good answer. Here's one:
The Crutch Paradox

Basically, this can be summarized like so:

The more I do for them,
the less they do for themselves.

I've seen teachers on both ends of the spectrum.
On one end we have the teacher who doesn't really make assignments but starts the lesson with something like, "What do you have for me today?"

This works well for advanced, highly motivated students who think well for themselves. I often use it with my best students.

On the other end, we have the teacher who precisely lays out everything a student is supposed to do. At my school, I have one such colleague. His students know, walking in the door, pretty much every solo they will work on throughout their college career and in what semester they will work on that solo. The logic has been explained to me in this way: other university classes have clear syllabi and uniform expectations, why not an applied instrument? This approach also offers the advantage of fairness...everyone is held to the same standard.

Still, it isn't the approach I use or plan to use.

I often tell my students that I am trying to get them to become their own teachers-to learn how to think for themselves. With some, this works well. Other flounder-they are so used to being told what to do, it just hasn't occurred to them how to plot their own course.

The basic pillars of my syllabus are: Show Up, Prepare, and Show Incentive.

If I tell you everything you are supposed to do, what happens when you're out on your own with nobody telling you what to do?

But there is always the question of the "other" students. The ones who, for whatever reason, don't get it done.

I tell them to contact their accompanist....they don't.
I tell them to make an appointment to visit the local middle school and teach some demonstration lessons in front of a video camera....they don't.
I tell them to order music, sign up for seminar, mark in breath marks, look up musical terms, record their best take of an excerpt, .........they don't.

Perhaps the solution is obvious: bring down that righteous hammer of "F" upon their heads...that'll teach 'em.
But before I do that, I have to ask myself: am I applying rules fairly to everyone? Have I notified them of this assignment in a timely manner. The last thing I want to do is start throwing out "F's" in a capricious manner.

Yes, I could create an elaborate structure filled with rules and deadlines and appropriate consequences.
But this begs the larger question:
Am I teaching them to do it merely to avoid punishment? Is this right way to get them to show incentive? If I'm not careful it all slips into those questions of "Well, why should I do it if it isn't precisely stated in the syllabus?"

That's like the old joke of the professor who passionately orates on something she cares about only to have a student ask, "Will that be on the quiz?"

Because, if you ask that question, you're missing the whole point!
Future music educators, are you going to be that kind of band director that merely does the minimum to get by? If so, I hope my poor kid doesn't end up in your program!

Future performers....
well, if self-motivation in this insane job market isn't screamingly obvious, then GET OUT NOW!!!

So, I continue to work towards a good compromise of structure and freedom. I'll probably never perfect it but I love the challenge!

For anybody reading this (especially other teachers), I'd love to hear your thoughts.

Sunday, May 03, 2009

...and this from the iBone developer

After my last post, I got this email from the iBone developer:
============
The idea was to make something playable by the pro, useful to the student, and still palatable and fun for the complete novice. Thanks to the mobility and accessibility of the phone/ipod, I see it as a useful tool to do things like learn scales and songs, work out alternative positions, practice ear training by playing along with iTunes, etc... all in places and at times when you simply can't use the real thing.
For the complete novice, there's an integrated Songbook which shows you how to play in real-time in a game-like fashion. If we do our job, this could be an opportunity to bring more people to the instrument, and at least raise awareness and appreciation among the video-game playing masses.

Here's a link to the official site: http://ibone.spoonjack.com
And the press relase: http://finance.yahoo.com/news/iBone-Brings-Bone-and-Band-to-prnews-14879239.html

========================

So, one question remains: is that third position E-flat in tune?

Thursday, April 30, 2009

An iBone app? Really??

Further proof that some people have way too much time on their hands.

(But I'll confess I'm a little jealous)

(notice the overtone series in the background)
(also, notice that tilting the phone seems to affect volume).

Wednesday, April 29, 2009

I Can't Play That Lick (that I just played)

Oh, how many times has this happened!

A student comes in, announcing that he/she simply can't play a lick.
I ask, "What lick"
Then (and here's the cool part) they sometimes pick up their horn and play it. *And* they often nail it.

What's going on here?

Well, here's one thought: at the moment they are demonstrating for me, a couple of factors may be true:

1. They have nothing to lose since they just announced they can't play it. Thus, they plunge in with a "no worries, nothing to lose" approach.

2.Their mindset is more focused on the lick itself and how it sounds (since their goal is to simply demonstrate it for me to make their point). In other words, they aren't focused on themselves or the act of trying to play it. Instead their total focus is on the music itself.

So, in demonstrating that lick they can't play, they are often doing the two exact things they should do:
Let go and play
Focus completely on the music, not yourself.



The brain is a funny thing.

Steve Witser: Sad News

I just heard that Steve Witser passed away.

Here's the article.

Monday, April 27, 2009

The Fearsome Five

The Beatles were the Fab Four

In basketball we have the Final Four (and Sweet Sixteen)

In school we learned the Three R's

On the evil side of the equation, we could think about the Seven Deadly Sins

or maybe the Four Horsemen of the Apocalypse

Here's a new one to consider:
THE FEARSOME FIVE









Why these notes?
(if it isn't obvious, which it should be)

They represent that perfect storm of of "out of tune" and "shows up a lot in your music"

I wonder, what percentage of our tuning troubles would go away if those five notes were always in tune.

Saturday, April 25, 2009

Berlin in the Arm



Good ol' 5th position.
Sooo many pitch problems to be found.

Here's what I find interesting: even when someone KNOWS that they aren't reaching out far enough, their arm just seems strangely reluctant to reach
all.....the......way.....out....into.....the
.....swamps....of.....fifth.....position

Consider this analogy: when Germany reunified, I seem to recall some trouble bringing those East German factories (and factory workers) up to speed with with Western standards.

Brain = new standards (Western manufacturing)
Muscles = old attitudes (Soviet style manufacturing)

The brain keeps saying, "Get out to 5th position, you're sharp" The factory workers keep replying , "Nope, 5th position isn't out there. It's only out to here!"

Somehow, the memos from management don't always get through.

Wednesday, April 01, 2009

History: Let's Hear it for Hennequin van Pictre


Have you ever had a "should" book. You know, you buy a book you "should" read but then you don't get around to it.
Well, one of my "should" books is "The Trombone" by Trevor Herbert. I'm finally starting to work my way slowly through it.
I thought I might occasionally post a blog entry about some detail from the book. I don't wish to plagiarize, though.
You should buy this book. Here's a link from Amazon. Here's a link from Hickey's.
Here's a "proper" citation:
Herbert, Trevor. The Trombone. New Haven: Yale University Press, 2006.

Today's tidbit is from page 58.

Who, you ask is Hennequin van Pictre?
Well, according to Herbert, Burgundian court records from the 1410's list him as being employed to play the trompette des menestrals (a slide trumpet or very early trombone).


(no, this picture is not from the book)

In other words: he's one of the first trombone players to
HAVE A GIG!


Go Hennequin!!

Friday, March 27, 2009

Talking Mouthpieces..Buy One Get One Free!!

Another story from a recent lesson:

A student is struggling to play with good technique and also doesn't really perform a convincing phrase. At first we try various tricks to help with tone and clean slide technique (with varying results).

Then I switch gears and address that whole phrasing thing. We try singing it but the tricky intervals get in the way. So I try a trick which I've thought of before but haven't really used:

Talking Mouthpieces

Basically, I ask him to buzz it but not worry about even coming close to the right pitches. What's important is to get a speech-like inflection (like the voice) using the rhythm alone. From that, we went on to play the passage on one note with a nice musical inflection.

By the way, while browsing I once ran across some very nice teaching pages from Carl Lenthe in which, among other things, he uses the phrase "Johnny One Note" and demonstrates inflection for the Barat Allegro using this technique. Give a listen to the sound files. On one of them, he sings rhythms with a nice inflection. What I was doing with this student was essentially the same thing but using this "talking mouthpiece" idea.

Then we moved on to one of my favorite tricks: he played the "one-note" version while I played the phrase. Then we swapped with him playing the phrase and me playing the "one-note" version.

The end result? His phrasing definitely had more feel to it and he reported to me that his mind wasn't so focused on a laundry list of technical things he was supposed to be doing.

And here's the cool part: during all this time he was so focused on the phrasing, his technique was greatly improved!!! By focusing on a convincing musical phrase, it was almost as if the technique was thrown in for free.














(I love it when this happens)

Tuesday, March 24, 2009

Writing Comments - is there a transparent solution?

I just got back from a Virginia/D.C. trip that included judging the two final rounds of the ETW solo competition.

For me, one of the biggest challenges in judging these things is the not-so-simple process of listening attentively while trying to write intelligently. It goes something like this: you listen, you hear something (good or bad) that deserves a written comment. You try to write with decent handwriting, knowing that your comments might impact the person whom you are evaluating. I always want to write something of value to the eventual reader. But, as you write this, the music keeps rolling along and deserves your attention. The challenge is exacerbated when you are dealing with a score you don't know well as was the case with the Schnyder Sonata and the Amis Preludes.

Here's an idea I've thought of but haven't acted on. What if you laid one of those transparency sheets over a copy of the music and wrote comments directly onto the transparency? Then you could quickly refer to specific sections by simply circling them. When the candidate/student receives your comments, in theory they could lay the transparency right over their music and see your comments.

This reminds me of an interesting technique I first saw used by Eugene Corporan when working with conducting students. He had rigged up something that allowed him to hold a microphone and softly make comments that, I believe, were being overlaid directly onto the audio portion of the student's video tape. Clever but a bit cumbersome for a trombone competition.

One last comment on the ETW judging. This is my third time doing it. It seems that every time we end up with a choice between the more "clean, polished" rendition and the more "expressive" rendition. I will say that, usually (with one significant exception this year), the more expressive version wins the day even though it is often clear that the "clean, polished" player is technically stronger.

I have heard stories of parallels in big-time orchestra auditions.

Wednesday, March 18, 2009

"Tonguing" with the Fingers

Here's a new thing I've tried in a few lessons.

Buzz a note and, as you sustain a nice mezzo-piano buzz, gently cover the end of the mouthpiece with your finger so the air can't escape.

Do it correctly and the note will stop.

Here's the interesting part, pull your finger away and the note should start right away, sounding like a clean attack.

In fact, I've done this repeatedly creating the effect of repeated attacks. While I'm not wild about how the notes end, I've like the way the buzz begins with a nice clean "pop."

Hopefully, that's the role of our friend/enemy, the tongue: release the air all at once so the lips can pop right into vibration.

The great thing about "tonguing" with your fingers is that it reminds you to deliver a nice supply of air/fuel from the lungs without any throat nonsense. It should be simple:

air flows - lips buzz

Come to think of it. Should we really be calling this "tonguing?" It seems that maybe the tongue had a really good publicist and managed to steal the spotlight.










(yeah, I considered superimposing some image of a tongue onto this picture but then thought better of it)

Tuesday, March 10, 2009

BoneWeek 6 - done

I've written another BoneWeek fanfare. Like the others, it is available for free download on my website.

BoneWeek Fanfare 6

I'm also happy to report that this piece will be premiered at the Eastern Trombone Workshop by Dr. Bradley Palmer and the Columbus State Trombone Choir.

For anyone going to ETW, I'll be doing a group warm-up on Saturday morning.

Yeah, it's at 8am.

Thursday, February 26, 2009

High Speed Film of Embouchures (don't eat while watching)

I've heard about these movies for years but had never seen them. Interesting...and a little disgusting.

Basically, the films show high speed images of the lips vibrating as seen through a clear mouthpiece. Some big name players including Bill Watrous, Stuart Dempster, Larry Wiehe and George Roberts.

Thanks for David Wilken for getting this up onto YouTube.

Part 1: downstream embouchures



Part 2: upstream embouchures



Part 3: multiphonics

Wednesday, February 11, 2009

Trombones de Costa Rica - Feb. 18th












Just to let you know...
Trombones de Costa will be visiting the University of South Carolina for a concert on Wed. Feb. 18th at 7:30pm in our recital hall.
The concert is free and open to the public.

Here's a link to their website.

Friday, February 06, 2009

Gliss Finding

Hello Everyone
Sorry I haven't blogged in a while. I just got busy with other things.

So, here's an idea that I've been using with some of my students. I've started calling it "gliss finding"

The Problem: trying to lip the notes into tune instead of finding the pitch with the slide. I believe this can cause a loss of centering and resonance.

The Solution: by glissing around the note while listening carefully for a resonant full tone, then stopping in the position, you can find the right pitch while your center of resonance stays "in the pocket."

Sunday, December 28, 2008

You're not likely to see tubas doing this

OK, first of all, simply assembling this thing must have taken a very long time.

(too much time)


(Silent) Monks Hallelujah

Sorry, I've been out of town for a while.
Here's a good one from YouTube.

Remember these monks have taken a vow of silence.


Tuesday, December 16, 2008

Big Ol' Smackdown in New York









Dave Finlayson has posted recently on his new blog about Gilbert Kaplan, who recently conducted Mahler's 2nd with NYPO.

I'm not familiar with Kaplan's conducting but I've had to endure too many podium frauds over the years.

Here's the link.

Here's my own cynical rule about conductors

Of every 1000 conductors, 900 are completely useless.
The ensemble would sound better if they walked away.

Of the remaining 100, 90 are mediocre at best.
At least they don't do serious damage and will be bailed out by most ensembles.

Of the remaining 10, 9 are good at their jobs.
They actually make the group sound better.

That last one is excellent.
A pleasure and an inspiration.

So, in your next rehearsal, ask yourself, "What about this one? In the 900, the 90, the 9, or the one."

Realize, you may go your whole life and never have the chance to work with "the one."

My Christmas wish: that you get to work with "the one" in a good orchestra.


Friday, December 05, 2008

Rubber Band Rubato

Back to the subject of rubato (about which I put up a post in July called "Wheel Rubato.")

I've thought of another way to look at it.

Take this example of the cadenza from Morceau Symphonique..





Being a cadenza, it should have some freedom. But still, 16th's should sound like 16th's, 8th's should like 8th's and so on.

In other words, the beat can change but the subdivisions of the beat should still make sense.

An analogy occurred to me. Suppose you took a large rubber band and made evenly spaced vertical marks on it. Or maybe your marks could graphically represent the spacing of quarter notes, half notes and so on.

Then, stretch the rubber band and look at your marks.

The rhythmic pattern is consistent over a time frame that is stretched.

...sort of like the perception of time as you fall into a black hole.

Monday, December 01, 2008

The Etude Finder

I heard a good quote from Ted Turner, "Early to Bed, Early to Rise, Work Hard and Advertise."

For the most part, I'm pretty good at the first three (especially now that my kid has to be at school at 7:30!). I'm not so great at the advertising part.

Here's something I put up on my website and didn't really announce. Why? I wanted to proof it and make sure there were no mistakes.

Well, I didn't proof it so IF you find mistakes, email me with something like, "HA! You messed up!"

What is it? Well, try it out and you'll see. There are lots of ways it could be improved. The original database (part of my doctoral dissertation) had other categories..things like "Building the Low Range" "Wide leaps in the High Range" "Double Tonguing" etc.

DOCTORAL DISSERTATION ALERT
OK, here's another topic to consider...matching etudes with solo lit and orchestral excerpts. Something like this "If you're working on La Gazza Ladra (or the David Concertino), you might practice the following 4 etudes to help..."

So, here it is...
THE ETUDE FINDER

Special thanks to my computer whiz son, William, for writing the javascript code that makes this work. I sorta kinda understand it, but it's almost over my head.

Monday, November 24, 2008

South Carolina All State Exercises..Bordogni #37

This one's mostly for any high school trombone players here in South Carolina. I've written a few pages of exercises to help you prepare the required etude for the All-State Band audition.

Here's a link to the pdf file.

For others curious about this, the audition piece is most of the second page of #37 in Melodious Etudes, Bk 1 written by Marco Bordogni and transcribed by Johannes Rochut.

By the way, I have always thought it was a travesty that Rochut gets top billing on the cover. Don't call them Rochut etudes. Except possibly for #1, he didn't write them.

Giulio Marco Bordogni

Thursday, November 20, 2008

In these times....

Worrisome news about the Charleston Symphony. When I came here almost 10 years ago, I had the good fortune to sub with Charleston on occasion and was really impressed with their brass section. Now I hear that they're not sure they can make payroll after Dec. 19th.

Here's the article.

Some young trombonists who apply to the USC School of Music tell me they want to major in performance.

What do I tell them?

"Yes, I know it is your true passion and despite any odds you feel you have to go for it. But....there are so few jobs!" (and the number is shrinking).

Not to be all gloom and doom but, anyone pursuing a music performance career needs to have a realistic perspective on what is going on out there.

Ask yourself these questions:
  • How many talented young performance majors graduate each year? Don't just count the "big name" schools. Sometimes great players come from smaller programs.
  • How many openings are there for jobs that pay over, say $20k, each year?
If you have no idea, then you haven't thought things through enough.

How do most professional musicians earn their income?
Freelancing, small per-service gigs, lots of private students in the public schools, and maybe a part-time job. Don't get me wrong, this can be a good life. When I lived near Washington D.C., I saw people doing this and leading happy, productive lives. One small fringe benefit: if you have 27 different employers, you can't get laid off.

Yes, I know music gets in your blood and becomes a part of you. But if you are an aspiring high school trombonist who wants to be a performance major, know what you are getting into. Do your homework on the job market.

Maybe you can find creative solutions....write grants, create a small innovative ensemble, do something in the schools.

Hey, if you can capture people's imaginations, they will flock to you. Who could have predicted the success of something like Blast?

You may want to gag at the mention of the Trans Siberian Orchestra, but whenever they come to town, big crowds form. (actually I know almost nothing about them but they were here recently)

The intersection of art and commerce is never comfortable.

Wednesday, November 19, 2008

Yes, Ta-Ta-Ka

There seems to be a plague of people who triple tongue this way..
TA-KA-TA, TA-KA-TA, TA-KA-TA

I ask them why. The usual response: I don't know. I've just always done it that way. Nobody ever told me how.

You should use..
TA-TA-KA, TA-TA-KA
(or DA-DA-GA)

Why?

Why do we multiple tongue at all?
Because you can't reset the tip of the tongue fast enough over and over.

Here's my contention (argue if you want): the second of the two "TA's" is the weaker one because the tongue has to do that rapid reset.

Test this: say TA-ta. Now say ta-TA . (capital letters represent emphasis).
For me, TA-ta is easier.

So...the whole point of using that inferior "KA" syllable is to give the tip of the tongue time to reset.

In a string of triplets, you usually want to place your accent on the first note of each triplet..
TA-ta-ka, TA-ta-ka, TA-ta-ka

Putting ka at the end makes it easier to emphasize the beginning of the triplet.

If you use..
TA-ka-ta, TA-ka-ta, TA-ka-ta,
your downbeats will be at a disadvantage.

(By the way, in the new Arban's book, both Bowman and Alessi prefer ta-ta-ka)

If you are used to the other way, use this exercise to help you...

Droning On....Droning Out














Tom Gibson just posted that video podcast of us messing around with the drone CD. Plus he loaded up the whole CD onto his website for download (warning: BIG files)

Here's a link.

(kinda wish he didn't ask me to sing...yow)

Tuesday, November 11, 2008

The 47 Pound Pencil














Look at that pencil lying there. Easy to pick up right?

Now: as you attempt to pick it up with one hand, use your other hand to hold down the lifting hand. Harder to pick up now.

Seems stupid but ...
how often do we unwittingly do exactly the same thing when playing?


PS Tom Gibson filmed another podcast with me and Eric Bubacz, a fantastic tubist from Atlanta. Basically we were just hacking around improvising stuff over tuning drones. Don't know when it will be posted. Oh yeah, I had the good fortune to hang out for the 45 minutes or so of that Wycliffe recording session he filmed. Very cool (as in...him, not me)

Wednesday, November 05, 2008

Tone vs. Sound

OK, I'm going out on a limb here.

We often use the terms "tone" and "sound" interchangeably.

For me, someone's sound seems to have more components than than just the timbre of the sound waves emanating from their bell.

What do you think of this diagram?













Why the question mark by vibrato? I think vibrato plays a role in phrasing as well. Some players incorporate it as a fundamental component of the sound, others employ it more to move a phrase along. Vibrato seems to live in both worlds.

I invite all comments/criticisms.

"Note Shape" refers to the degree of attack at the front of a note as well as the kind taper at the end of a note.

Monday, November 03, 2008

C.S.I. Slide-O-Mix

























OK, I think I'm onto something here....

It started when one of my students, (let's call him Alex [or Joey]) commented that, "Everybody's Slide-O-Mix seems to work better than mine."

Then I thought about my Slide-O-Mix Rapid Comfort and how it used to to be have thick texture but was now watery.

Then another student (let's call him Colt) pointed out his theory that maybe HEAT had an effect on the stuff. In other words, once it had been exposed to heat (like being left in a hot car) it became watery and didn't work as well.

No sooner do I mention "Colt's" theory to one of my private students than he says that exact thing happened to him: Slide-O-Mix left in a hot car for a few days had become watery.

AHA!


Research grant needed.....$1,500,000 ought to cover it.

Monday, October 27, 2008

A Little Valve Thing...

Has anybody out there ever played Ewazen's Colchester Fantasy?
In the slow movement, you find this forte septuplet that calls for some serious faking.

I tried using my old "valve wiggle" trick....just keep blowing while you press/release the valve as quickly as possible. You can create some cool effects.

Then I thought it through a little more carefully and realized that by "articulating" with the valve, you could accurately play this lick.

Here it is (I'm working from memory here but you get the idea):







Play it fast without tonguing.

This reminds me of a Baltimore Opera gig I did years ago where we ran across this fast E major scale that was effectively unplayable on slide trombone.

It went something like this...






Through kidding around, we discovered that, if you just stayed in 2nd position and employed a healthy valve wiggle, you could simulate the run really well. In fact, when we tried it together, we both burst out laughing because it sounded like we had actually played it correctly.

Friday, October 17, 2008

My Little public service

Johannes Brahms: Sixteen Lieder
Transcribed and edited for solo trombone and piano by
Eric Carlson


If you don't own this collection: get it!

Eric Carlson, 2nd trombonist of the Philadelphia Orchestra, has done us all a great service by creating this compilation.

Not only do you get the solo and piano parts, you also get a wonderful CD of the piano accompaniments. However these accompaniments aren't of the of "Frankenstein Piano" quality of a certain other collection of piano accompaniments that is commercially available. They actually have a very nice musical quality to them.

I was loading this accompaniment CD onto my iTunes and was surprised to see that Gracenote didn't seem to have it on their database. So, I patiently typed in all the info...

you're welcome

.. now go get this.

Here's a Hickey's link

Tuesday, October 14, 2008

Monday, October 06, 2008

Monkey See, Monkey Do

I have started standing facing my students instead of standing beside them. Often, I tell them to watch me while I play.

Why?


It turns out that there are mirror neurons in your brain (both sides) which fire not only when you engage in a task but also when you watch someone else engage in the same task. In other words, if you watch Joe Alessi play a B-flat major scale, in your mind, those mirror neurons are playing along.

Here's an interesting 14-minute segment of Nova Science Now that talks about this...

Here's a good article from Science Daily, if you're interested...

Friday, October 03, 2008

The Freedom Cone

This idea isn't really original. I think I first saw it presented by Ron Barron.

The basic question? How much freedom do you have as a player?

Depends on what you're doing. If you're making an audition tape, especially one for an orchestra, I think you have the least freedom. You just don't know how you're going to be evaluated so you have to stick to the ink.

Similar with a first-round audition. So many people, so many cuts that need to be made. I have to think that most committees are looking for a reason to say no.

In later rounds you are more focused on giving the committee a reason to say 'yes' so perhaps you can begin to show your individuality.

Of course, depending on the conductor, you might have more freedom in a live performance.

Here's a little graphic...


By the way, respected friend of mine disagrees with me and, frankly, she has heard a lot more professional auditions that I have.

Her contention: In that first round the committee is desperately looking for a reason to say 'yes' but candidate after candidate fails to give it to them.

Anybody out there have a lot of experience with professional auditions?
What do you think?

Thursday, October 02, 2008

Alessi Seminar 2009

They have just announced the 2009 Alessi Seminar.

Some changes this year:

Three categories, not two..

Old system: 16 participants and a bunch of auditors
New system: 8 participants, 16 apprentices and a bunch of auditors

Top three participants are finalists in a solo competition at the seminar.

As I've said in my blog entries from the 2007 Alessi seminar, you owe it to yourself to attend.