The blog's not dead yet

OK, so my last post was on Feb. 4th and now it is April 23rd.

One former student declared my blog officially dead. In those great words of Monty Python, "I'm not dead yet"

Some explanation...
Much of my inspiration for this blog comes directly from teaching lessons. Often during a lesson I hit on an idea that is "blogworthy."

For 8 weeks in the middle of this semester, I was granted a half sabbatical to work on the Simply Singing Books. During that time, not only was I not teaching (fewer ideas popping up) but I also wanted to devote a lot of time/energy to the books. Like most projects, they take up more time and energy than I thought they would.

I also worked on some other projects including writing a new fanfare, not for trombone week but the UT Austin trombone choir for this summer's ITF. If they like, you'll hear them play it. As requested, it is basically a medley of Texas tunes. I wrote it for solo quartet over trombone octet.

I also invested quite a few afternoons and evenings in one of my non-musical pursuits/obsessions: coaching a FIRST LEGO League robotics team. The kids I worked with (ages 9-13 on our team) won the state championship and recently competed at the FIRST World Festival in Atlanta. Great experience but very consuming. Not much time left over for blogging.

However, I hope to get it moving again.

The Continuum of Outcomes

OK time to get a little philosophical. Today the USC School of Music hosted Todd Kays, a sports psychologist. Here's his website, The Athletic Mind Institute.

One aspect of his presentation got me to thinking more about something...
Outcomes vs. Process

Now, I'm not sure I like that term, "process" but here's the basic point (using the upcoming Super Bowl as an example).

There are those things you can control and those things you can't. For example, Peyton Manning certainly wants to win but he can't control the outcome of the game. At a critical moment, one of his receivers may slip, leading to an interception. His stats get worse even though that was an outcome he couldn't control.

You go to an audition. You certainly want to win but you can't control the outcome. At a critical moment, the room may be too cold or the committee too distracted, or the committee may already have someone in mind, or you might come down with the flu, or......
(you get the idea)

What's an outcome? What is the process? In one of our sessions with Dr. Kays, I described one set of goals: improving my ability to play passages that were fast, loud and descending. To me, those are goals/outcomes. To him, they were the definition of "process" not "outcome." It seems we were saying the same words but with different meanings.

I often have thought of it this way:
You have internal goals and external goals.

For example:
External goal - win the audition/competition, etc.
Internal goal - play well

So here's my new idea...instead of thinking of a dichotomy, think of a continuum.

Let's take that Super Bowl example...

One on end of the continuum for Peyton Manning you have the most internal of goals...
"plant your feet"
"watch the positions and movement of the defensive players"
"adjust the play and call it out to your team"

These things he can control.

At the middle of the continuum you have these kinds of goals...
"time the pass well"
"throw a good spiral"
"thread it between the defenders"

On the other end of the continuum..
"throw a touchdown pass"
"win the game"
"be declared MVP"
"go down in the record books"

These things he can only partially control.

In an audition you have internal goals...
"know exactly what the excerpt should sound like"
"breathe well as you play"
"listen carefully to your sound/intonation/ etc."

You have those goals that are in-between internal and external
"sound great"
"don't miss any notes"

Finally you have external goals...
"play well enough to get through the list"
"advance to the second round"
"advance to the finals"
"win"

In any audition or competition...

Focus on the internals
Let the externals take care of themselves


PS The images I used were from a Google image search. I don't know anything about Jon Gorrie or his book but for some reason I like the photo...

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? We're Stylish Now?

I just don't know what to make of this.

The real question is, which did you check out first, the woman (or the guy depending on your point of view) or the slide grip?

Hellboy 2 - goin' PRIMAL

Jeff Budin, David Ridge on bass trombone and Peter Wahrhaftig on tuba

No explanation needed.





Thanks to Justin for sending me this link.

Happy Holiday Hardware Hunting

Everybody loves scavenger hunts. (well at least you do if you're on the winning team).

So, readers of this blog, I'd like to propose a scavenger hunt that will most likely involve a trip to your neighborhood hardware store (and might invite a few stares, as well).

The theme: "Expensive Gadgets that May or May Not Help But We're Reluctant to Buy Them Because They Cost So Darn Much"

(EGMMNHBWRBTBTCSDM, for short)

The first item is one I've discussed a posting some time ago. Please note, I'm not endorsing this thing (in fact, I don't endorse it!). I'm just saying that, if you really really want to get one, you can find a much cheaper version at the hardware store.
The device in question is the Power Lung. My blog posting, ETW (part 2), pretty much slammed it but pointed out that you could run to the hardware store and buy a ball valve that seems to do pretty much the same thing.

Ball Valve...89 cents
Power Lung Series P617B..$100 (on their website today)

Hmmm, which price do you prefer?

OK, so here are the next items I think we should hunt for. I haven't tried either one for aforementioned reason that they are somewhat pricey and I don't know if they're valid.

Hey, they may be great.....or maybe not. I dunno.

But.. if we can come up with a cheap hardware store version that does pretty much the same thing...COOL!

New Item #1: Chop Sticks
These are a working out of an idea that has been around for a long time...holding something like a pencil between your lips to strengthen the embouchure.

The starter kit of chop sticks rolls in at $24.95. Maybe it's great, maybe not.

Let's see if any of you are motivated to run to the hardware store to find something comparable and a whole lot cheaper.

New Item #2: P.E.T.E. The Personal Embouchure Training Exerciser
This is newer, I think. Once again, maybe great, maybe not. It costs $34.95 for the plastic version, $39.95 for the brass version and $69.95 for the gold-plated version.

Look closely at the shape of it and then try to find a good substitute.

If you find something that could work as a good substitute, email me the jpeg and I'll blog it.

Happy Holiday Hunting, Scavengers!

Boomerangs for Pitch

Here's a trick I like to use in teaching.

When a student is struggling to lock in the right pitch, I sometimes have them purposely start out of tune with a given note (such as a tuning drone) and then slowly gliss towards the right pitch.

Sometimes, as they approach the right spot, they aren't sure if they've quite gone quite far enough. I tell them, "Keep going until you know you've gone too far, then turn around and go back to the pitch. Like a boomerang."

Somehow, going beyond and coming back seems to help a great deal.

This drawing represents a boomerang from below the pitch...
Of course, you can also do boomerangs from above.

An Explosion at the Rochut Factory!

(AP: 11.24.2009) A recent explosion and fire at the Rochut factory has temporarily halted etude production. Although company management officials issued a quick press release

"We regret the unfortunate accident at our factory this morning. We want to assure the public that no employees were injured in the blast. The source of the blast seems to have to have been the slur press when a cognitive dissonance valve malfunctioned. We are confident that we will be back in production with minimal delay."

In the meantime, Dolce Bel Canto Inc., distributors for the etudes is announcing a fire sale on the beloved etudes. The works are complete except, of course, for missing slur marks.

Said one industry analyst:
"Perhaps this is a good thing. We all know the phrasing controversies concerning some of these etudes. Perhaps the appearance of these etudes without marked slurs will force students to decide logical note groupings. Perhaps that will be the silver lining to this dark cloud. Only time will tell."

Rochut's stock (NYSE code RCHT) dropped 27% in heavy trading early in the day but experienced a partial recovery as profit takers moved in, ending the day down 12 points.

A Nice Online Music Dictionay

Here's a nice free service from Virginia Tech...

An online music dictionary which includes pronunciations of the terms and, for some examples, sound samples (although I never could get the sound sample page to download...maybe I'm too impatient).

Here's the Link.

Record - Work it Out - *then* listen back

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

1. The student plays while I record.
2. Before we listen to the recording, I point out the detail I wish to focus on and I get them to notice and improve.
3. Then, we listen to the recording.

The change is that steps 2 and 3 are a swap from the old way which was: Record-Listen-Work it Out.

Why do I like this new approach? As we work out the detail in question, the student's ear becomes more focused.

One example might be the tendency to "twah" during a moving legato line. They're doing it, but at first they don't hear it.

I focus in on a small section and "take out the magnifying glass" to help them hear that elusive "twah" habit. Once their ear is sensitized to it (and they're playing it better), I play back the recording and they can really hear the problem clearly.

Anyway, for you teachers out there, it's a sequence that may seem counter-intuitive but I've seen some nice results.

Out with the old and in with the new...The Basic 4 Warm-Up

I've pulled down my old warm-up materials from the website and replaced them with this.

What went down?

Daily Routine Menu

Daily Building Block Routine

Why?

Well, the routine menu is going to overlap too much with the book I will be writing this Spring. The idea still works but I need to revise material and put it into a more cohesive form.

The Building Block Routine was reasonably thorough but it was just too long. In lessons, we never got past a few of the exercises. Also, as with the routine menu, it will overlap awkwardly with that new book.

So....

I wanted something short and sweet. (yes, I was tempted to write "short and suite")

Something to get you (and me) off the ground a little more quickly (like, 12 minutes)

What are the "Basic 4"?

• Wind/Sound
• Flow
• Lip Slurs
• Scales

Here's a link.

The gurgle of truth...

In many lessons, I often find myself urging my students to use more air. Here's an interesting detail I've noticed...

They start to notice that water gurgling in their spit valves. When they empty the valve, I'm sometimes stunned to see how much water comes out. I wonder to myself, "How did that much water build up without bugging that student."

Could it be that, during practicing, they were using ...

LESS AIR

Weston Sprott on an iPhone app

I just learned of a new iPhone app from a company called Music in Reach. They have playing info focused on a variety of instruments.

Weston Sprott, second trombonist of the Metropolitan Opera Orchestra has collaborated on the trombone version of the app.

Here's an example video of Weston talking about hand position. You can find other videos like this as well as an ad for the app here on YouTube.

My first impression: it's nice to see that the first people to come out with such a product have done a good job. (of course, maybe they weren't the first..who knows)

Still, a very nice service for only $1.99.

Beware the Creeping Triplets

It's not too hard to play this rhythm correctly...




But watch out when you try to play this...

( cue spooky music)

You start out with the best of intentions. You merrily stroll through all those dotted rhythms. Suddenly you feel yourself weakening.

It seems as if some force is taking over your mind, causing those upright triplets to melt into..

(creepy music gets louder here)

(ba-ba-baaaah)

You must escape those slimy creeping triplets..

Frisbee Tone

Here's an analogy I sometimes use...

A note starts with a little wobble and then settles down and steadies. This sometimes makes me think of a frisbee. Notice that, when thrown, a frisbee sometimes wobbles a bit before settling down.

If only we could get right to the steady tone and bypass the wobble.

Why does the wobble happen? Well, I'm not sure there's one reason. I notice this more often with bass trombonists.

On lower notes, I often see students blowing with an air stream that is too fast/forced. Other times it seems as if the lips are trying to buzz the wrong pitch and need to be "fixed" into place by the instrument.

How to fix that wobble? Buzz some notes and make sure they're centered. On the instrument, try some breath attacks. Make sure you don't use an explosion of air to start a note.

Memorization and pitch

Here's an interesting experience from lessons this week...

I had a student memorize the beginning of a standard solo. He devoted a fair amount of time to it and returned with it (mostly) memorized. Here's the interesting part..

His intonation was better.

So let's think this through:

• Learning from memory means listening to determine if you're playing the right notes.
• Your focus of attention turns away from the print on the page to the sound in your head.
• Boom, instead of focusing on the mechanics, perhaps you are now focusing on sound.
  

What if I sent each incoming freshman a simple recording (mp3) with accompaniment and asked them to learn it by ear to play in that first lesson?

In other words: Give lessons on a piece where no printed music is involved.

Might be an interesting start to the semester.

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.

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

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!

"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.