When looking at evenness of sound it becomes quite obvious that the consistency of our impact pressure, articulated beginning of our tone, is a big part of this.
With this in mind, I have also noticed a trend toward less variety of articulation in the quest for evenness. Also, basic note lengths are longer than lets say 30 years ago.
I remember when I studied with Ron Ricketts of the Minnesota Orchestra in the mid to late 1960's, that he was very into short playing especially for faster passages. This was a style of trombone playing, John Swallow also did this to an extent as well, that was prominent and I think often times players associated short note lengths and firm pointed articulations with clarity.
This changed for me when I started to take with Steven Zellmer who wanted there to be more substance and body on any note regardless of whether it was fast or slow in tempo or length. I soon realized that clarity had to do with the synchronization of air, lip vibration and tongue, coming together for an immediate impact of sound, not the hardness of the attack or the note length. With that said, I noticed that the players who can get very 'evenness of sound finicky', do not warm to real short pecky staccato or do not necessarily use a large variety of articulation themselves.
What is interesting, is that many of my favorite string players who are soloists, have an incredible spectrum of articulation and tone colors that if expressed on a brass instrument would cause many of the brass and wind players of the symphonic world to shudder. What is wrong with variety? I think players might think that they need to master the one even quality sound first, and then after that they will have enough control to venture into other colors because they will actually have the control to do it deliberately. My thoughts on that will have to wait until my next post on this subject! Hmmm.....
Tuesday, June 9, 2009
Monday, June 8, 2009
EVENNESS OF SOUND
How even minded are we on the subject?
Evenness of sound is something that instrumentalists have been working on for many years. It is one of the mechanical arts of 'fine' instrumental playing that players strive for, especially in the 'classical' orchestral realms.
However, in recent years it seems to me, it has been getting to be almost an obsession. Certain players just can't 'see' past anyone who doesn't have an 'even' sound in all the registers. This over preoccupation with evenness also affects nuances and timbre variation as well, which of course, are the symptomatic expressions of a player's central government of concepts from where their music comes out of.
Lets look at this 'even' issue. Instruments that are 'built' with a sound, like certain keyboard and percussion instruments, still need the player to develop enough control to articulate evenly in all the ranges. And we all know for example, that different pianists would sound remarkably distinct from one another if they were playing the same piano.
Are some teachers really tough on evenness because it shows a lack of control or a lack of discipline on the students part for not sticking to it enough to develop the control it would take to play evenly? Or, is it that some teachers only see their music from the standpoint of technical mastery and don't really know how to convey or inspire deeper expressive qualities? Or, do they figure that the rest of it is subjective and the only clear 'objective', 'concrete' thing are the mechanics?
It brings me to questions like, "what is important in the balances of our playing?" If it all comes down to "I want a job," then we are at the mercy of the ones that have gone through that process and got the job, and are now considered from others on the 'outside' to be the authorities.
This makes a certain amount of sense on that level. But, if it produces 'clones' of players, and 'cloned' excerpts and performances, let me ask the following question, "what in the world does that have to do with Art and originality? Let alone the deeper human development and creative processes?
What in Nature is even? This is a huge subject, but the forces of Nature, the cycles, seasons, flora and fauna for example, have a motion to them and not always so predictable and 'even'. Maybe the obsession with evenness is a human's way of trying to find perfection and stability. This kind of 'perfection' is not connected to anything in the natural worlds. It will eventually deteriorate because our physiology changes, and not always in clear, predictable and chartable ways. Our physiology is not the only thing that changes really, but whether we the person wants to change or not, our body has a limited life and is changing all the time.
In practical brass playing terms, that beautiful sound we hear in our minds and would like to have for every single note, is temporary, that is if we actually achieve it. The idea for example of an 'open' sound might get increasingly difficult as our bodies change and our internal life changes with living and experiencing what life brings our way. Would we be willing to 'compromise' if it meant giving up our one wonderful even sound so we could continue to play at all?
If 'evenness' is such a huge criteria, could it be out of proportion to the bigger musical picture? Can it be its own type of 'cholesterol' blocking our deeper perceptions out of fear we will not be 'even'?
Hey, I practice my 'even' exercises everyday. But, in no way will I let that be my sole musical government. I still believe that there is room in the job market for those 'less than perfect' players who play with feeling, passion and connection. Of course you can have all those qualities and be a 'perfectly even' player too. Im just trying to encourage those wonderful players out there, many of whom I have heard, that are exciting and expressive players who may not have the 'perfect even' thing down. MUSIC, the essence of it, is an equal opportunity employer!
I'll end this post on evenness of sound by quoting something a great long time friend of mine said who is a terrific violist in a major U.S. orchestra. I was talking to him about this subject of evenness a few years ago. He looked at me and said with a tone of seriousness and a tinge of dark humor, "you take some coffins, you line them up, and their even."
However, in recent years it seems to me, it has been getting to be almost an obsession. Certain players just can't 'see' past anyone who doesn't have an 'even' sound in all the registers. This over preoccupation with evenness also affects nuances and timbre variation as well, which of course, are the symptomatic expressions of a player's central government of concepts from where their music comes out of.
Lets look at this 'even' issue. Instruments that are 'built' with a sound, like certain keyboard and percussion instruments, still need the player to develop enough control to articulate evenly in all the ranges. And we all know for example, that different pianists would sound remarkably distinct from one another if they were playing the same piano.
Are some teachers really tough on evenness because it shows a lack of control or a lack of discipline on the students part for not sticking to it enough to develop the control it would take to play evenly? Or, is it that some teachers only see their music from the standpoint of technical mastery and don't really know how to convey or inspire deeper expressive qualities? Or, do they figure that the rest of it is subjective and the only clear 'objective', 'concrete' thing are the mechanics?
It brings me to questions like, "what is important in the balances of our playing?" If it all comes down to "I want a job," then we are at the mercy of the ones that have gone through that process and got the job, and are now considered from others on the 'outside' to be the authorities.
This makes a certain amount of sense on that level. But, if it produces 'clones' of players, and 'cloned' excerpts and performances, let me ask the following question, "what in the world does that have to do with Art and originality? Let alone the deeper human development and creative processes?
What in Nature is even? This is a huge subject, but the forces of Nature, the cycles, seasons, flora and fauna for example, have a motion to them and not always so predictable and 'even'. Maybe the obsession with evenness is a human's way of trying to find perfection and stability. This kind of 'perfection' is not connected to anything in the natural worlds. It will eventually deteriorate because our physiology changes, and not always in clear, predictable and chartable ways. Our physiology is not the only thing that changes really, but whether we the person wants to change or not, our body has a limited life and is changing all the time.
In practical brass playing terms, that beautiful sound we hear in our minds and would like to have for every single note, is temporary, that is if we actually achieve it. The idea for example of an 'open' sound might get increasingly difficult as our bodies change and our internal life changes with living and experiencing what life brings our way. Would we be willing to 'compromise' if it meant giving up our one wonderful even sound so we could continue to play at all?
If 'evenness' is such a huge criteria, could it be out of proportion to the bigger musical picture? Can it be its own type of 'cholesterol' blocking our deeper perceptions out of fear we will not be 'even'?
Hey, I practice my 'even' exercises everyday. But, in no way will I let that be my sole musical government. I still believe that there is room in the job market for those 'less than perfect' players who play with feeling, passion and connection. Of course you can have all those qualities and be a 'perfectly even' player too. Im just trying to encourage those wonderful players out there, many of whom I have heard, that are exciting and expressive players who may not have the 'perfect even' thing down. MUSIC, the essence of it, is an equal opportunity employer!
I'll end this post on evenness of sound by quoting something a great long time friend of mine said who is a terrific violist in a major U.S. orchestra. I was talking to him about this subject of evenness a few years ago. He looked at me and said with a tone of seriousness and a tinge of dark humor, "you take some coffins, you line them up, and their even."
Saturday, June 6, 2009
TRY THIS! Experiment for humans and brass players :-)
As long as we are on the very interesting subject of syllables, I thought that there might be some folks who would like to experiment with this:
1. Sit up right in a chair, relaxed with spine straight and feet flat on the floor.
2. Then say out loud in a full voice the sound 'Oh'. While you say this, imagine the 'Oh' sound surrounding your whole body as if it were a bubble of sound resonance extending out about three feet from your body and encircling it. Do this until you feel you are immersed in that 'Oh' resonance.
3. Then say the word 'La' ( rhymes with 'ma' ) and feel that sound resonance in your heart area in the middle of your chest. Have the 'La' sound have a lot of warmth. Do this until you feel that settled warmth of sound in your chest.
4. Lastly, shut your eyes (you can actually have your eyes shut the whole time of the entire exercise if you wish) and put your attention on your forehead and say the sound 'nim' (rhymes with 'him'). Feel that sound resonance softly near the center of your forehead. Do this until you feel very inward and have a sense of a calm and awake feeling.
This 'exercise-experiment' can be very restful and focusing before we start playing especially if we are mentally scattered or anxious. Also, play with the various sound resonances until they feel natural for you in duration and length.
For all those that are interested in trying this, you are welcome to post your comments on the blog. I would be interested to know your findings and experiences.
Happy experimenting!
1. Sit up right in a chair, relaxed with spine straight and feet flat on the floor.
2. Then say out loud in a full voice the sound 'Oh'. While you say this, imagine the 'Oh' sound surrounding your whole body as if it were a bubble of sound resonance extending out about three feet from your body and encircling it. Do this until you feel you are immersed in that 'Oh' resonance.
3. Then say the word 'La' ( rhymes with 'ma' ) and feel that sound resonance in your heart area in the middle of your chest. Have the 'La' sound have a lot of warmth. Do this until you feel that settled warmth of sound in your chest.
4. Lastly, shut your eyes (you can actually have your eyes shut the whole time of the entire exercise if you wish) and put your attention on your forehead and say the sound 'nim' (rhymes with 'him'). Feel that sound resonance softly near the center of your forehead. Do this until you feel very inward and have a sense of a calm and awake feeling.
This 'exercise-experiment' can be very restful and focusing before we start playing especially if we are mentally scattered or anxious. Also, play with the various sound resonances until they feel natural for you in duration and length.
For all those that are interested in trying this, you are welcome to post your comments on the blog. I would be interested to know your findings and experiences.
Happy experimenting!
Thursday, June 4, 2009
TRY THIS! Experiments for brass players
Play a couple of lines of a simple lyrical legato study using the syllable 'u' ( sounds like 'who'). Notice how it feels in different registers and dynamics.
Then wait a couple of minutes and do the same piece using the syllable sound 'ur' ( sounds like 'fur' or 'her'). Notice how this feels in different dynamics and registers.
Then do this same format using the syllable 'O' (sounds like 'oh') then the syllable sounds 'A' ( sounds like 'hay') then an 'AH' sound. Experiment with these for a week or so and if you are interested let me know your results in a comment on the blog.
My interest in this subject stems from my own playing discoveries and what I am noticing in other people's playing. For years we can go on what we have learned and practiced or on 'instincts' and just play. It is only when we hit a snag or a 'brick wall' or feel that something is not doing what it normally does that we have to figure it out.
This is where using different tools can be very useful. The use of vowels or syllables in wind playing is very fascinating for they naturally incorporate the tongue and embouchure muscles in creating shapes that can enhance or distract from sound quality and register and our air support systems.
I don't want to say to much more until a week or so from now.
Good luck with your discovery endeavor!
Then wait a couple of minutes and do the same piece using the syllable sound 'ur' ( sounds like 'fur' or 'her'). Notice how this feels in different dynamics and registers.
Then do this same format using the syllable 'O' (sounds like 'oh') then the syllable sounds 'A' ( sounds like 'hay') then an 'AH' sound. Experiment with these for a week or so and if you are interested let me know your results in a comment on the blog.
My interest in this subject stems from my own playing discoveries and what I am noticing in other people's playing. For years we can go on what we have learned and practiced or on 'instincts' and just play. It is only when we hit a snag or a 'brick wall' or feel that something is not doing what it normally does that we have to figure it out.
This is where using different tools can be very useful. The use of vowels or syllables in wind playing is very fascinating for they naturally incorporate the tongue and embouchure muscles in creating shapes that can enhance or distract from sound quality and register and our air support systems.
I don't want to say to much more until a week or so from now.
Good luck with your discovery endeavor!
Saturday, May 30, 2009
HAPPY BIRTHDAY MOM!
It was 74 years ago today
A great wonderful person was born
Just as alive today
Even though she is in another domain
One of my first teachers
Maybe the first in this life
Filled with hope
Inspiration
Love of Nature
Love of family
Fun and playful
Fun! Fun! Fun!
Like a 'hip' Mary Poppins
She was the sugar that made the medicine go down
When Shirley held your hand
You felt so grand
Your life started playing
Like a big brass band!
You could be yourself around her (mostly) :-)
And when she sang, "When you wish upon a Star"
You felt your dreams would come true
And the fact I had a mother like her
Was the proof they had!!
Happy Birthday Mom, wherever you are in the universe!
A great wonderful person was born
Just as alive today
Even though she is in another domain
One of my first teachers
Maybe the first in this life
Filled with hope
Inspiration
Love of Nature
Love of family
Fun and playful
Fun! Fun! Fun!
Like a 'hip' Mary Poppins
She was the sugar that made the medicine go down
When Shirley held your hand
You felt so grand
Your life started playing
Like a big brass band!
You could be yourself around her (mostly) :-)
And when she sang, "When you wish upon a Star"
You felt your dreams would come true
And the fact I had a mother like her
Was the proof they had!!
Happy Birthday Mom, wherever you are in the universe!
Friday, May 15, 2009
"That is Where the Music Really Is!"
One of the core sentiments of the Frequency Band that Carol and I speak about is "music as a living thing." Carol has written many times on this vital attitude and approach and we both have worked with students and professional musicians on developing this wonderful and fresh relationship with their music.
In this post, Master Manlon connects deep into the heart of the matter.
Master Manlon was sitting in his practice room moving into deep realms of connective thought. The connection increased and it was clear how everything is energy and that we humans create from the need to move closer to the source of where energy originates.
Master Manlon saw, in his connective state, how the use of technology and the advancement of technology comes from the direct relationship between humans and their knowledge and personal interaction with energy. That is why, Master Manlon could see, the essence of oneself is energy in the form of consciousness. And this, he thought, has been known by the wise people of many cultures for thousands of years.
But to be in the experience of it marks the difference between knowledge from a distance (not integrated) and integrated personal connection--where one sees, feels, hears, tastes and smells the reality of the knowledge. The words with which to describe this state came to him as "intuitive experience cognizing the moment in continuum."
He thought of how, in music, the special moments people feel are when there is a momentum of energy that fills a person with a sense of 'now' and continuos movement where one feels life or oneself very deeply and fully. "To be here all the time," he thought. "Aaah, that is where the Music really is!" Because that is the essence of "Music as a Living Thing."
====
==================
Other excerpts from my book in progress, "The TAC Legend Writings," can be found throughout this blog. Here is a sampling:
PPMP: Master Manlon and "The TAC Legend Writings"
Trombone Sci-Fi
Excerpt from "The TAC Legend Writings"
Blinded by Sound
Another Excerpt from "The TAC Legend Writings"
More from "The TAC Legend Writings"
More Trombone Sci-Fi
More from Master Manlon and "The TAC Legend Writings"
Truth or Agenda? From "The TAC Legend Writings"
In this post, Master Manlon connects deep into the heart of the matter.
Master Manlon was sitting in his practice room moving into deep realms of connective thought. The connection increased and it was clear how everything is energy and that we humans create from the need to move closer to the source of where energy originates.
Master Manlon saw, in his connective state, how the use of technology and the advancement of technology comes from the direct relationship between humans and their knowledge and personal interaction with energy. That is why, Master Manlon could see, the essence of oneself is energy in the form of consciousness. And this, he thought, has been known by the wise people of many cultures for thousands of years.
But to be in the experience of it marks the difference between knowledge from a distance (not integrated) and integrated personal connection--where one sees, feels, hears, tastes and smells the reality of the knowledge. The words with which to describe this state came to him as "intuitive experience cognizing the moment in continuum."
He thought of how, in music, the special moments people feel are when there is a momentum of energy that fills a person with a sense of 'now' and continuos movement where one feels life or oneself very deeply and fully. "To be here all the time," he thought. "Aaah, that is where the Music really is!" Because that is the essence of "Music as a Living Thing."
====
==================
Other excerpts from my book in progress, "The TAC Legend Writings," can be found throughout this blog. Here is a sampling:
PPMP: Master Manlon and "The TAC Legend Writings"
Trombone Sci-Fi
Excerpt from "The TAC Legend Writings"
Blinded by Sound
Another Excerpt from "The TAC Legend Writings"
More from "The TAC Legend Writings"
More Trombone Sci-Fi
More from Master Manlon and "The TAC Legend Writings"
Truth or Agenda? From "The TAC Legend Writings"
Sunday, May 10, 2009
It Can Be Done
It can be done
It will be done
It has been done
and will continue to be done
by the brave and trying few
who wish to go beyond the 'make do'
into the land of opportunity
on the path of always new
but ever there
shining pure
un-corrupted
open ended and truthful
hoping you will come join it
and journey to the sublime
powerful worlds waiting to be
explored!
It will be done
It has been done
and will continue to be done
by the brave and trying few
who wish to go beyond the 'make do'
into the land of opportunity
on the path of always new
but ever there
shining pure
un-corrupted
open ended and truthful
hoping you will come join it
and journey to the sublime
powerful worlds waiting to be
explored!
Subscribe to:
Posts (Atom)
