It has been a while since I've posted anything. It has been really busy with all the schools starting. I will still put up more pictures from my trip to Venezuela working with El Sistema hopefully in the next couple of weeks. Plus, I just finished a new piece for trombone and wind ensemble called "One Trek". I will premiere it on February 15th in Jordan Hall with Charles Peltz conducting the NEC Wind Ensemble. More details about the piece will be coming in another post.
Since school has started, I have seen people over extending themselves. This has led to wrecked chops and with that a bit of a depressed state. It can be hard to juggle all the various playing responsibilities we have with ensembles, lessons and our practice time. Knowing when to STOP is absolutely vital. Knowing when to have shorter practice times is vital. Knowing when and what to practice according to how we our feeling needs to come into it too, especially if fatigue and strain are becoming a daily feature.
Play, feel-think, play. This means play something, then 'listen' to what has happened. Be simple but thorough. Play it again, take the mouthpiece off, and remember what you just did. Ask yourself, was it closer or further away from your desired result?
If you have mashed up your embouchure, take care to go slow. Warm-up, carefully using your air support. When our chops get hurt we can often get very preoccupied with them and forget about our air support and mental concepts to help us in our playing. Always connect to your love and reasons why you are in music. Take the time to listen to music you love or want to get to know better. This will keep you mentally and emotionally more satisfied.
You might want to think about what your practice sessions each day. Perhaps you need to have an alternate day schedule with certain things. High range every other day. Extreme loud on another day with lots of breaks making sure there is not undue strain in any part of the body or embouchure. And plenty of soft playing.
This I know takes patience, especially when there is a lot of music to learn, or we really want to improve at a more rapid pace.
Remember the golden rule: Start with what you can do and GRADUALLY extend from there. Even if it is what you think is too slow or elementary. Your embouchure will be very thankful to you for doing this and will recover sooner then it would otherwise.
Thursday, October 7, 2010
Saturday, September 4, 2010
Back from Venezuela!
What an honor, privilege and a joy to work with the over 50 trombone players that attended the seminar put on by the El Sistema program in Caracas Venezuela!
The week was so full. We started at 9 in the morning for 3 or 4 hours and again in the afternoon starting at about 3 for the same amount of time. Plus, we listened to 2 concerts a day!
There were 16 of us from NEC who were working with the students, woodwind, trombones, strings, percussion, big band. We were treated extremely well. The appreciation and the spirit of the students was almost overwhelming.
The trombones were one of the biggest numbers of like instruments at the seminar. Maybe the biggest! The ages ranged from 8 to 30years old I believe. The 8 year old named Kasin, was SO talented and SERIOUS! He never lost his focus. Really impressive for anyone let alone an 8 year old!
The trombone teachers who were present included Miguel Sanchez, the main teacher who is a fantastic trombonist, performer, teacher, person and founder of the Veneszuela Trombone Ensemble. His sister Melissa is also a terrific teacher, coach, performer and person. Their father, Angel Sanchez was also participating in my classes and was a big teacher for many years in Caracas. He was present in all the classes. Really inspiring.
Our times together were spent in group warm-ups, choir, solos, quartets, many discussions and workshops on all aspects of playing. Lots of laughter, serious times, the deeper questions about music and profound musical connection to the spirit of the music and above all an incredible humanity.
I will write more about the specifics soon. I will also be posting more pictures so you can get more of a flavor looking at the wonderful people participating. Our theme turned out to be, music + technique = Art. They were so grateful that the music was the most upfront feature and that technique was to be used as a facilitating skill for the communication of the music. They totally understood that attitude and feeling is key to connecting to the music. The joy and thankfulness I felt from the fact they got my (and Carol's) essential message, was monumental and would be difficult for me to put into words.
More soon!! Stay tuned!
The week was so full. We started at 9 in the morning for 3 or 4 hours and again in the afternoon starting at about 3 for the same amount of time. Plus, we listened to 2 concerts a day!
There were 16 of us from NEC who were working with the students, woodwind, trombones, strings, percussion, big band. We were treated extremely well. The appreciation and the spirit of the students was almost overwhelming.
The trombones were one of the biggest numbers of like instruments at the seminar. Maybe the biggest! The ages ranged from 8 to 30years old I believe. The 8 year old named Kasin, was SO talented and SERIOUS! He never lost his focus. Really impressive for anyone let alone an 8 year old!
The trombone teachers who were present included Miguel Sanchez, the main teacher who is a fantastic trombonist, performer, teacher, person and founder of the Veneszuela Trombone Ensemble. His sister Melissa is also a terrific teacher, coach, performer and person. Their father, Angel Sanchez was also participating in my classes and was a big teacher for many years in Caracas. He was present in all the classes. Really inspiring.
Our times together were spent in group warm-ups, choir, solos, quartets, many discussions and workshops on all aspects of playing. Lots of laughter, serious times, the deeper questions about music and profound musical connection to the spirit of the music and above all an incredible humanity.
I will write more about the specifics soon. I will also be posting more pictures so you can get more of a flavor looking at the wonderful people participating. Our theme turned out to be, music + technique = Art. They were so grateful that the music was the most upfront feature and that technique was to be used as a facilitating skill for the communication of the music. They totally understood that attitude and feeling is key to connecting to the music. The joy and thankfulness I felt from the fact they got my (and Carol's) essential message, was monumental and would be difficult for me to put into words.
More soon!! Stay tuned!
Thursday, August 26, 2010
Venezuela - El Sistema!
Some first photos from my trip to Venezuela working with El Sistema! It is such a great experience being here! The last photo is of some of the trombonists trying to copy my faces! I'll write more about all the photos and my time here when I'm back next week. Till then I hope you enjoy the photos!
Thursday, August 19, 2010
Frequency Bone Summer Music Connection 2 -
Final Week
Opportunity Awaits
It is important to realize change is a part of life and our music making and our instrumental abilities will be affected by those changes whatever they may be. If it wasn't for change, how could we grow and develop? Change is not always easy. It is in those not so easy times that there is a great opportunity for improvement. Struggle can help us see more and test our will and determination. Learn to embrace change as a part of life. I am NOT saying all change is in the name of healthy development. So certain change, that signals something is out of alignment or balance, is vital to listen too. It is a warning for us to relook and reapproach what we are doing. At the same time, that which seems awful could and often does have a silver lining in it after we go on a bit of a journey to find out what we need to find out.
Onward and upward!!
It is important to realize change is a part of life and our music making and our instrumental abilities will be affected by those changes whatever they may be. If it wasn't for change, how could we grow and develop? Change is not always easy. It is in those not so easy times that there is a great opportunity for improvement. Struggle can help us see more and test our will and determination. Learn to embrace change as a part of life. I am NOT saying all change is in the name of healthy development. So certain change, that signals something is out of alignment or balance, is vital to listen too. It is a warning for us to relook and reapproach what we are doing. At the same time, that which seems awful could and often does have a silver lining in it after we go on a bit of a journey to find out what we need to find out.
Onward and upward!!
Thursday, August 5, 2010
Tool of Connection FBSMC 2, week 6
Tools of Connection
One of the great aspects of painting, sculpture, music, architecture, poetry, dance and all of the arts, they express a life story. For example, a musician would learn a lot from dancers and how they handle gravity, lift and landing as a great way to see the 'architecture' of phrasing. Look at paintings to see timbre through the medium of color and texture and see how they shape the landscape and dimensions of the picture. 'Tools of Connection.'
You have lived a life and are filled with experiences and influences that you have access to, like going to a library or doing a google search. How much have you accessed this real life archive to impact your music making consciously? These are also great 'Tools of Connection.'
I would hope that my blog and the Frequency Bone Summer Music Connection are 'Tools of Connection' so you can keep creating and surrounding yourself with 'Tools of Connection' and thereby, even in your greatest difficulty and times of draught, you will know that the waters of 'music as a living thing' are always close by and that the process of connecting is also a form of music.
A great life teacher and mentor of mine always said, "it's not who is playing the music, but WHAT is playing the music that is important." What are you connected to at any given time? Now that's a good contemplation! Best done while caught in the act of living!
One of the great aspects of painting, sculpture, music, architecture, poetry, dance and all of the arts, they express a life story. For example, a musician would learn a lot from dancers and how they handle gravity, lift and landing as a great way to see the 'architecture' of phrasing. Look at paintings to see timbre through the medium of color and texture and see how they shape the landscape and dimensions of the picture. 'Tools of Connection.'
You have lived a life and are filled with experiences and influences that you have access to, like going to a library or doing a google search. How much have you accessed this real life archive to impact your music making consciously? These are also great 'Tools of Connection.'
I would hope that my blog and the Frequency Bone Summer Music Connection are 'Tools of Connection' so you can keep creating and surrounding yourself with 'Tools of Connection' and thereby, even in your greatest difficulty and times of draught, you will know that the waters of 'music as a living thing' are always close by and that the process of connecting is also a form of music.
A great life teacher and mentor of mine always said, "it's not who is playing the music, but WHAT is playing the music that is important." What are you connected to at any given time? Now that's a good contemplation! Best done while caught in the act of living!
Tuesday, August 3, 2010
Tone Color, Part 2, FBSMC 2
More from week 5
In the video I speak of connecting to a character and then all the overlays come together. Then I further go on to say that if it doesn't come together then I go on a search to find the technique and whatever it takes to make it happen. That is true, but I also go on a quest to find out if I am actually connecting to the character or whether I myself am not in a location for the character to flow into me. If I am too offset to where the character or essence lives, then the connection will not be full or really happen at a deep level where the character would reveal more of it's self to me.
This is the real essence of the journey. Connection does not just happen with a few techniques or casual knowledge. It will only happen if there is an alignment of a sympathetic resonance between yourself and what you are trying to connect to. Think about having a relationship with someone. They are not always going to reveal their deepest feelings to you if there is not a trust and mutual understanding of some kind between the both of you.
If you are so glued to having your one sound, tone color contrast will not make its way into your playing because there will be no opening in you for it to do so. If you do on the other hand have a real need in yourself to express something beyond pretty notes on a page, then you will feel the urgent drive to find a way to do it. To quote a great phrase from one of my life teachers, "If you can't find it, make it."
In the video I speak of connecting to a character and then all the overlays come together. Then I further go on to say that if it doesn't come together then I go on a search to find the technique and whatever it takes to make it happen. That is true, but I also go on a quest to find out if I am actually connecting to the character or whether I myself am not in a location for the character to flow into me. If I am too offset to where the character or essence lives, then the connection will not be full or really happen at a deep level where the character would reveal more of it's self to me.
This is the real essence of the journey. Connection does not just happen with a few techniques or casual knowledge. It will only happen if there is an alignment of a sympathetic resonance between yourself and what you are trying to connect to. Think about having a relationship with someone. They are not always going to reveal their deepest feelings to you if there is not a trust and mutual understanding of some kind between the both of you.
If you are so glued to having your one sound, tone color contrast will not make its way into your playing because there will be no opening in you for it to do so. If you do on the other hand have a real need in yourself to express something beyond pretty notes on a page, then you will feel the urgent drive to find a way to do it. To quote a great phrase from one of my life teachers, "If you can't find it, make it."
Monday, July 26, 2010
Week 5 of Frequency Bone Summer Music Connection 2, Tone Color
How to Prevent Color Blindness
The color blindness comes when we disregard other concepts as not worthy or instantly retreat into our likes and dislikes. In the name of discovery, it is best to 'turn down' that volume knob so it doesn't block other important observations. Even in teaching, it is good to observe how certain sounds are made looking at the physical, emotional and conceptual aspects of your student that would contribute to certain sounds.
I am sure you all noticed that I came in early for the last part of the Tuba Mirum solo demonstration. I realized when listening to it that my mind got preoccupied with a new sense of that line in feeling, color and nuance. The mic that I am using is the one on the computer. Very limiting. So, because I think these videos are a way to get some of my ideas out there, I am going to get some better equipment, like a good mic! So then, you will be able to better sense the different tone colors that I am talking about and am demonstrating.
Funny isn't it? Equipment is important but sound shouldn't start there. It needs to be discovered by hearing different trombonists and other instrumentalists. A very good friend of mine, a terrific tubist, educator and musician, Gary Ofenloch, used to kid me. Right before I would play a note, he would rattle off about 10 different qualities he would want in a sound, like: round, rich, clear, vibrant, ringing, full, deep, projected, big, sweet, centered. It is a fun and interesting thing to ask yourself - what kind of qualities do you want in your basic sound make-up? Some people like just nice, clear, fresh water. Others like a full bodied brew or stew filled with a certain balance of several ingredients.
Try the syllable exercise that is suggested on the video. Do it on a note that feels comfortable for you and make each syllable very distinct and a bit exaggerated. Then do it more subtly. You can get to a point where just the slightest introduction of one syllable can change how you produce a sound. See what happens!
The color blindness comes when we disregard other concepts as not worthy or instantly retreat into our likes and dislikes. In the name of discovery, it is best to 'turn down' that volume knob so it doesn't block other important observations. Even in teaching, it is good to observe how certain sounds are made looking at the physical, emotional and conceptual aspects of your student that would contribute to certain sounds.
I am sure you all noticed that I came in early for the last part of the Tuba Mirum solo demonstration. I realized when listening to it that my mind got preoccupied with a new sense of that line in feeling, color and nuance. The mic that I am using is the one on the computer. Very limiting. So, because I think these videos are a way to get some of my ideas out there, I am going to get some better equipment, like a good mic! So then, you will be able to better sense the different tone colors that I am talking about and am demonstrating.
Funny isn't it? Equipment is important but sound shouldn't start there. It needs to be discovered by hearing different trombonists and other instrumentalists. A very good friend of mine, a terrific tubist, educator and musician, Gary Ofenloch, used to kid me. Right before I would play a note, he would rattle off about 10 different qualities he would want in a sound, like: round, rich, clear, vibrant, ringing, full, deep, projected, big, sweet, centered. It is a fun and interesting thing to ask yourself - what kind of qualities do you want in your basic sound make-up? Some people like just nice, clear, fresh water. Others like a full bodied brew or stew filled with a certain balance of several ingredients.
Try the syllable exercise that is suggested on the video. Do it on a note that feels comfortable for you and make each syllable very distinct and a bit exaggerated. Then do it more subtly. You can get to a point where just the slightest introduction of one syllable can change how you produce a sound. See what happens!
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