The past couple of days I have been doing master classes and working with students into the area of sound. I love working with others to see what they are thinking. It is also so confirming to me how where our attention (consciousness) is located shapes the energy pathways and circuitry that become the acoustical theater of where are sound resonates into and out from.
When asked about where sound comes from or what makes our sound, most people said air. Others said the heart area. I said air needs a vibrating structure to vibrate into. This is called the embouchure. Sound consists of vibration. It is vibration. Air is the movement which moves across our lips causing them to vibrate.
Now, there are many ways to enhance and support this vibration. Here are a few:
Concept of sound
*Three dimensional sound exercises
Vowels and syllable shapes
Speed and temperature of air
Separate breathing exercises
Mouthpiece playing
Focusing the mind on different parts of the body
Posture
The nature of the vibration of the embouchure
*When people were asked about what they want in their sound, some of the words that came up were, rich, open, clear, sweet, supported, articulated, broad, relaxed, emotion. I added height, width, depth and projection. Here is where I did some experiments with three dimensional sound exercises having people focusing their minds in different directions. The results were very interesting. Some people's sounds became more alive when they thought of the sound coming from in back of themselves. Others from above their heads and others from the sides.
These are a few things that affect sound. The other one of course is the nature of the music one is playing.
I made a video this summer about playing with sound. You can play with sound like a child plays with play doh. And trying some of the various exercises expands our concept of sound and adds DIMENSION and PRESENCE to the sound.
Sound can be elastic and I understand at first students will want to get a stable and focused sound. It is important to keep in mind that stable and solid do not have to be made out of cement or steel. There are the elements to consider. Some sounds are more water in nature, others earth, others air and others fire. Of course we can all have control to incorporate them all into our music making but we will have a 'natural' inclination towards one or a combination of a couple of them.
Playing outside can be one of the great ways to work on getting a three dimensional sound. Lots of space to fill in all directions!
Tuesday, November 29, 2011
Thursday, November 17, 2011
18 years ago today the Frequency Band
came into the world!
18 years ago, from 10pm to 2am on November 17th, 1993, in the chorus room of Symphony Hall in Boston, about 14 trombone players gathered not knowing what they were in for. Either did we. It was the first Frequency Band gathering to ever happen. The Frequency Band in this form, came into the world.It would be hard to describe the night that took place in words. To say it was a venture into the unknown and yet known, would be true. To say there were atmospheres of incredible potency of ancient and never happening before appearing would be true. To say it was magical, mystical, profoundly deep would be true. To say that a great 'something else' liked it would be true. To say that it touched deep into the human enigma would be true.
So what is the Frequency Band? This is the question to 'quest on' about. It is an experience and journey into the essence of where the music comes from. It is a training into the special Arts of human life that don't get much of a chance in regular day to day life. And so much more…
The music of the first night, was written from a connection to different colors, to ancient Egypt, well being, the mystery of time and other topics. But we did not just play them. It was how we prepared and tuned ourselves to play them. It was in the integrated spirit of sentimented- technology. Technology for a very needed purpose. To help maintain in the record of human history, the importance of the living Art. As my wife and co-founder and director of the Frequency Band, Carol Viera so eloquently says, "Music is the wrapping paper for the essence that is inside of it." And "The most important instrument is the human instrument."
The Frequency Band is first and foremost a human endeavor. The first principle of the Frequency Band is a Unity Born of Humanity. The tuning is to the "A" of attitude appreciation and awe. Without this as a living fabric of the environment, the Frequency band will not appear. It will not be invited.
We don't use metronomes and tuning machines. We tune according to connection. The greater the connection the greater the tuning. The greater the tuning the greater the connection. The Spirit of the music comes first, because that is closest to the heart of the human. The human is more sensitive and powerful than any man made machine. It is a matter of education and application that activates the latent human potential that is dying to get out and be free.
I am honored and humbled to be instrument to to this very special life. May I always be tuning and fine tuning myself to be a better receptor and translator of what "It" wants.
A special thank you to all who have been a part of it in one way or another. Whether you are in a major symphony orchestra, a teacher, a free lance artist or a student, the Light shines on all. Cultural position is not the measuring stick of success in the Frequency Band. It's all in the sentimented spirit of wanting to be included and transmitting it into the world. FOR THE LOVE THAT IT SHOULD BE SO.
Greatest gratitude to the special humans and lives that influenced Carol and myself with their wisdom and love of Life. We will keep on keeping on.
Saturday, November 12, 2011
TEACHER'S LOG, SCHOOL DATE 11-12-11
It's amazing how much detail someone will give something technically. Some people are really geometry like in their approach to phrasing for example. That form of phrasing is mechanical if it is not empowered by another motive. Not wanting to stick out is intelligent only if it is musically based. Not wanting to stick out because one does not want to draw attention to oneself is 'safe' and certainly not always musically sound.
How much detail and specificity is put into creating the atmosphere of the piece? Not a lot generally. Tuning into the spirit of the piece and first of all discovering it does not mean one is deviating from the technique. A Mocking bird can make several sounds that are similar to other birds and animals but they are imitations. People who are knowledgable in the authentic calls of other birds can hear and/or feel the difference when the Mocking bird goes through their impressive 'list' of bird excerpts. It is the same with musicians. I sincerely hope that there will be those that can always tell the difference.
Now, having said that, there are people who genuinely play dry, others who play more wet, some who are mentally based and some who are more emotionally based. These are just a couple of examples and there are many various combinations of all of these mixed in with other variables. When it is REAL it is REAL. What is is until it is another way. My concern is this 'audition ready' government which is not where music originates from. 'Audition ready' is a skill for a commercial end. Which I know can be a very demanding 'science' and discipline. BUT, will there be room for the other side of music to actually enter into that confined space in a organic living way? That is the vital question to ask. At this point in time and from what I have witnessed, I am not convinced that it does. A more integrated approach with the formula music + technique = Art, will be more satisfying and fulfilling in the long run. From that foundation, going into audition training mode can be assistive to the refinement process if done with an integrated mind and heart.
How much detail and specificity is put into creating the atmosphere of the piece? Not a lot generally. Tuning into the spirit of the piece and first of all discovering it does not mean one is deviating from the technique. A Mocking bird can make several sounds that are similar to other birds and animals but they are imitations. People who are knowledgable in the authentic calls of other birds can hear and/or feel the difference when the Mocking bird goes through their impressive 'list' of bird excerpts. It is the same with musicians. I sincerely hope that there will be those that can always tell the difference.
Now, having said that, there are people who genuinely play dry, others who play more wet, some who are mentally based and some who are more emotionally based. These are just a couple of examples and there are many various combinations of all of these mixed in with other variables. When it is REAL it is REAL. What is is until it is another way. My concern is this 'audition ready' government which is not where music originates from. 'Audition ready' is a skill for a commercial end. Which I know can be a very demanding 'science' and discipline. BUT, will there be room for the other side of music to actually enter into that confined space in a organic living way? That is the vital question to ask. At this point in time and from what I have witnessed, I am not convinced that it does. A more integrated approach with the formula music + technique = Art, will be more satisfying and fulfilling in the long run. From that foundation, going into audition training mode can be assistive to the refinement process if done with an integrated mind and heart.
Saturday, November 5, 2011
Calendar of Past and Upcoming Events
There has been a lot going on these past few months, as a I wrote a few blog posts ago. Last night (Friday, November 4th), I did a fun and potent recital with John Faieta at Boston Conservatory. We performed works by Bartok, Mozart, Telemann, Blazhevich and Bolter (myself)! The audience was asked to view the recital as a TV show and to sit back and watch it. You had to be there to get what I'm saying but there was lots of humor, humanity and profundity.. and a very good turn out as well! Bravo to John Faieta for his fine playing and willingness to be a part of this journey! The amazing photo seen here was put together by my wife, Carol.UPCOMING EVENTS
BRASS SYMPOSIUM AT LONGY SCHOOL OF MUSIC
This coming weekend (Saturday, November 12th, and Sunday, November 13th), there will be a Brass Symposium at the Longy School of Music in Cambridge. This symposium, a first at Longy, is open to middle school, high school and college students. It will be a very full presentation, starting on Saturday at 4 PM with a concert by the Longy Faculty Brass Quintet featuring Steven Emery trumpet, Redline trumpeter Kyle Spraker will be assisting, Kevin Owen on horn, myself on trombone and Ken Amis on tuba, Redline Brass Quintet who are all in the Artist Diploma Program at Longy, Longy prep faculty and a combined large brass ensemble of faculty and students with me conducting. Following the concert, I will be conducting a rehearsal with all the participants and faculty in a mass brass ensemble that will be the grand finale to the many events that will be happening on Sunday. Before that, on Sunday, there will be master classes, brass topics discussion, breaking into individual instrument classes, playing opportunities for all to play a solo or excerpts and get feedback. Lots of informative and inspiring events! PLEASE NOTE: IT IS VITAL THAT PEOPLE REGISTER ONLINE ASAP, MEANING BY WEDNESDAY. THE FEE COVERS MEALS AND SNACKS. If they don't have enough applicants at least 50 they say, the event will be cancelled. So register now if you are interested. To register, visit: Longy Brass Symposium or call 617-876-0956 ext 1760.
P.S. I am not sure if there will be the possibility to just walk in at the last minute. I really apologize for this and other and oversights in how the event was set up but since this is the first time tis is happening, i don't the PR people quite knew how to handle the details. Hopefully, next year will be it will be advertised more effectively and clearly.
BRASS BLAST AT NEW ENGLAND CONSERVATORY
On Sunday, November 20th from 10 AM-12 PM in Pierce Hall at New England Conservatory, there will be a Brass Blast at the NEC's Prep division. It will feature and premiere the new Faculty Brass Quintet! This quintet consists of myself on trombone, Eli Epstein on horn, Joseph Foley and Richard Kelly on trumpets and Ken Amis on tuba.BRING YOUR INSTRUMENTS FOR A SIDE-BY-SIDE READING WITH THE QUINTET! It will be a fun and exciting time for all middle school and high school students! It's FREE and open to the public! Call 617-585-1130 to register.
Saturday, October 29, 2011
TEACHER'S LOG, SCHOOL DATE 10-29-11
The older I get it is easier to see certain things and/or patterns. One of my interests for over 35 years has been to get to the core of an issue, the heart of the matter, the CAUSE.
One of the things I realize is the cause is simple once it can be seen (or heard). BUT! It is not always easy to come to the very core cause of something and see it because that is a matter of perception development. This comes from constant penetration into the subject matter over years of working into it. We can only see what we can see at any given time.
Genetics can be the cause of certain physical conditions like baldness, serious diseases or longevity for example. But HOW we live our lives I think can either activate the not so useful genetic tendencies or activate the healthier ones. Think about how science comes to a theory then alters it when new discoveries are made that alters what was once considered 'fact.'
For many years Carol and I have been concerned with the integration of the technical and the musical. We have also been concerned as I said earlier of the cause of things. Over many years of experimenting and getting constant and consistent confirmation, what someone is connected to when they think, act or play an instrument, is a huge governing force in the potency and effectiveness of their results in the world of action. You may be wondering what does this has to do with music or playing an instrument. I would say almost everything! (Actually I would say everything).
That does not mean ignore the body and just think it and 'watch' it happen. It has to do with working with the body, i.e. embouchure, tongue, breathing, with a supportive attitude and thought that empowers the physical work.
Thought is energy. Your thoughts govern your body. Some might say that the body can affect the thoughts, of course it can. But lets take a look at some practical things in our music to help bring in the practical application of what has already been brought up.
I was conducting a class the other day, and the trumpets and the horns had something in unison. I said for the trumpets to blend more with the horns and the horns to blend more with the trumpets. And like magic, the blend was totally unified in timbre as well as pitch. I did not not pick it apart bit by bit tuning each note. It all happened with that concept.
Another example happened when the horn and trombone had the melody in Saint Saens 3rd symphony.The players were not really lining up very well. I suggested to think about the piano marking in another way rather than a volume control knob. I suggested to think of it as distant. Something in the distance. Well, like magic it happened. All the pitch, timbre and musical spirit aspects came together beautifully. All in the class could hear it and agreed it was HAPPENING.
You have most likely heard the saying 'a picture is worth ten thousand words.' How many words are in one thought, idea or concept? A connective thought is a unifying agent which acts like a magnet to all the individual details and draws them together under one purpose.
My concern as a teacher is that students and professionals who have worked with me, (and Carol), and who have experienced this kind of approach with it's effectiveness and powerful results, don't often put it to use. Why? Because the majority of the people they work with don't. It is easier to see the physical metronome and tuner than a thought which is energy and abstract in comparison.
There is the complex and the simple. My way (and Carol's) can come across as too simple and magical without paying attention to 'details.' BUT! It can also come across as very detailed in it's explanation of why it works and how it works. The way of connection is simple but getting there has it's own technique that is extremely specific and far away from being abstract or airy fairy.There is no lack of being aware of the 'details' on our parts. But the question is: what is powering the details? What details? What are they pieces of? To dismember something into details and examine them is one thing, but to not see that they are a part of a bigger picture that needs a connected thought to pull it all together, derails the spirit of the music. At this point it can turn into 'critics corner' connoisseur, picky type mentality. If someone is prone to this way and style and are getting results that they are satisfied with, then keep on it. The problem I have is this is getting to be a trend in orchestral settings, especially the audition circuit. The orchestra world could be loosing fine gifted artists to this system. Who knows, maybe something else will come with those players who can't fit into this system and to those who can but feel straight jacketed and a 'new professional' and a new orchestra will be born.
One of the things I realize is the cause is simple once it can be seen (or heard). BUT! It is not always easy to come to the very core cause of something and see it because that is a matter of perception development. This comes from constant penetration into the subject matter over years of working into it. We can only see what we can see at any given time.
Genetics can be the cause of certain physical conditions like baldness, serious diseases or longevity for example. But HOW we live our lives I think can either activate the not so useful genetic tendencies or activate the healthier ones. Think about how science comes to a theory then alters it when new discoveries are made that alters what was once considered 'fact.'
For many years Carol and I have been concerned with the integration of the technical and the musical. We have also been concerned as I said earlier of the cause of things. Over many years of experimenting and getting constant and consistent confirmation, what someone is connected to when they think, act or play an instrument, is a huge governing force in the potency and effectiveness of their results in the world of action. You may be wondering what does this has to do with music or playing an instrument. I would say almost everything! (Actually I would say everything).
That does not mean ignore the body and just think it and 'watch' it happen. It has to do with working with the body, i.e. embouchure, tongue, breathing, with a supportive attitude and thought that empowers the physical work.
Thought is energy. Your thoughts govern your body. Some might say that the body can affect the thoughts, of course it can. But lets take a look at some practical things in our music to help bring in the practical application of what has already been brought up.
I was conducting a class the other day, and the trumpets and the horns had something in unison. I said for the trumpets to blend more with the horns and the horns to blend more with the trumpets. And like magic, the blend was totally unified in timbre as well as pitch. I did not not pick it apart bit by bit tuning each note. It all happened with that concept.
Another example happened when the horn and trombone had the melody in Saint Saens 3rd symphony.The players were not really lining up very well. I suggested to think about the piano marking in another way rather than a volume control knob. I suggested to think of it as distant. Something in the distance. Well, like magic it happened. All the pitch, timbre and musical spirit aspects came together beautifully. All in the class could hear it and agreed it was HAPPENING.
You have most likely heard the saying 'a picture is worth ten thousand words.' How many words are in one thought, idea or concept? A connective thought is a unifying agent which acts like a magnet to all the individual details and draws them together under one purpose.
My concern as a teacher is that students and professionals who have worked with me, (and Carol), and who have experienced this kind of approach with it's effectiveness and powerful results, don't often put it to use. Why? Because the majority of the people they work with don't. It is easier to see the physical metronome and tuner than a thought which is energy and abstract in comparison.
There is the complex and the simple. My way (and Carol's) can come across as too simple and magical without paying attention to 'details.' BUT! It can also come across as very detailed in it's explanation of why it works and how it works. The way of connection is simple but getting there has it's own technique that is extremely specific and far away from being abstract or airy fairy.There is no lack of being aware of the 'details' on our parts. But the question is: what is powering the details? What details? What are they pieces of? To dismember something into details and examine them is one thing, but to not see that they are a part of a bigger picture that needs a connected thought to pull it all together, derails the spirit of the music. At this point it can turn into 'critics corner' connoisseur, picky type mentality. If someone is prone to this way and style and are getting results that they are satisfied with, then keep on it. The problem I have is this is getting to be a trend in orchestral settings, especially the audition circuit. The orchestra world could be loosing fine gifted artists to this system. Who knows, maybe something else will come with those players who can't fit into this system and to those who can but feel straight jacketed and a 'new professional' and a new orchestra will be born.
Saturday, October 22, 2011
TEACHER'S LOG, SCHOOL DATE 10-22-11
UPDATES
This October has been a very busy month! On top of all my teaching, coachings and classes, I have done extra master classes at Longy with the MAM (Modern American Music) program students and the Pedagogy class which is made up of all kinds of instrumentalists.
In the beginning of the month on October 7th, I also gave a master class for high school students at Rhode Island College in Providence, Rhode Island. I was also soloist with their wind ensemble in one of my compositions called "Timeline Contemplations".
A couple of days later on October 9th, I gave a master class at the Boston Conservatory on their first Trombone Day which featured master classes, recitals and performances by John Faeita, Larry Isaacson, Angel Subero, Blair Bollinger, Triton Brass with trombonist Wes Hopper, Michael Davis and Jeff Galindo. A very long and packed exciting day for sure for the many that attended.
I just got back from Toronto after doing a couple of master classes at the Glen Gould School which is part of the Royal Conservatory of Music. It was great to be there and the students were very open to me and kept up with me as my pace intensified throughout the day on a variety of trombone, brass playing and music topics. I was also thrilled to meet for the first time Gordon Sweeney who was Principal trombone of the Toronto Symphony for many years. I had heard so much about him for such a long time that it was a joy to be with him even briefly.
My feelings and I know my wife Carol Viera feels the same way, if a couple of people or only one person is deeply touched by what we say, it is worth it. I was very happy when several people from all of the different master classes and performances came up to me and were touched and wanted to keep in contact. I love when people can take something up and really work with it and see where it leads. This is very encouraging to me.
One girl who is a student at Rhode Island College came up to me and said that the piece I played and talked about when I was there (Timeline Contemplations for trombone and band), helped her understand time better in regards to life and are limited time in this sphere. That was such a joy for me to hear! Other people told me similar things there and at the other classes that were given in the other places. Meaning, that what was said had an impact on them that helped to answer or give direction to challenge they are having. For some it caused a rebalancing that needed in their playing and approach.
It is important as a teacher or clinician to remember that not everybody will 'buy' your product. Therefore 'to thyself be true' and adhere to what you believe in and someone will be on some overtone of resonance with where you are at and will benefit in some way to what you are saying and communicating.
*On a brass technique point: it was amazing how this one young lady bass trombonist's tone focused on her low C when she went from thinking 'Aah' as her syllable to "U!" The "U" sound is made like it is in the word tube. I love syllable work! What a vital ingrediant to the air-embouchure relationship. Not one syllable fits all ranges or all people.
This October has been a very busy month! On top of all my teaching, coachings and classes, I have done extra master classes at Longy with the MAM (Modern American Music) program students and the Pedagogy class which is made up of all kinds of instrumentalists.
In the beginning of the month on October 7th, I also gave a master class for high school students at Rhode Island College in Providence, Rhode Island. I was also soloist with their wind ensemble in one of my compositions called "Timeline Contemplations".
A couple of days later on October 9th, I gave a master class at the Boston Conservatory on their first Trombone Day which featured master classes, recitals and performances by John Faeita, Larry Isaacson, Angel Subero, Blair Bollinger, Triton Brass with trombonist Wes Hopper, Michael Davis and Jeff Galindo. A very long and packed exciting day for sure for the many that attended.
I just got back from Toronto after doing a couple of master classes at the Glen Gould School which is part of the Royal Conservatory of Music. It was great to be there and the students were very open to me and kept up with me as my pace intensified throughout the day on a variety of trombone, brass playing and music topics. I was also thrilled to meet for the first time Gordon Sweeney who was Principal trombone of the Toronto Symphony for many years. I had heard so much about him for such a long time that it was a joy to be with him even briefly.
My feelings and I know my wife Carol Viera feels the same way, if a couple of people or only one person is deeply touched by what we say, it is worth it. I was very happy when several people from all of the different master classes and performances came up to me and were touched and wanted to keep in contact. I love when people can take something up and really work with it and see where it leads. This is very encouraging to me.
One girl who is a student at Rhode Island College came up to me and said that the piece I played and talked about when I was there (Timeline Contemplations for trombone and band), helped her understand time better in regards to life and are limited time in this sphere. That was such a joy for me to hear! Other people told me similar things there and at the other classes that were given in the other places. Meaning, that what was said had an impact on them that helped to answer or give direction to challenge they are having. For some it caused a rebalancing that needed in their playing and approach.
It is important as a teacher or clinician to remember that not everybody will 'buy' your product. Therefore 'to thyself be true' and adhere to what you believe in and someone will be on some overtone of resonance with where you are at and will benefit in some way to what you are saying and communicating.
*On a brass technique point: it was amazing how this one young lady bass trombonist's tone focused on her low C when she went from thinking 'Aah' as her syllable to "U!" The "U" sound is made like it is in the word tube. I love syllable work! What a vital ingrediant to the air-embouchure relationship. Not one syllable fits all ranges or all people.
Wednesday, October 12, 2011
TEACHER'S LOG, SCHOOL DATE 10-12-11
In order for one to remember to keep working on a vital needed part to one's playing, it is necessary that they be applied in all circumstances, especially if those things are air support and embouchure structural support. When students just 'casually pick up the horn and start mindlessly playing, they are going back to their default system. This system might not be the one they need to keep reinforcing! Integration of new ideas, comments or techniques are not part of the automatic systems yet and need to be taken up every time the person plays or practices or rehearses. I know it is difficult, but it can be done.
Even when I say to students to write down on a piece of paper what you want to remember and look at what you want to consciously activate and add into your 'useful' habit life, it still can take a long time if the person is not constantly at it themselves on their own without me breathing down their neck.
That is why it is important to practice 'correctly' in small bits so it doesn't get overwhelming and the new habit can be formed without pressure in natural way. Again, oftentimes it is the power of the person's will and desire that comes into play or not. That will and desire holds the person to the task and see that it is done as good and as regularly as possible. Without this, nothing will really form the next steps to continuing growth. That makes it pretty tough on the teacher and ultimately the student will end up suffering the most.
Even when I say to students to write down on a piece of paper what you want to remember and look at what you want to consciously activate and add into your 'useful' habit life, it still can take a long time if the person is not constantly at it themselves on their own without me breathing down their neck.
That is why it is important to practice 'correctly' in small bits so it doesn't get overwhelming and the new habit can be formed without pressure in natural way. Again, oftentimes it is the power of the person's will and desire that comes into play or not. That will and desire holds the person to the task and see that it is done as good and as regularly as possible. Without this, nothing will really form the next steps to continuing growth. That makes it pretty tough on the teacher and ultimately the student will end up suffering the most.
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