I’ve always wondered whether it was really true that not cleaning your instrument often enough could make you sick. Take a look at this NPR story and ask yourself when the last time you cleaned your horn was!
Adam Woolf Sackbut Tutor Now Available
January 20, 2010 By Leave a Comment
A number of months ago I mentioned in this blog that Adam Woolf, member of His Majesty’s Sagbutts & Cornetts and many of the other leading early music ensembles in Europe, would be publishing a sackbut method book in the near future. This welcome addition is now available here. To my knowledge, there are no other comparable resources available today. I’ll be getting one for my college trombone studio! Below are some highlights of the book, as described on his website:
Released in 2010, this tutor-book is the first of its kind. A compilation of exercises and advice based on years of specialist performing and teaching experience and many historical references, this book includes advice, exercises, explanations, studies and complete solo and ensemble works to challenge, encourage and inspire players of any level.
•Over 200 pages of advice, exercises and repertoire.
•Something for players of any level.
•Specifically written studies and exercises for articulation, ornamentation and tuning in temperaments.
•16 complete solo pieces including 8 sets of divisions.
•Duets, trios and more…
•Translations of vocal music.
•Excerpts from larger ensemble and ‘orchestral’ repertoire including Monteverdi’s 1610 Vespers and Schütz’s Christmas Story.
Pinchas Zukerman Masterclass: A Few Notes
November 10, 2009 By Leave a Comment
World-famous violinist Pinchas Zukerman gave a masterclass at BYU last week. He worked with 3 violinists. There were, of course, plenty of technical things that he talked about, particularly about bowing—bow hold, bow angle, bow speed, etc.—that don’t apply directly to brass playing. One overriding concept, however, was very relevant. In every case, he slowed the students way down (to very slow quarter notes) and worked on getting a full, relaxed, resonant sound. Nothing else mattered until that was in place.
As I mentioned, bowing seemed to be a point of emphasis. I grew up around violin playing—My mother and 5 of my siblings play/played—so I realize this is a big deal. Mr. Zukerman emphasized a natural, relaxed, open approach. For brass and woodwinds, bowing translates roughly to breathing (the thing that gets the vibration started), which is something that’s a little harder to scrutinize for us because it’s mostly hidden. We can, however, work on taking full, relaxed breaths and using air in a relaxed, efficient way. The bottom line, and the concept I really took away from the masterclass, is an overarching emphasis on a full, relaxed, resonant sound. A great reminder for all musicians!
The Basics: Leonard Bernstein’s “5 Priorities”
November 5, 2009 By Leave a Comment
Sam Pilafian was recently a forum speaker here at BYU. He gave an excellent talk on his musical influences, among whom was Leonard Bernstein, who taught him at Tanglewood. According to Sam (and I realize this is 3rd-generation information, but it’s good advice anyway), Bernstein said he had 5 priorities in picking musicians for an orchestra. No real surprises—the first three I often call the “3 non-negotiables” of performance—but the list is a good reminder of basic priorities:
1) Tone
2) Rhythm/Time
3) Intonation
4) Dynamics
5) Musicality
Performance Order and Repertoire in Competitions
July 21, 2009 By Leave a Comment
We sometimes speculate as performers about what effect the relative order of a performance may have on the outcome of a competition, audition, or jury grade. An intriguing study published by Flores and Ginsburgh in The Statistician, available online here, sheds some light on the role performance order has on the outcome of competitions. The authors compiled data from the Queen Elisabeth Musical Competition, beginning in its inception in 1951 and spanning to 1993. This international violin and piano competition, held in Belgium every 4 years, is considered among the best in the world, counting among its winners such luminaries as Leon Fleisher and Vladimir Askenazy.
In evaluating the final rankings, the authors found a statistically significant bias against those competing early (the first day) and in favor of those competing later (the fifth day).
As an adjudicator, juror, and committee member, I know it is sometimes challenging to compare performances over the course of a full day, let alone multiple days. It may be that early on we hold back a little in an effort to gauge the overall performance level of the field. The authors of the study point out an additional possibility: the familiarity of repertoire. In one segment of the competition they studied, contestants are required to perform a newly-commissioned work unfamiliar to both the judges and the contestants. The authors suggest that judges gradually warm to the new work through the course of the competition as they hear more and more performances of it. Flores and Ginsburgh recommend, “It may thus help the members of the jury to get used to the piece and have it performed once or twice for their own use, before the competition starts.”
Performers do not always have a choice of when they perform (as in the competition in this particular study, which utilizes a random drawing); however, if they do, this study would seem to suggest against picking an early time (all other things being equal, of course). The study would also seem to suggest that, given a choice of repertoire, more familiar repertoire may be advantageous (again, all other things being equal). Finally, judges would be advised to do their best to guard against performance order and repertoire biases.
We’re talking about just part of the puzzle, of course. There’s no replacement for playing well!
Improving Tone on Trombone
June 5, 2009 By 39 Comments
There are 3 “non-negotiables” in trombone playing: 1) tone, 2) intonation, and 3) time/rhythm. If a player is in good shape in all 3 of these areas, chances of success in almost any performance, audition, or competition are high.
Tone, of course, is the first of these priorities. Without good tone, nothing else you can do really counts. Below are some suggestions for improving tone and attending to this highest of priorities.
1) Ideal Tone–Be sure to have a clear ideal sound in your head. Listen to great recordings and live performances. If you have no real idea how you would like to sound, your chances of ending up with great tone are pretty low. For recordings, I recommend Joseph Alessi. Flood your brain with good sound!
2) Air–Feed the sound with lots of air. Air is the equivalent of bow technique for strings. Relax, take in a little more air than you think you need, and exhale that air freely as you play (don’t try to meter the air with your chops). Generally speaking, most people simply don’t use enough air to give their tone a full, robust quality.
3) Small or Nasal Tone–The most common tone problem for beginning and intermediate trombonists is a small, nasal sound. To move toward a thicker, more robust tone, relax in general, use less “squeeze” in your lips, and try opening up the aperture (the hole in the embouchure) a little more. The problem of squeezing the embouchure too much is common even in college players. If you’ve ever heard a tuba player play a few notes on trombone, for example, the sound is beautiful! This is because they have a more relaxed approach to embouchure and they’re in the habit of using more air than trombonists generally are. In fact, I often recommend that my college students who are trying to get a bigger, thicker sound take a semester of tuba lessons. It really helps! Let your chops, particularly the middle of your lips, be as “floppy” and free to vibrate as possible.
4) Fuzzy or Airy Tone–The problem of fuzzy or airy tone is sometimes the result of not warming up or of basic fatigue. However, if you notice that you still have fuzz in your sound even when you’re warmed up and not fatigued, I recommend mouthpiece buzzing or “free” buzzing (buzzing without the mouthpiece). Orthodontic braces often cause extreme airy sound, and I heartily recommend buzzing to improve tone problems associated with braces. Excessively puffing your cheeks and/or bunching up your chin can also lead to airy tone.
5) Mouthpiece Pressure–Many of us use too much mouthpiece pressure, which can stifle tone. Every trombonist gets a little bit of a ring around their embouchure when they play; however, if you notice a deep red ring after only a few minutes of playing, you’re probably using too much pressure. All you need is enough to make a seal. Using too much pressure keeps vibration from freely occurring, stifles the sound, and often causes endurance problems. Also check pressure of the top vs. the bottom lip. With some players, this balance can really affect overall tone.
6) Tension–Too much overall physical tension can really affect tone. This is one of the biggest problems in loud playing for many trombonists–we get excited and intense, and we let that lead to physical tension, which leads to a “blatty” loud sound. See how relaxed you can be in general when you practice and perform. More than likely, the more relaxed you get, the thicker and freer your sound will be. When you’re practicing, if your sound is not good on a passage, relax, take a big breath, and try it again!
7) Priority–Finally, as I mentioned earlier, tone has to be a big priority. It’s at the very top of the list! If you’re practicing and you get the right notes and rhythms on a passage but the tone is bad, go back and get it with good tone. It doesn’t count unless it’s with good tone!