The Riverbottom Euphonium Quartet played a concert last night and did two masterclass sessions today for the students at OSU. Several points of their masterclass reminded me of several lessons that I have learned recently and bear repeating and posting here.
1. The dynamics that we as performers think that we are playing are probably not what the audience is hearing. For instance, what I think is pianissimo is probably "inaudible" to the audience and makes me sound overly timid and unsecure in my playing. Even though voices scream out to me that I am not playing a true soft dynamic (aka "I can play softer than that!"), it is what the audience or audition committee hears that matters!
2. One member of the REQ mentioned that "when we are rehearsing as a chamber music ensemble, we all choose to check our ego's at the door and agree to both give and accept criticism amongst each other freely." I think that this is not something that we should only do in chamber music. Regardless of whether or not I personally agree with/embrace what someone says about my playing, I should still give it fair consideration. This openness and ability to do whatever is asked of a musician is what will impress conductors and fellow musicians--resulting in a more likely possibility of being asked to play again or more often.
3. Another piece of advice which the REQ guys gave was to record yourself and your chamber music ensembles OFTEN. This is a great idea. You learn new things about your playing when you are able to have a third-person perspective of your own work. Great idea, but as they mentioned, it might be hard to afford for college music students.
4. When slurring and playing legato music, think of the back-end of each note pushing into the next note. This will ensure a smooth, connected sound. Also, when playing legato, make sure that the air never 'dips' or 'wanes'. This is true. We shouldn't let phrasing or dynamic nuances slow or cut-off the air. Keep it moving.
5. When speaking about dynamics, the statement was made that, 'the hardest thing to do on a brass instrument is play soft.' I don't know if I fully agree with that, but what they said about how to fix it is so true with most anything you try to do on your instrument...'if you don't go there each day, then it'll never happen.' What he means is this: if you don't attempt to DO the skill that you are trying to learn ON A DAILY BASIS, then you will never make progress. So if you are trying to gain more dynamic control, then you MUST practice playing soft each day and you will see progress. Simple concept, but buying into it is sometimes difficult.
So, that is what I took away from the Riverbottom Euphonium Quartet!
Friday, January 9, 2009
Thursday, January 1, 2009
Happy New Year!
I haven't posted in a while...sorry. To those of you who might be receiving this via email subscription, just wanted to wish you all a very happy new year. 2009 should be a most interesting year!
Friday, October 31, 2008
Happy Halloween!
As I write this post, I am working at the front desk of my residence hall on Halloween. In honor of this momentous occasion, I am providing, as always, the highest quality classical music for Halloween.
The playlist has been as follows:
- Night on Bald Mountain
- Bach: Tocatta and Fugue in D minor (both of them!)
- Orff: Carmina Burana (entire work, not just the first track...)
- Carter: String Quartet No. 2
- Crumb: Black Angels
- Verdi: Requiem (selections)
- Mozart: Requiem (selections)
- Zimmer: Pirates of the Carribean 2: The Kraken
- R. Strauss: Also Sprach Zarathustra - Opening
- Shostakovich: festive overture
- Wagner: Ride of the Valkyries
- Bizet: Farandole
Happy Halloween to all!
The playlist has been as follows:
- Night on Bald Mountain
- Bach: Tocatta and Fugue in D minor (both of them!)
- Orff: Carmina Burana (entire work, not just the first track...)
- Carter: String Quartet No. 2
- Crumb: Black Angels
- Verdi: Requiem (selections)
- Mozart: Requiem (selections)
- Zimmer: Pirates of the Carribean 2: The Kraken
- R. Strauss: Also Sprach Zarathustra - Opening
- Shostakovich: festive overture
- Wagner: Ride of the Valkyries
- Bizet: Farandole
Happy Halloween to all!
Wednesday, October 1, 2008
How do YOU make music?
What's your philosophy of music making?
Stravinsky was a fan of simply playing the notes and dynamics and "the music will take care of itself."
Others might take issue with Stravinsky and say that emotion and musicality comes first as opposed to the rigidity of simply focusing on producing notes.
I have written a blog post about this before, but as I focus on re-learning a new range of the horn for the new principal horn position I have this year at school, I am beginning to agree with Stravinsky. It seems that just creating what is written on the page has a unique character and musicality. Perhaps just letting the music speak for itself is enough.
What is your philosophy? I'd love to hear!
Stravinsky was a fan of simply playing the notes and dynamics and "the music will take care of itself."
Others might take issue with Stravinsky and say that emotion and musicality comes first as opposed to the rigidity of simply focusing on producing notes.
I have written a blog post about this before, but as I focus on re-learning a new range of the horn for the new principal horn position I have this year at school, I am beginning to agree with Stravinsky. It seems that just creating what is written on the page has a unique character and musicality. Perhaps just letting the music speak for itself is enough.
What is your philosophy? I'd love to hear!
Wednesday, September 24, 2008
Auditions today for Symphony Orchestra and Wind Symphony
Today I partook in my fifth & final audition at OSU as an undergraduate student. I was excited to take the audition and be done with it! I re-learned a valuable lesson today: I like professional auditions with a screen! :)
I know that as a Performance Major, there are no excuses for mistakes, but what I re-learned that I needed to learn is the ability to concentrate amidst distractions! As I went into the audition hall, the two conductors and the horn professor at OSU made a few comments to me that did not really pertain to the audition and I suddenly found myself unable to "come back to reality." As I started to play, all I was able to concentrate on was the comments that they had made. I had a few quibbles and a couple of missed high A-flat's. The playing wasn't atrocious, but I know I can do better...and should have!...the feeling that most everyone has after an audition. We'll see what the results are...
So, I take away from the experience of this audition the fact that I am thankful for the screens in professional auditions! I have seldom faced a lack of concentration on the music while behind a screen. Anonymity clears my mind and allows me to play the music uninhibited. I should not downplay the necessity of learning the skill of playing right in front of people as they copiously comment on your playing and mistakes because I face a slew of experiences like this in my upcoming foray into graduate school auditions!
As I noted in my previous post...we learn best by re-learning time and time again!!
I know that as a Performance Major, there are no excuses for mistakes, but what I re-learned that I needed to learn is the ability to concentrate amidst distractions! As I went into the audition hall, the two conductors and the horn professor at OSU made a few comments to me that did not really pertain to the audition and I suddenly found myself unable to "come back to reality." As I started to play, all I was able to concentrate on was the comments that they had made. I had a few quibbles and a couple of missed high A-flat's. The playing wasn't atrocious, but I know I can do better...and should have!...the feeling that most everyone has after an audition. We'll see what the results are...
So, I take away from the experience of this audition the fact that I am thankful for the screens in professional auditions! I have seldom faced a lack of concentration on the music while behind a screen. Anonymity clears my mind and allows me to play the music uninhibited. I should not downplay the necessity of learning the skill of playing right in front of people as they copiously comment on your playing and mistakes because I face a slew of experiences like this in my upcoming foray into graduate school auditions!
As I noted in my previous post...we learn best by re-learning time and time again!!
Sunday, September 21, 2008
What CAN'T Be Done...
In life, there are things which people proclaim "can't be done!" But then in a matter of days, weeks, months, or sometimes years, SOMEONE finds a way to "do the unthinkable."
A prime example can be found in the world of sports. The 2008 Olympics just passed and it seemed that in almost every event (including even the qualifying matches) a new Olympic or World Record was being set. This astounds me, but yet it doesn't. In order for an athlete to leave their signature on history, they must achieve the "unachievable."
Another example rests in the technology we use each day. Just when we think that computers and data processors can't get any faster or more complex, they do. There is always a new "improvement" or "upgrade" just around the corner. What you buy today will be "outdated" in a matter of weeks or months.
So, where am I going with this? How does this apply to music?
I recently have adopted this mindset of asking myself "what can I NOT do?" or "what SCARES me when I see printed on a page?"
We all have this experience in our musical lives--some more often than others. We are handed or assigned an etude, excerpt, or solo that, when we peruse, gives us an initial moment of sheer panic and terror. We think, "Wow. Ya' win some, and ya' lose some. Today's not my day."
But what separates the athlete who merely qualifies from the one who set the new world record? What separates the musician who has conquered the instrument and displays jaw-dropping technique from the one who does not have vast control over their instrument? What stops me from doing what I think I cannot do?
My answer: fear of the unknown and a lack of inspiration to persevere even though the task may require painstaking experimentation and patience in order for a solution to be discovered. Some reading this may say, "well duh!" A life lesson to learn indeed.
Often in my own playing (as I've discovered recently) with a little patience and a lot of perseverance, solutions to technical problems often present themselves. And the feeling after they are solved is one of this: "why didn't I just persevere and accomplish this sooner? It wasn't THAT bad." And then tackling the "scarier" challenges seems fun and exciting!
This post may have seemed "elementary" to some, but in life it seems that we truly learn as we remember and re-learn previous discoveries. The more we experience something, the more it is ingrained into our being. This is something I've learned AGAIN. (Maybe now I won't forget this lesson so soon!)
A prime example can be found in the world of sports. The 2008 Olympics just passed and it seemed that in almost every event (including even the qualifying matches) a new Olympic or World Record was being set. This astounds me, but yet it doesn't. In order for an athlete to leave their signature on history, they must achieve the "unachievable."
Another example rests in the technology we use each day. Just when we think that computers and data processors can't get any faster or more complex, they do. There is always a new "improvement" or "upgrade" just around the corner. What you buy today will be "outdated" in a matter of weeks or months.
So, where am I going with this? How does this apply to music?
I recently have adopted this mindset of asking myself "what can I NOT do?" or "what SCARES me when I see printed on a page?"
We all have this experience in our musical lives--some more often than others. We are handed or assigned an etude, excerpt, or solo that, when we peruse, gives us an initial moment of sheer panic and terror. We think, "Wow. Ya' win some, and ya' lose some. Today's not my day."
But what separates the athlete who merely qualifies from the one who set the new world record? What separates the musician who has conquered the instrument and displays jaw-dropping technique from the one who does not have vast control over their instrument? What stops me from doing what I think I cannot do?
My answer: fear of the unknown and a lack of inspiration to persevere even though the task may require painstaking experimentation and patience in order for a solution to be discovered. Some reading this may say, "well duh!" A life lesson to learn indeed.
Often in my own playing (as I've discovered recently) with a little patience and a lot of perseverance, solutions to technical problems often present themselves. And the feeling after they are solved is one of this: "why didn't I just persevere and accomplish this sooner? It wasn't THAT bad." And then tackling the "scarier" challenges seems fun and exciting!
This post may have seemed "elementary" to some, but in life it seems that we truly learn as we remember and re-learn previous discoveries. The more we experience something, the more it is ingrained into our being. This is something I've learned AGAIN. (Maybe now I won't forget this lesson so soon!)
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