Here at the Reference Desk, you can access
multimedia articles and other entertaining and educational materials on
a variety of musical themes. A brief description appears below
each title along with any content advisories for that link.
Bookmark this page and be sure to visit often to see the new Word of the Week,
Joke of the Fortnight and
Tip of the Month.
Bringing in a Brass Chamber Ensemble Whether you play in a brass trio, quartet, quintet or sextet, an
important technique for a group leader to master is the cue that brings
the ensemble in at the beginning of a performance. This multimedia
article teaches a method that the Empire Brass has used for over three
decades and has taught to hundreds of other brass ensembles. Because of the online video demonstrations throughout this article, it
is best view using a high speed connection. The video clips are in
Flash format. If your Flash plug-in
is outdated or not installed yet, you may be
prompted to download the most recent version. Due to Microsoft’s
update of Internet Explorer in April 2006, you may have to click on the
video once to “activate” it and then click on it again to begin
playback.
Diversity in
Phrasing The elegant and imaginative shaping of a musical phrase requires the use
of many techniques. This article describes these techniques and
how they may be applied to create a more rounded performance. An
even broader understanding of when to apply the techniques described
here can be gained by first reading its companion essay,
Intelligent Design.
Gate Checking Your Large Musical Instrument (or Case)
If your instrument or the case you’re using (i.e., double, triple or
quad-case) is too large to be considered a carry-on item, you have two
choices when you fly in the United States: check your instrument as
baggage or buy a seat for it. If you fly often, purchasing an
extra seat on every flight may not be practical. So how do you
minimize the risk to your instrument when you have to check it?
Try gate-checking it.
Intelligent Design Playing what is written on the page is good. It is also the least
that is expected. Capitalizing on the more hidden expressions in
music requires that a performer first be able to find them. The
search for such moments often requires more than instinct but
open-mindedness and objectivity as well. This article examines the
things to look for when mining a of piece music for hidden expressive
opportunities.
Musical Chairs
The seating configuration of any wind ensemble does not have to be
fixed. In fact, moving instruments around for certain pieces may
make more sense both practically and musically than one may think.
Presented here is a perspective on seating configuration for bands and
wind ensembles as well as a discussion of its many benefits.
Fiction
Short Stories
How to be a Jazz Critic Bill
Anschell tells gives you all the catch phrases you need to know to
become a first rate jazz critic.
Jazz Jam
Sessions: A First-Timer’s Guide Experience the comedic musing of writer/pianist,
Bill
Anschell, as you learn the proper etiquette and hidden dynamics of a
jazz jam session. This short story contains adult themes and language that some readers
may find objectionable or offensive. Readers’ discretion is
advised.
There’s a Sucker
Born Every Minute This short story by Bill Anschell takes an inside look at the
death-defying life of a staff musician aboard the S.S. Norway. This short story contains adult themes and language that some readers
may find objectionable or offensive. Readers’ discretion is
advised.
Searching for Glory at the Cookin’ Cadenza
Here’s a humorous tale about struggle of trying to be a “real” musician in the midst of mediocrity. This short story contains adult themes and language that some readers
may find objectionable or offensive. Readers’ discretion is
advised.
Careers in Jazz A clear and concise
dissertation on the structure of the jazz world and the interactions of
its constituents.
set B
(Eng.) = This term refers to a standardized number of instrumental parts
offered by publishers of orchestral music. It includes a Wind Set
(1 of each of the woodwind, brass and percussion parts) plus 5 of each
of the 1st violin and 2nd violin parts and 3 of each of the viola, cello
and contrabass parts (5-5-3-3-3).
Featuring the voices of Dr. Frederick Harris
(Massachusetts Institiute of Technology Wind Ensemble, music director) and Rebecca Harris (Massachusetts Audubon Society, Director of the Coastal Waterbird Program/flute)
…a streamlined verbal communication. Below is an example of a verbal
exchange between Susan (clarinet), John (French horn) and Mike (flute)
during an average student woodwind quintet rehearsal.
SUSAN: Uh, John, I think you may be a little behind in measure 12?
JOHN: Oh? Where? On the high note?
SUSAN: No. Actually, going into beat four.
JOHN: Oh. I thought I was right with you. You want to try it?
SUSAN: Yeah. Sure.
JOHN: …
SUSAN: …
JOHN: Where do you want to start?
SUSAN: How about measure 10?
JOHN: Okay.
SUSAN: …
JOHN: …
SUSAN: Mike, can you start us off?
MIKE: Where are you guys talking about?
SUSAN: Measure 10.
MIKE: With everyone?
SUSAN: Sure.
MIKE: Okay. One, two, three, {breath}…
The preceding exchange is quite common in chamber music rehearsals.
Unfortunately, a lot of time is wasted and the pace of the rehearsal is
bogged down by the players’ lack of verbal efficiency. The result is
that they will spend less time actually playing and get less
accomplished during the rehearsal. Here’s an example of a more
streamlined “exchange.”
SUSAN: John, it sounds like you’re a little late or I’m early going
into beat four of measure 12. Let’s try it again, with everyone, from
measure 10. Ready? One, two, three, {breath}…
All the same information is there: what the problem is, where it
occurs, the invitation to fix it by starting with everyone playing from
a specific measure and the count off to start the ensemble. Notice how
Susan doesn’t wait for a verbal response to her only question. The
question, in this case, is more of a command: “Get ready.” She can
visually confirm that everyone is ready rather than waiting for
responses which may not come if her colleagues realize that the question
is rhetorical. Inflecting it as a question is simply being more polite.
Following some basic guidelines during a rehearsal will speed you on
your way to a quality performance:
Talk only of issues that affect the rehearsal at hand.
Use the minimum amount of words to communicate your point. You can
work on this by limiting yourself to 10 seconds to make your point. If
possible, try to inflict this limitation on your colleagues as well.
Only ask “real” (as opposed to rhetorical) questions when you can’t
obtain the answer from listening to the particular passage being played. If you’re unsure about what someone is doing at a particular place, simply
have the group play it again. This will develop your listening skills
and avoids the possibility of someone inadvertently telling you that
they’re doing one thing but actually doing something else when they play
their instrument.
If you are the last (or only) person to bring up an issue, take
responsibility for restarting the group at a specific place in the
music. Much time is wasted when everyone sits and waits for someone
else to take action. Luckily, this sense of responsibility is contagious
and, once your colleagues see you with it, they will quickly want a
taste of such power when they have the floor.
The more playing a chamber group does, the greater their chances of
improvement. Focusing and trimming the dialogue during rehearsals will
pay off with the musicians achieving their goals faster and giving them
a greater sense of accomplishment for the time spent together. Eliminate
inefficient dialogue from your rehearsals. If not, you may find that
your rehearsals improve your group’s ability to be inefficient faster than
its ability to play well!
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