Articles

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  If your Flash plug-in is outdated or not installed yet, you may be prompted to download the most recent version.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.

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.

Word of the Week

set C (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 8 of each of the 1st violin and 2nd violin parts and 5 of each of the viola, cello and contrabass parts (8-8-5-5-5).

Featuring the voices of Steve Campbell (Minnesota Orchestra, tuba) and Michelle Montone Campbell (Florida West Coast Symphony Orchestra, bass clarinet)

Joke of the Fortnight

A Player’s Guide for Keeping Conductors in Line

If there were a basic training manual for large ensemble players, it might include ways to practice not only music, but one-upmanship. It seems as if many young players take pride in getting the conductor’s goat. The following rules are intended as a guide to the development of habits that will irritate the conductor. (Variations and additional methods depend upon the imagination and skill of the player).

• Never be satisfied with the tuning note. Fussing about the pitch takes attention away from the podium and puts it on you, where it belongs.
• When raising the music stand, be sure the top comes off and spills the music on the floor.
• Complain about the temperature of the rehearsal room, the lighting, crowded space, or a draft. It’s best to do this when the conductor is under pressure.
• Look the other way just before cues.
• Never have the proper mute, a spare set of strings, or extra reeds. Percussion players must never have all their equipment.
• Ask for a re-audition or seating change—ask often—give the impression you’re about to quit. Let the conductor know you’re there as a personal favor.
• Pluck the strings as if you are checking tuning at every opportunity, especially when the conductor is giving instructions. Brass players, drop mutes. Percussionists, have a wide variety of droppable items—but cymbals are unquestionably the best because they roll around for several seconds.
• Loudly blow water from the keys during pauses (horn, oboe and clarinet players are trained to do this from birth).
• Long after a passage has gone by, ask the conductor if your C-sharp was in tune. This is especially effective if you had no C-sharp or were not playing at the time. (If he catches you, pretend to be correcting a note in your part).
• At dramatic moments in the music (while the conductor is emoting) be busy marking your music so that the climaxes will sound empty and disappointing.
• Wait until well into a rehearsal before letting the conductor know you don’t have the music.
• Look at your watch frequently: shake it in disbelief occasionally.
• Tell the conductor, “I can’t find the beat.” Conductors are always sensitive about their “stick technique” so challenge it frequently.
• Ask the conductor if he has listened to the Bernstein recording of the piece. Imply that he could learn a thing or two from it. Also good—ask, “Is this the first time you’ve conducted this piece?”
• When rehearsing a difficult passage, screw up your face and shake your head indicating that you’ll never be able to play it. Don’t say anything—make him wonder.
• If your articulation differs from that of others playing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
• Find an excuse to leave rehearsal about 15 minutes early so that others will become restless and start to pack up and fidget.
• During applause, smile weakly or show no expression at all. Better yet, nonchalantly put away your instrument. Make the conductor feel he is keeping you from doing something really important.

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Tip of the Month

Most audiences like it when a performer speaks to them at some point during the program. If you have trouble speaking loudly and clearly to a crowd, just remember…

...the three “B”s.

1. Breathe. Take the deepest possible inhale you can before you speak and let the rush of exhaled air generate the power needed to project your voice. When you do this, don’t try to control the exhale too much. You’ll be surprised at how loudly you can speak without straining your voice or sounding like your yelling if you let your body naturally expel a full breath of air as you engage your vocal chords.
2. Bilingual. Imagine that the audience is learning conversational English as a second language. Whenever we meet someone who we believe is just developing their understanding of conversational English, we instinctively talk slower and more clearly. Simply trying to remember to talk slowly and clearly often does not work. Imagining you’re addressing a room full of Martian businessmen and women is just goofy enough to stick in one’s memory during the address.
3. Back of the Hall. Keeping the first “B” in mind, pick three sections of seating at the back of the hall: one straight ahead, one slightly toward your left and another slightly toward your right. Direct your speech to them (i.e., turning your head periodically to momentarily focus on each section). This will keep you from mumbling to the folks sitting in the first couple of rows of the hall. If the hall is so big and dark that you cannot see the seats in the back, direct your speech to the glowing exit signs along the back wall.

Feel free to invent an acronym of your own. If you do, be sure that it is simple, effective and just strange enough to be memorable. The old trick of visualizing the audience in their underwear may work to relieve nervousness but it won’t help your projection and, given the demographic of many classical music audiences, may even be uncomfortably distracting.