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is outdated or not installed yet, you may be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.
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)
Without missing a beat and right on cue with the cymbal crash, a tuba (actually sousaphone) player lovingly teaches a small child a thing or two about disrupting a performance.
If you like this Joke of the Fortnight,tell a friend, bookmark
this page and be sure to come back in two weeks.
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.
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.
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.
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