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  If your Flash plug-in is outdated or not installed yet, you may be prompted to download the most recent version.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

tromba (Itl.) = trumpet

Featuring the voices of Joe Foley (Rhode Island Philharmonic Orchestra, principal trumpet) and Michelle Perry (Sydney Opera, Principal French horn)

Joke of the Fortnight

Wedding Music Requests

Dear Bandleader,

Thank you for your letter.  I really do think you have an attitude problem and do want a few requests played if you don’t mind.  What my wife and I were thinking was:

- Any Keith Jarrett composition from his solo series.  Please arrange for full ensemble and nothing in 4/4 please.

- Mahavishnu Orchestra, Dance of the Maya and please have the guitar player play John Mcglaughlin’s solo from the live performance Nov. 16, 1972 at Chrysler Arena.  My wife and I were at that show and particularly liked his use of polyrhythmics.  If you find it too difficult you can leave out the feedback. Your choice.

- John Coltrane’s duets with Pharaoh Sanders.  I understand that their use of atonality is not everyone’s cup of tea, but my guests are usually fond of high register tenor saxes.

- We thought a little Stravinsky would be nice. We particularly like the Rite of Spring. If you want to use the sheet music it’s OK. My husband likes it about 1/4 note = 93 beats per minute.

- Then for the candle lighting ceremony, please learn Frank Zappa’s The Great Wazoo.  If you want to play it in the originally B flat, that would be OK.  And yes, cousin Jeannie does want to sing the baritone sax solo.  Please don’t say no, it would hurt her feelings so.

- Finally we have built our own musical instruments (It’s kind of a hobby with us) and we would appreciate if you would use our instruments.  None of them are based upon a 12 tone scale or on common harmonics, but our 5-year-old son tells us it’s not really that hard to transpose once you understand the physics.

We would be happy to pay each member an extra $25 for any inconvenience.

Thank you and don’t be late!
Mr. and Mrs. Snovly

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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.