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Gifts Music Mutes Trombone

Trombone for the Holidays

Top picks for holiday gifts.

General Accessories: 
Shar 3 in 1 Metronome and Tuner – An excellent clip-on device that can tune by vibration.
Boss BR-80 Micro Br Digital Recorder – Portable multi-track recorder.
Hercules Trombone Stand – A trombone stand that fits in the bell.  A little heavy but extremely convenient.

Trombone Maintenance:
Slide-O-Mix – I prefer the two bottle system but others like the Rapid Comfort system (one bottle).
Hetman Valve Oil – The rotary, linkage and ball joint lubricants are must-haves for valve systems.
Spray bottle – The most easily lost piece of equipment, a trombonist can always use an extra.
Spit valve corks – They seem to fall out at the most inopportune times.  Carrying a few extras never hurts.

Mutes:
Best Brass – On the pricey side but incredible quality.
Jo-Ral – Their brass bottom straight mute is my go-to.

Instruments:
Shires – I’ve been playing on one for almost ten years and wouldn’t consider changing.
Thein – If I had piles of cash lying around I’d buy one of their bass trumpets in a heartbeat and I might as well grab a contrabass bone for giggles while I’m at it.

Publications:
ITA Journals – A wealth of information stretching back to 1971.
Trombone: Its History and Music, 1697-1811 – A not inexpensive volume on the history of the trombone.  In all honesty I’ve never had the opportunity to read it but I’m extremely curious about it.

Categories
Gigs Music Trombone

Riley and Mozart

Two performances last week and both were challenges in endurance.  The first was Terry Riley’s In C with DICE (Dickinson Improvisation and Collaboration Ensemble), a new flexible-instrumentation group at the college, and Third Coast Percussion; the second was Mozart’s Vesperae Solennes de Confessore.

DICE with Third Coast Percussion
DICE with Third Coast Percussion

In C with the two groups was fantastic.  The performance was in the student union building right outside the cafeteria.  We set up on some couches and attracted a decent audience.  Clay from Third Coast played some improvised percussion that I’ll sorely miss in the future.  Our performance was forty minutes long… I had the honor of playing the eighth note pulse the entire time.  It’s an amazing exercise in concentration, especially since percussion is not something I’m accustomed to performing in concert.

Mozart Vesperae Excerpt
Mozart Vesperae Excerpt

It was my first time playing this Mozart.  Actually prior to this week I didn’t know it existed.  And that’s a shame.  It’s a fine piece that obviously contains ideas Mozart would use in his Mass in C Minor and his Requiem.   (Side note: during my first three years in school at Eastman the orchestra director insisted on programming less significant works from the repertoire.  Instead of performing Britten’s War Requiem we played his Sinfonia da Requiem; instead of Brahms’s Ein Deutsches Requiem we played Nänie and Alto Rhapsody; instead of a Stravinsky ballet we played Symphony of Psalms.  It upset a lot of students who wanted to get to know the warhorses better.  In hindsight, I’m happy I got to experience those [fantastic!] lesser known works as it gave me a chance to learn each composer’s style beyond the standard repertoire.)

Knowing about the piece earlier would have also have better prepared me for the high note-athon.  Like the other Mozart choral works the alto trombone doubles the alto voices, only in this case more exactly.  It amounts to thirty minutes of nonstop playing in the upper register.

Categories
Advice Music Practice

Impediments to Progress: Holes and Loops

David Waters, my professor in grad school, referred to deficiencies in technique as “holes.”  Just like a depression in your yard, the hole could be filled with the right tools and some hard work.  Others call them hurdles or obstacles.

What I’ve learned is that it’s not as easy as going to the shed and grabbing a shovel.  Sometimes you are not aware of the hole, sometimes the motivation isn’t there to fill it and sometimes it seems like no matter how much you put into the hole, no amount of work will hide it.  It’s the last scenario I will address most but I’ll also touch on the first two.

Awareness:
Being aware of an issue is the first step.  That may be obvious but the issue itself may not.  Continuing with our “hole” metaphor, if we don’t get into the yard and look we’ll never know there’s a hole to be filled.  Musically speaking, we listen to recordings and attend concerts to discern what others are capable of, we talk to others (friends, teachers) and they tell us what we should be able to do.  Then, if we have enough motivation, we start addressing it.

Motivation:
A dissertation unto itself.  Here are just a few points.  There’s intrinsic and extrinsic motivation.  Intrinsic being motivation that is tied to a task and exists within the individual performing.  Extrinsic motivation comes from outside the performer: money, fame, competition, cheering crowds, fear of punishment, etc.  In our “hole” situation intrinsic motivation would be love of manual labor or the joy we get from a beautiful yard, extrinsic motivation would be getting paid to do the work or a fear of someone tripping and twisting an ankle.  There are beliefs about the relative merits of each: studies show that both can be beneficial but the lasting effects of intrinsic motivation usually trump extrinsic.

The Black Hole:
Occasionally we encounter a hole that just can’t seem to be filled.  Try as we might the problem remains.  This is far from uncommon.  Here are just some thoughts on why this might be:

Fear of Success
This is a form of self-sabotage that will keep us from achieving all that we can. Think about this in depth before you go any further.  Fear of success can take a few forms:

  1. Fear of lost friends/relationships
    The belief that, if we improve, others will resent it and we’ll lose them in our lives.  Think about athletes who “make it big.”  They go from unpaid high school or college players to multimillionaires overnight but their friends and family haven’t changed.  It’s easier to see how someone could be afraid of losing those they care about in a situation like that but it can happen in the less lucrative field of classical music as well.  (“Will my friends resent my ability?”)
  2. Fear of responsibility
    The belief that, if we are successful it will be expected of us again.  Showing that we’re good at something puts pressure on us to be good again and again, which then causes people to look to us when they need something done, which adds more responsibility to our lives…. something not everyone can handle.
  3. Fear of reaching our potential
    The belief that, if we do our best it still may not be good enough.  Simple as that.

You haven’t made it a priority
Be honest with yourself, have you really prioritized the issue?  Too often, I see frustration in others over a particular habit they can’t change or skill they can’t do that could be alleviated if they would make the issue a priority.  For instance, if they are having difficulty with air flow they spend their time practicing their solo repertoire without touching on exercises to address the problem, hoping the problem will work itself out on its own.  It should be your goal to spend so much time working on your weaknesses that they become your strengths.

Unreliable Sensory Perception
 This a concept from Alexander Technique that, in short, means we can’t trust ourselves.  Our habits are so engrained that even things that hinder us (that we even know to be detrimental) will feel ‘natural’ and ‘right.’  This makes it difficult for us to change the habit.  An outside perspective (teacher, mirror, recording device) can help you become aware of when you’re not being efficient.

Trapped in a loop
While at Rice University I took several courses on performance psychology with Dr. John Eliot.  There are many great things from those classes that I still use on a daily basis.  This “Performance Circle” is one of them:

By following the arrows you can trace the path of performance and find places where you can become trapped in your efforts.  Some people are inclined to get stuck in a “training loop” in which they feel hard work is the solution to their problems, others will get stuck in a “trusting loop” in which they feel that their creativity will pull them through.  To escape either try applying techniques from the other loop.  Without doing so you run the risk of burnout or never achieving what you’re capable of because of fear.

Think about your personality.  Do you feel that hard work is always the solution?  There’s a possibility you should think more creatively about your performance.  Do you feel like you can achieve your goals using your natural ability and your imagination?  A little elbow grease might improve your performance.

To bring back our hole metaphor… imagine we have a hole in our backyard that we can’t fill no matter how hard we try.  Maybe there is a spring at the bottom of the hole that washes the water away.  Thinking creatively we’d realize we need to block the spring first.  No amount of sheer hard work was ever going to solve the problem.  Alternatively, contemplating the nature of the hole will never get it filled without some hard labor.