Wilktone

Jazz, brass, composition, and other things music related.

Wilktone - Jazz, brass, composition, and other things music related.

AJO Plays Stan Kenton Christmas

christmas-wreathThe Asheville Jazz Orchestra will be performing our annual Stan Kenton Christmas concerts this weekend. This year we will play two performances. The first concert is at our usual home, Trinity United Methodist Church in west Asheville (587 Haywood Rd, Asheville, North Carolina 28806), NC at 7 PM this Friday, December 19, 2014. Our second performance is on Sunday, December 21, 2014 at 3 PM in Hendersonville, NC at First Baptist Church 312 Fifth Ave West, Hendersonville, North Carolina 28739). Both performances are free, but a good will offering we be collected to raise money for charities. This year we’re raising money for Hall Fletcher Elementary School, Vance Elementary School, Asheville Middle School, and the Asheville Jazz Council’s jazz education fund.

If you’re in western North Carolina this weekend come on out to one of our shows and help us raise money for education in the area.

Upcoming Gigs, December 4, 5, and 7, 2014

Regular readers here may have noticed the lack of updates lately. I’ve been pretty busy with teaching, rehearsing, and performing and what little time I’ve had left over has been taken up with personal projects and social obligations. It’s good to be busy.

Speaking of being busy, if you’re in western North Carolina these next few days and are looking for live music, I’m performing with three different groups doing a variety of styles. Tomorrow (Thursday, December 4, 2014) I’m performing with the Low-Down Sires at the Mothlight in Asheville, NC. We’ll performing three sets of hot, traditional jazz for your listening and dancing pleasure. The next night (Friday, December 5, 2014) the Asheville Jazz Orchestra is back for our monthly show at the White Horse Black Mountain, beginning at 8 PM. We’re performing a special holiday themed show that night. Every chart we play will be related to the holiday season. And on Sunday, December 7, 2104 I’m conducting the Smoky Mountain Brass Band at Hazelwood Baptist Church in Waynesville, NC. Our concert, which starts at 5 PM, is also a Christmas themed performance.

Stop on by one or more of those shows, if you can. Be sure to say hello to me if you catch one.

Very Early Example of Musical Notation Discovered

141022_pg4co_rci-m-manusc_p5James Grier is a Canadian musicologist who has spent a great deal of time researching in the notation room at the Bibliothèque nationale in France. While there a colleague asked him to look at a 900 year old manuscript.

What is unique is that Adémar’s had placed the notes in the space above the text, higher or lower in the space depending on their pitch, exactly as we do today.

Thus this is the earliest, and perhaps even the very first time this had been done.

Read more about this historic discovery and listen to a report about it here at the Royal Canada International web site.

A Different Way to Visualize Rhythm

A short YouTube video by John Varney that demonstrates a method of visualizing rhythm.

 In standard notation, rhythm is indicated on a musical bar line. But there are other ways to visualize rhythm that can be more intuitive. John Varney describes the ‘wheel method’ of tracing rhythm and uses it to take us on a musical journey around the world.

Montuno at LEAF, October 17, 2014

MontunoI’ve been extremely busy lately and haven’t had time for regular updates here. When things settle down a bit I’ve got some topics I want to blog about. In the mean time, if you’re around western North Carolina and can get tickets to the Lake Eden Arts Festival (LEAF) in Black Mountain, NC, stop by Brookside hall tomorrow (Friday, October 17, 2014) at 8:30 P.M. and come listen and dance to Montuno. We’ll be playing music in the style of the 1970s New York salsa scene.

Montuno is a fun group to play with and LEAF is always a good time. If you make it there, please come up and say hello to me after our set.

Weekend Picks

I’m a little late today posting my weekend picks. I’ll make it up to you by posting one more than usual today.

VictrolaHave you ever wondered Why Nerdy White Guys Who Love the Blues Are Obsessed With a Wisconsin Chair Factory?

Paramount is this incredible label that was born from a company called the Wisconsin Chair Company, which was making chairs, obviously. The company had started building phonograph cabinets to contain turntables, which they also were licensing. And they developed, like many furniture companies, an arm that was a record label so that they could make records to sell with the cabinets. This was before a time in which record stores existed. People bought their records at the furniture store, because they were things you needed to make your furniture work.

Transcribing music is one of the best things you can do for all around musicianship. It helps train your ear, writing it down improves your sight reading, you develop expressive nuances in your own playing, and it helps you develop a vocabulary for improvisation.

Kathy Jensen’s signature laugh with transcription. She has endless licks and can laugh in any key. She’s also a killer sax player.

Her laughter is infectious. You can check out more about Kathy Jensen at www.hornheads.com.

If you’re a jazz musician or a fan of jazz jam sessions you’ll recognize what Bill Anschell has to say about jam sessions. Consider, for example, the vocalists you run into at jam sessions.

Vocalists are whimsical creations of the all-powerful jazz gods. They are placed in sessions to test musicians’ capacity for suffering. They are not of the jazz world, but enter it surrepticiously. Example: A young woman is playing minor roles in college musical theater. One day, a misguided campus newspaper critic describes her singing as …”jazzy.” Voila! A star is born! Quickly she learns “My Funny Valentine,” “Summertime,” and “Route 66.” Her training complete, she embarks on a campaign of session terrorism. Musicians flee from the bandstand as she approaches. Those who must remain feel the full fury of the jazz universe (see “The Vocalist” below). IH: The vocalist will try to seduce you—and the rest of the audience—by making eye contact, acknowledging your presence, even talking to you between tunes. DO NOT FALL INTO THIS TRAP! Look away, your distaste obvious. Otherwise the musicians will avoid you during their breaks. Incidentally, if you talk to a vocalist during a break, she will introduce you to her “manager.”

Read a whole lot more at Bill Anschell’s Jazz Jam Sessions: A First-Timer’s Guide.

On a more serious note, I found Bob Gillis’s discussion on trumpet embouchures to be fascinating. I have some minor quibbles with a couple of his points, but those are based on the perspective of an upstream embouchure player. I’m guessing that Bob must be a downstream embouchure type (not a wild guess, the majority of brass players are). Here’s a sample.

By then stopping the incoming mouthpiece weight when it first contacts this ideal preset of the embouchure, the player will have taken all of the steps to create the best possible seal before involving any action of the embouchure musculature. This extremely close proximity of the mouthpiece serves as a great reference…meaning it will clearly reveal what specific gaps still remain, and what exact shape the embouchure must assume to complete its interface with the mouthpiece. This embouchure “sandwich” (like the filling of the Oreo cookie) between the mouthpiece rim and teeth (with their irregularities) must fulfill much more than a role of a seal or gasket though, for it also functions as the instrument’s reed and facing (the top and bottom lips, respectively). That means the act of sealing the interface between mouthpiece and teeth formation must be done in a way that does not disrupt the vibration of the top lip, but that instead increases the efficiency of its vibration. This efficiency is achieved by also simultaneously focusing the size and shape of the lip aperture, all the while making sure the top lip is as relaxed as possible.

Read more on his post, The Landing: The Final Focus and Seal. It looks like he has a lot more interesting stuff there which I will need to look through more carefully later.

And lastly, the Mnozil Brass will be touring not too far from me in February. If you’re not familiar with them, they are incredible musicians and also very entertaining performers. Here is their performance of Lonely Boy.

Alma de Candela Live at Spartanburg International Festival 2014

IFestBillboardIf you’re around Spartanburg, SC this Saturday, October 4, 2014 you might be interested in the Spartanburg International Festival. Entrance to the festival is free.

Long a hub of investment from businesses all over the globe, Spartanburg is truly an international city, with residents from more than 75 countries and more than 100 international businesses. To celebrate Spartanburg’s global appeal and its corresponding diversity the City of Spartanburg hosted its first International Festival in 1985.

Today that festival has grown to become one of our city’s most popular, with more than 12,000 people attending annually to celebrate and explore world cultures through food, music, dance, folk art, and much more.

I’ll be performing at 5 PM on the Worldwide Showcase Stage with Alma de Candela, a salsa band. If you happen to be there come up and say hello after our set.

Question – Helping Woodwinds Transition to Brass

Kim sent me a good question via email.

When I’m not working as an engineer I assist local marching bands with visual and brass. The program I’m with now has a very good and successful approach to outdoor brass playing that’s almost the same I was taught in drum corps. They do really well in jazz which I wish was in my wheelhouse. I’m a low brass player but have adopted the mellophones, those poor redheaded stepchildren to give extra special attention and help.

My (the band’s problem) is that a sax player, great musician, opted to fill in a mello hole. That has been done in the past with a lot of success. This kid fracks all the attacks, has a gut piercing tone, and when he settles on a pitch can play loud. And his notes get chopped off hard.

What I can see is it looks like he’s reverting subconciously to a sax embouchure. That makes for zero or at best spitting/crackling noises from his horn. From your articles I also think he has developed some type of tongue controlled embouchure.

I’ve only been with this band a few weeks and wasn’t there when this kid switched. He’s working hard and knows/hears what’s happening but has not been able to get the information into his body.

He was pretty much parachuted into this and that’s the real problem. He hasn’t had time to really figure it out how sound production works.

Thank you for any suggestions, pointers, comments,
Kim

As always, I can’t really offer specific advice on your student without being able to watch him play. However, you offered some clues as to what might be happening, so here are some things you can look for.

A saxophone embouchure is different than a brass instrument embouchure. One of the fundamental differences is the position and muscular effort of the mouth corners. With a sax embouchure the mouth corners will come in towards the mouthpiece. With this inward push of the mouth corners a sax embouchure is sometimes describe with the lips gripping the mouthpiece as if they are a rubber band.

With brass embouchures, though, this inward push of the mouth corners towards the mouthpiece rim can cause problems. Instead of puckering his lips in and/or forward to the mouthpiece rim he should practice locking the corners in place, more or less where they are when at rest. One analogy that might be useful here is for him to think of the mouth corners as being the ends of a violin or guitar string. This will take time for him to build the strength and coordination to do so, but some simple free buzzing in the correct way can help here.

The other thing it sounds like your sax-turned-mellophone student is doing is articulating everything with the tongue on the lips, and perhaps also stopping the tone this way. On sax he will tongue on the reed for the attacks, so me may similarly be striking the lips with his tongue for the attacks. In this case he will want to move the tongue tip back and behind the upper teeth to attack the pitch, as if saying “tah.” In fact, it may be valuable practice for him to try to attack pitches with no-tongue breath attacks, as if saying “hoo” first. Once he can get a few good breath attacks happening he can start adding a light tongued attack. Try emphasizing that the tongue is a refining factor of the attack, not the defining factor. The air is what creates the attack, the tongue just shapes it.

He may also be releasing notes by slapping the tongue against his lips or even just using a tongue cutoff (as if saying “taht”). Regardless, the releases of notes are best learned by simply stopping the blowing, not using the tongue. Yes, there may be situations where a very clipped release makes a tongue cutoff work, but it needs to be controlled and is best saved as a special effect.

It will be a challenge for your student to both learn to play the mellophone and learn the drill at the same time. It would be great if he can set up some weekly one-on-one time with a brass teacher for a while until he starts getting more of the feel for what he needs to do to play a brass instrument. You never know, he might end up enjoying it so much he switches instruments.

Good luck and please keep us posted on how things progress.

Trumpet Related Injuries

YouTube user “Rufftips” (John) has posted a video about injuries that trumpet players are at risk for. Take a look.

It’s almost 10 minutes long, so if you don’t feel like watching it all the way through just now, I will summarize what he discusses and offer some additional thoughts of my own.

The first condition that John discusses is focal dystonia. Like some other folks online, he passes along some misinformation here. He calls focal dystonia a “muscle condition,” where it is more accurate to call it a neurological condition. The National Center of Neurological Disorders and Stroke discusses dystonia here.

The cause of dystonia is not known. Researchers believe that dystonia results from an abnormality in or damage to the basal ganglia or other brain regions that control movement. There may be abnormalities in the brain’s ability to process a group of chemicals called neurotransmitters that help cells in the brain communicate with each other.  There also may be abnormalities in the way the brain processes information and generates commands to move.  In most cases, no abnormalities are visible using magnetic resonance imaging or other diagnostic imaging.

I’ve written several times briefly about “embouchure dystonia” before here, but I tend to avoid going into too much detail about it because I understand that even experts poorly understand what’s going on. In fact, my personal opinion studying brass embouchures leads me to believe that much of what gets defined as embouchure dystonia may really be related to the player doing some embouchure type switching. Since most brass players (let alone medical professionals) don’t have an idea of what embouchure types are and how they can vary from player to player, the underlying cause of a player’s difficulties get diagnosed as an extremely rare neurological disorder that, as you can see from the NCNDS’s quote above, is challenging to diagnose.

My advice here is if you feel you might have a neurological condition affecting your brass playing you should get a referral to a specialist and never take medical advice from a brass teacher. A brass teacher who is diagnosing and claiming to treat “embouchure dystonia” is not qualified to do either, no matter how many players he or she has helped with lessons.

John next discusses is Bell’s palsy. He does the right thing here and recommends viewers to visit a doctor. I wish he had mentioned that early on in his video.

Over the course of video recording brass player’s embouchures for some of my research I’ve documented two trumpet players who had prior to my recording their chops suffered from Bell’s palsy. While both felt things were not quite 100% for them at the time of the video recording, they both have made complete recoveries. I believe that one of them commented that his doctor told him that the early this condition is diagnosed and treated the faster the recovery period and the more likely the player will make a complete recovery. At one point this disorder might be career ending for a brass player, but these days the medical profession knows enough about Bell’s palsy that treating it has much better outcomes and most people make complete recoveries with proper treatment.

After discussing Bell’s palsy John covers nerve damage. He mainly talks about nerve damage that might occur from getting dental work. John comments that diligent and careful practice can eliminate playing symptoms from nerve damage, but how much of that is simply related to recovery time and how much due to a specific sort of practice isn’t clear to me. Again, if you suspect nerve damage I suggest you discuss your symptoms with a medical professional.

Laryngocele is the next condition John talks about and he even demonstrates what it looks like. I had not heard this term used before, but it’s essentially a neck puff, at least as defined by John. I found a paper published in the Internet Journal of Otorhinolaryngology that defines it slightly differently.

Laryngocele is a rare, benign dilatation of the laryngeal saccule which may be asymptomatic or they may present with cough, hoarseness, stridor, sore throat and swelling of the neck. The incidence of laryngocele is 1 per 2.5 million people per year.

I’ve written about a neck puff before. If you want to read what Donald Reinhardt wrote about this and his recommendations for reducing or eliminated a neck puff please check it out here.

Next up is a brief discussion of the teeth and John’s personal experience with this issue. He recommends getting a mold made of your teeth so that in the event that you need some reconstructive work done on your teeth you can have the dental technicians reconstruct it as close as possible.

Just to add my two cents here, I generally don’t recommend dental work to try to fix a malfunctioning embouchure. I feel that it’s better (and cheaper) in the long term to learn to work with your anatomical features. It is definitely possible to play correctly with all sorts of tooth formations, so there is little need for a player to have his or her teeth worked on in order to find a nonexistent (in my opinion) ideal tooth structure.

John finishes his video discussing lip injuries, again using his own experiences here as a case study. After injuring his upper lip accidentally with a pair of pliers. Eventually he ended up having a plastic surgeon remove the scar tissue from his lip and carefully rebuilt his playing.

If I recall correctly one of my teachers, Doug Elliott, when through something similar when he hit himself in the lip with a hammer. Or maybe this was one of his other students. At any rate, Doug is a fantastic mouthpiece maker and he scooped out a rim to fit the scar tissue and he (or his student) was able to play normally. Eventually the scar tissue healed and he was able to go back to a normal mouthpiece rim.

John recommends what I feel is good advice about rebuilding your chops slowly and carefully. I would also emphasize playing softly throughout your rebuilding, something I don’t recall John mentioning in his video.

In short, I think this video is worth checking out, particularly for folks interested in medical issues related to or affecting brass playing. I wouldn’t suggest folks looking for help with embouchure problems watch it with the intention of self-diagnosing (ironically, I don’t want the same for a lot of my blog posts). I prefer to refer musicians to medical professionals for medical issues. Self-diagnosing from stuff you read on the internet is a bad idea, especially when that medical information is coming from someone like me, a non-medical professional.

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