I’ve got a couple of interesting gigs this weekend for folks around western North Carolina. Tomorrow, Saturday September 2, 2017, I’m performing with the Blue Ridge Bones at the Hendersonville, NC Apple Festival. We’re playing at the courthouse stage from 3:30-4:30.
Sunday, September 3, 2017 I’m playing with Rick Dilling’s Time Check Big Band in a tribute to Buddy Rich concert at the Isis Restaurant and Music Hall. We’ll be playing two sets starting at 7:30.
In the mean time, here are some interesting music related links for your weekend surfing.
In Bb is an interactive project using YouTube videos in the key of Bb. Try it out.
Here’s an fMRI video of someone singing “If I Only Had a Brain.”
Have you ever wondered what Ravel’s “Bolero” would sound like played by 4 musicians on a single cello?
The 8 tonic system is an attempt to organize and simplify the methods that have been used to teach improvisors to use Hexatonic/Triad-Pairs in the past. Hexatonic scales used for improvisation is now an important tool of the modern improvisor, yet there are inherent problems with the methods that have been taught up to this point. The biggest problem with Hexatonics is that they immediately sound formulaic and too much like a pattern. The other problem is that in order to use a wide variety of different Hexatonic/Triad-Pairs the player must commit many different formulas to memory in order to make the correct calculations to find the HT/TPs. These formulas are short calculations, like: Major triad from the #11 and Major Triad from the b13, but they start to add up and get overwhelming.
Here’s an interesting discussion by a rock guitarist that I think is good advice for any musician on improving your rhythm.
It’s been a while since I’ve been able to post some weekend picks for you. Here are some random music-related sites for you to browse this weekend.
Do you like brass band music? Do you like drinking? If you like both, you probably would love Serbias Guča Trumpet Festival. The Dragačevo Sabor Trubaca brings in more than half a million people to a small village in Serbia for a wild weekend of brass bands and drinking.
It is believed this Balkan brass tradition emerged in the early 20th century, around the time Serbia, Greece, Montenegro, and Bulgaria formed the Balkan League to battle the Ottoman Empire in 1912. “During the Balkan Wars, and then during World War I, military bands came through the area, playing mostly brass instruments,” Smith says. “These instruments were adopted by the Balkans, who created brass versions of pre-existing folk songs. In Serbia in particular, they embraced brass music to the extent that they consider it their national style of music.”
A human voice can shatter a glass. Every object has a resonant frequency – the natural frequency at which something vibrates. Wine glasses, because of their hollow shape, are particularly resonant. If you run a damp finger along the rim of a glass, you might hear a faint, ghostly hum – the resonant frequency of the glass. Or you can simply tap the glass and hear the same frequency. To shatter the glass, a singer’s voice has to match that frequency, or pitch, and the glass must have microscopic defects.
The Mirror Duet is usually attributed to Mozart, although there is some question about that. If you’re not familiar, it’s a duet where the two players stand facing each other, reading the same page of sheet music. And it works.
I have no idea who Helen Amvroseva and George Shakhnin are/were, and no way to embed this video of them performing Csárdás on trumpet, trombone, and piano. It’s both impressive and funny.
Lastly, if you’re like me and both a Weird Al Yankovich and a Frank Zappa fan you’ll enjoy Yankovic’s tribute to Zappa, Genius In France. Unlike a lot of Yankovic’s popular music, this isn’t a direct parody of a Zappa tune, but rather written in the style of Zappa.
It’s Friday. Here are some random music-related links for you to peruse this weekend.
Did you know that there is a brass band in New Zealand that since 1895 performs on bicycles?
How about a bicycle brass band from Holland?
When directing an ensemble in rehearsal I often use an analogy that isolating individual musicians playing, as if we were recording everyone, would sound different than when you hear the same part played in the context with the whole ensemble. For example, a single big band trumpet part isolated might sound too short, but when the whole brass section plays that way together it comes out just right. Here’s a similar idea, listen to the vocal tracks from the Beatles isolated out of context from the rest of the parts.
An older discussion about teacher tenure and why it’s not the firing itself that is the issue, it’s how the threat of firing teachers allows other people (often not qualified or informed enough about the teacher’s job and situation) to control the teacher’s day to day work.
It’s Friday, so here are a few music related links for your perusal this weekend.
Drummer Peter Erskine on Jazz Flick ‘Whiplash’. I haven’t seen this film and based on what I’ve read about it I’m not certain I’ll rush out to see it in theaters. The band director character sounds like the sort I try to avoid. Erskine wrote:
Being a jerk is, ultimately, self-defeating in music education: for one thing, the band will not respond well; secondly, such bandleaders are anathema to the other educators who ultimately wind up acting as judges in competitive music festivals — such bands will never win (the judges will see to that).
There are people posting so often that their voices are heard more, and they are therefore treated as experts. But a lot of these people have no standing in the real world. Recently, I read as the Associate Principal Trumpet of the Los Angeles Philharmonic and the Third Trumpet of the New York Metropolitan Orchestra were, separately, berated online for offering their opinions on some trumpet related matters. I’d like to say that I was amazed, but considering what I’ve read in the past few years online, I was just sad.
You already know Wolfgang Amadeus Mozart, but do you know how celebrated a musician his older sister, Maria Anna Mozart, was?
Leopold Mozart, a court musician, began teaching Maria Anna, his first-born child, to play harpsichord when she was 8 years old. She progressed quickly, with 3-year-old Wolfgang often at her side. After a few years, Wolfgang tried to play sections from Maria’s music book. “Over time, Nannerl’s playing became more and more brilliant, her technique perfect,” Rieger says. “Young Wolfgang was probably impressed by that and inspired to play.”
I mentioned in a recent blog post how Donald Reinhardt was known to occasionally tell his students to practice in a way that would intentionally exaggerate the ultimate goal. Rich Hanks posted a previously unpublished interview that describes one example.
Now these statements are exaggerated. They have to be. So that when you say, “Let’s forget Reinhardt,” you’ll play well, because I’ve exaggerated so much that enough rubs off in the subconscious to have that take over.
And lastly, it’s not just trumpet players who are competitive musicians.
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.”
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.
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.
It’s Friday again, which means it’s time for me to give you some music related links to check out.
Do you know about the process called MPEG Audio Layer III? You’re almost certainly familiar with the resulting file, called an MP3. This ubiquitous file type got it’s start all the way back in 1982. Learn more about The MP3: A History of Innovation and Betrayal.
Here’s an excerpt from an etude for you to practice this weekend. To see more of it, and others, look here.
And lastly, we’re fortunate today in our MusicWorks! Asheville program that Little Anthony (from Little Anthony and the Imperials) will be visiting our elementary school students. Our students will perform some for Little Anthony and then he will sing some for them. Here is a video of Little Anthony and the Imperials performing an medley of some of their best known hits.