Monday, December 19, 2016
The podcast features ideas and interviews with folks from all over the greater string music community. It features artists from both the classical and improvising world, business people, publishers, retailers, and others. in addition, Christian provides lots of great tips on music business, playing gigs, songwriting, social media, and getting known as a musician and artist.
As I said, I was really thrilled to be interviewed for this and to have the opportunity to express a number of my ideas on string and music education, functional musicianship, teaching, eclectic backgrounds, and a variety of other topics.
I encourage you to check out the podcast and many of the past entries. I'm not sure when my interview will go up but I will certainly let you know here at my blog. You can also check out Christian at http://christianhowes.com/
Friday, September 23, 2016
Tuesday, September 20, 2016
Tuesday, September 6, 2016
Saturday, August 27, 2016
1. Stop playing immediately when the conductor stops conducting. ~Abigail.
I hope that you find these helpful and encourage you to share them with your students. What have we forgotten? Please share your thoughts in the comments section.
Best wishes for a successful 2016-2017 academic year!!
Sunday, August 7, 2016
Before I close the door on my 2016 Interlochen experience, I want to make sure that I say a few words about the repertoire that I selected for our final concert of the season. That concert actually took place several weeks ago. I am sorry I didn't post about it prior to the performance. I do, however I encourage you to check out the audio recordings of the concert at the Interlochen Public Radio website. I will attach the link here as soon as it is available.
For this concert we did 5 selections.
We began the program with Mandolina by Gabrielle Faure, arranged by Tom Sharp. Those of you that know me, know that I frequently perform alt styles works arranged and composed by Tom Sharpe. This, however, is a wonderful piece by Faure, originally scored for piano and soprano solo. Tom Sharpe has brilliantly arranged it for string orchestra. Let me Begin by saying that this is a pretty difficult work. We actually had to modify some of the viola and cello parts to accommodate some of the less experienced players in the Intermediate Concert Orchestra. That said, it was quite easy to transcribe the bass line for these areas of the piece. This work includes beautiful melodies for each section of the string orchestra. It begins with a lovely soaring cello line and then hands the melody off to the violins. The B section is led by the violas. The melody then returns to the cellos featured on the A' section to the end. I must say that this addition does require a good deal of editing. The bowings also must be modified for young orchestra in order to make the phrasing really speak. Also, it takes some time to really figure out who has the melody at any given moment and how the accompaniment parts fit in underneath the melody. That said, when all assembled, this is an absolutely beautiful work. I would rate this as about a grade 5 piece. It is absolutely stunning when performed.
For our second piece, I continued with the French theme. We performed the Minuet from Le Tombeau de Couperin, by Maurice Ravel, arranged by Carrie Lane Gruselle. I became aware of this work 2 years ago at a new music reading session that ASTA presented in North Carolina. It is a little outside the box of what I would normally Program for young orchestra. Each voice in the string orchestra is very independent and it requires attention to dynamic detail, as well as attention to details in phrasing, bow technique, hooked bowing, and other techniques associated with the impressionistic period. This piece features lovely melodies in each section and requires students to be very cognizant of conductors' nuances in the stick. The B section of this work features a muted string section performing a haunting minor melody.
Third, the orchestra presented the world premiere of Peter Terry's Blindsighted. You can see my notes on this piece in my previous post.
Following that, we performed the world premiere of another String orchestra work. This piece, the Colosseum, by Macenna Hanson held a place very near and dear to my heart. Miss Hanson, you see, was the concertmaster of this very ensemble during the summer of 2015. She approached me at the beginning of the summer of 2016 and informed me that she was now a composition major at the Interlochen Arts Camp. She told me that she had been working on a piece for string orchestra. I offered to read the piece in one of my rehearsals and she enthusiastically accepted the offer. After looking at the score and hearing a midi recording of the work, I offered to spend some time on the piece and see if it might be performable. It became clear very quickly that this piece would be a favorite of the students and myself and we could certainly perform it on the stage of Kresge Auditorium. Of course, Macenna was thrilled and we, in fact, performed the world premiere of that work on our concert. It was such a thrill and pleasure to perform a work by a young composer and see her hard work come to fruition in such a magnificent performance space.
Our fifth and final selection for this concert was Bert Ligon's Bossa Rojo for string orchestra. This is a wonderful, light bossa style piece for string orchestra that features opportunities for teaching articulation, improvisation, and pop style playing for young string orchestras. This piece is a grade 3.5 and is truly a pleasure to perform. The melodies have been stuck in my head for the past several weeks! We decided to feature Interlochen faculty piano instructor, Alejandro Bernard Papachryssanthou on the electronic keyboard as part of this performance. He added a solo on keyboards that was a true face melter! What a blast! It was a wonderful way to end the 2016 concert season for the Intermediate Concert Orchestra.
Again, I encourage you to check out the recordings of these pieces. I could not have been any happier with our performances. I look forward to continuing to write about repertoire that I select for the various orchestras I am working with in coming weeks and months.
Until next time.
Wednesday, August 3, 2016
Tuesday, July 26, 2016
Sunday, July 17, 2016
upon not very much reflection, I asked him if he would mind if I rode with him. Mike and I rode in that event and the Eleanor Roosevelt High School Music Community really rallied around us. We raised over $5,000 between us for that Bike Tour event and it represented the beginning of many years of cycling events raising money for the MS Society for me. I believe that Mike and I rode in two or three MS Bike Tour events in those years. We always had a blast. I continued riding in them for many years after. Mike started it all for me. I continue to be a cycling enthusiasts today and all of that is due to Mike.
Wednesday, July 13, 2016
The performance will be live streamed at the following link: http://live.interlochen.org/corson-camera
Today is the penultimate day of rehearsals for my current group of musicians at Interlochen. Our concert is tomorrow and we are ready to give a great performance.
Yesterday, in rehearsal, I wanted to give the students something very concrete that they could take home to their school orchestras and individual work as orchestral musicians. In response to some of our conversations this week, I decided to give them 5 concrete recommendations of habits that top level musicians should develop. Make no mistake about it, these habits will not make one a great musician. But, they are part of the expectations of any good musician and strong leader in all musical contexts. Thus, it is better to develop them early and have them in your lexicon as you continue to develop as a musician. I often encourage my own children "move with purpose" These are my orchestral "move with purpose" encouragements. So, without further ado, here are the 5 vital habits of a successful orchestral musician that I offered to my students yesterday.
1. Always have a pencil at rehearsal. Now, I know that every orchestra director in the world requires their musicians to have a pencil. But, the number of students that I see scrambling during rehearsal to find a writing utensil is unbelievable to me. I told my students yesterday that not only should there be one pencil on every stand, but, there should be one pencil for every person in the room. Every player should have their instrument, music, and a pencil as they go into any practice or rehearsal setting. Passing one pencil between two stands is simply unacceptable. It wastes time and is distracting to the entire ensemble.
I find that writing in music is one of the most important skills that I have developed over the years, both as a violinist and as a conductor. I try in all my rehearsals to tell the students what a musician would write in any given circumstance. And I encourage students to always be thinking about what they might write in a part without my prompting. So, it is vital that each student get in the habit of picking up a pencil every time they pick up their instrument.
2. Arrive at every rehearsal a minimum of 10 minutes early. It is vital that young musicians get in the habit of arriving at rehearsals with plenty of time to settle into the rehearsal space before the downbeat of rehearsal. This allows for time to communicate with stand partners, effectively tune their instrument, warm up a little bit, and simply to mentally settle into the task that is at hand. So frequently, I see musicians running into rehearsal at the last minute and never fully settling into the mental space of the rehearsal. This is certainly not an efficient way to maximize the time that they are spending in rehearsal. And, at the very least, and early arrival shows great respect for colleagues and leaders in the rehearsal setting. I know that I notice it as a conductor and really appreciate and respect those who arrive early.
3. Look at the conductor when you don't really have to. I tell musicians all the time that there are numerous opportunities for making visual contact with a conductor in the context of a piece of music. Of course, one must make visual contact with the conductor during important changes in a piece of music. These include tempo changes, style changes, and important articulations. However, I think it is also important that young musicians understand that it is important to make visual contact with a conductor during the more static passages as well. I encourage students to be cognizant of opportunities such as whole notes, repeated notes, and rests. These are times when an ensemble musician can let the conductor know that they are fully engaged in and on the same page as the other musicians in the room. This visual affirmation also gives the conductor full confidence to maintain the highest expectations of musicianship and expression for the ensemble. Thus, developing the habit of visual contact during static passages, while sometimes overlooked, is of the utmost importance.
4. Actually listen to the tuning note. So frequently, when I arrive in a new orchestral setting, a tuning note is sounded and musicians begin loudly tuning their own instrument without fully listening to the pitch of the tuning note. Years ago, I became aware of some research that indicates that there is a significantly higher rate of memorizing a pitch with a minimum of 5 seconds of listening time. I always encourage my young musicians to listen to a tuning note for 5 seconds before beginning their own tuning process. Additionally, it is so vital that the tuning be done at a piano (quiet) volume level. The vast majority of young students that I encounter tune significantly too loudly. It distorts the pitch of the strings and does not lead to an exceptional sounding ensemble.
5. Prepare your own part outside of rehearsal. I recently saw a post on Facebook that simply said "rehearsal is not for learning your own part, it's for learning everyone else's part." This really resonated with me. It is vital that musicians get in the habit of practicing their ensemble music in the practice room and understanding that rehearsal is for just that: rehearsing. The art of rehearsal and the art of practice are definitely mutually exclusive. All too often, students play in ensembles where the expectation is that they do both simultaneously. This is inefficient at least and rude at best. Nothing drives me more crazy than hearing a student workout a passage while I am in the middle of rehearsal. That is work for another time. Much of this, again, goes to the concept of respect for peers and for leadership. If a young musician really respects those around him for her, he will take the time necessary outside of rehearsal to prepare the passages for performance. I never expect things to be perfect from the beginning. But, I do expect that there is an understanding of the difference between the two activities. Practice involves slow thoughtful repetition. Rehearsal involves broader concepts and developing an understanding of all of the pieces of the puzzle. It is a much more "macro" activity. I simply think it's important that students grow to understand the distinction between practice and rehearsal.
These are my thoughts for today. I hope that you have found them to be interesting and applicable. If you feel that your students might benefit from these from this list, please feel free to share it. I know that I will keep working to develop these habits in my students. I hope that you will as well.
Best wishes for rehearsal rooms full of students with exceptional habits of orchestral musicians!
I had a wonderful experience yesterday in my rehearsal with the Intermediate Concert Orchestra at Interlochen that I would like to share with you today. Every Tuesday, the ICO string faculty attends my rehearsal and participates in a side-by-side experience with my students. The string faculty at Interlochen are fantastic players and teachers and it is a real honor to share in these collaborative rehearsal situations with them.
In these rehearsals, I try to use the faculty members to provide examples of style, bowing, and habits of orchestral playing for my young students to emulate. After we play a passage, I often ask the faculty members to give any thoughts or ideas to their section or the ensemble. These rehearsals are wonderfully positive and productive each time we have them.
Yesterday, we were working on the first movement of Haydn's Symphony Number 107, arranged by Robert McCashin. During the rehearsal, rhythmic accuracy was less than desirable and I felt like there were many moments where the individuals in the ensemble were sort of fighting against each other. I decided to stop conducting and simply get out of the way. What a magnificent change that created for the ensemble.
As soon as I stopped conducting, the entire ensemble began to watch and listen to the leadership that my colleagues were providing. Almost immediately, they became more unified in style and expression, not to mention rhythm and accuracy. As I watched my colleagues hear this change as well, it was fantastic to see the smiles on their faces. It became clear to all of us that the students were having one of those magical, impactful musical experiences that happen occasionally in rehearsals. This was one of them!
So, my thought today is a brief one, but important. Teachers, get out of the way of your orchestra. When they don't need you swinging the stick in front of them, don't swing the stick in front of them. The answer to unified ensembles is not always "watch the conductor." Sometimes it is "listen to each other." I think that we all need to be reminded of this from time to time. As teachers and conductors, we tend to be somewhat conductor centric. It's not always about the guy with the stick in his hand. Sometimes it is about listening. Students must be encouraged to open their ears, listen to each other, and act and react to each other as thinking feeling expressive musicians.
These are my thoughts this morning as we move towards our performance on Friday. I wish you many magical moments in rehearsals and performances.
Tuesday, July 12, 2016
- Nashville is fun. CMAFest is fun. I recommend that music lovers, and specifically country music lovers make it a point to get there at some time. CMAFest treated us to so much great music and a magnificent atmosphere throughout the week. I will make every effort to get back to CMAFest again in the future.
- We are doing ok in Durham. My son and I really enjoyed going to Broadway in Nashville. That said, so much of the live music that we enjoy in Durham (local and touring) holds up completely! We have a great music scene right here!
- It takes a lot to get noticed. We saw some pretty great musicians that werre toiling away in small honkey-tonks.
- It is the place to go to make it big. The folks that do get noticed, really have a chance!
- Money is there. Wow! Music row clearly isn't hurting for cash!!
- Everyone wants to be a star. The dreams are palpable!
- Fans are silly. I am not a fan. I am an enthusiast and appreciator. The folks that are just out to get a photo or an autograph seem silly to me.
- Strumming chords and singing isn't enough. You've gotta have a look, a certain cool, and real talent. The honkey tonks are full of strummers.
- You gotta have a good look. Enough said.
- Girls wear short denim shorts and boots. If you aint wearin that, you aint cool.
- I love checking out bands. I learned this from my friend Jeff Tart from Infinity Road!
- I am fortunate to make my living in music. Everyone wants to. Few are privileged to. I am living the dream!
- I want to keep getting better at my craft. There is always more to learn and achieve. I am not there yet.
- You have to play to get noticed. No one is going to get famous sitting in their living room. You have to hone your craft on stage. I know this. I get better every time I play out. When I don't play out, I get worse.
Friday, July 8, 2016
I am very excited to finally be situated in Interlochen, Michigan and ready to begin my work with the Intermediate Concert Orchestra at Interlochen Arts Camp for the 2016 season. This is my 6th season conducting this Orchestra and I have grown too love the process of turning these kids from all over the world into a high-level musical ensemble. Many of you know that I had a little delay in arrival. Due to some unforeseen circumstances, I had to request a substitute for the first concert of the 2016 season. I am very pleased that my dear friends Aaron and Wendy Tenney were able to fill in in my absence. I made it to camp in time to see their performance and was truly pleased with what I witnessed. The performance was beautiful and I was particularly impressed with the beautiful strings sound of the ensemble. The sonority was absolutely stunning! Congratulations to the Tenneys and all of the students for their magnificent performance.
Many of you know that I frequently write about the repertoire that I select for this ensemble. I intend to do that again this summer. My remarks on the repertoire for the first concert will be a little more brief than usual, simply because I haven't been immersed in that repertoire like I would have been had I conducted the program. The first concert included 4 selections:
- Pendleton Suite, Mvrt 3, M.L. Daniels
- Of Glorious Plumage, Richard Meyer
- Concerto in G Major, Vivaldi, Arr. LaJoie
- Nanigo, Sharp
The third movement of the Pendleton Suite includes a driving rhythm creating an exciting concert opener. Tom Lajoie's arrangement of the Vivaldi is one of my favorites and the students performed it with a true musical energy and understanding. Of Glorious Plumage is a beautiful, epic work that highlights the ensemble's ability to play long, lush lines with beauty and grace. Finally, Nanigo is a West African folk tune and is always a great way to end the program.
As we move forward with this summer, I will continue to write about the repertoire that the Intermediate Concert Orchestra is preparing, concepts that come up as part of rehearsals, and other general themes that arise as part of camp and my time in Northern Michigan. I look forward to sharing my experiences with you. If you are seeing my blog for the first time, I also would encourage you to find me on Twitter where I am "Orchestraguy." I will post shorter thoughts about rehearsals and camp there as well as links to various videos and, of course, new blog posts.
I am looking forward to a great summer full of wonderful music-making, happiness, and new rich friendships.
Wednesday, June 29, 2016
I don't care how much you know. I want to know how much you care. ~Pat Summitt, 1954-2016
Wow! Does that quote resonate with me. Of course, it does matter how much you know. It matters a lot. But , you can know an awful lot and if you don't care you can't move people. It takes heart to move individuals. It takes heart and passion to move groups.
I was talking with a group of stage crew members here at Interlochen Arts Camp last evening. I was telling them how impressed I was with them. I wasn't impressed with how much they knew about setting a stage. (Although they knew a great deal about it!) I was, however, impressed with the passion and purpose with which they approached their jobs. Each of them owned the activity in a way that made me respect them and appreciate them fully. They were effectively moving with real purpose and getting the job done in a way that was positive, energetic, and proactive. I could tell how much they cared.
This is yet another example of how I am constantly reminded that "moving with purpose" is an essential key to success in this world that we live in. I can't tell you how frequently I remind members of my ensembles that real musical success requires disciplined mental activity. It requires an active mind and mental habits that are proactive and forward-thinking. Musicians must be anticipating not only their next move, but the next move of other sections, and the conductor. They must be prepared with knowledge and practice, but they must always be in the game mentally.
All of this starts with, as Pat Summitt said, how much you care, not how much you know. Don't get me wrong. Scholarship is important. We have to know a lot. And in this age of Wikipedia and instant information at our fingertips, you still have to know what you're talking about. The learning process from a facts perspective, is so important. But knowledge without passion is flat.
As a teacher, we can articulate the need for passion and caring in many ways. But, I really think modeling passion and caring is the way that students truly learn that aspect of any discipline or activity. Students learn by example. Passion speaks. Passion moves.
Lots of folks know. Show me how much you care. I sure hope that those of you who know me have a sense of how much I care.
Wednesday, April 13, 2016
Thursday, March 3, 2016
Hi to all who are attending my session at ASTA 2016!
Thanks for coming to my session!!
Here is a link to the completed handout
Also, here is a link to the Finger Pattern Playlists
And, here is a reprint of my October 2015 post on this topic.
- Ensemble Tuning
- Ensemble Playing Position
- Finger patterns as a vehicle to ensemble intonation
- Rhythmic stability and Inner Rhythm
- Watching the conductor and general ensemble awareness
- Movement and breathing into phrase
- Dynamics and the dynamic nature of ensemble playing
- Spiccato and other intermediate to advanced bow techniques
- Bow speed/placement
- Pizzicato accuracy and technique
- Musical "essence" and the art of self editing difficult passages
- Precepts of bow direction
- Bow weight as it relates to bow placement
- Bow style as it relates to historic era of composition