[Trombone-l] Playing musiaclly

[Chris Tune]

Sounds like you teach very much like I do.  I've found that students 
appreciate it if you find interesting material which illustrates what you 
are conveying.  Example:

I figured out that the LSO, while playing "The Imperial March" in the movie 
"The Empire Strikes Back" was doing a perfect example of loud orchestral 
playing.  The trombone section is playing the melody most of the time, and 
they are in unison.  The "real loud" trombone sound (nonetheless, quite 
"controlled" and impressive) is there and serves as an example of the type 
of sound a trombone section getst when the music is martial and marked loud, 
or very loud.

So, I transcribed the tune and printed it out so all my students would be 
able to play it.

Also, we spoke about HOW to get this sound.  We discussed how there would be 
a need to actually practice loud.  Also, we discussed how this volume level 
requires really putting some effort into blowing. . . BUT we actually back 
off somewhat from the point where our tone is now out of control.  I pointed 
out that the more experience you get, the more you are able to "reach out" 
to very, very loud. . .without going over the cliff into "blatty".    The 
key, of course, is to practice it.

Also, regardless of what you are trying to express. . .sound (i.e. playing 
it for them. . .playing recordings where an orchestra or a player or small 
group is doing what you are talking about) will really do the trick of 
establishing a concept.  We humans have a tremendous ability to remember 
sound.  It may be true that musicians have a natural aptitude for committing 
sounds to memory.  I know I personally will always look at any kind of sound 
that has a new, and/or different quality to it.

Since I'm reading a book that covers this (Bruce Swedien's "Make Mine 
Music") I'd also point out that it is important to have available STEREO 
sound source (of course anything live is perfect. . .but boom boxes come in 
both mono - i.e. cheap and stereo. . .less cheap).  This because humans also 
are great "localizers" of sound.  The direction that sound is coming from is 
also very important.

I especially like this topic.  This can help virtually anyone in music--even 
those not currently playing or teaching, but rather just appreciating (and I 
HOPE this is the largest group of all. . .).

Chris

----- Original Message ----- 
From: "Jackie Harris-Stone" <bassboneladymail at yahoo.com>
To: <trombone-l at server5.samford.edu>
Sent: Thursday, March 02, 2006 11:09 AM
Subject: [Trombone-l] Playing musiaclly


>A few ideas that have helped for me: (I teach two universities, and a 
>pre-college program, with past experience at various levels from 
>kindergarten to community band)
>
>
>    A. dynamic range:
>
>    You can say "play more dynamics until you're blue in the face", but 
> younger players especially don't learn until they've done it, so I get 
> groups to play a passage as loud as they can and as soft as they can, and 
> then find a piece in the music with dynamic contrast to appy it to, then 
> backing off on the "as loud as you can" to make it tasteful. Then THEY 
> won't settle for bland as easily, though it takes reinforcement.
>
>  B. Articulation.  Practice, and talk about, different stylistic 
> articulations- do they know what a short and long accent look like?  And 
> bring out the styles- "in this piece,  back off on the whole notes; in 
> this piece, sustain them.  Teach them to play lightly- like mini-forte 
> pianos, and you have a great tool in your arsenal.
>
>  C. Style:  I've found in solo playing, really relating moods to talking- 
> an "angry piece" has short phrases, accents, and is generally low and 
> loud- like when you talk angrily- sad pieces are slow, soft, like when you 
> talk sadly. I've done this with kindergarten and 1st grade classes, and 
> they can change a "mary had a little lamb" that's happy to sad or mad or 
> excited or scared by changing articulation, range, dynamics, and speed, so 
> your groups should have no problem!  Apply as you wish.
>
>    B. Rhythmic shape.
>
>    I loved Mr. Abramson's rhythmic elements at Juilliard, and I pass it 
> on, because it's easily accessible to Jr. highers.  Basically,  teach them 
> the general shape of rhthym in a bar.  Mr. Kleinhammer will disagree with 
> me, but the shape Abramson uses of used of ONE the strongest, 2 the 
> softest, with 3 (4, 5, etc) gradually louder, with a HUGE crescendo from 
> the last beat of the bar to the first makes the most sense to me 
> musically.
>
>    Then, teach the exceptions.  In melodies, longer notes accented notes, 
> the highest note in a phrase, the lowest note in a phrase, notes following 
> jumps greater than a 4th, notes with harmonic tension, ornaments, and 
> syncopations all receive accents (I call it weight when I teach).  I teach 
> the longer notes, and higher and lowest notes first, then jumps of more 
> than a fourth.
>
>
>  And, the most effective of all, play with them and for them, and play 
> CD's.  I currently have three students each place I teach, so to do 
> quartets, I "had" to join in. (Getting paid to play quartets- not to 
> shabby!)  I think, especially with my most advanced program, playing with 
> them, especially when I'm talking about style, has helped their musicality 
> more than 100 lectures.
>
>
> Jackie Harris-Stone
> Bass Trombone, Orquesta Sinfonica de Monterrey
> Professor of Trombone, Escuela Superior de Musica y Danza,
> Professor of Low Brass, UANL
>
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