BSO Academy
Wow. I spent last week at the BSO Academy and it was an incredible week. The Academy is run by the Baltimore Symphony Orchestra and it’s a week long ‘camp’ where amateur musicians get to play and perform along side the BSO musicians. Their very fitting logo is ‘side by side with the pros’. The week was jam packed with lessons, lectures, ensemble rehearsals, and of course orchestra rehearsals led by Marin Alsop who is the music director of the BSO. All of this led to the final performance on Saturday night in Meyerhoff Symphony Hall.
I spent the week in disbelief that I was actually sitting on the stage of Meyerhoff Hall and playing with this wonderful orchestra. I applied back in January and I didn’t really expect to get accepted. Getting the acceptance letter was the first of several ‘jaw dropping’ experiences. The second was receiving the music and finding out that I was going to play the first movement of Mahler 2nd, Overture to Candide, and Ravel’s Alborada del Gracioso. The Academy was set up with two separate groups because we had 88 attendees. Group 2 performed Rimsky-Korsakov’s Cappriccio Espagnol and Hindemith’s Symphonic Metamorphosis. As I mentioned, just playing with the BSO orchestra was another ‘jaw dropping’ experience never to be forgotten. Playing with a professional orchestra was so different than playing with the community orchestra and bands I’m in. The rehearsals were ‘no nonsense’ and very efficient. At the beginning of the first rehearsal Marin Alsop stopped for a minute and the usual community orchestra chatter started. She gave one ‘shush’ and it never happened again. Just watching her lead the orchestra was a tremendous learning experience.
The week started with a fabulous performance by the BSO of Verdi’s Requiem. Then we met the BSO musicians and had a chance to chat with the musicians in our section. They were so welcoming. I never felt that they didn’t want to participate in the Academy. In fact, it was just the opposite. They helped us with our parts, let those capable of playing the solos play them, and answered any questions we had.
The week continued with sectionals, our ensemble rehearsals, and many very informative classes including classes on breathing, injury prevention, Alexander Technique, practicing effectively, using tuners and metronomes productively, yoga for musicians, and conquering stage fright. At many ‘camps’ classes like these provide only fluff but these were well prepared with very useful information.
In addition to the final orchestra performance, we also had a chamber music concert and a solo with piano recital. The typical ensemble was led by a BSO pro either playing or coaching. I was in a brass quartet – two trumpets, trombone and horn. We played a piece by Arthur Frackenpohl which I had to work hard at to play it well. Our coach was outstanding and very patient with me dealing with a piece that was slightly above my ability level. By the time of the concert I was able to play the piece well. I didn’t sign up for the solo with piano class though I should have. I would have had an opportunity to play for a very caring and forgiving audience.
I took two lessons, one with Mary Bisson who plays 3rd horn and one with Phil Munds who is the principle horn. Both lessons were extremely worthwhile. We worked on breathing and sound, which I continually struggle with. I got several very valuable exercises that I could tell helped my air and sound. Now it’s a matter of me doing them correctly without their guidance.
All in all the BSO Academy was an amazing, awe-inspiring experience that I will never forget. Hopefully I will have the opportunity to attend again next year.
School Recap
Last week I finished my first year back in school. I did well and really enjoyed the experience. The mundane silly stuff that I was worried about – parking and walking to class from the lot on ice and snow – was a non-issue. I had some concerns about fitting in with the kids but that wasn’t an issue either. Everyone was as nice as they could be and even started including me in conversations after a few weeks.
In the first semester I struggled a bit with theory not because I didn’t understand it but because I kept making stupid mistakes. I finally realized that I was inverting letters of the alphabet. For example, if I was in the key of C and had to use the 2nd scale degree I would think B instead of D. Once I knew to check carefully for mistakes like that I started to do well in theory. I think I must have some form of dyslexia. I’ve never known my right from my left without checking which arm my watch is on and I’m not good at the alphabet unless I sing the ABC song. I switch the sequence of phone numbers all the time.
This leads me to my biggest problem which is playing scales. I’ve been practicing scales every day since I started playing the horn again. I know C by rote. I am just getting D and Bb by rote. The scales that I have to think about I mess up every time. I’ll get lost halfway through the scale or forget what scale I’m playing or think the wrong note. If I know the note I’m at I don’t have a problem knowing if it’s natural, sharp or flat but remembering that F comes after E is a problem. Going backwards is close to impossible. My problem with scales has hurt my jury grades and somehow I’m going to have to learn them.
I was talking to a horn teacher and friend of mine a few weeks ago and she was telling me that she’s teaching a high school student who is an excellent horn player but has the same problems with scales. She suggested working on just one scale at a time until I know it by rote and then moving on to the next one. I’ve been working on G for about a week now. At this rate maybe I’ll know the major scales by the end of the summer.
My second biggest problem is identifying intervals. I still can’t reliably identify major and minor thirds, especially harmonically. Since I’m having trouble with thirds, I have trouble identifying triads and their inversions. It also seems that the more I work at it the worse I get. For the most part I don’t have trouble with melodic dictation. I listen for reference notes and then figure out the intervals in the dictation from there. I do fine with sight singing also. I’m going to work on intervals everyday over the summer so I hope I get them in my ear by the time Aural Skills 3 starts in the fall.
With horn playing my challenges are still air and rhythm. I finally understand what it is that I need to do with air but very frequently I don’t remember to do it. I think once using air correctly becomes a habit my horn playing will improve a lot. For rhythm I practice with a metronome but I still have an amazing capacity to completely block it out. I must have at least six different metronomes – even some that poke me or buzz on my wrist – but none of them stop me from blocking them out. I have at least gotten to the point that after a few measures I realize that I’m not with the metronome anymore.
My last issue that has been plaguing me since the fall is my sound. I’ve already blogged about this but gosh it’s driving me crazy. My sound is overly bright and I’ve been playing around with different horns trying to find one that warms and darkens my sound. I love my Otto horn except for the sound I get from it. That’s a big ‘except’. My horn feels like an old friend, sort of like a favorite flannel shirt and I hate the thought of changing horns but this sound thing is making me miserable. I’m also still a novice so it’s probably not the best time to change horns. On the other hand, I’m playing the horn because I love playing the horn and not liking my sound makes playing a lot less fun. I’ve tried different right hand positions, different posture, and putting the horn on my chops at different angles but nothing seems to help. I wish a genie would just pop out of a bottle and grant my wish for a better sound on my Otto horn.
Performing – new trouble
Although I feel like most of my nervousness when I perform has gone away, I still play badly when I perform. I’m not sure how to overcome this issue. On Friday I had my spring semester jury exam and yesterday I performed Laudatio at a small recital in NYC and I seem to have come up with a new way to screw up.
Previously I would chip, overshoot or undershoot notes but ultimately I would end up playing the correct note and continue playing the correct notes. This was all about using air correctly and for the most part I’ve finally got that figured out (it only took three years) so I chip a whole lot fewer notes at least when I remember to use my air properly. At the dress rehearsal for my jury, at my jury exam and again yesterday I played the wrong pitches on lots of passages. Not just one or two here and there but entire phrases. This is something new. I’ve always had the problem of nailing the first note of a piece correctly but this week I’ve just missed way too much. I played an awful lot of notes that Bernhard Krol didn’t write yesterday and that Hindemith and Alec Wilder didn’t write the day before.
I played the first movement of the Hindemith Sonata at my jury and I rehearsed with the pianist at least five times and the first three times went very well. We had to work on rhythm issues but I was playing the correct notes. Then at the dress rehearsal and at the final run through I started playing entire passages about a third lower. After these fiascos I went back to playing along with the recording and just practicing the piece and everything was fine. Then at the performance I again played the wrong notes. I also did this with the Wilder Sonata at the jury and I had never messed up the Wilder that way before my performance. Yesterday I did the same thing on Laudatio and I know that piece about as well as anything I’ve ever played. I played it through five times yesterday morning correctly and then blew the entire opening section at the performance. It got better toward the end of the piece but I played way too much that was just wrong; clean notes but wrong notes.
I’ve always played worse at the performance than at any practice session or rehearsal but this has been the air problem which goes hand in hand with nervousness. As I get better with air and get less nervous my confidence that I can play better at a performance has gone up. Now I feel like my confidence level has dropped back to where it was a year ago which was pretty much non existant. I have something new to worry about and I don’t know how to fix it because I don’t know why it’s happening. Even worse, I don’t have any performances coming up until the middle of the fall semester so I have way too much time to stew over this. I’d love some suggestions on how to fix this.
Train wreck
Well it’s happened. I completely blew an opening seven bar solo at a quartet performance at the beginning of June. My first note was extremely sharp, though I didn’t realize that at the time, and I felt like I started on the wrong note and every note after that sounded off to me. With that running in my head, I just couldn’t recover; in fact, I had no idea how to recover, and the whole solo was a fiasco.
I knew how to play the solo and I had just played it forty minutes earlier in a practice room without any problems including hitting the first note in tune. I know I do have problems with intonation but not usually to the extreme of this first note. So I’ve been asking myself what happened that made this first note so bad and one of the reasons goes back to the last rehearsal. I played horribly at the last rehearsal. Everything was off. Intonation, tonguing, fingering, rhythm, you name it, I blew it.
The only excuse I have for this is that we changed the seating because I asked (and boy do I regret that request) not to sit on the outside during the performance. This put me next to someone on my left. During the rehearsal I couldn’t hear what I was playing and that completely messed me up. I only figured this out on my way home or I would have asked to move back to my usual spot. I realized that I have never played with another horn directly on my left. In one of the bands I’m in I sit where the 1st horn would typically sit and I have a sax next to me. In the other band I sit on the end of the horn section but I am slightly curved toward the clarinets so the 3rd horn’s bell is not that close to me. With such a bad rehearsal as the last rehearsal before the recital, my confidence that I could play anything was shot. I was mentally in a really bad place. I didn’t have a positive experience to remember and rely on, just a horrible one.
Another reason is that I was nervous. There’s not much I can do about that except play more in public. Today I had a performance with a small brass ensemble and I had a four bar solo which was fine however it was in the middle of the piece. This leads to yet another reason why I messed up the solo. I have figured out that I have first-note-itis. I played 1st horn in the college orchestra back in the early seventies and the 1st chairs were invited to play with the local pro orchestra. We were doing Tchaik 5 and I had to play the famous solo. I chipped the first note. The fact that I remember this and almost nothing else about college orchestra I think is significant. What I realized is that I only think about that first note even though the rest of the solo was fine. And I always think of that note. So even almost 40 years later I worry excessively about first notes. Now I have to figure out how to get it out of my head.
Brahms Horn Trio
Last Sunday I performed the first movement of the Brahms Horn Trio at the adult chamber music recital at SUNY Stony Brook. This was a huge deal for me since it was my first performance for an audience, other than band concerts, since 1972. I signed up for this adult chamber music class run by Stony Brook last fall and this is the piece that I was assigned for the spring semester. I auditioned for this group for placement only and I thought I had really botched the audition. I guess not. A friend of mine also auditioned and she was placed into a wind quintet with much easier pieces. I always thought that she was a better player than me so it seemed odd to me that I was assigned the Brahms.
The first thing I did when I found out what I was playing was to call my horn teacher and ask if she thought there was any hope for me to play it successfully. I was very skeptical but she said that if I worked hard at it I could do it. To say that I have lived and breathed the Brahms for the past eight weeks would be an understatement. I played the Lowell Greer CD in my car endlessly, I studied the score, and I practiced it for hours each day.
My first rehearsal was pretty bad. I was nervous and I had a lot of trouble getting notes out of my horn. It was quite embarrassing. Fortunately our coach, the violinist, and the pianist were sympathetic and I did get better at each rehearsal. Up until the very last dress rehearsal I was having trouble with some of the rhythm in the 9/8 sections but I finally got it. I think I really tested our coach’s patience as I tried over and over again to get the rhythm right. I had no problem with it if I sang the part, it was just when I put the horn on my face that I kept missing it.
I think the performance was successful. My horn teacher said I should feel that the performance was successful if I played it at least 90% as good as the best I played it practicing. I think I did at least that. I felt good about it when we were done and several people came up to me and said it went well. I managed to get past my nervousness after the first few notes and I don’t think I missed many notes. I’ll know for sure when I hear the CD.
Next up is a performance on June 4th with the horn quartet that I am in. We are playing a Telemann piece, six pieces by Tscherepnine, and an excerpt from Der Freischutz. I am playing first horn for the 5th Tscherepnine piece so I have an opening seven bar solo. Sometimes in rehearsal I play this really well and other times it’s a disaster. Our last rehearsal is this Tuesday June 1st and I hope that I can nail the solo more than once so that I have at least some confidence at the performance.
Improvement
The weekend before last I went to the Northeast Horn Workshop at the University of Delaware. Compared to the one in Ithaca a year ago where I felt totally out of place, at this one I felt quite at ease. Another year of playing really made a difference. For the most part I was able to keep up during the ensemble readings and I could really tell that I have improved a lot. I also learned a lot more from the lectures and master classes than I did the year before.
I’ve also made another mouthpiece change which, so far, has made a big change for the better with my playing. I’d been thinking about changing the stem of my mouthpiece for a while because the one I’ve been using was made fatter to try to compensate for my former Hoyer horn and it’s sharpness problem. At the workshop I chatted with Scott Bacon about this and he suggested that I try a Moosewood AW11 Megamoose. This stem is heavier and has a deeper cup than the Moosewood B12 that I was using. I was under the impression, as it turns out incorrectly, that I would play better with a smaller cup and smaller bore so I’m very surprised at how well I play with this stem. Among other things, I’m missing a whole lot fewer notes, slurs are better, my range has stayed the same and playing just seems easier. Plus my endurance is better. I didn’t change my rim so I don’t think I’m going to go through one of the new mouthpiece disasters that I have in the past.
In addition to the two bands that I’m in, I’m playing in a horn quartet this spring as well as a chamber music group. Learning the new music doesn’t seem as hard as it used to be. In the chamber music group I’ve been assigned the 1st movement of the Brahms Horn Trio. As I’m working on the music, and forcing myself to learn Eb transposition, I’ve managed to go from being completely terrified to thinking that maybe I can actually play it. I’m also starting to feel better about playing 16th notes. A couple of months ago I just couldn’t seem to get my fingers and my brain to sync up for really fast passages. I still can’t get quite up to the tempo the passages should be played at but I’m a lot closer than I used to be. In the horn quartet we are working on a Telemann piece that I’m feeling quite positive about. As recently as last week I was worried that I wouldn’t be able to play it. I think that for the first time since I started playing again I actually believe that I have gotten measurably better and it’s a nice feeling.
Rehearsal Etiquette
A debate has started on the Yahoo Horn Group about rehearsal etiquette and in particular if ‘fun’ at rehearsals is appropriate and that having fun gives amateur ensembles a bad name. A question was also asked why just playing the music wasn’t enough. I weighed in pretty heavily on the fun side of the fence for amateur ensembles (a key distinction) and I thought I would also comment here. My comments are expanded a bit from what I wrote on the horn group website and I’ve added a few questions at the end.
My first question is amongst whom do amateur ensembles have a bad name? It’s certainly not the audiences – who we play for – in the community I live in. Our concerts for both bands I’m in are standing room only in decent sized auditoriums. We typically get standing ovations at the end of our concerts.
In the band I’m in where levity and laughter is allowed and enjoyed people come to rehearsals early allowing plenty of time to warm up. They bring their music home and practice. Hardly anyone misses rehearsals. Yes, while we are pulling out music in between pieces that we are rehearsing we have a few laughs. Sometimes even in the middle of a piece if something really funny happens. We are amateurs so there are times, as an example, when different sections start at the wrong rehearsal number and the outcome is really funny. There are even times when two different sections start on a different piece of music. Why not laugh?
In the band I’m in with the ‘serious’ conductor people are talking with their feet. This serious conductor took over the band in the middle of last year. Before that the band had a more relaxed conductor and rehearsals were packed just like the other band. Since January we’re lucky if half the band shows up and those that do show up are typically late. Remember that this is about amateur groups where members are volunteers and don’t have to attend rehearsals. It’s gotten so bad that the conductor put the winter concert off by a month and started a heavy recruitment campaign. I suspect that for our concert in March we will still have a full audience because their expectations will be from last year. I have the feeling that the May concert won’t be so well attended.
In the ‘fun’ band the music isn’t less good because we have fun, it’s actually better because people really want to be there and they care enough to work at making it good.
I’ve only been playing again for two years so I still love going to band regardless of the level of tension at the one bands’ rehearsals. I’ll play in anything I can find. However there are people in both bands that have been going for fifteen, twenty or even thirty years. Clearly they don’t want to waste their time if they are not enjoying the experience and just the music isn’t enough for them.
I subbed in an orchestra (and got paid) in December and the atmosphere, as expected, was completely professional. We played Brahms Requiem and the music was glorious and yes, the music was more than enough to make me happy. I would play with this orchestra if I could all the time and love every minute of it, no levity necessary. I know enough to behave in an appropriate manner for the situation I’m in and I would hope that other amateurs would also behave appropriately. I don’t think that generally amateurs behave badly and professionals behave properly or that people need to be in a more serious environment in order to behave properly. There are bad apples on both sides.
I don’t think there is a right or wrong position here though I personally prefer a more relaxed atmosphere. In the end amateurs can make choices about what they want to do and those that prefer a more serious environment can opt out of whatever they don’t like and vice versa. Of course this really isn’t true for those making a living in an orchestra. Lot’s of times you are stuck whether you like it or not.
Which side of the fence do you fall on? Is there any levity in a professional orchestra? If there is does the music suffer for it? If there isn’t do the musicians suffer because of it?
JoyKeys and a lesson
My most recent lesson: There are numerous adjectives that come to mind – horrendous, horrific, terrible, embarrassing, productive. You might wonder how ‘productive’ got into this list. I take lessons from Scott Bacon (Siegfried’s Call) monthly and this one was torture. I had a really bad practice session the day before my lesson and this seems to be cyclical with me. I have a string of bad days followed by a string of good days and then back to bad days, and so forth.
I started my lesson telling Scott that I didn’t think I had improved much, if at all, from my last lesson. Good thing I said that. We started off with some warm-ups and I could tell that my chops weren’t responding well. Very stiff. My high range was non-existant, my tone was awful, my intonation was awful and I was clamming notes all over the place. We kept going anyway. Kopprasch #3. We worked on the different articulations, rhythm, dynamics, continuity and kept to the middle range. Then we moved on to Singer #7 – quarter note arpeggios. Again we skipped the high notes and concentrated on continuity from note to note and steadiness of tempo. It really didn’t matter that the quality of my tone was bad. It would have been nicer if I sounded good but I still learned a lot.
I’m working on the adagio movement of the Schumann Adagio and Allegro so that was next. We went measure by measure working on phrasing and rhythm. There wasn’t a prayer in hell that I was going to get the high C so we took it down an octave. For this piece I really wished that I sounded better but I still got a few “that was very nice” comments from Scott. After two hours and ten minutes I was spent so we stopped. When we started the lesson I didn’t think I was going to get much out of it but in the end it really was productive. As Scott was walking me to my car he said that even though I sounded bad I played much more musically. I spend so much time focusing on getting the notes that I usually don’t play very musically. I think both my teachers find getting me to play musically is like pulling teeth. This time I already knew that getting the right notes was a crap shoot so I was able to focus on musicality. From Scott’s I drove three hours straight to my 2 hour band rehearsal. Irony of ironies, I played great. No range problems, no tone problems and very few clams.
JoyKeys: While I was up at Scott’s for my lesson I had him install two JoyKeys to replace my water keys. The JoyKey is designed by Andrew Joy, a hornist working primarily in Europe. It’s a replacement for the traditional water key. Instead of using a water key there’s a metal mesh plug in the JoyKey that releases the water continuously but maintains an air seal.
I decided to get them when I was up at my previous lesson with Scott and he didn’t have to dump water once during my entire 2 hour lesson. I had them installed, replacing my water keys, before I started this lesson and I didn’t have to dump any water during my lesson or during my band rehearsal even though the horn sat in the back of my car for three hours on a very cold day. Occasionally I have to blow into the horn to get rid of some residual water. So what’s the downside? Ahem. My pants get wet. Actually more damp that wet but still visible on jeans if you know where to look. I wouldn’t wear khaki pants. That could get embarrassing. I’m planning on getting a nice chamois to put on my lap but until I get one a towel does the job. So far I’m happy that I had them installed.
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