Frequency Bone

NEW SUMMER MUSIC EVENT

2009-07-18T19:26:00.001-04:00

Name of event: Frequency Bone Summer Music Connection

Director: Norman Bolter

Date: July 21 - 25, 2009

Location: Online here on my Frequency Bone blog.

Cost: FREE

Stay Tuned for updates and preparation information.

Contemplation

2009-07-14T20:52:00.009-04:00

If you were on an island by yourself with your trombone to play, what would you do? Hint: If you did not have to worry about getting a job in an orchestra or anywhere else.. think and sense how free you could be with your playing....what would be your measuring stick for your standards??? How would you measure them??? Would you measure them and if so, why???

Frequency Band OPT an opportunity

2009-06-20T19:57:00.008-04:00

During the next 28 hours we are having a Frequency Band OPT. OPT stands for "Organized Powered Transmission." This is an opportunity to send thoughts of well wishes, well being and healing to anyone or any place in the world you choose to.

These OPTs are an important part of the Frequency Band and they started in response to Hurricane Katrina in 2005. Since then, we hold OPTs at various times of the year. We have held them in Boston with several musicians and we also have held them in concerts, including our participation at ETW (Eastern Trombone Workshop) this past spring. It is not a local Boston event, it is for all who would like to participate wherever they may be in the world.

If you are on Facebook, you can check it out and RSVP if you would like to participate. The link is on Frequency Band OPT Event Page on Facebook. Here you will also find some simple explanations and guidance.There is also a Frequency Band video on this page as well. Also you can go to the Air-ev website which is:http://www.air-ev.com/av.cfm if you are not on Facebook and you will see the video as well. Just scroll down the page and you will see "Unity Born of Humanity" video.

If you are interested in helping out with in this unique way check it out. There is close to 70 people from all over the world participating. With such a large time frame, 28 hours, it is pretty easy for most folks to find the time to send their wishes for a few minutes. And we believe in the power of thought. Even though it can seem so little, it is huge in its energy when coming from real sincerity.

Here is to your well being and a "Unity Born of Humanity" for all.

Follow Up on TRY THIS!

2009-06-19T20:08:00.003-04:00

For those of you who happened to do the TRY THIS! experiment for brass players, I hope you got something out of it. Syllables are created and used in sound production by wind or brass players whether it is conscious or not. What I find interesting is the subtle mix of syllables that are present in the ingredients of any sound not just one.

Players who tend to have low overtones in their sound and the shape of the sound is very open, can sometimes have difficulty projecting. When playing alone this type of sound can sound very full and large in size. But this type of sound if the 'oh' ingredient is not balanced with some 'ooh' or a soft 'ay' sound, it can easily get covered by sounds that have higher overtones in them. (Note: not all low overtoned sounds are open in quality, some can sound almost congested or plugged).

I am sure those who have worked into syllables have discovered the different ranges, pedal, low, mid, upper mid and high and 'super high' can be improved upon with the use of certain syllables. In my own case, it is the low range that I have to be the most conscious of in regards to syllable usage. After low Bb, I need to think 'ay' in syllable shape. This helps me to focus the tone and helps to regulate the amount of air going through the horn which is vital for me in that range because I do not have a large lung capacity.

So much could be said about the use of syllables and my research on it is quite extensive because of working with people for over 40 years and how it is another proof of how different we all are and not everyone can use the same concepts. Plus, we need to keep up with our own changing bodies and concepts if we want to continue our playing when those changes occur. Which makes me think, what a person thinks is a hard fact today, might not be tomorrow. I have certainly experienced this myself!

Some Additional Thoughts on Evenness

2009-06-10T21:06:00.003-04:00

I want to add to something I said in yesterday's post on evenness. I was talking about clarity and wrote, "I soon realized that clarity had to do with the synchronization of air, lip vibration and tongue, coming together for an immediate impact of sound, not the hardness of the attack or the note length."

It is about definition of sound. The immediate impact of of sound needs to have its synchrony focused on a specific pitch center. When this happens, clarity is the result no matter how short or long, soft or hard the actual length or attack is.

Of course there is the consideration on the subject of release at the end of the note and what impact that has on evenness. Plus another interesting consideration is how a person thinks when they articulate a note. Many brass players sound like they play with lots of 'down bows'. This can get very labored and horizontal sounding to the listener. It also does not do much to the phrasing in general. 'Up bows' in our articulation add to the movement of the line just as it does to string players. In fact, a teacher of mine told me once that all fine wind players 'bow' and all fine string players 'breathe'.

So when considering the topic of evenness, I find it very useful to examine and experiment with it in the light of the following:

1. Musical context
2. Fundamental command
3. Working on stability

Also, when I do my 'evenness' exercises I listen to the three basic parts of each note:

1. Beginning or 'head' of the note
2. The middle or 'body' of the note
3. The end, release or 'tail' of the note

We also can get into the shape of the note which was hinted at in the subject of bowing, but one needs to find a mental concept for their basic note shape. 'Bricks' is a popular shape but I have found it a stumbling 'block' for some people. I often think of a tubular shape, and again this can change according to the nature of the music or an aspect of articulation I could be working on.

My last paragraph on yesterday's post ended with the thought of if a brass or wind player played with as much sound and articulation variations as some string soloist do what would that do to most listeners of the 'classic' kind and would it be practical to work on lots of variation if we have not 'mastered' the one even color yet. Well, the way I have had to solve this in my mind, dealing with it from a very young age, was from the stand point of realizing that the one even basic sound is just one kind of tone color. It is one of many colors in the timber spectrum. In most orchestral settings there is not a great need for a huge diversity of tone flavors and colors. Yes, of course you need to play with a large volume contrast and to blend with others and different instruments. This requires sensitivity to balance and nuance. But in my experience with what most people want, is subtle variations on a basic acceptable color. Which takes its own kind of skill to do well.

For me, it is fun, broadening and musically necessary to venture outside of that realm. It is important at some point, at least it was for me, to not care to, to much on only that which is looked upon by a majority to be the only valid way. If that were the case, how could anything new ever have a chance to appear?

More on Evenness

2009-06-09T16:51:00.004-04:00

When looking at evenness of sound it becomes quite obvious that the consistency of our impact pressure, articulated beginning of our tone, is a big part of this.
With this in mind, I have also noticed a trend toward less variety of articulation in the quest for evenness. Also, basic note lengths are longer than lets say 30 years ago.

I remember when I studied with Ron Ricketts of the Minnesota Orchestra in the mid to late 1960's, that he was very into short playing especially for faster passages. This was a style of trombone playing, John Swallow also did this to an extent as well, that was prominent and I think often times players associated short note lengths and firm pointed articulations with clarity.

This changed for me when I started to take with Steven Zellmer who wanted there to be more substance and body on any note regardless of whether it was fast or slow in tempo or length. I soon realized that clarity had to do with the synchronization of air, lip vibration and tongue, coming together for an immediate impact of sound, not the hardness of the attack or the note length. With that said, I noticed that the players who can get very 'evenness of sound finicky', do not warm to real short pecky staccato or do not necessarily use a large variety of articulation themselves.

What is interesting, is that many of my favorite string players who are soloists, have an incredible spectrum of articulation and tone colors that if expressed on a brass instrument would cause many of the brass and wind players of the symphonic world to shudder. What is wrong with variety? I think players might think that they need to master the one even quality sound first, and then after that they will have enough control to venture into other colors because they will actually have the control to do it deliberately. My thoughts on that will have to wait until my next post on this subject! Hmmm.....

EVENNESS OF SOUND How even minded are we on the subject?

2009-06-08T11:10:00.007-04:00

Evenness of sound is something that instrumentalists have been working on for many years. It is one of the mechanical arts of 'fine' instrumental playing that players strive for, especially in the 'classical' orchestral realms.

However, in recent years it seems to me, it has been getting to be almost an obsession. Certain players just can't 'see' past anyone who doesn't have an 'even' sound in all the registers. This over preoccupation with evenness also affects nuances and timbre variation as well, which of course, are the symptomatic expressions of a player's central government of concepts from where their music comes out of.

Lets look at this 'even' issue. Instruments that are 'built' with a sound, like certain keyboard and percussion instruments, still need the player to develop enough control to articulate evenly in all the ranges. And we all know for example, that different pianists would sound remarkably distinct from one another if they were playing the same piano.

Are some teachers really tough on evenness because it shows a lack of control or a lack of discipline on the students part for not sticking to it enough to develop the control it would take to play evenly? Or, is it that some teachers only see their music from the standpoint of technical mastery and don't really know how to convey or inspire deeper expressive qualities? Or, do they figure that the rest of it is subjective and the only clear 'objective', 'concrete' thing are the mechanics?

It brings me to questions like, "what is important in the balances of our playing?" If it all comes down to "I want a job," then we are at the mercy of the ones that have gone through that process and got the job, and are now considered from others on the 'outside' to be the authorities.

This makes a certain amount of sense on that level. But, if it produces 'clones' of players, and 'cloned' excerpts and performances, let me ask the following question, "what in the world does that have to do with Art and originality? Let alone the deeper human development and creative processes?

What in Nature is even? This is a huge subject, but the forces of Nature, the cycles, seasons, flora and fauna for example, have a motion to them and not always so predictable and 'even'. Maybe the obsession with evenness is a human's way of trying to find perfection and stability. This kind of 'perfection' is not connected to anything in the natural worlds. It will eventually deteriorate because our physiology changes, and not always in clear, predictable and chartable ways. Our physiology is not the only thing that changes really, but whether we the person wants to change or not, our body has a limited life and is changing all the time.

In practical brass playing terms, that beautiful sound we hear in our minds and would like to have for every single note, is temporary, that is if we actually achieve it. The idea for example of an 'open' sound might get increasingly difficult as our bodies change and our internal life changes with living and experiencing what life brings our way. Would we be willing to 'compromise' if it meant giving up our one wonderful even sound so we could continue to play at all?

If 'evenness' is such a huge criteria, could it be out of proportion to the bigger musical picture? Can it be its own type of 'cholesterol' blocking our deeper perceptions out of fear we will not be 'even'?

Hey, I practice my 'even' exercises everyday. But, in no way will I let that be my sole musical government. I still believe that there is room in the job market for those 'less than perfect' players who play with feeling, passion and connection. Of course you can have all those qualities and be a 'perfectly even' player too. Im just trying to encourage those wonderful players out there, many of whom I have heard, that are exciting and expressive players who may not have the 'perfect even' thing down. MUSIC, the essence of it, is an equal opportunity employer!

I'll end this post on evenness of sound by quoting something a great long time friend of mine said who is a terrific violist in a major U.S. orchestra. I was talking to him about this subject of evenness a few years ago. He looked at me and said with a tone of seriousness and a tinge of dark humor, "you take some coffins, you line them up, and their even."

TRY THIS! Experiment for humans and brass players :-)

2009-06-06T13:13:00.003-04:00

As long as we are on the very interesting subject of syllables, I thought that there might be some folks who would like to experiment with this:

1. Sit up right in a chair, relaxed with spine straight and feet flat on the floor.

2. Then say out loud in a full voice the sound 'Oh'. While you say this, imagine the 'Oh' sound surrounding your whole body as if it were a bubble of sound resonance extending out about three feet from your body and encircling it. Do this until you feel you are immersed in that 'Oh' resonance.

3. Then say the word 'La' ( rhymes with 'ma' ) and feel that sound resonance in your heart area in the middle of your chest. Have the 'La' sound have a lot of warmth. Do this until you feel that settled warmth of sound in your chest.

4. Lastly, shut your eyes (you can actually have your eyes shut the whole time of the entire exercise if you wish) and put your attention on your forehead and say the sound 'nim' (rhymes with 'him'). Feel that sound resonance softly near the center of your forehead. Do this until you feel very inward and have a sense of a calm and awake feeling.

This 'exercise-experiment' can be very restful and focusing before we start playing especially if we are mentally scattered or anxious. Also, play with the various sound resonances until they feel natural for you in duration and length.

For all those that are interested in trying this, you are welcome to post your comments on the blog. I would be interested to know your findings and experiences.

Happy experimenting!

TRY THIS! Experiments for brass players

2009-06-04T18:16:00.008-04:00

Play a couple of lines of a simple lyrical legato study using the syllable 'u' ( sounds like 'who'). Notice how it feels in different registers and dynamics.

Then wait a couple of minutes and do the same piece using the syllable sound 'ur' ( sounds like 'fur' or 'her'). Notice how this feels in different dynamics and registers.

Then do this same format using the syllable 'O' (sounds like 'oh') then the syllable sounds 'A' ( sounds like 'hay') then an 'AH' sound. Experiment with these for a week or so and if you are interested let me know your results in a comment on the blog.

My interest in this subject stems from my own playing discoveries and what I am noticing in other people's playing. For years we can go on what we have learned and practiced or on 'instincts' and just play. It is only when we hit a snag or a 'brick wall' or feel that something is not doing what it normally does that we have to figure it out.

This is where using different tools can be very useful. The use of vowels or syllables in wind playing is very fascinating for they naturally incorporate the tongue and embouchure muscles in creating shapes that can enhance or distract from sound quality and register and our air support systems.

I don't want to say to much more until a week or so from now.

Good luck with your discovery endeavor!

HAPPY BIRTHDAY MOM!

2009-05-30T20:47:00.001-04:00

It was 74 years ago today
A great wonderful person was born
Just as alive today
Even though she is in another domain

One of my first teachers
Maybe the first in this life
Filled with hope
Inspiration
Love of Nature
Love of family
Fun and playful
Fun! Fun! Fun!
Like a 'hip' Mary Poppins
She was the sugar that made the medicine go down
When Shirley held your hand
You felt so grand
Your life started playing
Like a big brass band!

You could be yourself around her (mostly) :-)
And when she sang, "When you wish upon a Star"
You felt your dreams would come true
And the fact I had a mother like her
Was the proof they had!!

Happy Birthday Mom, wherever you are in the universe!

"That is Where the Music Really Is!"

2009-05-15T22:01:00.002-04:00

One of the core sentiments of the Frequency Band that Carol and I speak about is "music as a living thing." Carol has written many times on this vital attitude and approach and we both have worked with students and professional musicians on developing this wonderful and fresh relationship with their music.

In this post, Master Manlon connects deep into the heart of the matter.

Master Manlon was sitting in his practice room moving into deep realms of connective thought. The connection increased and it was clear how everything is energy and that we humans create from the need to move closer to the source of where energy originates.

Master Manlon saw, in his connective state, how the use of technology and the advancement of technology comes from the direct relationship between humans and their knowledge and personal interaction with energy. That is why, Master Manlon could see, the essence of oneself is energy in the form of consciousness. And this, he thought, has been known by the wise people of many cultures for thousands of years.

But to be in the experience of it marks the difference between knowledge from a distance (not integrated) and integrated personal connection--where one sees, feels, hears, tastes and smells the reality of the knowledge. The words with which to describe this state came to him as "intuitive experience cognizing the moment in continuum."

He thought of how, in music, the special moments people feel are when there is a momentum of energy that fills a person with a sense of 'now' and continuos movement where one feels life or oneself very deeply and fully. "To be here all the time," he thought. "Aaah, that is where the Music really is!" Because that is the essence of "Music as a Living Thing."

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Other excerpts from my book in progress, "The TAC Legend Writings," can be found throughout this blog. Here is a sampling:

PPMP: Master Manlon and "The TAC Legend Writings"
Trombone Sci-Fi
Excerpt from "The TAC Legend Writings"
Blinded by Sound
Another Excerpt from "The TAC Legend Writings"
More from "The TAC Legend Writings"
More Trombone Sci-Fi
More from Master Manlon and "The TAC Legend Writings"
Truth or Agenda? From "The TAC Legend Writings"

It Can Be Done

2009-05-10T01:04:00.004-04:00

It can be done
It will be done
It has been done
and will continue to be done
by the brave and trying few
who wish to go beyond the 'make do'
into the land of opportunity
on the path of always new
but ever there
shining pure
un-corrupted
open ended and truthful
hoping you will come join it
and journey to the sublime
powerful worlds waiting to be
explored!

I'll Make My 'Pretty Good' Sing

2009-04-16T17:51:00.006-04:00

This morning while I was tightening my trigger, I thought about how technical mastery is not synonymous with musical expression. As soon as this thought came to my mind, this simple song came in too!

MP3: I'll Make My Pretty Good Sing

Frequency Band on Facebook

2009-04-11T23:29:00.007-04:00

In this day of virtual communication, I know that Facebook is a popular and effective way for people to be in touch with one another. Well, Carol and some other Frequency Band people have set up a Frequency Band page on Facebook.

It has videos, sound clips from the new Frequency Band "Phoenix" CD, photos and more. Carol and the gang have done a great job!

Check it out by going to Facebook if you are on it or even if you're not signed up you can view a lot of the content on this page.

Enjoy getting to know more about the Frequency Band and its activities and become a fan on Facebook!

You also can read more about the Frequency Band on it's own page on our website.

Excerpt-mania, Exerptitis and Excerpt-phobiaBEWARE!!

2009-04-06T15:04:00.002-04:00

Let's face it. The lure of being in pursuit of an orchestra job is huge. Great literature by stupendous composers, an opportunity to play with fine players, conductors and soloists, and, in a lot of cases, a very good stable well-paying job or a good-enough-to-live-off-of job. Because of these opportunities, many music schools and conservatories want to be training grounds and factories that 'crank' out fine symphonic products.

That is all fine, except when the focus on a rigid, formularized approach to the orchestral literature goes into hyper-drive over the basics of rhythm, pitch and sound-evenness, in place of feeling the character of the whole piece where the excerpt is a part of it. Not just a bland, understated color or texture, but a living active piece of the whole musical organism. You cannot see the spleen or colon from the outside of the body, but without them playing their parts to the fullest, you would physically be in BIG danger. That, of course, could be said of other parts in the body and it can be said for all the players in the orchestra, where the individual players are the cells and the sections become molecules and organs.

I have heard many players develop three fundamental side effects from an imbalanced emphasis and approach to orchestral excerpts. They are:

Excerpt- mania

A condition that is very mentally obsessed with orchestral excerpts to the point where it takes up almost all their practicing and when they listen to a piece all they can hear are their instrument's excerpts. It is usually a juvenile stage. (I experienced it myself to some degree and it is OK for a while in our growing years of excited enthusiasm; however, I have seen it continue in some, well after the point.)

Excerptitis

A state where the player gets all tight and dull with the performance of the excerpts. It is an 'inflamed' condition and exaggerates rhythms and articulations to make sure they 'happen' and has very little real musical connection. The result can be very academic and robot-like and usually carries some contorted physical characteristics while playing the excerpts or before starting them.

Excerpt-phobia

This is a fear of excerpts. This can, in its advanced stages, cause real anxiety in the person who suffers from it just by hearing an excerpt. It makes a person freeze up and get very nervous if they actually have to play an excerpt. If the person did not know it was an excerpt and came across the music in an etude book, they could probably play it much better, due to the lack of the mental head trip they have gotten themselves into.

Some ways to prevent the 'itis' and the 'phobia' is to aways realize excerpts are pieces of a larger work and it is important to feel the surrounding music while you are playing or practicing your excerpts. Being able to play them in at least 3 different convincing ways makes it easier to not fall into deep ruts. Make sure you have your own personal musical connection to the excerpt and the piece as a whole beyond any theoretical or historical knowledge or understanding.

Moving beyond Excerpt-mania usually comes with musical and emotional growth. I f you feel stuck on having a fixation on excerpts, listen to other music that doesn't have your excerpts in them and expand your musical palate and build a relationship with music independent of excerpts or orchestral music.

PMMPMaster Manlon and "The TAC Legend Writings"

2009-04-03T20:55:00.006-04:00

This excerpt was inspired by a conversation I had this week with my wife, Dr. Carol Viera. Carol was talking about a "conflict" she believes people have between wanting to play in an essencely connected way and playing how they think they have to play to get a job, which they think are two different things, although "integration" is possible. Fostering this kind of integration is an important part of Carol's work with the Frequency Band and outside the FB. It is something we both feel very passionately about!

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Master Manlon was talking to a young musician named, Ortia, who was torn between becoming a professional symphonic ensemble player or an artistic medium of essence transfer, not realizing she could be both.

Ortia: "Sometimes I feel torn between two worlds."

Master Manlon: "In what way Ortia?"

Ortia: "Will the training that you are giving me prepare me to get a real job in an ensemble of the symphonic kind or... will I just end up with all this incredible knowledge and not have what it takes to get employed?"

Master Manlon: "I do see your predicament. To you, at this point in time, it seems like a choice between art and employment. Can a person who is training to be an artistic medium of essence transfer be employable? Does this correctly state what you are in conflict about?"

Ortia: "Yes... and I feel almost ashamed to admit that in front of you. You have opened my eyes to so much,that I do not want to disappoint you... I ...

Master Manlon: "You are not going to disappoint me, Ortia. I am hoping that there will be some people who can take the bold step and integrate this special training into their 'professional' life. It can be done, but I would say it certainly could be a challenge to do. But, if your own relationship with our work becomes alive in you, if you have made it your own work, then it will be integrated naturally and offer a relief and inspirational encouragement to the other musicians you are working with, as well as to all who come in contact with you."

Ortia: "But the way the instructors work with us at PMMP (Professional Musicians Manufacturing Plant) puts so much emphasis on the raw mechanics that I feel like a robot who can only carry out orders or churn out notes and phrases like they were isolated pieces of a puzzle. I can't find myself in it."

Master Manlon: "So after you make the processed phrase, be the fairy, like in the old classic children's story "Pinocchio." Breathe the spirit into those wooden phrases and make them come to real living life! It can be done, and has been done, and you can do it too. Try! Oh try! From the love that it should be so, try!"

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Other excerpts from my book in progress, "The TAC Legend Writings," can be found throughout this blog. Here is a sampling:

Trombone Sci-Fi
Excerpt from "The TAC Legend Writings"
Blinded by Sound
Another Excerpt from "The TAC Legend Writings"
More from "The TAC Legend Writings"
More Trombone Sci-Fi
More from Master Manlon and "The TAC Legend Writings"
Truth or Agenda? From "The TAC Legend Writings"

"Arjuna Speaks"World Premiere at Eastern Trombone Workshop

2009-04-02T19:12:00.004-04:00

Fifteen minutes before the world premiere performance of "Arjuna Speaks" at the Eastern Trombone Workshop, I still was not sure what mouthpiece I am going to play. All week long I was playing on one mouthpiece that I had been playing on for a couple of months. I had rehearsed with the Army Band all week using this mouthpiece. But, for the prior couple of nights, I had only slept three hours and was tired before we even got to Washington D.C. But throughout all of this, Carol and I were tuning and fine tuning to the reasons why were at ETW. We knew why, and wanted to stay in tune with those reasons and core foundations. Other decisions would have to follow that.

So, my mind and spirit were ready, my body was very 'up,' but tired at the same time. Not totally ideal for my trombone playing. But, I was not there just to play my horn in this world premiere. It was to communicate, as best as I could in this medium, what, to me, is the meaning of the first two chapters of the Bhagavad Gita--a story which I believe is about all people and their struggles, no matter what one's religious or non-religious beliefs are.

This powerful Hindu text was the inspiration for "Arjuna Speaks." Arjuna is the young devotee of Lord Krishna who is caught in a serious conflict which he then, through the divine help of Lord Krishna, finds his way through to enlightenment. It is all about the timeless battle of 'good versus evil' and the various choices we make in our lives as well as how we handle what comes at us in life. This text brings to light, in its own unique way, all the different things that keep us from our true Self, and the personal battle that has to be fought if we want to keep developing ourselves towards our essential natural path, which is unique to each individual life.

As Carol and I were in the small practice room tuning to the reasons why we were there and what it was I wanted to communicate that night, I decided to go with the mouthpiece I had not used in almost two years. I NEVER would have thought that I would switch equipment at the last minute like this. But life can have a way of challenging our 'logic' and pushing us in ways we never thought were possible.

This incident showed me again how important it is to be open to what is needed, rather than be attached to habit or a thought process that might not be useful in every circumstance. And since I could not totally depend on my body or equipment, it forced me to connect to the core of myself, and what I believe in, even stronger, and for that I am ever grateful.

With the incredible support from Carol and all the Frequency Band members, it was a deeply moving experience for me and, from the many responses I have been receiving, for others too. For me, it was an experience where I did not feel like a soloist but instead felt connected to my own 'Arjuna,' blowing the conch shell that says, first and foremost to me, "Stand up and count yourself in!"

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I wrote "Arjuna Speaks," for solo trombone and wind ensemble, knowing it would be world premiered at Eastern Trombone Workshop with the U.S. Army Band "Pershiing's Own." My sincere thanks to them and to their conductor, Col. Rontondi, for their sincere efforts to "be with me in it." It made a difference!

Photo courtesy of Sam Woodhead and the U.S. Army Band "Pershing's Own."

Back from Eastern Trombone Workshop

2009-03-29T19:02:00.005-04:00

At the end of the Frequency Band concert at Eastern Trombone Workshop last Saturday, an older man from Brazil came up to us in tears, putting his arms around me, saying he will never forget this concert as long as he lives. "It was magical!" he said.

That is why Carol and I came to ETW, and why the Frequency Band came to ETW. Just in case there was one person who could be deeply touched beyond any trombonastics and feel another kind of important messages that can be expressed and transferred via music. This man got that! What joy, humility and gratitude Carol and I felt.

As it turned out, there were other people who got the 'something else' the FB has to offer. A older, experienced teacher came up to us and said, "My teaching will never be the same again." Another very, very famous trombonist said, "It was the most moving concert I have been to in a long, long time." This same person also commented on the great togetherness of the ensemble itself. He was sincerely touched. And many, many other teachers, performing professionals and students made sure to tell us how they were affected in positive ways.

Also, since then, there have been a number of students emailing us, reporting how they were inspired by our participation at ETW. A number of young players have found the new Frequency Band page on Facebook and are becoming "fans." And so, the interest continues!

I congratulate Sgt. Sam Woodhead, organizer of this event, for all his hard work in putting the whole workshop together and for having the courage and vision to invite the Frequency Band to ETW as "an alternative to the traditional trombone format." It was an incredible opportunity for all in the Frequency Band to walk the talk, to actually 'be the change we wish to see' and to put it out there with confidence, in the love that it should be so. The FB members did a fantastic job in holding true to what the FB is so "music as a living thing," in the way that we can offer that, had a chance to appear and work its wonders. Hats off to all of you!!!

For Carol and me, it has been a HUGE journey, part of which includes the release of the new Frequency Band CD called "PHOENIX" which is now available. I really have no idea how Carol managed to produce this CD in the short time she had from the start of the recording retreats, mid January, to the start of ETW last week! I know she is my wife and co-director of the Frequency Band (and MANY other things, as well) but my gratitude and appreciation for what she does ever keeps growing!

I also want to thank the US Army Band "Pershing's Own" and their commander, Col. Thomas Rotondi Jr., for their terrific playing and willingness to 'be with me in it' as we premiered "Arjuna Speaks," for trombone and wind ensemble. I am sure I will be writing more about this experience in the days to come.

For some, these experiences at ETW will seem like a dream, for others an already forgotten memory, and for others still a non-ending journey of perception, development and connection. But, no matter what the case my be, as Carol has often said, "the material remembers."

Inside of What We Want

2008-12-23T23:00:00.010-05:00

What you want and what you get -
how far apart are they?
Is what you get what you need?
Maybe what you want is hidden in what you get.
What is more important: What you want, what you get or what you need?
How long will you endure to get what you say you want?
In the quest for what you want, perhaps you get what you need in the process.
How do you handle what you get?
How do you handle what you don't get?

What I thought I wanted, and did not get, pointed me in the direction of what I needed, that masqueraded itself in what I thought I wanted....
Perhaps, inside of what we think we want is the meaning or essence of what we truly want and need.
For me, that was the case: To be full in oneself, not full of one's self, but fullness of Self. To have discovered this is what I truly want, for this I am ever grateful and I hope my life continues on this path of discovery.

My hope is that whatever work I do in this life, from this point on, will be of help to others: To encourage their own Self discovery and their further development of their natural gifts, whatever they may be.

In this, I am thankful for the great people in my life - from my parents, grandparents, uncles, aunts siblings, friends, teachers, students, my son and my dear, dear wife, all of whom have been my spiritual teachers and messengers, in their own ways.

May each person find their inner Self and live their own life in fullness, whereby all can benefit from one another as expressions of Life.

Happy Holidays to all!

Trombone Talk

2008-11-29T21:19:00.013-05:00

If I remember correctly, when I was younger, my basic criterion for picking a horn or mouthpiece was tone. If it had a tone that I warmed to and identified with, I would try to play it, even if it was not the easiest equipment for me to play.

But over the last several years, this changed. My first and foremost criterion is if the equipment is comfortable to play--meaning ease of response, range and articulation. BUT, I do still need to identify with the quality of sound. The problem is, different equipment fits different music; so, at times, I will change bells or mouthpieces to 'assist' my efforts to produce the qualities that I am seeking.

The other interesting and, at times, annoying feature is my own changing physical needs. Sometimes, a heavier bell section feels right; sometimes a light bell section feels right. What to do?! It makes me just want to pick the equipment that 85 to 90% of the time will feel pretty good and forget about entertaining the idea of frequent changes in equipment. So, my present criteria for equipment are:

1. Ease of:
_a. response & range
_b. articulation
_c. flexibility
2. Tone quality
3. Endurance

The list is not really in order of importance but related keywords are "easy" and "natural," i.e., what is going to give me the least fight, so I can make the most music.

If I let myself be totally absorbed in loving one type of sound, it would take too much of my energy, if the equipment was not 'cooperative' in all the other aspects of playing. I want the majority of my attention and energy to be in the 'life pulse' of the music, the spirit of the music. Tone is only one part of it.

I have noticed that some equipment will 'not allow' a player to have flexibility in timbre and nuance changes. These instruments can be excellent for stability or specific styles but are often not very malleable. At this point, I need an instrument that will bend with me. But of course, this can change!

Happy Birthday, Frequency Band!

2008-11-16T13:19:00.018-05:00

On November 17th 1993, the Frequency Band® was born and made its appearance known to a group of trombone players from 10:00 PM to 2:00 AM that evening in the chorus room at Symphony Hall, Boston.

What a night it was! The atmospheres and the deep affect on the people were nothing less than profound. That night might seem like a distant dream to some, but for Carol and me, it was confirmation of the extraordinary possibilities of the human connection expressing itself through art, in this case the art of music.

It was total proof, to us, that the most important "A's" to tune to are Attitude, Awe and Appreciation. This was true intonation. A unity that was bound by the essence of the music, through our shared connection, based in openness, sincere intention, trust and respect. It bathed us all in its various frequencies; we were 'in it' and 'it' was 'in' us.

The beauty of this great gift is that it still happens in the Frequency Band! And, of course, it can happen elsewhere too--and we hope it does, often! But, in the Frequency Band, we deliberately explore ideas and techniques to more reliably and consciously encourage this kind of connection.

The Frequency Band, on one level of looking at it, is a vehicle designed for traveling into the deep regions of Art, especially those that resonate with such things as human qualities, intentions and contemplations; aspects of nature; compelling features of ancient and more recent cultures; and so on. Then, from inside a connection to these domains, play (transmit) from the mental alignment that what is transmitted is not just the musical notes, no matter how well executed, but a sense of the domain itself. Almost like a spacecraft taking pictures of stars and galaxies and transmitting the pictures back to earth. Whether one thinks this is real or imagination, to set aside ones limiting thoughts about it and openly come inside the storyline is to partake in the difference such connection can make, for art.... and humans.

Because the Frequency Band is not solely about exploring the potential of mental tuning and connection within art, in and of itself. The Frequency Band is about humanity, first and foremost. The core of the Frequency Band is based in the idea of a "unity born of humanity." That is at the basis of everything we do--to try to find the unifying part in us all, regardless of all of our various differences. This, at times, can feel like a long journey into space! But, actually, it is so close (so VERY close) that we can often miss it. But it is there, in all of us, and the greatest treasure for us is connecting to and transmitting this most special essence into the world, to boldly and humbly go where some others too have gone before and where we all can feel and recognize the most basic, unifying tone of all.

With deepest gratitude to our teachers, mentors and the many Frequency Band participants throughout the years.

HAPPY BIRTHDAY FB!!!

You Become What You Practice or Rehearse

2008-11-07T23:54:00.001-05:00

This is an interesting subject, so there will be all sorts of opinions on it, which is great! It promotes deepening.

Let's be clear. Life as we know it cannot exist without repetition. Think about it-- your heart beat, breathing, walking, planetary rotation, eating and sleeping, the list goes on infinitely. Tempo itself is based in repetition.

Repetition does work as a technique in rehearsals. But the question is, "What kind?"

For example, if two people are dating, they usually don't say to others, "Sally and I have been seeing each other repetitively." It is usually called dating, which means seeing each other on a regular basis to get to know each other. So the value of repetition in rehearsing or practicing is to get to know the piece more intimately, which is building a relationship with the piece.

Once a relationship with the piece is built, which of course can deepen over time, there is the possibility of interacting with its essence, and having a richer communication with it.

Just because someone is doing something on a repetitive basis, whether its rehearsing or seeing another person or having been at a job for 30 years, does not automatically give rise to profound insight or result. It does give experience, but depending on what the person's motives, reasons and sentiments about life are, it can provide ever expanding perception and greater understanding or an attitude of "time to make the donuts."

Also, it has not been my experience that the reason why student orchestras sound more connected at times is because of lots repetition. I think it happens in spite of all the repetition because of the enthusiasm and freshness of the attitude they bring to it. It has not become stale, it is still new.

As a great mentor of mine used to say, "Its not what you do, its the reasons why you do it."

Contemplation: You are what you practice.

Comment on the Comment

2008-11-06T21:54:00.003-05:00

This is in reference to the comment I got to the post "Repetition-Redundant-Rut....New Route." It was an excellent comment/observation of something I'm sure many people experience!

Here's my response:

To start, let's remember that a conductor is a human being! Sometimes this is forgotten. They are trained the same basic way any instrumentalist is trained and have been or still are instrumentalists themselves.

Many times a conductor has a strict schedule to maintain and the quickest way for them to rehearse is by repetition. so the orchestra 'machine' is well programed and the notes and timings are programed into the musicians. Lots of this kind of rehearsing could be diminished if the players knew the parts better before rehearsal.

Let's know look at the word "rehearsal." Rehears-al or rehears(e) al(l). In other words, to listen over and over again, to be intimate with as many aspects of the score or part as possible.

Now, the problem, oftentimes, is that the conductor is so preoccupied with making sure that everything is correct or note perfect that the deeper aspects can get overlooked. When this kind of relentless repetition happens it can turn into a re- HEARSE-al(l)! This is very unfortunate because what unifies a group the quickest and most effectively is a unified purpose and concept. When this vital element is at play, all aspects of ensemble (blend, pitch, intonation, dynamic contrasts, phrasing) can almost magically come together in a living way--an art that s not always put into practice.

The art, the art of connecting to the essence of the music, is not taught by many people. Therefore, it is not taught to students whether they be instrumentalists, singers or conductors. It is, seemingly, more 'abstract' than whether something is out of tune or not in rhythm.--which can too readily translate to "too abstract to deal with."

One of the values of repetition is comparison. If we have in use the comparison of when something is connected (closer to the essence) as opposed to just playing it well, then we have a different standard. It is a matter of how someone is educated and what they are exposed to. This is something the Frequency Band tries to offer, but if it is not applied (regularly into practice), then it will not become part of a persons skill and art.

The next time you are in a rehearsal and this 'repetitive, not going anywhere' stuff is happening, ask yourself what you can do to help. Listen to your own playing and your section's playing and be connected to your feelings about the piece, regardless of what might be going on around you. I know that can be tough! But give it a try. It could, through your repeated efforts, make a difference and be contagious to others--even the conductor!

A New Twist on an Old Saying......from Occasional Carol

2008-11-03T22:23:00.019-05:00

[My wife and partner, Carol Viera, is always coming up with interesting comments. Today, she told me something I thought would make a good blog post. So, this is her first "visit" to my blog - but I hope it's not the last.]

I read something today by Gair Maxwell (The Seamless Brand) that I thought was really funny but also a gem of wisdom, namely: "Anything worth doing ... is worth doing badly."

Now, that may seem, on the surface, to contradict what Norman and I try to promote, but not so fast. Because what he's actually encouraging is to just jump in and try something, anything, if you value what it is you're after, even if, at first, you make a mess of it; just get something moving, rather than be stopped and frozen by the fear of making mistakes or of playing a note that is less than perfect. No human can rise to that kind of perfection and those who appear to, don't, not really, not with complete reliability, if you really keep track. But the illusion, and it is an illusion, has had a strong grip for a long time and puts, I believe, a straightjacket on art--and on many who otherwise would aspire to it. Sounding more familiar now?

So, as Norman would say, "start with what you 'can do,'" but for goodness' sake, start! ;-)

Repetition-Redundant-Rut......New Route!

2008-10-31T22:14:00.006-04:00

Practicing is a musician's time to make what they have been taught their own--to build a relationship with a technique, method or piece of music.

One of the essential ingredients in practicing is repetition. Where too much repetition becomes a problem is at the point of repeating something without assessing it, and finding and putting into play the necessary components to improve it. Without this kind of reflective approach, the repetition becomes redundant and soon can turn into a rut, which is not a useful kind of repetition, often referred to as "spinning your wheels."

Contemplation:

To get out of a rut, find a new route.