Category: Orchestra

PTMs in the news: LA lawyers

For those of you who may be expecting a lawyer joke, this article might be a bit of a disappointment. If you’re interested in that kind of thing – and hey, who doesn’t like a good joke? – please feel free to leave one as a comment.  :-D That said, the topic du jour is Part-Time Musicians who just happen to practice law as a day job. Couldn’t see that one coming, could you?!?!

The LA Lawyers Philharmonic

The LA Lawyers Philharmonic

This article tells of the Los Angeles Lawyers Philharmonic Orchestra, the only orchestra in the USA known to comprise solely attorneys. Whether as judge, prosecutor, or defense attorney, being a legal profession can produce a lot of stress…and playing an instrument can help relieve that stress by focusing the mind (and body) on a creative activity far different from one’s “daily duties”. What better creative activity than music?

Below are two videos of LA Lawyers Phil performances for your enjoyment. Bravo!

Whatever your profession, music offers an outlet for talents you may not be able to fully express in your “day job”. Don’t be afraid to share your talents! By doing so, you make the world a far richer place for all of us.

Keep playing,
Mark

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Music is for sharing

Several events and discussions over the past couple of days have reminded me of an essential truth: music is truly whole only when it is shared.

Girl With GlockenspielMusic is a performing art

Unlike most visual arts, the aural arts are enjoyed while the artwork is being created. Of course there are are exceptions to both categories: the visual art of dance and the aural art component of composition spring to mind. We will discuss the impact of live vs. recorded events in a future article, but for the moment, let’s focus upon how the performance relates to the music itself.

For any newcomers to the Part-Time Musician “playing addiction”, there is nothing quite like a live performance – no matter how small or large the audience – to make you more fully appreciate your music and the impact it can have upon people’s lives. This is about you, of course; after all, you get to enjoy the benefits of your learning, growing, and playing on a daily basis! But when you share your music with others by playing for them, everyone is enriched. Those listening are transported to a world of your creating, and the gift you receive is wrapped in the giving itself. It’s hard to explain, but very real to experience.

Music is an inheritance

Last night, I visited the youth symphony for which I was, for four years, Director of String Ensembles. Watching and listening to the new Director and group, I was impressed with the talent and commitment evident in all involved. When you’re in the middle of the scramble, it can be easy to overlook that. It reminded me of how important it is to pass along your music and knowledge – whether very specific or wide-ranging, structured or just “felt” – to others.

There is an age-old struggle within most musicians, whether full- or part-time, regarding personal advancement vs. contributing to others’ advancement. This often translates to “play vs. teach” in the full-timer’s world, but it’s much more complex than that. Most musicians (or artists of any stripe, really) must strive and improve over time to be satisfied. Taking time to share what you know with others would seem to diminish that, but those who have done so know differently: sharing what you know deepens what you know. And if that isn’t enough, it challenges you to learn (and master) even more!

The Takeaway

As with most things in life, the key is balance. If you want to be the best musician you can be, be sure to incorporate opportunities to share your music and what you know about it. Music truly is a gift from which you gain most while giving.

All the best,
Mark

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Transposing for Trumpet: A Handy Reference

Several years ago, I resumed playing trumpet after about 20 years (!) away from the horn. As I’ve mentioned before, I was surprised at what I remembered…and also at what I had forgotten. I was never that good at transposition before, but upon returning to playing, it looked like a steep uphill climb.

TrumpeterAt that point, I worked through the basic concepts of it with a good friend and musician (horn/trumpet – thanks, Steve!) and found this helpful document online: Dr. Gary Wurtz’s Transposition Issues page. What a lifesaver! A printed copy of Dr. Wurtz’s transposition chart was a key part of my gear my first full season back with an orchestra.

I recently rediscovered that worn copy, and after finding its current home online, I’m sharing it with you in the hope that you might find it useful as well. If you’re returning to orchestral trumpeting after some time away, or if you just want to verify your grasp of transposition, this is a great document to have.

Transposition is a big subject that affects many instruments (and instrumentalists!), and this is only a small segment of that topic…but more is on the way! In the meantime, if you have anything you’d like to share about your transposition trials and triumphs, please post a comment or drop us a line! We’d love to hear from you.

Keep playing (in whatever key!),
Mark

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Get some rhythm and hold the blues – three great reasons to use a metronome

Whether you play only for fun or for the occasional paid gig, you want to play your best. One simple way to take your playing up a notch is to establish a consistent sense of rhythm, and there is no better way to do that than with a metronome.

Music and Metronome

Metronomes are not straightjackets; they are tools, and like many other tools in your musical toolchest, they are a very cheap investment in you and your lifetime enjoyment of music. Here are three things a metronome can help you do:

1. Develop a strong sense of tempo(s)

If you’ve practiced various pieces at a particular tempo – say, 100-120 Beats Per Minute (BPM) – you’ll be able to pick up a new piece of music with that tempo marking and know pretty well the desired tempo. This is a huge help when you’re sight-reading, but it comes in handy at other times, as well…like on the night of a performance when you’re distracted or have a really bad case of nerves.  :-)

2. Be a better ensemble/section player

This goes hand-in-hand with the previous point, but it has more to do with keeping the tempo rather than establishing it. As your group/section is playing along, it’s very easy to drag or rush, depending upon any number of factors…or even drag and rush in different sections, if you’re accustomed to hearing your favorite performer/group playing it that way. But what if your favorite artist’s version differs from someone else’s? Practicing occasionally with a metronome, especially when learning a new piece, can help you establish a consistent tempo. This doesn’t restrain you; it liberates you, because now you can choose when it’s appropriate to change tempos, rather than follow the dictates of “that’s how so-and-so plays it”!

3. Master your part

One of the key ways a metronome helps you as a musician isn’t physical; it’s mental. While all of us know that we can master difficult passages by practicing them at a slower tempo, then speeding them up once we’ve worked out the kinks, our own minds often work against us, especially on selections we’ve heard before (and perhaps even played in the past). Have you ever tried to slow down the Barber of Seville? It’s hard to slow Bugs Bunny down, isn’t it?  :-)

Playing at a reduced tempo along with your metronome helps you start slow and finish slow…thus mastering that tricky passage more quickly than you might have otherwise. Once that is accomplished, a metronome allows you to increase the tempo gradually and retain the ground you just gained.

What we use

There are many good metronomes available, but we have two and can offer a few thoughts on them specifically.

If you like the look and operation of a “traditional metronome” – like the one your piano teacher or music director likely had when you were a kid – something like the Wittner mahogany metronome is a good choice. Tempo is set by sliding the weight up or down the pendulum, and the Wittner’s wind-up operation means never having to buy batteries. Well-crafted and beautiful, it’s both a metronome and a classy decoration for your home studio. Priced at around $100, it isn’t cheap…but it will likely last you a lifetime.

One of the best all-around metronomes money can buy, in my opinion, is the Korg KDM-2 Digital Metronome. It functions as a pitch tuner as well (providing a note to which to tune your instrument), but as you’d expect, it really shines as a metronome. It’s speaker can be heard over even a small group’s playing – you can use it with earphones, if you prefer – and it includes a flashing bulb on top for a visual cue as well. Tempo markings are on the front, and tempo can be set or adjusted via up/down buttons or a quick rotation of the large wheel on its face. You can even tap the button a few times to have it determine the tempo! And at less than half the price of the Wittner, it’s feature-packed and wallet-friendly. If I could only have one metronome, this would be the one.

Bottom line

Using a metronome helps you learn your parts better; it also helps you begin and play them more consistently. As a result, you’ll likely notice that it makes you a more respected member of any group(s) in which you play. There are few things more frustrating than trying to play with someone who can’t hold a tempo, and those who can “keep the beat” make playing that much more relaxed and enjoyable.

Break out your metronome tonight, or if you don’t have one yet, get one! You’ll be glad you did.

Keep playing,
Mark

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Handing over the baton

After some months of agonizing over it, I’ve decided…but it wasn’t an easy decision to make.

Four years ago, I took on the role of the Director of String Ensembles for a local youth symphony. My youngest was involved in that youth symphony, and I was glad to be a part of it as well.

Baton

My youngest is no longer so young, and while my intention was to “retire” when she graduated, it wasn’t that easy. The kids who were returning sensed that I might not be, and they began campaigning in earnest last season. I am grateful for their commitment to me and to the group; I’ve tried to make it educational, inspiring, and a lot of fun.  :-)

Each year, I do my best to “work myself out of a job” by the end of the season. While I begin the year by holding auditions, selecting the music, and conducting, by the end of the school year my role is largely that of a coach, booking agent, and roadie. The kids learn to work and play together, and I’ve always considered it a great privilege to be a part of the personal growth they experience.

As my own kids get older, though, I feel myself stretching in more directions…and stretching further. Our oldest will be pursuing a violin performance degree at a major music school within a leading university this fall, and our other two are still very involved in major youth symphonies in the local area. My commitments are increasing, and they are changing. Realizing a person can’t do everything and do it well, I have had to make some tough decisions. That’s life, I suppose.

I always try to “work myself out of a job” by the end of each season. This year, I guess I just did a better job of it.

Please feel free to share your thoughts by leaving a comment. I’d love to hear from you.

Keep playing,

Mark

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