On this episode I talk to Wayne Dillon about the upcoming exciting 50th season with DCI, the return of judges to the field and advice on how to grow a high school band program. Wayne is a retired band director as well as a DCI, BOA and WGI world renown adjudicator.
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On this episode of Music on Purpose I spoke with Andy Harnsberger about his success as a marimba soloist and what motivates him on a daily basis to continue his work ethic at age 54. Andy is also Director of Percussion at Lee University in Cleveland TN and talks about his philosophy of teaching and thought process for young students. Check out this episode for resources and information to become a stronger performer.
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On this episode of Music on Purpose, Steve Patrick joined me from Nashville, TN. Steve owns his own line of brass mouthpieces called Patrick Mouthpieces. He also started an incredible resource to learn from studio players in Nashville called Lessons with Studio Musicians. Steve toured with the Maynard Ferguson Band and has played and recorded with any big name artist you can imagine. He talks about his long career as a freelance player and studio musician.
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On this episode of Music on Purpose, Hiram Diaz joined me to discuss his success as a performer that ultimately led to him winning a job with the President’s Own United States Marine Band. We talk about what is takes to be successful in an audition and how to prepare. He give thoughts on sound concept and fundamentals of playing. He also talks about what life is like in the Marine Band. Hiram is a wealth of knowledge and an easy going charismatic guy.
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The 2020 Kentucky All-State Band Music, specifically the trumpet audition music, is pulled from The Arban Complete Conservatory Method for Trumpet and Theo Charlier 36 Etudes Transcendantes. Both excerpts are advanced etudes that will take careful practice to master and most importantly will take time to capture the musicality, both written and unwritten, to be successful at the highest level. My hope is these recordings and descriptions help you prepare and give you some professional thoughts for an accurate presentation.
Preparation thoughts:
TECHNICAL ETUDE – Charlier No. 1
Some things to consider in this etude. Articulations must be correct and the quality of the tongue needs to be consistent. The slur placements are tricky. Take great care in playing the exact right slurring.
Do not over articulate the accents. While those notes should be stressed, the style of Charlier and French music should not be overdone. Be musical with the accents but do not bang them.
At the end of line 5 and line 10 Charlier uses a small “v” symbol to give the performer a slight break. His exact french words are “Ce signs v indique une respiration.” Make this slight rest or respiration musical and beautiful and take advantage of this to help you continue along without running out of air.
The beginning direction in the original book says “sans force” which means without force. Be light while still playing big. Again, do not overdo the accents.
Look for ways to be musical inside of the technique. When you record yourself listen for your own flair and musicality while noting the dynamics Charlier has written into this etude.
Most importantly, the tempo is marked at 108-120. This recording is at 104 because I felt the tempos given are too adventurous for most students to be successful. The tempo really doesn’t matter as much as the cleanliness. Only go as fast as you can play accurately and beautiful with stellar articulation control and consistency. Fast and dirty is worse than slow and clean. Do not think you must go 108-120 to be successful.
LYRICAL ETUDE – Arban Characteristic Study No. 11
Some things to consider in this etude. This etude hangs around the start of the upper register on the trumpet, and while it is not really high, it takes strength and endurance. Consider practicing the Db Major scale up to high Ab. Normally high school students only practice the Db Major scale in the middle register. Work on these patterns in the upper register prior to practicing this etude.
Lip slurs and flexibility. You can certainly get by in measure 12 using alternate fingerings but take this opportunity to practice lip slurs and flexibility. The only way you can be successful with these measures is by not pressing and forcing. Do not work too hard on the lip slurs. Let them happen with steady air flow and very slight movement of the tongue/aperture.
This etude should sound dark and rich and more cornetish. Try not to play too bright on this etude and bring out the soloistic and rich qualities that the cornet would display.
Be musical and with the dynamics given and also do not be afraid to add your own flair.
Lastly, the tempo is marked at 80-88. In my opinion it is too fast. I recorded this slower and took a bit of liberty at times to make a musical statement. Keep a steady tempo and do not change the tempos, but consider what you can do within the steady tempo to make this more beautiful and lyrical. Have fun playing gorgeous music.
If you are interested in lessons either in person or virtual, please contact me. I would be happy to help you have a successful All-State audition.
Freelance composer and arranger Ben Lee joined me on this episode of Music on Purpose to discuss marching arts compositions, how to put a quality show together and advice for band directors who are looking to improve their competitive ensemble. You can check out Ben’s over 100 arrangements on soleemusic.com.
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On this episode of Music on Purpose, Alan Siebert joined me to talk about his 30 year career at the University of Cincinnati College Conservatory of Music (CCM). He is retiring this year and talks about his time at CCM. He also talks about his lip tear and recovery from surgery. He is a wealth of knowledge.
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This is the time of year for solo and ensemble festivals and band rating festivals. Everyone is gearing up to get the much anticipated rating for the year. What is the expectation for each director when it comes to their students?
What is a superior rating?
I am a music educator of many students and I would like all of them to receive a I, a Gold, or a Superior or Distinguished rating…whatever your state calls it. I would like to believe that everyone I educate receives the highest level of education and in turn can take that education to an event and receive the highest award, however, Is that expectation realistic?
There are too many superior ratings given out at these events. There, I said it. If we are talking about achieving at the highest level, is the majority at the top or the minority? I recently adjudicated a solo and ensemble event where the comment was made “the scores are low coming out of judge A’s room.” While on the surface that might be true, is judge A who is giving less superior ratings really giving low scores, or scores that are reality. Is judge A the mean judge? Is judge A “out to get the students?” If a judge hears 50 solo performances for the day there will be at least half in the middle, some on the lower end and a small percentage on the high exceptional end, at least in my belief. So, what is a superior rating?
A superior rating is not just getting the notes and rhythms. A superior rating is not just playing a difficult piece of music.
In the simplest answer, a superior rating is the highest honor, one reserved for music making at its finest.
A student or ensemble displays a performance that is not necessarily free from error, but that communicates understanding of the details. It goes above and beyond what others are showing and communicating. A performance that connects and engages the listener. A performance where the only descriptive words that fill the mind are the ones needed for the top honor.
Why are so many superior ratings given when not deserved?
1.Too many politics involved. I have been an adjudicator at thousands of events over the years and friends of directors, friends of performers and former students as the directors of the students or ensembles are being judged.
2. Not using the rubric (if one actually exists)
3. Needing to improve ears and create a higher level of expectation. What is the level that we are ultimately striving for. The highest level of achievement for the art form and go from there. Being a constant learner and listener.
4. Continuing to improve one’s own level of performance. One certainly has to be able to feel the highest level and understand what that is when listening to a performance. Recognizing how each of us can get better.
5. Not being afraid to give the score you know is earned. We have to be able to be honest with ourselves and the performers, which ultimately is the most educationally beneficial.
If you are an educator, and a student or ensemble of yours receives a rating that is less than superior, it does not mean you are a poor educator. We put too much stock in this one rating and it hurts our pride. We are all educating to the best of our ability. Let the rating be a learning experience that leads us as educators to grow.
Thoughts on this topic?
On this episode of Music on Purpose, Tim Allen joins me to talk about the how to improve your band. He also discusses his philosophy and keys to success as he won 18 state championships at Adair County High School over 28 years. Currently, Tim is Director of Bands at Lindsey Wilson College and is growing a band program from the ground up. He is a wealth of knowledge. Tim also serves on the marching band committee in KMEA and discusses issues within the state.
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On this episode of Music on Purpose, David Jaggie joins me from Richmond, Ky to talk about the upcoming trip to the Macy’s Thanksgiving Day Parade and discusses how the Madison Central Band was able to get to a level of success to be accepted. He talks about training students to be successful in life through music.
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