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?
The KMEA All-State Audition is fast approaching. I wanted to offer some recordings and advice on the etudes as you prepare for the audition. Both of these are mature etudes that require advanced musicality and facility of the instrument. Take time to prepare slowly and listen to professional players often.
Lyrical Etude #16 from J.L Small 27 Melodious and Rhythmical Exercises (first 16 measures)
This etude is marked Adagio and should not feel rushed. Take your time on this and commit to advanced professional phrasing. Rubato is encouraged within reason. You will notice that I push and pull the tempo slightly to add to the advanced phrasing and musicality. This etude calls for that and although a strict tempo is usually best practice I would encourage a slight ritardando/accelerando at times. Be careful to give care to the grace notes and not rush through them. Also be very careful in measures 9,11,13,14 to play the correct rhythms on beats 4. This is probably the trickiest part of the entire etude. Enjoy the musicality and phrasing and do something your competitors are not doing on this etude. Let your individuality shine with your own interpretation. For best audio, listen with headphones.
Technical Etude #3 from Theo Charlier 36 Etudes Transcendantes (first 34 measures)
This etude should only be played as fast as you can play perfectly. It is mature and requires careful attention to articulation and rhythm. Be very accurate and double check you are playing the correct articulations throughout the etude. Just when you think you have the correct articulation and you are in a groove, it changes on you. In measure 16 there is a sign at the end of the measure which means “a slight pause.” Do not take too long here. It is just for phrasing and should only be slightly longer than a normal breath. Keep a steady tempo throughout until the last 2 measures. Observe the dynamics very specifically, however, add your own flair as well. Let your creativity shine and enjoy making music underneath the technique. Most importantly, HAVE FUN! For best audio, listen with headphones.
On this episode of Music on Purpose, Ashley Hall joins me at the National Trumpet Competition to discuss keys to success as an international soloist and orchestral musician. She is very grounded and down to earth in her approach and she discusses ways to balance her career, family and faith. We met in the lobby of the Hilton in Lexington, Ky, so you can hear some light music in the background. It only adds to the realness of these interviews.
Check her website out for more information about her and to listen to excerpts of her soloing.
Vince DiMartino and Ashley Hall soloing together at the National Trumpet Competition
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We are two weeks away from the KMEA All-State Band/Orchestra auditions so I wanted to record these excerpts and provide some insight that may help in your last minute preparation. Both excerpts are advanced musically, technically and offer many chances to separate yourself into the top tier if performed with a professional level of execution. Below are the recordings and a few things to keep in mind in each excerpt.
Charlier #8 Intervalles (Les Quartes)
You must showcase a high level of musicianship and beauty of sound to succeed at the highest level in this etude. Charlier is known for providing opportunities for advanced musicianship through difficult technical passages. He is a genius at providing a vehicle that combines advanced technical passages with expressive qualities giving the student the rare opportunity to work on both simultaneously.
Put your own creativity in the music when performing this excerpt. It is simply not enough to perform just the notes on the page. When listening to my recording, you will notice a slight ritardando with a taper in measure 8, and a slightly different style in measure 13. Charlier uses a symbol for a slight pause in measure 8 that each performer should showcase. Also, do not be afraid to go for the high C in the last measure with confidence and a firm marcato tongue. If you miss the note it is ok, but go down trying with confidence.
Lastly, play the correct articulations!
J.L. Small etude #25
There are not as many opportunities in this etude to showcase musicality, so, if you want to stand out in the crowd find ways to incorporate musicality under the technique.
A mastery of articulation in all ranges and opportunities to showcase advanced flexibility in measures 3,7 and again at the end of the etude must be demonstrated. If you are having difficulty with consistency of articulation, go back to scales or the Arban book and work on being able to play long strings of articulation exercises demonstrating consistency on every note. The only time in this etude where the articulation differs is when certain eighth notes are accented (measure 23-26).
One section where I added my own touch of musicality is measures 29-32. Be careful to showcase the difference between forte and piano in measure 5. You will also notice that I took slight pauses in measure 12 and and after measure 26. It is very difficult to find a breath in this etude so crafting logical places for musical breathing makes perfect sense. This would be the preferred option instead of attempting to take fast breaths and cutting off notes or phrases.
Lastly, HAVE FUN!
When you talk to music educators there are many different thoughts on how to teach a resonant release to students. For example, “Just stop the air,” or “breathe in.” When you talk to professional players however, they all say the same things.
The release of a note must be sent to the audience.
I thought I would take the questions to a few professional musicians who are performing or have performed at the highest professional level. First is Philip Collins, who performed as Principal Trumpet with the Cincinnati Symphony for 35 years. This was his response:
“The note has to ring out into the hall whether the note tapers or stops abruptly. Picture a violin bow longer than needed. It continues to move after the note stops. Let the notes flow and sail out beautifully into the audience.”
The second response is from Stephen Campbell, who performs with the West Virginia Symphony, Cincinnati Symphony and the Lexington Philharmonic Orchestra. This was his response:
“You have to send the note into the hall! Take the note to your audience.”
The third response is from Sean Vore, who is a member of the Dayton Philharmonic Orchestra. His response was:
“A great ending to a note resonates in the space you are playing in, even if you are in a practice room. No tongue or throat cut-off, just experiment with the end of the fuel supply and let it resonate.”
There is a common thread of “sailing” or “sending” the note to the audience and letting it resonate. The more professionals I perform with and the more high level groups I perform with it seems a common practice and thought to “push” or “sail” the note to the audience so the audience can feel the resonance of the note. By simply stopping a note we lose the “sail” or “send.” The emotional connection of the music is what it is all about.
There must be a high level thought process when releasing a note just the same as when you begin a note. The mind must visualize what the air is doing and how it is meeting the listener to create the emotional experience. Like flying a paper airplane with a relaxed “flying” motion, the air must be set into motion with the same intentional purpose.
It is extremely important to not fill the mind with analytical thoughts but instead to visualize what the air’s purpose is in fulfilling the musical connection. There should never be a thought to do something to the end of the note “just because that is what I have always been taught.” Simply, the note should continue in motion, and the resonance of the note should continue into the hall until we begin the next note. Let the listener connect with the resonance.
Air is constantly in motion.
Charles Decker taught at Tennessee Technological University for 35 years. He has performed in thousands of concerts and toured with the United States Army Field Band. In this episode, he talks about how to train young students to be professionals when they graduate college. He discusses what it takes to be a successful musician and educator. His passion for music education and for training students to be great people is evident in the thought and care of his philosophies over the years. He mentions the Inner Game of Tennis as a book that was influential in his preparation for a high level performance career.
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Scott Belck is a wealth of knowledge regarding hard work and sacrifice and offers advice on how to improve jazz programs at the high school level. Mr. Belck has written a new book with a twist on the average lip slur and it is available through Hal Leonard Publications. He is currently working on book #2 as the 1st book was met with high acclaim. Also, Scott will be one of the guest clinicians at the upcoming National Trumpet Competition in Denton, TX held at the University of North Texas.
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I was thrilled to have Stephen Campbell on this episode to discuss his keys to success in trumpet performance, music education and how to be successful in helping students be the best versions of themselves. We were in school together at University of Cincinnati College Conservatory of Music (CCM) and I noticed his work ethic and attention to detail then and was elated he agreed to record this episode.
Stephen is currently the Visiting Professor of Music with Trumpet Emphasis at Ball State University and the Principal Trumpet of the Lexington KY Philharmonic Orchestra.
You can reach Stephen on Social media:
twitter: @trombadecorum
Instagram: @trombadecorum
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The 2017 Kentucky Music Educators Association (KMEA) All-State auditions are Saturday December 9. The Charlier excerpt is by far the most challenging of the two etudes in this audition. This book is known to be challenging for professional players and the maturity musically to be able to play these etudes at a high level can only come with experience. Hopefully you have an excellent private lesson teacher to help guide you to the unwritten musical ideas that help bring this excerpt to life. Below are some pointers on the Charlier excerpt that may help in your final week of preparation. I have also recorded the etude keeping close attention to the ideas listed below:
Good luck on your audition. Be overly prepared and do not forget to practice your scales and sight-reading. Play in front of as many people as possible this week and be confident.