tag:blogger.com,1999:blog-36932509020205197822024-03-08T00:12:28.927-08:00Professor Held's BlogSharing information about instrumental music at Concordia University, the art and vocation of performing and teaching instrumental music, and other items of interest about music.Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-3693250902020519782.post-34842664187288859402011-05-26T20:34:00.000-07:002011-05-26T21:12:21.557-07:00Mental Practice is Important!In 2010, Mercedes Smith won the prestigious National Flute Association Young Artist Competition. One week later, she won the audition to become principal flute of the Pacific Symphony. I love her approach to practicing - don't play too much, but spend time reflecting on her last practice session, listening to recordings, and planning her next session. 25% of her practicing happens without playing flute, and she rarely practices more than 3 hours per day. Mercedes is a great example of effective deliberate practicing.<div><br /></div><div><span class="Apple-style-span" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13px; line-height: 15px; -webkit-text-size-adjust: none; ">A word about practicing and how much to practice: About two years ago I was preparing for a major orchestra audition. There was a huge amount of repertoire to learn and I didn't have a realistic plan for how I was going to succeed. My only thought was, "spend as much time as possible practicing." I gave up my social life and was probably practicing 4-5 hours a day and I was playing my job at the time too. I was exhausted and the audition ended up being a disaster. After that I decided that I needed to change what I was doing because I was working too hard and not seeing the results I wanted. It was at this point that I made a very important decision: I resolved to not practice more than 3 hours day. I usually practice 90 minutes in the morning, and 90 minutes in the afternoon, and usually I play a show at night. I'll often spend a fourth hour each day either listening to recordings of myself and taking notes to come up with a plan for the next day's practice or listening to professional recordings of the music I am working on. I find that having a 3 hour time limit on my daily practice has greatly improved my efficiency. If something isn't going well, I don't get bogged down, I have to move on to the next thing. If I am truly off work (for example the week between NFA and the Pacific audition) I might go as far as 3.5 hours practice in a day, but it is extremely rare that I will break my rule.</span><br /><div><br /></div><div>Note how she warms up before competitions and auditions, never playing excerpts up to tempo until she actually performs them. Instead of playing at performance tempo, she thinks through the excerpts at performance tempo:</div><div><br /></div><div><span class="Apple-style-span" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13px; line-height: 15px; -webkit-text-size-adjust: none; ">The most crucial thing is how I actually warm up the day of the event. I will not play ANY fast passages up to tempo and I will almost always play with a metronome. Especially at orchestra auditions, you will hear the person in the room next to you frantically running thru Firebird or Peter and the Wolf at an insanely fast tempo. Do not be tempted to do this! For example with Peter and the Wolf I will practice it with my metronome slowly (maybe around 70) then I might take it up to a more moderate tempo (around 100) but I won't practice it faster than that. If I'm worried that I might not be able to hit the right tempo during the audition I'll put my metronome on the performance tempo and THINK through the excerpt without my flute. This goes for any technical passage, whether it be Carnival of the Animals or parts of Dutilleux Sonatine. As far as sound and tone I try to stay extra relaxed in my body. The key the day of an event is to practice calmly and methodically and to not overdo anything; when in doubt put your flute down and think through it. Again, you can be stuck in the warm-up room for hours and it is not worth exhausting yourself before your audition. If you have prepared properly you will be fine.</span></div><div><span class="Apple-style-span" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13px; line-height: 15px; -webkit-text-size-adjust: none; "><br /></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="line-height: 15px; -webkit-text-size-adjust: none; ">And some final words about the importance of practicing in high school and college:</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="line-height: 15px; -webkit-text-size-adjust: none;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="line-height: 15px; -webkit-text-size-adjust: none;"><span class="Apple-style-span" style="font-family: 'Times New Roman'; line-height: normal; font-size: medium; "><p class="paragraph_style_3" style="font-family: HelveticaNeue, 'Helvetica Neue', Arial, sans-serif; font-size: 11.399999999999999px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: 12.35px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; "><span class="style_3" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13.299999999999999px; line-height: 15.2px; ">For any students out there I would say that the most important time to do your serious practice is during your high school and early college years. If you slack off then, it will be really hard to succeed later. I credit all my good finger technique to long hours of scale practice when I was a teenager. I also think being open to change is crucial -even radical change. Sometimes you realize that you cannot improve an aspect of your playing unless you take a huge step back and start again from square one. I think this happened to me several times -once with articulation and again with tone. I feel like I make sound in a very different way than I did even two years ago and certainly much different than when I was in college. I wouldn't be surprised if I continue to make changes in the future as well. To any student out there: if there is any question in your mind about whether you want to be a professional flutist then you probably shouldn't be one. If you truly love music and cannot imagine yourself doing anything else then go for your dreams -- you won't regret it!<br /></span></p><div><span class="style_3" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13.299999999999999px; line-height: 15.2px; "><br /></span></div></span></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="line-height: 15px; -webkit-text-size-adjust: none;">Read the entire interview at </span></span><a href="http://www.houstonfluteclub.org/UpwardOnward.html">http://www.houstonfluteclub.org/UpwardOnward.html</a>.</div><div><span class="Apple-style-span" style="font-family: TimesNewRomanPSMT, 'Times New Roman', serif; font-size: 13px; line-height: 15px; -webkit-text-size-adjust: none; "><br /></span></div></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-70799940320146077262011-05-18T12:42:00.000-07:002011-05-18T12:56:42.256-07:00Are you thinking of majoring in music?Consider two very useful quotes:<div><br /></div><div>1. Chris Gardner was a homeless man portrayed in the film, <i>The Pursuit of Happyness</i>. He took an unpaid internship in a major financial firm, studied unceasingly while raising his two-year-old son, sleeping for a while in a public bathroom, but eventually emerged as a millionaire stockbroker. When asked how he had the strength to keep going, he said, "Find something you love to do so much, you can't wait for the sun to rise to do it all over again."</div><div><br /></div><div>This is exactly the way music majors must feel about music. Many students feel this way; however, many are still not successful because their actions don't match their love for music. They lack the energy to relentlessly learn technique, expression, and interpretation. </div><div><br /></div><div>2. Donald Trump once remarked, "If you don't have passion, you have no energy, and if you don't have energy, you have nothing."</div><div><br /></div><div>Do you have energy to practice scales, listen closely to the music history repertoire, and work on your technical weaknesses EVERY DAY and often? If you do, you will be successful. If the love of music is there, but you regularly choose to do something else instead of practicing and studying music, you will struggle to become a good enough musician. Monitor your energy for developing musicianship - if you have it you will grow. If your energy doesn't match your love for music, the music major may not be for you (but music as an avocation certainly ought to be!).</div><div><br /></div><div>(These quotes come from <i>The Presentation Secrets of Steve Jobs</i> by Carmine Gallo.) </div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-58523184159616872822011-01-09T21:04:00.000-08:002011-02-14T08:59:39.937-08:00One big vote for a liberal arts educationThis comes from Peter Lynch, who managed Fidelity's Magellan Fund from 1977 to 1990, when it was the best-performing mutual fund in the world:<div><br /></div><div>In college, except for the obligatory courses, I avoided science, math, and accounting - all the normal preparations for business. I was on the arts side of school, and along with the usual history, psychology, and political science, I also studied metaphysics, epistemology, logic, religion, and the philosophy of the ancient Greeks [at Boston College].</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>As I look back on it now, it's obvious that studying history and philosophy was much better preparation for the stock market than, say, studying statistics. Investing in stocks is an art, not a science, and people who've been trained to rigidly quantify everything have a big disadvantage. If stockpicking could be quantified, you could rent time on the nearest Cray computer and make a fortune. But it doesn't work that way. All the math you need in the stock market (Chrysler's got $1 billion in cash, $500 million in long-term debt, etc.) you get in the fourth grade.</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>Logic is the subject that's helped me the most in picking stocks, if only because it taught me to identify the peculiar illogic of Wall Street.</div><div><br /></div><div><i>One Up On Wall Street. </i>Peter Lynch (New York: Simon and Schuster, 2000), p. 49-50.</div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-642747281257547752010-04-09T14:31:00.000-07:002011-02-14T09:06:01.905-08:00Questions to ponder for a student choosing a college<p style="MARGIN-LEFT: 0.25in" class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">Keep in mind that no degree will get you a job. Rather than trying to determine a hypothetical advantage of one school’s degree over another’s, think about these questions when you choose your college. </span></span></p> <ol type="1"> <li class="ecxMsoNormal" style="color:navy;"><b><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" FONT-WEIGHT: bold;font-family:Arial;font-size:10pt;">Where will I be most comfortable?</span></span></b> </li></ol> <p style="MARGIN-LEFT: 0.25in" class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">You are choosing your home for the next 4 years.</span></span></p> <ol type="1" start="2"> <li class="ecxMsoNormal" style="color:navy;"><b><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" FONT-WEIGHT: bold;font-family:Arial;font-size:10pt;">Which school reflects my personal values?</span></span></b> </li></ol> <p style="MARGIN-LEFT: 0.25in" class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">I believe there is a misconception in the minds of many students. College is not a time to test the “real world.” It is a time to formulate what your identity will be when you have to make a career and family after college. A college that nurtures and strengthens your values is far more valuable than one that “challenges” them with a chop block at every turn.</span></span></p> <ol type="1" start="3"> <li class="ecxMsoNormal" style="color:navy;"><b><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" FONT-WEIGHT: bold;font-family:Arial;font-size:10pt;">Where will I best develop my adult character as a person of faith and a good citizen?</span></span></b> </li></ol> <p style="MARGIN-LEFT: 0.25in" class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">In college, you are free – sort of. Your parents are now letting go, and you are learning how to handle your day to day life on your own. What opportunities does your college provide to help you gain confidence as an independent person? </span></span></p> <ol type="1" start="4"> <li class="ecxMsoNormal" style="color:navy;"><b><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" FONT-WEIGHT: bold;font-family:Arial;font-size:10pt;">Where will I be challenged intellectually?</span></span></b> </li></ol> <p style="MARGIN-LEFT: 0.25in" class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">Will I have the intellectual capacity to get work and to work well? Keep in mind that there is a big difference between learning “skills and procedures” for a career and developing critical thinking skills for a career. Critical thinking skills are far more flexible and capable of innovation. This is the focus of the <a href="http://professorheld.blogspot.com/2011/01/one-big-vote-for-liberal-arts-education.html">liberal arts education</a> at Concordia University.</span></span></p> <p class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">Only you and your parents can answer these questions for you. What I can say is that Concordia teaches you to think like a professional while becoming a wise, honorable, and cultivated citizen who is commissioned by Christ. The faculty take all of this seriously, not just the academic side of it. But like anywhere else, how far you progress on that track is in your control. </span></span></p> <p class="ecxMsoNormal"><span style="font-family:Arial;font-size:85%;color:navy;"><span style=" ;font-family:Arial;font-size:10pt;color:navy;">God’s blessings on your college decision!</span></span></p>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-24058727174586799102009-12-16T08:21:00.000-08:002009-12-16T08:24:58.494-08:00Month-by-Month with the 2008-09 Concordia Wind OrchestraLast year, I wrote this short piece to give prospective students an idea of what the CWO experience entails. It may be one year outdated, but it still provides useful insight.<div><br /></div><div><div><b>Several months in the life of the Concordia Wind Orchestra, 2008-09:</b></div><div><br /></div><div><span class="Apple-style-span" style="font-size: small;">August: A new school year begins. Week of Welcome is loaded with orientation activities, reunions of friends, and CWO auditions. Before classes begin, all major ensembles hold auditions to determine student placement within the ensemble. The CWO audition consists of three sections: a prepared etude, an excerpt from the upcoming years' literature, and 4 scales selected at random from the major, minor, or chromatic scales. On the first day of rehearsal, five students were congratulated for receiving perfect scores (2 freshmen flutists, and the principal clarinetist, bassoonist, and saxophonist). With student placement complete (sometimes adjustments are made during the semester), rehearsals begin in earnest for the fall concert.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">September: The ensemble rehearses hard on Tuesdays and Thursdays from 3:30-5:15. All students are required to observe the "15-minute standard," which means they are present, warming up and preparing for the rehearsal. This standard applies for call times before performances as well. The biggest surprise for returning students is that Prof. Held has actually softened up and included a 5-minute break during every rehearsal. The trumpet section is particularly appreciative. </span></div><div><span class="Apple-style-span" style="font-size: small;">There are no performances this month, but the CWO takes part in its annual tradition - the retreat! This year's version is especially adventurous - a camping trip in the Cleveland National Forest (our local mountains that are in Orange County - we're not just all about beaches!). Did I say this would be an adventure? Students were divided into groups and given a meager amount of cash to take care of their responsibilities. In the end, the equipment group managed to secure enough tents and sleeping bags to save on rental and generously gave their left over portion to the dinner group (hey, they wanted to have enough food!). Everything actually went off without a hitch as all the groups did an excellent jobs using their budget and coming up with plenty of food and shelter. The retreat itself was a great time. Once we survived an onslaught of bugs in the late afternoon, they went away and we had a very fun evening of food, frisbee, hacky-sack, tree-climbing, camp golf, and campfire worship. The highlight of the night probably was the tarantula that one of the students coaxed into his hat. After everyone had a chance to pet it and take a few pictures, he was off on his merry way. Everyone successfully survived the night and early morning hike led by Prof. Held's 5-year-old son, and we were on our merry way (after we successfully broke into one of the vans whose driver locked the keys away!). The final act of the retreat was to rejoin civilization, get dressed up and attend a fabulous concert by the American Winds and tuba soloist extraordinaire, Patrick Sheridan.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">October: Things are really getting serious in rehearsal now with the fall concert coming up quickly (the 5 minute break stays intact, though!). This year, the Wind Orchestra is preparing an All Saints' Day concert. Probably the most challenging piece is David Gillingham's No Shadow of Turning, pushing our sound control and expressive abilities to the limit. We're also very excited to perform two of Frank Ticheli's most beloved works back-to-back, An American Elegy followed by Amazing Grace.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">November: The All Saints' Day concert is a perfect example of the Concordia Wind Orchestra's mission to serve the community as a faith-centered musical ensemble. The concert is filled with challenging, inspiring, and highly-respected works placed in the context of a deeper message. The concert opens with a three portrayals of human grief - a Steven Stucky arrangement of Purcell's Funeral Music for Queen Mary, an Armenian song of sadness and hope called Giligia, by Alfred Reed (accompanied by the image Armenian Sadness,by Fons Heijnsbroek) and Ticheli's well-known An American Elegy. Our faith carries us far beyond sadness though, and this is expressed in the second part of the concert which highlights faith themes of redemption, praise, eternal life, faithfulness, and peace through music selections and narration. </span></div><div><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-size: small;"> </span></span><span class="Apple-style-span" style="font-size: small;">This memorable concert was performed on campus, at a Los Angeles church, and at our area Lutheran high school for their chapel service. An then, in a flash, it was time to think "Christmas!"</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">December: This is the whirlwind month! Students are frantically finishing major class projects, prepping for finals, and readying performance juries. But this is also the month of Concordia's biggest music event, an unforgettable experience for the performers and audience - our Christmas concerts. The CWO traditionally plays during the 2nd half of the concert, alternating Christmas selections (and sometimes joining) with the Concordia Choir and Master Chorale. After the Concert Handbells take that role in the first half, we have an impressively fast and efficient stage-change, replacing the handbells with the full wind orchestra set-up. We perform to five sold-out audiences each year, and the concert is an Orange County Christmas highlight.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">January: One week before classes begin, CWO members report back to campus. It is tour time! After one day of intensive rehearsals, we leave for a four-day tour through California, taking us to Lutheran churches in Paso Robles, Fremont, Santa Maria, Oxnard, and Torrance. This year's tour concert takes on a unique format - an Evening Prayer worship. We have this special liturgy orchestrated by a local composer named Charles Raasch and put all of our tour repertoire in this worship format. We bring soprano Natalie Hovsepian (junior at Concordia) along to do the chanting and sing special arrangements of The Lord's Prayer and a hymn. In the end, this concert/worship hybrid was an excellent example of the Concordia Wind Orchestra's mission as a faith-centered wind band. Seven performances over four days (including one school perforamance and two morning worship services) may sound like a lot, but we still have time for many fun and educational tour excursions. Tours are more than an opportunity for performance outreach. Students also experience many things. This year, we managed a stop at the Niles Silent Film Museum (location where Charlie Chapman made it big), including a screening of a Charlie Chapman film. We also had a lively guided tour of the monarch butterflies that migrate to the Bridges State Beach, followed by a perfect afternoon at Santa Cruz beach (sunny and 70 degrees in January!). And between performances on Sunday, we stopped to tour the Getty Center - one of the world's most spectacular art museums.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">February: After the tour, there was no time to rest. Rehearsals began in earnest, with only two weeks to prepare our very popular annual family concert. This year's theme is "SuperMusic for SuperHeroes." A hilarious skit accompanied our concert, with a superpower potion being developed by a Concordia professor, which was stolen by Lex Luther, who trapped Batman, Robin, and Superman, and was finally defeated when all of the kids in the audience who came dressed as superheroes zapped him with their superlollypops combined with the the newly-found power in "Superconductor's" conducting baton. This concert is a community highlight, filling the CU Center with enthusiastic families. After the concert, the patio is filled with superhero-themed kid games led by CWO members with lots of prizes for the kids. This year's concert was taped for broadcast on Irvine City Televison.</span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">March/April: With 20 of our 28 performances behind us already, things calm down a bit for two months. Rehearsals are occupied in preparation for our spring concert and two more outings to area churches for their worship services. This year we are preparing a Palm Sunday service, so we are having Charles Raasch arrange two hymns for the Lenten season: "No Tramp of Soldiers' Marching Feet" (whose text makes several marching band references) and "My Song is Love Unknown." Charlie will join us as organist for these settings on Palm Sunday. We'll prepare other music appropriate for Lent, including O Sacred Head Now Wounded by William Latham. The Wind Orchestra is always enthusiastically-received by congregations. Having a wind orchestra in worship is a spectacular and highly expressive way to enhance worship. </span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">May: Our spring concert arrives - a collaboration with the Art Deparment themed, "Sonic Portraits: Music and Art in Synergy." The concert includes all music that is based in the visual arts. The program has large prints of each painting depicted by the music. One of our pieces, Prism by Steve Shafer, is accompanied by a video art installment (and it has an unbelievably beautiful penny whistle solo played by flutist Megan Salgado). Performing Pictures at an Exhibition, Scenes from the Louvre, and Art in the Park challenge and inspire us, but the highlight is a new work composed by junior Christian Guebert. This piece is inspired by three paintings by recent Concordia graduate, Justin Morris. </span></div><div><span class="Apple-style-span" style="font-size: small;"><br /></span></div><div><span class="Apple-style-span" style="font-size: small;">Closing out the year is our traditional performance at Concordia's commencement ceremonies (Pomp and Circumstance way too many times!). We part ways with our graduates, ready for some rest but reflecting on what has been a landmark year in the history of the Concordia Wind Orchestra. </span></div></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-46263242426590495112009-07-24T20:06:00.000-07:002009-07-25T14:18:58.342-07:00CUI's tuba instructor, Charlie Warren, releases Music Minus One Tuba CDCharlie Warren and his Disneyland-based brass quintet, the <a href="http://www.kamstar.com/pch.html">Pacific Coast Horns</a>, have released a new Music Minus One CD for solo tuba, titled "<a href="http://www.musicminusone.com/pacific-coast-horns-volume-take-five-p-60413463.html?osCsid=32dd272rfbi3o23tfi93096q93">Take Five</a>." This is a great way for students to learn solo pieces with high quality accompaniment on CD, in regular tempo and slower tempo.Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-39682563580542000112009-07-24T19:35:00.000-07:002009-07-24T19:47:46.362-07:00CWO Performs Ticheli's Amazing Grace<div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:12px;">The Concordia Wind Orchestra performs for worship at Immanuel Lutheran Church, Orange, CA in 2009. Directed by Jeff Held. Permission granted by <a href="http://www.manhattanbeachmusic.com/">Manhattan Beach Music</a>.</span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:12px;"><br /></span></span></div><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/MFDQJfny8OY&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/MFDQJfny8OY&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-5923346064767844322009-06-30T12:43:00.000-07:002009-06-30T12:55:47.991-07:00The Conductor's Role in Performance Anxiety of Ensemble MembersThe July 2009 JRME article about performance anxiety in semi-professional singers revealed some interesting findings about the influence of conductors on their singers' performance anxiety:<div><br /></div><div>84% of singers report that their conductor influences their level of performance anxiety. </div><div><br /></div><div>To what extent? 59% believe that conductors make a lot or all of the difference in performance anxiety, 29% indicated some difference, and 12% indicated a little difference. </div><div><br /></div><div>What specific characteristics and behaviors of the conductor induces anxiety?</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>75%<span class="Apple-tab-span" style="white-space:pre"> </span>Anxious</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>31%<span class="Apple-tab-span" style="white-space:pre"> </span>Negative Mood</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>18%<span class="Apple-tab-span" style="white-space:pre"> </span>Weak conducting/rehearsal skills</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>17% <span class="Apple-tab-span" style="white-space:pre"> </span>Disrespectful</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>13%<span class="Apple-tab-span" style="white-space:pre"> </span>Poor preparation/disorganized</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>12%<span class="Apple-tab-span" style="white-space:pre"> </span>Negative body language</div><div><br /></div><div>What does this mean?</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>The demeanor of a conductor is very important and has influence on the execution of an ensemble. Conductors should prepare to the extent where they are under control and organized. They also should be careful about negative comments and body language right before the performance. </div><div><br /></div><div>Ryan, C., & Andrews, N. (2009). An Investigation Into the Choral Singer's Experience of Music Performance Anxiety. <i>Journal of Research in Music Education</i>, 57(2), 108-126.</div><div><br /></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-42547431887065805392009-03-18T20:53:00.000-07:002010-04-09T14:58:32.724-07:00Concordia - a great alternative to the major university music program<div>If you are considering Concordia alongside a major university, please consider the following:</div><div><br /></div><div>Especially if you've already auditioned at a major university, there are some obvious differences between the big music departments and Concordia. I'd like to take this opportunity to explain some not-so-obvious things that hopefully make Concordia a strong alternative.</div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">School size:</span> Concordia is a small school. If you would like to have a significant music education but don't want to be swallowed up in a "factory" of music students, Concordia is the place for you. If you want to be able to take a short walk to the music building to practice in the middle of the day, that is no problem. Our campus is small and and the music buildings are accessible, which is not the case at many major universities. Of course this means that you won't be competing against dozens of motivated musicians on your instrument. In most cases, you'll be one of a few music majors on your instrument. If you are the type of student that has intrinsic motivation, the lack of massive competition won't keep you from being a high achiever. And the close-knit nucleus of music majors who have similar goals as you will become your best friends as you share many experiences.</div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">Becoming a seasoned performer:</span> The flip side of our small size is that you will have numerous high-pressure performance opportunities. You'll be able to compete for the principal chair as a freshman (if you are a particularly strong player) and you won't have to beat out a whole studio of graduate students to get it. Even if you are not the principal player in your section in the Concordia Wind Orchestra, our policy of not doubling parts unless it is necessary for balance (mainly in the clarinet section) means that you will have a playing experience more like what is common in a symphony orchestra - you'll be singularly responsible for your part. The result is freedom to phrase and express your part and make decisions about how to do this. Therefore, you'll be expected to think and execute a high level of musicianship and your part will be very exposed - each performance is high stakes! And <a href="http://docs.google.com/Doc?id=dcmbm8kc_253dpv7npr9">our repertoire</a> is advanced college music.</div><div><span class="Apple-tab-span" style="white-space:pre"> </span>At Concordia, you will become a very seasoned performer. The Concordia Wind Orchestra performs nearly 30 times per year, its associated chamber ensembles perform anywhere from 2-15 times per year. Also, as a soloist you will be expected to perform a piece in a noon recital twice per semester. Students who achieve the 300 level in applied study by their sophomore year are eligible to present a half recital (app. 30 minutes). Juniors give a half recital and seniors give a full recital. And our music department's close association with worship provides an additional layer of performing for soloists and chamber groups. If you want to become a great performer, you'll have plenty of practice at Concordia!</div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">Private Study:</span> Concordia is located in one of the most musician-dense populations in the entire world. When a position becomes available, we have an unbelievable pool of talented candidates. Concordia's teachers are some of the finest in Southern California. Their resumes attest to that (you can read them at www.cuimusic.com/privatestudy.html). </div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">Instrument Access:</span> If you are an instrumentalist that needs access to more than your own instrument, we can accommodate. Percussionists can view our extensive list of outstanding instruments, including a Musser 5-octave marimba at www.cuimusic.com. Trumpet players can check out a C trumpet, piccolo trumpet, D/Eb trumpet, or a flugelhorn. Clarinetists can check out an Eb clarinet, bass clarinet, alto clarinet, or an A clarinet. And we have a new contrabassoon for bassoonists. And all of these instruments are less than 4 years old, and they are top-of-the-line professional models. There are not many schools our size that can boast such a collection of instruments.</div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">Degree:</span> Concordia offers a Bachelor of Arts in music. One of the emphases that you can select is performance. We don't offer a Bachelor of Music degree, which requires more units than a Bachelor of Arts (although many music majors far exceed the number of required music units to graduate). However, a Bachelor of Arts degree fully educates you. Sometimes students are nervous about majoring in music because they are afraid that they are locking themselves into a particular career path. Not so with a bachelor of arts. You will develop your non-musical skills fully - the skills of communication, writing, and thinking. Make no mistake about it, these skills help you stand out in a very competitive fields. </div><div><br /></div><div><span class="Apple-style-span" style="font-weight: bold;">Faith-centered Music:</span> And finally, the most significant thing that makes Concordia distinctive against major universities - Christian ministry. We hear a lot about spiritual connections with music, but at Concordia music affords a spiritual connection with the Lord. Many concerts take sacred themes, and most of our groups perform regularly in worship. </div><div><br /></div><div>If you want to play music at a high level in a uniquely faith-based way, please consider Concordia. Our facilities may not be as spectacular, but the Concordia Experience more than makes up for this. </div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-47364117351078162902009-01-30T08:00:00.000-08:002009-01-30T09:37:29.344-08:00What I am looking for in an auditionIf your music scholarship audition is coming this month, you are probably wondering what your auditioner is looking for? This is an important question to consider, the answer may surprise you.<br /><br />First of all, I care a lot less about note accuracy than you probably do. An audition is a one-time shot at showing how capable you will be in a college ensemble. Note correctness provides little information to determine this. Of course, it is important, and a sloppy performance might say something negative about your capability. However, your capability to be a successful collegiate ensemble member will show more clearly in several other (more important) areas. Here are five:<br /><br />1. <span style="font-weight:bold;">Musical Poise</span> - In the Concordia Wind Orchestra, we operate with a minimal amount of doubled parts. This means that it is really a big chamber group. This might be different than your high school band, where you may be one of four or five players on the 2nd trumpet part. Here, we only will use 1-2 players on that part (depending on the piece). I want to see that musicians can handle themselves independently and confidently. I want musicians who make critical judgments about how music ought to sound and then put it into action. When you play your excerpts, for example, don't ask me how to play it. Using your experience, look at the markings on the page, the title of the piece, and the note patterns. Determine the style to the best of your ability, and then execute it.<div><br />2. <span class="Apple-style-span" style="font-weight: bold;">Expression</span> - Music is not just notes. Cognitive research shows that developing musicians are so preoccupied with note and rhythm accuracy that there is little room for them to focus on elements of expression and style. If you play with a tasteful and wide dynamic envelope, and if you add subtle expressive detail from note to note on a journey to complete a phrase, I know that you are moving on in your musical development. And since the Concordia Wind Orchestra has controlled instrumentation, I know that you will add a noticeable expressive element to the ensemble (every individual is magnified in our setting). So, don't just pick a piece that runs you through a lot of fast passages. I'm not listening for the notes, I am listening for how you get from one note to the next. Choose a solo that offers you the chance to express yourself.<div><br />3. <span class="Apple-style-span" style="font-weight: bold;">Control </span>- Expert ensemble playing is a special art. I am listening to how you sustain notes - does your airstream waver, does the sound change unexpectedly, does the intonation shift? An expert ensemble player can play very softly without any of these happening. He also can shade his tone quality, use variable vibrato to make the note expressive, and can release it pristinely. Consider how important control of individual players is - if one member of the ensemble can't taper his sound into the cutoff and can't hold it steady, his deficiency will cover the excellence of the other members. For these reasons, I'll be listening far more carefully to the long notes than the short and fast ones.<div><br />4.<span class="Apple-style-span" style="font-weight: bold;"> Intonation</span> - The average person notices timbre more than any other musical element (again, this comes from leading cognitive research). An out-of-tune player changes the timbre of his section from pure to spread and shaky. Any audience member will notice this (even if many of them can't describe the effect). If you show that you can handle the out-of-tune tendency notes on your instrument, I know that you have an intimate procedural knowledge of performance on your instrument. To learn more about intonation tendencies on your instrument, Google it (trumpet intonation tendencies, for example).<div><br />5. <span class="Apple-style-span" style="font-weight: bold;">Who you are</span> - This is critical at Concordia University. We are thinking about paying you through a music scholarship to represent the university. Members of our ensemble interact in significant ways with outsiders. When we go on tour, for example, you will share meals with church members, sometimes sleep at their houses, and you'll have many opportunities to interact with children. I want to make sure my ensemble projects a positive image of Concordia and a positive image for music. Kids don't hear a lot of live music - their interaction with us will be a shaping experience. They'll want to become musicians based on how we perform AND how we carry ourselves. So, briefly, I want players in my ensemble who project a caring and warm personality - a Christian demeanor.<br /></div><div><br /></div><div>Finally, enjoy your audition! Why not? You have invested hundreds to thousands of hours developing your musicianship. Don't worry, I'll notice what you've invested. You'll have a chance to play and to discuss music and college life with me. You are on the brink of a new, very exciting stage in life!</div></div></div></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-10501489609971731292009-01-09T08:57:00.000-08:002011-02-14T08:59:05.551-08:00FAQs About College MusicIf you are soon to be in college and you are a musician, please take 10 minutes to read this excellent article by Dr. Scott Harris. Although it addresses the perspective of a percussionist, it applies to any musician.<div>1. <a href="http://www.tsmp.org/band/percussion/harris_facts_about_college_percussion.html" target="_blank">FAQs About College Music / Percussion</a></div><div>2. Now, I have a few comments to help you understand Concordia's music program...</div><blockquote><div><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">Should I major in music ed or performance?</span></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;"> Another issue to keep in mind is that the typical student working toward a performance career will get a master's degree and often a doctorate in their performance area. Having a broader approach to your undergraduate study will keep more doors open.</span></span></div><div><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">But I really want to perform. Do I lose performance opportunities as an education major? </span></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">At Concordia, most music majors give a senior recital, and many also give a junior recital. It isn't required, but it is rather common regardless of an emphasis in performance, music education, or church music. On top of that, once you achieve the "300 level" on your instrument, you can give a recital - some students get there before their junior year, allowing them to give 3 undergraduate recitals.</span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></div><div><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">How long does the degree take to complete? </span></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">At Concordia, students should be able to graduate in 4 years. Music Education students might be wise to take an extra semester to accommodate student teaching. This is an advantage of Concordia, since many universities are growingly unable to matriculate music majors in 4 years.</span></span></div><div><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">What should I play for an audition? </span></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">Unlike the scenario explained in Dr. Harris' article, Concordia usually does not have the private teachers sitting in the auditions. However, his point about learning about the teacher you will spend 4 years with is very important. Please get to know </span></span><a href="http://www.cuimusic.com/PrivateStudy.html"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">Concordia's studio faculty</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:arial;">. If you are considering the music major, please contact me about setting up a complimentary lesson with your potential studio teacher.<br /></span></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:13px;"><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;">If I don’t major in music can I still take lessons and play in the band? </span></span><span class="Apple-style-span" style="font-size:small;">Concordia is a different environment than what is explained in Dr. Harris' article.</span><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="font-size:small;">Here, many non-majors participate in the top groups and many not only take private lessons, but receive extra scholarship money (in addition to money provided to play in ensembles) to pay for them.</span></span></div></blockquote><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:13px;"><span class="Apple-style-span" style="font-size:small;"></span><br /></span></div><div><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size:medium;">Do you have more questions? </span></span><span class="Apple-style-span" style="font-size:medium;">Go to </span><span class="Apple-style-span" style="font-size:medium;"><a href="http://www.cui.edu/music">www.cui.edu/music</a></span><span class="Apple-style-span" style="font-size:medium;"> for a detailed overview of Concordia's music department. And don't hesitate to contact<a href="http://www.cui.edu/academicprograms/undergraduate/music/index.aspx?id=18483"> Concordia music faculty</a> with questions.</span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:13px;"><br /></span></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-8836424465738208892008-12-17T10:57:00.000-08:002008-12-17T11:01:36.754-08:00Jay Mason and the Grammys<p class="MsoNormal"><span style="font-family:Arial;"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size: medium;">Concordia Adjunct Professor of Saxophone Jay Mason contributed to three </span><a href="http://content.grammy.com/grammy_awards/51st_show/list.aspx"><span class="Apple-style-span" style="font-size: medium;">Grammy nominated</span></a><span class="Apple-style-span" style="font-size: medium;"> albums/songs this year:</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></span></p> <p class="MsoNormal"><span style="font-family:Calibri;"><span style=" ;font-family:Calibri;"><o:p><span class="Apple-style-span" style="font-size: medium;"> Category 14: Best Traditional Pop Vocal Album, “The Sinatra Project”, Michael Feinstein. Jay played lead alto saxophone, baritone saxophone, flute, oboe, and bass clarinet. </span></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:Calibri;"><span style=" ;font-family:Calibri;"><o:p><span class="Apple-style-span" style="font-size: medium;"> Category 49: Best Large Jazz Ensemble Recording, “Act Your Age”, Gordon Goodwin’s Big Phat Band. Jay played baritone saxophone, flute, and bass clarinet. </span></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:Calibri;"><span style=" ;font-family:Calibri;"><o:p><span class="Apple-style-span" style="font-size: medium;"> Category 85: Best Instrumental Composition, “Hit the Ground Running”, track from “Act Your Age”, Gordon Goodwin’s Big Phat Band.</span></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:Calibri;"><span style=" ;font-family:Calibri;"><o:p><span class="Apple-style-span" style="font-size: medium;"> Jay also contributes to two high profile current soundtracks, for the film </span><i><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size: medium;">The Curious Case of Benjamin Button </span></span></i><span class="Apple-style-span" style="font-size: medium;">(Jay plays a baritone sax solo in one scene) and several United Airlines commercials for the Olympics and Super Bowl.</span></o:p></span></span></p>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-23711888582809365402008-09-19T08:46:00.000-07:002008-09-19T08:52:50.318-07:00Music Career OutlookThe U.S. Dept. of Labor maintains statistics for music careers. <div><br /></div><div><a href="http://stats.bls.gov/OCO/OCOS095.HTM">2008-09 Handbook report for Musicians, Singers, and Related Workers</a></div><div><br /></div><div><blockquote></blockquote><span class="Apple-style-span" style="border-collapse: collapse; font-family: Verdana; font-size: 13px; line-height: 20px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><blockquote>"Overall employment of musicians, singers, and related workers is expected to grow 11 percent during the 2006-16 decade, <a href="http://stats.bls.gov/oco/oco20016.htm" style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.22em; color: rgb(38, 71, 160); ">about as fast as the average</a> for all occupations. <span class="Apple-style-span" style="font-weight: bold;">Most new wage-and-salary jobs for musicians will arise in religious organizations</span>." (from the Job Outlook section)</blockquote></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; font-family: Verdana; font-size: 13px; line-height: 20px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br /></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; font-family: Verdana; font-size: 13px; line-height: 20px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">More detailed information for Music Directors and Composers (including Music Educators):</span></div><div><span class="Apple-style-span" style="border-collapse: collapse; font-family: Verdana; font-size: 13px; line-height: 20px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><a href="http://stats.bls.gov/oes/current/oes272041.htm">Occupational Employment and Wages, May 2007</a></span></div><div><span class="Apple-style-span" style="border-collapse: collapse; font-family: Verdana; font-size: 13px; line-height: 20px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"> </span></div><div><br /></div>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-16784250190734435602008-05-30T08:09:00.000-07:002008-05-30T09:29:59.461-07:00Long-lost Renaissance Mass for up to 60 Parts FoundFrom Sibelius Notes (May 2008):<br /><blockquote>One of the highlights of the 2008 Berkeley Festival & Exhibition, presented by Cal Performances and the UC Berkeley Department of Music, is the American premiere of Alessandro Striggio's 16th-century long-lost <span style="font-style: italic;">Missa sopra Ecco sì beato giorno</span> for 40 and 60 voices, <span style="font-weight: bold;">the largest known contrapuntal choral work in Western music</span>. UC Berkeley musicologist, renowned harpsichordist, and Sibelius user, Davitt Moroney, discovered the work in 2005 at the Bibliothèque Nationale de France after a two-decade search. Professor Moroney translated the piece into modern notation using Sibelius software and will conduct the musical performance at the First Congregational Church in Berkeley, CA on June 7 & 8.</blockquote>Some very interesting information about this work can be found at these links:<br /><a href="http://cpinfo.berkeley.edu/information/print_video_program_notes/video_0708.php">Video Program Notes</a><br /><a href="http://www.gresham.ac.uk/event.asp?PageId=39&EventId=613">Moroney's Lecture</a> explaining the history of this work and its role in European politics<br /><a href="http://en.wikipedia.org/wiki/Alessandro_Striggio">Striggio bio</a><br /><ul><li>Striggio traveled to major musical centers in Europe and influenced Lassus in Munich and Tallis in England (who likely was inspired to compose his 40-part <span style="font-style: italic;">Spem in Alium </span>after hearing Striggio's work).</li><li>Striggio played a critical diplomatic role on behalf of the Medici family from Florence.</li><li>He collaborated musically with Vicenzo Galilei (father of Galileo Galilei, the astromer), and may have been a part of the Florentine Camerata.</li><li>His son (also named Alessandro Striggio) wrote the libretto for Monteverdi's <span style="font-style: italic;">Orfeo.</span></li><li><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"></span></span></span></span>This work has been "lost" since the early 1700s - in a Paris library! To put it simply, it was miscatalogued - but the story is really more complicated than that. Read Moroney's lecture and you'll probably gain a little more respect for the challenges librarians can face!</li></ul>Music History is far from being settled. Someone like Striggio doesn't make many history textbooks, but we are now finding out that he was a catalyst for large polychoral music throughout Europe. And we learn about the political role he played. With this discovery in place, and it triggering more puzzle pieces of history to be connected, will Striggio become a part of the canon of Western Music in textbooks of the future? He probably deserves to be. Now imagine that some of Indiana Jones' rivals wanted to find this work in the library before him...Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-1772341245549653062008-02-15T20:53:00.000-08:002008-02-15T20:57:38.851-08:00Long Beach Press Telegram Previews CWO ConcertThe Long Beach Press Telegram published a feature article about Francis Johnson and Steve Charpie's attempt to promote his legacy. The article was timed to help promote Steve's concert with the Concordia Wind Orchestra on Feb. 17. <a href="http://www.presstelegram.com/search/ci_8256182?IADID=Search-www.presstelegram.com-www.presstelegram.com">Read the article</a>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-30557572806490392282008-02-06T20:01:00.000-08:002008-02-06T20:05:04.287-08:00Test your musical brain!<a href="http://www.tonometric.com/">www.tonometric.com</a><br /><br />This site has 3 tests:<br /><br />Adaptive Pitch: Determine how well you can discriminate between two separate pitches (it gets progressively tougher)<br /><br />Rhythm Test: Measures your ability to hear subtle differences in rhythmic patterns<br /><br />Tonedeaf Test: Measures your ability to hear subtle differences in tone patterns.<br /><br />Give it a try!Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-15086156359806608642008-02-04T21:28:00.000-08:002008-02-04T21:35:32.798-08:00CUI's Flute Teacher, Susan Fries, Publishes BookSusan Fries recently published a book about legendary flutist Marcel Moyse, titled <em>My Teacher, Remembering Marcel Moyse.</em> The book is a narrative of 54 individual stories about famous flute teacher/performer, Marcel Moyse, who was the most-recorded flutist in France between the 1920s and 1940s.<br /><br /><a href="http://books.google.com/books?hl=en&id=6Yzf0bd6J-QC&dq=susan+fries&printsec=frontcover&source=web&ots=wdDfoc2xow&sig=Y1dT59FF4TMdT3eHcTUc8ppx40k#PPP1,M1">Book excerpt</a><br /><a href="http://www.susanfriesbook.com/index.html">Book website</a>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-11476290090713348102008-01-28T10:07:00.000-08:002008-01-28T10:10:46.380-08:00Steve CharpieOur Feb. 17, 2008 (3:00) the Concordia Wind Orchestra will perform with trumpeter Steve Charpie. Steve is a expert on early American brass instruments. A great <a href="http://www.presstelegram.com/lifestyle/ci_8071154">article and video </a>about Steve was posted yesterday on the Long Beach Press Telegram website.Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-35762972777585278092008-01-28T08:47:00.000-08:002008-01-28T09:29:49.595-08:00"Tuning" Out Distractions (lessons from sports science)Fox Sports has a series that examines issues in sports science. There is plenty of crossover into music. Here's what I learned from a recent episode about free throw shooting:<br /><br /><ul><li>the brain decodes visual stimuli and aural stimuli in different areas. Decoding visual stimuli is more cognitive, which also means visual distractions can more readily be blocked out.</li><li>Aural distractions, being harder to filter, will have a greater effect on us. The greatest of aural distractions is not just noise, but surprise, inconsistent noises.</li></ul><p>What does this mean for musicians? Consider a solo instrumental performance. We make every effort to focus on, within the moment, our expressive music. But wrong notes happen (the trumpet "clam"). Science tells us that these shake us physiologically, breaking our focus, and putting future notes in jeopardy. There are two things we can do about this:</p><ol><li>PRACTICE A LOT: You'll miss fewer notes in performance!</li><li>PUT YOURSELF IN PRESSURE SITUATIONS OFTEN: We may not be able to control the fact that audible distractions shake us, but we can control our reaction. Those that minimize the anger after mistakes are in the best condition to execute. Anger quickly raises the physiological stress indicators, and this makes playing an instrument more challenging, leading to more mistakes. A high-intensity, critical mentality may be useful in the practice room, but there is already too much heat on us while we are performing. A calm mind resists the mental "commentary" while we play. That is a good thing. How do we achieve the calm mind? We've got to perform as often as possible in many different pressure situations. Save your critiquing for after the performance and include a critique of how well you responded to your missed notes (the distractions). Did you dwell on it well after it happened? Did you allow your "blood to boil?"</li></ol><p>Finally, the question begs to be asked - why do we put ourselves through this? In my opinion, playing an instrument in public is one of the toughest things to execute. The experience gained in the heat of the musical moment will definitely translate to other areas of life - public speaking, thinking quickly in a meeting, keeping poise when you are being judged (a job interview, date, etc.). Musical performances will stay with you all of your life. Make the most of them (prepare well & execute as calmly as you can), and you will always value and cherish the experience!<br /><br /><a title="Sport Science: FT Distractions" href="http://video.msn.com/video.aspx?mkt=en-US&brand=foxsports&vid=25dc78d7-e946-4000-a206-ccea6e13e3e6" target="_new"><img height="84" alt="Sport Science: FT Distractions" src="http://a536.g.akamaitech.net/7/536/32585/0/content.catalog.video.msn.com/ft/share0/ef63/0/7510792_1.jpg" width="112" border="0" /><br />Sport Science: FT Distractions</a> </p><p></p>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-8112155496248803142007-12-30T13:24:00.001-08:002008-01-28T09:36:09.422-08:00Bah Humduck!Last year, Warner Bros. released another cartoon version of "A Christmas Carol," this time featuring Daffy Duck as Scrooge. This is worth your time to watch (especially if, like me, you have little kids and will be watching cartoons anyways!) because of the outstanding soundtrack composed by Gordon Goodwin and performed by his Big Phat Band. It is a throwback to the old days of fully-orchestrated soundtracks, full of great jazz licks. "Yo Tannenbaum," one of the tracks from this soundtrack is up for a Grammy Award.<br /><a href="http://www.gordongoodwin.com/index1.html">http://www.gordongoodwin.com/index1.html</a> for more information about the Big Phat Band and this soundtrack. (GG and the Big Phat Band are behind another popular cartoon soundtrack: The Incredibles.)<br /><br />One additional note: <a href="http://www.cui.edu/aboutcui/mediarelations/index_ektid9742.aspx">Jay Mason</a>, Concordia's professor of saxophone, is playing bari sax on this soundtrack (and his name is listed in the movie's credits).Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-51377963326374017682007-12-30T13:18:00.000-08:002008-01-03T13:22:41.222-08:00Big-10 Linebacker Plays ChopinOne of the highlights that has been playing during college football's bowl season is a piano solo. That's right... John Misch is a freshman linebacker at Michigan State who earned a starting position. He's also a very talented concert pianist. Here's the full video, taken at an awards banquet before the bowl game.<br /><br /><object height="373" width="425"><param name="movie" value="http://www.youtube.com/v/jmCLtNDehI4&rel=1&border=1"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/jmCLtNDehI4&rel=1&border=1" type="application/x-shockwave-flash" wmode="transparent" height="373" width="425"></embed></object>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-50190408481935757822007-12-18T15:24:00.000-08:002008-01-16T20:09:01.976-08:00Favorite Movies about MusicHere's my list of feature films about music that can't be missed (in no particular order):<br /><br /><a href="http://www.sonyclassical.com/music/63010/">The Red Violin</a> (this is currently required viewing for Experiences in Music class)<br /><a href="http://www.rkingmusic.com/">The Pianist</a><br /><a href="http://www.imdb.com/title/tt0358273/">Walk the Line</a><br /><a href="http://www.imdb.com/title/tt0117631/">Shine</a><br /><a href="http://www.spinaltapfan.com/">This is Spinal Tap</a>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-277103072006150742007-12-18T15:18:00.000-08:002007-12-18T15:22:41.756-08:00Best trumpetersI occasionally am asked who are some great trumpeters to listen to. There are many great ones out there, but the ones that I enjoy most are:<br /><br />Wynton Marsalis<br />Terry Everson<br />Tim Morrison<br />Edward Tarr<br />Maurice Andre<br />Adolf "Bud" Herseth<br />Rolf Smedvig (Empire Brass)<br /><br />Look these guys up and get to know their sound and phrase shaping - the best of the trumpet world!Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-67061417365865610002007-12-18T13:10:00.000-08:002007-12-18T15:07:55.850-08:00Orchestration for tuba/baritone/trombone (also organ) from Robert KingGo to page 4, 2nd column for some useful thoughts about scoring for low brass (also for organ), specifically how to properly support low notes on tuba (or 16 ft pipes on organ).<br /><a href="http://www.trumpetguild.org/pdf/rareverettking.pdf">http://www.trumpetguild.org/pdf/rareverettking.pdf</a><br /><br />From the International Trumpet Guild: "An Interview with Robert King."<br /><br />Robert King is a pioneer in the publication of music for brass. View his catalogue here: <a href="http://www.rkingmusic.com/">http://www.rkingmusic.com/</a>Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.comtag:blogger.com,1999:blog-3693250902020519782.post-55662270159842524722007-12-18T09:00:00.000-08:002009-07-24T19:54:46.781-07:00Characteristic Tone on TrumpetOne of the 100-level requirements for instrumentalists at Concordia is to be able to play with a characteristic tone on their instrument. In short, this means that you can create a sound that resembles a model tone quality for your instrument. What is that model tone? Here are some of my favorite recordings demonstrating what I consider an ideal trumpet sound for the music being played:<br /><br />performer: Wynton Marsalis<br />music: Trumpet Concerto in D (Michael Haydn)<br /><br />performer: Wynton Marsalis (x3 - he is overdubbing to play all 3 parts of this recording!)<br />music: Canon in D (Pachelbel)<br /><br />performer: Boston Pops Orchestra (Tim Morrison, principal trumpet)<br />music: "Summon the Heroes" (John Williams)<br /><br />performer: Canadian Brass<br />music: Fanfare "Ablasson" (Reiche) and The Prince of Denmark's March<br /><br />performers: Wynton Marsalis w/ Kathleen Battle<br />music: "<a href="http://www.youtube.com/watch?v=M7PzO2x9k0o">Let the Bright Seraphim</a>" (Handel)<br /><br />performers: Boston Pops Orchestra (John Williams, conducting)<br />music: Bugler's Dream (Arnaud)Prof. Jeff Heldhttp://www.blogger.com/profile/16352111729789204049noreply@blogger.com