Who am I, and why am I here?

It occurred to me tonight that I have been, as usual, putting the cart before the horse. I just perused the Wordpress Blogging 101 series and noted that one of the first things a new blogger should do, according to Wordpress, is to define why you are starting a blog and what you hope to accomplish. My title does pay homage to the 1992 vice presidential debate in which Admiral James Stockdale opened with the now famous quote above, but not for the reasons you might imagine. That great man and his writings will be the focus of another post in the near future. As a person who had "early success" as a musician, mainly in high school and college, I have often found myself wondering, "What now?" and "What else?" I auditioned for the Marine Band in 1999 and began my career that summer. After joining the band, I promptly careened down the path of, "I have a job, I can relax and do other stuff!" Not that there's anything wrong with that! But, for me, I feel like I have put a lot of my musical development on hold over the years. I have a lot left in the musical world that I want to explore, and I enjoy communicating about those issues through my writing.

So, what will you see here? Well, the All-State etudes are fun to do and give me something to practice, but I have in mind a number of other topics and focusses that you will see here. Namely, I want this blog to become a resource and place of connection for trombonists and musicians everywhere. Interviews, personal accounts and experiences, sheet music reviews, recording reviews, my own recordings, book reviews, and many other topics that I enjoy, but all trombone or music related. Also, I want to add my own experiences with different mentors I have been lucky enough to have throughout my career, and share some of the special things that they taught me.

If you want to see other stuff that I get myself interested and tangled up in, I am starting to use Tumblr now for short everyday posts about things I find interesting. You can find me there as virtualtrombonist as well... On Twitter, I am @beebesdad...

Happy creating!

Chris

Texas ATSSB Trombone Etudes: Gatti

[soundcloud url="https://api.soundcloud.com/playlists/54004997" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /] So, in this second post, we're gonna tackle this little vigoroso treat that Mr. Gatti has in store for us.

First of all, let's discuss the proverbial elephant in the room... What the heck do I do about breathing in this piece???!!!  Well, I hate to tell you, but this is one of those pieces where you're "damned if you do, damned if you don't!"  What I mean is, you have to get your priorities straight. Ask yourself what is most important, playing every single note super fast or playing as clean and musically as you can, while picking and choosing smart places to breathe?

Now, I'm not here to say one way is right.  However, I do think there is a best solution.  In any audition, I prefer to hear someone come in and play a musically sound performance, while showing off their technical ability and skills without sacrificing their musical goals.  I think you can make this piece sound plenty vigorous while playing at the low end of the tempo scale, single tonguing, and breathing in strategically placed spots while leaving notes out to do so.

"WHAAAATTTT???? Did you just say to LEAVE NOTES OUT???!!!" Yep, I sure did. It is done all the time in ensemble/section settings in the interest of keeping the time consistent above all else and in facilitating staggered breathing within a trombone section. "But this is a solo piece!", you say. Yes it is. I think it is more important that you make this "strategic breathing" thing a part of your tool bag now, and this is a great place to learn it.

It IS possible to triple tongue this whole etude.  In my opinion, the time it would take me to be able to do that would be much better spent developing a faster, clearer single tongue, practicing long tones, cleaning my slide, and doing lots of other things in my life!  In my professional experience, with the exception of some Pryor solos, or playing cornet solos, there is much more use for fast single tonguing and even double tonguing before spending so much time developing this kind of triple tonguing.  I'm not saying it's not needed, but not before the other articulation skills are mastered.

My plan when I recorded this was to play all the phrases on one breath until I got to the passage beginning in measure 22.  I marked my music to breathe first in m. 26, on the last 16th of beat 1.  You can hear in the recording where I took my breaths.  I did my best to try to make my breaths short and quick, and get right back in on the next beat.  By breathing mid-phrase, I'm better able to play the dynamics printed which give this somewhat repetitive etude much more musical contrast. I tried playing faster and softer, but I could not make the phrase in the last four lines no matter what I tried!  And that was playing faster and very soft without really doing any of the printed dynamics.  Circular breathing is possible, but again, I just don't feel it adds much to the musical goal of the piece.  Finally, anticipate the fact that most mortal humans will be nervous in an audition, and planning for phrases that stretch your air capacity to the max in a comfortable practice session are probably not a good idea in an audition setting.

So, how to practice?  SLOW.  Slow it down.  Take one phrase (or measure, or beat) at a time.  Strive to make all the 16ths equal, unless they are marked with an accent.  Record yourself and listen for equal sound and even time.

Speaking of time, I'm thinking 8th note subdivisions, except for the measures where we have accents/hemiola, such as measure four. Keep the eighth note pulse rolling in your head constantly, and combine that with metronome practice at all speeds. You will have to live with the practice of the time concept for some time to really ingrain it! Don't give up! Keep at it and if things start to fall apart, revert to a slower speed. Practice SLOW FIRST! Have I been clear enough ?! :)

Good luck. Get to work, and keep your eyes peeled for an upcoming series on How to Prepare For and Take An Audition.

Texas ATSSB trombone etudes: Blazhevich

[soundcloud url="https://api.soundcloud.com/playlists/53934861" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /] So, most of you young 1A-4A Texas trombonists have ATSSB All-Region auditions coming up in about 2 months! Maybe that statement made you start sweating just a little bit, because IT'S TIME TO START PRACTICING!

Would you like to know the secrets to becoming an ALL-STATE TROMBONE PLAYER? Do you want to know exactly what and how and how much and when and where to practice? Ok, I thought so. Read on and let's get busy!

Let's start by discussing the Blazhevich G Major étude in this post. This is a classic Blazhevich étude and one of my favorites. This is one of those pieces that kind of just "plays itself", musically, as long as you do your job.

First off, I want you to consider your chosen tempo and your time. Those are not the same thing. Your tempo is the chosen metronome marking you are using as your reference for the overall pace of the piece. In this case, I suggest a tempo marking of 72-78. This piece lends itself to a wide variety of tempos, but this range gives it a nice relaxed feel, while still enabling the performer to keep it moving forward.

Ok, now that you have your tempo, let's talk about time! Your time is defined as the consistency by which you apply your tempo. Time in this piece is important in that you need to keep the music moving ahead. If you start at one tempo and slow down (without returning to your original speed), the music will feel like it is just dragging along, and you will feel like the piece may never end. So, it's perfectly appropriate (and beautiful!) to add some ritardandi at the ends of some of the phrases. Just be sure that when you begin the next phrase, you return to your original tempo and keep the music moving. This will give you the "push and pull" that is so desirable, and comfortable, in a piece like this. The critical thing to remember is to ALWAYS SUBDIVIDE! Everyone talks about it, but no one does it! You need to be thinking constant eighth notes in your head throughout the performance of this work. Count yourself off (silently) when you start but think eighth notes in your count off before you begin. You will hear, in my recording, that I am not always back in right on time after my breaths. I feel that's ok in a piece like this as it keeps the music relaxed and unhurried. Just remember, when you come back in, do so at your original tempo. Subdivide!

Volume... I like to play a piece like this with what I call a "soloistic piano", or better yet, "safe soft". This gives me enough volume to add or subtract intensity in a given passage, especially when I'm nervous. Be comfortable, but on the quiet side. Grow the intensity in the fuller dynamics, and let it relax in the quieter sections. Keep it simple. Imagine you are playing in a huge concert hall, gymnasium, or even outdoors and that you are trying to fill up every inch of space with your beautiful sound!

One of the most important things you can do in your preparation for your audition is to record yourself in practice. Use the voice memo recorder on your phone or your parents phone, and every other day or so, play straight through the piece as if you are in your audition. When you play it back, listen for the following:

1. How was my time? Did it stay steady and consistent or did I get faster/slower as the piece went on? WAS I SUBDIVIDING? 2. How was my sound? Was it full and beautiful? Did I imagine the sound I want to hear in my head before I played? 3. How was my legato? Am I moving my slide "late and quick" so as to get a smooth connection between notes with no (or almost no) gliss in the connection?

Good luck. Remember, practice is temporary, pride is forever! That is no joke. Work hard, practice smart, record yourself, and have a great audition!

A posting of the Gatti étude will follow in a few days. Have fun, play your trombone, and make music!

Your Virtual Trombonist, Chris

Dr. Neill H. Humfeld

"It's a beautiful day in Commerce!"

So began many lessons and greetings with my teacher,  Dr. Neill H. Humfeld.  It occurred to me the other day, that at age 41 I am the youngest person to have studied with Neill Humfeld.   I feel that the special person and teacher that he was needs to be shared with a new generation of trombonists!  I was fortunate to begin my studies with Dr. Humfeld in the spring of 1987, what would have been the end of my 8th grade year.  My father studied with Dr. Humfeld in high school and knew exactly with whom I should have lessons!  I left home in August of 1991 to attend Curtis, and Dr. Humfeld passed away that fall after a very long battle with cancer.

Neill Humfeld was born in Clay Center, Kansas.  His early trombone teachers were Maurice Faulkner,  and Wayne Snodgrass.  He attended the University of Kansas where he studied with Gerald Carney while pursuing a degree in music education.  Neill was a veteran of the United States Air Force, serving in a band that provided the bulk of the Air Force's West Coast musical needs during the Korean War.  For an excellent article about Dr. Humfeld's life, please see the Fall 1990 issue (Vol. 18, No. 4) of the ITA Journal written by Vern Kagarice.  Join ITA (if you aren't already a member!) and you can download the journal from the archives.

After his military service, Dr. Humfeld attended a summer workshop at Eastman to study with Emory Remington.  At the end of the seminar, he was asked to stay on as a graduate assistant.  He completed his Master of Music and went on to complete his Doctor of Musical Arts in 1962.  It is notable that at this time, he was already a faculty member at East Texas State University in Commerce, Texas (now Texas A&M University - Commerce).

Mr. Remington is remembered as the "gentleman trombonist" and if there is someone who personified that example more than Neill Humfeld, I would be shocked to hear of it.  He was the kind of teacher that motivated his students through his obvious love, both of music and of his students.   Dr. Humfeld was an unfailingly positive person.  Whether through his own health issues late in his life, or in dealing with his students setbacks and failures, he was the man who always looked on the bright side and, most importantly, taught the rest of us to follow his lead.  In spring of 1991, he played a trio with my dad and I on the Commerce High School band concert.  This was, as far as I know, his last public performance.  He was obviously in great pain, but he still managed to walk out on stage and play the 3rd part to the trio with all the beauty and care that he always brought to his music. He had a smile on his face, and most importantly, left me with a beautiful memory of that concert together.  That was just the kind of person he was.

Dr. Humfeld was a clinician for Conn for a large part of his career, switching to Selmer/Bach in his later years.  He played a fair amount in my lessons, sometimes on his 1950s vintage 88H or on a newer model gold brass Bach 36B.  What I remember most was his sound.  Dr. Humfeld had the most beautiful, sweet, mellow trombone sound I have ever heard.  He was not a "muscular" type player, but one who strived for efficiency, flexibility, and beautiful sound at all costs.  I think most modern players would find his sound "soloistic", "bright", and "round".  His fluidity while playing Rochut etudes and his effortlessness was something to behold.

Rochut's were a staple of nearly every lesson.  I remember a very funny conversation I had about my sophomore year that went something like this:

Dr. H: So, do you have any questions, sport?

Me: Um, well, Dr. Humfeld, I was wondering when I'm going to start working on technique?

Dr. H: You mean, like playing fast?

Me: Yes, sir.

Dr. H: Well, let's see...(flips to back of Rochut book)... Try this one!

Me: Uhhh, oh, ok... I see what you mean now.

Dr. H: (big smile)

Dr. Humfeld impressed me another time with his empathy and positive attitude.  I came in for a lesson the week after my Area band auditions my sophomore year.  This was the step right before making All-State.  I had practiced like crazy, made first chair at All-Region, and was ready to go… I totally bombed my Area audition!  I walked in to his studio and Dr. Humfeld said, "Well, how'd it go?"  I promptly burst into tears, and blubbered on about a bad warmup, and getting nervous, etc.  I was embarrassed and mortified to be such a mess in front of him.  He just smiled and proceeded to tell me a story about some recital he had once played that, according to him, was just about the most embarrassing event to ever take place in anyone's life, then we proceeded to talk about what went wrong at my audition, and what I could do to make sure it didn't happen again.  Positive reinforcement, empathy, and problem solving!  I will never forget that lesson.

There is so much more to touch on in this amazing man's life.  It is my hope that other "Humfeld students" (as we all proudly call ourselves!) will chime in below in the comments and add your own stories and memories. Thanks very much for reading, and remember:

It's a beautiful day in ___________ (insert your place here)!!!!!!!