BMO´s Articles

November 9, 2011

The Schubert Impromptus – Opus (Op) 90, D.899

Filed under: Articles — bb @ 17:22

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The Impromptus by Franz Schubert come in 2 sets of four, the Opus (Op) 90, D.899, and the Op 142, D.935. When referring to Schubert’s work you will often see written “D.” after the work. The “D” corresponds to the referencing of the work rather than something that Schubert wrote. Both sets of Impromptus are pieces composed for solo piano and were composed by Schubert in 1827. Especially when recorded, Schubert’s Impromptus are often played alongside his six pieces for solo piano called “Moments Musicaux”.

The definition of Impromptu is offhand and is often a piece for solo instrument. It is essentially performed, and ultimately composed, with the intention of improvisation and was referred to describe a piano composition by JAN VÁCLAV HUGO VOŘÍŠEK, and it is considered by many that Franz Schubert may have been influenced to compose his Impromptus by JAN VÁCLAV HUGO VOŘÍŠEK.

The Schubert Impromptus are a good example of Schubert’s piano writing, and are typically in the Romantic era of music. Within each set of the Impromptu’s the pieces all appear to have their own varying elements. The Schubert Impromptus vary in skill and technical ability, ranging from intermediate to advanced and are probably out of the scope for many beginner pianists. However, although essentially pieces in their own right, the inclusion of at least one of the Schubert Impromptus in a pianists repertoire, if not at least one set of the Schubert Impromptus, should be encouraged due to the prominence of the pieces in Romantic piano.

Impromptus Op.90 (D.899)
The first Impromptu is written in C minor, starting with a chord in the dominant, and carries an almost military atmosphere. Carrying a main them throughout, the melody of the Impromptu varies between major and minor and chordal accompaniment, sounding typically Schubertian with song like characteristics. The opening theme is the dominant melody throughout the Impromptu and the Impromptu sees it varying constantly from major to minor and varying with heavy to light accompaniment. The tension of the Impromptu eventually turns almost tranquil, resolving into C major. This Impromptu is the longest Impromptu of this set of four.

The second Impromptu is in E-flat major and like the first, there is essentially one theme, or in this instance, an idea, which is the essence of the Impromptu, that being the constant flowing of the melody in the right hand, which descends and ascends constantly in triplets. References to the E-flat minor section in the opening part of the Impromptu have been made to the chord sequence found in the song “Fly Me To The Moon”, and it is quite uncanny how similar the sound and pattern is. A middle section in the key of B minor sees the triplets still in the right hand acting as an accompaniment to the melodic line which appears to be constantly wanting to resolve and almost jumpy and slightly aggressive. The Impromptu repeats the opening section before returning to a modified Coda of the middle section, eventually ending in E-flat minor. The required performance of this Impromptu has been regularly debated, particularly with regard to the constant triplets in the right hand. Many believe that emphasis has to be played on the first of every triplet whilst others, including myself believe that the triplets should not carry any emphasis at all but rather all being equal as they form the complete melodic line.

The third Impromptu is in G-flat major and this Impromptu is one of the best examples of Schubert’s melodic and lyrical mastery which is why this is one of the most loved of all the Impromptus. The melody is quite simply beautiful, well rounded and literally perfect. The right hand carries most of the melody throughout the Impromptu often with the left hand answering or carrying some of the dialogue, and throughout the Impromptu, the right hand has an underlying fluttering broken chord pattern played extremely softly, which assists the listener, adding atmosphere and depth to the overall sound. Similarities to this Impromptu have been made to those of Felix Mendelssohn’s piano pieces, “Songs Without Words”. It is difficult to ascertain if Schubert intended this Impromptu to be played in G major, as this is the key the Impromptu was apparently first published in, but the general consensus is that the Impromptu was probably composed and should be played in G-flat major.

Finally, the last Impromptu in this set Op. 90 is written in A-flat major, even though the Impromptu opens in the minor. Similar to the second Impromptu in this set, it follows the pattern ABA and is made up of descending arpeggios as the melodic line, apart from the middle section in which chords are dominant. Again, the Impromptu constantly varies between minor and major keys, even those not related to the root, yet their combination maintains the melodic line adding interest with an almost natural anticipated progression which eventually resolves back to the root, A-flat major.

Chris writes about music specifically learning piano software and the piano. He provides tips, articles and information about the playing the piano for beginner piano players through to advanced piano players.

Article Source: http://EzineArticles.com/?expert=Chris_Gilmour

Victor Ewald (1860-1935)

Filed under: Composers and Conductors — bb @ 17:02

Biography

Victor Ewald (Russian: Виктор Владимирович Эвальд, November 27, 1860 – April 16, 1935), was a Russian composer of music, mainly for conical brass instruments.

He was born in Saint Petersburg and died in Leningrad. Ewald was a professor of Civil Engineering in St. Petersburg, and was also the cellist with the Beliaeff Quartet for sixteen years. This was the most influential ensemble in St. Petersburg in the late 19th century, introducing much of the standard quartet literature to Russian concertgoers. He also collected and published Russian folk songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer, in which he excelled, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the Institute of Civil Engineers. An obituary signed by his fellow professors of the I.C.E. makes mention of a profound heritage in the development of materials production for construction resulting from Ewald’s work, and suggests that “…an entire industry for the production of brick and cement manufacturing is beholden to him”. Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style.

Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition.

Ewald’s ‘cello teacher Karl Davidov encouraged him to immerse himself in practical music making of any sort whenever the opportunity arose. For that reason Ewald soon became (and was to remain throughout his life) one of the most active and versatile members of a remarkable circle of dilettante musicians. This group, whilst all being amateur in the strict sense of the word, made, with the influence of a shared interest in indigenous folksong, a significant contribution to the development of a distinctive Russian national musical style which, for the majority of the 19th century had been almost entirely submerged by the Germanic tradition in both teaching and practice.

Amongst this circle was a group who became known as The Mighty Handful, consisting of Mily Balakirev (railroad clerk), Alexander Borodin (chemist), César Cui (soldier and engineer), Modest Mussorgsky (Imperial Guard Officer) and Nicolai Rimsky-Korsakov (navy officer). The musical focal point for Ewald and the Mighty Five, as well as others, was provided by what became known as the ‘Friday Evenings’ – weekly soirées for amateur performers and composers at the house of Mitrofan Petrovich Belaïev (timber merchant), which were initiated in 1888 and continued unbroken until his death in 1904.

Belaïev’s importance in the development of the musical life of Ewald and all the other Friday Evening participants was considerable and went far beyond merely providing a venue for their activities. After the death of his father in 1885, Belaïev set about encouraging the development of new music in a number of practical ways, such as: the founding of a publishing house (Edition M.P. Belaïeff); the promotion of orchestral concerts; and the aforementioned Friday Evenings. It was at these evenings that one of the regular performing ensembles was a string quartet in which Belaïev played the viola and Ewald the ‘cello. As well as providing opportunities for music making, these gatherings allowed Belaïev to audition potential publications and it is almost certain that it was for performance by, and amongst his friends and musical contemporaries, that Ewald’s four quintets were written.

Brass Quintets

For many years Ewald’s four quintets were considered to be the first original pieces composed specifically for an ensemble which is recognisable today as essentially the modern brass quintet – consisting of two treble, valved instruments, one alto, one tenor and one bass. A recent discovery of 12 four-movement brass quintets, thought to have been written in the 1840s (pre-dating Ewald by some 60 years) by the French composer Jean Francois Bellon (1795–1869; violinist and one-time leader of the Paris Opera Orchestra), show that Ewald was not actually the unwitting pioneer he was long thought to be. However, the popularity of his quintets has in no way diminished because of this.

Both Bellon and Ewald wrote music that displayed the increased virtuosity and homogeneity possible as a result of developments in brass instrument design and manufacture in the second half of the 19th century. Inevitably, at such a time of change and invention, there would be some variation in the exact design of instruments in favour from country to country and so the actual constituent parts of Ewald’s quintet would have differed in some ways from those instruments played in Bellon’s quintet and certainly in current times, by such as Canadian Brass.

Photographic evidence from about 1912 shows that Ewald himself played in a brass quintet. It is seen to consist of two piston-valved cornets, rather than the modern choice of trumpets; a rotary-valved alto horn, rather than the French horn; a rotary-valved tenor horn, rather than the trombone; and a rotary-valved tuba (played by Ewald himself). Of these instruments, it is the alto and tenor horns that are most strikingly different from their modern quintet counterparts. There is no documented evidence of exactly for whom Ewald composed his quintets, or the exact instruments on which he envisaged them being performed. Therefore, one can only speculate that, for instance, cornets might have been preferred to trumpets, because of the latter’s association with the more strident demands made of it in symphonic settings, rather than the intimacy of a chamber setting for which the former was perhaps more suited. Similarly, the likely preference of a tenor horn (similar to today’s euphonium and an instrument occasionally transposed as a soloist to the symphony orchestra, as in the first movement of Mahler’s 7th symphony), may have been the result of a wish on Ewald’s part to maintain the virtuosic potential, as well as tonal characteristics throughout his ensemble by sticking entirely to valved, conical-bored instruments. Certainly this suggestion is one that might find favour with modern day trombonists required to rise to the challenge of what can only be described as, at times, unidiomatic writing.

For many years it was wrongly thought that Ewald was the composer of only one quintet, his Op. 5 in B flat minor, because this was the only one published (by Edition Belaïeff in 1912) during his lifetime. The discovery of the other three works was due to the tireless research of André M. Smith, (an eminent musicologist and former bass trombonist at the Metropolitan Opera, New York) who was gifted the manuscripts by Ewald’s son-in-law, Yevgeny Gippius in 1964. A further nine years of investigation was necessary to authenticate the manuscripts, before the pieces were given their first modern performance during the 1974-75 season in a series of concerts by the American Brass Quintet at Carnegie Hall.

A very approximate chronology of the composition of the four quintets runs as follows:

Quintet no. 4 in A flat major (Op. 8) – c. 1888
Quintet no. 1 in B flat minor (Op. 5) – c. 1890
Quintet no. 2 in E flat major (Op. 6) – c. 1905
Quintet no. 3 in D flat major (Op. 7) – c. 1912

The apparent confusion between the numbering and approximate date of composition of the quintets arises from another long-held misconception, also corrected by the studies of Mr. Smith. For some time it was considered that Quintet no. 4 (Op. 8) was merely a transcription by the composer of a string quartet written in the late 1880s and not an original composition for brass. However, Op. 8 was indeed initially written for brass but was considered to be unplayable at the time due to the demands of both technique and stamina made on the performers. Ewald duly reworked the piece for string quartet and it was in this form that it was published as his Op. 1.

August 3, 2011

A Tribute to Eugene Adolfovich Reiche

Filed under: Admin messages, Famous Musicians — bb @ 17:12

Eugene Adolfovich Reich (1878-1946)

Biographical Sketch

An outstanding musician, trombone player, teacher, professor of St. Petersburg State Conservatory, conductor and composer Eugene Adolfovich Reich was a bright creative figure in Russia of the late 19th and early 20th century .. Especially in the musical life of Petersburg-Leningrad. Combining the best features of his works of German and Russian performance, Reich had a great influence on the formation of the Petersburg school of playing the trombone. He wrote a work and school playing trombone known throughout Russia, and do not lose their value in our time.

E. Reich was born March 26, 1878 in Dresden (Saxony). His father was a musician and taught his son 8 years old to play the violin. In 12 years, Eugene and his brother became interested in playing the clarinet and studied the instrument for two years. In 1891 he enrolled at the Dresden Conservatory, but the class of the trombone.

We do not know who were his teachers in Dresden, but it can be assumed that he had received thorough professional knowledge, as graduated from the conservatory in 1896 at the age of 18 he was accepted into the Symphonic Orchestra of Dortmund and Westphalia. The following January, he goes to work in Galena Saale (information taken from the autobiography of E. Reich, in the archives of St. Petersburg Conservatory) where he plays in the City Theater of Opera and Ballet. And in April of 1897, slightly less than a year after graduation – he moved to Russia in St. Petersburg.

In the next two years (1887-1889) Reich played in many orchestras in St. Petersburg, including the Symphony Orchestra of the Zoological Gardens, as well as Italian opera and orchestra Sheremetiev.

In August of 1899. E. Reich participated in the contest in the group trombones Mariinsky Opera and Ballet Theatre, performing his song (1 Concerto for Trombone B-dur) and took the bass trombone. His performance in the competition then admired chief conductor of the theater, EF Napravnik.

From this point begins to form one of the best theater groups trombones (in the AP Volkov -1 trombone, VV Kuznetsov -2 trombone, EA Reich – Bass Trombone and PV Petrov – tuba) who became famous throughout Europe for intonational structure, tonal beauty and irreproachable ensemble. Organ quartet sound, even in fortissimo different velvet touch. The game was fascinated by the quartet of such famous conductors as A. Coates, F. Motley, E. Cooper, B. Dranishnikov, A. Pazovsky.

 

Trombone Quartet under the direction of Reiche (students A. Kozlov, N. Korshanov, I. Polyachkin and others)

Trombone Quartet under the direction of Reiche (students A. Kozlov, N. Korshanov, I. Polyachkin and others)

Game of the Reich the power of sound was different and distinct rhythmic organization. “You could say that the rhythmic and ensemble cohesion group came from the Reich” (review of BI Anisimov – trombonist who played with the Reich, conductor, stage orchestra of the theater).

EA Reich worked in theater for 40 years (from 1899 to 1941). At the same time working in theater, Reich served as a concert performer with major symphony orchestras. Referring to his school for outstanding performers on the trombone trombone Europe and America (Veshki, Kveysera, Kabiha, Alshanskii and priorities), he wrote that he played a lot as a soloist in Germany and Russia. Double visiting his parents in Dresden (1903 and 1913.), He played there as a soloist.

Preserved programs from performances Eugene Adol’fovich in Russia. Reich appeared as a soloist and conductor of the St. Petersburg (Leningrad), as well as the resorts in Sestroretsk, Riga, Perm, and Cherepovets. As a soloist, in every sense of the Reich was a virtuoso. Playing in the strict academic style, he had a powerful sound of soft metallic timbre. Work the same as it always had a wonderful conductor of reviews in newspapers.

Thus, the musical performances of the operetta “Geisha” and “The Count of Luxembourg” in Cherepovets, prepared by Reich and his conducting, performances and concerts to the press as a highly professional job.

 

“The orchestra managed by Honored Artist of the Mariinsky Theatre EA Reich is known to the public in Cherepovets classical repertoire and exceptional technique of execution” – wrote in a 1924 paper “The theater and the arts.”

Exceptional talent allowed him to apply Reich forces in the field of composition. It quantitatively small compositional legacy consists of two concertos for trombone and orchestra (1st B-dur1903, and A-dur1906 city – has the years of publication), book of duets for trombone, about 80 studies. Works for Orchestra: Concert Waltz (1908), Waltz – Intermezzo (1909), Elegy (1920), “The Game of mosquitoes,” March “Hurrah,” and an operetta (1924), whose name has not been preserved (all data from your notebook Reich – the archive of St. Petersburg CC).

The works of E. Reich for trombone is a fundamental material, without study and performance of which can not do any trombone player in Russia, and the second concerto for trombone, B-dur included performing in many competitions.

At the wind and brass faculty (Leningrad Conservatoire, 1938)

At the wind and brass faculty (Leningrad Conservatoire, 1938)

Both shows until the mid-20th century. were little known in Germany. But now there are records of these works by the German trombonist – Army Rozin (Stuttgart) and Jürgen Haynel (Berlin).

A special aspect of creativity EA Reich in St. Petersburg associated with teaching jobs. His teaching career he began in 1906, first in the Cadet Corps and then to the military Muzykantsky courses, based in St. Petersburg SA Chernetsky (conductor-composer – Chernetsky Semen Alekseevich in 1918, he headed a section of military orchestras in St. Petersburg.) In 1920

For a long time Reich taught at two colleges of music (now College of Music. Rimsky – Korsakov and Mussorgsky), preparing the staff for the conservatory.

In 1933, Reich was invited lecturer at the Leningrad State Conservatory. NA Rimsky-Korsakov, and in 1935 (after the death of Professor P. Volkov, with whom he worked in the theater) was nominated by the department of wind instruments for the post of professor of trombone class. The recommendation, signed by the Head of Department, Professor A. Vasiliev says, “EA Reich is especially valuable in his teaching, because combines first-class quality performer who has many years of performing experience, the quality of a good teacher – the head, which gives excellent results in preparing for future training of musicians – performers qualifications. EA Reich enjoys well-deserved reputation among students and a faculty. ”

Best students Eugenia Adol’fovich. Which have become his heirs at the Conservatory A. Kozlov and N. Korshunov and played in one of the famous orchestras of Russia (Distinguished Academic Staff of the Leningrad Philharmonic Symphony Orchestra under Mravinsky) as well as characterize to become teachers in the classroom: “Class Reich different creative environment, extremely serious about their studies. Always balanced, precise, terse E. Reich led a lesson in exactly the allotted time. Organization of educational process, the clarity of the task methodically – focus striping material – all this made a full hour each lesson. An important positive aspect of teaching lies in the fact that the teacher was not displeased individual student in the treatment works and understand its contents. Not content to study and live etyudnogo material, it required students to participate in ensemble playing. He saw in this bail-round development of the future of orchestral musicians. Speaking about his participation in the execution of the works of classical music by the world-famous conductors, he enthusiastically showed interesting solo space. In general, he liked to play in the classroom. He also accompanied the students freely on the piano. Surprised by his ability to work, rigor, fairness and friendly attitude towards others. ”

In March 1941, Eugene Adolfovich was sent to Moscow as a jury member-Union competition. First prize was awarded student of E. Reich, Joseph Polyatskin. Kept records of the characteristics of the participants, made the Reich and the list of winners, written by his hand.

A few months after the contest, and began a terrible tragedy – World War II, which turned his whole life.

Granddaughter recalls E. Reich – Nina G. Venetsiyanova: “War has been an ordeal for all of us, but Reich was exacerbated by his German ancestry. The news of the outbreak of war found him at his dacha in Sestroretsk (resort suburb of Leningrad. Approx. Author.) Eugene Adolfovich desperately clutched at his head and cursed Hitler ”

After the Second World War (June 1942) E. Reich was expelled from Leningrad in remote village in Kyrgyzstan near the city of Tashkent, where was a very difficult life circumstances, penniless, starving.

It is interesting letter which he sent out the Reich after receiving congratulatory telegrams from Leningrad on his birthday. “We have here a lot of camels and donkeys. Camels are very, very tall and very heavy load wear on her back. Donkeys are much smaller and very stupid, but also very strong. ” What is the spirit of man?!

People who lived in the village (the village), where he was, was so far from civilization, even the mirror, brought his wife, Anna Ivanovna, was for them an incredible discovery.

Trumpeter PI Kobza (later musician SAM Leningrad Philharmonic), who studied at the time, Reich says, “Reich was a major growth and powerfully built, and now this man was hungry and needed clothes. It was hard to find a shoe of appropriate size (47-48). But, despite the difficult and sensitive, even the existence, Reich was very picky about the disciples would not allow the lesson unlearned or etudes, strictly sought the right of ownership breath. All appreciated him for his human qualities, musical credibility, knowledge and high culture. ”

In 1944, the Conservatory has returned to his native city – Leningrad. But EA Reich was denied permission to return. He continued to work in Tashkent, the forces of his moral and physical was strongly challenged and in 1946 he suddenly died from a severe attack of angina. The body of E. Reich rests in the town cemetery of Tashkent. There was erected a small stone obelisk (photo of the grave is in the archive of the family)

At the end of the biography is necessary to quote from the letter E. Reich from Tashkent with a petition on his return to Leningrad: “All knowledge and effort I have put their studies with their students and prepared a frame of strong musicians who are part of LGF (Leningrad State Philharmonic – approx. Author) and all the big theaters in Leningrad and the Union. I have published works and in manuscripts. All of my ability, I dedicate labor only art and music. ”

The teacher-trombonist, Honored Artist of Russia, St. Petersburg Conservatory, Associate Professor Vinogradov B.P

THIS POST WILL BE EDITED SOON.

Arthur Pryor: Ragtime Pioneer

Filed under: Famous Musicians — bb @ 12:35
Arthur Pryor

Arthur Pryor

Although his name is no longer well known, Arthur Pryor (1870-1942) was once one of America’s most important musical figures. He was the world’s greatest trombonist, a celebrated conductor, and the composer of some of the most popular tunes of the early 1900s. Additionally, Pryor was a pioneering phonograph recording artist, an educator, and a founding father of several major musical organizations. Indeed, during the height of his career (and many years thereafter), Arthur Pryor’s reputation and influence in the music business rivaled that of even John Philip Sousa’s.

But perhaps Arthur Pryor’s greatest contribution to American music was his work as a composer and unabashed promoter of the emerging ragtime style. Pryor wrote several early syncopated “hits,” arranged or adapted many works of others for band and orchestra performance, and used his prominent position with the Sousa Band–and later his own band and orchestra–as a “bully pulpit” for the dissemination of this exciting new style.

Arthur Willard Pryor was born in St. Joseph, Missouri in September, 1870. Although at that time, “St. Joe” was still a frontier region, from the very beginning of life he was surrounded by music. His father, Samuel, was the town bandmaster, and young Arthur displayed a natural talent for music. As a child he mastered the cornet, alto horn, valve trombone, drums, violin, bass viol, and piano. He also soaked up the exhilarating new rhythms emanating from the African-American sections of town–a new style called “jig piano,” or “rag-time.” Not surprisingly, this section of Missouri was also the point-of-origin for most of the giants of the classic rag style–Charles L. Johnson, Percy Wenrich, James Scott, and of course, Scott Joplin.

But the catalyst for Pryor’s brilliant career arrived rather inauspiciously one day, in the form of a dilapidated slide trombone given to Samuel Pryor as payment on a debt. In 1880s America the valve trombone or tenor horn was a common sight in brass bands, but the slide trombone was an exotic rarity: no one in St. Joe had any idea how to play it. Indeed, since the days of Mozart and Beethoven its use had been confined to the grand realms of the symphony orchestra. There were no symphonic orchestras in Western Missouri (in fact, there were hardly any the entire United States), but out of curiosity, Sam told his son to figure out how to play it. Intrigued, fifteen year old Arthur eventually managed to to play the horn using only the top one-third length of the slide. Five years later, he discovered from a man in a poolroom that he could use the entire length of the slide (encompassing the standard seven positions)–and that, oh yes, the slide had to be oiled too! As a result of his lack of “correct” initial instruction, Pryor had inadvertently developed a completely new technique of slide trombone playing using “alternate positions.” And it was this innovation–combined with ten hours a day of practice–that enabled him to achieve a unimaginable degree of speed and fluidity on this instrument. Soon Pryor was a hit at county fairs, and was hailed far and wide as “the Boy Wonder of Missouri.”

In 1888 Pryor’s skill came to the attention of the great cornet soloist and bandmaster Allessandro Liberati (1847-1927) who engaged Pryor for a midwestern tour. This experience was quickly followed by a similar offer from the legendary Patrick S. Gilmore (1829-1892), known as the “Father of the Concert Band.” This time Pryor declined; he had already accepted a steady position as pianist and music director of the pit-orchestra at the Stanley Opera House in Denver, Colorado. Pryor’s tenure at this vaudeville theater must have given him the opportunity to learn much about conducting, composing, arranging, and basics of showmanship.

But Pryor’s great skill on the slide trombone would not be forgotten. The seasoned bandsmen that had heard him play with Liberatti still talked about the marvels they had witnessed. Pryor’s reputation grew. In August, 1892 he received a telegram from John Philip Sousa, inviting him to join the “March King’s” newly-formed concert band. Pryor accepted the engagement, and arrived in New York City with thirty-five cents in his pocket. At the first rehearsal, the young Missourian dazzled Mr. Sousa and his assembled artists with his astonishing virtuosity. Frank Holton, then Sousa’s first trombonist, immediately offered to resign his position in deference to Pryor’s superior ability. Sousa convinced Holton to stay on, “since this young fellow may just be a flash,” but within a short time Pryor did become the first trombonist in the band (Holton left to start a band instrument factory. His big celebrity endorser?– Arthur Pryor!).

Soon, Mr. Sousa entrusted Pryor with the duties of featured soloist: between 1893 and 1903 he performed over ten thousand trombone solos with the Sousa Band! This vast exposure to audiences and musicians around the world had an enormous effect on the playing style of the slide trombone. No longer could the “slip horn” be considered merely an awkward accompaniment instrument; Pryor’s performances established it as a exciting soloist’s medium, inspiring a generation of young players who strove to imitate him. Certainly, his influence can be seen in the agile trombone parts in post-1900 American music, and his high, singing ballad playing was the stylistic basis for later players like Glenn Miller and Tommy Dorsey.

But the Sousa/Pryor association had other important consequences. In 1895 Pryor was promoted to Assistant Conductor of the band. The “March King” was always ready to cater to his audiences with the latest trends in popular music, and he relied on “that kid from Missouri” to teach the newfangled ragtime rhythms to his musicians (many of whom, incidentally, felt it demeaning to play such music). Sousa himself was not particularly enthralled with this new idiom, thus Arthur Pryor conducted the Sousa Band in performances of some of the earliest instrumental ragtime compositions: selections by Kerry Mills (At A Georgia Campmeeting, Whistling Rufus, etc.), Abe Holzmann (Smoky Mokes, Bunch o’ Blackberries, etc.), and others. The American public went wild–and demanded more. Within a year, Pryor began composing his own pieces featuring the ragged rhythms of his native state. Resulting were the big “cakewalk” successes Southern Hospitality, Razzazza Mazzazza, and A Coon Band Contest. Sousa’s European Tour of 1900 spread the ragtime craze to Britain and the Continent. Never before had an American cultural export commanded such attention around the world. Pryor’s music found favor with the Crowned heads of Europe; even Germany’s notorious Kaiser Wilhelm danced the cakewalk! Although he was an excellent pianist–and familar with “classic” keyboard ragtime–Pryor’s robust compositions were decidedly conceived for band or orchestra rendition. Most feature conspicuous countermelodies or humorous sliding passages for the trombone, as well as other effects not reproducible by a solo pianist.

Pryor was also assigned the job of leading Sousa’s musicians for phonograph recordings. Mr. Sousa hated the phonograph–he coined the term “canned music”–and he refused to participate in the arduous sessions himself. Most of the old 78 r.p.m. records labelled “The Sousa Band” were actually conducted by Arthur Pryor. Sousa thought (and fervently hoped) that mechanical music was but a passing fad. Pryor believed otherwise. He was a sharp business man and, envisioning a vast and profitable new industry, prepared for himself a place within this emerging technology.

In 1903 Pryor resigned from the Sousa Band. His ambition now was to go into business for himself as a composer/bandmaster, and to continue his work as a musical director for the fledgling Victor Talking Machine Company. Pryor’s new concert band flourished; it completed six lucrative coast-to-coast tours (1904-1909), and was booked for numerous important exhibitions, such as the 1904 World’s Fair in St. Louis. But Pryor grew to dislike the hectic pace of touring life, preferring instead to play annual extended engagements at a number of resort areas.

For years the Arthur Pryor Band was a powerful summertime drawing card on the boardwalk in Asbury Park, N.J. (twenty-six seasons), at Philadelphia’s Willow Grove Park (eleven seasons), at the Royal Palm Park in Florida (nine seasons), at Coney Island, and on the Steel Pier in Atlantic City. Many contemporary observers commented that the Pryor organization sounded superior even to Sousa’s–not surprising since Pryor had craftily lured away some of the “March King’s” star players. In the winter months, Pryor occupied himself as a composer and conductor for a number of New York theatrical productions. From late 1918 into the early 1920s he was Musical Director for the famous Capitol Theatre in Manhattan; there, in 1919, he conducted the premiere of a new one-step called Swanee–the first big hit by an rising songwriter named George Gershwin.

Here, the great trombonist, Arthur Pryor, gives an outdoor studio lession at the Ernest Williams Summer Camp.

Here, the great trombonist, Arthur Pryor, gives an outdoor studio lession at the Ernest Williams Summer Camp.

Pryor’s Concert Band and Orchestra also became heavily involved in recording sessions for the rapidly expanding Victor Company. Pryor had been right–the phonograph was well on its way to becoming a household necessity, and soon most of his time was spent at the Victor studios in Camden, N.J. It is said that Pryor conducted for more recordings than any other man of his era, and the Victor catalogs from 1900s thru the late 1920s confirm that over two-thousand five-hundred (2,500) separate Pryor records were issued, including trombone solos and selections performed by his Band and Orchestra. The repertoire included many marches, novelties, selections from the classics, and an extraordinary amount of syncopated dance music. The Pryor Concert Band music library has been lost since the 1940s, but his collection of dance orchestra scores–recently rediscovered–contains over three-hundred-fifty rags, two-hundred two steps, one-hundred thirty one steps, and some one hundred fifty early foxtrots. Many of these titles were recorded for Victor under the baton of Arthur Pryor.

His Victor Talking Machine Company years were also the most fertile period for Pryor the composer. Of his three-hundred original works, the most famous were created during this time: Heart of America March (1916), Triumph of Old Glory (1907), On Jersey Shore (1904), and the ever popular Whistler and His Dog (1905). Through the medium of the phonograph, Arthur Pryor eventually became so well known (and financially secure) that he no longer needed to give live concerts. This was truly a revolutionary achievement in the history of music: from the commercial standpoint, the phonograph recording had become more important than the live performance!

 

Arthur Pryor maintained this busy career right up until his retirement in 1933. By then, the saxophone-dominated dance orchestras and jazz combos had edged-out the gentler kind of music that he preferred. And although he championed ragtime, Pryor strongly disliked the improvised jazz that had grown from it. He called jazz the “parasite of music,” and ventured that its popularity would eventually cause the lowering of musical tastes in America. But he was not overly concerned: now an extremely wealthy man, Arthur Pryor relaxed with his wife Maude on their lovely twenty-seven acre farm in West Long Branch, New Jersey. Finally, he had time to enjoy his fried chicken and Pilsner beer, billiard games at the Elks Club, surf fishing, fast convertable automobiles, and visits from young aspiring trombonists. He even ran for public office, and won a seat as a Monmouth County freeholder on a platform to lower taxes. Although he had refrained (since 1918) from playing publicly, Pryor still insisted on practicing his beloved trombone every day–an old habit that was impossible to break.

After the United States’ entry into World War II, and with German submarines sinking Allied shipping within sight of the beach, Pryor was asked to do something to bolster morale on the hard-pressed New Jersey coast. A staunch patriot, he quickly reorganized his concert band, and supervised the construction of a new bandstand on the beach in Asbury Park. Huge crowds attended his first concert on Memorial Day, 1942, and as word spread, subsequent audiences were larger still. It was just like the old days, except that Arthur Pryor was now in his seventies. He had always been a perfectionist on the podium–and prone to fits of angry shouting at less-than-inspired playing. But his body could no longer afford such strain. On June 17th, immediately following a rehearsal, Pryor suffered a severe stroke. Early the next morning, the “Paganini of the trombone” passed into history. His son Arthur Jr. led the Pryor Band that evening, concluding with his father’s last composition We’ll Keep Old Glory Flying.

In the fifty years since his death, Arthur Pryor’s name has slowly faded from the national consciousness. But vestiges of his many contributions remain among us, no small accomplishment for a kid from Missouri with a slide trombone, thirty-five cents, and a dream.

Author : Rick Benjamin.

July 27, 2011

Coping with Music Performance Anxiety

Filed under: Performance Anxiety — bb @ 23:39

Music performance anxiety is caused both by the ways we think and feel. This handout will give you new ways to try to optimize your level of anxiety.

One way to feel less anxious is to discover and change thinking patterns that put too much pressure on you. Look at the list of cognitive distortions below and pick one or two that you use often, then brainstorm realistic alternative thoughts that you could use instead.

Definition of Cognitive Distortions

Cognitive distortions are logical, but they are not rational. They can create real difficulty with your thinking. See if you are doing any of the ten common distortions that people use. Rate yourself from one to ten with one being low and ten being high. Ask yourself if you can stop using the distortions and think in a different way.

  • ALL-OR-NOTHING THINKING: You see things in black-and-white categories. If your performance falls short of perfect, you see your self as a total failure.
  • OVERGENERALIZATION: You see a single negative event as a never-ending pattern of defeat.
  • MENTAL FILTER: You pick out a single negative detail and dwell on it exclusively so that your vision of all reality becomes darkened, like the drop of ink that discolors the entire beaker of water.
  • DISQUALIFYING THE POSITIVE: You reject positive experiences by insisting they “don’t count” for some reason or other. In this way you can maintain a negative belief that is contradicted by your everyday experiences.
  • JUMPING TO CONCLUSIONS: You make a negative interpretation even though there are no definite facts that convincingly support your conclusion.MIND READING: You arbitrarily conclude that someone is reacting negatively to you, and you don’t bother to check this out THE FORTUNETELLER ERROR: you can anticipate that things will turn out badly, and you feel convinced that your prediction is an already-established fact.
  • MAGNIFICATION (CATASTROPHIZING) OR MINIMIZATION: You exaggerate the important things (such as your goof-up or someone else’s achievement), or you inappropriately shrink things until they appear tiny (your own desirable qualities or other fellow’s imperfections). This is also called the binocular trick.”
  • EMOTIONAL REASONING: You assume that your negative emotions necessarily reflect the way things really are: “I feel it, therefore it must be true.”
  • SHOULD STATEMENTS: You try to motivate yourself with should and shouldn’t, as if you had to be whipped and punished before you could be expected to do anything. “Musts” and “oughts” are also offenders. The emotional consequences are guilt. When you direct should statements toward others, you feel anger, frustration, and resentment.
  • LABELING AND MISLABELING: This is an extreme form of overgeneralization. Instead of describing your error, you attach a negative label to yourself. “I’m a loser.” When someone else’s behavior rubs you the wrong way, you attach a negative label to him” “He’s a Goddamn louse.” Mislabeling involves describing an event with language that is highly colored and emotionally loaded.
  • PERSONALIZATION: You see your self as the cause of some negative external event, which in fact you were not primarily responsible for.

Sixteen Prescriptions for Overcoming Performance Anxiety

(Adapted from PERFORMANCE ANXIETY by M. Robin)

  1. De-stress yourself, don’t distress yourself.
  2. Rehearse a skill, not a symptom.
  3. Don’t confuse anxiety with effort.
  4. Don’t self-medicate.
  5. Concretize don’t awfulize.
  6. De-sacredize, don’t idolize.
  7. Tolerate, don’t musturbate.
  8. Use “why not?” not “why me?”
  9. Act “as if”
  10. Be a participator, not a self-spectator.
  11. Be process-oriented, not product-oriented.
  12. Stay in the moment.
  13. Rate your behavior not your soul.
  14. Accept yourself, warts and all.
  15. If you must compare, compare downward as well as upward.
  16. Give yourself permission to be.

Four Steps for Managing Performance Anxiety


Step 1: Self-Assessment: Getting to Know Yourself Better, as a person & musician.

  • Identify problematic thinking.
  • What are your personal motives for performing?
  • What are your capabilities and limitations as a performer?
  • Ask yourself: “What am I really afraid of?” Worst-case scenario—you run off the stage and everyone laughs hysterically. That’s unlikely, and might give you perspective into the realities of what it is you are really afraid of.
  • Try not to confuse self-assessment with self-criticism!


Step 2: Gradual Exposure and Preparation

  • Look for opportunities for exposure to mild to moderate levels of stress that challenge but do not overwhelm your coping skills, example: visualization of the performance.
  • Other Examples: practice performances, dress rehearsals, taping yourself and playing back.
  • Be thoroughly prepared. Nothing replaces adequate time spent in rehearsal and practice.
  • Consider how the use of relaxation techniques can help to “harmonize” the body. Meditation, yoga, and/or muscle relaxation can help the body and mind feel uplifted and balanced so you feel excited and prepared, but not overwhelmed. Using these techniques can help you avoid self-medicating with drugs and alcohol.


Step 3: During the Performance

  • Rather than blocking out the audience, or seeing them in their underwear, try seeing them as allies who are generally supportive and want you to do well.
  • Remember, most performers have to contend with anxiety—it comes with the territory. You’re in good company!
  • Feelings of anxiety are natural, and can be used to your advantage.
  • Maintain your normal routine when preparing a performance.
  • Act calmly, even if you feel nervous. The more you dwell on anxiety, the more you are likely to remain preoccupied with it.
  • Try to overlook minor errors when you perform. Overall impressions are more important to the audience than note-perfect performances.
  • Consider performing as an opportunity by becoming immersed in the musical experience. For example:
  • Get out of yourself and into the audience. Try switching off the left brain’s critical words and switching on the right brain’s passive observation. This may help you escape self-criticism and stay in the moment.
  • Enjoy what you’ve accomplished. Others are more likely to enjoy it this way, too.


Step 4: After the Performance

  • Temper such external feedback with internal beliefs and expectations you have already established.
  • Asking others afterwards, “how did I do” without asking yourself first might be depriving yourself of a significant source of valid information about your performance: YOU.

Performance Anxiety Resources


Books Available in UWEC Library

Notes from the Green Room: Coping with Stress and Anxiety in Musical Performance by P. G. Salmon & R. G. Meyer

Performance Anxiety: Overcoming Your Fear in the Workplace, Social Situations, Interpersonal Communications, and the Performing Arts by Robin W. Mitchell

Controlling Stagefright: Presenting Yourself to Audiences from One to One Thousand by Peter Desberg

Audition Process: Anxiety Management and Coping Strategies by S. E. Dunkel

Stagefright: Its Causes and Cures, with Special Reference to Violin Playing by Kato Havas

Websites

Enjoy Words and Music—Overcome fear of speaking or performance anxiety.
http://enjoywordsandmusic.com

Coping with Performance Anxiety
http://www.engr.unl.edu/eeshop/anxiety.html

Videotape

But I Played It Perfectly in the Practice Room!

Campus Resource

Counseling Services: Old Library Rm. 2122, Phone 836-5521

  • Variety of self-help materials related to anxiety and stress.
  • Individual counseling by appointment.

If you would like to talk with a counselor about your music performance anxiety, please call to make an appointment at the UWEC Counseling Service 836-5521

Prepared by Robin Abraham, M.A. and Katherine Schneider, Ph.D. May 2001

Many Young Musicians Troubled By Performance Anxiety

Filed under: Performance Anxiety — bb @ 23:37

Performance anxiety is the bane not only of professional musicians, but of teen musicians as well. Early detection of their problem and effective treatment for it might strike a beneficial chord.

Previous Section  

Performance anxiety—classified as a variant of social anxiety in DSM-IV-TR—is relatively common among adult professional musicians. In the largest study of the subject to date, 16 percent of some 2,000 professional musicians reported that performance anxiety was a serious problem for them.

Performance anxiety among college-age music students has also been found to be quite high—with about 21 percent to 23 percent reporting suffering from it, and about 17 reporting that it has had a negative impact on their careers.

And now a new study in press with the Journal of Anxiety Disorders suggests that performance anxiety is quite common among teen musicians as well. It was conducted by Lydia Fehm, Ph.D., and Katja Schmidt, Ph.D., of the Technical University of Dresden in Germany.

Fehm and Schmidt explored performance anxiety in 74 pupils attending a Dresden high school specializing in music education. In addition to pursuing a regular academic curriculum, pupils at this school attend music classes and receive instruction in playing various instruments. Most of the students have been playing musical instruments since they were about 7 years old, and nearly half made their first public debut as musicians before age 8. Most plan to continue studying music after graduating from the school.

The subjects were assessed with the German version of the Performance Anxiety Questionnaire. It contains 20 items, tapping cognitive as well as bodily symptoms of performance anxiety. The frequency of each symptom is indicated on a five-point Likert scale.

A self-rating of performance anxiety was included, along with the questionnaire as a global measure of performance anxiety. There were questions about short-term and long-term strategies that the subjects used to cope with performance anxiety and whether they believe that they needed more help in dealing with it.

About one-third of the subjects reported being at least moderately distressed by performance anxiety. Ten percent said that performance anxiety was negatively impacting their music careers. Among the physical symptoms reported, nervousness and sweaty palms were the most frequent. Among the cognitive symptoms, fear of making errors and being overly critical of one’s performance were most frequent.

The subjects indicated that they were more on edge when giving a solo performance than when playing chamber music or participating in an orchestra. Their angst also varied depending on their audience; teachers especially distressed them.

Interestingly, no link could be found between how long subjects had been performing publicly and how much they suffered from performance anxiety.“ This is in line with the findings of other studies, and it points to the fact that mere exposure to public performance does not automatically lead to a decrease in anxiety,” Fehm and Schmidt wrote in their report.

 Short-term coping strategies that subjects used to counter performance anxiety included rehearsing difficult parts of a composition, positive thinking, praying, smoking, and practicing relaxation techniques. Only four of the subjects said they resorted to alcohol or illegal drugs for sedation. Subjects reported that rehearsing, positive thinking, and praying were moderately helpful in quelling performance anxiety; that practicing relaxation techniques was rather helpful, but that smoking was not very beneficial.

Long-term coping strategies that subjects used to combat performance anxiety included relaxation techniques; talking with classmates, friends, or teachers about their apprehensions; and seeking professional counseling or psychotherapy. Their perceived helpfulness of these strategies was in the medium to lower range.

Sixty-seven percent of the subjects indicated that they would like more help in dealing with performance anxiety.

“We were surprised by the rather high proportion of pupils reporting impairment due to their anxiety,” Fehm told Psychiatric News.“ We would have guessed that students would become more impaired once they decide to become professionals.”

“This study points to the insidious impact of the early expression of anxiety and again raises the possibility that early detection and intervention may improve the long-term course of affected individuals,” Mark Pollack, M.D., added. Pollack is an associate professor of psychiatry at Harvard Medical School and director of the Center for Anxiety and Traumatic Stress Disorders at Massachusetts General Hospital.

When asked whether musicians with performance anxiety often suffer from other kinds of social anxiety as well, Fehm replied: “To my knowledge, there is no conclusive evidence regarding this issue.”

An abstract of “Performance Anxiety in Gifted Adolescent Musicians” can be accessed online at<www.sciencedirect.com> by clicking on “Browse A-Z of journals,” “J,” and then“ Journal of Anxiety Disorders.” ▪

By Joan Arehart-Treichel

BETA BLOCKERS AND PERFORMANCE ANXIETY IN MUSICIANS

Filed under: Admin messages — bb @ 23:36

Beta blockers have been called “the musicians underground drug.” Often musicians form their opinions, and may risk their health, based on locker-room-type information.

Performance anxiety can be a deeply personal subject for musicians, and many are reluctant to discuss all the possible remedies. There are ways to manage performance anxiety without ending up in a chemical dependency rehabilitation center. It is our intention to bring this subject into the open, and to provide accurate information to inform personal opinions and decisions.

  • 1. What are beta blockers (such as Inderal)?Beta blockers block the receptors for the physical effects of a person’s natural fight or flight response. They are not sedatives, and they can’t help anxiety of a purely psychological nature.

    Beta receptors are found in a number of places in the body: heart, lung, arteries, brain and uterus, to name a few. Like a key in a lock, beta blockers chemically fit into beta receptors and prevent norepinephrine from binding to the receptors that cause the symptoms of the fight-or-flight response.

    The degree of these effects depends on the dose and the individual’s sensitivity to the medication. Peak effect occurs in one to one and a half hours. Ideally, this could allow a performer to play at his or her best, without the distraction or interference of excessive fight or flight symptoms.

    Blocking beta receptors can cause decreased heart rate; decreased force of heart contractions; bronchoconstriction (can cause asthma attacks in people with asthma); uterine contractions; decreased blood pressure; relief of migraines; and decreased tremor.

    The beta receptors found in the different areas of the body are not all the same, thus different beta blockers may affect these areas differently. For instance, metoprolol (Lopressor) and atenolol (Tenormin) are beta-1 selective, which means they block only beta-1 receptors found primarily in the heart, but not the beta-2 receptors found in the lung and uterus. Thus, they can decrease blood pressure, heart rate and force of cardiac contraction, but are less likely to cause bronchoconstriction and uterine contractions. This selectivity is not absolute and depends on the dose.

    Some beta blockers enter the brain better than others. Propranolol (Inderal) crosses the blood-brain barrier particularly well. This may be why propranolol causes more central nervous system side effects, such as hallucinations, nightmares, and depression, than the beta blockers that do not cross into the brain as easily.

    Interestingly, the ability of beta blockers to help anxiety seems related only to their blockade of beta receptors outside of the brain. Beta blockers will not help the emotional symptoms of stage fright (for example, sleep problems or negative inner voices).

    Everyone’s body responds differently to beta blockers. For this reason it is important that each person experiment, under medical supervision, to find the ideal dosage for a performance situation. Similarly, it is important to take the beta blocker a few times and under different circumstances before a major performance to be sure the individual has no adverse reactions.

  • 2. Do I need to see a doctor before taking them?Everyone, without exception, must obtain their beta blockers from a physician. It is a violation of federal law in the United States, and many other countries, to give prescription medications to someone other than the person for whom they were prescribed.

    Beta blockers are prescription medications for good reason. There are several conditions, such as slow heart rate, bronchial asthma, and heart failure, which can cause serious medical problems, even death, when taking this medication.

    In addition, you should know that some psychiatrists and psychologists feel that beta blockers ought only to be used in the context of psychological intervention, and only as a temporary measure.

  • 3. What kinds of problems are beta blockers good for?One reference lists 29 different uses, including high blood pressure, angina, irregular heart rhythms, migraines, prevention of a second heart attack, tremors, alcohol withdrawal, anxiety and glaucoma.

    In the United States, a physician can prescribe medications for uses not approved by the Food and Drug Administration, so long as there is scientific literature to support the use. Usually the pharmaceutical company involved will only research and develop a few uses to submit to the FDA to get the medication approved for marketing.

    Once the medication wins FDA approval, the pharmaceutical company is only allowed to advertise it for FDA-approved uses. Over time, however, researchers and physicians gain experience using the medication for uses not approved by the FDA.

    Beta blockers are not FDA approved for use in anxiety or stage fright, but these medications can be prescribed for this purpose because there is scientific literature to support this use.

  • 4. Are beta blockers safe?Only your physician can tell you whether beta blockers are safe for you.

    Beta blockers can significantly worsen some medical conditions. As a general rule, beta blockers should not be used in asthmatic people. Beta blockers can worsen congestive heart failure, Raynaud’s syndrome, and diabetes.

    Musicians who take beta blockers often do so in small doses and only on special occasions, so they may experience no side effects at all from their use. However, many side effects have been reported from these medications, including rash, anaphylactic shock (sudden unconsciousness or death), slowed heart rate, low blood pressure, cold extremities, worsening of heart failure, fainting, rapid heart beats, dizziness, fatigue, headache, depression, sleep disturbances, nightmares, hallucinations, short term memory loss, high or low blood sugar, stomach ache, flatulence, constipation, nausea, diarrhea, dry mouth, vomiting, heartburn, bloating, impotence or decreased libido, difficulty urinating, bronchospasm, cough, wheezes, naal stuffiness, joint pain, and muscle cramps.

  • 5. Do beta blockers cause addiction?Beta blockers do not cause addiction — which means physical and psychological dependence on a substance that is beyond the user’s control. But beta blockers, when used on a regular basis, can cause physical dependence.

    Physical dependence is when the body becomes accustomed to having a medication in the body, thus over time, more medication is required to achieve the same effect. It also means that if the medication is suddenly stopped, the person can experience a rebound in the symptom the medication was being used to treat.

    Not all medications cause physical dependence. To develop physical dependence, the medication must be used on a chronic basis.

    In the case of beta blockers, physical dependence is not usually an issue when they are used for stage fright, as they are used in low doses and are not taken on a chronic basis. When beta blockers are taken on a chronic basis, as for high blood pressure, suddenly stopping them can cause a severe, dangerous elevation in blood pressure that could lead to a stroke or heart attack.

    Addiction causes the person who drinks alcohol, abuses a medication, or takes an illegal substance to exhibit substance-seeking behavior, perhaps even committing criminal acts to obtain it.

    What makes this issue confusing is that alcohol, narcotics, cocaine, and amphetamines can cause both physical dependence and addiction, and usually both must be treated at the same time. Beta blockers do cause physical dependence when used on a chronic basis, but it would be highly unusual for them to cause addiction.

  • 6. Will beta blockers help my performance?The answer varies greatly among individuals. Obviously, if you have a medical condition that makes beta blockers dangerous for you, they will not help.

    Beta blockers don’t make you play better by themselves; they just relieve physical problems resulting from the fight or flight response. On the other hand, some musicians feel that adrenalin helps their performing, giving them an edge that adds intensity to the performance.

    Beta blockers have not been shown to directly improve a musician’s emotional state, except to the extent that some musicians feel better when their physical problems are relieved. If your performance anxiety shows itself mainly in psychological ways (e.g. negative inner voices), beta blockers will not help you.

    The scientific studies and articles we looked at clearly show that beta blockers significantly reduce symptoms that can hinder some people’s playing. The musicians in the studies said they felt better about their performance after taking beta blockers, and music critics consistently judged their performances to be better.

    Be aware, however, that one article raised the concern of whether beta blockers help only technical aspects of performance, but may in fact diminish emotional elements.

    A note about dry mouth: Anecdotal reports show that some musicians who’ve tried beta blockers say they don’t help dry mouth, or can even make it worse. In our research, however, we found a study that conclusively showed beta blockers to help dry mouth among brass players.

  • 7. How many musicians use beta blockers?A study reported in 1986 of 2,122 musicians in major U.S. symphony orchestras showed that 27% reported taking beta blockers. Of that 27%, 19% took them daily under a doctors prescription for heart conditions, etc., 11% had a prescription for occasional use (concerts, auditions, etc.) and the remaining 70% reported occasional use, but without a doctors prescription. (Again, these percentages are of the 27% who reported taking beta blockers, not of the whole population.)

    When the musicians who took beta blockers for medical reasons are factored out, slightly under 22% of musicians in this study reported using beta blockers occasionally, with or without a prescription.

    Among those who reported occasional use, with or without a prescription, the events they said they used them for were: Auditions, 72% ; solo recitals, 52%; difficult orchestral performances, 50%; concerto performances, 42%; before every performance, 4%.

    In our highly unscientific survey based on the FLUTE Internet mailing list, there were 103 respondents total. Of these, 24 (23%) said they use or used beta blockers, 79 (77%) said they didn’t.

    Of those who called themselves professional performers and/or teachers, 52% said they used beta blockers, 48% said they didn’t. Of those who called themselves students, amateurs or non-professional teachers, 2% said they used beta blockers, 98% said they didn’t.

  • 8. How does the music community view the use of beta blockers for performance anxiety?As you might expect, opinions vary widely. Here are what a few well-known musicians have said on the subject:

    Trevor Wye, flutist and teacher: After saying that beta blockers “should seriously be considered for important occasions,” he writes: “Readers who may have some misgivings about the use of alcohol or drugs may care to reflect on the effect of nerves and strain on the body which can cause a great deal of damage over a period of time.” From “A Trevor Wye Practice Book for the Flute, Volume 3: Articulation,” (Novello & Co. Ltd., Borough Green, U.K., 1983).

    Geoffrey Gilbert, flutist and teacher, as quoted by biographer Angeleita S. Floyd: “[Gilbert] did not advocate the use of [beta-blocker] drugs or alcohol for controlling nerves in performance….Gilbert’s reasoning stemmed from the fact that although they may work, one can easily become addicted.” From “The Gilbert Legacy” by Angeleita S. Floyd (Winzer Press, Cedar Falls, Iowa, 1990).

    Mary Stolper, flutist and teacher, tours with Chicago Symphony Orchestra: “I have never taken [beta blockers] and my one brother has never taken them. But my other brother swears by them. I think it’s a very personal choice. “I don’t give them to my students. If they come and we talk about it, I’m not going to stop them from taking them. I probably would encourage them to take them if they’re curious about it; go ahead, take them and see. But don’t take them for the first time on your first audition! “Taking the audition is so difficult, the odds are so against you to begin with, if that little thing makes you think you’ve got an edge, why not?….But I don’t think it’s ever been proven that they help.” From a taped interview with K. Harby, January 1997.

    Stuart Edward Dunkel, oboist and composer: “The use of drugs in controlling symptoms of fear felt at an audition should be thought out carefully. The underground musician’s drug, Inderal, is in widespread use today. However, one should use caution by understanding the side effects of a given drug and by realizing that an addiction to drugs may occur and that this may therefore not be the ideal approach to the problem of stage fright.” From “The Audition Process: Anxiety Management and Coping Strategies,” Juilliard Performance Guides No. 3 (Pendragon Press, Stuyvesant, New York), 1989.

  • 9. What other approaches are helpful for dealing with performance anxiety?Because the fight or flight response occurs only when we perceive danger, it can be avoided or minimized if we can convince ourselves there is nothing to fear. This is the goal of many non-medication approaches. The physical sensations of fear can also be managed in specific, non-medication ways.

    There are many books and articles that may help you understand your stage fright and manage it. Some of the following are, unfortunately, out of print. If you are unable to find any book in your local library, ask your librarian, who may be able to obtain it from another library.

    * “The Audition Process: Anxiety Management and Coping Strategies,” by Stuart Edward Dunkel (Juilliard Performance Guides No. 3, Pendragon Press,Stuyvesant, New York, 1989).

    * “A Soprano on Her Head: Right-side-up Reflections on Life and Other Performances,” by Eloise Ristad (Real People Press, Moab, Utah, 1982).

    * “Making Music for the Joy of It: Enhancing Creativity, Skills and Musical Confidence,” by Stephanie Judy (Jeremy P. Tarcher, Inc., Los Angeles,1990).

    * “The Inner Game of Music,” by Barry Green with W. Timothy Gallwey(Doubleday, New York, 1986).

    * “Anxiety and Musical Performance: On Playing the Piano From Memory,” by Dale Reubart (Da Capo Press, New York, 1985).

    You can also try eating dairy products and turkey, which are rich in substances that are known to enhance relaxation. Some flutists recommend bananas. Nicotine and caffeine can contribute to shakiness and anxiety in some people.

    Biofeedback, yoga, relaxation techniques, and cardiovascular fitness are recommended in the books listed above. Classes and seminars exist in most communities that can help you with any of these activities.

    Cognitive therapy, the area of psychotherapy that holds that your understanding of a situation can change your emotional response to it, is often sought by people with stage fright. Hypnosis may also used. If you decide to seek a therapist, try to find one who is experienced in treating anxiety disorders, and especially one who has experience treating performers.

Flugelhorn Tips – Make Good Music With a Quality Flugelhorn

Filed under: Articles — bb @ 23:33

Originally used to summon army wings, the flugelhorn is at present an important instrument for creating jazz, popular, and brass band music. This brass wind instrument closely resembles a trumpet and saxophone, but its bore is wider and more conical. Likewise, while it shares the same B-flat pitch of most trumpets, the flugelhorn is more adapted for producing more mellow music as compared to the trumpet’s bright and aggressive tone.

Flugelhorn tips for buyers

Depending on your level of expertise, you can choose from different types of flugelhorn of various quality and price ranges. In general, however, flugelhorns are more expensive than trumpets. New students are advised to first buy a trumpet to practice on before switching to a flugelhorn. This switch should be easy given the two instruments’ similarities with regards to playing style. If money is not a problem though, beginners can opt for a student grade flugelhorn which can set them back by an average of $700.

Regardless of the type of flugelhorn you intend to buy, make sure that you try each one before making a purchase. This would help you get a good feel of the horn, especially if you are choosing between horns of different bore sizes. Flugelhorns with small bores play differently from those with larger bores and trying one of each would help you asses which one is better for you.

More flugelhorn tips

Aside from flugelhorn tips on buying a good instrument, it also pays to heed advice on how to play the horn. The best way to learn the instrument is to take classes from a professional player. Likewise, it is advisable to buy some CDs and other audio materials that feature the flugelhorn being played by renowned artists such as Frank Fezishin and Rachel Woolham.

Aside from listening to recorded albums, you must also try to watch live performances where the horn is played. You can attend jazz concerts or brass band recitals. The flugelhorn is also sometimes used for orchestra, so you can likewise check such productions.

Important information

Complete flugelhorn tips is available at PickyGuide, the authority in free consumer advice. Access top-ranked, best-reviewed, and most competitively priced flugelhorns in PickyGuide’s recommended products section.

Article Source: http://EzineArticles.com/?expert=Ilse_Hagen

Trumpet Christmas Music – Inspire Your Young Musician To Practice With Music They Will Want To Play

Filed under: Articles — bb @ 23:32

“But I don’t want to practice!”

How many times have parents heard these words from their young musicians?! There’s an easy way to get your youngster to practice without any nagging whatsoever AND it has the added benefit of getting everyone into the holiday spirit. Buy your child a book of trumpet Christmas music! I guarantee he or she will be eager to play these familiar songs and, without even realizing what’s happening, your child will be practicing.

There are some guidelines you want to follow when buying music for your child to play to ensure fun and avoid frustration. A private teacher or band director can be invaluable in choosing music but, just in case that isn’t convenient, I’ll give you some things to think about when making a choice.

Be sure that the music is at the appropriate level for your young brass player. Just because he or she knows the song doesn’t mean that they will be able to play it. It is especially important in brass music to make sure that the music doesn’t include high notes that your child doesn’t have the ability to play yet. High notes require a certain amount of muscle strength and development that takes time to build. It just can’t be rushed. Nothing is more frustrating that having a new book of fun music that you can’t play.

Ask you child to show you the highest note they can play. Even if you can’t read music you can see how high on the staff the note is. Be sure that any book you buy has at least some songs in which all the notes stay below that highest note. It doesn’t matter if some of the songs are too hard – that will inspire practice and ensure that your child can use the book next year – but you don’t want to choose a book where ALL the songs are too high.

You might also want to consider buying a book of duets if you have another musician in the family or if your child has a friend who also plays an instrument. Duets are fun to perform, sound great, and develop wonderful ensemble skills. Again, it is important to choose carefully when buying the music. Aim for music that is a bit too easy because often it can be challenging to get the two parts to work together exactly right. If the music is easy the young musicians can focus on keeping their parts together rather than struggling with the notes.

Practicing is absolutely necessary, but it doesn’t have to be a chore. The challenge we adults have is to find ways to “trick” our young musicians into practicing. One of the best ways to do this is with fun material like trumpet Christmas music.

Get recommendations for some great trumpet Christmas music listed by difficulty by an experienced brass instructor, or take a look at recommendations for other brass musicians at http://brasslessons.com/music.php.

Article Source: http://EzineArticles.com/?expert=Jody_A._White

From Ancient Horns To Brass Ensembles

Filed under: Brass Music Instruments — bb @ 23:31

Whether you are watching a parade, listening to an orchestra, or attending a jazz ensemble nothing can capture your attention more than when the brass instruments play. They are bold, rich, exciting, and majestic. They have a certain unique regal tone that commands people to sit up and take notice.

Interestingly though, just because they are called brass instruments does not mean that they are just made of brass. Other materials that have been used in their construction include wood, cane, horn, tusk, clay, and even crystal. In addition, most saxophones and flutes and many clarinets are made of brass, but are categorized as woodwind instruments, not brass instruments.

Brass instruments have descended from ancient horns. Their first use was in military, royal, or hunting contexts. Curt Sachs reported that even around 1250BC the si-im was played which is depicted as a short and thick horn played with a large frame drum. There was evidence found that around 1400BC straight trumpets were played by soldiers. A trumpet-shaped music instrument was even found in Tutankhamen’s tomb. It was not until the late 1600’s that brass instruments acquired a new role as an art instrument. During this time, physical alterations were made to them to allow for improved ease of fingering and made blowing less effortful. These improvements enhanced their artistic role and they became a regular member of the orchestra.

By the 1830’s the first brass bands came into existence, most notably in England, Wales, and the United States. The first one in the U.S. was established by Alan Dodworth in 1834 as the Brass Band of New York. Beginning in 1860, mechanical changes were made which gave every instrument a complete scale of notes throughout the range. With these enhancements brass instruments took on an even stronger, clearer, crisper sound. By 1900 there was an explosion in their popularity. Almost every park built a bandstand gazebo and some brass bands attracted 10-20,000 people. Their popularity declined after World War II, but increased again in 1960.

Today, brass bands, or brass ensembles as they are more commonly called, continue to include brass instruments such as French horns, trumpets, euphoniums, tubas, trombones, etc. These groups play classical, Broadway, show tunes, marches, and pop/rock music. Some ensembles are not such brass instrument purists and include other instruments such as woodwind instruments, percussion instruments, bass, guitars, or keyboards. With additional instruments, a wider array of musical mixes can be played, such as Dixieland, jazz, rock, blues, or funk. An advantage of being in a brass ensemble is that the players have the freedom to take on roles usually reserved for other instruments. When in a brass ensemble each player has a responsibility to work as a team so not one person or music instrument dominates the sound. The focus of the group is cohesiveness with one mutual goal and a flexibility to accept other’s ideas.

Brass instruments have had a long history since ancient times. They have acquired popularity through their ability to produce a rich, bold, exciting sound and their prevalence in so many musical genres. When we hear brass instruments we tend to pay attention and listen. If you would like to pursue your musical aspirations, you will find highly crafted brass instruments at very reasonable prices at http://www.marchingbandinstrumentsandmore.com.

Dianna Joseph is the owner of Marching Band Instruments & More. She is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible. For more information on purchasing professionally crafted and reasonably priced marching band instruments (woodwind instruments, brass instruments, and drum sets for sale), string instruments including cellos for sale, the best acoustic guitars, and accessories please visit my website at http://www.marchingbandinstrumentsandmore.com.

Article Source: http://EzineArticles.com/?expert=Dianna_Joseph

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