New Online Euphonium Store Just Opened

Last night, I was wondering through Facebook before I went to bed, when I remembered that I had received a notice about a new brass online store that was opening called Euphonic Melodies.  I figured I'd "like" it and check it out before I turned in for the night.  When I "liked" it, the owner, Nicholas Haffter Von Heide, sent me a personal thank you!  We began talking about the brand-new store that he just opened three days ago and his plans for it.

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Nick, the owner of Euphonic Melodies, is an Iraq War veteran who has has also spent some of his time in the military playing euphonium.  He has an undergrad degree in music education and is currently studying music industry and euphonium performance at Texas A&M at Corpus Christi.  Recently, he and his wife decided to make the jump from his previous business, instructing local low brassers, to his new bigger and better online retail business that will ship products anywhere. 

Nick is turning out to be a very hands-on business owner.  He told me about how he wants everyone's suggestions on what we want to see in his online store.  That's because he wants to sell what people want.  Well, there's a product that I've been looking for forever.  My gig bag tarnishes my horn.  I remember that when I got my Besson, it came in a bag that would protect it from things like that.  However, I just moved a few months ago, and in the move, the bag seemed to disappear.  Now, my silver euphonium looks like its 100 years old without its Besson bag!  I put that to the test by suggesting what I thought was an absolutely impossible product to find.   

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"You know those bags that Besson euphoniums come in?  I lost mine and apparently they're not for sale anywhere." I said.

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"Hmmm, maybe I will fabricate a bag then,"he said. It seems like there is a market for that."

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Nick and I are off on a project now.  He's actually going to sew a bag for me to replace the one that I lost.  We're currently talking about fabrics what would be good.  I'm sure I'll test it out on my own horn for awhile.  Maybe in a few months, you'll see a bag that will solve other people's gig bag tarnish issues up for sale on his website!

Nick is up against the odds with his new website.  Starting a new business in any economy is rough, but starting one in a recession is going to be hard.  Similar niche-market websites aren't doing well in this economy.  Solid Brass just went up for sale a few weeks ago.  I think, even though Nick is going against traffic, he does have an edge.  He's so personal with everyone who comes to his website that you can just tell him what you want and he'll get it.  In some ways, this is almost everyone else's opportunity to help him form his new store to what we want it to be.  

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Please stop by his website, Euphonic Melodies, and say "hi".  Even if you don't buy anything, shoot him an email giving him suggestions about what you'd like to see in the store.  I think it would be amazing to flood his inbox with suggestions from my blog readers!  If he's willing to make a custom bag for me, he's probably pretty likely to carry your favorite brand of valve oil!

How to Fall in Love with the Euphonium and Want to Play it Forever

It's been awhile since I have posted on my blog.  It's been a bit of an eventful month and I haven't just forgotten about posting.  Adam and I got married on August 13th and went on our honeymoon in Belize.  Then, we got back right in time for an earthquake and a hurricane.  Now that our basement is almost water-free, I have some time to work on a few more entries in my blog.
I was looking around the internet and happened to find a wonderful resource written by euphonium player Gail Robertson for the 2007 Midwest Band Clinic.  The incredibly cute title drew me in: How to Fall in Love with the Euphonium and Want to Play it Forever.  This cute and informative outline to a seminar that she led outlines reasons why some people may be attracted to playing the euphonium in school bands and why some people may become bored on the euphonium in school bands.  I would think that this would be a pretty good breakdown for band directors who would like to suggest an instrument that would fit each student best.  Then, she has a really pretty comprehensive repertoire list that begins at the sixth grade level and runs through early undergraduate level.  Its comprehensive enough that it would be of use to any private lesson studio teacher to at least take note of.  All in all, this is an outline worth a good look through.

How to Fall in Love with the Euphonium and Want to Play it Forever

Making the Most of Being an Independent Musician - Being Accessible, Personal and Creative

First, let me clarify who the independent musician is.  The definition doesn't involve eyeliner and black clothes and it doesn't include a specific genre.  An independent musician is simply a musician who isn't signed to a record label.  I think that mostly they're portrayed as the underdog.  The minority.  The ones who didn't succeed, and they are just scraping by.  The fact is that independent musicians make more money than any single record company (source: www.berkleemusic.com).  Independent musicians are actually the majority.

So now that you've (probably) identified yourself as an independent musician, how can you make the most of the cards you've been dealt?  I've learned a few things from the music marketing course that I took earlier on in the spring/summer.  While the course was more aimed at musicians in the popular music sphere, I think that they still apply to classical musicians.  I've taken the main points presented by the class and modified the specifics for a classical independent musician.

Be Accessible

Some of the best musicians I've met have locked themselves in the practice room all day.  I think we all know someone who thinks that the only part of being a successful professional musician is playing really well.  While practicing is important, locking yourself up alone in a room all the time doesn't help anyone know who you are and how to hire you for a gig.  If people don't know who you are, they can't hire you.

Also, when looking for musicians for my wedding (coming up in less than a week!) I found that I was much more confident hiring a musician who had a website or information about themselves online.  I ended up hiring the pianist who had clips of himself on Youtube.  I looked for a website, but none of the pianists had one.  Saying that you're a proficient musician only goes so far.  It seems to me that showing someone would be much more convincing.

Be Personal

Big-time musicians don't have time to connect with fans and people who hire them for gigs.  They spend money on advertising and hope that a potential consumer feels a connection to the band through that ad.  I don't know about you, but I don't have the money for a big ad campaign.  The way to getting around this, as I learned in my class, is being personal with the audience.  When my band, The Atlantic Brass Band, sold raffle tickets for the opportunity to conduct the band at the end of the concert, we made a good amount of money.  The concert goers feel connected to the ensemble after a personal experience like conducting a song.  People who have a personal connection are much more likely to come and see the band again.

Be Creative

In our course, we learned about one creative band that asked the club they were playing at if the bouncer could use the band's stamp that night instead of the usual "X." The stamp had the band's website on it.  The next morning, hundreds of people woke up with free advertising on their hand.  Independent musicians don't have the money to splurge on big ads, but they can creatively advertisements can come in many forms, and many are free.  In my class we learned to think about your audience, what makes them happy, and how you can reach them without spending money to put a paper ad in their face.  

These are just three of the benefits that independent musicians have over ensembles or musicians who use the traditional music business model.  If you have any ways that you or your band have put these to use, I'd love to hear about them in a comment!

The Auto-Pilot Warm Up

It's so familiar for me to stand in a band room of any sort and hear everyone warm up at the same time.  It seems like wherever I go, that sound always sounds the same.  The fact is that many people's individual warm up routine also sounds the same each time as well. 

I've started to get requests for me to cover certain topics in my blog now that I have a few regular readers.  One of those questions is about developing volume.  My thought is that the best way to develop more volume (or less volume) is through the warm up.  Many people warm up at mezzo something-or-other.  We are what we eat, er, play.  If you warm up every day in the mezzo range, you will become very comfortable and good at playing in the mezzo range.  If you push the dynamic level to a higher level during your warm up, you'll become better at playing all around in that higher volume level.  Disclaimer: monitor your intonation and support when you change dynamic levels in your warm up.  Practicing loud, out of tune splats will not make you better at playing loudly; it will make you better at producing loud, out of tune splats!

To elaborate more on this, here are some ideas on how to incorporate dynamics into the warm up:

During Long Tones
Disclaimer: Beware of playing long tones at loud dynamics for a long time, especially while playing high long tones.

• Crescendo and decrescendo during the long tones so that you reach either extreme on each note or every other note.
• Play loud long tones in the low range where its easy to feel the bagpipe feeling of emptying the lungs evenly.  Keep each tone steady as possible and use a tuner to make sure that it stays in tune.
• Play long tones as quietly as possible.  Work on eliminating the fuzzy sound that occurs at the lower limit of your own dynamic range.

During Clark Studies
Disclaimer: If you read the actual text in the Clark book, it tells the musician to play these studies as quietly as possible.  They're not kidding, you can hurt your lips if you play these too loudly for too long.

• Play them as quietly as possible and work on eliminating the ghost notes that happen when playing at the very lower limit of your own dynamic range.

During Lip Slurs

• Play the whole lip slur at either the upper or lower limit of your own dynamic range.

• Crescendo or decrescendo the whole lip slur, starting in one dynamic and moving to the other.

During Lyrical Warm Ups

• Play the whole melody at either the upper or lower limit to your own dynamic range.
• If the melody doesn't have dynamics, write them in.  Exaggerate them first and then settle into a normal dynamic range.

 I hope these ideas help with developing a comfort with playing in a louder or softer dynamic range.  If anyone else has any blog ideas or questions they would like answered in a blog, email me or comment on a post!

Finding My Rhythm

My blog is starting to develop its own rhythm.  That sentence actually fits pretty well with a music blog!  I tend to switch between articles that share the bit of knowledge I have about music and how to become a better musician with views from my little niche of music.  I also seem to be developing blog readers who like reading about these things.  It's a good match, and I'm so excited that the feedback I've been getting is positive!  I've even been getting requests for blogs on certain pedagogical topics.  I haven't forgotten to write them, it's just that with a wedding a month away, I might not get to it right now.

Now that I've settled into blogging and have started following other people's blogs, I have found some blogs that follow the same topics that I do.  One of those blogs is the one that my good friend from the Royal Northern College of Music writes.  She's currently a doctoral tuba student at the University of Iowa.  She has scholarly entries interspersed between quotes and photos that relate to music.  It's a good mix of entries that she wrote herself and entries that she's found elsewhere.  Her blog features entries on the friendship between Vaughn Williams and Ravel, the process of recording all of the national anthems for the olymics, and the best rehearsal techniques for a brass ensemble.  She even has a practice pie chart!  I think everyone should flood her blog this week and leave a comment on your favorite entry.  Tell her Amy sent you!

Kate Wohlman: Musician and Overthinker

General Characteristics of Good Sight-Readers (2 of 2)

            A few weeks ago, I published a blog on how we sight-read music.  I mentioned that soon I would publish another portion of my paper.  I’m sorry that it’s taken me so long!  I’m getting married in a month and a half and, needless to say, I’m pretty busy.  Here, then, is the blog-edited section of my sight-reading paper about the general characteristics of good sight-readers.  To make it fit a more reader-friendly blog format, I’ve just taken out some direct quotes, simplified some of the language and elaborated on a few topics that may be of interest to all of you sight-reading enthusiasts out there. (I know you’re out there somewhere!)

Many studies have tried to understand what makes a musician particularly good at sight-reading. There have now been enough studies that have revealed the same results that we can take these studies into consideration when we look at the characteristics of good sight-readers.  These skills include the ability to scan over the music accurately prior to playing, to know tonal patterns that construct music, to read rhythms quickly and accurately, and to achieve higher-than-average grade point averages in both academics and juries. 

            A very important step in sight-reading takes place before the first note is played.  Musicians must be able to quickly and accurately interpret the music prior to playing.  In a study conducted by Gary E. McPherson, students were asked to sight-read a passage.  Before they started, the researcher covered the music and asked the students questions about it.  Almost none of the lowest 25 participants knew the key and time signature while almost the entire top 25% knew both facts.[1]  This shows that good sight-readers can look at the music before they start actually playing and understand all of the important features like key, time signature, new tempi, difficult accelerandi and ritardi, and difficult passages.

            Another characteristic of highly efficient sight-readers is the ability to recognize commonly used musical ideas.  A study conducted by Carol B. MacKnight proved that “tonal pattern instruction is superior to note identification teaching techniques in development of both sight-reading skill and auditory-visual discrimination skills.”[2]  This means that being able to recognize typical note patterns helps the sight-reader more than being able to read each individual note.  The ability to recognize these patterns depends greatly on learning the fundamentals of music like scales and arpeggios. Musicians use a variety of techniques to learn tonal patterns, and this recognition greatly aids in their ability to read music quickly and efficiently.

            The next characteristic of good sight-readers is by far the most widely proven and most researched.  Good sight-readers have good rhythm-reading skills.  More than half of the errors made by sight-readers are rhythmical mistakes.[3]  That means there are more rhythmical errors than all other errors combined!  Along with working to recognize typical note patterns, sight-readers can improve their abilities by working on recognizing common rhythmical patterns in all time signatures.

            One less commonly brought up point is that performance jury scores and music theory grade point averages are significantly higher in students who are proven to be better sight-readers.[4]  The fact that good sight-readers have higher jury grades may prove that students who are good sight-readers also work harder on their craft than the average student in general.  They may simply practice more than the average student and thus be better prepared for both sight-reading and their juries.  The fact that better sight-readers have higher music theory grade point averages seems to either suggest that students work harder on their skills in general or, maybe studying music theory including chordal structure helps students recognize the musical patterns they may come across while performing.  While these are characteristics that many sight-readers in the college and university level students hold, it must be said that this characteristic cannot apply outside of the college/university setting.  Not all good sight-readers are aware of advanced theory in the music that they are playing, nor do they need this knowledge be good sight-reader.  This characteristic shows up consistently in studies, but researchers seem to not know quite what it means when it comes time to translate data into action. 

            There are certainly more characteristics of good sight-readers.  This compilation is simply composed of the most commonly mentioned ones from the available literature.  In summary, the best ways to improve sight-reading are to work on recognizing common note and rhythm patterns, always check all of the details of the piece before starting, and oh yeah, PRACTICE MORE!

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[1] McPherson (Autumn, 1994): p. 227.

[2] MacKnight (Spring, 1975): p. 23.

[3] McPherson (Autumn, 1994): p. 217.

[4] Elliott (Spring, 1982): p. 11.

 

Elliott, Charles A., “The Relationship Among Instrumental Sight-Reading Ability and

Seven Selected Predicter Variables.” Journal of Research in Music Education, Vol. 30, No. 1 (Spring, 1982), pp. 5-14.

MacKnight, Carol B.  “Music Reading Ability of Beginning Wind Instrumentalists after

Melodic Instruction. Journal of Research in Music Education, Vol. 23, No. 1 (Spring, 1975), pp. 23-34.

McPherson, Gary E. “Factors and Abilities Influencing Sight-reading Skill in Music.”

Journal of Research in Music Education, Vol. 42, No. 3 (Autumn, 1994), pp. 217-231.

 

Living With a Life in Music

I found a wonderful blog entry tonight about why musicians pursue music as a career. From a different perspective, it could be about why some people don't understand why we've chosen it as a career. Either way you look at it, it's a good blog post.  I thought I'd share!

From The Leading Tone, May 13, 2011:

If you’re a working classical musician or are studying to become one, you probably find yourself having to justify that peculiarity to many people.
Or to yourself, even.
I’ve studied music at several places—one of them quite famous—but am finishing my undergraduate degree at a college mostly focused on aerospace engineering. I made the decision to study there because it was local and affordable, and because the faculty and other students are remarkable people, a well-appointed artsy island amid a vast sea of tech.
Some students from other parts of campus are genuinely surprised to learn that our school has a music department at all. “Why would you major in music—what can you even do with that?” they will ask me...

 Read the whole thing at The Leading Tone

An American's Guide to Whit Friday

          After living and going to school in Manchester, England, I’ve tried to keep up with British culture.  Beyond occasionally checking out a Manchester United football match, this includes keeping up to date with British brass banding events.  I’m amazed with how many American euphonium players haven’t  learned about or become involved with brass bands.  I can’t complain too much because I had never played in a brass band until I was in England.  My first experience in a brass band and my first time ever playing a baritone was actually when I was filling in for a rehearsal with Black Dyke.  Talk about baptism by fire!  We played “The Force of Destiny.”  I was hooked.

          A big part of banding for many brass bands is competition.  The US only has two major brass banding events per year, the US Open Brass Banding Championships, and the North American Brass Banding Association’s (NABBA) annual contest.  Great Britain, the place where banding originated, has many, many more events per year than the US.   I won’t get into all of them because frankly, they confuse me!  There are so many that even when I was in England, I couldn’t keep track of them all.  However, one of the most unique brass banding events just took place this weekend, and I wanted to take advantage of the news peg to let everyone know about it.  Maybe I’ll get someone new hooked on brass banding.

          Whit Friday (no, I didn’t miss the “e” at the end of Whit) is the Friday before the beginning of Pentecost, the Christian feast seven weeks after Easter.  This year, that Friday was June 17^th, this past Friday.  For the event, brass bands around the area meet up around mid-afternoon to cram into a coach bus with all of their instruments and supplies (and often beer).  They travel to various towns and cities in the area.  At each location, the band plays two marches.  During the first march, the band actually marches into the contesting area.  During the second march, the band plays in a set location and is judged by a hidden adjudicator.  After playing at a certain location, the band gets back in the coach and heads to the next location.  At some point in the evening, around 10:30 for smaller towns or as late as 2:00 am, the winners (winners Tameside, winners Saddleworth) are announced.  The contest is known for having so many prizes.  A band could win for marching well, having the best soloists, playing well, or even being the first to play at a certain location.  Prizes range from £1,000 for best performance in a larger city to £35 for best soloist award.  

          This year’s big winner was Brighouse and Rastrick, winning most of the larger prizes and many of the best soloist awards.  Here’s a youtube video of their performance at Dobcross, one of the cities involved in the Whit Friday competition. 

If you want to follow up with a more comprehensive listing of the winners and categories, check out 4barsrest.com.  Next year’s Whit Friday is scheduled for June 1^st.

New Low Brass Forum

Yesterday I was reading through some of the blogs I follow and I noticed that David Clancy's blog mentioned a new forum for low brass players.  I checked it out, and while it seems pretty small still, it looks promising.

The forum was started by an amateur euphonium player named Larry Herzog. Herzog, a sales engineer from Wisconsin, has recently become interested in playing euphonium again after a long break from the instrument.  When he looked for some low brass online support, he didn't find much so he decided to start his own forum.

The forum had 24 members last Friday and today, a week later, it's up to 37.  The forum is pretty small still, but gathering members quickly.  It's made up mostly of amateur euphonium, trombone, and tuba players with the more experienced ones giving advice to more novice players.  Big names like Roger Bobo and Steven Mead have signed up, but haven't been active other than the occasional encouraging remark.  Despite the only occasional input from the Steve, any post about him or from him seems to be gathering a flood of responses.

The forum seems to be building up pretty good product reviews and answers to common questions.  The focus is on products, practice techniques, and related news.  It also has a great blog stream that includes this blog (hello lowbrass.org people!).  Anyway, check out the new forum.  It's worth your time and you could learn something or help out a fellow low brasser.

How We Sight-read Music (1 of 2)

Howard Snell wrote in his book, The Trumpet: Its Practice and Performance a Guide for Students that “reading music is the prelude to playing.”[1]  While we always want to play our best, we may not give much thought to actually reading music.  While I was in graduate school, I studied sight-reading in depth for a large research project.  So many research papers with valuable information go to waste, so I have decided to transfer a portion of my paper into a less formal, more reader-friendly blog format and share it on my new blog.  

          

            The process of sight-reading is pretty complex.  When a musician sight-reads, his/her eyes move back and forth in spurts, not smoothly like many people assume.  A sight-reader’s eyes can make up to four stops per second in the process of reading the music for the first time. [2]  This way, the eye actually takes millions of little pictures that the brain then interprets.  This allows the eye to glance ahead at more difficult parts while following where the musician is actually playing.  Good sight-readers are always in a state of looking ahead to anticipate future difficult passages.  In fact, most good sight-readers can remember bits of music up to seven notes ahead of the note that was last played if the music were to be taken away in mid performance.[3]  After the eyes see the music they then send the message to the brain to interpret.

            For sight-reading to progress smoothly, the brain has be able to interpret all of the signals coming in.  Information that is organized in an unfamiliar way, or not recognized, confuses the brain and the sight-reading standard drops.[4]  Any conflict in the brain means that the brain has to “think” about what is going on as opposed to simply responding in the way it knows how. The more comfortable a musician is with the markings, the better chance s/he has of getting through the music without delay.  This is one good reason why we have guidelines for standard musical notation.  When a musician tries to read music in any other format, it takes the brain an extra few seconds to think, and this delays the music.  

            The ear and brain work together for yet another task.  The ear takes in information and sends it to the brain to analyze.  This comes in most when the musician makes a mistake in sight-reading.  The performer then uses his/her auditory skills to recognize that the pattern played doesn't fit within the tonality of the piece.[5]  The musician checks the music where s/he made the mistake and notes how it should be played next time.  Without this mechanism, a musician could make mistakes over and over and not notice any missed notes or rhythms.

            The mechanics of sight-reading are pretty complex and require a huge amount of concentration and practice to link all of the parts together cohesively to form an outstanding sight-reading performance.  Luckily, most of these functions are automatic, and with the exception of purposefully scanning ahead with our eyes, we usually don't have to even think about all of the tasks that are taking place when we sight-read.  Soon, I'll convert another section of my paper on how to improve sight-reading to give readers some tips on how to become better and more efficient at reading through music the first time.

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[1] Snell 1997: p31.

[2] Snell 1997: p. 33.

[3] McPherson (Autumn, 1994): p. 217.

[4] Snell 1997: p. 31.

[5] McPherson (Autumn, 1994): p. 229.

McPherson, Gary E. “Factors and Abilities Influencing Sight-reading Skill in Music.”

Journal of Research in Music Education, Vol. 42, No. 3 (Autumn, 1994), pp. 217-231.

 

Snell, Howard.  The Trumpet: Its Practice and Performance A Guide for Students.  Thie

            Grianagh: Rakeway, 1997.

 

Everyone Has to Start Somewhere

Hi, my name is Amy Schumaker.  I'm an independent musician and music teacher from the Philadelphia area.  As part of a music marketing course that I'm taking at the moment, I've had to do some research on blogs and how they benefit the independent musician.  After reading some great blogs, but none that really wrote about my main interests, I got to itch to start my own.  Because everyone has to start somewhere, I figured that I would let you know a bit about me and my background as an independent musician and music teacher.

I've heard that the average independent musician has two to three "jobs" at any time.  I fit right into that category.  To be more specific, my first job is teaching a studio of about 20 students at SoundStage School of Music and Performing Arts in Oreland, Pennsylvania.  My second job is teaching a music101-style introduction to music history course at Burlington County College.  My third job is as an independent euphonium artist.  My more regular playing opportunities come in The Atlantic Brass Band (solo euphonium) and a newly-formed brass quintet that is yet to be named.

To let everyone in on my background, I should let you know about my education.  I went to Capital University Conservatory of Music in Columbus Ohio.  I started out majoring in instrumental music education, but when the opportunity was opened to me, I added euphonium performance to the list.  I graduated in 2007 with a double-major bachelor's degree and decided to pursue performance more.  I earned my master's degree from The Royal Northern College of Music in Manchester, England a year later (2008).  I majored in euphonium performance and minored in music education, music journalism and research methods (major research project: sight-reading techniques).  After my master's degree, I moved to Philadelphia to be with my fiance, Adam.  Now that I've been out of school for a few years, I feel ready to head back in to earn my doctorate.

I've started this blog to help spread the word on what's going on in my niche of euphonium players, brass musicians, and brass banding.  In addition, I'd like to let people in on what projects my friends and I are up to.  Lastly, I'd like this to be a place to spread my bit of knowledge that I've accumulated about brass instruments and the euphonium.

I hope you enjoy my blog.