"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius
Branson, I hear where you are coming from, but your approach is, in my opinion, while effective for some students, has no real basis in reality. Your approach to training seems to me to be cheap and tawdry. Sorry.
Reality is getting it right the first time.
That's why we have routines and practice upcoming pieces. If we screw up the piece in practice, we shrug it off, do some introspection and play it again, no ten times or whatever, just get it right, just once, and memorize how it goes.
Having done that, we can reproduce it at will.
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
I think you missed my point it was a slight dig at the Brass Band World in the UK and what is increasingly beccoming its obsession with "The Contest" Many are run almsot like football clubs and although they are supposed to be amateur groups with transfers are happening just so that a band can move up the sections. At the very top there are people who are hugely "compensated" for travelling a few miles. It is competition that has produced this tawdry state of affairs and it is one of the reasons I have little regard for Banding. To give you one example in a band close to me there was a young Tenor Horn player, far too good for the youth band and of a standard that would have graced anything but the top section and he would have got there. It was suggested that the kid, son of another band member, sit in on practices to gain experience and play in the (all too few) concerts not in contest. The suggestion was met with anger and has nearly split the band in two with a number of resignations. One statement went something along the lines of "we are a serious contesting band not a charity gig for young players" there were various variations of this.
Another scenario is talked about on another forum much like this one but which I now never go on where there was a discussion of "contest nerves" which included the discussion of using beta blockers, and one person offering to keep some of his prescription ones for the band on contest day.
It may not have come across burried in my English sarcasm but I was agreeing with you. I think there can be a competetive element to music but this is at its best when it is self imposed with your own goals not external pressure of winnig a chair or a competition. I would far rather please an audience who I have touched than an adjudicator who is dispassionately judging me.
Yamaha 4335 GSII Trumpet
Conn Victor Cornet
Weltklang Rotary Trumpet
DEG Signiture Cornet Silver Plate
B and S Sonora Trumpet
Besson Brevete Flugel Horn
Monette Silver 6 Mouthpiece
Gear For Music Basic Euphonium
Saving up for a Flugel.
If you are working to play musically you are working with the best interests of the band and the music. Playing musically means matching articulation, style, and dynamics etc. You are constantly working to make sure that your contribution compliments the band. That is what the "we" is all about. As I said before, take care of the music and everything else falls in to place. Putting yourself before the music is a recipe for failure.
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"I was just driving home the point of making music first. Too many are putting too much focus on competition. That is not going to help with the nerves. See my earlier post.
oops, sorry xjb. I think we're on the same page I and failed to see it.
Pie Girl - you know what you've managed to do here (and this makes me giggle quite a bit) is you've shown the 'lesser' players in your band what will happen if they slip up, that should put some pressure on them.
I have a similar problem to yours, I can hit the notes in the practice room but not in performance. My problem is different to yours though - I don't practice enough - simple really.
"For me, it's never been about being competitive. To compete means one can lose. I just try to play the heck out of the notes before me."
You can't blow it if you haven't lived it.
"Even if I could play like Wynton Marsalis, I wouldn't play like Wynton Marsalis."
Martin Committee (1956)
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