In 1974 John Ware played a two-octave scale up and down for me. That was all I needed to hear. But it was the way he did it, starting pianissimo with a crescendo to fortissimo, and returning to pianissimo. Or it can be done with the reverse dynamics with a variety of articulations. Really quiet and really loud, without forcing or pinching. Always with a fabulous tone!
The rest of that lesson was inspirational for sure, but the details have been forgotten. What I remember today however, is the ease and finesse with which he released a superior sound!
Lesson 2 was watching him play first on the Planets in the Philharmonic. It was the same thing: power and finesse all in one player! Articulations exploded out the bell. We heard exciting dominating trumpet playing from a rather small, mild-mannered gentleman.
Of course, who cannot be amazed at the beauty of his Posthorn Solo in Mahler 3! His gorgeous playing still rings in my mind every time that excerpt comes up. He said very little that day, but his playing said everything I needed to hear!
For this to happen, something more powerful than fear must take control. When it does, a successful performance or audition could actually happen. How great would that be!
A public speaker who was known for his effective speaking before large crowds once admitted that were it not for one thing, he would be a nervous wreck every time he approached the podium. Nervousness was an admitted obstacle until he remembered why he was there!
So, what turns hesitancy into confidence, fear into boldness? Answer: a total focus on your message!
When there's much to share, there's no room for self-consciousness. An effective performer concentrates on his music, not on himself. Confidence comes from a sustained passion to deliver a great product. The audience pays to hear the music, not your attempt at an error-free zone. Plunge into the drama and avoid the trauma. How great will that be!
Imagine a fermata hovering over each line of your music as you play. It dances freely until it stops suddenly over one of your notes that needs your attention. It says, "There, hear that? Now fix it!"
There's no point in ignoring the floating fermata. It's very sensitive and easily provoked. Any of the following will set it off:
Thomas Schippers asked that question in the Cincinnati trumpet audition in 1975. It was after one of those long grinding excerpts from Ein Heldenleben. I was a bit puzzled, thinking that I had just nailed it successfully. Later I learned that he was testing for endurance.
At Tanglewood one summer we heard it again. Roger Voisin was conducting us on Fanfare for the Common Man. Right before we began the performance, he said "all right, boys, we're going to play it twice." (GULP!) Fortunately, we only played it once. He then smiled as if to say, "just testing you, guys."
Lesson: Once is not enough, even if it's good.
Nothing wrong with being a student! Who isn't one?
This advice years ago really helped bring some sanity to practice sessions. Instead of indiscriminate blasting, it brought an awareness that all notes matter. Music is about listening. "Try to sound like a great musician!"
The "ping" produced by the striking mallet on the toy xylophone is how clear and precise trumpet entrances need to be.
The mallet is the tongue. The note is focused, clear, popping, ringing, and pinging.
Mel Broiles had just demonstrated how one of those opera arias in Arban's The Art of Phrasing should sound. Then it was my turn. (Yes pressure!)
Trying hard to reproduce even some of his elegance and power, I whole-heartedly plowed through one of those famous Verdi arias. I gave it my best but expected a grimace and shrug of disapproval. Instead, he exclaimed, "Spoken like a gentleman!"
Later I wondered if it was sarcasm or genuine praise. Praise was hard to get. I took it as a compliment which has served as motivation lasting for years. How important are the words we speak!
That simple statement should launch a search for all the prominant and voluptuous solo octaves on the planet, starting from Over the Rainbow all the way through Mahler 9!
Have a nice octave day!
Armando Ghitalla said in one sentence what was needed to chase away timidity. A mindset that has no fear. An eagerness to make the grand entrance. A confidence that your first note will be attention-getting.
You must have a reputation for confident accuracy! As a colleague once said, "It must be automatic."
Lesson #2:
"Your passion for music must be greater than your fear of the audience."
Overcome fear with overpowering musicianship. Purpose to enthusiastically communicate, rather than just deliver notes. Prepare to entertain. Drama beats trauma.
Lesson #1:
"I want you to practice this week as if I were listening to every note!"
Not much else is needed for this command to be useful. You can insert the name of your choice. Then invite your great artist/teacher to listen in. Accountability matters in daily work.
Benefits: fewer wasted notes, less boredom, better quality, more musical interest, and it's cheaper!
We all brought strengths to the table but also lots of baggage and abilities needing serious attention. How we were going to deal with our deficiencies in four years was key.
The Quartet was amazing! Each player displayed enormous energy, showmanship, expression, dynamic contrasts, overall drama, and a sense of mature musicianship. But also, the often ignored skills of impeccable intonation, fantastic rhythm, blending, supporting, leading, and overall control.
That night I came away with a long list of "items of need." High on my list was: control of each entrance, intonation that doesn't cause wincing, technical wizardry, and accuracy. Further unpleasant realities: sloppiness, often out of tune, unsteady, unreliable, boring at times, insensitive, and in spite of that, an egotistical attitude! ESM faculty had a lot of work to do!
And so, although perfection is not possible, neither is the lack of diligent effort. The best students practice not what they want, but what they need. The sooner we learn to deal with our weak areas the faster we will improve and be approved. A one trick trumpet player will not go far. Fundamentals must be secure in order to build star quality playing. Take inventory regularly. Listen constantly to the best in the business. Study how they do what you can't, just yet. The fun is in this kind of pursuit.
