ONE-SENTENCE LESSON #9

"Would you mind playing that again, please?"

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.

 

ONE-SENTENCE LESSON #8

 

"Try not to sound like a student!"  

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!" 

ONE-SENTENCE LESSON #7

What does a xylophone have to do with trumpet playing? Not a lot, except when taking a closer look at the mallets. 

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. 
 

ONE-SENTENCE LESSON #6

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!

ONE-SENTENCE LESSON #5

"Every piece of music has an important octave in it." (William Vacchiano)

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! 

ONE-SENTENCE LESSON #4

"You must be able to come "bustin' in" at any time."

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." 

 

ONE-SENTENCE LESSON #3

 

Me to student:  "If you can play this one line of music without a mistake, it's yours!!" 

I felt I was safe, knowing well my student's tendency to miss notes. As soon as he saw the money, however, everything changed. That twenty-dollar bill accomplished more than all of my talking. 

He then proceeded to play the line of music perfectly with nary a miss.  Reluctantly, but happily, I handed him his reward. "WOW! Gas money, he said! Gee, thanks!"

ONCE-SENTENCE LESSON #2

Just as a great conductor can communicate with one gesture, so too the most memorable lessons can often be condensed into a single sentence, or even a facial expression. Effective lessons should be unforgettable and motivating. The art of brevity!

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. 

ONE-SENTENCE LESSON #1

Just as a great conductor can communicate with one gesture, so too the most memorable lessons can often be condensed into a single sentence. Brief but powerful advice, unforgettable, effective, and motivational. The art of brevity. 

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!

Items of need

I remember sitting in the audience at a recital by the Juilliard String Quartet. It was our first week as freshmen at the Eastman School of Music. Our class was full of superstar wannabes chomping at the bit. It felt like the opening gate at the Kentucky Derby! My self-imposed assignment that night was to observe and to note the skills needed to be a successful musician.

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. 

Performing Etudes

A great performance is more effective than a thousand words. In lessons, Mel Broiles would often perform whole etudes of Sachse, Caffarelli, Charlier, or The Art of Phrasing arias from the Arban book, always with impressive artistry, power and finesse. Nothing needed to be said. That was how it was to be done.

In addition to fiery playing Mel would share his typically blunt but effective advice. Two of his comments I'll never forget. He scribbled an equation on the back page of the Sachse 100 Studies book which read:

1. A GREAT TRUMPET PLAYER = BLOW plus BRAINS. "With both, you can go twice as far." Much later I figured out what he was saying.

2. This was his comment after my mediocre attempt at a dramatic etude: "If there's no pizzazz in the practice room, you can't expect it to be there on the stage!"

Performing Etudes is written in honor of Mel Broiles, former Principal Trumpet of the Metropolitan Opera Orchestra. Mel was a master at inspiring and motivating his students. Musical inspiration is just as vital as right thinking and efficient breathing. With all three, you can go three times farther! Performing in the practice room makes performing on the stage a lot more dramatic and a lot less traumatic.

The Neglected Component of Success

How many spikes of improvement in your playing have there been lately? Sure, long term progress is the goal, but what about a bunch of sudden bursts of inspired, attention-getting trumpet playing? Why wait? Why not aim for sounding amazing today?

A bassoon colleague once suddenly turned around in an especially energized rehearsal and marveled, "Wow, what did you guys have for breakfast?"  That's the response you want.  

Every day we dutifully go through our prescribed routine, checking most of the boxes, and then calling it another day at the office. Well, not good enough. Life is too short to postpone dramatic improvement. An abrupt shift in our thinking can produce gratifying results before the day is done. It depends on us, how we think, and what we do about it.

The vital component of success is learning to shrink the gap between what we want to sound like and the way we actually sound. How we think we sound is usually not what others are hearing. Critical listening is necessary to give us "real ears."

That means we make a practice of recording ourselves. It means seeking and receiving brutally honest feedback from others, rather than ego-stroking flattery. It means constantly refreshing our concept of sound with the best of recordings and live performances. It becomes our passion to get there quickly.

When we fail to crave spirited dramatic playing, we delude ourselves into accepting the mediocre. We too easily settle rather than struggle. We grow comfortable with being just average. No job was ever awarded to the average. Just OK is not OK!

Healthy Embouchure Matters

Back in the golden age of famous cornet soloists, the great Herbert Clarke revealed his secret for developing and maintaining a healthy embouchure. Although pretty much neglected by everyone under the age of 25 (and often beyond), his book contains the remedy for much of what ails today's trumpet players. Actually it is not a secret, for the answer is right there on every page of his Technical Studies.

Clarke's little book still stands today as a primary go-to resource. Although many have the book, few use it as intended. His prescription for a pummeled and unresponsive embouchure is staring at us on every page of his Technical Studies. Whether building technique or restoring after abuse, it still works. So what's the answer?

The remedy is pianissimo. By insisting on a soft dynamic, impurities of sound and deficiencies of technique quickly manifest themselves, making obvious the needed corrections. Fortissimo playing tends to obscure a multitude of problems, but quiet smooth playing quickly reveals weaknesses.

I remember Mel Broiles being asked what single skill defines a great trumpet player. His answer was surprising. Knowing his powerful and distinctive playing style, we expected him to tout a superhuman endurance, the most powerful and penetrating sound, or an amazing ability to transpose accurately on sight, or a dazzling high range, or a high degree of drama, or even the most ravishing trumpet sound on the planet. But no. Mel simply said, "Great players can play soft." He gave us a memorable lesson in only five words!

If you arrived at Music Hall early enough when he soloed with the Pops, you could hear Doc Severinsen warming up softly back stage in his dressing room. It was quiet and unimpressive at first, but everyone knew that the fireworks would erupt in due time. Great playing begins each day with a soft and secure foundation. Doc's patient low decibel warmup was as important a lesson for us as was his spectacular explosive trumpet playing to follow. A soft patient warmup matters.

Aunt Gloria's Hat Boutique!

Old lady clerk: "Why hello! Welcome to Aunt Gloria's Hat Boutique, home of the finest headwear in Cincinnati. What can I show you today?"

You: "Well lady, my teacher said I need more style, more color, and more personality in my trumpet playing. It was strongly suggested that I get accustomed to wearing different hats. So here I am." 

Very well then. Let me show you four hats that should definitely impress your professor. 

How about this one over here? Full disclosure however. This one is not very popular. I've had no sales in recent memory. Young folks especially are not interested in wearing this hat for some reason. One student complained that it "creeped him out", saying it "stifled his artistic creativity."  However, try it on. I'm told it works wonders when it's worn daily. And I think it will go nicely with your ears. It's our lovely PERFECT INTONATION HAT!

Now walk this way, and I'll show you another. This is our coveted BEAUTIFUL SOUND HAT. Its amazing, but if you don't keep it on, quite frankly, your sound will stink badly. All sorts of junk will quickly pollute your tone. Here, try it on. Oh my! Yes indeed, you look gorgeous!

The next hat is a strange one, a bit of a chameleon actually. It will morph instantly from sharp and prickly, to suave and smooth depending on the music you are playing at the moment. It gives you subtle finesse as well as cutting-edge boldness! Your playing will take on shades of vividness you never knew you possessed! Put this on when you feel faint of heart, and watch what happens. This hat is my favorite, the CLEAR ARTICULATION HAT.

Now let me show you our best selling hat! These are flying off the shelves. However I must warn you that there is a disclaimer that is usually ignored. Side effects of overuse include high likelihood of injuries such as: swollen and/or split lips, loss of front teeth, strained esophagus, back problems, bowel blockage, and in some cases, severe infertility. But never mind that. This hat does wonders for your ego! Wear this as you enter the warm up room at your next audition. Fellow competitors will marvel and gawk with envy at your nonstop screeching power! Yes, you guessed it, our HIGH NOTE HAT.

You: "Gee, thanks, Aunt Gloria! I'll take all four." 

Aunt Gloria: "You are quite welcome. Remember, never go hatless!" 

All notes on display!

Imagine that all the notes you played today were on display in the window of your local jewelry store. Your advertisement reads: TOP QUALITY GEMS - REFINED, POLISHED, PURIFIED, READY FOR PURCHASE, AVAILABLE IN ALL SHAPES AND SIZES - BOLD, BRAZEN, BRIGHT, SPARKLING, RADIANT! 

Ideally, a crowd of gawking passersby are standing amazed and eager to purchase large bundles of your valuable notes. "Wow, honey, look at those! They're gorgeous! Each one of them is perfect!"

Your job is to flood the market with an endless supply of solid-gold notes, always keeping in mind that cheap junky notes just won't sell. A daily commitment to refining and polishing is simply what you do. Being able to display a great product is worth the painstaking effort. Few are good at it because few have the clear vision and patience required. Rarely do you hear students carefully preparing each note, one by one.

What constitutes a high-priced note? Each has great quality of sound regardless of size. Each is clear and well-defined, with accurate pitch. Each great note fits properly into its phrase.  Fuzzy edges and unfocused tone are immediate disqualifiers.  If listeners were taking melodic dictation, they must easily be able to notate what you are performing. Your music critics will honestly use adjectives like clean, clear, vivid, solid, secure, stunning!

When your brain is programmed like that, your embouchure will start to cooperate, and your product will improve dramatically!

The Powerful Weapon Against Nerves

"I don't know what happened. I thought I was totally prepared, but as soon as I walked onto the stage, I froze and felt paralyzed. Even after all of those hours of preparation, nothing seemed to be working as intended!" 

Although stage fright can be devastating, it is not a permanent or life-threatening ailment. Be encouraged. You can begin to exchange fear for confidence even under enormously high-stress situations.

So, what's the antidote for those "deer-in-the-headlights" moments? Is it more practicing, deeper breathing, more singing, more listening, more mouthpiece-buzzing, more thinking, or being super-resolute? All of those are important, but very likely your secret weapon has not been adequately utilized. 

Simply put, your enthusiasm for what you are about to perform must be greater than your nervous doubts. By instilling this mindset firmly on a daily basis, you will be building an effective strategy that will withstand the paralyzing trauma of stage fright. 

Bottom line. Strengthen your passion for music. Approach each etude, each excerpt, and each solo with a zeal for its musical message. Resist boredom. Inspired beautiful playing always matters. This applies even to your warm up. Aiming for musicality and expression is what fuels your success on stage and enables you to overcome nervousness. 

Your job is way more than just producing notes. It brings into play the very reason we are invested in music. Without a strong consistent dedication to music-making, we become easy targets for the assaults of the dreaded nerve giant. 

Why not pretend?

Imagine yourself sitting right now in the most prestigious trumpet chair in the country! Nerves are not the issue here. We're looking instead at the benefits of having to produce at a high level with each note you play. With this in mind you will be on the fast track to becoming exceptional, distinctive, and inspiring!  

True, you're not there yet, but why not pretend? Go into your next rehearsal or performance with that mindset. Have the focus and musical drive to excel no matter where you are today. Make others notice. Play like you belong in the best trumpet section on the planet! Compete with the giants of the past.

What a great way to prepare for upcoming auditions! It's not a matter of fear of failure, but of a strong passion for consistently producing way-above-average trumpet playing. Now that kind of preparation will greatly reduce excess nerves and self-doubt. It will also make your practice sessions much more efficient.

Remember, your eyes are not on the enormous canyon below your feet, but on the glorious finish line. Success at the end of the concert is a standing ovation. An ovation not for you but for your wonderful playing. You inspired. You entertained. "You're hired!"  

The Nasty Drill Sergeant

Annoyed conductor: "Trumpets!! You're not with the rest of the orchestra, you're out of tune, and way too loud!

You're thinking: "No way, man! Your conducting is impossible to follow. It's the strings who are sluggish and the trombones have the pitch problems, not us! And furthermore, maestro, we were not loud enough!" 

Only in your dreams can you respond like that. Try it just once and you won't like what happens. Conductors always get the last word, so don't even think about answering back. You do so to your own detriment.

So how do you handle brutal in-your-face criticism, justified or not? Your response reveals a lot about you. First, realize that the fruits of discipline are usually painfully acquired but necessary for personal and corporate success. The job of the nasty drill sergeant is not to be well-liked but to develop character, self-control, obedience and toughness in his recruits. So fall in, or fall out!

Consider the benefits of the end game. Physical and mental strength tend to put jittery nerves to flight. Developing a steely reserve is vital for success under extreme pressures. So learn to anticipate the insults. They will only make you stronger. Respond well and the next testing will be easier. In so doing you'll win the approval of your sergeant. Responding with silence in the face of unjust or just accusations is often a sign of strength not weakness. Resisting instruction is to refuse improvement.

A brass section of touchy, coddled egos will not be a unified fighting force in the orchestra. They'll argue and go to pieces at the first threat to their manhood. On the other hand, teamwork, humility, submission, and strong leadership are the earmarks of a great section.

Resist tough training and you lose. Expect it, deal with it wisely, and you and your colleagues will win.

Earning a Solo Bow

Concerts are all about entertainment and appreciation. When the audience has been entertained the musicians will be duly recognized. That can be a wonderful motivation that can eliminate nervous anxieties.

A great show is marked by an instant rousing ovation, not by a smattering of polite applause. The signal from the maestro for you to stand for a solo bow at the end of the concert is the exclamation point to your successful performance!

That becomes your goal in practice, rehearsals, and especially in concerts. The effective performer has practiced overcoming fear with confidence in his ability to deliver the musical message. Love it when the nerves loose and the playing wins!

Last week in preparation for a performance of Dvorak's Symphony No. 8, two trumpet graduate students played a dry run for the CCM trumpet studio. Everything was pretty much in place. Homework had already been done. Everything was OK, or was it?

"Hey, guys! Do you want the audience to applaud at the end or not? Will the listeners say your playing was so-so, or will you hear bravos and cheers?"

For sure: play in tune, play together, and play everything you see on the page. But that often is not enough. Exaggerate the dynamics, play all of the articulations marked, open up the sound and project it over the orchestra and well into the hall. To illicit an enthusiastic response from the audience and the conductor, lift your bells, add energy, life, and spark. Have fun performing this great symphony. A performance should never seem like business drudgery. Mel Broiles used to say that exciting concerts required jolts of pizazz from the trumpet section!

Later that week at the close of the concert:  there was thunderous applause in Corbett Auditorium from a full house. And, just as anticipated: a solo bow for both trumpet players! Well done guys!

Accuracy Matters

Mel Broiles once claimed at my trumpet lesson that there is only one thing that separates a good student from a pro.  Any Juilliard trumpet player, he said, is just as good as any top orchestral player with one exception. Experienced professionals are dependable, whereas students "trample the daisies", as he put it. 

There are probably many more differences between seasoned and non-seasoned players, but his simple emphasis on consistency was exactly what was needed that day. It was as if he yelled, "go home and practice, but stop missing notes!"

How can we expect a smooth-sailing recording session when our lack of control is a public problem? How can we deserve a rousing ovation at a concert or recital when we played well but missed dozens of notes?

At my sixth grade solo performance of Moss Rose, my younger brother could be seen in the front row constantly counting something on his fingers.  When I asked him what he was counting, he said "all of your mistakes!" 

Quality without accuracy is not quality.