I seek the perfect music program for concerts. Of course, there is no such thing, but the quest for perfection leads to knowledge and knowledge leads to success and success leads us back to perfection, except that the definition of successful programing is subjective and can only be determined through audience response which is an imperfect measurement at best. So the quest is probably hopeless. But it is definitely worth a try.
After attending countless concerts, studying programs, reading reviews, and eliciting response from audience members, I have come to the conclusion that a successful program is either theme related or contains a wide variety of styles and genres. A theme related concert seems to give the audience more ownership in the program and creates a two-way communication that bears fruit in positive audience response. Imaginative programming within the confines of a theme or a subject may seem to limit the choices, but in fact it tends to broaden them. This is similar to a painter who is limited to a particular canvas size, paint colors, type of brush, or even a subject matter. He then paints creatively and imaginatively within the parameters either self or externally imposed.
A good program seeks to garner an emotional response in some way. Since the gamut of human emotions is infinite, there is no limit to the style of music and the reactions to it. In addition, since each person is uniquely made, it is an inexact science at best to predict the emotional response to a particular music being presented. Because of this inability to know how people will react, it becomes advantageous to present a wide range of music styles, sounds, tempos, dynamics, and instrumentation. While it may not be possible to get everyone to react positively, it may not be impossible to get a positive reaction to the overall program from most people. In other words, the idea is to present a wide variety of music to a wide variety of people.
The wise musician picking a program finds music from various time periods, in various musical languages, in different keys, and containing a generous blend of tender sounds and unbridled energy. It has been said that people do not remember music objectively; instead they recall emotional associations to music. With that in mind, the musician wants to be remembered not forgotten and the composer seeks acknowledgment of the music. We, therefore, as musicians, need to avoid the mundane, the predictable, the bromidic, and any kind of continual expression of pablum without meaning. If we want music to make a difference, we must be multifarious in our presentation and eclectic in our musical desires. This discussion, however, leads to a need to address quality and standards. But that discussion is for another time.
Saturday, January 27, 2007
Wednesday, January 17, 2007
Snow and Beauty
I am sitting in my living room this morning and we are snowed in. That's right, actual snow and it is beautiful. Sure it presents challenges for us and in the northern part of the country, I have little doubt that the people are always ready for spring. Yet for those of us who get to see snow so rarely, it is nice to experience its majesty, grandeur, and glory. Snow has the power to transform and lift the spirits by blanketing the earth, by hiding the dead leaves, by smiling with superiority over the ground. Snow captivates the heart which responds in kind. The heart and the mind become mesmerized by the sheer delicacy of millions of tiny flakes each uniquely designed that work together to form a gigantic covering that glosses the earth with beauty.
Snow could have been blue or red or perhaps even green such as Seuss' Oobleck that was created in the famous children's story; but, no, snow is white and pure demonstrating gentleness and naivety found in newborns. Some flakes are large and almost aggressive while others seem to take on a smaller role as they float down to fulfill their purpose. Their lives are relatively short and they are completely dependent upon temperature for their existence. They arrive with the knowledge that their lives are brief but valued, laconic but memorable, fleeting yet unforgotten. Each flake serves the whole and the millions of tiny crystals give us a moment that lasts a lifetime.
One cannot help but be moved by the sight of snow as it falls, and as it slowly but surely envelopes the world in elegance. Snow is alluring and flirtatious as it bats its eyelids and seeks out friends by smiling a sly grin, winking an attractive eye, and begging for more attention. Its very character and sublime appearance is enchanting and magical and we enter the kingdom with awe, excitement, and inspiration. John Muir said, "Nature chose for a tool, not the earthquake or lightning to rend and split asunder, not the stormy torrent or eroding rain, but the tender snow--flowers noiselessly falling through unnumbered centuries."
Snowball fights, snowmen, snow angels, and every other imaginable game occurred all around the region as children (and adults) immersed themselves in the newness that surrounded them. Cold and wet and maybe even misery abounded but was set aside in favor of the opportunity to experience the rarity called snow. If we had snow every day of the year, it would be passe', dull, even normal. But for those of us here where we live, we found adventure in the beauty and joy in the pulchritude. We thank God for the snow and for the "snow moment." It has been a pleasure!
Snow could have been blue or red or perhaps even green such as Seuss' Oobleck that was created in the famous children's story; but, no, snow is white and pure demonstrating gentleness and naivety found in newborns. Some flakes are large and almost aggressive while others seem to take on a smaller role as they float down to fulfill their purpose. Their lives are relatively short and they are completely dependent upon temperature for their existence. They arrive with the knowledge that their lives are brief but valued, laconic but memorable, fleeting yet unforgotten. Each flake serves the whole and the millions of tiny crystals give us a moment that lasts a lifetime.
One cannot help but be moved by the sight of snow as it falls, and as it slowly but surely envelopes the world in elegance. Snow is alluring and flirtatious as it bats its eyelids and seeks out friends by smiling a sly grin, winking an attractive eye, and begging for more attention. Its very character and sublime appearance is enchanting and magical and we enter the kingdom with awe, excitement, and inspiration. John Muir said, "Nature chose for a tool, not the earthquake or lightning to rend and split asunder, not the stormy torrent or eroding rain, but the tender snow--flowers noiselessly falling through unnumbered centuries."
Snowball fights, snowmen, snow angels, and every other imaginable game occurred all around the region as children (and adults) immersed themselves in the newness that surrounded them. Cold and wet and maybe even misery abounded but was set aside in favor of the opportunity to experience the rarity called snow. If we had snow every day of the year, it would be passe', dull, even normal. But for those of us here where we live, we found adventure in the beauty and joy in the pulchritude. We thank God for the snow and for the "snow moment." It has been a pleasure!
Sunday, January 14, 2007
Region Clinician
After completing my 31st Region band as a clinician/director, I have decided to share some of the techniques I use to help make the experience successful. As in most things in my life, I tend to learn the hard way--by making mistakes and trying something new until it works. I have also gained from watching others and gleaning from them the ideas that work (and rejecting the ones that don't!). I continually dedicate myself to providing an enjoyable, educational, and mostly a musical experience for the students and for the audience. I am reminded of the statement by Teddy Roosevelt, "It is only through labor and painful effort, by grim energy and resolute courage, that we move on to better things."
A region band or district band, sometimes called an honor band, is a group of students from several schools who were selected as part of audition process to participate in a series of rehearsals leading to a performance. The quality of the students is generally high and the desire for excellence is often quite obvious. The directors of a particular region or geographical area select a director to come in and clinic or direct the band. Usually the clinician selects the music to be performed based on the general level of the group of students. I have had the honor to direct and clinic top bands from large schools, lower bands from large schools, top bands from small schools, and many junior high bands from all over the state. While directing a top band from large schools is musically rewarding, the true test comes from directing a lower band and working to achieve a high level of performance.
Each band is unique and presents different challenges and qualities that make the experience memorable for everyone. The director can usually expect that some players--and not always the ones at the top of the section--are better than others. But it is valuable to negate those differences by pointing out the worth of every single player and his or her contribution to the good of the whole. This concept in turn, takes away the "hot dog or show-off" who is trying to demonstrate superiority. This idea leads easily to the "let's work together" teamwork idea of making music that ultimately creates good will and positive emotions throughout the rehearsals and performance.
At the same time, the director must assert his authority in the process. Because they are often sight-reading the music and having to learn in a short time, the students are not comfortable watching the director and would prefer to keep their eyes on the music. It becomes necessary for the director to insist on watching him. The warm-up time is an optimum time to present this concept and remind students to continue watching throughout the clinic. Following the director insures steadiness of tempo, sensitivity to dynamics, shaping of the phrase, and balance of melody versus non-melody. We make music together but the leader provides guidance and direction by setting the parameters for the performance.
Part of the director's responsibility is to insure the students enjoy themselves but also learn something in the process. To that end, I work to teach to a high level but also make sure everyone understands the concepts presented. I like a fast-paced rehearsal filled with musical examples, analogies, stories, and lots of playing. I rarely "trim" the music and I always encourage the greatest effort in tone, technique, and style. Mostly, I try to learn from the students in the process and leave them loving all kinds of music and enjoying their experience. They sacrifice time and energy to be in a Region Band. It is always worth it and I benefit and learn every time I get to direct.
Probably the key to the band is the program selected. I think I will deal with that another time.
A region band or district band, sometimes called an honor band, is a group of students from several schools who were selected as part of audition process to participate in a series of rehearsals leading to a performance. The quality of the students is generally high and the desire for excellence is often quite obvious. The directors of a particular region or geographical area select a director to come in and clinic or direct the band. Usually the clinician selects the music to be performed based on the general level of the group of students. I have had the honor to direct and clinic top bands from large schools, lower bands from large schools, top bands from small schools, and many junior high bands from all over the state. While directing a top band from large schools is musically rewarding, the true test comes from directing a lower band and working to achieve a high level of performance.
Each band is unique and presents different challenges and qualities that make the experience memorable for everyone. The director can usually expect that some players--and not always the ones at the top of the section--are better than others. But it is valuable to negate those differences by pointing out the worth of every single player and his or her contribution to the good of the whole. This concept in turn, takes away the "hot dog or show-off" who is trying to demonstrate superiority. This idea leads easily to the "let's work together" teamwork idea of making music that ultimately creates good will and positive emotions throughout the rehearsals and performance.
At the same time, the director must assert his authority in the process. Because they are often sight-reading the music and having to learn in a short time, the students are not comfortable watching the director and would prefer to keep their eyes on the music. It becomes necessary for the director to insist on watching him. The warm-up time is an optimum time to present this concept and remind students to continue watching throughout the clinic. Following the director insures steadiness of tempo, sensitivity to dynamics, shaping of the phrase, and balance of melody versus non-melody. We make music together but the leader provides guidance and direction by setting the parameters for the performance.
Part of the director's responsibility is to insure the students enjoy themselves but also learn something in the process. To that end, I work to teach to a high level but also make sure everyone understands the concepts presented. I like a fast-paced rehearsal filled with musical examples, analogies, stories, and lots of playing. I rarely "trim" the music and I always encourage the greatest effort in tone, technique, and style. Mostly, I try to learn from the students in the process and leave them loving all kinds of music and enjoying their experience. They sacrifice time and energy to be in a Region Band. It is always worth it and I benefit and learn every time I get to direct.
Probably the key to the band is the program selected. I think I will deal with that another time.
Tuesday, January 09, 2007
Stuck Truck in the Muck
It was loaded with hay to be delivered to the goats and the donkey when I had the idea to let my youngest son, Jordan, drive the pickup down to the gate where I was waiting with the goats for their delicious meal. In retrospect, he deserved and needed my presence beside him, but I elected, instead, to let him accomplish this task without me. He pulled out of the driveway and headed down in my red truck with all the confidence of an inexperienced 14 year old without a driver's license. The trek to the gate was going well when suddenly without warning the truck did not cooperate and instead headed in a different direction. Soon I noticed the wheels turning but the truck not moving.
I quickly shut the gate ineffectively and ran toward the truck to help. I had allowed the driver, my son, to drive over a part of the land that was thick with mud. Upon arriving to the truck, I heard a noise behind me and discovered several goats had followed me apparently interested in the philosophical conundrum of a stuck truck and how it would be resolved. Of course, instead of proposing a solution, they instead showed great interest in the hay still sitting in the back.
Using my perceptive powers of logic, I quickly deduced that of the two problems, stuck truck and loose goats, the goats had become the most pressing challenge. So I grabbed a bundle of hay, and carried it to the fenced field which then encouraged their following. I threw it over the fence and most of the goats, eager for dinner, went through the gate happily. Noticing, however, one goat whose desire for freedom outweighed his desire for food, I decided to deal with the initial problem of the truck rather than the one loose goat.
Unfortunately all my efforts, boards under the tires, digging out the mud, slow rocking motions, were in vain, and the truck continued its downward journey into muck-land with a destination imagined best by Dante. Being an uxorious man, I took my wife's suggestion and we contacted our neighborhood truck hauler up the road who came with his tractor (told me the same story he told last time this happened) and pulled us out of mud kingdom. While waiting for the tractor to arrive, we herded the wayward goat back through the gate where the goats could all renew their unified spirit as a family whose purpose is to eat and proliferate.
Jordan and I then concluded our adventure by backing down to the correct spot and delivering the rest of the hay. It was an exciting time for both of us as we finished our original goal and returned to the house. Although he was a bit discouraged at his own driving ability, I reminded him that there are very few, perhaps no men with a truck in the country that have not been stuck a time or two. Being stuck is a rite of passage for a young man. But somewhere in this event is a lesson: it happens, do your best to avoid it, do your best to fix it, and look to friends for help. Also, for me as a father, I learned to be a better guide and teacher. Children need the opportunity to try and maybe fail, but they also deserve to have a loving hand nearby to offer suggestions for avoiding the mud. The mud is there, may I do a better job of "steering" my children around it rather than into it.
I quickly shut the gate ineffectively and ran toward the truck to help. I had allowed the driver, my son, to drive over a part of the land that was thick with mud. Upon arriving to the truck, I heard a noise behind me and discovered several goats had followed me apparently interested in the philosophical conundrum of a stuck truck and how it would be resolved. Of course, instead of proposing a solution, they instead showed great interest in the hay still sitting in the back.
Using my perceptive powers of logic, I quickly deduced that of the two problems, stuck truck and loose goats, the goats had become the most pressing challenge. So I grabbed a bundle of hay, and carried it to the fenced field which then encouraged their following. I threw it over the fence and most of the goats, eager for dinner, went through the gate happily. Noticing, however, one goat whose desire for freedom outweighed his desire for food, I decided to deal with the initial problem of the truck rather than the one loose goat.
Unfortunately all my efforts, boards under the tires, digging out the mud, slow rocking motions, were in vain, and the truck continued its downward journey into muck-land with a destination imagined best by Dante. Being an uxorious man, I took my wife's suggestion and we contacted our neighborhood truck hauler up the road who came with his tractor (told me the same story he told last time this happened) and pulled us out of mud kingdom. While waiting for the tractor to arrive, we herded the wayward goat back through the gate where the goats could all renew their unified spirit as a family whose purpose is to eat and proliferate.
Jordan and I then concluded our adventure by backing down to the correct spot and delivering the rest of the hay. It was an exciting time for both of us as we finished our original goal and returned to the house. Although he was a bit discouraged at his own driving ability, I reminded him that there are very few, perhaps no men with a truck in the country that have not been stuck a time or two. Being stuck is a rite of passage for a young man. But somewhere in this event is a lesson: it happens, do your best to avoid it, do your best to fix it, and look to friends for help. Also, for me as a father, I learned to be a better guide and teacher. Children need the opportunity to try and maybe fail, but they also deserve to have a loving hand nearby to offer suggestions for avoiding the mud. The mud is there, may I do a better job of "steering" my children around it rather than into it.
Sunday, January 07, 2007
Wondrous Watrous, et al
Beginning in the early 1960s and continuing today, jazz trombonist Bill Watrous has stunned the jazz music world with his artistry, technique, consistency, musicianship, and range. Last night in Temple, Texas at the Performing Arts center at Temple College, Bill Watrous and the Temple Jazz Orchestra performed to an energetic and appreciative audience of over 200. The first half of the concert featured the marvelous jazz band comprised of teachers and two students from all over the central Texas area. This outstanding group has existed for 16 years under the careful and inspiring leadership of Thomas Fairlie, Division Director of Fine Arts at Temple College since 1999. The band played with a flawless blend of pitch and rhythmic accuracy combined with expression and musical drama. Each individual approached the music carefully with absolute commitment to excellence.
Often in bands, the collective whole is greater than the sum of its parts; but in this case, the group's performance was a bold, comprehensive gathering of superior talent that found fruition in exciting, precise, and highly sophisticated jazz. The literature was an appropriate balance of old and new featuring various improvised and written out solos from across the band. One piece was composed by trumpet player, Sparky Thomason and one other work was arranged by pianist Benjamin Irom. The band (synonymous term with Jazz Orchestra in this instance) played with finesse, polish, and emotional energy throughout the difficult but endearing program.
The second half brought on stage the world renowned Bill Watrous who proceeded to play, as he has done throughout his illustrious career, with beauty and precision with a tone quality that can best be described as velvet, giving the audience an opportunity to bathe in its warm, gracious, and heart-felt sound. Watrous' ingratiating and professional mannerisms lent themselves to an environment that felt personal and home-like--as though we were all in his living room enjoying the music. In addition to his awe-inspiring trombone playing, he sang, he danced, he smiled, and mostly he demonstrated why he is one of and perhaps the greatest living jazz trombonist in history. Every piece shimmered with excitement and the band seemed to get stronger as the evening progressed. Bill Watrous' command of high and low range and the ease of slide motion resulted in wildly fascinating technical achievements that in retrospect seem almost impossible but which he made sound remarkably easy.
All in all, it was a special evening of music making by one of the premiere jazz ensembles in the state. Brownwood and Bangs were also well represented with the band director from Bangs playing saxophone and a Howard Payne student playing trombone. Since this is an auditioned only group, it speaks well for our community to have such talent in its midst. Everyone in attendance was treated to a musical meal and dessert worthy of the finest chefs in the country. Best wishes as they make their way to New York City for an appearance at the International Association of Jazz Education Conference.
Often in bands, the collective whole is greater than the sum of its parts; but in this case, the group's performance was a bold, comprehensive gathering of superior talent that found fruition in exciting, precise, and highly sophisticated jazz. The literature was an appropriate balance of old and new featuring various improvised and written out solos from across the band. One piece was composed by trumpet player, Sparky Thomason and one other work was arranged by pianist Benjamin Irom. The band (synonymous term with Jazz Orchestra in this instance) played with finesse, polish, and emotional energy throughout the difficult but endearing program.
The second half brought on stage the world renowned Bill Watrous who proceeded to play, as he has done throughout his illustrious career, with beauty and precision with a tone quality that can best be described as velvet, giving the audience an opportunity to bathe in its warm, gracious, and heart-felt sound. Watrous' ingratiating and professional mannerisms lent themselves to an environment that felt personal and home-like--as though we were all in his living room enjoying the music. In addition to his awe-inspiring trombone playing, he sang, he danced, he smiled, and mostly he demonstrated why he is one of and perhaps the greatest living jazz trombonist in history. Every piece shimmered with excitement and the band seemed to get stronger as the evening progressed. Bill Watrous' command of high and low range and the ease of slide motion resulted in wildly fascinating technical achievements that in retrospect seem almost impossible but which he made sound remarkably easy.
All in all, it was a special evening of music making by one of the premiere jazz ensembles in the state. Brownwood and Bangs were also well represented with the band director from Bangs playing saxophone and a Howard Payne student playing trombone. Since this is an auditioned only group, it speaks well for our community to have such talent in its midst. Everyone in attendance was treated to a musical meal and dessert worthy of the finest chefs in the country. Best wishes as they make their way to New York City for an appearance at the International Association of Jazz Education Conference.
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