Sony PCM

I've run all the music audio captured by the PCM during the two church services onto the Tascam 2488, panned it all, and tried to normalize the volume across the 32 tracks. At Oak Chapel the PCM seemed to accentuate the treble, and when Kyle Gann mentioned in this post he was using one, I took the opportunity to ask him in the comments what he thought about that issue. His response made me think the issue was more in my head than the PCM, and judging by how it did at Macedonia, I think he's right.

Acoustics and audio seem deeply mysterious to me, surely in part because I'm a beginner with both. Paying attention to them and becoming more familiar with them is helping in a left brain sort of way, but appreciation and application seems to require a lot of right brain and/or solid intuitions as well. Getting a good recording and mastering the audio for a CD is a complex art that has tremendous effect on the music the audience/listener hears.

Stewart Weaver is the audio engineer who mastered Mantra Mountain for us, and early in that project I hired him to come by my home studio to give me a clue about how to make and mix a CD. One of the things he said was to listen to a mix on a number of different machines because they'll all color it differently, and that is astonishingly correct and obvious once you realize it.

Something else he said was to put on the mix in one room and go to another to listen to it. Right now that's what I'm doing with the freshly made CD for the players of the recent church performances. I'd thought the alto sax too high in the mix at Oak Chapel when playing the tenor line against the trombone playing the soprano line in the four part hymns, largely because it was up an octave to suit the range, putting it above the trombone. Steve the trombone player said he hadn't noticed that at the time when I asked him about it, and now, listening to it in the other room the mix sounds just fine. 

On the straight acoustics part of things, the sound from Macedonia is much warmer and well blended, mostly, I think, because it's a smaller space and there's a gallery up over the back pews that serves to nicely enhance the blend of timbres.

The thing that's critical about the PCM when using the on board mics is placement. Mentally conceptualizing how the sound is going to work in a space should be only the first step. I need to remember to have the players warm up while I move around, listening closely to how where I am in the space affects the mix and then use that info to place the PCM.

Tibet

Over on On An Overgrown Path Pliable has another excellent post on a Tibetan subject, this time about a young tulku, a recognized reincarnation. I made a comment on the post, and it got me thinking about the tortuous times Tibetans and Tibetan culture are facing, which is something I avoid doing a lot of, as it is such an overwhelmingly depressing situation.

I speak only a few words of Tibetan, and have no idea the meaning of the lyrics of this song, but I'm pretty sure the background video is of a tulku walking on the land and among the people with whom he's meant to have been associated over a number of lifetimes. Within another generation this video may seem like those early photographs of American Indians.

Speaking of which, one bit of info I can add to the great wikiweb is a bit of bolstering of the notion that there's maybe some genetic connection between Tibetans and American Indians. There certainly seems to be a strong cultural connection.

Lama Tashi once told me of a very high lama, while in America, being taken on a tour of American Indian artifacts in a museum somewhere in the upper midwest. When leaving he turned to his interpreter and asked something along the lines of, "Why on earth are they showing me all the Bön stuff?!?!"

The Bön were the aboriginal inhabitants of Tibet who were, mostly but not all, converted to Buddhism. So this high Tibetan lama was confusing American Indian artifacts with the Tibetan Bön culture.

I was reminded of that by this video, which to me, seems suggestive of the American Indian culture, with that long outdoor procession and the incense/smudge smoke. 

update - a friend sends this link to a New York Times piece on Arunachal Pradesh, Lama Tashi's home region and where he's now heading up a new college at the request of Tsona Rinpoche, who is the 13th reincarnation of the high lama associated with the area. 

Macedonia

We played down at Macedonia today and it went well. Working on the audio for the CD. I'm extremely fortunate to have such fine players in the group. 

Having Crawford be the minister and play the tuba, along with the country family atmosphere, made everything very smooth and informal, and somehow more spiritual for me than highly organized ritual. 

The covered dish luncheon in the fellowship hall that followed was awfully good as well. Real Virginia cured ham and something I'd not encountered previously - chocolate chip pecan pie. 

More to come on where we are as the Kenwood Players. This post mostly to keep trying to figure out how best to do photos.

Rural Music

I live on a farm, and this video has been making the rounds of the community. Music for the rest of us ;-)

Medieval Improv

In this post over on On An Overgrown Path, Pliable discusses a CD of music recreating improvisational music from medieval Spain. He quotes the sleeve notes as follows:

>>Joglaresa perform most of the songs here with only one pitched instrument (vielle or oud) and add only voices or percussion. With this instrumentation, we not only get as close as possible to the descriptions of professional slave-girl performers, but also achieve the improvisational spontaneity so crucial to music of this period. Music performed with large ensembles of pitched instruments requires an 'arrangement' that Joglaresa feels contradicts all that we know about the improvisational spirit of medieval and traditional music.<<

This info goes well with the recent posts on improvisation. The timing of it also reminds me to go forward with a post on synchronicity. Seems like the blogosphere is a fertile ground for things "being in the air" at various places at the same time.

update - Jeffrey Agrell has commented on Pliable's post, talking more about improvisation.

Brain Playing Horn

Here's a YouTube video of Dennis Brain that Terry Teachout put up yesterday in his regular Wednesday series. It starts with a nice little demonstration of the natural horn. I enjoyed seeing the curved fingers, as with my long fingers I have to do that. Also interesting even he can't make that low note sound like much more than a "blat".

Classical Improvisation

Currently on his blog, Alex Ross has links to his summer writings. One long piece in the New Yorker is on work being done to bring back the improvised candenzas once common. Here's a paragraph that really caught my attention:

>>For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises; they observed increased activity in two zones of the brain, one connected to decision-making and the other to language. Even if a soloist extemporizes for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvard-based musician who for decades has been the chief guru of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music becomes “gymnastics with the affectation of emotional content”—a phrase that sums up uncomfortably large tracts of modern music-making.<<

The point about the improv affecting the rest of the piece is something like I'm trying to get at with the turbulence & equilibrium idea. A bit later there's this sentence that reminded me of Jeffrey Agrell's "immaculate recitation" formulation:

>>The musicologist Karol Berger has described the cadenza as an inherently theatrical moment where the performer steps out of a written role and speaks in his or her own voice.<<

Popular Horndog Post

Bruce Hembd's post today lists his top ten posts of 2009. I made a long comment on one of them that still reads OK. I'm linking it in this post with the tags "educator" and "Buddhism" so it can be easily accessed. 

Distinguishing Tones

Scroll down this grab bag article to the second headline for a report on brain research done with people who have trouble distinguishing tones. Basically it's all brain wiring, and the basic fact of all the new brain research is that we can rewire things through behavior. Here are a few snips:

. . .  "The better you can tell the difference between two tones, the larger that particular brain pathway was," Loui said. The findings do not mean there is no hope for tone deaf people, however. "I think there's a lot of music training in general that could help enlarge these pathways," Loui said. . . .

. . . In fact, a treatment for tone deafness might also help people with speech disorders such as dyslexia, she said. There has been evidence that people with dyslexia have same auditory processing problems as people with tone deafness, she said. Her lab showed last year that children with musical training performed better on dyslexia tests. . . .

. . . .In theory, in Deutsch's view (talking about perfect pitch), it should be as easy to call a pitch "F" as it is to say that an object is red or blue. "If you assume that there's something missing in our environment in terms of early exposure to the right types of sounds, and that it is bundled in with speech, then the whole thing makes sense," she said.

Turbulence

A few nights ago the weather here was affected by a hurricane far out in the Atlantic. There were eerie calms mixed with cells of turbulence that seemed to come and go like armies in the night. That line supposedly said by Henry II about Thomas à Becket came to mind, "Who will rid me of this turbulent priest?"

There are lots of ways to talk about the details of music making, but fewer about its general nature. The notion of "gesture" can be helpful, but only goes so far. I keep coming back to "equilibrium", but that sounds so clam and flat. Until I can find a single word that includes the meanings of both "equilibrium" and "turbulence", talking about different pieces of music having different mixes of the two might work.

The Oxford Companion to Music has a graphic of Mozart playing with billiard balls, as he is said to have done while thinking about music. When you set a ball in motion you're introducing turbulence into a system than then seeks equilibrium. That language helps me more than the usual tension/release chestnut, which seems so one dimensional.

Oak Chapel

Yesterday we played at Oak Chapel, a country church over in the Montford neighborhood, an area that has mostly escaped the physical changes coming to the county due to our being less than two hours from Washington D.C. (and 30 minutes from Charlottesville). Montford has been a stable little community for generations, tucked there between Montpelier and the Rapidan river (which was often the boundary line between the Confederates and the Federals).

The weather was on our side. Some time back I noted the sudden hot weather a day we played at the Gordon House sort of dragged down both the players and the audience. Last Friday there were weird ructions in the night due to hurricane Bill's passage off in the Atlantic, and Saturday there were tropical downpours from time to time. Sunday morning was bright and clear and there was that feeling of the community coming out safely after a storm.

The Players were Bill C. on Eb Tuba, Steve on trombone, Bill B. on alto sax, Judy on percussion and me on F horn or guitar and singing. For fifteen minutes before the service, while folks were gathering and greeting, we played old time hymns I've arranged, simply taking them down a few steps, putting them in flat keys, and tweaking the parts so that every one has all four parts in a range that suits their instrument. We then mix and match parts, depending on what's workable with the instruments present. We played each hymn twice, tuba on bass, horn on alto, trombone and sax switching soprano and tenor. The blend and the intonation we got when the alto sax was on top was very good and sometimes we got that terrific sound when you can't tell where one timbre stops and another starts.

I sang "What A  Friend We Have in Jesus" at the beginning of the service, and led the 5-7 year old Sunday Schoolers in "Count Your Blessings" midway through the service, alternating vocals with trombone and sax solos. I arranged these two songs by writing out a bass line for the tubas, the melody line, and then adding the simplest possible two inner voices based on the I, IV and V guitar chords. This style arrangement allows the skilled improvisers to take off running and gives the novice improvisors some easy training wheels that really help fill out the sound. When it works, as it did on both these songs at Oak Chapel, there's a wonderful freshness to the sound that an elaborate arrangement can never have, no matter how faultless the recitation. 

A highlight for me was our playing the Doxology ("Praise God, From Whom All Blessings Flow"), while Judy conducted us and the congregation's singing. The blend of our four instruments, one to a voice, with the singing was a wonderful sound.

We closed with a few more hymns in four parts during the social moments after the service when everyone was getting up and speaking and leaving. Afterwards a number of people came up to say how they had enjoyed the music, and from the looks on their faces, they really had been touched. 

There are lots of aspects to music therapy, but helping people in their spiritual practice has to be one of the most rewarding.

Next week it's on to Macedonia, down in "the lower part of the county" in an area even older and more settled than Montford. Crawford, one of our Eb tubas will be alternating preaching and playing tuba with us. Just like Oak Chapel it's a small structure with lots of wood inside and wonderful acoustics.

Guest Post - Warm Up

(Here's a post via e-mail from Valerie Wells. She runs the horn side of things for Jeff Smiley, adapting Balanced Embouchure for horn players. We were in touch back when I posted this on warming up, and I said if she had anything to add I'd be glad to post it. )

Earlier this year, Lyle asked if I'd like to contribute to his blog on the topic of warming up. I'm religious, actually fanatical, about doing my warm up "the right way" and it seems a simple task to write about it, so why have I struggled with this idea for so many months? I believe it's because I realize we are all unique and thus have unique warm up needs. The last thing I want is to promote the idea that I alone know the best one-size-fits-all warm up for all horn players.

I associate with fine horn players who have vastly different warm up strategies. I know one 60+ year old semi professional horn player who pulls his horn out of the case cold & plays Siegfried's Horn Call then proceeds to play anything else with equal ease and facility. Sheesh! I know another who spends 5 minutes on mid range scales, does two or three minutes of selected Balanced Embouchure exercises, then gets right to work on technical drills, practicing her band & orchestra literature, etc. I know a professional horn player who plays through a 12 minute set of tough chops building exercises (BE) two or three times in a row for his warm up. And then there's me . . . my personal warm up is about 25 minutes long, but before I tell you what I do, I think it would be helpful to tell you my horn playing history.

Back when dinosaurs roamed the earth, I dropped out of university music school because I was frustrated with my dysfunctional embouchure. 33 years later, I decided to come back to horn, hired a qualified private instructor and began practicing diligently. After 7 months, I'd regained all my previous playing abilities, and unfortunately, the same disabilities, severely limited range and endurance. Since the conventional approaches to embouchure development had failed me, I decided on my own to risk trying something radically different, The Balanced Embouchure (BE). BE is a unique development system for trumpet players "master minded" by the successful trumpet teacher, Jeff Smiley. Within a few weeks of starting BE, I was playing with noticeably improved range and endurance. My playing took off like a shot. My private instructor was so impressed she bought the BE book for herself.

But . . . almost a year later, in spite of the success I was having from the Balanced Embouchure, I still had a problem. I could play with good flexibility and facility for the first 45 minutes I played each day. When I came back to my horn later in the day, I would always find my lips had stiffened making playing difficult and the tone rough & "scratchy." I was doing my best to follow the practice schedule my private instructor recommended, so I was puzzled.

It was then that I found Wendell Rider's book, "Real World Horn Playing." Wendell claims that the most important thing we play each day is the warm up. He explains that when the warm up is not appropriate for the hornist's needs, the lips will stiffen, especially for older players. That made sense, so I dumped my old warm up and began the Wendell Rider warm up. The improvements began the very first day. As long as I warmed up the Wendell Rider way, I was finally able to play with good tone and flexibility anytime of the day.

It was just over three years ago I started The Balanced Embouchure and still find Jeff Smiley's BE exercises essential for maintaining my range and endurance. It was 2+ years ago I found Wendell Rider's warm up and I've found his warm up essential for maintaining my flexibility, tone & facility throughout the day. The few times I've departed from these excellent teachers' instructions, my playing has suffered. Just yesterday, I decided I didn't want to take the time for Wendell's warm up & did something else for a warm up. And just as before 2+ years ago, I played well for the first 45 minutes, but after a rest period, I came back to my horn and found my lips had stiffened so I couldn't play anything well. So last evening is when I knew exactly what I wanted share warming up on Lyle's blog today!

The Wendell Rider warm up starts in mid range and very gently, slowly expands upward and downward with lots of built in rests and pauses. During the first 10 minutes the ratio between the time the mouthpiece is on the lips and off is about 50/50. The complete Rider warm up efficiently covers just about every element of horn playing including tone development, listening, intonation, scales, transposition, phrasing, tonguing, dynamics, etc. But Rider's warm up is lacking the crucial & universal embouchure building elements found in "The Balanced Embouchure." To cover everything I need in one sitting, I put Jeff Smiley's BE exercises smack in the middle of Wendell Rider's warm up. I've found this routine not only keeps my playing at its best, but provides for my advancement as well.

I'm very pleased with the progress I've made since coming back to horn and know that I wouldn't be enjoying my horn today if it weren't for Jeff Smiley's and Wendell Rider's excellent contributions.

I have since written my adapted version of The Balanced Embouchure (BE) exercises to share with other horn players. I sell the BE book and give away my adapted exercises free of charge to all horn players who are working the BE development system. If any of you believe you could improve your chops with a fresh approach and would like to try BE, shoot me an email.

Valerie Wells
"The Balanced Embouchure" for French Horn
Wells123456@juno.com

Lyle adds - If you're interested in the Rider book, here's a link for it via Bruce Hembd's blog store.

Music Educators

I spend a lot of time thinking about how what I'm up to as a music therapist is different from what music educators do. There's a lot of overlap, but crucial differences. Jeffrey Agrell over on Horn Insights, in today's post offers this formulation for what educators are up to:

>> Musical training is about immaculate recitation.<<

Brain & Hearing

We don't all hear the same thing the same way. Part of it has to be genetic. Part of it is also how our brains are programed by previous experience and social conditioning. Here's a neat example of that over on John Ericson's Horn Notes.

He's reviewing a model of horn no longer made that has a certain reputation among horn players. In this quote he's describing the results of a blind listening test.

>>The results . . .  show that when people did not know it was a Reynolds they loved the tone and when they did know it was a Reynolds they hated it.<<

F Horn

The community band and the Presbyterian ensemble are both on hiatus, so for the past month I've been exploring the F horn using the Balanced Embouchure approach, sticking with written notes mostly from the Bb below middle C to the C an octave up when it comes to repertoire. The Kenwood Players will be performing in two country churches, one this Sunday and another the next, so I've been working on the alto lines of the old time hymns taken down several steps and put in flat keys. Also working up the alto lines in the small pieces from Handel's Water Music  and Music for the Royal Fireworks that have been a part of the learning materials since the beginning.

The F horn is so much more forgiving in its core range than the Bb, at least for me. Even though you can make most of the notes on either horn, they feel slightly different on the lips. The closest thing to it is how you can make the same note on the low E or the A string on a guitar using different frets. The vibrations are the same frequency, but on the E string and F horn they feel fatter, thicker, broader. 

Somehow that extra heft of the vibration makes the note easier to work with on the F horn. It's an exaggeration, but the F horn feels like comfortable tennis shoes and the Bb horn feels like ever so slightly tight dress shoes. Working on these alto lines on the F feels great because good intonation and tone come much more easily, and my endurance is much better. And when my lips do give out, it's a slow loss of control, whereas on high notes on the Bb horn the loss of control can be sudden.

One reason I'm posting on this is because it changed my mind on an issue brought about by the unsettledness of the horn world. There's no agreement among educators on how to start students on the horn. Some say on the F, some say on the Bb, some say on a double and some say on a 3/4 size double. 

Given that concert band music wants the horn high in it's register, I'd thought the Bb horn would be the way to go, but now I'm not so sure. The comfort of playing in mid range on the F horn is allowing me to feel and work with my embouchure in a way not possible on the Bb.

The problem might not be the horn, but the music. 

Music & Hearing

This article discusses research showing musicians are better able than non-musicians to hear and understand speech in a noisy environment.

>>The findings strongly support the potential therapeutic and rehabilitation use of musical training to address auditory processing and communication disorders throughout the life span. . . 

 . . . Such populations could benefit from the reordering of the nervous system that occurs with musical training, according to the study. Because the brain changes with experience, musicians have better-tuned circuitry—the pitch, timing and spectral elements of sound are represented more strongly and with greater precision in their nervous systems. . . 

 . . . The results imply that musical training enhances the ability to hear speech in challenging listening environments by strengthening auditory memory and the representation of important acoustic features.<<

Soundboard

Here's a photo of what I call the soundboard. It's the spinet piano I had as a child with all the action removed. All the strings are tuned to pitches in the B flat scale with the intervals being more just than equally tempered. There are more strings tuned to single pitches than there are on a regular piano and the white cloth threaded through the bass strings is there to help me keep straight which strings are tuned together.

The original idea was to strike the strings with felt mallets to get a nice humming going and to record that sound as a wash to go behind tracks on the Mantra Mountain CD we did for Lama Tashi. 

Currently it's mostly there to help me play in tune on the horn and flute. When you play the note in tune and with good tone, it sings back the note and others in the harmonic series as well, especially when some nice condenser mics are placed close to it and run through the sound system. When the Friday group meets it's a handy way for us to tune together.

Tibetan Buddhist Music

Pliable over at On an Overgrown Path has put up a post on the residency/performance of a group of Tibetan lamas near where he lives in England. As is often the case, he includes some great photos. There's also a link to a CD of Buddhist temple music that looks very interesting.

I met Lama Tashi back in 1992 when he was with a group of Drepung Loseling lamas doing a similar residency in San Antonio and stayed at Wanda Ford's Willow Way, where I had the great good fortune to live during my time in San Antonio. I'd never been around Tibetan lamas before and was deeply affected by their deep voice chanting, their deep and spontaneous laughter, and how well and humanely they dealt with all the very unusual people they attracted. Decided then and there to find out more about whatever it was they were up to.

When Lama Tashi was here with me last week, he did a puja in the altar room and I was reminded of just how different Tibetan notions of music are. He rang a small hand bell when reciting texts, and the rhythms were much more speech like than dance like. Years ago he played a tape of hundreds of lamas at Drepung Loseling chanting evening prayers. Intonation was not something they were the least concerned with, nor starting and stopping together. Sounded like large ocean waves with all their power.

Pliable includes in his post a photo of two Tibetan long horns and it reminded me that the first time I ever tried playing a brass instrument was giving one of those a try in 1993 when I was back here in Virginia and helping Gangkar Tulku and his group when they were on the Sacred Music & Sacred Dance tour that followed the one Lama Tashi had been on. After a performance the lamas were letting anyone interested try to make sounds on one. I had beginners luck, was very taken by the sound and the experience, and the notion of my getting a French horn was born.

Cardiovascular Benefits of Music

Here's a study from the University of Maryland on a physical benefit of listening to music.

>>Music, selected by study participants because it made them feel good and brought them a sense of joy, caused tissue in the inner lining of blood vessels to dilate (or expand) in order to increase blood flow. This healthy response matches what the same researchers found in a 2005 study of laughter. On the other hand, when study volunteers listened to music they perceived as stressful, their blood vessels narrowed, producing a potentially unhealthy response that reduces blood flow. . .

. . . . “We don’t understand why somebody may be drawn to certain classical music, for example. There are no words in that, and yet the rhythm, the melody and harmony, may all play a role in the emotional and cardiovascular response.”

That physiological impact may also affect the activity of brain chemicals called endorphins. “The emotional component may be an endorphin-mediated effect,” says Dr. Miller. “The active listening to music evokes such raw positive emotions likely in part due to the release of endorphins, part of that mind-heart connection that we yearn to learn so much more about.<<

Horndog Links

Bruce Hembd over at Horndog Blog recently did a series of three posts on horn mouthpieces. Here's the first and it will lead you to the rest. What amazes me is that nobody seems to have collected the various bits of information all in one place on the net before this. 

Handel brought the hunting horn indoors nearly 300 years ago, but there seems at this late date still no consensus as to what the best model is (various single, double and triple versions are available), or how to go about playing or teaching it. That unsettled nature of things also applies to the numerous types of mouthpieces available. With Bruce having done the work of putting all the information in one place, there's now a chance of making an informed decision.

In another recent post Bruce links to a video on the physics of the horn sound. Being on dial-up and having had bad luck with Real Player sometime back, haven't looked at the video, but a passing comment Bruce makes in this post had dramatic effect on my horn playing. Here's the passage:

>>Some students I encounter, in a vague attempt to have a clearer sound, make the mistake of not putting the hand in far enough into the bell.

Mr. Holmes gives a very logical explanation as to why the hand in the bell is required in order to make high notes easier and low notes louder. The hand, he explains, functions as an anti-node which compensates for the natural physics of the instrument.<<

This was a revelation to me because it made me realize I've been unconsciously thinking the horn was like the guitar or banjo, and that pressing even the back of my fingers against it would mute the sound. Since reading this I've put my right hand a bit further into the bell, but more importantly, doing so more firmly, not worrying about dampening the vibrations of the bell. My tone seems better and playing seems easier.

The larger lesson here is that unexamined assumptions create needless obstacles.

Closed eye listening (again)

Jeffrey Agrell over at Horn Insights saw my post on closed eye listening and used it as a jumping off point for a very interesting post of his own, (which drew some good comments from folks, including John Ericson of Horn Notes). 

He begins by talking about the benefits of playing from memory, and I agree with everything said. Given my interest in the gestural nature of music and music making, I would add that when I close my eyes when making music there's a deeper immersion in the shapes and textures of the sounds than when I'm reading a score and my overly visual mind constrains my listening into two dimensions. 

Also, closing my eyes helps me slip into a memory state that allows for going through verse after verse of Dylan songs like The Gates of Eden and Desolation Row. Always made sense to me that Homer was blind.

(Jeffrey's suggestion of using an iPod to listen to the works you're going to be performing during that weird time just before a performance seems to be one to try.)

Something else the article on closed eye listening reminded me of is the power of "guided imagery", a kind of music therapy pioneered by Helen Bonney. It involves having people listening to recorded music in ways to help them more fully experience feeling states. I've never studied it beyond reading about it back in the 80's, but have on a couple of occasions been at retreats where it was used. 

Everyone would get relaxed, close their eyes, and then music would be put on (once it was Scheherazade). Then a leader would do an open ended narration, "You're on a path . . . , you meet someone . . . ." These sessions never worked for me, but there were always some for whom it did and it wasn't unusual for several people to be in tears by the end. Part of it was that folks at a retreat are primed for that sort of thing, but this closing of the eyes heightening emotions was probably a contributor as well.

Music & Ego

This spring and summer the subject of ego and music has come up in various ways on some of the blogs I follow, so I asked Lama Tashi about it. I began the conversation describing the feeling most music makers have from time to time that their ego fades and the music just sort of flows through them, and asking if that didn't happen to him from time to time back when he was Chant Master at Drepung Loseling, and how would he describe what was happening.

He knew exactly what I was talking about and said it was very similar to the type of absorption one tries to achieve in meditation. One is aiming to be like an "innocent baby" totally absorbed in looking at a picture or an object, with no "secondary thoughts" and "no concept of self".

He also said that while this kind of "focus" is what you're working towards, there's also "introspection", which is observing the meditation with a "neutral ego" to make sure things are going as they should.

Kyle's Audience

This Kyle Gann post on how different people interact differently with different musics is terrific. It's the same general point I've made off and on for years - that through nature and nurture we're all wired differently for our responses to music. The thing about this post is that he begins with that idea and goes much deeper. 

Parenthetically, I always have a negative reaction to someone, a critic or otherwise, stating categorically that a piece of music or a particular performance is good or bad. Another bit of my mental furniture from the Sixties is "Different strokes for different folks". The presumptuousness of categorical appraisals tells me more about the appraiser than the appraised.

Motivation

Talking with Lama Tashi about the issue of motivation in music making, he agreed with the statement, "One's motivation will affect the nature of the music one makes." 

He went on to tell of two famous lamas. One was known as one of the very best dharma scholars of his generation. Another was known for his great compassion, and his teachings always had more lamas in attendance than the great scholar had at his. So the great scholar went to a teaching given by the lama known for his compassion to see why he was so popular, even though it's very unusual for a high scholar to attend a lesser scholar's teachings. When asked what he thought of the popular lama's teaching, the scholar said he had learned nothing new, but that the teaching had given him a deeper understanding of the dharma.

Lama Tashi concluded by saying if you are making music to reach people and help them, your motivation will determine whether or not you make the connection and have a positive effect.

I asked him if, as my experience has indicated, every single teaching given by a Tibetan Buddhist lama begins with talking about setting the motivation. He agreed that is the case, and that karma (action) is simply karma. Motivation is what makes it good, neutral or negative.

Himalayan Retreat

My friend Lama Tashi is here in Virginia on a brief visit to the USA from his home region of Arunachal Pradesh, India - on the morning side of the Himalaya. The photo above is one he brought along of his just completed Siddhartha Center. I'm hoping to run by him some of the Buddhist themes that have been cropping up lately in some of the "Regular Reads" list of blogs to see what he might say. Put the photo up just so it would be somewhere I could send people who might want to see it.

Closed eye listening

This brief article on recent brain research says when we close our eyes while listening it can enhance the experience. Three snips:

>> past studies revealed that closing one's eyes could alter one's brain waves. . . 

. . . the researchers found that closing one's eyes enhanced the responses the volunteers felt toward the more emotionally charged scary music. Brain scans revealed that activity ramped up in the amygdala, a primary center for emotion in the brain. In turn, the amygdala fired up brain regions linked with vigilance to the environment and regulation of emotion. . . 

Although the amygdala is known to be more sensitive to negative emotions than positive ones, Hender expected very similar results with positive music as well. <<

Chaotic Brain

Here's a fascinating glimpse of what all the new brain research is turning up. There's no mention of music, but there's an explanation of the old "fine line between genius and madness" chestnut. Seems brain function uses chaotic mechanisms in its normal workings. Just the right amount and you're a genius - somewhat less and your IQ is lower - somewhat more and it's a disability.

There's also mention of the brain using various frequencies of synaptic firings to do various things at the same time, sort of like how there are lots of radio frequencies simultaneously, but that each station can be heard clearly. 

More Jung/Gesture

In response to the groundswell of interest from our Vermont readership in the Jung post here's another. Two other things that Jung talked about that are part of my mental toolbox are archetypes and the collective unconscious. The basic notion seems to be that though we are all fully individual, there's a universal mental space we all share as members of the human race.

The Oxford dictionary on my iBook says an archetype is," a primitive mental image inherited from the earliest human ancestors, and supposed to be present in the collective unconscious."

The same source gives the first meaning of "gesture" to be, "a movement of part of the body, esp. a hand or the head, to express an idea or meaning". The second definition given is, "an action performed to convey one's feelings or intentions".

I think that gestures have meaning because they are archetypal and we all immediately grasp their emotional content. I think one of the ways music can exert such influence over our emotions is that it can simulate physical gestures in sound. And if you're at a live performance, you can see the gestures that create their sonic avatars. 

Maestro often talked about conveying more emotion, and more variety of feeling, by emphasizing the importance of "style". You can think of style as, at least in part, a gestural archetype.

This is all very much right brain stuff, so a way of engaging your right brain when learning a piece is to spend a bit of time thinking about the gestural/feeling component of the music, and how you want to convey that to your audience. As maestro often said, don't just play the notes.

Dixieland

Last Friday evening A Touch of Dixie played an unamplified outdoor set over at the Orange County Fair, just over Chicken Mountain on the grounds of James Madison's Montpelier. If you've ever been there, the fair was in the open space back behind the old Montpelier Store, across Rt 20 from the Montpelier Station Post Office.

Just like every other time we've played, I'm always struck by how live Dixieland jazz can just make folks feel happy. We had some children come up and dance with the music, and afterwards a number of people came up with sparkling eyes and broad smiles to say how much they'd enjoyed it. Sometimes I think I might have had more effect as a music therapist by simply playing banjo in Dixieland bands all this time.

Authenticity

I went to Google and found that Phil Ford post on Dylan and authenticity mentioned below. Back when it first went up I was struggling with how to go about making a CD of traditional Tibetan Buddhist prayer songs and mantras, using mostly Western musicians and instruments, i.e. myself, Susan(flute) and Andy(cello & bass). One approach would have been for us to try to be as much like traditional Tibetans as possible to try to create an "authentic" recording. But since the music was already Westernized by my fitting it to Western scales in transcribing it, and then adding Western harmonies, that seemed a non-starter.

Here are some snips from Phil's post:

>>But performance isn't always, or even often, a matter of sincerity. . . In my classes I often like to point out that the artistry of singers like Bob Dylan is largely directed at fashioning a rhetoric of authenticity. . .  It's a remarkable acheivement: between 1963 (Freewheelin' Bob Dylan) and 1967 (John Wesley Harding) he invented half a dozen ways of being authentic.<<

So out of all that I figured we could be authentic without trying to mimic what we knew of Tibetan performance practice. We could be Westerners making an authentic attempt to present Tibetan music to the West.

Just thinking about all this here in the last day or so, realized that's really what I'm about as a music therapist - helping people make music that's authentic to them, that's an authentic expression of who they are. Music educators are trying to get people to make music that's authentically a part of the canon. There's a big overlap, but there's a difference as well. 

Just as in Tibetan Buddhism, motivation is everything. Understanding why you're doing something is vital to understanding what you're doing and how best to go about it.

Jonathan West

Jonathan West mentioned just below left a very informative comment on the previous post and I'm cutting and pasting it here to make it more easily accessible. I don't quite get what he's saying about the third on the Bb horn and want to be able to reread it, and being on dial-up, and the fewer clicks the better.

>>Hi Lyle,

I wouldn't assume that all horn players know much about mouthpieces beyond what they have tried and found works for them. A surprising number will assume that what they have found works for themselves will also work for everybody else. Of course, over on the Yahoo and Memphis horn mailing lists, you get lots of people who seem to spend a lot of time comparing mouthpieces, custom leadpipes, different makes and models of horn. And just like football fans, they can get quite vociferous about their favourites! Of course, it is far easier to talk about hardware than about musicality...

But what they seem to forget is that in the final analysis, which horn you blow into matters far less then how you blow into it.

I've used the same mouthpiece since I was about 14 years old - a bored-out Alexander 5. It's a fairly small diameter, medium rim, medium cup mouthpiece. It seems to work for me. I have no reason to want to change it and therefore no need to know what all the modern mouthpiece options are. So I avoid those conversations, because I have nothing to add to them.

As for when to use the F side and when to use the Bb side, well, that has been known to spark some, ahem, vigorous debate! Maybe I should do another post on that sometime soon.

But briefly, the 5th harmonic - E on the F side, A on the Bb side, is somewhat flat relative to equal temperament. If you are playing a classical piece, the E (or Eb, D or C# played using the same harmonic but with additional valves down) is going to be in the appropriate key, and so the flatness will not be much noticed because it is a correct natural harmonic of the piece's key. The A on the Bb side is rarely in the same place relative to the key of the piece, and as it can be played 1-2 on both F and Bb sides, and with that fingering is not flat, that tends to be the preferred fingering on the Bb side.<<

UPDATE: Jonathan has put up a great post on using the two sides of the horn.

Horn Guild

I've often thought that there's a strain of the Renaissance guild mentality still present in modern musicians. There's the sharing and nurturing of special talents and skills. And sometimes there's a hint of being superior to non-members (the audience). The first part of this seems especially true for horn players. The horn is by far the most complicated instrument I've ever tried. (But never tried a double reed once an oboist friend at conservatory explained about the necessity of making your own reeds and the tools, labor and time involved).

For one thing, the usual double horn is really two different instruments sharing a mouthpiece. I've lately become convinced part of my difficulties stem from a lack of appreciation of the differences between the two, that I've never seen much talked about in the info I've found. You can get the same note on either side of the horn, but the lips feel a little different. Because of being the only horn in the community band and having to play high parts, I've never really developed a full feel for the F (the lower pitched horn). Currently I'm spending a lot more time with it, and feeling I'm broadening and strengthening my foundation as a player.

(As an aside - I'm also starting to think there's some subtle difference between the two horns besides simple length. You use the naturally occurring third of the F horn, but on the Bb side it's a second or third option. John Ericson (Horn Notes) just put up a post about curiosity, and I've been curious about this for a while, but can't find an answer to the question).

But back to the guild notion. Something else about the horn is the amazing choices of mouthpieces you can use, but as far as I can tell, there's no place you can go to find why the designs are different, other than the occasional mention of the different sound they might have. Have not once seen anything about how different shaped lips might interact with different designs. 

Back when I had the lip callus,  I switched away from the Farkas VDC to the one that came with the Yamaha horn that's more rounded and thicker where it's against the lips. Here lately went through all the mouthpieces again and realized the Farkas medium cup is the one for me to go with for now. Much better tone and thinner where it meets the lips than the Yamaha, but not as thin as the VDC. Long term I hope to get to where cousin Steve is on his trombone. He once said different mouthpieces were like different pairs of shoes and he switched around a lot.

My guess in that this is the sort of information that high level horn players know, but as with guilds, not made easily available to the public (most of whom wouldn't be interested anyway). It all reminds me of the passing comment Christopher Hogwood made in his book on the Handel Water Music & Music for the Royal Fireworks. Somewhere he says that there are no articulations or info on trills and such in the scores because Handel left such details to the horn players guild.

Right Brain & Audience

Jonathan West over at Horn Insights has been good enough to make a post that uses a comment of mine as a point of departure.

Keeping this blog is fun and helpful, but getting responses from other bloggers is even more helpful. I'd never gotten around to expressly thinking about the client's/audience's right brain before this exchange. Way back when, a post by Phil Ford (Dial M) on "authenticity" helped me figure out a way forward in making the Mantra Mountain CD. And Pliable (Overgrown Path) helped me see that CD in a new way. And on and on. Following these high level blogs has always seemed a cross between auditing graduate level courses and drifting through the faculty lounge. I can't imagine trying to develop the learning materials without this kind of milieu to trigger and test ideas.

Here's my comment on Joanthan's post:

"Very happy to have been a spark for this post! Very helpful and lots to think about. One detail I'd pull out for now is:

>>Even somebody wholly uneducated in music will sense that there is "something missing" in such a performance even though they can't express what that something is.<< 

Can't agree with you more on this. Whatever it is that connects an audience member with a performance is not just technique, and it's very difficult to talk about. As a therapist my aim is always to get some sort of musical "traction" with a client, and better technique is rarely the answer. It's usually being somehow more gestural or having a more felt rhythm that suits the client's (audience's) mood. Or as you put it, "phrasing and musicality". The audience's right brain is just as important as the performer's.

 Thanks also for the link."

Jeffrey Agrell

Jeffrey Agrell is the blogger talked about in the previous post. He clicked over to here from my comment on his post, and left a comment a number of posts down. I'm pasting it in here so it's easier to get to. My interests seem less tangential to his than to most of the other blogs I follow. He has what looks to be an interesting book on improv for classically trained folks, and a CD of improvs with a piano player. Plus he plays the banjo, so there you go.

Here's that comment he made on my "More Sandow" post:

>>I didn't know about your blog until your comment on mine today, and I'm enjoying reading your back posts very much. I think we may have a lot of common interests, including horn, Zen, banjo, and possibly improvisation. I played guitar for many years (folk, classical, and finally jazz), but haven't done much since I got tendinitis in the late 80's. I also played some 5 string banjo, mandolin, and e-bass. One thing that might interested you that is related to this post is my book, Improvisation Games for Classical Musicians. I agree with Greg Sandow that what classical music needs is a lot more people who are acquainted with music beyond listening to their iPods. But if you are traditionally trained and don't have a band or orchestra after school, what do you do? My book is a compilation of 5 years of my course in the subject at the University of Iowa, and gives any classical player the ways and means to begin improvisation without having to be a jazz player. The book is especially useful for music therapists, who have to relate musically to many clients (it makes a good complement to Tony Wigram's book on improv for therapists). It's published by GIA Music (www.giamusic.com).

Anyway, I'm looking forward to reading more of your posts.<<

More on practice

Another new to me horn blog is Horn Insights by Jeffrey Agrell and his latest post has to do with how our ego issues can affect our playing and practice. Making music is a great laboratory for watching how we as individuals approach living our lives. It's also a great place to make improvements in how we do things in the hope of taking those improvements into other areas of endeavor.

Practice Technique

One of the blogs over on the "Regular Reads" list is Bruce Hembd's Horndog Blog. He has helpful things to say about playing the horn, and he's very generous about introducing other horn blogs he's found. The most recent of these is Jonathan West's Horn Thoughts, and his most recent post is a nice explanation of practice technique.

I agree with everything he's saying, and especially like the phrase, "Practice doesn't make perfect, practice makes permanent."  

In the context of the previous post, he's taking a very left brain approach to the issue, i.e. taking apart any passage that has a mistake, find the error, then play it as slowly as needed to get it right and then slowly bring it up to tempo. 

Something I would add to this, though, is to be very careful when choosing the first note of the problem passage. I've often found that a mistake in one measure has its inception in the previous measure. Sometimes we can play a passage well enough, but there's something about our technique that's not solid, which is setting us up for a mistake in what follows. 

So you need the left brain to find mistakes and clean them up in a logical and analytical fashion, but the right brain can be helpful as well, helping you see the whole, and better understanding where the mistake is coming from. For example, sometimes what initially appears to be a fingering issue might really be a rhythm issue.

Right Brain/Left Brain

As a follow on to the previous post, the left brain/right brain way of talking about how we interact with the world around us is something else I picked up going to college in the 60s and being a psychiatric attendant and group therapist in the 70s. There's a lot of overlap with the Jungian notion of four categories, but it is a simpler, and often handier, notion using just two categories.

The basic idea is that the left brain works very analytically and logically and you are very conscious of each step you take along the way. Its the way you think through how something works by looking at each part of the whole and then seeing how they all work together.

The right brain is meant to work in a more more holistic, or all at once sort of way. Sometime we just "get" how something works without having to examine every detail. The right brain way of knowing is down below conscious thought and we're not fully aware of how it is we know or do something.

Just as with the Jungian categories, each of us has our own particular mix of left and right brain processing, and that mix will change depending on what it is we're trying to do or think about. When someone seems to be "a natural" at a way of thinking or of doing something, there's more right brain activity than left.

The single thing that most excites me about Jeff Smiley's Balanced Embouchure method for trumpet and horn, and that I want to emulate, is his way laying out instructional materials so that there's plenty for both the right and left brain to work with, each at its own pace. That far increases the chances that any particular music maker will find what they need to make real progress. Along with everything else, this approach helps people understand that just as many solutions to problems can come from within themselves as from an instructor.

As a music therapist I want people to as fully involve themselves in the learning behavior as possible. How you go about learning to make music can be just as therapeutic as making the music.

Jungian Categories & The Horn

Child of the Sixties that I am, Carl Jung's ideas effervesced through my college education and the following decade or so. They were "in the air" and some of them became part of the mental tool kit I've been using ever since. Besides the "introvert/extrovert" spectrum of human personality, he talked about thinking, feeling, intuition and sensation as being four useful categories to use in talking about how we as individuals connect with the world around us.

Currently over on Horn Notes, John Ericson is doing a terrific series of posts looking various horn methods. Here's today's. Reading and thinking about them has helped me clarify this notion I've had that people learning various instruments can bring to them various mixes of thinking, feeling, intuition and sensation. For most instruments, I think you can have pretty much any mix and it can work. For the horn, though, seems there's the need for more than a simple minimal amount of both intuition and sensation.

The intuition is needed to know where the note is before you play it. Of all the instruments I've tried, none requires so much of being "in the flow" to just simply hit the right notes. One reason all the horn methods don't say the same thing is that it's very difficult to put into words exactly what it is you do to play it well. My sense is that that nonverbal aspect is a tip off to intuition being involved.

The sensation required for horn playing is the exquisite proprioception needed. Getting all the physical apparatus in the right place, particularly the infinitely adjustable embouchure, to make the right note with the tone you want goes far beyond the proprioception needed to play any other instrument I've tried.

Picnic in the Park: July Fourth

Every performance of the Kenwood Players has been a learning experience. Since I'm being much more a facilitator than a leader of the group, the direction the music takes grows out of the group's musical interactions. With any particular group of players and instruments there is a potential sound that can develop organically over time, and since schedules mean different groupings of the basic set of Kenwood Players for individual performances, that development doesn't go in a straight line.

This time we didn't have percussion, so I stuck exclusively with the banjo and had worked with the tubas to be more rhythmic and precise in their playing. So the tubas were more present in the mix and it makes for a nice effect. Also noticed the tuba solos caught the attention of the audience more than usual.

Bill B. has joined the group to take Gabby's place when she heads off to college next month. He plays tenor, alto and soprano sax. For this performance he played just the soprano at my request, mainly because we were outdoors and needed all the volume we could get. He and Dick (on trumpet) alternated solos with my vocals, and having the extra treble voice was a great addition to the sound. Bill has a natural feel for "tailgating", or filling in between the end of a vocal phrase and the start of the next, which made my singing a lot more fun.

The most pleasing aspect of this performance was our connection with the audience. On every number there were people moving with the music and/or singing along. After various solos there was applause that indicated some of the audience was following the music closely and liking it. Also saw various members of the Community Band listening with big happy grins, indicating they could tell how much fun we were having.

One of the aspects of music therapy that's nearly magical is that as long as everyone has musical tasks that are within their skill level, various skill levels can blend into great music. One thing that struck me forcibly going from the banjo with the Players, to the horn with the Community Band, and then back to the banjo for the Players' second set was what a world of difference playing within my skill level makes. Being the only horn I had a part in America the Beautiful that is beyond my current ability. Anxiety over that colored my entire time on the stage. Never again. From now on will do up those high parts in Finale for other instruments of the director's choice. Going the normal music educator's route simply sets me up to fail.

The schedule for the Players' performance kept shifting right up to the end, due to fitting in with the skydivers, the chorus and band, the fireworks, and the canine unit being unable to perform. We had way more material prepared than needed and were able to jump around the songbook to make up the sets as we went along. That flexibility was really helpful.

Music and Heart Rhythms

Here's a story on some research getting at little more detail on the connection between music and cardiovascular rhythms.

>>researchers found that healthy adults' heart rate, blood pressure and blood flow changed in response to musical crescendos and decrescendos<<

>>The phrases, from two pieces by Verdi, were about 10 seconds long, Bernardi's team notes, which is similar to the standard oscillations in blood pressure. In contrast, a more "intellectual" solo singing piece by Bach had relatively little effect on cardiovascular rhythms.<<

>>the cardiovascular responses were seen even in the absence of emotional responses to the music and altered breathing was not necessary to see cardiovascular effects.<<

Percussion

Here's part of a note I wrote to Judy, who can't make the Fourth performances, so hasn't been coming to rehearsals, explaining how the lack of percussion really makes a big difference:

>>It adds great energy to the music. One friend of mine I've known for 40 years and who is very musical, kept drumming and dancing his fingers in time to the Butterfly Music the entire time the CD played. Another old friend from Shenandoah talked about how "happy" that CD is. And when she first put on the Doris Music CDs, she says she got up and danced to them.

Having you take care of the rhythm allows everyone else to ease into the flow and be more musical in other ways. It makes the rhythm more solid, but it also allows it to be more complex as we all react to it in different ways. I want to say it's like framing a painting, but it's way more than that. More like the armature in clay.

Not having you here was a revelation that the tubas and baritone weren't getting their instruments to speak with good tone right at the instant of the downbeat, because with you there's no need as you've been filling that instant with various percussive sounds. They're picking up the slack nicely, and it's good practice for them, but with you, it's all much easier.<<

Grace & Gesture

Here's Terry Teachout's latest Almanac entry:

>>"When a person expends the least amount of motion on one action, that is grace."

Anton Chekhov, letter to Maxim Gorky (Jan. 3, 1899)<<

I keep having the notion that gesture is a primal aspect of music making that's not often talked about. It seems to be the best way of talking about how emotional content is communicated from music maker to audience. This quote helps me think about how some music makers communicate better than others. No matter what emotion the gesture is meant to convey, the less extraneous motion, the better it will probably be conveyed to most audience members.

It also ties into the notion of authenticity.

Emotions & Musicians

Here's a post over on  Expressing the inexpressible...? that both the horn blogs I follow mentioned. In the post and comments, high end performers talk about how many bitter people they encounter in their world and cover the subject pretty thoroughly. There seems to be agreement that during the actual music making everything is copacetic, but that things can get fractious during all the down time.

My first thought was that some musicians have personalities that need a carapace of some kind to deal with the vulnerability expressing all those emotions on cue requires. That lead to remembering that quote Terry Teachout put up of Noël Coward's about actors not actually feeling all emotions every performance, or they wouldn't be "acting". 

There's probably a full range from fully feeling all the emotions of the music while making it, to mere, but effective simulation. There's that great quote (Sam Goldwyn?), "If you can fake sincerity, you've got it made".

Lots to think about. Just wanted to save the link and jot down a few first impressions. This all ties into the Phil Ford posts on ego and being in the flow, as well as maestro trying to get us to play with audience stirring enthusiasm.

Players for the 4th

Here are the players for our 4th of July performances at the Picnic in the Park. Front row, that's Gabby on the left with her baritone and Bill C. on the right with "Boris" the tuba, with me and the banjo in the middle. Second row is Bill B. with soprano sax and Maggie with clarinet. Third row standing, on the left in his straw boater with his tuba is Crawford and Dick with his trumpet on the right.