There is certainly no shortage of great flute music in our world. Flutists across the globe have the opportunity to play music both from the classical canon and by contemporary composers.
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Choosing the right school is more than just the name of the institution on a certificate or degree. There are a number of factors one must consider, including receiving a good return on the investment you just made in your education. Today we’re going to focus on the importance of location of a school and how it can be beneficial in developing a career in music. It’s important to research all of the benefits a school can offer, including programs that offer global learning opportunities. You’ve likely heard the real estate mantra “location, location, location”, which also applies to choosing the right school.
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Hopefully, most of us experience the “desire” to write music. What I mean is, the creative drive. That intangible thing within us that compels us to write down notes and rhythms and chords in an organized fashion according to the way we hear (envision) them. When you were a kid and somebody put a piece of paper and a box of crayons in front of you for the first time, did they give you a manual on how to use them? No, of course not. You grabbed the crayons and just went for it! Well, for those of us who answer the call of composing, that same creative drive can stay with us for the rest of our lives.
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The saxophone remains one of the coolest instruments on the planet for a number of reasons. It’s an instrument with a melodic personality that allows listeners to hear and feel the emotion of its creator’s personality. The versatility of the saxophone allows it to blend effortlessly into nearly any style of music or cut through with an authoritative presence.
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Someone would have told me to have a detailed plan. At least as detailed as you can envision with room to edit for life adventures. Plan your career. What you want to accomplish, make a vision board of people you want to perform with, places and venues you want to perform at, and a plan of how to make it happen.
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Each year music programs across the country are bombarded with thousands of applications from deserving student musicians seeking acceptance into their colleges, universities and conservatories. Everyone knows there is strong competition and that impressive list of accolades you’ve been working on for years may or may not be compelling enough to earn a spot within the music community of your choice. So how are you planning to set yourself apart from the competition, because practicing daily, memorizing your audition piece and networking, while beneficial might not be enough.
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Louis Armstrong once said, “If I don’t practice for a day, I know it. If I don’t practice for two days, the critics know it. And if I don’t practice for three days, the public knows it.” As musicians, we spend much more time practicing than performing, but are we maximizing our efficiency in the practice room?
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YouTube video of Grammy Award-Winning Artist Ted Nash discussing and providing tips for the C flute as part of a doubling series for the SJA
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Music is a life long pursuit, and every musician, from the student, the professional, or the hobbyist, is engaged in a quest to learn. To acquire the skills to become better than you were yesterday. Not every saxophonist will be as great of a player as Coleman Hawkins, Charlie Parker, or John Coltrane, but can be the best version of themselves, with command over their instrument, and a “voice” of their own that has something to say through music. It is the same for the composer as for the instrumentalist.
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As musicians, we all aspire to achieve superior technical command of our instruments. The finest musicians are life long students of their craft, constantly learning, developing and enhancing every aspect of their playing.
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As you look for inspiration to write a musical, you envision lines of people outside of a theater in Times Square waiting to see your production. A dream for many composers and writers, and the grand stage for shows and musicals.
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The largest and lowest pitched member of the bowed instrument string family stands approximately 6 feet tall (4/4), which is taller than a number of its players. Negotiating its strings can be done with a bow (arco) or by plucking the strings (pizzacato) and when done properly, provides the foundation for sound across numerous genres.
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Physical, spiritual and mental practices have become a daily trend for millions of people, but have musicians embraced and incorporated them into their daily practice routines? Instrumental musicians pay very close attention to the functionality of their instruments, as there are many moving parts that work harmoniously to provide its player with a beautiful voice.
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The live music streaming surge has been amplified, as companies in the music industry adapt to stay relevant and involved. But what about musicians? With streaming being a newer concept for so many, we crafted a list of 5 tips to help musicians produce a successful live stream.
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Learning to play a musical instrument can start someone on a path of life long learning and knowledge of self and culture. Research has repeatedly shown that playing music supports healthy social development and the quality of a person's life.
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For most musicians there is a natural progression when it comes to practicing and throughout history, musicians have experimented with traditional, modern and hybrid techniques to create their own unique sound. While the best practice method is solely up to the individual, this post addresses one of the biggest factors with any style…airflow.
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Known for their deep rich tone, tubas are amongst the largest, heaviest, youngest and lowest pitched instruments in the brass family. There are many different types of tubas and topics noteworthy of a post, but for today we thought we would share 5 Essential Tips For Beginning Tuba Players.
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Music educators spend countless hours developing curriculums, implementing lesson plans, assessing, developing, inspiring and enriching the lives of student musicians. Music teachers are ambassadors for continuing music education programs in our nations schools and are responsible for providing the many benefits of music to their students and our children.
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When we want to work on expressiveness in trombone playing in particular, I’d like to offer some nuances that aren’t often considered. Here’s what I share with my students at the University of Rhode Island. I’m primarily a jazz trombonist, so one of my main models for expression are the great jazz vocalists and classic tenor saxophonists. I’ll offer a few things I take from each, which may give some things to consider as you approach practice.
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