>> Posted by: Mr. H on Wednesday, August 13, 2008 - 02:58 PM
Tone Development Through Interpretation By Bernard Goldberg
How does one go about developing this variety of expression, this armory of instrumental and physical capability? Why, form music itself! We all practice scales and arpeggios, scales in thirds, sixths, broken chords, and trills, etc., for technical ability, capped off by mountains of beautiful etudes by so many flutist-composers.
Captivate Young People With Music! by Dr. James Gholson
Given the explosion of new learning and information venues, I get excited talking about new ways to captivate youngsters with music, literature, painting and dance. I sincerely believe that students of all ages should heartily engage the arts, both as learners and patrons.
NEW RELEASE OF AUTHENTIC EDITION OF VLADIMIR BLAZHEVICH 26 SEQUENCES FOR TROMBONE by Michael Mulcahy
From time to time in my role as Professor of Trombone at Northwestern University, I admit exceptionally gifted young musicians who possess both outstanding musicianship and keen intellectual acumen into our doctoral program. Such was the case when I encountered Russian Bass Trombonist, Andrey Kharlamov. Actually, it was a re-encounter, as I first came across him as a very young and precocious man, during a masterclass at the Tchaikovsky Conservatory during the Chicago Symphony's historic tour of Russia in 1990.
Practice by Susan Younghans
The majority of our students have many outside activities. The time they have available for practice, is very limited and often scattered. Students need to know how to use their time efficiently, successfully and productively. We need to teach them how to practice by modeling and teaching valuable practice skills which are necessary at all levels, much like study skills for academic success.
THE ART OF CHOOSING A SAXOPHONE MOUTHPIECE by Eugene Rousseau
There has been a debate over the years regarding the question of materials used for manufacturing both instruments and mouthpieces. A great number of saxophonists believe that metal mouthpieces are exclusively for playing jazz, and that hard rubber mouthpieces are for playing classical performances. Actually, there are excellent mouthpieces for all genres in both materials. The great Marcel Mule for many years used a metal mouthpiece for his classical performances. It stands to reason, then, that mouthpiece design is the most influential aspect of quality, not the material.
Knowing the Score and Beyond by Dr. David Littrell
It is a given that a conductor should be able to elicit a musical response from an ensemble through precise verbal directions and the proper use of the baton. A conductor’s knowledge goes far beyond that, though, and comprises the areas of music history, biographical information about composers, stylistic awareness and the technical means of achieving it, and a formal analysis of each work.