Rehearsal Etiquette

Our generation is known for its extensive technological advancements. What does this mean for music rehearsals? Lots of distractions. Meet the blackberry, iphone, or other device that gives us instant internet access and texting capabilities wherever we go. Fantastic devices that let us check emails and stay in touch. Unfortunately, these devices don't seem to have an off switch. I see a lot of people in bands and orchestras, especially at the university level, who text their friends or check internet sites like facebook or email in the middle of rehearsals. Some people just play games.

I understand that sometimes our part will tacet for a movement or two as horns, especially in orchestra, and in that situation I think it is understandable. As long as you're ready to play when it's time, there's no reason not to read a book for 20 minutes while they rehearse a piece you don't play on. There are a lot of students, however, that take out the phone as soon as the conductor starts rehearsing the clarinets or a 10 measure rest comes up. It isn't appropriate. What he is telling the strings about phrasing will apply to our part when we have that melodic material. Even in rests, it is our responsibility to be in the moment, actively pursuing the music and giving the conductor our full attention.

Take a Deep Breath

I had the pleasure of playing for another masterclass this week. Today the horn studio had Lin Foulk in from Western Michigan University, and her work with me on Les Adieux (Franz Strauss) was very insightful. I think one of the most challenging aspects of a lyrical piece like this is maintaining breath support. Of course, Lin noticed my bare-minimum, inadequate breathing from the start. Though I've always known I needed to spend more time focusing on breathing because it really is the root of most of my problems, I've never consistently taken the time. The breathing exercise she offered today was very helpful, and I think I would find great benefits in doing it every day. Her comments also fit remarkably well with the latest topic in my Alexander Technique class: breath and the ribs.

I was reflecting on my breathing last night during class, and I find that my greatest challenge in breathing lies in the hype. As young musicians, we're taught to "tank up," which may not be the most effective imagery. Breathing deeply and fully shouldn't be work, but the idea of tanking up creates tension: we must work to inhale more deeply than in everyday conversation. I find that I create a great deal of tension in my neck and chest when I think about taking a deep breath for a musical phrase. The greatest benefit I would gain from regular practice would be the ability to stop my habitual tensing and choose to take full and relaxed breaths. I know the more practice I get at slower speeds, the more reliable this process will be when breaths must be much quicker. Happy breathing!

Ellen Smith

A few weeks ago, I had the privilege of performing for a masterclass with Ellen Smith. She's currently playing third horn with the Minnesota Orchestra, a group she's been with since 1993. I performed a movement from Aesop's Fables by Anthony Plog, and I found her comments to be very enlightening. Much of what she encouraged me to do involved playing through the notes to create an entire phrase with my air. Though I knew that it was what I should be doing, I had never experienced what truly playing through a phrase felt like until that masterclass. The experience has opened a whole new use of air that I had never considered before. I think I was always so concerned about getting the notes that I've never quite made it to the phrases. These kinds of epiphanies are the reason you should never pass up an opportunity to play for (or go to) a masterclass!