{"id":315,"date":"2015-08-28T15:30:28","date_gmt":"2015-08-28T15:30:28","guid":{"rendered":"http:\/\/sites.tntech.edu\/jhauser\/?page_id=315"},"modified":"2019-09-03T15:53:41","modified_gmt":"2019-09-03T15:53:41","slug":"9th10th-grade-mtsboa-all-midstate-videos-fall-2015","status":"publish","type":"page","link":"https:\/\/sites.tntech.edu\/jhauser\/9th10th-grade-mtsboa-all-midstate-videos-fall-2015\/","title":{"rendered":"9th\/10th grade MTSBOA All-Midstate Videos Fall 2019"},"content":{"rendered":"<p><strong>Selected Studies for Trombone, Blazhevich\/Voxman, p 16, m 26-end<\/strong><\/p>\n<p style=\"padding-left: 30px\">This study is marked at dotted quarter = 64-70. \u00a0I have chosen to play it at a more comfortable dotted quarter = 66 to allow time for breaths without feeling rushed. \u00a0As with all of these etudes, a more musical performance on the slow side of the listed tempos will be appreciated more by the judges than a faster performance that is sloppy or lacks musicality.<\/p>\n<p><iframe loading=\"lazy\" title=\"9th &amp; 10th grade 2015 MTSBOA Mid-State Excerpt\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/qf7UnchAhNw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p style=\"padding-left: 30px\">Speaking of musicality, this etude has plenty of room for interpretation. \u00a0There are a lot of dynamics noted, ranging from <em>piano<\/em> all the way up to <em>forte<\/em>, with crescendos and subito (sudden change in dynamic) changes throughout.<\/p>\n<p style=\"padding-left: 30px\">The first thing that I did when I started to look at this excerpt was to plan out my breaths. \u00a0Look for rests and cadences (resting points in the harmonic structure of the music) as your first options for breaths. \u00a0Then try them and see how they work. \u00a0At this tempo, my breaths tended to be about every 2 bars or so.<\/p>\n<p style=\"padding-left: 30px\">Then I looked at the dynamics. \u00a0It begins <em>mezzo piano<\/em>\u00a0and has a crescendo in the 3rd bar with a <em>piano<\/em> in the 5th bar. \u00a0Are we expected to crescendo downwards? \u00a0No, of course not, but how far should we go? \u00a0I added a<em> mezzo forte<\/em> on the second beat of the 4th measure on the dotted quarter note C. \u00a0That gives me someplace to aim <em>for<\/em> as well as giving me somewhere to go <em>from<\/em> when I reach the subito <em>piano<\/em> in the 5th bar.<\/p>\n<p style=\"padding-left: 30px\">As we move on, there is another crescendo, followed by yet\u00a0<span style=\"text-decoration: underline\">another<\/span> crescendo on the third line that brings us to <em>forte<\/em>. \u00a0In order to make a good contrast, I marked in a <em>mezzo forte<\/em> on the Ab in the last measure of the 2nd line. \u00a0We also do not want to sit on any notes. \u00a0We should always be moving somewhere, either following the shape of a line up or down, or growing or diminishing on a held note. \u00a0This means that I play 2 1\/2 measures of <em>piano<\/em>, crescendo for 1 1\/2 measures to <em>mezzo forte<\/em>, play 2 1\/2 measures of <em>mezzo forte<\/em> and crescendo for 2 full measures to reach <em>forte<\/em>, continuing the notated crescendo for another beat until the <em>forte<\/em> that is marked.<\/p>\n<p style=\"padding-left: 30px\">The music then stays <em>forte<\/em> for the rest of the next line with a crescendo at the end that brings us up to <em>forte<\/em>. \u00a0Wait a sec&#8230; Weren&#8217;t we just at <em>forte<\/em>? \u00a0How can we crescendo from <em>forte<\/em> to <em>forte<\/em>?<\/p>\n<p style=\"padding-left: 30px\">The answer is simple. \u00a0We can&#8217;t.<\/p>\n<p style=\"padding-left: 30px\">So&#8230;<\/p>\n<p style=\"padding-left: 30px\">I come down to <em>mezzo forte plus<\/em> on the repeated sixteenths on the 3rd measure of the 4th line and start building from there before coming down AGAIN at the beginning of the crescendo at the end of the line. \u00a0Contrary what you may think, when\u00a0you see a crescendo the first thing you should think is not &#8220;get louder.&#8221; \u00a0The first thought should be &#8220;play a bit softer&#8221; so that you have someplace to grow <span style=\"text-decoration: underline\">from<\/span> in order to make a contrast from where you were just playing.<\/p>\n<p style=\"padding-left: 30px\">Now I stay strong for 4 full measures, following the shape of the line with my dynamics, but remembering to stay\u00a0<em>forte<\/em> so that I can get softer when I reach the\u00a0<em>mezzo forte<\/em> at the beginning of the next line.<\/p>\n<p style=\"padding-left: 30px\">The final observation I would like you to make from watching this video is my choice of positions. \u00a0I use a few alternate positions in this performance, using 4th position for the upper D and F as well as the marked Bb in 5th position.<\/p>\n<p style=\"padding-left: 30px\">When deciding to use alternate positions, it is important to realize that they are called alternates for a reason. \u00a0We want to make those notes sound as good as the &#8216;normal&#8217; positions do. \u00a0Practice these spots slowly using the positions that are farther in on the slide to make sure you know where your high F and D are for both sound and tuning. \u00a0Once you have worked on those a bit, you may choose to use the alternates I do or not, but you will have a better sense of\u00a0<span style=\"text-decoration: underline\">why<\/span> I chose to use them.<\/p>\n<p style=\"padding-left: 30px\">We use alternate positions for several reasons, chief\u00a0among them being\u00a0Articulation\u00a0and\u00a0Slide Speed. \u00a0I use some of these positions in order to match the articulation of other notes around them and some for comfort on the slide. \u00a0Look at the marked Bb in 5th position on the 3rd line. \u00a0That can be played in first, moving from 4th to 1st and back,\u00a0<strong>OR<\/strong> it could be played as marked, moving from 4th to 5th and back to 4th. \u00a0Once you learn where the 5th position Bb is (a slightly raised 5th position for tuning purposes), it is much faster to play the alternate position.<\/p>\n<p style=\"padding-left: 30px\">Finally, I end with a slight relaxation of the tempo to make the ending a more satisfying arrival point, playing the final low C and F both in 6th position because it sounds better than playing them on the valve and because we are trombonists and it looks cool!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Selected Studies for Trombone, Blazhevich\/Voxman, p 16, m 26-end This study is marked at dotted quarter = 64-70. \u00a0I have chosen to play it at a more comfortable dotted quarter = 66 to allow time for breaths without feeling rushed. \u00a0As with all of these etudes, a more musical performance on the slow side of &hellip; <a href=\"https:\/\/sites.tntech.edu\/jhauser\/9th10th-grade-mtsboa-all-midstate-videos-fall-2015\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">9th\/10th grade MTSBOA All-Midstate Videos Fall 2019<\/span><\/a><\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-315","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/pages\/315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/comments?post=315"}],"version-history":[{"count":8,"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/pages\/315\/revisions"}],"predecessor-version":[{"id":770,"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/pages\/315\/revisions\/770"}],"wp:attachment":[{"href":"https:\/\/sites.tntech.edu\/jhauser\/wp-json\/wp\/v2\/media?parent=315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}