Mental Practice

1. a. Monday: no practice I had a lesson
        Tuesday: Practice at 11:30 or after studio, not sure if we have it this week, for one hour
        Wednesday: Practice after 2pm for an hour and a half
        Thursday: no practice
        Friday: practice after classes 2pm for one hour
        Saturday: practice in the early afternoon again. Practice session 2 hours
        Sunday: no practice.
   b. There will be mental practice at most sessions. especially on Saturday. I think I will try and integrate it slightly by singing parts practicing articulation verbally or working on fingerings. Possibly listening to the music as well
    c. Aural memory is definitely my strong suit and I think it makes sense why I have focused so much on my sound throughout the years. I will try and focus like I said on maybe singing the parts or saying the rhythms that I struggle with out loud, which would tap into those aural skills.
    d. My weakest modality is Analytical memory. I really don't think in chord progression or key. it doesn't tend to help me either. Sometimes my professor will write down, it's just a Gb scale and I will still struggle with it because maybe it doesn't start on Gb and that makes a huge difference to my ear in hearing that. I honestly think that this skill is not necessary to understanding a piece. It may help others to strengthen this, but my strength is not in music theory. My strength is in my sound. I have to work on technique to get there. I could try and figure out chords or scale passages that are associated with the passages I am playing and write that in and see if it helps. Normally the fingering I struggle with are ones that are not scaler. I also don't hear intervals. I never took sight singing so I can't hear a perfect fourth etc. I can hear thirds because I was used to that from my choral background. I would have to overall strengthen my theory skills to improve in this area.

Imagery in Music

Chapter 8 from The Balanced Musician by Lesley Sisterhen McAllister

Questions for Reflection

1. I don't know if I have had postperformance imagery in the past. I do normally review how I did mentally. I would say that it is almost never as good as I have sounded, but most of the time I can objectively look at how I did. I normally think of the negatives first and then continue to the positives.

2. Again I don't think I normally do imagery. I do not mentally prepare my performance by going through it in my mind. Audiation I do use especially with rehearsing because it is important to understanding the piece.

3.
Some mindset adjectives.
Strong
Expressive
Calm
Cool
Collected
Free
Confident

Narrow Objective Focus

In this post I analyze some quotes from an article on Narrow Objective Focus. 

Really like how it describes what a narrow objective focus is. I feel like this may relate to a lot of other things than just a musical performance. I can see that I use this type of focus a lot for my studies and it definitely is taxing and in the long run, I’m not sure what I get out from all of it. I do depend on this frequently, but in general I think my generation is required to. There is so much we are expected to know, learn, and be involved in that it is hard not to use narrow objective focus frequently. 

I have never really thought of how often at a young age that we are told to concentrate our thought better. It’s interesting. I also made me think of this article I read recently about how a teacher went through a student’s day of classes for two days and was shocked about how the students felt. http://www.washingtonpost.com/blogs/answer-sheet/wp/2014/10/24/teacher-spends-two-days-as-a-student-and-is-shocked-at-what-she-learned/ Interesting read. 

The idea that imagining performance uses the same part of the brain as actually performing reminds me of a discussion we had in class about studying, looking, and listening to our pieces is helpful to later playing the piece. 

This article was interesting because it says narrow focus is good and bad, so it’s hard for me to decide which it is. Sometimes it’s helpful to only narrowly focus on a couple things and the rest in background, yet they say that it is good to be aware of space and our surrounding and we will have a less stressful life. So I think narrow focus is good, but we need to balance it to make sure we are not over-stressing ourselves with this limited focus.

Adding in Queues

Questions
1. Of the following characteristics of peak performers, which do you already possess and which do you need to enhance in yourself?

I believe I have a lot of confidence in myself as a performer. I also believe I do pretty well with concentration/attention. My professor will sometimes shout and do pretty distracting things while I play and I do pretty well of staying focused. I am decent at positivity. I sometimes get to hard on myself for messing up. If I hear improvement I don't feel so bad.  Mental toughness seems to be an overall term and encompasses many terms. I would say I could use to work more on mental toughness. I need to be a little more self-motivated by going and practicing much more consistently. This year I have had a hard time finding time for the practice room. but a mentally tough performer has a strong belief in self. I think I do have belief in myself. To go along with that I generally have confidence in myself, but sometimes I will think negative thoughts as I play, but I know I can always fix it and play it better again. For this I need to work on positive self-talk.

2. I had a jury that I thought went pretty unlike how I wanted and I just bashed myself the entire time. I felt unprepared. I guess I would say to my inner judges is that it's just one performance and that doesn't define me. I would say I didn't get to rehearse with my pianist enough, so they don't understand how difficult it is.

Continuing the with my mindmap for my piece I am supposed to identify some cues in the music.  So in the beginning there is a big tremolo from the orchestra as I do my opening. Later after I finish the opening the orchestra plays an intense section introducing the next section. There are many cymbal crashes and 6 descending chords played before I come in with the new time. Then the orchestra repeats what I just played. Then the orchestra slows down, there is a slow part for the clarinet and it introduced the new melody I will play. The clarinet has this run and then I come in. This section I think of a man who is seeing his lover for the first time in a long long time. The main theme from the fast section travels from the clarinet to the flute, then to the oboe and then I play the next connecting section. Next it was just clarinet to flute. Then you hear the horns do a section and then I come in. There are often cymbal crashes in the sections I do not play.
Then after a long of building and tension, the orchestra slows down. Then you here this syncopated rhythm four times and then I come in. Then the violins repeat this phrase and then suspend a note and I come in again with triplets.
Then theme enters again where it sounds like our man is being chased. Then the low brass coming in a descend with the same 6 chords and the original theme reenters. Then I have a different key of the double section. He sounds like he is being chases again. and the orchestra stops with two chords one after another. Then the cadenza comes in. And I am anticipating on not doing the cadenza for the recital.

Sound-focused versus Self-focused

In the book The Balanced Musician by McAllister talks about sound-focused and self-focused thought in Chapter 6.
Self-focused is more on what you think you are doing wrong, or right in some cases, and sound-focused is more on imagery and sound cues.
I definitely have a combination of these thoughts. Lately I have a lot of self-focused thoughts because I am still working on my piece.

One of my most successful performances was playing the first movement of the Kennan Sonata.  I just remember thinking that I love my sound. I liked the sound of the room. I felt like the style was just right too. The parts that were aggressive and brassy and then the lyrical sections sounded so nice and sorrowful. I just was nailing all the pitches.
In my most unsuccessful performance I can't remember the name of the piece, but it was my spring semester sophomore year for juries. The worst part about it was I was off with the accompaniment. I had a hard time counting the measures because the meter changed a lot. I just remember feeling rushed and lost. Plus I had to play the song pretty slow because I wasn't prepared. I remember getting made that they quick sections didn't sound too clear. I felt like it was sloppy and unprepared.

Some more positive self-talk would be thinking, "I can do this. I am prepared for this. I will play it right this time," or even, "Okay, that wasn't so great, but the next will be better." And of course thinking about the imagery you want to achieve for the piece would be ideal.

My piece has many points where there are different idea changes which I have indicated on my mind map. In the Arutiunian trumpet concerto, there is the opening which has a lot of flare. Then it moves into a quicker section which I call the hustle and bustle, adventurous section. It is quicker and light. Then it moves into a slower section that sounds like love, and it's so pretty. Then the quick section returns, but it feels more sporadic and certain parts are the same. Then comes the muted section in E flat minor. This part sounds mournful like he is losing his love. Again the the main theme from the quicker section comes again. Then it goes into a new alternative quick theme with more double tonguing section then into triples. Last is the cadenza. Has conflicting feelings. It sounds strong and powerful, yet sometimes smooth and lyrical. I feel like it's showing two sides of one person, kind of what we have seen the entire time.

 If the above video does not work here is the link (http://youtu.be/Bo9BBWmp4Rg)
Now to analyze my personal recording of my piece, it quite rough.
1. Overall I would rate my efforts as a 6. Some parts were good and things are getting better, but there were some sections that were horrendous. I loved my opening and the lyrical section were pretty good. I also didn't mind the fast section immediately after the opening. It's getting better. I also furrowed my brow less so that is good. 

2. specific areas
accuracy: 6
concentration: 8
memory: 0, I haven't started working on that. It is not a completely necessary thing for me. It's a goal I have, but if I do not attain it it will be ok.
D. Confidence: 7, good in parts and bad in the connecting sections. That was the worst and the parts I practiced the least.
E. Musicality: 8? 7.75. Not bad, I could probably do more. My chops got tired near the end and I messed up things like certain high notes I normally nail.

3. I think I could use to move a little more with my body to show the characteristics with body. I noticed I did move a little more than I think I normally do. I wish I played a little more upright. I bend over the trumpet a little more. I could use to raise the horn a little more.
4. I think I talked a lot about it above. Transitional sections that from around the 5 minute mark. Inbetween the two lyrical sections. I also need to build up endurance because I am getting worn out. I still could use to more pianos. I get pretty loud the reverse dynamic would probably help make an even greater impact.
5. I really liked my muted section. It had a lot of the feeling I was hoping. I still think it could be a little more connected and a little softer at points. I also liked the opening. I think it had the right flare and power. I thought it flowed a better than it has in past. I also liked my first lyrical section. I always enjoy that section.
6. Now I didn't have an audience because I was quite busy with work, and not many people were here over fall break. But I think something I really need to pay attention to is my posture. I would look much more profession if I paid attention to that.

Self Talk and Modeling

Answers to page 94 from a Balanced Musician
1. I have actually started using self-talk in other aspects of my life recently. I tend to think the worse and stress myself out. Recently I didn't prep as well for a test as I should have, although most of the material was review. I went into it saying, "You know the material. You have done this before. You have studied. You can do this. You went to class, and you have paid attention. You can do this." I literally muttered it to myself as I walked across campus to my test. I actually did really well and got an A, which I don't normally get. I think I'm going to try and do this more. It helps relax me and helps me realize I should trust myself.
I get stressed and disappointed in myself a lot. I am probably my hardest critic. I always say I should have studied more, I shouldn't have watched this show, I should be practicing more. I normally get pretty down on myself when practicing. I yell a swear word and I just try and get better. But, I try to let it go and do better the next time. I also get disappointed in my other studies. I always have so much going on most of the time I don't do well is I didn't have enough time to put into the assignment. That is so frustrating to me. I don't know where all the time goes.

2. Modeling, which is having someone demonstrate how to sound or play a certain part, is a huge part of playing the trumpet. Once you get to advanced levels, it is not so much "Do this with your lips," or, "Do this with your air." It is, "Hear how I am playing and try and sound like me." Trying to worry about what is happening in your mouth, with your body, or with your lungs distracts from being musical. Focusing on listening to how someone plays it and just trying to imitate it is so important. My old professor used to say, "How did I do that? I don't know! But, I heard it and my body found a way to make it happen." I feel like that's totally true. You try and play with more of a bounce. Well you could tell them to literally stop the air between notes or you let the player feel it. Playing the trumpet is all about your ear. Hearing how you want to sound and then trying to put it into your playing. If I am not getting a style most of the time my professor can play it once and I pick up on how to do it. Because I pay close attention to the sound and try and fit my sound into that. I'll say this once again.
Playing the trumpet is all about hearing what you want to sound like.
Learn that lesson and you will go far.

Handling the Stress of Performance and Overcoming it

1. pg. 47 I think it depends on the situation. In group situation normally a live performance will excite me and I’ll thrive most likely. After doing those relaxation exercises in class I feel like it some form of breathing and doing those tension and release exercises could be helpful. I might start to do small forms of that before performances.

Pg55 1. I think when a piece of music ‘speaks’ it sounds like more than notes. It sounds like a story. It creates an images. It creates a feeling. It is as if the audience can understand what you are trying to say through your music. I think the things I mentioned are how the audience feels or is moved during a performance. It makes then thoughtful, happy, sad, and so many other emotions.

Pg 55 2. If I feel well practiced or rehearsed I definitely have an easy and mostly operate out of my right brain. I don’t think I ever completely play without judging myself. I think you make a mistake and you think, “Dang, I should have hit that.” The thing is I know that to succeed I have to let that roll off my shoulders. I can’t let it ruin the next phrase or the whole pieces. I know I will always make minor mistakes, but that is life. It is really hard to be perfect. Even though I am a perfectionist I have learned that this attitude is good for practice, but not rehearsal or performance. I practice going through large sections of my piece and continuing every time I make a mistake so that I get comfortable with continuing after mistakes.

I watched a TED talk by Dan Pink on motivation. http://www.ted.com/talks/dan_pink_on_motivation?language=en

2. This was a really interesting talk. It seems as though rewards for work does not actually benefit. We have to want to make ourselves better. Trying to give incentives doesn’t always work and won’t work for musicians because it is all cognitive. We have to want to get better, we have to find something that inspires us. So maybe if your professor is making you play this piece you really don’t like, of course you need to work on it, but maybe working on something else that you like as well can help you grow in your technique and sound too. This is my translation of how Dan explained the 20% thing where you get to do what you want for 20% of your time. This way you have something that is making you happy as well as being productive.  Also it tells me that it’s not always how many hours you put in, but what you put in to those hours. There are some companies where they give you complete flexibility and people get their jobs done in less time or on their own time and are much happier. So saying everyone should practice this much everyday is necessarily true.

I’m not really sure what you mean by referring to terms he used in the talk to my practice session. My practices are kind of disorganized. I tend to start working on something and then I remember I need to email so and so or I text a friend, I scroll on Facebook, and then I practice for a little bit and then I do that again. So I guess I don’t really have effective practices. Sometimes I get candle problem and I can’t get over certain little passages in the music and all I can focus is on it. I don’t see the big picture.

3. I just read this assignment this morning so I haven’t had a chance to create a practice log, but I think I’ll try and blog it every day.

So here is the outline

a.       What sections did you spend the most time on?

b.      Were there any sections of the piece that were left out of your practice?

c.       Did you use variety in your practice, or did you use the same strategies every day?

d.      Did you start at different parts of the piece every day, or did you always start at the beginning, the end, or a specific section?

e.       Was each activity purposeful, and did you accomplish the task that you set out to do?

f.       What strategy was most effective?

g.      Did you use efficient time management?

My plan for the next week is to practice more! I have been finding it hard to find time. I will try and practice twice on the weekends and 2 to 3 times during the week. My goal is to finish learning the third and fourth pages of my solo. I also really want to spend some time working on my lip flexibility as it has gotten worse over the summer.

Reviewing the Arutiunian Trumpet Concerto

1. My recording of my ICP analysis

The beginning really had the Middle Eastern, Arabian sort of flair and expression. He makes it sound smooth yet powerful. The second section where the speed increases he has such facility with the speed of notes. The piece then moves into a slower lyrical section. When I listen to this section I think of love and how it sounds lovely yet sad and I think love can be like that often. This part he makes much more soft and romantic. It sounds so beautiful with the full orchestra.

The tempo resumes, with a recapitulation of the first fast tempo section.

I think when I will work on this piece the speed and many of the double tonguing passages will be challenging. Making sure you can hear every note on the page is key. I also want to work on using that larger vibrato. I think it would be fun and in this case would match the style.

The music for me has all sorts of emotions. I think there are points it does aggressive with power, then a energetic celebratory feeling, and also a romantic feeling. The romantic side is sweet sounding and sometimes a little sad as it sounds like its in minor, yet it still sounds beautiful.

A statement I would use to describe this piece would be, “The music captures the emotion of an Arabian city: the people, the majestic power, the excitement, the love around the city, and the danger of a large city.”

2.  Youtube Assigment

Timofei Dokschitzer with the Orchestra of USSR Bolshoi Theatre: http://youtu.be/B3ytWq8d3ds

Large variations in style and articulation. Dokschitzer took more liberties in the opening and the slower sections. He also used a much larger vibrato. It sounds really awesome and seems to fit the Arabian sort of style I am hearing. He will vary from smooth tonguing to what I would call harsh tonguing a lot. Very aggressive in the fast sections.

Andre Henry with the Tokyo Ondei Wind Ensemble: http://youtu.be/-TFIk-7CeUs

The fast sections are quite fast. I actually think this rendition sounds quite similar to Dokshcitzer. The vibrato is much smaller and Henry uses less liberty with tempo. Of course Henry's sound is gorgeious. I also notice less dynamic difference. The muted section is almost too quiet. I can barely hear him. I think people often forget than the mute is mostly for the effect. You must still project especially if you are the soloist.

John Parker with UNC Symphony Orchestra: http://youtu.be/B75BPO8t7CQ

I really love way John Parker does the opening section.  He just makes all the variations in speed of the passages sounds seamless and so connected. I like the style of tonguing in his rendition. It is not as harsh as Dokschitzer but more smooth and connected. I like how he performed too he looks pretty natural on stage. He nails all the centers of the pitches so you just get beautiful sound. Parker does make more errors in his performance than the previous performances discussed, but he seems to move on well. Parker used a cup mute instead of a straight mute in one of the lyrical sections. I enjoy the projection of sound of the slow, muted section much better. I don’t know if it’s better recording or just the soloist, but the muted section is more easily heard.

I feel that looking at myself as a performer I am not as talented technically. Right now I am trying to get my chops “back in shape” so my flexibility is poor right now. From what I have played, I play the opening with a little more drama and gusto. I think I play the beginning with a little more aggression. I think I still like that. I would like to obtain the smooth quality in other passages. I also really want to work on my artistry like they have. I would like to gain the easy and control of Parker's take on the opening and how he handled the muted section. I would like to work on a vibrato like Dokshitzer and the more smooth like quality in the fast sections like Henry.

3. Imagining the Performance from “The Performer Prepares: by Robert Caldwell.
My analysis of many of the sections. 

 

Musician

I want to be a scholarly type of musician. I would like to make people feel something

Performer

I would like to evoke passion and emotions in my performance. I like all different styles I like the authoritative and aggressive edge but I also like the soft, smooth, and emotive sections.

Peforming in general

I'd like to look professional, collected, yet with ease

This particular performance

I want to pass my jury! I would like to feel performed well learning these new pieces. I just want to feel accomplished. Also it will occur in the spring semester

Parts of the Performance

warming up: I will probably do what I always do. My mouthpiece exercises, Stamp, and some Chicowitz.

Walking out: with confidence

Greeting the audience: I think for my first piece I will not greet my audience. I may greet my audience after my first piece. I will walk off the stage each time

Preparing to play: I will take a clearing breath. I will also tune the first time I use each instrument

Playing: I'm still trying to figure out all the pieces. I will be doing the Arutiunian piece but I also want to do The Storyteller which collaborates with a violinist, piano, and off stage trumpet. We talked about doing an Aria with trumpet combination, but I would need to work with a vocalist and I don't know that many. The order I think I will work out as I begin to learn them.

leaving the stage: normal. Smile bow along with my accompaniest. And walk off while smiling

Intermission I will probably relax, joke, drink some water, and do some buzzing or low note long tones.