35. The World in a Note

The more you get into music, the more you discover that

a whole note becomes the whole world.

- Trumpet Camp 2015

The Music Lesson is a wonderful musical philosophy book by bassist Victor Wooten. Early in the book Victor's "mentor" Michael asks him if he remembers the Dr. Seuss book, Horton Hears a Who. "Do you remember what the poor elephant found inside the little speck of dust?"

"There was a whole civilization living inside it."

"Exactly," [Michael] said, pointing at me. "Notes are the same. If you listen closely, you can find a whole world living inside each one. Notes are alive, and like you and me, they need to breathe. The song will dictate how much air is needed."

At the end of trumpet camp last year we heard the same thing in our closing session as quoted above.

Months ago, as I put together the themes for this blog year, I sent Mr. Baca an email asking for an explanation, a line or two that I could riff on. He was always too busy.

Actually, I think he was doing me a favor. He was letting me figure it out on my own. I would schedule a post on the subject, then push it back. A few weeks ahead, I would say,

"Nope, Mr. Baca hasn't answered me yet."

I would push it back again. It seems I needed to discover the world in a note for myself.

To understand how the world exists in a single note is not something that can be clearly taught. It is one of those things that makes sense only when you have your "Aha!" moment. Sure I've been given clues and ideas about what it means, but, hey, I can be a little slow. The answer was right in front of me all the time. It was shown over and over on web sites and articles. It showed up every day I picked up my horn to practice.

A couple weeks ago it came to me. Clear as the bell on my trumpet. It came together when watching a video of Wynton Marsalis on the website- Arban Method. (Video at bottom of post.)

Long tones. The boring, bane of every trumpet player.

I remembered Mr. Baca at Big Band Camp telling me to take the tuning slide off and just play that single tone, basically, "G" on the staff.

• Play it; 
• listen to the sound;
• center it; 
• hold it; 
• just let the air go through; 
• listen to the sound;
• keep it centered;
• Now do it again.

In that note is the whole world of trumpet music. In that note will be every note you play.

Now, put the slide back in and do it with "G". It's still there. THAT note hasn't changed. The trumpet does the work.

Play up the scale. Every note is still that single buzzing tone- the single note of the world. Play down the scale. The same thing is happening.

With every long tone, you play that same single tone. It is, in essence, the foundation of every note on the horn. As long as you keep that in mind, and the physics and philosophy of the buzz note, you will have the whole scale.

How simple.

One of our local PBS stations is currently rerunning the Ken Burns series Jazz. It's amazing how much different the series is 16 years after first aired. I am hearing and seeing things that were irrelevant to me when I first saw it. In last week's episode one of the commentators was discussing the revolutionary genius of Louis Armstrong. (An understatement!) He was describing how Armstrong took "pop" songs and interpreted them for his jazz bands. No one else was doing that. They played them straight. Armstrong, the commentator said, went to the very essence of the songs. He would often distill it all to one note (!) playing the tempo and swinging the groove. One note! The whole song in that single note.

When I started this trumpet journey last summer I thought the purpose of doing long tones was to build chops. If I did long tones on a regular basis I would improve the embouchure, increase my range, build endurance, develop breath, and learn to center each note. All of which is true. But now I have a hunch these are the important results of finding the whole world in the single note on the horn.

Most instrumentalists face the same task. We can't make chords on our instruments like a pianist or guitarist (or even banjo player) can. We have one note at a time to work with. At first we learn the notes. We discover the ways to play each individual note. It has its place on the scale and we play it. We do our version of "chords" when we move to intervals, playing thirds and arpeggios. But it is still only one note at a time. (Ignore overtones for this discussion.)

Somewhere along the line we begin to hear differently. We begin to discover the world in our trumpet, the voice we talked about in an earlier post that is uniquely ours.

And it's all in that single note we can only play one at a time.

Let's move away from music for a moment and get philosophical. My goal in this blog is as much to "tune" our individual lives as it is to "tune" our musical chops. This is as true for who we are and what we hope to do or be each and every day.  That single, buzzing "G" is our individual core. It is our personality, our skills, our hopes and dreams. If we try to focus too much on these and seek all the answers we will quickly become unfocused. Our lives simply responding to the next "thing" or next "crisis" or even next "dream."

But what is your "G" tone? What is your world in a single note at the center of your soul? What's in your heart? How does that define what you can do and how you do it? Take the time to center on that. Meditate on it. Learn to live it and let it guide you no matter what is happening.

34. Who Do You Hang With?

I want to be around people that do things. 

I don’t want to be around people anymore that judge 

or talk about what people do. 

I want to be around people that dream 

and support and do things.

― Amy Poehler

Let's be honest- trumpet players have a reputation. (Undeserved, I think. Well, maybe.... Okay, it's complicated.) The old joke:

How does one trumpet player greet another trumpet player?
Hi. I'm better than you.

The implication is very clear. Trumpet players think highly of themselves and believe that any other trumpet player they meet is obviously inferior to them. We might make an exception if we are meeting the first chair of the Chicago Symphony, Doc Severinsen, or the faculty at Shell Lake Trumpet Camp. That's our reputation- and at times- our attitude. I could go into some detail on that, but I will leave that to another week.

The problem with having that attitude is, as you might guess, that we always think we are surrounded by inferior musicians. If we are, each of us, the best around us, that means we have nothing to learn, nowhere to grow, and can become pretty damn obnoxious to be around.

Yes, there are players like that, and they aren't all trumpet players. But overall, my experience has often been that we are often more willing to be in a learning position as in a superior position. Learning takes humility which can be defined as "a willingness to learn." That does not mean that we take an inferior position any more than it means taking a superior position. It means that we enter into each other's musical presence with openness to what we have to learn- as well as share.

One of the quotable lines from Trumpet Camp last summer brought all this to mind:

Surround yourself with people who are better than you are.

I realized that this statement is as much about attitude as it is about musical ability. If you are the first chair in the top group at your school or in your community, chances are that you are a pretty good musician. It may very well be that overall you might be better than the other people in your section. But the attitude that could come with that can be downright destructive to the group making good music.

And it could get in the way of you discovering new ways of making music yourself.

If any of us project the kind of attitude that says "I'm the best!" the others will wonder what good they are to the group. If that obnoxious first chair looms over the proceedings like the great judge of the universe- I for example will hold back, play more timidly, see my part as a "small" part. Many of us have heard the comeback to that- there are no small parts, only small players. A "superior" musician among us, though, can make us feel "small." The section will never produce good music if that is the case.

In reality, thankfully, these type of trumpet players are few and far between. Oh, admittedly it might not seem that way at first when you hear them play or watch them in action. It is intimidating to many of us to play in a section, especially next to, one of these top quality players.  But once we get to know them, my experience has almost always been one of openness to assist me in growing. It's not about the other trumpet player's attitude- it's about mine! With that attitude on our part we can discover that this otherwise superior musician is weak in a certain area. They minimize the things they are not as proficient at and maximize the things they are good at.

That I can learn from!

When the better player is open to sharing and accepting a role as a leader, which they often are(!), the whole section gets better. I appreciate the section leader who suggests I take a lead that will push me. It says the leader believes I can do it. I will work harder in the group when the section leader gives us all the "Thumbs Up!" after the concert and says we did well because any of us could have played the lead- and played our parts appropriately.

For those who are at least arguably the best player in their section, to take that to heart as grandiosity will get in the way of your ability as well. You will get easily bored and move on if no one else around you has anything to teach you. You can become a prima donna- a very temperamental person with an inflated view of their own talent or importance.You will become a point of dissension in your group. You, even as good as you are, could very well contribute to your section or group being less musical.

It is interesting that so often across these months of writing this blog I have moved away from technical musical learning. I have often moved to more general ideas that, applied specifically to trumpet playing can have significant impact. One of these, over and over is summed up in "attitude." And attitudes are choices. We can be educated into good or bad attitudes; we can make certain attitudes habits. We all know the perpetual "wet blanket" who never does anything but whine. We also know the cheerleader type who is always up and perky.

These, and all attitudes in-between, will color how we see the world. There's nothing new in saying this. The wisdom is as old as humans who began observing their neighbors' behavior. They then decided they liked being around people with certain behaviors and stayed away from those who others. Or we discover that we may gravitate to those with the same attitude, you know, misery loves company, other people who are as miserable as you are and love to complain about it.

That can be more than just difficult. It can be downright unhealthy and keep us stuck.

Great minds discuss ideas;
average minds discuss events;
small minds discuss people.
-Eleanor Roosevelt

One more thought came to mind. What if you are the best player around? What if there is no one you can easily get together with that is better than you? I can think of a couple of options.

• Find a teacher in some nearby community who might be willing to take you on as a student. It might not be able to be done weekly, but set up a schedule
• Gather other musicians who would be willing to "jam" or even become a group and push each other. Don't be the "leader". Be just another group member as you seek to blend in with the whole group. Dream with them, have common visions, don't be satisfied for the "good" which is almost always the enemy of both the "better" and the "best" you can be.
• Find camps, workshops, jam sessions, that you can attend.
• Listen, listen, and then listen more to great recordings. All types of recordings. Watch videos online or on the various media. Find lessons online that may be in an area that you are less proficient. 
• Go back to the first item and do it again.

It's not always convenient or easy, but if we are committed to being quality musicians, no matter the level of our ability (!!!), we will find the ways.

33. Sing Your Song

If you cannot teach me to fly, teach me to sing.

― J.M. Barrie, author of Peter Pan

After a previous post I got this from my friend and fellow trumpet player, Steve:

I began to think about the human voice either spoken or sung and I thought about the trumpet voice. I remember being taught that if one could make a good sound on the mouth piece, that sound would be even better on the trumpet itself.

This directed me toward a number of things related to music, voice, and trumpet.

• The human voice itself is an incredible musical instrument.
  
  Scat singing in jazz is an excellent example. Some of Bob Dylan's greatest lyrics make no "logical" sense but are an incredible melding of the melody and the human voice singing actual words. The words form the melody as much as the notes. It does take a whole orchestra to match the range and wonder of the human voice.

• Instrumental music often is asked to imitate the human voice.

  Cantabile- In a smooth singing style

  One could ask whose vocal style should it be imitating? Most composers are thinking lyrical music at that point, but I can imagine an instrumental sound like say folksinger John Prine's gravelly style, the rough edge of John Fogerty, or the smooth as velvet with rough feel of Jim Morrison of the Doors.

• Many teachers suggest singing the part first before even picking up the horn.
  
  One said that means when you are playing it on the horn, you really aren't sight-reading it for the first time.

But even beyond the connections of voice and instrumental music Steve points us trumpet players to the trumpet voice itself and our using it in the best, most effective, and most musical way possible. Steve mentioned that if you can make a "good" sound on just the mouthpiece, the horn will only enhance it. Borrowing  a technique I discovered last summer let me add a bit to that.

Pull the tuning slide out and just play the lead pipe. Make it a solid, centered sound of "G" on the staff. Listen and keep it centered. THAT, my instructors have been telling me, is the basic on which all notes on the trumpet are based. The simple act of a solid, centered, even "G". The recommendation has been to do that every day as a start to your playing. Get that in your mind and you have the solid voice of your trumpet and trumpet playing. That brief action on Mr. Baca's part at the Big Band camp literally began a major transformation in my trumpet playing.

It isn't even about the "buzz". It's about the movement of air. All music is the movement of air. It is air vibrating at specific wavelengths, like A 440. I was reminded of this just this past Sunday when I attended (along with Steve) a concert and clinic put on by the Compass Rose Brass from Minneapolis. The trumpet clinic reminded us of this. It is one of those simple foundations of trumpet playing that we often forget. Keep the air moving at that steady pace. Learn how to move the air as needed. It isn't even all about the embouchure, although that is involved. It is about the air.

That in itself is enough to think about when talking about the voice of the trumpet- singing the song through the instrument. It is allowing the sound of the horn, the sound of the air, and the sound in your head to become music.

Which leads to your voice. We have talked about that from the outside when talking about story and song in the past month. But you and I may both have the same song and come from the same place, but our voice will be different. Like those singers mentioned above. No two have the same voice. Or take a song like Dylan's "Mr. Tambourine Man". A beautiful, mystical, mysterious song- when Dylan sings it. A beautiful "pop" song when even such a talented group as The Byrds sing it.

Even if you are not a good singer, you still sing through your instrument. Think about that a second. My horn becomes an extension of my voice; it is how I can sing. The Compass Rose clinic on Sunday reminded me that we need to think about the song we are playing, not just playing the notes. Think about the meaning of the music; translate that meaning into the way you play the notes; it's your voice, let it sing.

32. Support

Flatter me, and I may not believe you.
Criticize me, and I may not like you.
Ignore me, and I may not forgive you.
Encourage me, and I may not forget you.
-William Arthur

In the past four weeks I have posted on "Story" and "Song", the first two of three things that composer, arranger, and educator Stanley Curtis on his blog Trumpet Journey calls the three "S"s. These are what he sees as the three key elements all great trumpet players have in common. They are simply

• Story
• Song and
• Support

Let's look at the third- Support!

Curtis wrote:

But to keep the song going, which keeps the story fresh, we all need the support of our technique, our fundamentals, our use of air, and our “chops.” For most of us, this comes down to consistent, mindful practice over many years. We are also looking for the right equipment to help us get there. Equipment and practice routines seem to be the subjects of most the trumpet chatter out there on the web and in studios. We all want to be able to play better, faster and higher. I know I do. But I think we all understand the limitations of mouthpieces, technique and high notes without a great singing style. Or without a musical story to tell. Let’s let support be what it is: help for a greater cause.

As I read Curtis' thoughts I realized that this is a good summary of much of what we have been talking about on this blog since the beginning.

• Technique
• Fundamentals
• Consistent mindful practice

He also points out that without the song and the story, even the best equipment is just about mechanical things based on physics. Music is just sound vibrations hitting people's eardrums unless there's a story and a song.

That also brings us back to one of the "fundamentals" for many of us, lessons. They can be formal with a specific teacher with specific assignments and schedule. They can also be "informal" ranging from asking a fellow trumpet player to listen and evaluate what you are doing to sitting in with a group and jamming. What is important is to get the opinion of others. As I have said before I have had several such people in my trumpet playing life recently and the change has been dramatic (from my point of view, anyway.)

What can we see new today, then. In general support can be defined as:

• give assistance to;
• enable to function or act;
• give approval, comfort, or encouragement to;
• prod, spur, egg on, goad, provoke.

Here are some questions and thoughts that came to mind as I looked at that list:

• What (or who) can give you assistance in telling your story through your trumpet playing?
  

  There are the obvious answers- consistent practice, developing mindfulness and all the techniques that go along with that. But you are in your own unique place. What can give that to you? What resources are there around you.
  
  When I realized I wanted (and needed) to do more with learning jazz improvisation I remembered that there is a jazz jam every month in town here. So I contacted the two people who organize it and asked them for some time. We haven't scheduled it yet. I'm going to send them a note when I get done with this. I have also been working on my scales which I have been told is an essential for improvisation.

• What can enable you to function or act in a way that improves your ability to play your song?
  

  Again, beyond the standard answers- what might you do to improve your method of practicing? Ask someone what they do. Spend some time surfing the Internet, Googling as specific as you can. I became aware that I was not working on flexibility as much as I may need to. I simply searched on trumpet flexibility exercises. I had more than I needed. I spent some time comparing them and fond that most were similar if not exactly the same. I had my basic flexibility.

• What is the needed balance in your life between positive criticism and encouragement?
  

  None of us will improve if all we ever get is praise. But we need praise and encouragement. Find the teacher, friend, musician who can give you constructive criticism as well as be able to tell you what you are doing right. I recently sent my teacher a link to some of the performances of the quintet I play in, asking for feedback. He started right out with encouragement- a positive statement. He then promised to spend some time at our next lesson going over the videos with me with a critically supportive ear. I am looking forward to it.

• How do you find the people, places, situations that can prod and spur you, egg you on to greater width and depth in your music?
  

  This one follows on the previous one. Don't be afraid of finding new situations. I volunteered to take a solo in the one big band the other night. With all the songs we have I may never get the chance to play it in a performance- but hey, you never know. Now I have to work on it!

This IS what life is all about with music, work, or friendship. We sum it up, all of it, in the word support. We too often believe we need to be rugged individualists, able to take care of ourselves no matter what. That's a dangerous bunch of baloney! Musicians know that- we play in groups from duets to concert bands. Sure we solo, but we would get as bored with it as our audiences if that was all we did.

Be open to the support you need. Be honest with yourself. Then go get your support- YOUR team.