Harmonic Exercises, with Articulation too!

When playing through the harmonic series, the second overtone (a twelth above the fundamental) is a great check point. When students begin learning harmonics, this one often proves elusive because of the tendency to cover too much of the embouchure hole. By rolling out a bit and blowing down, it usually speaks. The following exercise I find useful because it begins by alternating between the normal fingerings and the harmonic fingerings. For those new to harmonic exercises, it provides a good anchor.

Harmonicsstudies

The next page gives a workout for the lips, and introduces articulation to harmonics, although it is also useful to practice legato in bars 13 to 38. I find articulation exercises with harmonics, such as those in Trevor Wye’s book, to be great stabilizers and strengtheners for the embouchure.

Harmonicsstudies2

 

Continuing with articulation, I am further inspired by Paul Edmund-Davies’ “The 28 Day Warm Up Book”. His articulation exercises are a mainstay of my warm up, and I decided to go one further and translate some into harmonic exercises. (Read my review of this book here.) This first exercise strengthens the elusive second overtone:

PEDHarmonics

 

This next one overblows the third overtone. It is for those already strong in this area; please don’t over do it, or any of these exercises. It is useful to combine these variations with Edmund-Davies’ original.

PEDHarmonics2

 

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Summer in the Back Seat

This summer has been wild. I’ve had no proper vacation, yet have had a lot of quality family time. Musically it’s been rich, but as far as teaching, I have given up my job at the Conservatory of Bremen. Although it is not a financial blow, it will make my musical life poorer indeed.

I imagine I would have time to devote to students and to build up a good studio when I reach my 60’s. However, 65 is the age of compulsory retirement in Germany (and many other countries). It’s just not fair. If I live out my given life-span, I would have about 20 good years to give and devote to my students. Although I will continue to teach privately, coach and give masterclasses, regular teaching will have to take a back seat, for now at least.

This summer has also been filled with large theater projects, where music may often take a back seat. Seen in a positive light, music becomes just one facet that makes up theatrical life. But it is astonishing how one has to often struggle in order to give the musical facet any substance. I sometimes believe that being a dead composer is the most difficult job in the world. Heaven forbid if you have taken the trouble to print specific directions for staging, costume and lighting. They will be ignored and trampled upon by future generations.

It doesn’t do to be critical though, poor J.S. Bach would likely cringe at my interpretation of his Sonatas. Life goes on.

I will finish with a contradictory thought I can’t get rid of. It seems to me that Contemporary Music is undergoing an institutionalization and a marginalization at the same time. (This is in spite of the critical acclaim that followed Stockhausen’s works at Lincoln Center and the Munich Biennale this summer. However, I stress, it wasn’t the music that drew such media attention.)

Institutionalization is likely a natural progression, it has happened to some extent with “regular” Classical Music and Jazz. By institutionalization of Contemporary Music, I refer to the number of Ensembles and Ensemble Academies that have sprung up, and the specialized Masters Degrees that are available. These are wonderful things!

just what are we broadcasting to the universe?

Marginalization is relative and less easy to define, but I can name a few trends. One is less air-time on radio. Another is academic. It is astonishing how few top contemporary players have top teaching jobs, and I mean full professorships and not just adjunct, assistant, whatever. Sophie Cherrier and Mario Caroli are wonderful exceptions. But what about Robert Dick, who is an amazing teacher? And if the trend continues, I believe that upon retirement, Harrie Starreveld will be replaced in Amsterdam with an orchestral player, not with a premiere contemporary ensemble player and soloist as he is.

Feel free to argue with me on these points, they reflect my rather limited experiences.

 

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Should I Study Flute with Karl Marx?

The short answer is no. Dialectical materialism* has no place in the music room.

Although his beard may have been bushier than Monsieur Taffanel’s.

The long answer is more complicated. I am no expert on the works of Marx, and realize I am using his image for exaggerated effect. My real argument is anti-materialist and I could have just as easily picked on the Bourgeoisie. Read the comments below for quotes on Marx’s ideas on creativity. At the end of the day, we may have a lot in common.

I approach the subject of materialism and economics with some humility and trepidation.  For many of my colleagues in the Netherlands and the USA, economic determinism has reared its ugly head. Many orchestral musicians have lost their source of income and teaching staff have been severely reduced in many music schools and conservatories. The latter has hit me as well. This has made me think more than ever about my teaching responsibilities and, as usual when I have conflicting emotions, spurred a belated adolescent rebelliousness.

Rebelliousness against whom? Against those who teach the lie: “there is a right way and a wrong way to play”, “play it my way because I have a job and a house (or a yacht or whatever), “work hard and you will be rewarded with_____”.

Materialistic success is dangled before the student like a carrot before a donkey. Even worse, the materialistic success of the teacher creates in some cases an arrogant sort of authority. Granted, this may do the trick for some students. A clever teacher will latch on to whatever motivates the student and use it accordingly.

Yet doesn’t it make more sense to train whole musicians? Performers who improvise and compose. Composers who perform (rather than sit at the computer or synthesizer, which then spits out the parts).

I’m going to go out on a limb here and say the opposite of what seems to be the majority opinion. Despite the dwindling opportunities for orchestra work and reduced funding for the arts, this is as good a time as ever for young musicians who have something unique to say. With the internet, the world is your oyster. With the big institutions dying out, this is the time for small enterprises to fill the niches. Finding an orchestra job may be a quicker way to material success, but it is not a given these days. Nor does an orchestra job (or any material success) necessarily equal musical satisfaction or personal happiness. Having a job is hard work. I can vouch for that as a former orchestral player and as a full-time ensemble player. If finances are the only thing keeping you at your job, that is the quickest way to burn-out and bitterness. When things are getting grim for me, I can turn my attention to improvisation, or listen with knowledge and pleasure to Jazz or Carnatic music. Then I thank my former teachers who exposed me to these wonderful things!

This is why I think it is important for students to be exposed to as many ways of making music as possible. How else can you find out what it is you want to express and the best medium for expressing it?

Human beings are not going to stop listening to music entirely. Music will always be there in some form or another, in the background, in the foreground, live in concert or through ear buds. Take heart that you can make music, and get paid for it, if you are courageous, persistent, and seek inspiration. The path may be long or it may be short, but if you want to be heard, you will be! There is no excuse not to be heard, these days.

*Footnote: From my reading I gather that Marx did not coin or make particular use of the term dialectical materialism. It was popularized in a Marxist context  by Stalin in his 1938 paper Dialectical and Historical Materialism. I definitely would not have wanted to study with Stalin.

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