Perfect Playing Doesn't Always Mean It's Perfect!

I recently stumbled across a blog post by the former principal trumpet of the Cincinnati Symphony, Phil Collins. His post reflected on the idea that a student who strives for a "note perfect audition" can still get dismissed simply because the committee will often feel his or her audition lacking an important component in their playing. This lack of an impression, as he states in the article, is due to the student being boring when it comes to being musical. This concept of being boring when you play a "note perfect" round goes further than leaving the committee saying next. This idea is something that is often found to be an epidemic in many young trumpeter's performances. 

As a performer, we are constantly striving for perfection, and in many cases, performers often judge a performance by how many mistakes occur. This tally of mistakes often outweighs the positive moments that occur in the actual performance itself. Players tend to concentrate on an "anti-frack" mentality since making these harsh aural interjections during any performance can cause either looks from a conductor, or disrupts our concentration in that particular moment. This notion of an "anti-frack" mentality often leads players to not push themselves, or Go for it during a performance in fear of making a mistake. This compounds over time, and eventually leads the performer to a consistent level of careful music making. 

There is nothing wrong with being careful in making music, but that mentality does not promote exploration and presentation of what the performer is feeling during a particular moment. Music itself is meant to be emotive and express what feelings at a specific musical moment. Without this expression, the music becomes bland and lifeless. It is through the exploration of emotions, and the emotive nature of music that we as performers must create an interesting aural experience for our audience - or in some cases, a committee. 

As teachers, we must find ways to help our students embrace this art of expression and figure out ways reach a level of communication that speaks to each student in their own unique way. Many students connect with the idea of assigning emotions, or characterizations to specific sections to aid them in discovering a musical interpretation. Characterization of musical phrases or section allows an internal visualization to be present during a performance. It also allows the player to focus on a mental picture instead of potential physical mistakes or difficulties.

In some cases I have found that indicating points of direction, or accentuated harmonic moments, guide students to emote at a higher level. I use this method to allow students to not only justify a micro or macro climax in each line, but to also highlight theory and harmony into each piece. This dual-subject integration of performance and theory allows students who can not describe how they feel in each passage to justify a musical interpretation. This concept incorporates an idea of mine that all music can be justified into goal notes and ornaments that lead to melodic points of interest. I speak on this idea in my masterclass topic, "Approaching Music of the 20th and 21st Century."

No matter what one uses to teach students to be expressive, this concept must remain in the forefront of each student's mind. Focusing on the music and the expression of a feeling, or characterization allows the student to perform on a higher level. When a performer focuses on the music itself, the physical limitation of their current performance levels are often surpassed and a new level of artistic interpretation is achieved - thus also satisfying the idea of . "anti-frack."

I want to leave this idea of putting the music first with a quote that I posted on my Facebook Artist page by Arnold Jacobs a couple of weeks ago. It states, "When you play, make statements; don't ask questions!" This quote sits very firmly with the idea of putting the music first and not focusing on what mistakes could be made, but rather what musical statements are you making! 

Now get out there and start making Statements!!

Sources Referenced: 
- http://philstudents.blogspot.com/2015/08/avoiding-b-word.html?spref=fb
- http://www.peydenshelton.com/recitals-and-masterclasses.html
- https://www.facebook.com/19742294715/photos/a.10153244688884716.1073741828.19742294715/10153258996904716/?type=3&theater