Saxophone Performance, Teaching Being
a performer helps teaching, being a teacher helps performing Saxophone Performing - As performance day approaches don’t do run-throughs exclusively, still practice in specific ways. - Be aware of how much practice is good for you on performance day (I currently prefer very little) - dialogue with the composer, audience, fellow performers is more important than perfection - during performance focus on one parameter sometimes helps (air, character, tuning in fast motion, play to one person in the audience) - the audience is on your side, feel their support - smile, it releases endorphins - on performance day I prefer to exercise, it helps calm nerves - within 30-60 minutes before performance I like to sing through the music, it focuses the ear, air, brain Performance
day 1.
Put ears in the back of the hall (you be audience), imagine filling the
hall sideways with sound. 2.
Play fast to the ear (not the fingers), remember much of the audience is
hearing the piece for the first time. Fill
up time qualitatively 3.
The audience is on your side, feel the support of other living beings.
Play to one person in the audience (makes the task seem more achievable). 4.
Present the piece as a finished work of art (like sculpture), defend the
composer. 5.
Alter your audience's consciousness, expect this to require different
emotional heights for each performance/audience. 6.
Imagine the saxophone as animate. 7.
Energy in/energy out, air splits at the reed into horn/into body.
Good reeds and a well adjusted saxophone are imperative for this. 8.
Posture of a singer, pretend there's no saxophone. 9.
During the performance I often think:
B buzz, absence of
pitch is in the air
Organizing
the Performance Programming; many factors
including
Timing: 5-10 minute first piece; 20-40 minute first half; 20-30 minute
second half
Variety: choose 2: unaccompanied, with piano, small ensemble
Choose 3: standard, contemporary, easy/beautiful, encore-like, jazz,
original, diff saxes
Theme? See Literature Scheduling the performance
Check with personnel (need to know program first), teacher, family,
calendar
Obtaining off campus performance
Musical America, College Music Society Directory of Music Schools
Initial contact 12-18 months prior
Contact should include proposed program, bio, any promotional materials,
recording, some personal connection Programs
Submit electronically to avoid mis-typing
Program notes
Guess correct number, (usually 75 for students), keep some for files Personnel
Stage crew, written instructions on stage setup/changes
Ushers, at all entrances
Recording Tech (bring your own tape/CD)
Page turner
Let all know the concert attire Dress Rehearsal
Record?
In order?
How far in advance? Advertisement
Posters
Postcards
Restaurant Cards
Email family/friends/teachers/students
Reception
Reserve room
Arrange food
Print in program or announce Followup
Pay personnel at the recital (& have thank you note)
Any followup thankyous. File the recording (check for any pieces worthy of
sending for future gigs)
Book: The Musician’s Survival Manual by Richard Norris, 1993; includes: Overuse injuries, recognition, prevention, treatment. Specific focus on neck, back, shoulder, elbow, fingers, stage fright Bibliography includes Performing Arts Clinics, Organizations, & Publications. There are many self-awareness techniques, methods, programs that helps anyone (especially performers). They include: Alexander Technique (natural body mechanics/posture) Chi Feldenkrais (natural healing) Hara (breathing/meditation, the abdomen and the attributes of power, stamina) JinShin Jyutsu (holistic healing) Rolfing (alternative medicine) Starfire (Native American) Tai Chi Tao Tao Yoga Zen
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