Alright – I’ve been saving this post for a little while but now it is officially time since my album came out this week on Tuesday November 7th. Throughout the whole process of making my album, I have learned so much while making “As I Am” and a lot of people have asked me great questions about  the process so I thought it would be great to organize my thoughts into a blog post.

First: for those of you that don’t know me too well: here is a super quick background 🙂 A little over a year ago, I wanted to pick some rep for a recital and found a couple great pieces by women composers. Rather than doing another recital, I knew that I would be graduating with my Masters in May and I thought that an album featuring music by women composers would be a great thing to graduate with…. so here we are! I commissioned about half of the composers featured on the album and found the rest of the pieces on my own. I also crowdfunded about 80% of the costs for the album which was unbelievably helpful. The album would not have been possible without those contributions so if you were one of the 150+ people who helped make the album possible, thank you so much!!

Here’s a formal description:

As I Am is my debut album featuring new music for trumpet by women composers. This album includes a wide range of contemporary trumpet playing, from lyrical melodic lines to improvisation to extended techniques. The album includes music for solo trumpet, flugelhorn, trumpet with electronics, trumpet and piano, trumpet + electronics + harp, and flute + violin. As I Am presents music by Alexandra Gardner, Ariel Marx. Jennifer Higdon, Jessica Rudman, Jinhee Han, Ledah Finck, Nicole Piunno, and Kate Amrine.  Continue reading →

We are so excited to share our first Five Things Friday that includes yoga poses that YOU can do on your own complete with photos and videos. From sitting in long rehearsals or standing up when performing or teaching, we all can benefit from these poses so we really appreciate Dr. Kate Umble Smucker for writing and sharing these with the Brass Chicks community and special thank you to Rebecca Steinberg for modeling for the pictures!

Dr. Kate Umble Smucker is a trumpet player and music educator based in New York City. She currently plays with Calliope Brass Quintet and teaches trumpet at the Music Conservatory of Westchester. Kate is also a 200 hour registered yoga teacher. She is passionate about sharing her knowledge of yoga with fellow musicians so they too can experience the benefits she has enjoyed by incorporating yoga practice with trumpet practice. 

Kate is a dreamer who loves to bring big ideas to life. Working with Calliope Brass, Kate assisted in the development of the educational show, “What’s Your Story?” She is a founding member of Spark Brass, a brass and percussion ensemble dedicated to promoting the positive impact of music education. She is also the founding artistic director of Lancaster New Sounds, a concert series that showcases new music by living composers. Her love of jazz prompted her to put together and lead the 18-piece King Street Big Band which is still active in Lancaster, PA.

Kate holds a Doctorate in Trumpet Performance from the University of Missouri in Kansas City, a Masters of Music from the University of North Texas, and a Bachelor of Music Education (K-12 instrumental) and a Bachelor in Trumpet Performance from the University of Northern Colorado. Her primary teachers were Dr. Keith Benjamin, Professor Keith Johnson and Dr. Robert Murray.

---

1.    PREVENT strain through awareness of posture and alignment:

The key here is being aware of our posture, especially in tense situations where our mental stress can translate into tight muscles and lead to strain and overall inefficiency. We want to use our body in maximum efficiency mode, letting our skeleton do the work of holding our body upright and therefore allowing our muscles to do their work unhindered. Here is a quick checklist:

o   Weight Distribution: Where do you feel your weight supported in the chair? You should feel your two “sitz bones” directly under each hip where your thighbone meets your hip joint. If you have trouble finding them see this helpful video: https://www.youtube.com/watch?v=1nAbujEhLrY

—-> Note: If you are standing to play, you won’t be balancing on your sitz bones, you will be balancing on the “four corners” of your feet (the heel and ball of both feet) with your feet hip width apart, keeping awareness of where your thigh bone connects into your hip joint, keeping your knees unlocked and the same awareness of a flat back, floating head, neutral chin. Thank you to Lindsay of “Thousand Petal Lotus Living” for this excellent graphic showing the pitfalls of standing and proper alignment:

o   Head: Your skull “floats” on a ball and socket joint. Slowly and gently trace an infinity sign with your chin. Can you feel a length in your neck and free and easy movement through the whole movement? If not, take a pause at the spots where you feel tension and breathe in and out through your nose for a few breaths as you release the tension in those spaces.

o   Chin: Are you bringing the instrument to you or jutting your chin toward the instrument? Is your chin in a neutral position or aimed down at the floor or up toward the ceiling? (It should be neutral)

o   Shoulders: Bring your shoulders up to your ears, roll them back to squeeze your shoulder blades together and then bring them down away from your ears. Do this a few times until you can feel the weight of your arms hanging from your shoulder joints and a length across your body from the top of one shoulder to the other.

 

2.    Shoulder stretch and neck release with Chair

This simple stretch can be done any time during practice or a rehearsal break. Simply stand behind a sturdy chair and place your elbows on the back of the chair. You can rest your forehead on the back of the chair between your elbows or, if you are open enough, you can let your head drop between your elbows as you see Rebecca doing in the photo. Be sure to walk your feet out and away from the chair so you ankles are directly under your hips to give you a flat back (no sway back or arched back).  Hold for several minutes, breathing deeply and out through your nose, making sure you don’t lock your knees.

3.    Eagle Arms

Many of you have probably come across this one before, but I had to add it into the mix because it works so well! Standing or sitting, bring your arms out to the side so you are in a T shape and then bring your elbows together in front of your body, crossing your right elbow over your left elbow. If it is available to you, bring your left fingertips to meet your right palm so your arms are twisted around each other in a spiral. You should feel a stretch across the back of your shoulders. Be gentle! If you want a deeper stretch you can pull your elbows down and/or out away from your body. ** Do this on the other side by releasing your arms and crossing left elbow over right elbow.

      

 

4.    Rag Doll

This is a simple forward fold, folding forward from the hip joint, staying balanced on the four corners of your feet.  Bend your knees as needed to feel the lengthening of your spine. The neck and shoulder release is created by adding downward weight when you clasp your elbows or, (if available to you), placing your palms under your feet. Hold this for at least a minute, longer if possible, concentrate on breathing in and out through the nose, and come up slowly when you are ready to release.

    

 

5.    Wall Twist

This twist is less intense than what you might do during a yoga practice because you should be properly warmed up before you jump into a really deep twist. Keep that in mind as you do this at the wall! Place your chair about 1-2 feet from the wall and stand beside the chair, between the chair and the wall. Place your right foot on the chair. Keeping your right knee above your ankle, turn your torso to face the wall and reach your left arm straight out along the wall. You can reach your right arm up or straight out in line with your left arm. Repeat twist on the other side, placing your left foot on the chair.  

       

Further Recommended Reading:

Great insight into proper alignment and how to incorporate free and open breathing into your playing:

The Breathing Book, David Vining (this is the trumpet version but there are also versions for trombone and bass trombone)

 

 

 

This week’s Five Things Friday is by trumpeter and educator Sandy Coffin. I have known Sandy through freelancing in NYC and my recital at the International Women’s Brass Conference was right around the same time as her presentation so it is great to feature Sandy’s presentation with the Brass Chicks community in this format.

Sandy Coffin is trumpet player who has performed all around the US and Europe, premiered several new pieces written especially for her, presented lecture-recitals on original 19thC instruments in both the UK and NYC this past year, is working on a recording project of ‘lost’ cornet solos, teaches Brass Band at a private school in NYC, tutors with the National Youth Brass Bands of Scotland Summer Course, has won a bunch of awards, created a successful concert series, just signed an arranging contract with a music publisher, has degrees from Oberlin and MSM—and still isn’t sure what to wear.

 

---

Based on my presentation at the IWBC June 2017 at Rowan University and my interview with Christine Chapman, published in the Fall 2015 IWBC Newsletter.

As women, we do not have a ‘default’ dress code; we do not have a standard equivalent to the ‘suit and tie.’ Women have a particularly wide range of fashion options when the dress code says ‘formal,’ but each option carries certain connotations. The choices have become increasingly complicated for everyone, both women and men, so how do we go about making informed and appropriate choices?

[Note: this is not really about orchestra attire – when given specific guidelines, follow them!]

I think it is important, especially in these complex times, to talk about some of these issues, and particularly about how we choose to physically present ourselves in our performances, photos, and social media / publicity materials.  I don’t believe there are any definitive answers, but hopefully talking about these things can help us all make educated choices – and allow us to excel in our performances.

1. Can I actually play my best in this outfit?

• Whatever you choose to wear, be sure you can breathe easily and fully, and can move as needed – to get on and off stage, for mute changes, instrument switches, page turns, choreography, managing interactive electronics, etc.

• If you choose to wear a cocktail dress and heels, be sure you feel grounded and balanced in your heels! (Low incline platform shoes are great for that.)

• Practice often in the outfit to be sure. Video record yourself from various audience perspectives to be sure you are really presenting the image you want to project.
• Be informed about the performance space and audience sight lines. You don’t want to be surprised by the angles people are looking from – and what they can see. Keep them focused on your performance, not your wardrobe.

2. How do our clothing, hair, make-up choices impact how others perceive us (the individual and/or ensemble)?

• Be aware of the story you want the audience to experience during your performance. You are not anonymous while producing sound on a stage. Wearing a cocktail dress and heels just because it seems to be the female equivalent of a man’s suit (performance uniform) without being aware of the cultural signals such an outfit projects can be inappropriate on stage.
• Be aware that different regions bring different cultural norms to the table. You don’t have to change yourself to fit, but you always need to be as aware as possible of the context others will have as they interact with you.

3. How do they impact how we perceive ourselves?

• Self-perception is an integral part of performance presentation. Do you feel comfortable? Exposed? Powerful? Vulnerable? You don’t want to be focused on what you are wearing – you want your energy to go into your performance.
• Learn what styles make you feel most in control of the situation, strong, and secure.
• Determine what brings you closest to your own self-image of a successful performer.

4. What factors can we use to determine what the consequences of our clothing/appearance decisions might be?

• Stay aware of the signals that some clothing was designed to project. Educate yourself. Talk with theater costume designers or fashion professionals.

• Choose the cocktail dress and heels if they make you feel good as a performer. But own the fact that a formal or sexy cocktail dress was designed to send signals about different things than a man’s business suit was. (Their names say it all…)
• Aim for PERFORMANCE POWERFUL. It is great when a performer is aware of how an outfit can be perceived, including the hidden signals that may have little to do with the music, and intentionally chooses to present themselves in that framework because it makes them feel strong. Clothing choices that seem to be made in the hopes of distracting from performance difficulties are less great.
• Get feedback from others about your performance presence, but reflect on what makes you feel good on stage. You need to feel solid and grounded, strong and powerful, so spend time reflecting on what makes you feel best.

5. Are you prepared to deal with the full range of consequences of those decisions, including comments and unsolicited behaviors from others, and success or failure that has little or nothing to do with the actual performance

• When you feel solid, grounded, strong and powerful, the audience will join you in feeling that.
• You must own the story that you are presenting to the audience. Tell that story as powerfully as you can. Clothing and makeup choices should serve as backdrops or props in the telling of that story, not simply a costume for yourself. Keep it all integrated.
• Remember that others are going to bring their own agendas and interpretations to that story. Plan in advance for what those might be, based on cultural allusions, your own experiences, and research into the experiences of others. You can’t control other people’s responses or behavior, but you can prepare yourself in advance on how you would deal with a variety of responses.

Additional reading:
“What’s Up With That Anyways?: Conversations with Christine Chapman” by Sandy Coffin. NoteWorthy, Official Newsletter of the IWBC, Vol. 22, No. 2, Fall 2015, page 5.

Reflections on Risk: by Ashley Fure, https://griddarmstadt.wordpress.com/2016/08/

 

 

For this week’s Five Things Friday, we are pleased to welcome Ariana Douglas! Ariana, a horn player, is a graduate student and freelance musician in Toronto. Thanks to Ariana for listing her five favorite fifth symphonies for us! 

NB: Recordings selected by the Brass Chicks team

Continue reading →

This post from tubist Genevieve Blesch has some great tips on how to keep your playing up after graduating and even features a bonus Five things to cover in each practice session.

Genevieve Blesch is a freelance tuba performer and educator in the tri-state area. After spending her freshman year at The Ohio State University studying with James Akins, she received her bachelor’s degree in music education and master’s degree in tuba performance from Mason Gross School of the Arts at Rutgers University, where she studied with Alan Baer. Genevieve frequently performs with orchestras, quintets, school ensembles and marching/pep bands. Noteworthy clients include The Pennington School and Patriot Brass Ensemble. Genevieve teaches private and small group lessons in central New Jersey. Orchestras that Genevieve has performed with include Shen Yun Symphony Orchestra, Ridgewood Symphony Orchestra, Sinfonietta Nova and Gateway Classical Music Society. Outside of music, Genevieve teaches Japanese and pursues her interest in technology.

Thanks Genevieve for sharing your thoughts with the Brass Chicks community!  Continue reading →

Alia Kuhnert began playing trumpet at age ten in her home town of San Francisco, going onto  major in trumpet at the San Francisco School of the Arts High School. Alia attended the Summer Brass Institute in ’12 and ’13. As a fellow she collaborated with Joseph Alessi, principal trombone of the New York Philharmonic, Øystein Baadsvik, international tuba soloist, and Thomas Hooten, principal trumpet of Los Angeles Philharmonic. Alia is a graduate of the New England Conservatory where she majored in Trumpet Performance and performed with NEC’s Philharmonia, Wind Ensembles, Opera, Jazz and Chamber Orchestras. Committed to education, Alia teaches trumpet at the Harmony Program, a program whose mission is to reach underserved communities in New York City public schools. She is the trumpet faculty at Cazadero Music Camp in California. Her principal teachers include Catherine Murtagh, Michael Sachs, principal trumpet of the Cleveland Orchestra, Ben Wright of the Boston Symphony Orchestra, Tom Siders of the Boston Symphony Orchestra, and Kevin Cobb of the American Brass Quintet. Alia is currently pursuing her MM and DMA in trumpet performance at Stony Brook University, studying with Kevin Cobb.

Continue reading →

This week’s Five Things Friday reveals a new perspective in the Brass Chicks community – featuring a post from Michelle Bingheim, a trumpet player and music therapy student, on five habits we should all practice every day.

Michelle Bingheim is currently a senior at Western Illinois University. Michelle comes from a musical family and developed a love for music at a young age.  She began her music study with piano, but the trumpet eventually won her over.  Michelle continues to study trumpet and participate in ensembles while earning her degree in music therapy.  She enjoys performing with a variety of ensembles and has developed a special love for playing in brass ensembles/bands.  Michelle plans to become a board certified music therapist upon graduation and serve clients in a special education setting while still pursuing her love of playing trumpet. Outside of music, Michelle enjoys consuming coffee, binge-watching Netflix, spending time with her family, being active at her church, and giving back to her community.

Continue reading →

We are very excited to feature Bri Ihasz – a french horn student with some great things for all of us to keep in mind about music.

Bri Ihasz is currently a junior studying Horn Performance and the University of Michigan. The daughter of two musicians, Ihasz grew up surrounded by music in a small town south of Buffalo, NY. She absolutely loves the Michigan School of Music, but she’s also involved in other activities, such as being a part of the marketing team for a local independent record label and being a sister of the Gamma Phi Beta sorority. She hopes to one day move to LA and either find work playing in lab orchestras or working for record labels.

Thanks, Bri, for sharing your thoughts with the Brass Chicks community!

Continue reading →