As someone who spends a lot of my week teaching young men and women the joys (and horrors) of music, I have come to realize that I may have a significant impact on the development of these young people. When I first started teaching I would have never thought that how I act or what I say outside of instructing musical suggestions would carry any weight or significance in their lives ( I sometimes even went as far to tell the students to put no significance on things I say outside of music!). When I noticed how these kids seem to regurgitate my sayings and mannerisms is when I started believing that anyone (even their trombone teacher) is in an unavoidable situation to shape the general life views of the students they teach. At first this realization scared the living hell out of me and even gave me some inspiration to quit in an effort to protect these poor young souls from my random blurbs. As more time passed, I began the search for the positives of my position as a teacher and pondered the thought of stepping up to the challenge.
I've always been frustrated with the environment I was in as a student (in the formal sense) and in retrospect, some ten years removed from high school, I wish the 29 year old James would've been around for the 18 year old James. I can't confidently speak for anyone else, but in my experience I could sum up the environment in which I was educated as a means of keeping up and absorbing the aspirations of someone else...not your own. Now, this may start to seem like a blog in which I -in a blanket sense- start to send all blame to our education system but it won't be so. Primarily, I want to illuminate how education was to me and how I observed and reacted to it. I feel compelled to write about it because I seem to think (from observing my own students and hearing from them) that maybe a few people other than myself are experiencing the same instances and circumstances I felt and remember.
A very curious student of mine asked me, "James, how did you find your passion?". And oddly enough, it wasn't easy to answer a question that might seem to warrant a reply as simple as..." I just knew".
Growing up, rarely was I encouraged to dream and to imagine. You'd see it on a poster more than you'd hear it from your teacher's mouth. Also, school for me was not a place where teachers and friends were in a mindset to appreciate and understand the abilities and passions of individuals. Rather, since my passions weren't strictly based on playing sports, obsessing over my SAT scores, signing up for every single Advanced Placement class, and joining the student council, I started to feel as if I was funneling into a crowd of "outsiders"...those of us, you know, who aren't quite aware of the "important" priorities. And even in college, where you are to study exactly what it is that you wish and "major" in, still then, there was a a sense of dismissal for those who didn't fall in line. I remember the anxiety I used to feel when I knew I was never going to qualify for the National Honors Society or when my class rank wasn't going to be in the elite top ten percent. Though I was becoming an All-State trombonist and athlete of the same caliber, I got the sense that these were merely "talents of the neato variety". The only thing that mattered to my peers and teachers were things that could be measured across every individual and there was complete disregard for any other aspect that someone may hold on their own and may turn into a real special thing. Sure, ultimately I did "make it out" of that mindset into a life I am very passionate about but it's hard to forget the amazing amount of struggle and ridicule I faced when it became apparent to others that I loved playing the "trombone? really?". I felt like an outcast everyday and the days where I could hide my love for the instrument, I felt more accepted by people.
So after some thought, thus far (and subject to change), my conclusion as to how to go about finding your passion is this : Be curious of yourself and everything around you. Also, be observant and do your best to let everyday blow your mind. Too often, both when I was a student and in my students that I teach now, I see people who are ignoring numerous aspects of being alive. Yeah, it might be hard to find passion in your life when you neglect habits that might lead you to it. For me, most of the time it seemed like I was fighting a battle of working hard to please myself and also dealing with the criticism of pursuing something out of the norm. My advice is to fight always for what is important to you and protect these things.
What else should my students know? Guess what? In the near future no one is going to give a shit about how you stacked up both socially and academically in high school and beware of the grown ups who try to make you think that way. On the other hand, people (and especially yourself) will love the idea that you devoted yourself to the things that you loved and were curious about. Now, this might come across as an endorsement to put less weight on your school work but more so I am just hoping that young people can understand that in the long run what's most important is the pursuit of knowing and loving not only yourself but the gifts you may possess. This isn't taught in a lot of public school situations. Of course, not all situations have the problems in which I am illustrating but more often than never, these cases exist (both my situation growing up and seemingly so for the students I teach). I, and a few of my other classmates, still got into colleges of our top priority despite not fitting perfectly into the mold. In my case, I boasted a solid resume in my extra curricular activities and went into college with a gift that the university could value...and guess what, it wasn't my SAT score. Actually, my SAT scores (taken twice!) out of a 1600 point scale were first a 940 and then a 1000. I knew I wasn't stupid (of course no Einstein either) so that led me to conclude that people can't be summed up by some silly test score.
Finally I want my students to know that learning is a concept that is independent of school, grades, and diplomas. Don't sum up your life and existence with the marks of your report card. Of course, our education system is built around diplomas and certifications (and I can respect that) but too often is the case when people begin and stop their learning process (and measure their self worth) within such a small container. As someone who is a handful of years removed from school I am starting to notice that my ultimate impact on those that I love and the world around me are affected most by me deciding to be a "stronger version of myself" (Elliot Hulse saying...check him out) and knowing what I love, what I value, and as a result working hard to contribute that back into the world in the most positive way. It may seem dark but often I think of myself in the final stages of my life (which could be today, who knows?) and whether or not i could be satisfied with my life. What will be most important to you then in that most honest time?
Wednesday, October 23, 2013
Thursday, February 28, 2013
So Lucky Am I
Over the years, I have been blessed to be around great people who taught me the beauties of trombone and of music. Not everyone gets to come across these people so I do truly feel lucky. In fact, lucky enough, when I catch myself slacking (more often than not!) it is good grounds of self-shame. But, Ill work hard, amongst many reasons, for these people.
Steve Wessels was my band director in middle school and also the low brass instructor for our 6th grade band/low brass period. He was a trained clarinet player but he was such an encouraging force in my early fascination with playing the trombone. He made sure that I knew that I had talent and that kind of positivity has gave me a lot of confidence.
Reggie Goebel gave me my first trombone lessons on a one to one basis starting the second semester of my 6th grade year. Mr. Goebel, much like Mr. Wessels, always gave me much encouragement and made sure I knew that I was a talented kid. He sparked a fire inside of me, watched it grow, and helped me to make the fire bigger. He was generous, and he was a truly kind individual that felt much happiness from music making. He was so pure in this regard that I couldn't help but feel that passion radiating from him. As a few years went by, often we'd go in his car and hear recordings of great trombone players. Sometimes he'd invite me to shows he was playing and one time together we went and saw the great Carl Fontana just before he passed away. Unfortunately, Mr. Goebel passed away very recently but his kindness, patience, and constant commitment as a teacher are things that I could have never done with out. when I'd have the pleasure of meeting many different performers int own id always bring up the fact I studied with Mr. Goebel. Immediately people would glow about his musical talent and wonderful personality. Unfortunately, Mr. Goebel is no longer with us but I will always consider him to be my most important teacher.
Weston Sprott, 2nd trombonist of the Metropolitan Opera Orchestra, was a senior at Klein High School when I was a freshman at another school across town. I went to my first ever high school region band audition with a great deal of self assurance that I'd do a good job and place highly in the audition. Well, I still did decently, but that day my eyes were opened. In Weston I had heard something I had never even dreamed to be possible (of course, for a 14 yr old trombonist, that might not take tooooo much). I was blown away at his control of the horn and how beautiful the sound was. Immediately after the audition I walked up to him, introduced myself and told him how much I admired his playing that day. Weston was very welcoming to my fanatical enthusiasm and from there on out he was a very solid source of knowledge for me. I was a kid who was hungry to know more about the trombone and he was a budding master who loved to share his enthusiasm for the trombone. Though I'm sure I annoyed him, it didnt matter, he always answered my curiosity no matter what the subject was. I owe him a lot for mentoring me throughout those years, and having someone like that to look up to inspired me every day.
When Weston sensed that playing well is something that I truly wanted to do, he suggested that I enlist in the expertise of Michael Warny who at the time was a member of both the Houston Grand Opera and Ballet orchestras as well as a member of the trombone faculty at the University of Houston. I was only a freshman at the time but Mr. Warny's commitment and focus to the fundamentals of playing really lit a fire in me. Additionally, I owe Mr. Warny a lot for teaching the tricky subject of the legato articulation on the trombone. Mr. Warny was a master technician of the instrument and it was just what I needed at the time. I owe him a lot for his generosity, artistic nature, and his honesty.
After high school, I was accepted to two colleges: Southern Methodist University and the Manhattan School of Music. Ultimately I ended up attending SMU and studying with Mr. John Kitzman principal trombonist of the Dallas Symphony Orchestra. Mr. Kitzman has been known as a teacher world-wide and especially for his track record of training some of America's finest trombonist who now hold positions in major orchestras today. Coming out of high school I had benefited from the constant ego boosting from very special people in my life and in my first lesson with Mr. Kitzman I had felt all of the platform I had below me drop completely. He was blunt, brutally honest, and for a while, seldom was he complimentary. I had felt like I had no grounds of confidence or reason to feel that I was any good. His ideas of playing differed from how I had been taught previously. For a few months I had felt traumatized. Slowly as time passed I was able to properly absorb the message he was trying to get across to me. As the days went by I could feel the benefits in my playing and the habits he trained me to have stay with me until this day. As a student of Mr. Kitzman, there will be a few certain factors. You will do what he tells you, it will benefit you, and you will become quite familiar with the symphonic repertoire even at an early stage of school. My time at SMU was a precious one and I'm very fortunate to have been there with a great teacher and wonderful colleagues whom I still keep up with today.
I eventually came back to Houston and began freelancing around town. Knowing that I needed to learn more and develop, I started playing for Brad White 2nd/assistant principal trombonist of the Houston Symphony Orchestra. Brad had studied in NYC with some of the world's finest players and teachers such as Joseph Alessi, Per Brevig, Koichiro Yamamoto, David Finlayson...etc. He was my window into that world. A lot of what Brad has taught me are things that are still working into my playing today. I admire his intensity and his focus to playing the trombone. I owe Brad a lot for helping me with my high range. Before my time with him, I could hardly play Bolero. Now I can. The x factor is Brad. Brad also has a very unique insight to the workings of the embouchure and teaches his ideas in a very clear yet anxiety-free fashion.
Robert Walp is the assistant principal trumpet of the Houston Symphony Orchestra and former student of the late and great Vincent Chicowisz. "Bob" was we all call him is a strong force in the brass playing community of Houston and also director of the Houston Brass Band. I have benefited quite a bit from his great artistic drive and also his amazing portrayal of brass playing technique as taught to him by his teachers in Chicago (Bud Herseth and Arnold Jacobs among them as well).
Allen Barnhill is the Houston Symphony's principal trombonist. What I most admire about Mr. Barnhill is the amazing beauty that comes from his horn upon the first note, not just the tone but also in terms of music making. He is a man of high artistic concern and I have learned a lot from him not only in lessons but also by observing his playing in concerts and sitting next to him as a substitute in the orchestra as well. Mr. Barnhill is a busy man with many obligations but whenever I get the opportunity to speak with the man about music making I am always in awe of what he has to say, largely due to the beauty that comes out of his trombone.
I would imagine not many people are as lucky as me to have come across such inspiring mentors...i better get to practicing!
Steve Wessels was my band director in middle school and also the low brass instructor for our 6th grade band/low brass period. He was a trained clarinet player but he was such an encouraging force in my early fascination with playing the trombone. He made sure that I knew that I had talent and that kind of positivity has gave me a lot of confidence.
Reggie Goebel gave me my first trombone lessons on a one to one basis starting the second semester of my 6th grade year. Mr. Goebel, much like Mr. Wessels, always gave me much encouragement and made sure I knew that I was a talented kid. He sparked a fire inside of me, watched it grow, and helped me to make the fire bigger. He was generous, and he was a truly kind individual that felt much happiness from music making. He was so pure in this regard that I couldn't help but feel that passion radiating from him. As a few years went by, often we'd go in his car and hear recordings of great trombone players. Sometimes he'd invite me to shows he was playing and one time together we went and saw the great Carl Fontana just before he passed away. Unfortunately, Mr. Goebel passed away very recently but his kindness, patience, and constant commitment as a teacher are things that I could have never done with out. when I'd have the pleasure of meeting many different performers int own id always bring up the fact I studied with Mr. Goebel. Immediately people would glow about his musical talent and wonderful personality. Unfortunately, Mr. Goebel is no longer with us but I will always consider him to be my most important teacher.
Weston Sprott, 2nd trombonist of the Metropolitan Opera Orchestra, was a senior at Klein High School when I was a freshman at another school across town. I went to my first ever high school region band audition with a great deal of self assurance that I'd do a good job and place highly in the audition. Well, I still did decently, but that day my eyes were opened. In Weston I had heard something I had never even dreamed to be possible (of course, for a 14 yr old trombonist, that might not take tooooo much). I was blown away at his control of the horn and how beautiful the sound was. Immediately after the audition I walked up to him, introduced myself and told him how much I admired his playing that day. Weston was very welcoming to my fanatical enthusiasm and from there on out he was a very solid source of knowledge for me. I was a kid who was hungry to know more about the trombone and he was a budding master who loved to share his enthusiasm for the trombone. Though I'm sure I annoyed him, it didnt matter, he always answered my curiosity no matter what the subject was. I owe him a lot for mentoring me throughout those years, and having someone like that to look up to inspired me every day.
When Weston sensed that playing well is something that I truly wanted to do, he suggested that I enlist in the expertise of Michael Warny who at the time was a member of both the Houston Grand Opera and Ballet orchestras as well as a member of the trombone faculty at the University of Houston. I was only a freshman at the time but Mr. Warny's commitment and focus to the fundamentals of playing really lit a fire in me. Additionally, I owe Mr. Warny a lot for teaching the tricky subject of the legato articulation on the trombone. Mr. Warny was a master technician of the instrument and it was just what I needed at the time. I owe him a lot for his generosity, artistic nature, and his honesty.
After high school, I was accepted to two colleges: Southern Methodist University and the Manhattan School of Music. Ultimately I ended up attending SMU and studying with Mr. John Kitzman principal trombonist of the Dallas Symphony Orchestra. Mr. Kitzman has been known as a teacher world-wide and especially for his track record of training some of America's finest trombonist who now hold positions in major orchestras today. Coming out of high school I had benefited from the constant ego boosting from very special people in my life and in my first lesson with Mr. Kitzman I had felt all of the platform I had below me drop completely. He was blunt, brutally honest, and for a while, seldom was he complimentary. I had felt like I had no grounds of confidence or reason to feel that I was any good. His ideas of playing differed from how I had been taught previously. For a few months I had felt traumatized. Slowly as time passed I was able to properly absorb the message he was trying to get across to me. As the days went by I could feel the benefits in my playing and the habits he trained me to have stay with me until this day. As a student of Mr. Kitzman, there will be a few certain factors. You will do what he tells you, it will benefit you, and you will become quite familiar with the symphonic repertoire even at an early stage of school. My time at SMU was a precious one and I'm very fortunate to have been there with a great teacher and wonderful colleagues whom I still keep up with today.
I eventually came back to Houston and began freelancing around town. Knowing that I needed to learn more and develop, I started playing for Brad White 2nd/assistant principal trombonist of the Houston Symphony Orchestra. Brad had studied in NYC with some of the world's finest players and teachers such as Joseph Alessi, Per Brevig, Koichiro Yamamoto, David Finlayson...etc. He was my window into that world. A lot of what Brad has taught me are things that are still working into my playing today. I admire his intensity and his focus to playing the trombone. I owe Brad a lot for helping me with my high range. Before my time with him, I could hardly play Bolero. Now I can. The x factor is Brad. Brad also has a very unique insight to the workings of the embouchure and teaches his ideas in a very clear yet anxiety-free fashion.
Robert Walp is the assistant principal trumpet of the Houston Symphony Orchestra and former student of the late and great Vincent Chicowisz. "Bob" was we all call him is a strong force in the brass playing community of Houston and also director of the Houston Brass Band. I have benefited quite a bit from his great artistic drive and also his amazing portrayal of brass playing technique as taught to him by his teachers in Chicago (Bud Herseth and Arnold Jacobs among them as well).
Allen Barnhill is the Houston Symphony's principal trombonist. What I most admire about Mr. Barnhill is the amazing beauty that comes from his horn upon the first note, not just the tone but also in terms of music making. He is a man of high artistic concern and I have learned a lot from him not only in lessons but also by observing his playing in concerts and sitting next to him as a substitute in the orchestra as well. Mr. Barnhill is a busy man with many obligations but whenever I get the opportunity to speak with the man about music making I am always in awe of what he has to say, largely due to the beauty that comes out of his trombone.
I would imagine not many people are as lucky as me to have come across such inspiring mentors...i better get to practicing!
Tuesday, January 15, 2013
Vivacity
In a performance related field, what exactly does it mean when you aren't constantly trying to improve yourself? When you get complacent. When you start to find contentment.When you aren't practicing your craft. Even when you label/resign yourself to a certain mold.
It means you're getting worse. Maintenance is a scary concept.
When not careful, the mode of "maintenance" is easy to fall into. Trust me, I know.
You know, you could compare it with death. Our bodies need to find constant stimulation and nourishment from the environment. When we stop doing this (especially the basic necessity of eating) we die. When we lose the will to live, we die. Not feeding our passions is means for their death isnt it? Things become stagnant, harmful bacteria grows, and infections come into place. Life has to be preserved.
Thank you, Matt Schaub, quarterback of Houston's Texans football team for illustrating to me why exactly one must avoid contentment like the plague. Year after year, your "good enough" label has infected your performance and never have I seen you achieve the greater heights that are needed to match the excellence around you. Of course, there is always next year, will you approach the off-season properly? Will try to redefine yourself and try to become greater? Or will you sit like a chicken, staying alive and holding one purpose, and being a very good layer of eggs.
Football has taught me this very important lesson.
It means you're getting worse. Maintenance is a scary concept.
When not careful, the mode of "maintenance" is easy to fall into. Trust me, I know.
You know, you could compare it with death. Our bodies need to find constant stimulation and nourishment from the environment. When we stop doing this (especially the basic necessity of eating) we die. When we lose the will to live, we die. Not feeding our passions is means for their death isnt it? Things become stagnant, harmful bacteria grows, and infections come into place. Life has to be preserved.
Thank you, Matt Schaub, quarterback of Houston's Texans football team for illustrating to me why exactly one must avoid contentment like the plague. Year after year, your "good enough" label has infected your performance and never have I seen you achieve the greater heights that are needed to match the excellence around you. Of course, there is always next year, will you approach the off-season properly? Will try to redefine yourself and try to become greater? Or will you sit like a chicken, staying alive and holding one purpose, and being a very good layer of eggs.
Football has taught me this very important lesson.
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