Josh Bledsoe

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Hello All!

My sincerest apologies for not blogging in quite a while. I was diagnosed with Type 1 diabetes several months ago, and have spent considerable time working on “me” and things like blogging have taken a back seat. In the spirit of getting physically healthy, I decided to make a short post on how losing 100lbs (again) and getting my health in order has affected my playing.

Weight Loss
Losing the excess weight has really helped my trombone playing. Playing any brass instrument is an athletic endeavor, and the trombone adds additional effort in that there is a considerable amount of motion due to the slide. Losing excess weight will improve your posture and thus your ability to breathe more freely.

Diet
Since being Rx’d diabetic, my diet has changed drastically. I follow a very low-carb diet compared to the average person. I do not necessarily advocate a low-carb diet for everyone, but learning to eat to improve your quality of life is very important.

• Eat several small meals throughout the day
  Eating large meals often make a person feel lethargic for a period after the meal is over. Large meals require the body to work hard just to digest the food you have eaten. Before I began eating smaller, more frequent meals I would have to wait as much as an hour after the meal to be fully engaged in my playing. A meal should satiate you, not weigh you down!
• Limit your carbohydrate intake
  Even in a non-diabetic, meals high in carbohydrate will raise the blood sugar for a short time. When your blood sugar is elevated, you become tired.
• Avoid overly-fatty meals
  In my experience, overly fatty meals make me lethargic. After a large, fat-filled meal my heart rate usually increases and all I want to do is lay around. When my meals are lean, and include healthy fats (poly and mono unsaturated fats, like those found in nuts, avocado, olive oil etc) I feel energized!
• Cut down on caffein!
  I used to be a big coffee drinker, and I still am! However, I have switched to decaf and noticed I actually have more energy! Caffeine is addictive, and getting energy from coffee, energy drinks becomes a double-edged sword. Over a period of time, you must ingest a certain amount of caffeine because your body has become accustomed to having that energy. If you dont get the caffeine, you will feel tired. I have noticed I sleep much better, and my energy is much more even after having cut back on caffeine.

Exercise
We all know exercise is good for us! In addition to helping you keep your weight “in check” you will also begin to strengthen postural muscles which help you carry and operate your instrument. Less energy expended holding your horn means easier utilization of the breathing apparatus and a more efficient production of sound. Exercise also increases your cardiovascular health and lowers the resting heart rate. These positive cardiovascular effects will help your sound production from an air standpoint, as well as help you deal with performance anxiety more readily.

Well, that is all for now! Get out there and make some positive changes in your life! 

No, this doesn’t have to do with food falling on the floor!

It has everything to do with being productive.

I looked through my computer yesterday to clear out some unnecessary garbage. I kept running across unfinished projects. I always seem to have at least a dozen “kernels” sitting around. These “kernels” are projects and ideas I have that Im hoping will bloom.

About a month ago Deanna Swoboda (Prof. of Tuba, Western Michigan University) talked about doing something each week to advance a project no matter how small or large that one thing might be.

Similarly, I have a “ten minute rule” I use with myself and my practicing. When there was a true deficiency in my playing, I used the ten minute rule to keep me focused and not get bogged down beating a dead horse. The rule is this…

If you have a goal, pursue that goal for ten minutes each day.

Want to write an arrangement but finding it hard to devote time? 10 minute rule
Think your upper range needs extra work? 10 minute rule
Need to learn a new language? 10 minute rule

Ten minutes doesn’t seem like much, but sometimes it is the perfect amount of time! When you are working on something difficult, or something at which you dont sound great it is easy to get discouraged and just keep ignoring the issue. With the ten minute rule, after one month you will have spent roughly five hours working out the issue. Chances are, those five hours will be exceptionally high quality because your attention will not wander.

Be back in ten…

I thought I would share some of my favorite practice tools. Most of these tools are rather basic, and every student should have (and use) these basic tools. Some of these tools may be new to you, so read on and I will tell you what they are, where to find them and most importantly, how to use them.

Metronome
Surely, every musician is aware of the metronome. Using a metronome is essential for developing rudimentary time. I have many metronomes that I use, but I tend to use the DB-90 more often than not for the fact that it not only keeps time, but has many subdivision options as well as a tone generator for practicing intonation.

Mouthpiece
Every brass musician has probably been told about the benefits of practicing on the mouthpiece, so I wont rehash that here. Mouthpiece buzzing has come under fire recently, but I am a firm believer in buzzing the mouthpiece. Personally, I buzz the mouthpiece for a fairly extended time during my warm-up. Buzzing the mouthpiece is great for ensuring that you are actually producing the pitches at the lips that you are trying to produce on the instrument. Once one becomes as comfortable playing the mouthpiece as they do the trombone, then the function of mouthpiece buzzing becomes primarily an air motivator.

Tuner (not pictured)
I feel that a tuner has limited uses when trying to judge your intonation relative to a tonal center. For instance, if you were playing the opening fanfare from Tuba Mirum the D’s would register as flat with a tuner, but because of that notes function harmonically it should be lowered. However, I do use a tuner to make sure that the instrument is in tune and to check my pitch center. Additionally, I will use the tuner when playing long tones which do not imply any kind of harmonic function such as those found in The Brass Gym. When using a tuner, establish your pitch and try to evaluate where you think the pitch center is, then glance at your tuner to judge whether or not you were correct. Staring at the tuner the entire time you play teaches you to evaluate pitch with your eyes instead of your ear, which has little use in a performance setting.

JoRal Shortcut
The “shortcut” is picture on the bottom, second from the right. It is a very basic tool that consits of several inches of brass tubing connected to a copper bell. The shortcut produces a feel that is very similar to that of the instrument. I feel that buzzing the mouthpiece alone is great at the beginning of my warm-up, but the different sensations can sometimes cause a bit of confusion in my chops if I use the mouthpiece alone later in my practice day. Therefore, to keep the feel of buzzing as similar as possible to the instrument I use the Shortcut. You can reproduce this tool rather cheaply by purchasing a 1-inch diameter piece of plastic tubing (such as a garden hose) and playing with the length until you find a feel similar to the instrument. Ralph Sauer suggests a piece of tubing roughly 9 inches in length with a hole drilled about one inch below the shank of the mouthpiece. This hole can be uncovered/covered when you experience a “break” in the pitches that the tubing will support.

Incentive Spirometer
Some teachers advocate the spirometer for breathing, but I personally dont feel like it works well in that application. However, the included tubing is perfect for inserting the mouthpiece. When turned upside-down, the ball in the spirometer will acsend when air passes through the device. I periodically use the spirometer with the mouthpiece to ensure that the air at the attack of a note is of sufficient speed. When articulating using the insterted mouthpiece, the ball should immediately jump to the top of the device.

Breathing Tube
My breathing tube is fairly large in diameter, but even a 1-inch diameter piece of tubing will work just fine. If I ever feel like my breathing is laborious I will pull out the tube and breath in and out a few times to establish relaxed breathing. You can make one very easily by purchasing some PVC pipe and cutting it several inches long. The tube pictured was made with a shaft saver for golf clubs.

Recording Device
Recording yourself is an invaluable device. I usually use a Zoom H4, run into my computer. It is preferable to use a recording device that records with sufficient sound quality. Avoid voice/memo recorders as these devices do not have mics that record an accurate trombone sound. Additionally, many voice recorders contain an auto gain which raises the levels of soft passages and lowers the level of loud passages. This leaves you unable to judge dynamics. I really like the Zoom H4 and H2. These devices can be fairly expensive, but the investment pays for itself over and over again.

UltraBreathe
The UltraBreathe is a breathing device endorsed by euphonium soloist Steven Meade. The device consists of a plastic mouthpiece attached to PVC pipe that allows you to adjust the amount of resistance on the inhale. This tool is not an essential, but is a neat tool to have. The Ultrabreathe can be found at www.justforbrass.com

Mouthpiece Rim/Rim Visualizer
I just recently started using a rim visualizer and I wish I had started sooner! I feel that the assessments I can make using the rim visualizer are greater than buzzing he mouthpiece alone.

Practice Mute
I dont use a practice mute often, but it can be good for students who are not used to playing with a full sound. Trying to get a full sound using the practice mute can really open up the sound on the open horn. It is also useful when traveling.

Video Recorder
Few people probably every video record themselves playing, but it can be a valuable tool when evaluating your physical efficiency on the instrument. Often, how we think we look when we play is very different from how we actually look. Video recording yourself playing can make you aware of how your posture affects your playing and also enables you to find inefficiency in the slide technique. Additionally, many festivals/competitions are requiring video audition tapes now.

These are just a few of the tools I use. Stay tuned, as shortly I will be recording video clips of some of the practice techniques I use.

Every student has heard about the importance of air in playing a brass instrument. The importance of breathing and usage of air has really come to the forefront of brass pedagogy. This blog entry is really just an FYI for those looking for some excellent resources for breathing.

The Breathing Gym- Sam Pilafian/Patrick Sheridan

The Breathing Gym is, in my opinion,  one of the best books on the market dealing with the subject of breathing and usage of air. I have been incredibly fortunate to work closely with Sam Pilafian and I am a firm believer that applying the concepts on a daily basis will improve your playing. There are truly not enough positive things I can say about this book. Do yourself a favor and instead of buying a new mouthpiece, pick up the book/CD combo available at www.focus-on-music.com or www.justforbrass.com

The Breathing Book- David Vining

David’s new book The Breathing Book is a great resource. Personally, I am glad I found this book after first working from The Breathing Gym for an extended period of time. This book focuses on breathing with anatomical correctness and being as balanced as possible. One great feature is the musical exercises included in the book. The Breathing Book is available in editions for tenor trombone and bass trombone/tuba. You can find this book at www.mountainpeakmusic.com or www.focus-on-music.com

These two resources are invaluable for any wind instrumentalist. I feel that The Breathing Book and The Breathing Gym are a powerhouse combo for learning to use your air efficiently and staying as balanced as possible.

“Blow Freely”- Bill Cramer

JB

I just spent a week in Tucson, Arizona with trombonist, musician, teacher and friend Mike Becker. This is my second trip to “bootcamp” and it was as positive an experience the second time around as it was the first.

Each day follows a similar format that trades off between masterclass style coaching and section coaching.  This year we were fortunate to have guests Mark Fry and Larry Zalkind. Mark spent a lot of time coaching the bass trombonists and tubists as well as section coaching. Larry presented an incredible masterclass which started with a short recital and later coached students as well as doing some section coaching.

Mark Fry keeps a blog, and will shortly upload a daily log of the event as well as some photos, so keep an eye out at www.frybone.blogspot.com for more info!

Im not going to get specific on everything, but I encourage anyone who reads this to investigate the LBB (low brass bootcamp). Mike is truly an oasis in the desert. You can hear Mike play and find more information at www.beckbone.com. Mike is truly a world class player with an incredible gift. Mike has very clear ideas about style and can talk about what it means to play (insert composer here) but still keep things simple and accessible.

If you are just stepping on the audition trail, or you’ve been on he trail a while and are wondering why you havent been advancing, or perhaps you are a DMA student looking to gain the knowledge you will need to teach the orchestral repetoire then this camp is for you! Mike plays the repetoire as well or better than anyone in the business.

Hope to see some of you next year!

One of my hobbies is reading about social science and behavioral science. I am fascinated by how we make decisions, the underlying factors for why people succeed, and how rational we truly are compared to how rational we believe we are. In my reading, I have come across several books that I consider “must reads” for musicians. To name a few..

Outliers- Malcolm Gladwell
Blink- Malcolm Gladwell
Predictably Irrational- Dan Ariely

I am still wading through Predictably Irrational. In a nutshell, the book talks about how rational we truly are, compared to how rational we believe we are. The full title of the book is Predicabtly Irrational: The Hidden Forces That Shape Our Decisions. One of the early sections of the book deals with “anchors”, and in laymen terms this refers to the initial exposure to a certain value. The easiest analogy I can come up with is gas prices.

Someone born 40 years ago has a very different “anchor” in regards to the value of gasoline when compared to someone born 20 years ago. The 40 year old was initually introduced to a market price somewhere around a $1/gal. Someone who is 20 was initially introduced to a market price somewhere around $4/gal. At 24, my view is a bit skewed. I remember clearly when gas was less than a dollar, but when I first started college, gas was quickly on the rise. Nonetheless, the 40 year old sees the current market price (somewhere around $2/gal.) as highway robbery. The 20 year old sees the current market price as a steal. So, if gas were to rise to $4.50/gal., the 20 year old would not be phased. Their anchor is not terribly far from this price. The 40 year old would probably suffer a mild heart attack.

This seems relatively simple. (Pun intended)

You are probably thinking “How does this relate to trombone playing?” Keep reading…

In the earlier part of this book, the author talks about the idea that these principles apply to as many situations as you can logically conceive. I started to ask myself about anchors in brass playing. I asked myself why certain players have real hang ups about certain ranges of the instrument, about playing fast, loud, soft etc. I found myself with an interesting thought…

Anchors.

We all have anchors in our playing. From a musical standpoint, these anchors can range from the words spoken by an early band director to aural anchors rooted in the first serious listening we did. Before I continue, I should tell you about David Mayfield.

David Mayfield was my first band director, and also the first influence I had as a young trombonist. I have the great opportunity to be exposed to the playing of J. Samuel Pilafian and Patrick Sheridan on a regular basis. These two individuals are incredible musicians, great people, and hellish tubists. I hold David Mayfield in the same regard.

Both of my parents are music educators, and thus I have musical anchors that date back farther than my ability to recall. One of the first anchors I am aware of though was an aural anchor. David Mayfield used to practice in the afternoons after school. My mother was the choral director at the middle school, and their respective rooms shared a copy/office/library area. I remember many afternoons sitting and listening to David play, and being awed at the sounds that came from his tuba. This was my earliest anchor.

Call it naeivety…but the thought never crossed my mind that any of the things I heard were unnatainable. I attribute much of my success to early exposure to great playing, and never having ANY of my early influences tell me that ANYTHING was difficult.

What are some anchors you can think of that might be detrimental later on in the life of a trombonist?

Trombonists can’t play truly legato. Really?
Playing high is hard. Really?
Trombonists cant play fast, because of their slide. Really?

There are numerous anchors like this that young brass players hear everyday from their well intentioned band directors. So how can we fix these anchors? Unfortunately, its very difficult to change your anchor. It is possible, and I think the best way is to surround yourself with great examples and positive thinking. Having issues with your upper register? Put on some recordings of playing with seemingly effortless upper ranges. Stay positive about your assessments. Thinking “Oh they are just freaks” will get you nowhere, but thinking “If they can do this, I know I can too” is a great start.

The more important application of this knowledge of anchors is how we teaching our young students.

John Drew used to always say “establish the positive, dont try to eliminate the negative.” In your teaching, be careful of how you phrase things, because often these words and ideas will stick with a student for their entire career. Chances are, they wont be cognizant of this, but its there. A student struggling in the upper register might be consoled by the instructor telling them playing high is hard, and many people struggle with it so they should not be frustrated.

What if you told them to just keep at it, that nothing is impossible?

What if you played great recordings for them?

What if you showed them what is possible?

Would they be better off?

Hello All!

If you visited in the last 24 hours, you probably noticed my site was down. I have recently changed domain and hosting carriers and am using a new publisher. It will take me some time to get everything back to normal, but I will have things operational as soon as possible. Thank you for your patience!