yes. YOU. can.
Wednesday, November 5, 2008
I know I've been lax on posting lately, but, ironically, that's a post for a different time.
I've been doing a lot of teaching. Not teaching the privileged white suburbanites, but teaching the underprivileged inner-city kids. In North Philadelphia and Camden (which I affectionately refer to as "East Philadelphia.")
Lets be blunt: I teach black kids.
So tonight, for the first time in my life or theirs, I can look them in the eye and tell them that they can be anything they want to be when they grow up.
They can be a teacher or a musician; a firefighter or a florist; a cop or a stockbroker.
Or hell, kids, you can be president. Yes we can!? No:
Yes YOU can.
You can be anything you want to be. And I can look you in the face as a white girl and mean it. With evidence to back it up.
Posted byL. at 12:45 AM 1 comments
Labels: teaching
New Freelancing Rules
Saturday, July 19, 2008
I know, I know, its been, like, a million years since I last blogged. Maybe some of you are even still reading. Anyway, things have been going well here in the Illadelphia. Basically, I have nothing to complain about except the blistering heat. But everyone's complaining about that, so I don't have to. And anyway, I have an air conditioner in my room so even that complaint doesn't really hold that much water. And I could complain about gas prices, too, but everyone's doing that, too, so the best I can do is put on my walkin' shoes and not get in my car whenever possible.
I read an article on Jason Heath's Bass Blog a few weeks ago titled "Twelve Tips for Freelance Musicians." Its a great article and I basically agree with everything on there, but I do have a few things to add that might seem like no-brainers, but came in SERIOUSLY handy recently.
1) Keep your gas tank full. Or, at the very least, never let your car get to the point where you are "running on fumes." Personally, I just hate stopping at the pump. I hate all the money I'm pouring into my gas tank, and I don't like taking the time out of my day. (Luckily, I drive through New Jersey a lot where it is illegal to pump your own gas!) But I have been known to get into those sticky situations where I'm driving around frantically hoping to find a gas station before I run out of gas. I also frequently get home at night, notice the gas tank is painfully low and say "I'll just get gas on my way out tomorrow."
So filling your tank serves (at least) two useful purposes: (a) Running out of gas on the way to a gig would seriously suck. (b) If the Philadelphia Orchestra calls you and asks if you can be at the Mann Center in 20 minutes, you don't have to worry about whether your car has gas or not.
2) If your horn needs minor repairs, don't put it off. You don't want to show up with a horn that's buzzing from two broken braces that you just haven't had the time or inclination to take to a competent repair person to have fixed. This sounds a little dumb, but keep your instrument in top condition at all times, even in the summer when you might not be playing as much.
3) Keep your chops in shape. Whatever that might mean for you... If you are one of those lucky individuals who can take two weeks off, then pick up the horn and play the Long Call 14 times in a row, then more power to you. I happen to know that I am not one of those people, though, and I have a fairly long warm-up and "maintenance" routine.
If you are a lucky freelancer who can plan out your schedule for an entire season before it even begins, you can easily see what major works are coming up and you can plan for the kinds of playing that you'll be doing. But if you are still rocking out on the 11:30 a.m. calls that go something like this "Can you be here in 20 minutes?" "Sure!", it is comforting to know that you've been practicing your scales and you're competent enough to play assistant (or 4th, or principal, or kazoo) on anything.
4) Also, if you keep your clothing in a locker at a hall somewhere, make sure that you at least have a backup pair of shoes at home.
I'm going to TRY to blog more often, but its so damn hot its hard to do anything, let alone string words together in sentences. Happy summer, y'all!
Posted byL. at 12:30 PM 0 comments
Labels: Freelancing, gigs
It seemed like an okay idea at the time
Thursday, April 10, 2008
Today was one of those beautiful spring days when the sun is shining, the flowers are blooming, and the air is clean and fresh. So as I set off to my teaching gig (at an after-school program in Camden, NJ) I was trying to think of how I could incorporate this beautiful weather with my teaching. I arrived a little bit early and as I was sitting out in the school yard, I had what I thought was a brilliant idea. Well, perhaps not brilliant, but at least okay. I'd split the kids into two groups and have them compose a piece of music using just the items they would have at their disposal in on the playground. I realized I'd have to put some limitations on it, so I came up with what I thought were some pretty great ground rules.
We gathered inside in the classroom and I set up what we were going to do. First, we discussed the difference between noise and music, and I got them all to agree that ORGANIZATION is the main difference between the two. Keeping in mind that these kids are in 2nd grade, I figured this was an accomplishment in itself. I'm getting pretty good at telling when these kids "get it." And they definitely understood.
Now, my list of "things I wish I'd learned in music school" is ever-expanding. And some knowledge of children's development might come in handy at this point in my (very short) teaching career. But I'm learning by trial and error, and I'm constantly fascinated just by watching what my younger kids (in 2nd grade) and older kids (in 4th through 6th grades) can and cannot do. The way each of them learns so differently, and how they process information constantly fascinates me. I have the advantage of only having eight of them (at most) at one time, so I feel like I am getting to know them pretty well.
Now, to frame this a bit: These are kids in an inner city charter school in Camden, NJ. Camden isn't really a place that anyone goes, and is a pretty textbook example of "urban decay." While I think that Camden is seeing a new day, it is still the most crime and poverty ridden place I've ever been. These kids are pretty tough for only being 2nd graders. But they are sweet, and good kids overall. I tend to be fairly strict with them, but I try to keep my sense of humor intact. Like most people, if you show them respect and follow through with your threats, they seem to respond pretty well.
So I took 8 of them outside while the other four had their violin lesson for a half an hour. I split them into two groups. So far, so good. The violins (all girls) were one group, and the cellos (three boys and one VERY bossy girl) in the other. Their assignment was to work with their group and create some music. They could sing or use rhythm and anything on the playground area, but I wanted to see good group skills and communication.
After a few minutes of observing them, it became apparent that some leadership needed to be put in place. The violins didn't need it so much, but the cellos were obviously having authority issues. The worst of them was K., who is a very smart kid, but obviously has some behavior problems. So I decided that instead of taking responsibility away from him, I gave him more. He became the cello group leader. This worked for a little while...
The violins stayed on their side of the playground coming up with a great routine. One or the other would periodically run over and ask me something.
"Can we do stomping?"
"Yes, that's a good way of showing the rhythm."
"What about climbing up the ladder and.... etc. etc."
"Sure, just don't hurt yourself and make sure that it is all while keeping a steady beat."
But while they were busy with that, I spent a lot of time mediating for the cellos. K., according to the others, didn't want to listen to other people's ideas. He, of course, said that they weren't listening to him. They had no discernible work done, and at one point, I looked over and M. was on the slide, upside down or something. I called him over and gave him a stern talking to about group work and needing to contribute. M. is a really smart kid, but he has the social skills of a toad. He won't look you in the eye, and I think if someone doesn't straighten him out, he's going to turn into a real pain in about a year or two. I told him that sometimes you have to go along with what other people want if you're outnumbered, but next time maybe he would be the leader and would get his say. But I explained that you can't sabotage a performance just because you don't like the leadership.* J., the bossy girl, could only holler about how M. wouldn't do anything the other three agreed on, and all he wanted to do was rap. L. was just trying to make everyone get along, without much success.
I left to check on the girls who were working out the logistics of chorus line kicks with a steady tempo.
I went back to the cellos. M. was again on the slide. J. and L. were yelling about how bossy K. was, and K. had a look of defeat on his face. It was an incredible chorus of "he said she said." If they could have done it with a steady beat, it actually would have made great performance art, but I wasn't about to try to explain that.
We went over to hear the violins perform. There was stomping, clapping, a steady beat, and choreography that was actually pretty sophisticated. It even ended with a flip. I was proud of them, and they seemed pleased with themselves.
The cellos didn't perform anything because they couldn't even agree on what to do. All of them were visibly annoyed with the others. I did have a really good talk with K. about how sometimes its not easy to be the leader. Overall, though, he did try really hard to do the right thing. He just didn't really have the right circumstances. I was proud of him for trying. And I learned at that point that giving him more responsibility will help to keep his behavior under control.
M... geez, I don't know. He had his hands balled up with dirt to throw at the girls when they were done performing for (in his words) "ammunition." That was the only time I really lost it, and I could see the fear/guilt in his eyes when I looked at him and said, "Drop it NOW. You know better that to try to get that past me."
All this only took up 1/2 hour. But I learned all I needed to know and just let them play for the remainder of the time. I knew that this would be an experiment, and it isn't as though I had terribly high hopes for this exercise. I wanted to see how they'd do in a group situation, and I learned a ton about each kid, especially the cello players, from this exercise. I'm not upset or bummed that it didn't work. Sure, next time, we'll stay inside and say "do-ta-da-ta" for an hour, but it probably won't be nearly as illuminating for me.
*I think some professionals I know could probably stand to hear this lesson again.
Posted byL. at 10:52 PM 0 comments
Surefire ways to make it on my "No" list
Saturday, April 5, 2008
As a matter of self-preservation, I think most freelancers have "no" list. As in, "If ______ ever calls me again, I will not play the gig under any circumstances." I think there are only about three people on my list right now, but it is soon to be four.
I could list some of the heinous behaviors that help a conductor make it onto my "no" list, but it could be summed up quickly like this: Truly Unprofessional Behavior.
I'm playing a musical this week at one of the arts schools in town. This is a school that doesn't have much of a classical music program, thus, they have no horn players (or bassoons or violins) to speak of and they end up hiring people for their yearly musical. This year happens to be the Sondheim show "Into the Woods." Its not a bad show, but it is long and a little tedious when you have to play it six or seven times in a week.
One of the things I like about playing shows (also opera and ballet-- basically anything in an orchestra pit) is that there are so many things going on. When it goes well, it is just a train that keeps on chugging along like the Little Engine That Could. When everyone involved knows what they're doing and how to make it happen, three hours in an orchestra pit can be almost pleasant and sometimes downright fun. A great deal of camaraderie and lighthearted shenanigans can keep things amusing, and the whole experience doesn't have to be like a bad trip to the dentist.
Do I need to tell you that this production is not one of those pleasant, fun experiences?
Last night, I witnessed a conductor have a total breakdown on the podium. Now, there was a lot of crap happening on stage. (Sidebar: I can't see anything that's happening onstage, so I just have to guess what's happening from the missed cues and frustrated looks of the conductor.) Actors were missing cues right and left, there were a few dropped lines, and I think that one or two of them might be getting sick. (That's the only justification I have for the INCREDIBLY flat singing that was happening in one or two tunes.)
But as we all know, in theatre, SHIT HAPPENS.
But when a conductor starts to get so frustrated and angry that he begins to take it out on the orchestra who, consequently, have nothing to do with the shitshow that's raining down on the stage, I just can't handle it. In a big production, we all know our place (or should, anyway.) My job is to play the notes, follow the cues, and not get too lost in the Metro Crossword during my tacets. The conductor's job is to take it all in stride and not get so angry that he starts missing cues, shouting at the cast from the pit, and stomping his foot to make the tempo happen the way HE wants it to. He also started apologizing when he would get angry and miss cues, thus causing him to miss more cues. It all just started snowballing last night from the opening number, and things didn't improve at all in the first act. The second act was a little better, but only in that I wasn't contemplating what would happen if I just left.
And one final benchmark of this individual's inept-ness: At just about every intermission, he announces his faults and promises to fix them. Last night, we did get an apology for his tantrums and a promise that he would calm down. The previous night, we got a promise that he would be "super clear" in the second act. And I wouldn't mind those admissions if I actually had any reason to believe them. His heart is in the right place, and he knows that he's not helping anything. But then his job is to fix it. Empty promises are just that to me: empty.
This conductor really is a nice man, but for the pittance I am making on this gig, last night he graduated to my "no" list. As in, when he calls next time, I'm busy. I might be busy sitting at home watching season five of "The Wire," wallowing in the fact that I have no money, but I'm definitely too busy to play the show.
Posted byL. at 11:14 AM 0 comments
Labels: conductors, gigs, pits
You Never Know Who's Listening
Saturday, March 15, 2008
Tonight, this guy was at my gig. Turns out, his wife is a singer at this place, so he was coming to hear her sing. I'm glad I sounded good. I introduced myself and hope I'll get a lesson at some point when he's in town again.
Just goes to show that you should always play your best-- you never know who's going to be sitting in the audience of an otherwise normal gig.
Posted byL. at 11:16 PM 0 comments
Esoteric Horn Videos from YouTube
Every once in awhile, when I'm trying to waste time, I go to YouTube and type in "French Horn" just to see what turns up. I just keep clicking on related links and sometimes I find some real gems. Like this one-- nothing makes people want to come into your store more than the glorious sound of the horn.
And then there is this somewhat esoteric, possibly edgy "French Horn in the Dark" video. You don't need to go very far in before you get the point. I just don't quite understand why you would post video of yourself playing in the dark. Its the mystery of it all that keeps me giggling.
And then there is this one. Again, you don't need to go too far before you get the point. Perhaps I should quit playing and just do stuff like this on gigs. I think it'd go over well.
Posted byL. at 2:06 PM 1 comments
No Child Left....
Tuesday, March 11, 2008
I went to teach my kids in Camden on Monday. Now, since it is an after school program, I don't expect them to be completely quiet and angelic, but usually, their rowdiness is in check to SOME degree.
Monday was different, though. From the moment they walked in the door, they were Satan's Spawn. All of them. Even the "good kids" had no attention spans to speak of and all they seemed willing and or able to do was be rowdy. They couldn't hold their attention spans for even the easiest activities and I couldn't figure out why.
About half way through the first class I found out, though, that they had been doing standardized testing for almost the entire day. I felt like a lightbulb had gone on over my head. At least at this point I realized that it wasn't me, I wasn't going crazy, and I hadn't suddenly lost the control I thought I had over the classroom. Well, I had lost control, but it wasn't my fault.
And I don't want to say that at this point I "gave up" on teaching them. But at least I could understand that the demands made on their fourth grade brains that day didn't really allow any extras to discern the finer intricacies of rhythm dictation.
They have testing all week, so I expect that tomorrow will be no different. If any of you have any suggestions for games that I might play or other activities for tomorrow's classes, I'd welcome them. I have a few ideas (thanks, AB!) but they won't fill an hour. Even if it is only remotely related to music, rhythm, steady beat, etc., anything y'all got would be helpful.
Posted byL. at 9:50 PM 0 comments
Labels: teaching
