1. Do you advocate buzzing? And if so, then why, and how do you recommend it be utilized by players.
I do. Some people need buzzing as a daily “yoga” and others, like myself, only need it here and there. I use it for tuba mostly; it helps maintain my chops and air when I don’t play it everyday like I do the euphonium. I also use buzzing for teaching when needed. I created a 9 minute buzz-play-a-long that I use and share via Dropbox. My teachers were never buzzing advocates which is likely why it is not part of my daily routine. But I love it for tuba!
2. What are some other creative ways you practice away from the instrument?
I mentally look over music. I add accidentals in before I play a note. I seldom miss anything for my first run this way. I hate to stop and have to grab a pencil. I also often do tonguing exercises away from the horn. Just using wind and saying the exercises is good maintenance when I can’t play.
3. Is a daily routine important to you, and do you practice one? Is it the same every day? Why or how does it change?
I do not have a daily patterned routine. I like to “feed" my ear and creative side as much as my chops. I usually play the first thing that comes to my ear when I take the horn out of the case. This could be “Earth Wind and Fire,” a Jazz lick, something I just heard on the radio....you name it. Then I play that lick or tune in many different keys. I like to change things up so I don’t get bored or too patterned. This works for me, but not everyone. You have to have a good ear to do what I do. I love it. I play new stuff everyday. I recently worked on 5-note tonging patterns. You don’t see that in method books.
4. What is a recording or recordings that you think exemplify great musicianship? Do you have a favorite track from your own recordings?
Gosh.... there are so many. I love Quincy Jones’ “West Side Story”, and Yo Yo Ma's “Tango Project.” From my own recordings, I love the 2nd movement of Kenneth Downie’s “Euphonium Concerto.” I love the lines and unpredictable melody.
5. What is or are some of the pieces of advice—be it about exercises, etude books, or anything else, that you felt were most crucial to your development?
Arban establishes patterns and predictable playing. Bordogni takes care of lyrical playing and phrasing. Bai Lin slurring is a must!
*6. Which of your upcoming projects are you particularly excited about?
I am looking forward to taking a step back and focusing on myself more. I have been the head of the jazz area at my university, plus a 24 member studio. It's too much, but I loved it... just don’t want to ever be that busy again. If I say it is busy, it is bad. I love to be busy. Just not that busy.
I also look forward to serving as ITEA president and am anxious for the semester to begin so I can work with my students (old and new).
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