With any new trend or fad, there will surely be a wave of backlash from the general public (and particularly those entrenched in old ways) before acceptance begins to take hold. But whether you/we/I like it or not, social media is here to stay. Why?

Because it is no longer a trend or fad. It is now a part of our daily lives and culture, and it saves us from overusing the one resource that we can never get back: TIME.

As weirdly trivial as it may seem, I have thought a lot about what I wear on stage. Being excited about (not just accepting of) the clothes I’m wearing has a big impact on my performance, because it affects my overall attitude and level of comfort (physical AND mental). Nowadays, I don’t step on stage to play without some sort of jacket or blazer on, and even if this sounds ridiculous, it has become part of my on-stage identity.

Let’s unpack this.

You’ve prepared and detailed everything to the best of your ability. You’ve rehearsed and polished the piece with the ensemble. You’ve mentally compromised on in-rehearsal battles (a figure of speech, of course), some that you’ve fought and won, some that you’ve fought and lost, and some that you opted not to fight at all. The piece is finally as good as it is going to get. Whether or not you’re in love with how things sound and feel, your primary responsibility is to deliver an exciting and engaging musical product that will “wow” the audience. Hide any insecurities behind performance vibe and your poker face. Now, it’s time to perform.

Now that you've fully prepared the concerto by learning the notes, fine-tuning transitions, making intentional tempo/phrasing decisions, and communicating with the conductor, it is time to start the rehearsal process... 

So what is your responsibility in all of this, knowing that you have an exceptionally limited amount of time, and knowing that many people in the ensemble might not care about the piece?
 

• Be professional
• Play your butt off
• Don’t be needy
• Make it fun for the ensemble (make them care)
• Be prepared (see previous post)

Have you ever performed a concerto with a pianist? How about a full orchestra or wind ensemble? If you haven’t, then this might be a new topic, but if you have, then hopefully you can relate. The mental demands of learning, rehearsing, and performing a concerto with a supporting musician or ensemble are completely different than those of a recital, audition, or competition, and I’m going to discuss some of them in terms of:

1. Preparation
2. Rehearsal
3. Performance

I alluded to this blog entry on a Facebook post earlier this week, because I realized that there are several huge projects in the works that nobody knows about, and I wanted to provide a glimpse into what has been happening behind the scenes: PERCUSSION DUO, NEW CONCERTI, + MORE...

{17 days 'til PASIC 2017} - Update 9/17

Last Monday, I decided to embark on {17 days ’til PASIC 2017}, the process of documenting my preparation leading up to the PAS Solo Artist Competition. It is my first foray into consistently documenting something with different kinds of content, and I wanted to share my experiences here so far.

Embracing failure is:

1. Not a new concept,
2. Something that has been trending on social, particularly on entrepreneurial vlogs,
3. Restated over and over and over again,
4. Still important!

But, as musicians, it can feel different for us. 

Here’s my take on it…

This one is huge for me, and something that I struggled with for a very long time.

There is a distinct difference in being humble and being self-deprecating. 

Nobody in the professional world wants their first interaction with you to involve building you back up after you continually tear yourself down. It’s exhausting for them, and that person will likely never call you back. 

Why?