By Jacob Stockinger
And on many minds will be one question: How should I dress?
It seems a small worry, but in a larger sense it is an important and interesting question.
What do we mean by casual?
No ties certainly, but what about sports jackets and sweaters?
Are blue jeans OK?
And if the presenters of musical events accept very casual dress, what will performers think?
And will there be an increase in audience attendance? Will more young people or unusual audiences attend concerts? (That is something that seems possible, judging from the larger and enthusiastic crowds, below, of families and young people in jeans, shorts and T-shorts that I see at concerts given by the Wisconsin Youth Symphony Orchestras.)
The terrific British pianist Stephen Hough (below), who has performed in Madison at the Wisconsin Union Theater and the Overture Center with the Madison Symphony Orchestra, recently blogged about this very question.
Hough makes some very good points, both for and against a casual approach to attending a concert.
It is well worth reading. And be sure to check out the many reader comments.
Here is a link:
What do you think?
Should people be allowed or even encouraged to come in casual dress, including blue jeans?
Does more formal dress show respect?
Will audiences become bigger and more diverse without any kind of dress code?
The Ear wants to hear.
ALERT: Do you want to be a broadcaster? WORT FM 89.9 radio host and loyal friend of this blog Rich Samuels writes: “WORT is looking for a volunteer classical music host to cover the Monday morning 5-8 a.m. shift. If any of your readers wish to share their passion for the genre with others via terrestrial radio and the Internet, they should contact WORT’s Sybil Augustine at (608) 256-2001. Some button pushing is required.”
By Jacob Stockinger
Today is Thanksgiving in the U.S.
In past years I have asked which piece of classical music do you think is most appropriate for the day. (And the “Heiligedankgesang” or “Sacred Hymn of Thanksgiving” from the String Quartet in A Minor, Op. 132, by Ludwig van Beethoven has often and justifiably been a favorite.)
Or I have asked: Which piece of classical music do you most give thanks for.
But this past year The Ear has had a very rollercoaster ride with lots of emotional up and downs.
And in that year The Composer for All Seasons proved, as he almost always does, to be Johann Sebastian Bach (1685-1750, below).
Sad or happy, quiet or agitated, extroverted or introspective – I always felt Bach has something special to offer me, something to about the situation, something to suit. His emotional range is enormous. He encompasses the universe. And Bach’s taps into the deepest emotion of joy and loss without wearing his heart of his sleeve.
For me, Johann Sebastian Bach is The Big Bang of Western classical music. In the music of Bach, you find not only the Baroque aesthetic, but also the Classical aesthetic, the Romantic aesthetic and even the Modern aesthetic.
Is there any other composer I could listen to, day in and day out, without getting bored of? I love so many of them, including Domenico Scarlatti, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms and Maurice Ravel. But I doubt any of them has the range, the wearing power and the sheer staying power of Bach.
But you can decide for yourself – and a special program on Bach, which will air from 1 to 3 this afternoon on Wisconsin Public Radio, might help you decide. Sorry, no advance word about the playlist due to pesky and frustrating FCC regulations or something that prohibit advance posting of program playlists. How anti-tech of them! And how unhelpful!
But I am anxious to hear what you think of my choice.
And I am also anxious to hear if you have a choice of your own.
There is so much Bach to choose from, I hardly know which piece of music to choose to link to.
So as I prepare to give tanks to the miracle of Johann Sebastian Bach, I think I will link to something that is well-known but nevertheless never fails to give me consolation I need it, to reach me when I need to be reached. It is Bach’s “Sheep May Safely Graze” as transcribed for solo piano by Egon Petri, and in a popular YouTube video at the bottom is played superbly by Yoel Eum Son, who performs wonderfully clear voicings, at her final recital of 2009 Van Cliburn International Piano Competition.
I am that sheep who may safely graze under the watchful eye and protective care of Bach’s music.
So I say: Happy Thanksgiving to Johann Sebastian!
By Jacob Stockinger
Lenny was the Real Deal.
Such talent and genius!
What energy and enthusiasm!
What a talker and bon vivant!
What a conductor and composer, pianist and educator! Just listen to Bernstein at the bottom conduct his own exuberant and lyrical music — the Overture to “Candide” — in a YouTube video that has over 1 million hits.
But who would have guessed at some of his personal demons and deep insecurities, or his awareness of his own faults and shortcomings?
Now you can find out through a newly published collection of his letters.
They reveal the private side of Leonard Bernstein The Man and not just The Maestro.
Here is a story from NPR that includes excerpts and background and contexts, interpretations and assessments, by Bernstein’s daughter Jamie.
I found it fascinating reading and listening, and expect you will too.
By Jacob Stockinger
During this bicentennial year, you will probably get to hear and read many different evaluations of Verdi and why his contributions to opera, and to classical music and drama in general, remain so important after two centuries.
Below are various links plus, at the bottom, a long and popular YouTube of highlights from Verdi’s enormous body of work.
Here is a link to a story about how Verdi managed to incorporate controversial and socially problematic plots – such as his sympathetic treatment of a prostitute in”La Traviata” — into his operas, and how brave it was of him to do so. Acclaimed conductor John Mauceri spoke with “All Things Considered” co-host Robert Siegel.
Here is another link to a story about how Verdi’s subject matter still touches on human nature today and our contemporary psyche. It uses “Rigoletto” as an example:
And finally, here is a quiz with which you can test your own knowledge about Verdi:
What do you think is Verdi’s most enduring legacy?
Which is your favorite Verdi opera and why?
The Ear wants to hear.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
Trevor Stephenson’s Madison Bach Musicians (below, in a photo by John W. Barker) opened their 2013-14 season — which marks the 10th anniversary of the local early music group — with a splendid concert of Baroque string music at the First Unitarian Society’s Atrium Auditorium on Saturday night and then repeated it again on Sunday afternoon at the Madison Christian Community Church on Old Sauk Road.
I went to the Saturday night performance. As always, the proceedings were prefaced by a talk from founder, director and keyboardist Stephenson (below, in a photo by John W. Barker) in his usual witty and informative style.
The rich program proved to be a study in string sounds. Joining harpsichordist Stephenson, along with cellist Anton TenWolde, were five guest players.
Marilyn McDonald (below) is something of the matriarch of Baroque violin playing and teaching, and two of the other players here have been her students: violinist Kangwon Kim and violist Nathan Giglierano. Two others were Brandi Berry and Mary Perkinson, both skilled players known here.
The program was, to a considerable extent a constant switching of these talented violinists. A Concerto for Four Violins without Bass was one of those endlessly fascinating experiments by Georg Philipp Telemann, complete with a finale of fanfares.
Two chamber works by George Frideric Handel (below top) graced separate parts of the program. A Sonata for Violin and Continuo featured the amazingly deft McDonald, with the continuo pair. And a Trio Sonata, Op. 2, No. 9, joined her with the spirited Kim. A Sonata for Two Violins by Jean-Marie Leclair (below, bottom) brought together Berry and Kim.
The first half concluded with a revitalized warhorse: the notorious Canon in D by Johann Pachelbel, reclaimed from all its stupid arrangements, and restored as a contrapuntal delight for three violins with continuo, as well as reunited with its brief concluding Gigue. Perkinson joined McDonald and Berry for this.
Here, I must say, I found another example of how attending a live performance makes all the difference. Watching the players in person, I could follow how leading lines were transferred in turn, canonically, from one violin to another, with a clarity that no recorded performance could allow.
In the second half, after Handel’s Trio Sonata, Stephenson himself played on the harpsichord the final Contrapunctus or fugue from Johann Sebastian Bach’s “The Art of Fugue.” Along the way in this, Bach (below) introduced the motto of his own name, made up of the German musical notes of B, A, C, B-flat (“H” in German notation). And then the piece trails off abruptly where, story has it, Bach dropped his pen forever.
The grand finale was a truly exhilarating performance of the Concerto in A minor for Two Violins, Strings, and Continuo, No. 8 by Antonio Vivaldi (below and in a popular YouTube video with over 3 million hits at the bottom) and included in his Op. 3 publication. (Bach himself so admired this work that he made a keyboard concerto transcription of it.)
Here again, too, I had one of those moments of insight that live performances alone can give.
The players were arrayed, one to a part, with the cello by its harpsichord continuo partner on the far left, the strings then spread out towards the right. The violist Giglierano, in his only appearance, was furthest on the edge.
That isolation from the cello–which really belongs to the continuo, not to the string band–was telling, for it enabled me to appreciate how Vivaldi used the viola as the lowest voice in what is really three-part string writing. This was notably obvious in the middle movement, which was written almost entirely senza basso (without bass). Again, such awareness can come only from a live performance, rather than a recorded one.
It goes without saying that all the performers played with the highest level of skill and stylistic sense, joined with infectious enthusiasm.
MBM concerts used to be held in the lovely intimacy of St. Andrew’s Episcopal Church (below top) on Regent Street. Now, they can virtually fill the First Unitarian Society’s Atrium (below bottom), in a photo by Zane Williams) with an audience close to 200 –and a very enthusiastic bunch, at that.
Thirty years ago a concert like this would have been inconceivable. The Madison public was just not as aware and as prepared and as receptive as it has come to be by now. Stephenson and his colleagues in the Madison Bach Musicians are one of the major forces that have brought about that process. How much we owe them!
ALERT: Two early music friends who perform together as the Ensemble SDG, baroque violinist Edith Hines and UW harpsichordist and organist John Chappell Stowe, write to The Ear: “Ensemble SDG (below) is pleased to invite the public to our FREE upcoming performance on Wisconsin Public Radio‘s “Sunday Afternoon Live from the Chazen.” The recital will be this Sunday, October 6, from 12:30-2 p.m. in Brittingham Gallery III at the Chazen Museum of Art (750 University Avenue, Madison). It will be broadcast live on WPR’s News and Classical Music network (in the Madison area, 88.7 WERN) and streamed online here.
By Jacob Stockinger
This weekend will witness a landmark: It marks the opening of the 10th anniversary season of the Madison Bach Musicians.
In only a decade, the accomplished baroque ensemble (below) has risen to the fore of the many early music group in the area.
The MBM, under director and founder Trevor Stephenson will give two performances – on Saturday night and Sunday afternoon of a concert that features the acclaimed guest baroque violinist Marilyn McDonald (below), who tours widely and also teaches at the Oberlin Conservatory of Music.
Stephenson is a masterful and humorous explainer and will also give a pre-concert lecture at each performance. Other MBM musicians include: Marilyn McDonald, Kangwon Kim, Brandi Berry, Mary Perkinson on baroque violins; Nathan Giglierano on baroque viola; Anton TenWolde on baroque cello’ and Trevor Stephenson on harpsichord. (You can hear MBM musicians play and talk in a News 3/Channel 3000 YouTube video from 2011 at the bottom.)
The program features: Georg Philipp Telemann’s Concerto in G major for Four Violins; George Frideric Handel’s Violin Sonata in G minor, HWV 364, and Trio Sonata in E major, Op. 2, No. 9, HWV 394; Jean-Marie Leclair’s Violin Duo in G minor; Johann Pachelbel Canon and Gigue in D major; J.S. Bach’s Contrapunctus 19 from The Art of Fugue (with B-A-C-H Fugue); and Antonio Vivaldi’s Concerto in A minor for Two Violins, RV 522.
Performances are on Saturday, October 5, with a 7:15 p.m. lecture and 8 p.m. concert at the First Unitarian Society’s crisp Atrium Auditorium (below, in a photo by Zane Williams) at 900 University Bay Drive on Madison’s near west side; and on Sunday, October 6, with 2:45 p.m. lecture and 3:30 p.m. concert in Blessing Room of Madison’s Christian Community Church, 7118 Old Sauk Road on the far west side of Madison.
Advance tickets, cash or check only, are discounted and run $20 for general admission, $15 for students and seniors 65 and over; and are available at A Room of One’s Own; Farley’s House of Pianos; the east and west locations of the Willy Street Co-op; Orange Tree Imports; and Ward-Brodt Music Mall.
At the door, tickets are $25 for general admission and $20 for students and seniors.
For more information, call (608) 238-6092 or visit www.madisonbachmusicians.org
MORE ABOUT THE GUEST SOLOIST
Marilyn McDonald, a founding member of the Smithson Quartet and the Castle Trio, currently plays in the Axelrod Quartet in residence at the Smithsonian Institution; the Axelrod Quartet is named in honor of the donor of the decorated Stradivarius instruments on which the quartet performs.
She has toured world-wide as a chamber musician playing repertoire ranging from baroque to contemporary, appearing at Alice Tully Hall, the Metropolitan Museum, the Frick Gallery, the Caramoor, Utrecht and Mostly Mozart Festivals, Wigmore Hall, Disney Hall, Ravinia and the Concertgebouw, as well as appearing as soloist with the Milwaukee and Omaha Symphonies. Concertmaster positions include Boston Baroque and the Peninsula Music Festival.
She has been artist in residence at Boston University and has held visiting professorships at the Eastman School of Music and at Indiana University. She teaches each summer at the Oberlin Baroque Performance Institute and has been honored with the “Excellence in Teaching” award at Oberlin, where she is professor of violin. McDonald’s recordings are heard on the Deutsche Harmonia Mundi, Virgin Classics, Decca, Gasparo, Smithsonian and Telarc labels.
REST OF THE ANNIVERSARY SEASON
The Madison Bach Musicians’ 10th anniversary season also includes:
On December 14, the third annual Baroque Holiday Music program at the First Congregational Church.
On April 18 and 19, the season will conclude with Johann Sebastian Bach’s Mass in B minor, conducted by University of Wisconsin-Madison bassoonist Marc Vallon (below). The MBM will collaborate on this venture with the Madison Choral Project under Edgewood College choral director Albert Pinsonneault.
By Jacob Stockinger
Loyal readers of this blog know well the name of Mikko Utevsky. The young violist and conductor is a sophomore at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.
Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School,, is the founder and conductor of the Madison Area Youth Chamber Orchestra, which will perform its fourth season next summer. He has also been named the new Music Director of a local community orchestra, The Studio Orchestra, effective two weeks ago. The ensemble has an out-of-date website here (www.disso.org).
You can check out his many honors and projects by typing his name into the search engine on this blog site.
Utevsky offered The Ear a guest review of an unusual percussion concert this past weekend by Clocks in Motion. I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour two summers ago with the Wisconsin Youth Symphony Orchestras tour to Vienna, Prague and Budapest.
Here is the review by Mikko Utevsky (below):
By Mikko Utevsky
When we go to a concert, we go to listen and to watch. Perhaps with the very best performers we hope to be touched by the music, for the musicians on stage to speak to us through their playing.
But the role of the audience in classical music is generally passive: we expect to sit quietly, clap when a piece ends, cough politely between movements. We certainly do not walk in the doors expecting to be part of the performance.
At Saturday afternoon’s free performance in Mills Hall of “Percussion is Revolution” by UW-Madison resident ensemble Clocks in Motion (below, in concert), however, all this was turned on its head, and the result was an experience unlike anything I have ever witnessed. (For more information, visit: http://clocksinmotionpercussion.com)
The ideas of John Cage (below) and his colleagues have not penetrated the conscious of the concert-going public, by and large, and we are comfortable with our music on its pedestal, secure in the rituals surrounding a symphony concert or string quartet recital. The opportunity to see it toppled, however briefly, is notwithstanding an event not to be missed.
I, like many audience members, was slightly skeptical about the idea of a participatory concert. I went unsure of what to expect, but I had thoroughly enjoyed the ensemble’s other concerts I had attended, and thought it best to approach with an open mind.
The next four works, all by John Cage , would be played without break and without applause. However, they would be separated by interludes of audience sound. We were asked to make sure our cell phones were turned ON – unthinkable in any other context – and permitted to make one call to another audience member during the course of the performance of Cage’s notorious 4’33″ that would follow the next piece.
At another juncture, we were asked to read from the program notes in a whisper. Elsewhere we were invited to make noise using whatever we had in our pockets, and later to cough and clear our throats, as inevitably occurs between movements during a conventional classical music concert.
A video would be projected on the back wall during the performance – a potpourri of more or less random short clips (rain dripping from a rooftop, a turtle, a can rolling off a table, quotes on the nature of music, screensaver-like digital images) – which Kleve (below top) informed us had not been timed to match the music, nor had it been viewed by any members of the ensemble other than Dave Alcorn (below bottom), who assembled it.
Our role as audience, then, was to experience. We had music to listen to, video to watch, spaces to participate (as well as permission to accept accidents – a phone ringing, dropping a program – as part of the concert), and an ensemble of visually engaging performers to observe.
The effect was totally immersive, hypnotic, and utterly enthralling. I have never experienced such a powerful performance, or been so completely engaged by the performers on stage.
Clocks in Motion (below, playing outside the UW-Madison’s George Mosse Humanities Building, and at bottom in YouTube video where the group discusses its mission and goals) ) is a virtuosic ensemble, made up of incredibly talented and dedicated musicians (including multiple Collins Fellows). Their performances are unfailingly engaging, energetic, and executed with a precision befitting their excellent training and intense rehearsals.
(Clocks in Motion is running an IndieGoGo crowdfunding campaign for a new studio album, featuring two premieres; a link is below:)
Not a piece on the program was dull, though there were highlights: Cage’s “Imaginary Landscape 1″ and “First Construction in Metal” were personal favorites, along with the Cowell opener.
During “Imaginary Landscape 1,” I could not tell at one point whether the synthesized pitches were coming from in the room or inside my own head. Elsewhere, this would have been disconcerting; here, it simply allowed me to immerse myself in the landscape the performers were inviting me to imagine with them. I think John Cage would approve, both of the effect and of the superb performances of so much of his music.
I realize it is difficult to write authentically about music such as this without sounding trite or ridiculous, and that I may come across as such here. Discarding the accumulated pomp and circumstance with which we dress our music in the classical world does not come easily, at least when reading about it, and if indeed my assessment seems laughable, so be it. The risk of being laughed at is one worth taking for music like this.
For a young musician such as myself, performances like “Percussion is Revolution” are formative experiences – albeit few and far between.
For the veteran concertgoer, perhaps they are powerful enough to challenge the rituals of concert music, at least for an afternoon. If (when?) the program is offered again, it is not to be missed. Attend with an open mind, and be prepared to take part and to accept your experience as a kind of music not played at a symphony concert.
And if you laugh a little, you’re among friends.
By Jacob Stockinger
But now an American musician and instrumentalist from the West Coast has put together a new work called the “Fullback Fugue” that you might find a good accompaniment to football.
And the weekend is the heavy time for prep, college and professional NFL football.
A musician from Portland, Ore., named Ansel Wallenfang has created “Fantasy Football & Fugue,” a video featuring a fugue built of NFL themes from the four networks that broadcast pro football games (FOX, NBC, CBS, ESPN).
He even performs it in full costume — or should I say, “uniform” — with cleats and jersey, helmet and knuckle tape.
Now, given the football themes, just because the piece uses polyphony in the form of a fugue doesn’t automatically qualify it as classical music – though it does make it a classic curiosity for sure.
The Ear think it sounds rather like bad Rachmaninoff, or maybe a pedantically dry Bach toccata as transcribed by Busoni or some other bass-heavy Romantic piano virtuoso and transcriber.
But I’ll let you decide for yourselves whether the four-minute work is just a gimmick or a genuine, if admittedly derivative, work of classical music and tell me in the COMMENTS section what you think of it and what it sound like.
So go ahead: tackle it -– so to speak.
Here it is, including the composer’s comments about his intent, which he says:
“If football and classical piano were any more similar they would be the same thing.
“Both are fiercely competitive.
Both require violence, elegance, and nerves of steel.
Both demand a lifetime of intense training and discipline.
Both promise fame and glory but usually lead to working with kids.
Both will leave you with some sort of brain trauma.
But both will totally get you laid.
“The Fantasy Football and Fugue isn’t just a bad music pun, it’s a classical mashup of network NFL anthems (CBS, ESPN, FOX, and NBC) that would make Bach and Butkus proud.
Through the lens of classical music and short film, I hope to open these seemingly dissimilar fields to new audiences, sign a multi-million dollar development deal with a major Hollywood studio, become friends with Aaron Rodgers, and not get sued by 4 networks simultaneously.”
Now, it’s kickoff time — so on to the music:
Spread the word — and of course the music — to other football fans.
Remember to tell me how it scores in your playbook.
The Ear wants to hear.
By Jacob Stockinger
BECOME A GUEST BLOGGER
I don’t know why I didn’t do this sooner, well before The Well-Tempered Ear blog recently passed 800,000 hits, but I just didn’t.
Yet judging from a lot of the remarks I get in the COMMENT section of this blog, many of the readers of The Well-Tempered Ear could do some fine blog writing themselves.
So I am offering all readers a chance to write a guest blog post. (The final decision about publication or posting, however, is mine.)
By necessity, The Ear is imposing some rules, restrictions and requests.
Your entry has to be written in English with correct grammar and relatively short sentences. Of course, no cheating or plagiarizing will be allowed.
POSSIBLE SUBJECTS FOR A BLOG POST
The subject could be a concert review or feature preview – maybe a profile or a Q&A — in the Madison area or related to the University of Wisconsin or other education institution and groups as well as individual and group performers . But please do not have a conflict of interest or else explain your connection with a full disclosure.
You could also write a review of a recording or book – either something new or an old favorite — related to classical music.
Or a TV or radio show that relates to or uses classical music.
Maybe you want to write something about playing an instrument or singing or making music yourself, with some tips or advice for others. Hearing from students (below is a shot of the Wisconsin Youth Symphony Orchestras or WYSO) and young people about the rewards of making music would be especially welcome. So is an adult’s recollection of a life-altering musical experience, be it a live concert or a recording – an Aha! Moment.
Or maybe something explaining a favorite composer, piece and performer — with a YouTube link, if possible — so the rest of us can share in listening to it.
Or how to bring more of the general public and young people to classical music, based on your own experiences and thoughts.
I think a good length is 250 to 350 words, but I will certainly consider shorter and longer ones if the length seems justified by the subject matter.
Please include some brief introductory information about yourself and your own involvement with classical music.
And don’t forget basic journalism. After you do the WHO, the WHAT, the WHEN, the WHERE, please do NOT forget the WHY.
That is what will really interest us and help me to choose the entries that I will post on the blog site.
Why do you like this composer (such as J.S. Bach, below) or this piece or this performer? Why should the rest of us listen? Why do you consider it important or a neglected MUST-HEAR?
Submit you entry to me at firstname.lastname@example.org in a regular text format, either attached as a document or included in the body of the email.
Include an email signature or your real full name, your email, your street address and a phone number in case there is an editing question I have to ask. But of course I can conceal identity or grant anonymity, if that is what you wish and ask for.
Please do not use fancy or complicated formatting, such as separate columns or lists, because it gets difficult to copy and paste them and reproduce such formats in the blog.
Please send text that is aligned to the left and ragged right — NOT hyphenated and justified — and in the Lucida Grande, Verdana or Helvetica fonts in the of size 14 points. The type color should be just plain black. Please avoid underlining, though using capital letters for emphasis is fine.
The Internet or web is a largely visual medium. So please help me illustrate your entry. For any photos of you or artists of other subjects, please size them down and attach them in SMALLER than a 1 MB size and do NOT embed them in the text, which just compounds formatting problems. Include IDs and any photo credit.
I am sorry if these requests seem complicated, but they are meant to expedite things and help ensure accuracy and fairness.
If you have a proposal or questions, you can use the same email address to contact me.
And be sure to share the news with any friends or acquaintances.
I look forward to hearing from you — both what you think of the idea of guest bloggers and your own guest blog post, which you can then share with others and spread the word about.
Thank You and Good Luck!
By Jacob Stockinger
The Ear is willing to bet that 90 percent of having successful and satisfying music lessons boils down to knowing how to practice.
That takes a long time and a lot of experience. And you know how hard it is when so many actual lessons turn into guided practice sessions, no matter whether it is a question of the voice, the piano, strings like the violin an cello, brass and woodwinds,
Here is a link:
Use the COMMENT space on this blog to let all of us know how these practice tips work for you and if you have any special tips for practicing of your own.
Thank you, NPR. And you can also find some useful practice videos for various instrument at YouTube (at bottom).
So spread the word and share these tips by passing them along to others with this blog post.
Now, let’s all go make music!