Slow Practice

The reason for slow practice, and by slow I mean really slow, a little more than a note per second, can be understood with the following analogy:
The reason we practice slow, is the same reason a steam-roller moves slowly. Practicing pieces at tempo, or just undertempo when there are still technical obstacles to overcome results in a performance that will have trouble spots and gaps and missed notes. Similarly, if the steam-roller was attempting to smooth assfault at 30 mph, the road would be finished, but would have bumps and dips that would result in a very rough ride at highway speeds. The steam roller is moving too quickly to allow its weight to smooth out the bumps. I like this analogy since students often become skeptical about the merits of prolonged slow practice and have trouble keeping the tempo slow. Often this very issue is what either hinders or elevates a performer to higher levels of playing.

Auditioning for DMA Programs

Have I mentioned how much I love staying in Hotels? I dont know what it is… if it reminds me of traveling with my family as a kid, or if it is just knowing that youll never have to clean your room. I am posting from the lobby of the hotel in Tallahassee, FL where I just auditioned for Bruce Holzman this morning. The audition went ok, I had a memory slip in the prelude to BWV 998 which never happens! Not in that piece at least. I was quite shaken by that, but then I nailed the Fugue, and the Allegro was a bit sloppy but at least no memory problems. I proceeded with the rest of my program, and Bruce let me play each piece. He was brutally honest, which is just what I need at this point. I know my strengths, and I think I have been overlooking my weaknesses in trying to showcase my strengths. He was like… ” you miss way too many notes! ” TRUTH!! Imagine if I was trying to make a recording, sure you could edit the heck out of it, but your left with a homely looking wretch covered in sloppy makeup who you would never want to wake up next to. Thanks to God and my lucky stars, Bruce saw enough positiveness in my playing to accept me. I am very happy about this.

Now that the audition is over, I am waiting to be picked up by the bartender here at the hotel, a sweet girl who offered to show me around the city. I feel like today is the start of a new beginning filled with honesty, hard work, and a hopeful  future. After all, even if one plays musically, how can this be accomplished if not all the notes are coming through. As a first impression, I feel that this is a staple to the Holzman pedogogical experience. Well see what happens….

- J

Mainting a music career while trying to climb the mountain

Being out of school can be both helpful and difficult when it comes to maintaining an active performing schedule and teaching.  There is more time to practice, that is if you have enough students to pay the bills.  I think it is important to not teach too much, this can be very draining and result in diminished practice hours, or fatigue that prevents one from getting “good” practicing done.

The solo musician must treat their craft as a 40+ hour per week job.  It doesnt stop once weve finished practicing or teaching for the day.  We have to constantly be updating our websites, contacting local newspapers, schools, libraries, arts organizations, etc.  I was always told that the squeeky wheel gets the grease, and I think this is definately true in the arts.  It also helps to have a marketable product that people will enjoy!  This all looks easy on paper, but to actually do it ; be both an artist and a manager/agent, takes an almost schizophrenic personality to get it all done.

My goal for the next month is to churn out an attractive EPK or “electronic press kit”, and distribute this info to at least 5 different places.  Ill let you  know how it turns out!  my EPK will also be available on my website for download.  Ok now that Ive said that I would do this, I guess I really have to!

Love,

Jon

Boston GuitarFest 2007

June is upon us once again and the 2nd annual Boston GuitarFest is about to commence. Artistic Director Eliot Fisk along with his students from New England Conservatory have teamed up to realize Fisk’s lifelong dream of a progressive Festival of music and culture. This year’s festival is packed with world-class artists from around the globe, but particularly Latin America. There are folk groups coming from Mexico and Brazil, and a Tango group from Argentina which will feature the Bandoneon, not to mention the list of Guitar concerts. Eliot Fisk will be playing with flutist Paula Robison, solo recitals by Rene Izquierdo and Joaquin Clerch. Please visit Bostonguitarfest.org for more info.

Welcome to My Website!

Thank you for visiting my site.  Please check back as I update the sight regularly with upcoming events, new transcriptions (free download), mp3s and videos.

Soon to be completed is a set of pieces from Robert Schumann’s Album for the Young, Op. 68.  There will be 5-6 short pieces transcribed for solo guitar.  These pieces were composed for his children while Schumann was in Dresden around 1848.  At this time he was completely insane yet he churned these charming pieces.  Each one poses a child-like innocence underpinned with haunting beauty that seems quite mature for pieces written for children.

As a pedagogical work these pieces have remained in use and part of the piano repertoire for children ever since their first publication mid 19th century.

The textural simplicity of the pieces allow the music to lend itself quite readily for the classic guitar.

Please check back soon for free pdf’s of my transcriptions!