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It's nice to know the "mullet" has never completely died out. This guy is a cheezemeister, albeit a successful one.

Eric "crewcut" L.

Well, maybe it's not so much as it is just new to other people.

There was this oboe player who would come in to help out the woodwind section, and he moved very liberally. He played amazingly, and it was obvious that he had a passion for his craft. It was just pretty awkward for the rest of us because we generally don't move.

For tuba though, I would find it pretty odd to see movement like what smaller instrument players do. I think that it would detract from the overall performance because I would be paying more attention to the movement of the massive instrument than the playing.

Whatever helps the section play synchronously, and whatever helps you to work your part in the same manner; the important thing is the sound (else how could you explain some of the conductor's moves!?)

I actually move more playing the tuba than the trumpet. at least it feels like more.

People have always gotten a kick out of watching me play... I don't move my body around, but I apparently move my eyebrows around very enthusiastically. Apparently I subconsciously display, through my facial expressions, how much I enjoy playing. Of course this isn't obvious to the audience when I'm playing in a band/orchestra, but anybody who's seen me practice or play solo/quintet stuff gets to appreciate my facial exhibitions.

Can't really say I move a lot, however I did notice something else this week...

I recently just began wearing contacts - tried them twice when I was young and gave up both times (astigmatic contacts SUCKED in the 80's).

These new ones feel great - I was noticing that as we near our summer concert schedule for Brass Band, we're playing longer and longer stretches without stops in rehearsal.

I also noticed something else - apparently I do not BLINK when I play!

My eyes have been drying out during the longer exerpts - not so bad when we are picking apart portions of the pieces, but the longer runs REALLY cause my eyes to dry out!

A few years ago I was at a concert of a very good brass quintet. The tuba player constantly tilted his head from side to side; as a brass player the only thing I could think about during the entire performance was what all that friction he was constantly putting between his face and the mouthpiece, must either give him calluses or blisters. That was too much motion for me.

I kind of like the "very little motion very much music" approach. You can't argue with what's his name on the violin etc with his smiling orchestra...but they get HUGE crowds (even here in Tucson) and I bet they make a lot of moolah.

MA

Seems to me that if the musician is thinking about moving, the moving is going to be a distraction. If the music is compelling some motion, then it will probably support the musical product (even to those listening to a recording or with their eyes closed).

And, by corollary, if the musician is thinking about NOT moving, then NOT moving is going to be a distraction--to the musician at the very least.

I don't move much when I play, but when I do, it's because it happened naturally, not because I did it on purpose. I also don't think about not moving.

Rick "who learned a lot about playing rests in time from watching a Summit Brass percussionist years ago" Denney

Evidently (according to my beautiful wife) I drop my right shoulder in preparation for playing the seventh of almost any chord. I am unaware of the phenomenon, but watching video recordings, it is obvious... but not really overt. I guess all that ear training and sight singing pays off - analysis on the fly.

Carroll wrote:I guess all that ear training and sight singing pays off

What would be REALLY good is if you drop it for a flatted seventh, and raise it for a natural seventh...

I have seen Joshua Bell perform a violin concerto at Interlochen the past summer, and if you've ever seen him, he uses a large amount of movement in his performances. Usually I'm against that kind of thing, but in this case I think it added to the performance (it was electrifying).

windshieldbug wrote:Whatever helps the section play synchronously...

How about a click track played through loudspeakers.

Mark wrote:How about a click track played through loudspeakers.

Kinda takes the spontaneity and musicality out of the performance, but yes, that works, too...

Logan wrote:I think that there should be just enough small movement (body/eyes/heart/bowels) to get across the point you are trying to make musically.

I don't believe I have ever had all of these move while playing. In fact, if that is a requirement to be musical, I would hope that I am never musical. There are some things that just don't seem appropriate.

Visual movements can help or hurt a performance greatly.
Most bands would do well to to emphasize visuals that will help.
I you perform in front of a sit down audience - staring at you, you better have something going on worth seeing or they will move away from you quickly. Watching a player sit there playing an instrument gets old fast.
Tim Olt, a tubenetter, brightens up classics with a bit of light comedy.
We Creekers include several silly songs in each set. We then do a "tear jerker" change up for the ladies calculated to rip out your heart and stomp a mud hole in it.
I see popular bar bands holding up signs, wearing wigs, doing comedic bits (rubber chickens) and encouraging audience sing-a-longs to spice up the show.
It's not easy to play at a level to inspire a crowd while doing visuals at the same time but if you like to eat regularly from music income, you will find a way.
Dennis Gray
http://www.johnreno.com/" target="_blank

tubatooter1940 wrote:It's not easy to play at a level to inspire a crowd while doing visuals at the same time but if you like to eat regularly from music income, you will find a way.

There is a difference between emoting through motion and visual schtick. The choice of music greatly affects how much schtick might be appropriate.

For example, I once had a ring-side seat for a clinic concert put on by the Canadian Brass. When they played schticky tunes, they danced around and engaged in humorous drama in order to entertain the audience.

But they also played a new arrangement of Barber's Adagio. For that, they sat in chairs, read from music (!, but it was a new arrangement at the time), and did not cavort around the stage, or even move much at all. It wasn't funny, but it was fully passionate, and it firmly held the attention of that audience. And many in the audience were high-school kids who were attending the clinic--attention not easily held even though they were musicians. (On that occasion, the CB played with the San Antonio Municipal Band, of which I was a member. Believe me, your pulse rate will quicken if you are bonehead amateur like me and Chuck Daellenbach sits next to you without warning to read off your stand.)

When I pay $40 or $50 to attend a symphony concert, I'm not buying a comedy act. When I'm listening to a band at a bar or amusement park, the comedy is appreciated. One skill any performer must have is how far to go, and in what direction, with a particular audience.

But I put that in the category of stage entertainment, rather than whether large body motions enhance or detract from the emotional power of the music.

Rick "for whom the focus should be on enhancing vs. detracting for a given piece of music and audience" Denney

If one is going to play an instrument, they should give it all they have. Obviously too much movement in a group not traditionally suited for "dancing" instrumentalists is a bad idea, but if it is proper, I say go for it!

1 Chronicles 13:8
Then David and all Israel played music before God with all their might, with singing, on harps, on stringed instruments, on tambourines, on cymbals, and with trumpets.

Rick Denney wrote:When I pay $40 or $50 to attend a symphony concert...

You can get Symphony tickets for $50? The National Symphony?

Mark wrote:

Rick Denney wrote:When I pay $40 or $50 to attend a symphony concert...

You can get Symphony tickets for $50? The National Symphony?

Not for the best seats in the house, but not for the worst, either. And those are when bought ad hoc. It's been a long time since I had season tickets to a symphony--too much business travel to make it a good deal.

Rick "who used to pay a lot less than that" Denney

Disco!

That's the answer to oldbandnerd's problem with unauthorized fishing by punk kids. Disco - at high volumes - triggered by trip wires.

If disco doesn't do it - oboe/saxophone/viola/insert-your-least-favorite concerti.

The tuba/euph practice following the hasty departure of the young'uns would be more celebration and less decompression. Still good for you, just different motivation.