MASTER CLASSES

Mr. Barron has done master classes on four continents, from Tokyo to Helsinki, Montreal to Buenos Aires, Hong Kong to Paris to Miami. As Principal Trombonist of the Boston Symphony Orchestra for over thirty years, and as frequent soloist, recitalist and experienced teacher, he is uniquely qualified to work with a wide range of material in a master class environment. Mr. Barron's students have gone on to successful musical careers in major symphony orchestras, as university professors, as jazz stars, as military bandsmen, and as freelance artists.

Ronald Barron is available for clinics, recitals, and solo appearances. His repertoire includes works from the 18th to the 20th centuries which can be featured with band or orchestra. He has also appeared with university trombone and brass ensembles, and can combine such a concert with a master class for a more complete experience between teacher and student.

For more information, please e-mail me with details.

MASTER CLASS EXCERPTS

If you have attended a master class I have done over the last thirty years, it is possible you received a sheet to take with you after the class. Here are some of those hand-outs, which will give you a good sample of what I have had to suggest.

10 HELPFUL HINTS ABOUT AUDITIONING FOR A SYMPHONY ORCHESTRA

1.    Listen to orchestras, as many as possible-live! Records are helpful, but not a true indicator of an orchestral trombonist's abilities or responsibilities

2.   Take advantage of every playing-performing opportunity you can. It never hurts to know too much about trombone performance or music in general.

3.   Don't set you sights on only one particular job. It usually leads to a lot of frustration and disappointment.

4.   Learn orchestra pieces including trombone passages as thoroughly as possible; include being familiar with more than one interpretation. However,

5.   Don't practice only orchestral passages ad nauseam. Mindless repetition leads to very boring presentations.

6.   For tape auditions, take your time and produce a tape which pleases you. Be sure to listen to it, and don't submit something with which you are not satisfied.

7.   At live auditions, try to project a blend of well founded conviction, with the ability to be flexible. A conductor needs to know his players are strong and confident, but will be willing to accept his suggestions.

8.   At all auditions, concentrate! Breathe! Don't let your mind wonder off. Airport problems, weather, the room, the audition committee, the city, and many other things are out of your control; Don't let them ruin your performance.

9.   Use common sense in your preparation. Playing Bolero ten times before the audition is probably not going to help. It's too late! Food, rest, and other essential life functions can be more important than additional practicing. Be warmed up, not warmed out!

10.  If you don't get the job, it may be very difficult to fully understand why. Just because you lost does not mean you are a poor player. Be willing to accept criticism but don't try to change the person you are. You are not going to fill every orchestra's needs.

NOTES FROM CANDIDATE 13

WARM-UP

•Know Yourself

•The purpose should be to overcome instrumental limitations

•Become physically and mentally prepared to perform

•Do what you need to do-5 minutes, 5 hours? A set routine? Practice as much as you need, if you are not improving-then your approach needs rethinking-practice must remain purposeful, not aimless or random.

•Always progress from where you are to where you wish to go. You can not skip steps to progress. Do not be afraid to step back to more basic things to regroup. Any building requires a foundation, or it will eventually fall.

CONCEPT

•What is your focus? Sound? Technique? Trombone? Music? All of this? How do they interact?

•What are you looking for? What is important about what you are performing?

•What type of atmosphere are you attempting to create?

•What are generally acceptable performance parameters of any passage?

CONCENTRATION

•Keep your concept at the forefront of your performance.

•Stay on the other side of the instrument. Be focused on what comes out rather than what goes in.

•The idea is the music. Anything else is less important.

•Disregard external distractions, stay in touch with yourself.

ATTITUDE-MOTIVATION

•If you truly love music, keep that as your motivation. If you feel your attitude is always negative, you need some time off. You never lose at an audition, you just might not get offerred the job. No one is just right for everything.

•Don't give up! Everyone has a place, you just might not yet know where yours will be.

International Brassfest

Bloomington, IN

May 30, 1995

RECITALS: PREPARATION AND PRESENTATION

WHEN--WHAT--WHERE--HOW--WHY

WHEN

Actually, anytime would be OK. As a student one usually does a graduation, or senior recital, and usually two or more graduate recitals, as required. However, it is very important in preparing for these occasions to try things out. The more one performs in public the more familiar one gets with it. Doing recitals or split recitals throughout one¹s educational experience is most beneficial, in any year, sophomore, junior, etc. After college, regular public presentations are a great way to stay viable as a musician regardless of your primary life activities. Since you, as an individual, have control over this type of public performance, it is a great medium regardless of other demands and activities. Practically speaking, schedule such appearances at times when people are more likely to be able to attend if you truly wish to share all your effort and joy of music with anyone else. Like the old question, if a recital takes place and no one is there, did it really happen?

WHAT

This question has as many answers as there are performers. My personal bias in presenting a degree recital, is to ask students to show knowledge of, by performing, works covering the major musical periods most likely associated with the trombone. By example, something in a Baroque transcription, one of the alto solo works of the late 18th century, a work from the 19th century i.e. von Weber, David etc. an unaccompanied work avant garde or not, a French solo, probably from the 20th century, a contemporary work, maybe a band era solo, and something showing some awareness of jazz and 20th century American music. Obviously, not all of this need be on the same program, but a cross section of repertoire is most interesting both to hear and to prepare, and it shows that your education is not strictly devoted to one musical period. Simply coming out with an accompanist and playing through solo trombone and piano pieces can be very tiring both to play and to hear. Try to mix things up a little, present different styles, different instrumentation (ensembles, both including you and accompanying you) maybe different instruments (alto trombone, bass trombone, euphonium) in short, anything which adds variety and contrast to a program is welcomed. Do not program more than you can handle. Just because you have always wanted to play this or that piece, and you feel your only chance to do so is now, be careful not to overdo it. It is always embarrassing to come to the end of a program and not be able to perform the last piece. On the other hand, if you have been preparing properly, you will have increased your efficiency and physical strength, and be more able to manage a heavier program because you tried. Do not limit yourself to trombone music, but as a teacher, I would like to know that you are graduating with some knowledge of the standard trombone repertoire, hence my comments above.

Though you owe something to yourself to learn standard works if you are going to teach them, it is always more fun to perform music you personally enjoy.

WHERE

This requires your being your own advocate. You might be quite suprised at some of the locations and sponsors you might encounter if you look. Retirement homes, churches, schools of all description, school dorms, museums, libraries, are just a few ideas. You won't get paid, but there are many places and people who would love to share music with you. Unfortunately, you will likely have to pay anyone helping you; accompanist, chamber group, etc. It is money well spent! Naturally, as a college student, you must perform at school, but always be looking well beyond the walls of the conservatory for performance venues. A large metropolitan area like Boston would seem to provide many opportunities, though I have found that sometimes it is the smaller, more out of the way locations which are more enthusiastic to hear you, and more honored that you came to them to perform. Reach Out!!! Perform anywhere, it is always worth it! Your love and respect for the music you are performing will benefit you and anyone for whom you perform.

HOW

Well in advance of the performance date, select your repertoire. Do everything you can to learn about the piece, both aurally, trombonistically, historically, emotionally, or any other aspect. The music exists in some fashion for a reason, and your understanding of it as completely as possible will definitely allow you to make a better performance of it, and assure a better communication from you to your listeners. Work with your accompanist early. Your independent practice will then be more efficient, understanding phrasing, breathing, balance and other important aspects of the piece, without your accompanist being present. Don't wait until close to the performance date to hire the accompanist! Recordings might be helpful in gaining an example of a complete performance. After working on each piece independently, start playing one after the other, like puzzle pieces. It would be most important for you to have an idea of what the completed puzzle looks like before you take it on stage, such as practicing in concert order, working up to the entire program. This likely strenuous undertaking should not be done too often too close to the performance date, for fear of being physically exhausted, but it must be done sometime. Common sense should prevail here, only after intense commitment and effort. Some players benefit from rest, some from more intense practice, it just takes doing it to know how you might respond. It is also the same for auditions, but I can confirm that public performance, i.e. recitals, will make you a stronger audition performer. It helps concentration and reduces anxiety. Practice the music without the trombone, thinking it through as you have any opportunity (driving, resting, walking, eating) whenever. Visualize yourself on stage, performing the particular piece that you are singing through, silently or aloud. You will quickly find out how well you really know the piece! Do not allow anything to interrupt you, stay focused, the piece is not over until it is over, and how you present the entire work, not just the high Eb, will make the difference.

WHY

Because you will get to know yourself as a musician and person. Most younger players feel more comfortable performing with someone else, usually an ensemble. However, to really advance as a performer, you must take a chance, stand up and test yourself. I have found that every student I have ever coached through a recital has become a more accomplished and happier musician. Though it is difficult to maintain the same intensity of performance after a recital is completed, it is that level of commitment and intensity which is necessary if one is to proceed with a life as a performing musician. This is likely why you see experienced professional performers doing recitals even if their employment is in an ensemble. The same is even more true for full time professional teachers. Performers will undoubtedly tell you that it keeps them sharper whatever the setting, and better able to teach something they have themselves performed. So, do not be afraid of doing a recital, make it a regular part of your life, you will learn a lot, and if we are lucky you will share it with all of us when we attend your recital.

P.S. When you walk out to perform, look like you know what you are doing. Face your audience, bow politely, collect yourself and begin. Too often, students fumble around, look lost, and seem to be thinking of something other than the music. As previously mentioned, learning to focus one's concentration is a very important aspect, before, during and after a recital. Listeners can see if you are tuned in! When a piece is finished, the same stage deportment matters. Bow, smile, please smile!!!, and exit with conviction, even if you feel the performance was the worst thing you have ever heard. Let the audience be the judge of that. Too often we show such a frustrated emotion that we convince people by our attitude that they made a mistake by attending this event. Stand up directly, face the audience, have fun, and think only about the music and your performance of it. Everyone will enjoy that!

New England Conservatory

November 3, 1999

DO YOU HAVE TO BE A SOLOIST TO WIN AN AUDITION?

                          WHAT'S THE DIFFERENCE

THE AUDITION

What are the most important aspects to show at the audition? How do they differ from what a solist should show, say in a concerto? How does the audition differ from playing in the orchestra? and vice versa?

CONCLUSIONS

Both situations require confidence, musicianship, sensitivity, personality

So, do you have to be a soloist to win an orchestra audition?

I DON'T KNOW!

But, probably you have to be more of a soloist to win the audition than you do after you win, except for those rare times when the trombone is given the chance to play the role of soloist in the orchestra. So, somewhere along the way, you are going to have to behave like you are a soloist, and think as though you have the spotlight on you alone. To be prepared for these rare moments, one must spend some time and energy being a soloist, in your practice, and at times, in public. If you aspire to a life in an orchestra, it is safe to conclude that you have to be both a soloist and an ensemble thinker. How well you can project both at the audition should determine your success, but there is no way to know which side of the musical line your listeners prefer. Be yourself, project confidence with a willingness to cooperate, and you will find opportunity.

March 22, 1996

Eastern Trombone Workshop

HOW TO BE A BETTER TROMBONE PLAYER

SOUND

Always produce the most beautiful sound you can! One note can say a lot more to people than you think.

BREATHING

Performing on a brass instrument requires more air than just speaking, but your task is to make it become as easy as speaking. Singing is the most natural way for humans to make music. Use the trombone to sing.

EMBOUCHURE

It is inevitably a combination of smile and pucker. Most players do not place the support of the embouchure in the corners of the mouth. One should not get tired in the front, against the mouthpiece. When in doubt, or when tired pull the mouthpiece away from the lips and focus the air by puckering the corners of the lips. Since this can also be over done, one must discover the proper balance for oneself. But, fatigue should occur in the corners, or better yet the whole body!

ARTICULATION

Generally, the tongue interrupts the air flow by placing the tip briefly about where the front teeth meet the gum. A consonant followed by a vowel is the desired sound. Control of sounds from "la" to "da" to "ta" (for example) indicated the usual range of needs. Ideally, the idea of articulation is the same as when speaking, the desire is to speak with the trombone, to communicate! I attempt to produce a consistent vowel sound throughout the range, to produce a consistent sound.

RANGE

This is limited only by our restricting the lips from vibrating. To expand in either direction, keep a good sound, a consistent sound, and move slowly, chromatically at first until each pitch has the same good quality sound. It might be best to do this without using the tongue at first. Gradually expand to wider intervals, arpeggios, then wider. ALWAYS GO FROM WHERE YOU ARE TO WHERE YOU WISH TO GO! You can not skip steps! When something is too difficult back up to what you can do, and try again. Strength does not come from exercising only once, it will take time. Sometimes, rest is the best thing.

Don't forget that the goal here is making music. Keep this uppermost in your mind. Never lose your love of music and your desire to experience it at the highest level you can. Always listen, both to yourself and others and never stop learning. Music is one of the great gifts of human existence, the trombone is only a tool to help open those gifts.

November 2, 1995

Worcester Polytechnic Institute