Archive for the ‘Alessi Seminar’ Category

2012 Alessi Seminar Info

Thursday, February 2nd, 2012

September 10-15, 2012
(arrive September 9 and depart September 16)
Fossano, Italy

Participant spots available for:

  • 6 Italians (5 tenors and 1 bass)
  • 6 non-Italians (5 tenors and 1 bass)

ALL Particpants will be chosen by audition.
ALL Participants must register on www.alessiseminar.com.

Audition deadline is June 1, 2012. Participants will be notified of acceptance no later than July 15, 2012.

Audition Requirements

  • Please record in the order listed.
  • Electronic submissions ONLY!
  • Email recordings in mp3 format to alessiseminar@me.com
  • Please record solo repertoire without piano.
  • No editing within an individual excerpt.
  • Please record all selections in the same location.

Tenor Trombone

  • David Concertino
    (beginning to letter C)
  • Martin Ballade
    (beginning to #6)
  • Bordogni/Rochut No. 15
    (beginning through m. 24 down an octave only)
  • Mozart Requiem “Tuba mirum”
    2nd trombone solo
  • Berlioz Hungarian March
    (2nd trombone part, beginning 6 measures before rehearsal 4 through the 2nd measure of rehearsal 5)
  • Ravel Bolero
    (1st trombone solo, 3rd measure of rehearsal 10 to rehearsal 11)
  • Wagner Ride of the Valkyries
    (major only)

Bass Trombone

  • Vaughan Williams Concerto for Bass Tuba, mvt. 1
    (beginning to 4 measures before rehearsal 8)
  • Vaughan Williams Concerto for Bass Tuba, mvt. 2
    (rehearsal 1 to rehearsal 5)
  • Blazhevich 70 Studies for BBflat Tuba, vol. 1: No. #11
    (Robert King Edition)
  • Bach “Sarabande” from Cello Suite No. 5
  • Respighi Fountains of Rome
    (pick up to rehearsal 11 to 5 measures before rehearsal 16)
  • Kodaly Hary Janos Suite, mvt. 4
    (beginning in the 5th measure of the poco meno mosso to the fermata)
  • Wagner Ride of the Valkyries
    (2nd major section only)

Alessi Seminar Participants and Fellows Announced

Monday, April 18th, 2011

Congratulations to the fine trombonists selected as participants and fellows for the 2011 Alessi Seminar. These musicians are in for a life-changing experience.

Auditor spots are still available. Hint, hint…

Alessi Seminar Update

Wednesday, December 8th, 2010

The Alessi Seminar will be hear before you know it. In addition to the usual suspects (Alessi, Ellefson and Whitaker), this year’s seminar will feature Trombones de Costa Rica and Sim Flora. Trombonists interested in performing and/or teaching as a career choice should definitely attend this event. And since it’s being held in Alabama, we expect to see lots of trombonists from Florida, Mississippi, Georgia… you get the idea. Visit www.alessiseminar.com for all the details.

2011 Alessi Seminar

Alessi Seminar 2011 Details

Wednesday, October 20th, 2010

The details for the 2011 Alessi Seminar have been announced. This year’s Seminar will take place on the campus of the University of Alabama in Tuscaloosa, AL. The Seminar dates are July 29-August 6, 2011.

For complete details, including audition repertoire, visit www.alessiseminar.com. You can also follow the Alessi Seminar on Facebook.

Alessi Seminar Moving South

Thursday, August 19th, 2010

Maybe Joseph Alessi enjoys good football. Or maybe he thinks Jonathan Whitaker is a cool guy. Whatever the reason, he’s taking the Alessi Seminar to the University of Alabama in 2011. Here are the details:

2011 Alessi Seminar
July 29 – August 6
The University of Alabama
Tuscaloosa, AL
www.alessiseminar.com

If you’re serious about a career in music, we highly recommend you attend the Alessi Seminar, either as a participant or auditor.

A Message from Joseph Alessi

Monday, July 27th, 2009

Dear Friends and Colleagues,

I wanted to invite you to my recital program in Albuquerque, New Mexico as part of my seminar. (below) I am looking forward to working with all the students and hope that you can stop by for this free concert. We would like to encourage any of your students to attend the seminar as well. Peter Ellefson and Jon Whitaker will be assisting me with all of the teaching and coaching. There a few more auditor spots left. If you or someone would be interested in attending, please contact Jon Whitaker at alessiseminar (at) me (dot) com.

Best Regards,

Joseph Alessi
Principal Trombone
New York Philharmonic
The Juilliard School

Alessi Seminar 2009

University of New Mexico, Albuquerque
Evening Recital, Thursday August 6th 7:30pm
Keller Hall

Joseph Alessi, Trombone
Eric Huebner, Piano

Program

  • J. Guy Ropartz
    Piece in Eb
  • Antonio Vivaldi
    Largo (from Piccolo Concerto) arr. Elkjer
  • Marc Lys
    Sonateen ager
  • Darius Milhaud
    Concertino d’Hiver
  • Intermission
  • Kazimierz Serocki
    Sonatina
  • Nicola Ferro
    Notes of Love
  • Paul Creston
    Fantasy

Massimo Joins Cleveland Symphony

Friday, March 7th, 2008

I met Massimo La Rosa while attending the 2006 Alessi Seminar in Italy. A standout in the seminar, Massimo played with great clarity and control and had a stage presence that was enjoyed by all in attendance. A year later, he auditioned for and won the Cleveland Orchestra principal trombone position.

Massimo recently visited Elkhorn in order to update his old T350. I worked with him to tailor the sound and feel to his new section and Severance Hall. I feel we were able to achieve exactly what he wants his trombone voice to be. Congratulations to Massimo for winning the audition (on his Edwards!). We wish him great success.

Alessi Seminar 2004

Tuesday, August 24th, 2004

FOSSANO, ITALY – It started innocently enough with a trip to O’Hare International Airport, but after 20 hours and 15 minutes — due to O’Hare traffic and a re-route to Rome — I finally arrived at my destination. The reason for this report is not to complain about current airline travel conditions but rather to let the trombone world know of the events of the recent Alessi Seminar held in Fossano, Italy.

Alessi PerformingAfter attending the past three Alessi seminars in Nyack, New York, I had an understanding of what the seminar would entail. These events are trombone “boot camps” for the participants. However, auditors can learn just as much as the privates in Alessi’s company.

A typical day begins with a warm-up session followed by a series of Alessi-led master classes. Joe works with the participants on solos, orchestral excerpts, and quartets. His focus is on the details. Every note is diagnosed and problems that can glossed over in fast passages are exposed for what they are. It is evident that Joe’s success is due to hard work and his attention to detail, not to mention an incredible amount of talent.

A typical day begins with a warm-up session followed by a series of Alessi-led master classes. Joe works with the participants on solos, orchestral excerpts, and quartets. His focus is on the details. Every note is diagnosed and problems that can glossed over in fast passages are exposed for what they are. It is evident that Joe’s success is due to hard work and his attention to detail, not to mention an incredible amount of talent.

Alessi Seminar ParticipantsThe 2005 Alessi Seminar will be held at the University of New Mexico in Albuquerque. The event was moved from Nyack in order to accommodate the steady growth of the seminar since its inception. The UNM campus will offer improved housing and better access to restaurants. (If you want great cinnamon buns, then The Frontier is the restaurant for you.)

Albuquerque is a picturesque city located next to the Sandia Mountains. If you’ve never visited the southwest (or want to get back there), plan your family vacation around the Alessi Seminar. You won’t want to miss everything you can learn at this event.

Alessi-isms

The following is a list of points Joe made while teaching at the Seminar.

  1. Don’t blow at notes, blow through notes.
  2. Be a fan, don’t see individual notes, blow through them all the time.
  3. The sound is always better in the original position. In general, when the note is longer than a millisecond, use the normal position. In faster passages you can use alternate positions.
  4. Instead of controlling soft dynamics with your lips, use your air. Start forte on long tones and decrescendo until you are playing very softly – controlling the sound with your air, not your embouchure.
  5. When the note is centered, it will resonate better. Blow down on notes and not up.
  6. When you run out of air at end of phrase, raise your chest. You will find more air than you think you have. Do not collapse — raise up.
  7. You will not get fired for playing too loudly, but you will get fired for not playing soft enough.
  8. When something sounds better, it is usually easier to do and also feels better.
  9. All of your weak points are exibited when you are nervous.
  10. In order to conquer nerves, perform as much as possible in front of people — at least twice a year or more if possible (aside from school obligations).
  11. When you do get nervous, think of something, such as an image, that will help you remain relaxed.
  12. The click track for your tongue is the brain. Keep the rhythm.
  13. Don’t assume that everything is in tune. Slow the music down and look for the problems. It’s usually the same notes.
  14. Know when the piano is important when playing a solo.
  15. Practice moving your jaw so you can make the low regiser sound right.
  16. Wizard of Oz — Oh Ee Oh, Oh Oh — between F and low Bb partials.
  17. Make sure your intonation comes up to the same level as the sound/technique.
  18. Go over key intervals to check intonation.
  19. Don’t think of notes changing from low to high, just blow through them.
  20. Don’t be afraid, back off, and let your pitch wander. Like a singer (vowel) "TAH EEE AHHH" Feel this in your head.
  21. The air must support the vibrato. The more vibrato you use, the more air you must use to support the vibrato.
  22. Do nothing with the throat as it is naturally in its most open state. When breathing, do not open the mouth in a huge fashion. This will cause your throat to close.
  23. The way you play scales is the way you play everything.
  24. To a bass trombonist — think hotter, moist, slow air. When you try to make a large sound it can sometimes cause the opposite to happen.
  25. Breathe low and slow and blow low and slow.
  26. If you hear the pitch change (going sharp) when you go from loud to soft then you are tensing up in the soft playing.
  27. You can’t make love with a low Bb going "Blaaah". Make it romance (when playing beautiful melodies in the low register).
  28. On some pieces, you can make your sound go into and out of the piano’s sound.
  29. Texture notes, don’t just texture the phrase, look at notes and make more music happen.
  30. Any time you have to play anything difficult (fast and technical), play it quieter.
  31. With multi tonguing, keep the slide grip a bit ligher in order to make it sound not so difficult.
  32. If you try to play these things loud (difficult, fast, technical passages) it’s going to sound like a trombone.
  33. Do not tune in front of the crowd. Tune before you go out.
  34. When you play with the piano you have to be a chamber musician. Let things in the piano come through.
  35. Tune with the piano even if you can’t move your main tuning slide. Use your handslide.
  36. Use piano and Smart Music to improve intonation.
  37. Play Bordogni’s using Smart Music.
  38. I always turn on my ears differently when I’m playing with a piano.
  39. Always get comments after auditions.
  40. Are you being a policeman for yourself by patrolling your intonation, making sure it is correct.
  41. A lot of intonation problems come from not playing slow scales and not figuring out the proper distance between intervals.
  42. Before you play any excerpt, think about the beginning of the piece in order to get into the proper style and rhythm. Think of the main melody in order to find the exact tempo.
  43. Play the Hungarian March in 3 bar phrases at 96 beats per minute.
  44. When you play louder, make the notes broader to keep the notes from getting louder, get bigger.
  45. Lead the chromaticism in Hungarian towards the end. cbc start softer and gradually build.
  46. You should have more than one recording of excerpts. Play along with the recordings.
  47. David Concertino — (1) Do not play too many alternate positions on longer notes. (2) Use 4th position D when between C and Eb. (3) Make the first 16th note a true 16th note.
  48. Make your slide movement rhythmic. Practice without making a sound. Blow air and move the slide to rhythms (miming).

Behind the Scenes at Alessi Seminar III

Sunday, October 26th, 2003

by Chris Branagan

NYACK, NY – The Alessi Seminar is now in its third year in the US. I had the pleasure of sitting down with Joe Alessi to discuss his motivations for doing a festival of this kind, and to gain a little insight into what goes into a workshop of this size and scope. My first question was what was the inspiration for the Alessi Seminar?

“Well, first of all, I love to teach. I haven’t been to too many events like this, I was a student in Snowbird, Utah, years ago and I’ve been to the ITA Festival.”

“I have a lot of confidence in my methods now, and I want to share those methods and pass them along to others. I also can run this in the way I want to run it. I think the forum of listening to other players play, even if you’re not up there playing yourself, you can learn so much by seeing and hearing others, player after player. I think the curriculum is designed to do that, so that people may not be up there participating themselves, but there observing what’s going on and I think you can learn a lot from that.”

Alessi Coaching Andrey Kharlamov“The bottom line is that I just love to teach. I love working with players and being a sleuth or an investigator and I enjoy trying to pick the right phrase or adjective to help that player. My teaching has changed in that I to look at the complete picture. If you strike a nerve with a player, in a good way, it can be a catalyst to change other things, and I try to find that one key thing.”

This is the third time the Seminar has been held at Nyack College, on the Hudson River just north of New York City. I wanted to know if there had been any changes that have been made to this year’s seminar.

“Well it’s always a work in progress, so of course I’ve learned more things this time than last time. The one thing that has really helped me is hiring an administrator [Roger Floreska]. Now I can focus on teaching and playing more efficiently.”

“Giving auditors and participants more time to practice I think is a very positive thing. We need to find more ‘chill’ time. I know some people want that. I feel more relaxed this year, mainly because I have somebody helping me, but I think people like the intensity. I don’t want this to be a vacation, I want it to be a really intense thing, and I think people like that.”

“But to improve it from here, we’ll need to question the facilities we have here. I know the college is trying to improve the facilities, and in two years this may happen.”

“As far as the teaching experience is concerned, I would like to improve trying to find more time for coaching trombone quartets. I think people enjoy that. It’s missing this year, but there’s only so much you can do. Ten days is the absolute limit, you can’t go any longer than that, or people will go crazy. Adding more days is not the solution.”

“The classes are important. We have to have all these classes, that is the focus of the whole seminar, to get together in a forum. I’m totally confident in Chris Houlding teaching the auditors, now I’ve found more time to get with the auditors and had a nice session this morning.”

Alessi conducts Auditor Trombone ChoirThe auditors are an important part of the seminar, and Joe makes it a point to spend time with them.

“Yeah, that’s important, I have to be there with them. The only other thing I’ve thought of, but it would be an enormous amount of work for me, is to give everybody a private lesson before the seminar starts; for instance, if I taught the lessons in four or five days prior to the start of the seminar. But that doesn’t work, because I have to get ready to perform. Really I don’t see how I could improve it that much from the way it is now. I’m always interested in hearing what people have to say at the final meeting, and I listen very closely. I know people are going to say, ‘I wish the food was better.’ You know, if you have time to eat and you’re going to take two or three hours to eat, you’re not going to eat in the cafeteria anyway, you’re going to go to a restaurant. Unfortunately there are no restaurants up there. I’m sure I’ll get other comments regarding the living situation in the dorms. But we’re here to work; it’s not a vacation. We’re here to think about the trombone and how to be better players.”

Joe keeps a demanding performance schedule throughout the seminar, presenting six different concerts of exceptional quality. One of the most interesting and rewarding aspects of the seminar is that Joe encourages attendees to record all concerts and master classes. I asked Joe for his thoughts on this important aspect of the Alessi Seminar.

“Well, this is a seminar. This is not some recording session. If it were a session like that, it would be different. It’s designed for people to learn. People are going to miss notes and we’re all going to make mistakes. It doesn’t bother me at all if people record it, I think they want to and they need to. I think if I were to not permit that, it wouldn’t be a seminar. A seminar is place where you exchange information, and that’s what were doing. This is not something were people are going to go out and make money on what I’m saying, people are going to take it home and study it.”

The Alessi Seminar takes place in the US every other year. In the off years, Joe takes the Seminar to Italy. I wanted to know if it was more fun to hold the seminar in a place like Italy.

“It’s fun in different ways. It’s fun here because I control the whole thing – I I’m the artistic director. There, I’m not really the artistic director. I run my classes, and basically we do similar things, but I don’t design the exact schedules and so forth. It could be that it might turn into that over there, but to be honest, I don’t know if that’s going to happen every year. And to do it every year, is a little hard on me. I enjoy doing this at home every two years would be fine.”

The biggest change in this year’s seminar is the addition of Roger Floreska as the Administrative Director. The task of organizing an event like this is monumental, and Roger has done an excellent job with a multitude of details involving scheduling, travel, accommodations, and music, to name a few. I asked Roger what he felt was the most difficult aspect of organizing this year’s seminar:

“I would say that would be maintaining contact between all the attendees — over 60 people. We figured out the most efficient way of doing it was through email. Keeping in fairly consistent contact with everyone has been the most difficult part. Everything else, once you start, tends to run itself. Of course, maintaining communications as the seminar approached was important as well. When someone asks a question, you have to get back to them in due time, and when you have ten questions and they’re all different, and trying to juggle the priority of each, I guess that’s the toughest thing.”

With a festival of this size, there had to have some unexpected that came up in the preparation process. Roger was surprised to see that coordinating the music turned out to be a little tougher than he had intended. “I’ve never been an orchestra librarian, and I had my own picture of what it would be like, but it was nothing like I thought. It was infinitely more difficult, in the sense of voicing all the particular parts to all the particular people. And it had to be right, because we have no time to readjust, and say “okay, you can play first instead of you. I have to assign all that before the Seminar starts, so I have to know all the individuals. I had to do background on the individuals so I’m giving the parts that are right for them.”

Chris Houlding, Alessi, Wycliffe Gordon & Chris Branagan“By the time they get here, there’s no time to change parts. So I guess that’s the toughest thing, knowing where to put everyone as far as the music is concerned, and then sending all the parts out electronically. All the parts had to be scanned, put into pdf format, and sent via email. There were a few people with computers that couldn’t open the files, so I had to send a link to download Adobe Acrobat. So I guess the library duties and voicing the parts were by far the biggest surprises. I only gave myself two weeks for that, and thought it would be a walk in the park, that I could do it in two days. But next time, I’m going to need two months for that.”

One of the most daunting aspects of organizing a Seminar like this had to have been choosing the performing participants. This year’s Seminar featured players from some of the country’s leading orchestras, students and professors from prominent music schools, and several international invitees. Roger spoke about the selection process:

“We received about 40 recordings, most of which were on CD, with the exception of those from Asia where the standard format is minidisk. I would say the level of all the entries was very high, and in some ways, Joe had a more difficult time than he had ever had in picking the right people. So there were a lot of runners up. For every spot there were two or three stand-bys. We established a first, second, and third place for each of the 17 participant spaces. So if this person couldn’t make it, we would call the first on the list. I would say maybe about 35% to 40% of those runners up are here as auditors. So it was good in the sense that we knew there were a good number of auditors at the same level, making the auditors classes more interesting. And you can certainly hear that in some of the auditor quartets.”

It took a tremendous amount of planning to put together the Alessi Seminar. For Roger, one of the most rewarding aspects of working on a project like this is to see it come together in a seamless way.

“My favorite part of the Seminar was seeing master classes starting when they were supposed to and ending when they were supposed to. Everyone knew exactly when he or she was going on and who was next, and we didn’t have to worry about any of that. Everyone had a schedule two months in advance. It was good that once we started everyone knew what to do. So I guess seeing the schedule come to fruition has been the best part. That took a long time, because there are a lot of things Joe wanted to cover. We gave ourselves a seven-hour window per day for master classes. So in those seven hours, we had to divide that time between seventeen people, over the course of eight days. So whatever big chunk of minutes we had, we would divide that by 17 twice over, and made some time for groups and so it was a matter of fitting everyone in. We’ve found the value of taking the time to do that. Had we not done that, had we just had blocks of time and not assigned people specific times, it would have been a mish-mosh. Everybody knew when they were going to play, no matter what.”

Joe Alessi has made a career of putting quality first in his performing and teaching. I asked Roger what is was like to have such an accomplished and quality-driven artist as a boss:

Alessi with the West Point Band“He’s been a buddy. I’ve had to stand my ground on a few things that he might have wanted to change last minute for musical reasons or for scheduling conflicts that he had. But there were a few times where I said ‘we have to end now, or this person has to be finished because the next person needs the same amount of time.’ He was always really good about that. I believe artists like Joe are on a different level than most, as far as how they’re thinking. They’re thinking about totally different things than I may be, as an organizer, at a particular point in a master class. It may be obvious to me that something needs to be taking place in the master class in terms of the schedule, but he’s thinking on a totally different plane and it may not be obvious to him. So I have to make it obvious, so when he doesn’t realize it, even though it may seem difficult, because I know that he’s in a different zone it makes it easier. I’ve had to deal with that with a few other people who are at the top of their field. I know Wynton Marsalis very well and work with him a lot. He’s kind of the same way with scheduling or certain things that have to be done, he’s just not thinking about that. You have to remind him, ‘you know to come down to earth for a second.’ So that’s kind of how Joe is, because he is who he is. If he skipped lunch to continue the master class everyone would just sit here, because everyone wants to hear what he has to say. Our personalities work together well, too. We’re very similar in terms of how we look at things. I didn’t realize that so much as I did in the last ten days. When something happens we kind of have the same reaction, and that’s good. I know when he’s getting frustrated. I didn’t know we were that a kin.”

This year’s seminar was a remarkably successful event, and was made more so by the great work done in preparation before and execution during the festival. The Alessi Seminar is an ambitious endeavor put together by one of the world’s finest musicians, and continues to be on of the most comprehensive festivals the trombone world has to offer. To read a full review of the concerts and master classes by John Whitaker, see the latest issue of the ITA Journal.

I offer my congratulations to Joe and Roger for another outstanding Seminar, and would like to take a moment to say thank you for their professionalism and hospitality.

You are currently browsing the archives for the Alessi Seminar category.

Categories

Archives