Archive for the ‘Getting It Done’ Category

Weekly Update–13 November 2011

Saturday, November 12th, 2011

Here’s a very quick recap of what’s gotten done this week:

  • Following my own advice and that of Jonathan Fields, I have reached out to the LinkedIn group “Bass Playing Professionals” to invite its members to be part of my creative hive.
  • I have the texts for the de Victoria motets that we’re working on.
  • I’ve sent everyone the score for Mike Wittgraf’s piece (for the February 5 concert). We’ll look it over tomorrow morning in our rehearsal.
  • I’ve started researching how to use Google AdWords.
Next steps:
  • Get a good rehearsal under our belts tomorrow, November 13.
  • Talk to my friend and colleague Bonnie Gibbons about using AdWords.
  • Confirm whether or not we’ll be able to premiere “Autogeneous Mining” on February 3 at Experimental Sound Studio.
That’s all for now . . . a busy weekend here!

 

It’s Not an Audience, It’s a Beehive

Friday, November 11th, 2011

I mentioned in a previous post that I’ve been reading Jonathan Fields’ book “Uncertainty” and taking some learnings from it. One of the tools he recommends for overcoming the fear that comes from facing uncertainty is the “creation hive,” a group of interested individuals who can give you interim feedback on your projects, goals and methods. (Marty Cagan of Silicon Valley Product Group has a similar concept.)

I realize that this blog, my twitter activity and the occasional e-mail I send to the CBE mailing list are all efforts on my part to build a kind of feedback hive for my musical efforts. It’s why I long for comments on this blog. It’s why I’m excited to see something of mine retweeted, and it’s why I mostly limit my tweets to musical topics.

So I admit that I had hopes, when I sent my last e-mail, of picking up a few new subscribers to the mailing list, a twitter follower or two and getting someone to make a comment on any one of these blog posts.

After sending the e-mail, the first response from the world was the usual couple of unsubscribes. That’s natural, someone realizes they are ON a mailing list and decide they want off. Okay, no problem. Beyond that? Nothing.

No e-mails forwarded. No comments. Maybe one new twitter follower. But not even the usual handful of “hello, great to hear what you’re up to” responses from geographically distant friends. Net-net, I think the result of this “campaign” was negative growth.

It’s somewhat disheartening. But it’s not time to give up. It is time to realize that this isn’t easy, and that’s okay. The reward of building a hive will make he hard work worthwhile.

My next steps:

  • Try buying some ad traffic (Google occasionally offers some credit to try out Adwords. With concerts coming up, I do have something to promote, so why not try it?)
  • Do some more commenting on other blogs, where appropriate, with polite links back to my blog.
  • Reach out on online forums–for instance the professional bass players group on LinkedIn–to solicit hive-like input and feedback.

Stay tuned (and comment, won’t you?) to see how it turns out!

Weekly Recap–6 November

Sunday, November 6th, 2011

Another week has come to a close (or is it a beginning?) and I will take just a few moments to recap what I have done this week.

  • I’m happy to report that we had a good rehearsal this morning! Spent time on Armand Russell’s Ultra-Rondo, three motets by da Victoria, and Simón García’s A Night in Compostela.
  • Got an e-mail out to the mailing list*, promoting the January and February concerts, this blog and my twitter handle.
  • Came across an interesting post from Allegra Montanari on concert dress and presentation at Chicago Classical Music. I added my thoughts, and will probably post more on the subject myself.
  • I’ve updated my personal running list of repertoire for the concerts. Not complete yet, but working toward it.
  • I’ve also exchanged e-mails with Experimental Sound Studio about scheduling a performance for Autogeneous Mining.
  • Got samples of our work up on SoundCloud, providing a way for everyone to hear our demo without my having to send CDs in the mail.

If you compare this to last week’s list, I think I’ve done okay. There is still plenty of detail work to do, but I am on track and making progress. What’s to do next?

  • Analysis of the da Victoria Motets–how will we make these really sound good?
  • Continue to work on the “added” performance: check schedules etc.
  • Start some work on printed advertisements for the performances. I’m pretty confident at this point that e-mail and twitter alone are not enough!

* If you’re not on our mailing list, please sign up here.

Weekly Recap–30 October

Sunday, October 30th, 2011

Let’s have a look at what came off the to-do list from last week.

  • I’ve now got a set of rehearsals scheduled. Not enough rehearsals, of course, since it’s really hard to coordinate the schedules of four freelance musicians. But something to start from.
  • Um, okay, well that’s it for major accomplishments. But it’s a big and important one!
For the coming week:
  • Get at least a rough set list in place for both January 15 and February 5 performances.
  • Work on scheduling another performance sometime between January 31 and February 7 — Mike Wittgraf will be in town, and it would be fulfilling to play his piece, “Autogeneous Mining,” a second time while he’s here.
  • Get out an announcement to the mailing list, to build enthusiasm. This has to happen!!

I’ve been reading a book called “Uncertainty – Turning Fear and Doubt into Fuel for Brilliance” by Jonathan Fields. There are a couple of points that have stuck with me so far.

One way to mitigate the stress of taking on projects with uncertain outcomes is to have regular, stabilizing routines. These routines help to calm the mind and maintain order of some sort when the things around you seem highly disordered. I expect that most musicians will recognize their practice routine as something which brings order to their days. I know that I feel better when I have had regular time to practice. Fields calls these “uncertainty anchors.”

In addition to having mentors, whose role is probably pretty well-known to musicians and businesspeople alike, Fields asks you to find heroes and champions as well. Where a mentor is someone who is available to you to provide guidance, advice and encouragement on a personal level, a hero is someone who has all the successes and qualities that you would pick in a mentor, but who is not available to you personally. In spite of not being able to engage directly and immediately with your hero, you can draw a lot of strength and wisdom from observing and following them and their path.

A champion is someone who believes in you and is there to help you, even provide for you, no matter what happens. Fields cites his own wife as his champion (and himself as hers, neatly reciprocal). He describes his own decision to leave a job that he disliked in order to follow a career that called to him, even in the days immediately following the September 11 World Trade Center bombings, which threw so much into chaos and uncertainty. His wife championed his cause, offering him unconditional support, because she believed in what he was doing. Such is the power of a champion.

There are hints of some other important support structures for uncertain ventures. I won’t summarize them right now, because they’re not yet firmly in my head, and I’m not going to just re-key them here. I’ll write about them next week, perhaps. I will say that among them is something like tribal leadership, a subject of some interest to me. What better form of leadership for an entity like a chamber music group? Related: for those in the area, check out Si Alhir’s seminar on Agility and Tribal Leadership this week. Having worked closely with Si during his engagement at Cars.com, I believe this will be a valuable seminar.

Perhaps in future posts on this blog, I will be able to tell you something about the mentors, heroes and champions I choose to follow.

Weekly Recap-October 22

Saturday, October 22nd, 2011

Having discovered a short while ago that I can post to this blog from my iPhone, I’m taking advantage of the opportunity to blog while I wait for someone to come jump start my car. Why oh why do I still have this car?
No matter. I’m making the best use of this time as I can, even if I’m not practicing.
This week:
- talked with Mike Wittgraf and got some details about his piece and the equipment we’ll need to perform it.
- continued to try to work out a regular rehearsal schedule…tougher than I anticipated!
Next week:
- continue to draft the final program & order (not done this week as I promised).
- schedule and get commitment for rehearsals.
- send a message to the mailing list–to build awareness and excitement.
As always, your copious outpouring of comments, advice, suggestions and encouragement is much appreciated
Srsly, do say hello in the comments. It would be fun to hear from you.

Weekly Recap – 15 October

Saturday, October 15th, 2011

I promised a new blog post, and seeing how many of you are clamoring for more news, how could I disappoint you?!

From the list of things to do that I published last week:

  • I talked with Wilson and we will schedule a meeting when we see each other Monday for Who Needs Dave rehearsal. Pretty Good.
  • Not so well-done, I haven’t booked a fourth player. But I did get an e-mail sent (his voice mail inbox was full and not accepting messages). Bad.
  • Also not done, I didn’t get music from Wittgraf. Bad.
  • I have written a follow-up post. You’re reading it. Good.
One thing I got done that wasn’t on the list: publish an announcement of Chicago Classical Music for the January 15 performance. Good!
So, by this time next week:
  • Get a fourth player.
  • Get music from Mike Wittgraf.
  • Also from Wittgraf, a detailed list of what equipment will be needed here for February 5.
  • Publish another blog post detailing the exciting life of someone trying to organize a bass ensemble.
  • Do more thinking about the programs for January and February. Goal: have half of each “confirmed” in my mind.
Okay, so there really aren’t that many of you commenting on these blog posts. But the threat in my mind that someone might be is enough to motivate at least some action. How’s that for a leadership strategy?

Rehearsal Wrap-Up

Sunday, October 9th, 2011

Just got done rehearsing for two hours with Anton and Julian, literally.

Really, it was more of a reading session, since I hadn’t distributed parts beforehand. And I wanted to get a rough idea of whether some pieces would work or not for the performances in January and February. Here’s what we went through:

  • Why? by Teppo Hauta-aho. This piece is dark and distraught. It will be good to work on it.
  •  The Secret of Tao - written for us back in 2007 and premiered at MusiCircus. Thinking about reviving this rather demanding and quite contemporary piece. Written by Ilya Levinson.
  • Three Spanish Motets by Tomas Luis de Victoria, arranged by Michael Cameron. Very pleasant texture and sonority, these great motets–including O magnum mysterium–could be a very nice contrast to some of the more rough and tumble stuff. Is it some sort of musical blasphemy to describe masterworks of the renaissance era “pleasant?”
  • A Night in Compostela by Simón García – a nice piece, this will be a real crowd-pleaser. Maybe even best as an encore. However, I also think there might be a mystic element to bring out once we’re more familiar with it. This is only the first time I’ve played through it, after four-tracking just a few sections on my own.
  • Ultra-Rondo by Armand Russell – Honestly I bought this piece on the strength of my enjoyment of Russell’s Chaconne for double bass and piano. I’m not disappointed; however, this piece has more dark and challenging stuff than I expected. That’s a good thing.
  • Jan Alm‘s Kvartett för 4 kontrabasar - I love this quartet, it’s light and fun. I think it will be well-enjoyed.
I like to think that I have some interesting ideas to design the flow of a concert. I’ll continue to write about them, because I really want to be invited to speak at the cusp conference “The Design of Everything,” although I’m far from the most qualified person to speak on this subject :-)

Rehearsals Begin for January and February

Saturday, October 8th, 2011

Honestly, it is hard to overcome inertia, but I’m about to do so.

Honestly, the Chicago Bass Ensemble has been static, motionless, inert for several months. Things kind of decayed at the beginning of this year, and I didn’t do a good job of breaking through the stasis. I did get a lot of music for the group to play, when I was at the International Society of Bassists convention. And I was really pleased to hear from Ken Whitney during the summer to set up a performance at the First Presbyterian Church of Arlington Heights.

Now, I’m finally geared up to get going again. Tomorrow morning, Julian, Anton and I are getting together to go over repertoire for both our January and February performances. I’m excited!

So now I’m going to try something. One of my goals for this blog has been to shine a light onto the process of getting a performing group going. I mean to make regular entries. I haven’t been doing that, but I’m going to try again. For this week, here is my done well/needs improvement list:

Done Well

  • Pulled together a rehearsal (for tomorrow).
  • Made an entry on the Chicago Classical Music site.
  • Wrote this blog entry.
  • Left a message for my friend Wilson Hogan, with whom I am podcasting about Chicago Bass Ensemble.

Needs Improvement/To do

  • Get Wilson and me off our butts and record something for a podcast!
  • Confirm a fourth player for both the January and February events.
  • Get music from Mike Wittgraf for his piece which we’ll premiere in February.
  • Write a follow-up post to this one.

Check back next week to see how I’ve done, especially on that last bullet point! Your encouragement … or harangues … in the comments will inspire me!

Sightreading for August 15

Monday, August 15th, 2011

Interested in what we might look at tonight? Here’s a partial list:

  • Teppo Hauto-Aho’s Two Dances
  • Patrick Neher’s Danny’s Bass Camp
  • Carolyn White’s classical/romantic collection for bass quartet, volume II
  • Joel DiBartolo’s arrangement of four Elizabethan Trios
  • Klaus Stoll’s transcription of Ortiz’ Madrigal, Canción e Recercada
  • Carolyn White’s arrangement of Dittersdorf’s Notturno
  • Klaus Trumpf’s arrangement of Bottesini’s Passione amorosa
  • Klaus Trumpf’s arrangement of Paganini’s Moses-Phantasie
  • Michael Cameron’s arrangement of Orlando’s Three Chansons
  • … the list goes on.

Needless to say, that’s a lot and we probably won’t get through it all. And in writing this, I realize that I’m leaning heavily on transcriptions and arrangements (stuff I bought at the ISB Convention), although I have several modern works that have been sent to me by friendly composers. These are on my computer as .pdf files–I will have to make time to print at least one or two of them before rushing off tonight.

What we Actually Did (an update on August 16)

As the leader of this group, I would have liked to prepare the parts and get them to people a week before a session like this. Obviously that didn’t happen. But nonetheless, John Tuck, Anton Hatwich and Beth Zaluba did me a great favor in charging ahead with this, and we had some fun as well. Here’s the list of what we actually read through and my quick notes:

  • The Teddy Bear’s Picnic: Bass Quartet by Denny Berthiaume. This is an arrangement Denny made for my friend Steven Auerbach. It’s a bit dense, being in a low-ish register, with all but the lowest voice playing pizzicato. This is a reflection of Denny’s taste as a jazz pianist (Check out the very cool group, TRIO, with my friend Mickey McPhillips on bass). It may need some rethinking, though, as the arco part tends to overwhelm the pizz. I’m hoping that Denny will expand this piece, as it could be fun to use as lighter material and/or for concerts in schools.
  • Notturno by Karl Ditters von Dittersdorf, arrangement by Carolyn White. This feels like quite a nice arrangement — Anton commented that Carolyn’s arrangements are well-balanced and transparent. Dittersdorf has a reputation a something of a lightweight–at least he doesn’t always meet with universal acclaim among bassists–but I think this arrangement will be a good addition to our repertoire for lighter or classical sets.
  • Moses-Phantasie from Nicolò Paganini arranged by Klaus Trumpf for Bassiona Amorosa. Those who know who Bassiona Amorosa is will nod understandingly when I say that we did not successfully sightread this piece in its entirety. No surprise, as it’s a virtuoso showpiece for a single bassist; this arrangement gives the solo line to all four players in turn. Meanwhile the piano accompaniment is replaced by the other members of the quartet. It will be a lot of fun to work this up sometime in the future.
  • Three Chansons by Orlando de Lassus, arranged by Michael Cameron. Music from the Renaissance really works so well for double basses. These are fun to play, with gorgeous harmony and polyphonic interaction. As there are limited or no tempo markings and dynamics and articulations are additions by the editor, Cameron encourages experimentation. I look forward to doing that as we move forward with these pieces.
  • A set of short arrangements entitled Františkoviny pro kontabasové kvarteto curated, if not arranged by Miloslav Gajdoš for the Bass Club of Kroméríž (pardon me if I’ve got those diacritical marks confused). Several of these are going to be good lightweight material, perhaps even light encores. But even for that purpose, I wish the arrangement of Eleanor Rigby developed the material a little bit, and that Moon River and Theme from Forrest Gump were either shorter or did more to develop the music. I have a hunch that these are student arrangements. Usable, in the right context.
  • Three Spanish Motets by Tomas Luis de Victoria, arrangement by Michael Cameron. See my notes about the Three Chansons above — these will definitely be demanding in terms of tuning and musicality. They’ll be easily overplayed if we get too wrapped up in our own sounds (all that orchestral section playing, you know) and overwhelm the music with bow pressure.
All in all, this was a successful reading session. I got what I needed: a sense for how these pieces sounded, so I can program the appropriately. And I reconnected with a few of my friends (Beth, in particular, seems to have a wealth of great stories about the bass scene in Chicago, having spent some of her life with Pete Zaluba), and got some material for this blog, all at the same time.
If you’re a bassist, and would like to be involved in our next reading session, whether as a player or just a listener; or if you’re a composer who would like us to read through something you’ve written, long or short, please don’t hesitate to drop me a line using the contact form here on the Chicago Bass Ensemble website.

Reading Session One!

Sunday, August 14th, 2011

I’m happy to announce that I’ve arranged for several friends to get together and read through some of the music that I bought at the International Society of Bassists Convention in June of 2011.

It’s one thing to buy a bunch of music, it’s another to find out if any of it is any good. Especially in a small space like this, it’s hard to be sure. The fact that something is published is no guarantee, since it is so easy to self-publish these days.

This read-through will also help me line up some of the music that we’ll play in the coming season. I haven’t released details, but we will be playing in Arlington Heights in January, and I also hope that we’ll be on the program at next year’s Chicago Bass Festival.

Anyway, I’m looking forward to getting together with John Tuck, Beth Zaluba and Anton Hatwich on Monday (yep, tomorrow, as I’m posting this) to try some stuff out. This afternoon’s project: pick what music to read.

Jacque