A Talk with an Up and coming Brass Instructor and Performer - Philip Orselli

How has studying at a conservatory shaped your musical life?

Studying at the SUNY Purchase Conservatory of Music was a really important step for me in my musical journey. The friends I met there were such terrific musicians and they inspired me to want to get better in all areas of my playing, especially the ones that I wasn't attending to very much up until that point! I no longer wanted to set limits on myself and I realized that with enough practice you can play pretty much anything you set your mind to.

How much do you practice, and when?

I practice every day but how much I practice varies from day to day. For instance, if I have a free day I can afford to have more practice sessions and explore some things I've been wanting to work on but hadn't found the time to do. But, if I am working or playing a concert that day I really focus more on the fundamentals of the instrument with the time I have so that I am ready to go when it's time to play. I usually practice in 25-minute chunks and depending on the day I do anywhere from 3 to 6 chunks.

“My philosophy for teaching is to try to help the student learn how to teach themselves.”

— Philip Orselli

What are your habits when it comes to preparing for an important concert? 

For an important concert or audition, I try to split up my focus into two categories, the physical and the mental. The physical aspect is practicing the piece and working out any issues I have with it. This usually involves listening to lots of recordings as references, working with a metronome, coming up with ideas for phrasing, and brushing up the piece until I am satisfied with it. Then comes the mental aspect, which is making sure that when it comes time to play the piece "for real" I am focused and in the moment. This is at least half the battle in my opinion because if you haven't practiced centering yourself and learning how to control your nerves you are not going to be able to play at your best when you need it the most.

What makes a player of your instrument truly exceptional?

I think a trombonist (or any musician for that matter) who is exceptional is someone who is excellent at every area of playing their instrument. So whether the music is fast, slow, loud, soft, high, low, lyrical, virtuosic, textural, or anything else, a great trombonist should be able to play their part fantastically. There are plenty of players that are great at a few things and only so-so at others, only the very best have taken the time to iron out every aspect of their playing.

What are some quick, basic techniques you use to get a perfect tone? 

To get an amazing tone on the trombone I think first you need to listen to as many trombonists as you can find and try and put their sounds into words. Maybe a trombonist with a sound you really like you might describe as pure, velvety, and sweet whereas one you dislike you may describe as shrill, nasal, and fuzzy. Now once you have a basic concept of your sound preferences I would play along to recordings of the trombonists whose sound you enjoy and try your best to match their sound, so a passerby listening wouldn't be able to tell the two of you apart.

Describe the first lesson with a beginner with you. What do you go over?

When I am giving the first lesson to any beginner I always ask what they know about the trombone already and what they would like to learn. Some students have a very clear idea about some things already, like how to put the instrument together and how to make a sound while others haven't even played a note on a trombone before. Then once I have a basic understanding of their current level I usually will engage in some call and response exercises with them and describe the goal of each exercise. If the student already has some music they would like to work on we will start going over that but if not I will usually assign a short piece from The Arban Complete Method for Trombone and Euphonium, a great place to start for beginners.

Which books are available to beginner players?

If I had to recommend two books for trombonists they would be The Arban Complete Method for Trombone and Euphonium and Marco Bordogni's Melodius Etudes. These books will last you the rest of your career!

What are your philosophies for life, teaching, or performance?

My philosophy for teaching is to try to help the student learn how to teach themselves. I only see my students once a week for an hour or so, and if the time they spend practicing by themselves isn't attentive and thought out they will undoubtedly not improve much from week to week. I explain to students that a lesson should act more like a weekly check-up to make sure things are going well and if they aren't we'll try and figure out how to fix it together. My philosophy for performance is to be present in the music you and others around you are making. The moment you start daydreaming or fretting about the solo you have coming up you will invariably not end up playing your best because your mind is no longer focused on the task at hand but somewhere else entirely. As for my thoughts on life, I think that you need to find something you like and stick to it, regardless of what other people say, otherwise you end up spending your days wondering what could've been instead of being happy about what is.

Which musician or teacher has been inspirational to you? and why?

I think that my very first private teacher John Lieto was a terrific influence on me. Not only did he help me out tremendously when it came to basic technique and facility on the trombone, but he was an extremely warm and encouraging teacher as well. Lessons were always fun and enjoyable with him and the appreciation he had for great trombone players rubbed off on me from a very young age. As for inspirational musicians, there are too many to count! If I had to name two that are such masters of their craft that it keeps me inspired whenever I hear them I would choose the trombonist Peter Steiner and trumpeter Elmer Churampi.

What are you listening to? (thank you for your time)

Right now I have been listening to some great recordings of Dennis Brain and Matthias Höfs that will knock your socks off. Also, I have been really into the Gnarls Barkley Album St. Elsewhere as well.

One the Stage and in the Lesson Room - Learning about the Life of the Fantastic Fan Hu

Which instruments do you teach? For how long have you been teaching?

I have been teaching violin and viola for over 25 years.

What made you want to become a musician and instructor? Is your family musical?

As a musician and teacher growing up I was fortunate with unique resources. My parents were middle school teachers. as the amateur they both went to Shanghai Conservatory of music for vocal studies. Also, many members of my aunt's family were piano and composition professors. Since I was very young, I was able to see their teaching style and listen to their music often.

You’re a frequent performer and played with Opera San Jose, Monterey Symphony, Santa Cruz Symphony, Sacramento Philharmonic Orchestra. What advice would you give to beginners who are nervous to perform?

Be prepared, Practice and rehearse as much as you can, play in front of family members or friends at every opportunity until you feel relax and ready.

You’ve been appointed the Assistant Principal of Viola by Kent Nagano at Berkeley Symphony. How did you earn that prestigious position? Did you have to overcome any challenges along the way?

The path to obtaining a job in an orchestra is somewhat straightforward. After I moved to the states, I was very lucky to study viola performance and orchestra repertoire with Jay Liu. He is the professor of San Francisco Conservatory and San Francisco Symphony Assistant Principal viola. I have been invited by him to observe the rehearsals and concerts. After 2 years study with him and try a lot of auditions, I won the position with Berkeley Symphony.

How was your experience of earning your Bachelor's Degree from Wuhan Conservatory of Music? What was your primary focus of study?

I studied musical performance since middle school. In the conservatory, I learned a one-on-one lesson from professional artists in supportive mentor-apprentice relationships. I studied incredibly hard, put in extra hours of practice and orchestra rehearsal because I love music.

We've heard you've been making string instruments such as violin/viola/cello/ D. Bass, how long have you been making them? What do you like about making them?

It's an amazing experience for me to make string family instruments with some of the most well-known makers and violin shops around the Bay Area since 2011. Being a violinist/violist, I understand what the musician wants, then convert that information into sound adjustments or making.

What do you say to motivate a student who has not been practicing that week?

Students have some good times and bad times during the practice. I would change their music, give them fresh and new music to play. Also, I can remind the parents how important practice is to making progress.

Describe your favorite performance you've ever given...
My first performance (moved to states) with Berkeley Symphony under Maestro Kent Nagano.

How do you handle mistakes during a performance?

Just keep playing with the similar rhythm and notes, make them seem like the natural part of the piece.

What is a first lesson like with you? What do you cover on the first day?

During the first lesson, I would ask some questions to get to know the student’s level and experience, then I do explain the parts of the violin. One of the most important parts of the lesson would be learning how to hold the bow and violin properly.

You teach the Suzuki method and other traditional methods. What do you like about teaching this way?

In my humble opinion, Suzuki method is one of the best ways to learn violin as a beginner. To combine with the traditional methods, students will have rich resources to choose from as far as repertoire, tutorials, scales, and etudes.

What do you like to do in your free time/weekends?

I like to spend my free time and weekends enjoying outdoor activities with my family.

A Talk on Jazz, Improvisation, and Performance with Mr. Shay Salhov

Which instrument(s) do you teach? How long have you been teaching?

I teach saxophone, flute, clarinet and piano. I've been teaching saxophone for 25 years and piano, flute and clarinet for about 20.

You have degrees in both Classical Music and Jazz, how are they related/ helped each other when you perform and teach?

I got my Bachelor's degree in jazz, as it is my main musical interest, and my Master's degree in classical saxophone. Studying classical music helped me learn more about the saxophone (technique, sound production, intonation, posture etc.) and opened me up to a musical world I was not entirely familiar with before hand. My classical saxophone teacher was an incredible musician and aside from helping me out technically, he was able to infuse in me the importance of musicality, expression, phrasing and color and everything I play. I still draw inspiration in my jazz improvisation and composition from the classical pieces I've learned and performed during my Graduate studies, and am able to share all of that with my students.

Speaking about Jazz Improvisation, when did you start improvising and playing jazz? What do you suggest for the students who want to learn about improvisation?

I started studying jazz improvisation when I was 13, but really got into it around 17. When students ask me about jazz improvisation, I always ask "so who have you been listening to lately?" - as in what jazz artists inspired you to want to learn improvisation. Listening (and loving) jazz, from its earliest forms to its contemporary manifestations, is the first and most important requirement to really get into improvisation and jazz playing in general. Then, the students must learn all scales and arpeggios on the entire range of the instruments. The students also should immerse themselves in the theoretical part of it (chords progressions, chord scales, substitutions etc.). Learning as many jazz standards as possible and transcribing all the solos one can handle is what can help the students gain jazz vocabulary and put all of the above into practice.

You performed in NY and Boston a lot (intensively) as a live Jazz musician. Do you feel there are any differences between musicians/ teachers/ students between the East Coast and West Coast?

Not really. I believe that NYC has some of the best musicians on the planet, but from my experience here so far, the West Coast has a lot to offer as well. The same with the level of teachers and students in both Coasts.

What is one of your favorite scales or modes to play? And why?

I love them all! But, lately I've been trying to come up with some hybrid scales.

Legato has offered online lessons for a while now, how is that going? What benefits are there to online learning that in-person learning cannot offer? What are some benefits of in-person learning which are becoming an option this month?

Online lessons have been going pretty well for me. However, I really don't see any significant benefits to online lessons other than the safety of my students and myself and not having to drive to work. I personally prefer to be with the students in the same room. The sound quality on the platforms we've been using is questionable, which often makes it difficult to really know what the students sound like. Also, it makes it a bit hard to inspect the students' posture, sitting position, finger placement and other technical elements, and follow the music that their playing at the same time. Being in the room with the students makes all of that much easier.

How often do you recommend your students practice each week?

Every day, for at least the time length of the lesson in every practice session.

In what ways do you see music positively impact other parts of students' lives?

Playing music is one of the best forms of communication. Students can find a very efficient form to express themselves with and communicate with their peers. I also believe that music heightens our curiosity. We all have been in that situation where we fell in love with a piece of music and really wanted to learn it. The feeling of achievement after the hard work we've put into learning that piece is immensely gratifying.

What is one thing you wish you told yourself as a younger musician?

Sit down and practice, especially on the things you're not familiar with or good at! Keep taking lessons with anyone better than you.

Who do you look up to as inspiration as an educator or otherwise?

Amikam Kimelman, who was my saxophone teacher from my high school days in Israel; Hal Crook, who was the jazz improvisation teacher that completely changed my thinking in Berklee; and Ken Radnofsky, who was my classical saxophone teacher at The Boston Conservatory. 

What is an interesting part of saxophones or clarinets that most people don’t think about?

I have 2 kittens. Recently, I realized that the bell of a saxophone is a perfect-sized hiding place for a kitten.

Are there any musical projects you are currently working on you'd like to share more about?

My jazz quartet is in the process of mixing/mastering our first album. Release is currently TBA. so stay tuned!

www.shay.salhov.com

Philosophy of Music & Teaching Today - An Interview with Nick Hewett

Which instruments do you teach? For how many years have you been teaching?

I primarily teach trumpet, but also teach trombone and euphonium. I've been teaching for over fifteen years.

How did you get into this field? Do you have any particular moments early on in your life that inspired you to become a musician that you’d like to share? 

I grew up in a family that valued the arts tremendously. Though neither of my parents are musicians, they are both lovers of music, and I was exposed to lots of different music from an early age. I have a long lineage of the arts in my family - my great-great grandfather was music director at the Adelphi Theatre in London (and interestingly enough knew Charles Dickens), and he had children who were successful musicians. My grandfather was a wonderful pianist, draughtsman, and painter, my father is a painter, and my uncle is a musician and artist, so it was something that felt very natural to me.

What is your experience with performing outside of teaching? 

I consider my career as a performer to be central to my teaching. I've been performing professionally since I was around 16, and have been very fortunate to work with many great musicians, across almost every style. For a number of years, I performed regularly with a number of well-known jazz musicians, before doing more work with major symphony orchestras, recording sessions, and over the last decade have formed relationships with composers whose works I have premiered, and collaborated with some very inspiring visual artists in live performance.

To turn back music education, with the expansion in technology and way people consume information, how do you feel about technology's role in learning? What are some ways you can successfully learn online? 

As musicians and educators, I feel we have a responsibility to be open minded in our artistic practice and teaching. Evolution is essential in our field, and technology is just one such area that deserves our attention. I still remember the days when online lessons were impossible, followed by dial-up internet that made them impractical. The technology now is fantastic, and I am overwhelmed by how adept my students are with it. I feel that it is essential to maintain a close and honest relationship between teacher and student, so that our online learning maintains a personal feel.

What are some of the benefits of having an actual music instructor, versus going on Youtube (etc.) and trying to learn there?

While I feel that YouTube is an incredible resource for students and teachers, we must realize how easy it is for anyone to present their content online, regardless of what their qualifications may (or may not) be. Skepticism is essential when trawling through online resources, and establishing a relationship with a teacher who is qualified and experienced is the most important first step to learning an instrument (or anything else for that matter!) that any student can take.

Which techniques do you use in your life to stay diligent and on top of your own practice? Do you ever feel uninspired to practice? And if so, how have you overcome those challenges? 

​This is a terrific question, because I'm often asked about how I stay motivated 365 days of the year. My truthful answer is that I don't! There are, in fact, many days when I wake up and like anyone else, would rather be going to the beach or having coffee with friends than practicing the trumpet for hours.

“ I have been incredibly proud of my students achieving greatness through winning auditions and competitions, being accepted to excellent colleges, or becoming the best person and musician they can be.”

This is where discipline is far more important than inspiration - because no matter how I feel on any given day, I remind myself how important music is to me, and that if I want to continue to improve, I must practice regardless. This simple realization has been a valuable tool for me over the course of my career. Of course, I often draw inspiration from the world around me - whether it is in nature, art, music, food and wine, and these all contribute to how I make music.

What parts of your job are fulfilling to you?

Teaching my students is a constant challenge and inspiration. I have been incredibly proud of my students achieving greatness through winning auditions and competitions, being accepted to excellent colleges, or becoming the best person and musician they can be. I'm fortunate that at Legato I've been able to work with students who are passionate musicians and great people. Their commitment to learning their craft all in their own ways, while becoming admirable people is a wonderful experience for me.

Why is music education important today in the Bay Area?

Personally, I couldn't imagine living without music, art, wonderful food, national parks, or any of the things that make the Bay Area special. While technology is incredibly vital, and I admire innovation in science and technology, music and the arts offers all of us, including students, lessons of critical thinking, perseverance, engagement, and enjoyment (something we all need to make time for!) that is very difficult to find in other fields. Music education is another essential gear in the machinery of any successful society, especially in the Bay Area, where students often find themselves overwhelmed by the pace of everything.

Who's your favorite composer/ performer, at the moment, that you think would inspire people?

I almost never have a creative answer to this question, largely because I can't bring myself to name just one composer or performer, but when I'm forced to choose, I always go back to JS Bach. I love Bach's music (especially his choral writing), and still feel overwhelmed when I listen to his music, especially when performed on period instruments. I also spend a great deal of time listening to lieder, opera, and modern jazz. I feel that we all draw inspiration from different things in life, so I recommend listening to as much music as possible, and finding the things that you truly relate to. If anyone would like a comprehensive list of recommendations, please let me know!

Please provide any links to your own music or live videos, with a description!

If you visit nickhewett.com, you will find links to some of the work I've done, as well as links to social media, will give you some insight into my daily life as a musician.

"It's not just enough to just play the notes on the pages; everything should have a meaning or purpose" - A conversation with Oboe Instructor Mr. Nathan Villanueva

What instruments do you currently teach? What is your favorite part about instructing? 

I currently teach the oboe. I was also teaching clarinet for a while, but I decided to bring my focus back to my primary instrument. My favorite part of teaching is finding new ways to get my students to really understand the meaning behind what they're doing. It's not just enough to just play the notes on the pages; everything should have a meaning or purpose. 

Who inspired you to make music? 

I've been making music ever since I can remember. I like to joke and say that I was the child of Celine Dion (mom's favorite) and Pinky Floyd (dad's favorite) while my uncle took me to the SF Symphony on the weekends. My family has always been heavily but casually involved in music, but I'm the only person who seriously studied it.

Where have you performed? 

I've performed and freelanced all over the San Francisco Bay Area and Southern California, but the last place that I went far to play/teach was in Mexico and NYC. 

What is one thing that you wish you knew growing up as a young musician that you know now? 

Warming up is completely necessary before jumping into etudes and repertoire. 

What is one thing that is notably difficult to overcome when learning Oboe or English Horn that most people would not think about? 

I think it's understated how expensive playing these instruments are. It's a big investment and difficult to find a decently functioning oboe and, even if you have that, you have to have a good reed. Your practicing will go nowhere if you don't have both, so it's always a constant search for either or both.

What parts about San Jose (or the greater Bay Area) do you think are good for a musician or an artist to live in? 

I think there's a really good jazz scene in San Jose, Oakland/Berkeley, and San Francisco. In San Jose, I see there are more opportunities for musicians to play downtown at cafes and galleries and such. 

How do you feel the Internet has impacted the music business?

The internet has impacted brand management. I actually just attended a virtual music business conference a couple of weeks ago and attended a panel on content and brand development. It was stated that if you aren't constantly putting out content, then you'll fade into the ether. That's the state of the business right now. If you stop putting out content, then people will forget about it. But it poses the age-old issue of quantity vs. quality, which really affects recording artists who primarily reach their demographics on streaming platforms. 

What is the best advice you’ve been given?

Never believe your own hype, and the only person you should compare yourself to is who you were yesterday.

How does music enhance other parts of your life and your other line of work?

I've always been heavily embedded in music and music culture that it catches me off guard when people are surprised that I have a skill that I would consider to be second nature, such as being able to isolate what song is playing at the mall overall of the ambient noise.

You changed your focus in University from Voice to Oboe. Why did you ultimately feel you needed to make that change?

It's hard to admit. I actually wanted to be an oboist but didn't have the confidence in my skill level to go for it out of high school. All of my training since I was 6 was in voice, so I had the most experience in that and seemed like a no-brainer for me. I started playing clarinet at 13 and started playing oboe at 16, and then attended university at 17 so i was afraid I wouldn't have gotten into any school because it's so competitive.

Ultimately, I failed my voice juries because I didn't practice and my heart wasn't in solo voice singing. I was enrolled in the symphonic band at the same time and was encouraged to switch my focus. Luckily, I had the most supportive private oboe teacher, Dr. Michael Adduci, and he was pleasantly surprised when I came to him in hopes to audition into the school as an Oboe major. I remember exactly what he said to me the first time I played for him: "Usually, when people tell me that they haven't played oboe in 2 years, I know what it's going to sound like and will have to turn them away. But this? This I can work with." Then he took me in and I studied privately with him for half a year to prepare for my audition back into the music program.