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  1. http://ecygnet.wordpress.com/

    How do musicians land performing gigs in a time when more people play tunes on their phones than on their pianos?   Many venues where musicians were hosted weekly, monthly or even yearly have removed music performances from their budget.

    What do musicians do when economic times don’t even give space on a street corner for them to earn money with the skill that took a decade or more to learn?

    Back in the 1990s, I began marketing small music ensembles to my local area.  It was possible to get my woodwind quintet work at almost bimonthly.  Then it was quarterly, yearly — until the gigs dried up and we all returned our individual instrumental parts to the owner of the score. Paring down to a quartet helped for a brief time.   The most “popular” group to be hired was a trio.   Eventually, the request was for a duo.  Then — down to a soloist.

    Our training is extensive as well as expensive when we consider the potential job market.  “Fall back” positions as teachers is an insult to my ears considering I decided and prepared to be an educator since the age of twelve.  I often wonder if your doctor, dentist, lawyer would “love” their work for a concilation for not making a respectable income.

    There were times when I received phone calls from “charities” inquiring about musicians to help them earn money for their cause.   They always seem to think the artist and/or musican is able to donate his/her skills or product because they “enjoy” what they do and may benefit from the “exposure.”    When I became more skilled at discerning the intent or asking bluntly “do you have a budget?”, the request for a “free performer” did not make my skin crawl as often.

    At some point, I began to question whether the fundraiser consisdered asking a garage mechanic, electrician or plumber to donate their time.    I replied to a lady who expected I find someone to be a volunteer so SHE could earn money, “the electric company is not impressed that I’m a musician when they send me a bill, or that I volunteered for your organization.”   Her “tune” changed and she said she could afford $75.  Wow, from $0 – $75 in only 5 minutes.   Good work on my part.

    There still is the problem of skilled musicians that have “real” day jobs and then volunteer.  They play for fun by volunteering their service for local symphonies who don’t even pay the musicians!    The symphony will pay for tote bags, advertisement — but not have money to pay the musicians?!

    This topic is open for discussion and suggestions for how to preserve our heritage of live music performance (not “pop stars”)

  2. What is the difference between a Symphony - Orchestra - Philharmonic?  

    The Dilemma: So are the musicians where you’ve been dragged part of an orchestra, a symphony, or a philharmonic? And more important, is it intermission yet?

    People You Can Impress: guys named Ludwig, Wolfgang, or Dmitri

    The Quick Trick: All symphonies are orchestras, but only the big orchestras are symphonies.


    Read the full text here: http://www.mentalfloss.com/difference/symphony-vs-orchestra-vs-philharmonic/#ixzz2EHNItShB -- brought to you by mental_floss!

  3. All key heights (lower/upper stacks and palm) on woodwind instruments control intonation and tone. The more open the venting is increased, the more open the tone (less resistance), but the sharper the pitch. Conversely, the more closed the venting is the more closed the tone (due to more resistance) and the flatter the pitch. Creative bending woodwind keys to repair leaks may help properly close the tone holes, but it will typically change the pitch of several notes and put the entire instrument out of adjustment.

  4. A440, also known as the A above "middle C", and further known as the note most commonly associated with 440 hertz was made the international standard for pitch decided upon in 1955 (ISO 16), and was reaffirmed by the same organization in 1975. It should also be noted that although some orchestras tune to an electronic tone that is calibrated to 440 hertz, many do not. Many orchestras are primarily concerned with whether or not they're in tune with each other, and as such, the entire orchestra (or band) often tune to an oboe. The oboe cannot easily change its tuning, so often the other members of the orchestra to it.

    • A compounded problem occurs when saxophonists and clarinetists with too much cork grease or loose corks shorten their instrument due to playing and handling which makes the pitch rise even more. Also, if brass players only tune their main tuning slide (usually pulled out, unless cold), then the sharp fingering combinations (all 2 and 3 valve combinations) become even sharper. This, of course, overtaxes the embouchure from continuous lipping down which makes the tone quality sound more and more spread and unfocused.
  5. Temperature increases during concerts makes pitch rise on wind instruments due to body heat and lighting. Conversely, string instrument go flat, therefore, a full orchestra has an opposite tuning affect between sections of the orchestra. Good orchestras tune after each song because of this.

    • No two instruments are alike, including same exact models due to condition (extra solder not seen inside, etc.)  All instruments have some notes that can use a “tuning fingering” or alternate fingering to assist in controlling pitch tendencies. These alternate fingerings are different for every player due to their: instrument, mouthpiece, embouchure, reed, reed strength, ligature, airstream, and breathing/blowing prowess.
  6. Humidity has a negative affect on wooden instruments over a long period of time. A dry environment will cause a wooden instrument (wood piccolos, clarinets, marimbas) to shrink.

    • Straight and Harmon brass mutes typically make an instrument go sharp to very sharp.
    • Cup mute will make the instrument go flat.
    • Playing with a straight/harmon mute when the temperature is high makes brass playing very difficult.
    • The harder the reed the sharper it is and conversely the softer the reed the flatter it is.
    • A reed placed too high will lean sharp and too low will lean flat.
    • Reed charts - are considered a general guideline because of the perception of reed strength.
    • Mouth pieces and embouchure strength will also affect perception of reed strength
  7. Additional information is also found here: Wordpress and on Twitter

  8. We are looking for contributers to our website blog.  If you have information that would be beneficial for artists, actors, musicians, writers, illustrators -- send a post.   Thanks.  eCygnet

    • All instruments are built to be pulled out (otherwise you can’t tune in colder atmosphere), therefore, in normal weather conditions
    • All aerophones should be pulled out to be at B flat = 466 cps (cycles per second)
    • All wind instruments can lip pitches up by tightening the embouchure and lip pitches down by loosening.
    • All wind instruments can lip notes down to a greater degree than they can lip notes up. (less taxing on embouchure.)
    • Ideal air temperature = 68 degrees. Air from lungs = 98.6 degrees. Freezing is 32 degrees, note differences.
    • Instruments are designed to reach its true pitch after warming up for at least 5 minutes.
    • The more metal an instrument has, the longer it takes to warm-up.
    • Lip muscles also have to be warmed-up and stretched out, otherwise the muscles will be tight, causing sharpness.
    • All wind instruments are pulled out to lower pitch and pushed in to raise pitch.
    • Heat-makes all aerophones (wind instruments) sharp.  Opposite for piano and string instruments and metal percussion.
    • Excessive heat and/or open windows in hot weather will have negative affect.
    • Cold-makes all aerophones flat (opposite for piano and string instruments and metal percussion)
    • Excessive air conditioning and/or open windows in cold weather will have a negative affect.
  9. Learn to create, change, consider or challenge yourself and others.
    Read and interact with the "flock." iCygnet

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