New Work: Chaos Overcome

Check out my latest work available from my publisher!http://www.sheetmusicplus.com/title/chaos-overcome-digital-sheet-music/19934337 

Chaos Overcome by Brandyn Metzko. For Piano, Flute, Horn, Cello, Drums. 20th Century. Advanced. Set of Parts, Score. Published by Brandyn Metzko (S0.11545).

Chaos Overcome, commissioned by Michael Wiltse in Reno, Nevada is a piece about overcoming addiction and the joy of life.

Fixing a "fuzzy" woodwind/brass tone in beginners

In teaching beginning woodwind and brass students, I often come across the same basic problems in students’ playing. A lack of a good tone is common and here I give some solutions for remedying it.

The student should be sure they are using a correct embouchure. In brass students, this is often incorrect placement.  With the mouthpiece alone, have the student first make an “ah” shape with their throat.  Then, close the lips as if to say “mmm”.  Finally the student should allow air to puff through the lips making a “puh” sound.  This is the basic brass embouchure and articulation.

Often a fuzzy sound is a result of not enough air.  Using long tones can help this issue in the long run.  I often ask the student to play twice as loud to see if that makes a difference.  This makes the student naturally use more air and will help diagnose the problem.

On clarinet and saxophone students, one should be sure the reed is the proper strength.  If little air is passing, the reed may be too hard.  If the tone is flat sounding, the reed may be too soft.  A 2 ½ reed strength is a good hardness to start with, though they should move up to a 3 as soon as their embouchure strength allows it.  One must also check that the reed is in good condition with no nicks or cracks, and that the reed is placed properly on the mouthpiece.  Even a small deviation in reed placement can affect sound negatively.  Ensure that enough but not too much of the mouthpiece is in the student’s mouth.  Saxophone players should have about half of the mouthpiece in their mouth.  Clarinet players should have less.

For flute students, check that the embouchure is centered and air is passing across the lip hole properly.  The student may want to “roll out” the head joint slightly— beginners tend to focus the air down into the head joint to ensure a sound coming out but this technique creates a hollow fuzzy tone. Rolling the head joint out allows for a more full tone as the air passes above the lip plate to cause greater resonance.

I hope you find these tips helpful, and if you have questions regarding this or other playing problems, don’t hesitate to contact me at webguybrandyn@gmail.com 

Programming Concert Repertory

Programming repertory for a community instrumental ensemble can be a challenge for new directors.  Here are some things you may want to think about as you begin to program your first concert sets.

Overall level: Many works are graded, meaning they have a number assigned to them based on their difficulty.  In the United States, a 1-5 scale is used, where 1 is absolute beginner bands/orchestras and 5 is collegiate wind ensembles/orchestras.  Understanding where your band/orchestra fits in is important.  If you program too many difficult pieces, your players may become frustrated and you may not have enough rehearsal time to cover all of the issues in the pieces.  if you program material that is too easy, your musicians may not grow significantly by rehearsing the pieces and may become bored.

Instrumentation: Did you program a beautiful piece at the right level only to discover later it requires six horn players to pull off or has a beautiful exposed English Horn solo and you have no English Horn player?  What percussion is required— do you own all of the instruments required to cover the percussion parts?  Do you have enough players?  These are important considerations.  Sometimes you can make alterations or adjustments to make a piece work or some of the parts will be doubles of others, but a quick browse through the score will help you to decide which are vital.

Contrast and Content: Having a theme can really tie the pieces together.  I’ve seen some very creative themes, such as “Gods and Monsters”, “Fire”, “Fairytale Endings”, etc.  However, ensure that your theme allows for enough contrast.  I once went to a concert of nothing but Sousa marches.  I love Sousa, but the marches all have the same form and structure, and stay in the same few keys.  The result was an hour and a half of monotony that bored the audience.  Also, be sure the music is accessible.  If your audience is a normal “popular” community band audience, don’t program an hour of twentieth-century avant-guard works.  

There is much more that can be said about repertory planning, but this gives you a few good basic guidelines.  Best of luck in writing your first concert programs!

Negotiation Interview

I had the pleasure of interviewing Jeff Sprague, who is a Trust Administrator at FirstMerit Bank. Negotiations are a regular part of his position.

Me:      When entering into negotiations, how do you prepare?  How do you make sure your research is done?

Jeff:    Do your research. Find out as much as you can about the other side. Start asking questions before not during the negotiations. When one feels well versed and confident then the research is complete.  It is always good to bounce things off of a partner to see if there is anything you are missing.

Me:      How do you avert the negotiations when the other party begins to try something shady?  How do you identify when this is happening, and how do you approach it with the other party?

Jeff:       One needs to determine when one will walk away. Always have an alternative plan. If it feels wrong it generally is. Don’t be afraid to walk suggest that you both think about the shady deal to confirm that it is shady.

Me:      What has been your most difficult negotiating experience to date? 

Jeff:    The most difficult tends to be one where the negotiating party was listening to another party trying to get the business of the negotiating party. Why? Overcoming that obstacle was a challenge in this case in particular due to the fact that they were in a different part of the country where pricing was different.

Me:      Do you have advice for people who may be new to negotiating?

Jeff:

1.     One of the most important things to remember is stop and listen.

2.     Do your homework

3.     Aim high and expect the best outcome.

4.     When you expect to do well it become self-fulfilling

Print Music on Sale!

Sheet Music makes a great gift!  And Buying Local is a great way to support your community during the holidays.  Did you know that you can buy any of my compositions in print at http://www.sheetmusicplus.com/search?Ntt=Brandyn+Metzko ?

Some Love for Brass Players?

Wind and string players always have lots of "stuff" they want, but a brass player has only one wish:  to not frack.  Support a brass player's dreams and hopes today with a french kiss-- it improves flexibility and helps develop embouchure strength.  Plus, they need love.

What makes a great holiday gift? MUSIC!

What makes a great holiday gift?  MUSIC!  Consider commissioning composer Brandyn Metzko to write a musical selection for a loved one this holiday.  There’s no more personalized gift than music written just for him/her, and it’s a gift that is memorable for a lifetime.

Email me today for a quote.  Include some ideas about what you’d like, what instruments/voice you’d like me to write for, length, style, etc.

I write in a variety of genres.  For samples, see my SoundCloud profile at https://soundcloud.com/brandynn-equality or my professional facebook page at https://www.facebook.com/musicbrandyn

Brandyn Metzko, conductor/flute/clarinet/saxophone/vocalist, obtained his B.A in music at Cleveland State University in 2006, where he studied flute with Sean Gabriel, voice with William Dempsey, and conducting with Betsy Burleigh. He is working on his Master's Degree in Entertainment Business at Full Sail University, to be complete in mid-2014.

Brandyn has had a thriving private teaching studio in Cleveland, Central Florida, New York City, San Francisco and Los Angeles, preparing students for milestones ranging from Conservatory and Opera auditions to American Idol performances. he teaches voice, flute, piano, clarinet, saxophone, trumpet, French horn, trombone, violin, viola, conducting, music theory, composition and music history. His students study a variety of genres including Classical Music, Opera, Jazz, Baroque/Early Music and Popular/Broadway.

Brandyn helped to found the QUO Orchestra New York City in 2009, the Bay Area Rainbow Symphony in San Francisco in 2007 and the Blazing River Freedom Band in Cleveland in 2003, and has served on the board of the L/G Band Association as Membership Services Chair. Brandyn was artistic director of the Blazing River Freedom Band from 2003 until 2007, co-artistic director of the Queer Urban Orchestra in 2009-2010, and served as the Assistant Music Director with the Central Florida Sounds of Freedom Band. Brandyn has also arranged countless works for concert band and chamber ensembles and has composed a number of original works.  He resumed his post as Artistic Director of the Blazing River Freedom Band this winter, and now teaches winds and brass at Merill Music in Lakewood, Ohio.

Brandyn's performance credits include solo and chamber works; studio recording; sacred, operatic, Broadway and popular vocal music; wind band, orchestral and flute choir ensemble work; and concert and marching band direction and performance. He was an active member of the Space Coast Flute Symphony and currently  performs and teaches as a freelance musician throughout Northeast Ohio and composes from his hom emusic studio in Lakewood, Ohio.

Email me today or call (216) 387-0587 for a personalized quote on your original musical composition.

Interview with Robert Ziemba of Ziemba Talent Agency: Negotiation and Deal-Making in the Entertainment Industry

I recently had the pleasure of speaking with Robert Ziemba, president of Ziemba Talent Agency regarding negotiations in the entertainment industry.  Rob had some great things to say and some valuable information that I figured I would share publicly.

Me:      When entering into negotiations, how do you prepare?  How do you make sure your research is done?

Rob:    You must know the minimum pay rates, maximum hours working daily, etc.  Checking with the unions as well as finding comparable deals in the industry will help you to prepare for negotiations.

Me:      How do you avert the negotiations when the other party begins to try something shady?  How do you identify when this is happening, and how do you approach it with the other party?

Rob:    I think it is best to approach them directly about such dealings.  You should always be respectful, but inform them firmly that it is not appropriate. Use the opportunity to educate them about the minimums and legal requirements by law.  Then, I try to reframe the conversation in a more productive way. 

Me:      What has been your most difficult negotiating experience to date?  Why?

Rob:    That would be the International Tour of West Side Story—There were no union protections, so was difficult meeting their demands (14 shows a week with no understudy.)  Ultimately I was able to argue health and safety issues and educate them about the United States’ union rules which we used as a baseline and agreed that my client would not perform in more then 10 shows per week unless they were given a $10000 per show fee for extras.

Me:      Do you have advice for people going into the entertainment industry who may be new to negotiating?

Rob:    Law School would be very helpful.  Get all the legal knowledge you can early on and educate yourself about the legal aspects of the business.

Riu Riu Chiu-- New carol for Concert Band!

New Work for Concert Band!

Riu Riu Chiu is an exciting setting for young to intermediate concert band of a Medieval Spanish carol. A great addition to any Holiday concert!

Riu Riu Chiu for Concert Band arranged by Brandyn Metzko. For Concert Band. Secular, Early Music, Renaissance, Christmas, World. Early Intermediate. Set of Parts, Score. Published by Brandyn Metzko (S0.9623).

http://www.sheetmusicplus.com/title/Riu-Riu-Chiu-for-Concert-Band/19923049

Light and Gold concert celebrates Band's 10th Anniversary!

The Blazing River Freedom Band will present their fall concert live, "Light and Gold” for their ten year anniversary celebration.  Local music historian Dana Artonovich will emcee this event.  “Light and Gold” features the Blazing River Freedom Band’s best works from concerts spanning the last decade.  The Band’s all-new Flag Corp will be featured in their first indoor color guard routine performing to selections from “West-Side Story” and variations on “Somewhere Over the Rainbow.”   Guest speakers will highlight the contributions that the Blazing River Freedom Band has made to our community and city. 

Brandyn Metzko, BRFB’s Artistic Director, will be conducting the concert along with Karl Kimpo and Izobella Bailey; who will both be making their debut performances as Assistant Conductors for the Blazing River Freedom Band. 

This fall concert will be held at 8:00 P.M. on Wednesday October 9^th,  at Pilgrim United Church of Christ, 2595 W 14th St, Cleveland OH 44113

Admission by donation.

Contact Information    Email: info@blazingriverband.org      Call: 216-630-0468 for more information.

Score Study Guide

Score study is the act of reviewing and marking a score in preparation for playing or conducting the work.  Many of us don’t really know what to do when we see a score for the first time, so here is a simple guide to score study.

1.                    Open the score.  What are the first things you notice?  What does the title convey?  Who is the composer?  Do you know this composer or anything about him/her?  What instrument(s ) is the piece for?  Is there anything odd about the instrumentation? 

2.                    What key is the piece in?  Is this an odd key for the instruments that will be playing?  Ie. Strings often have a harder time in “flat” keys, and brass in “sharp” keys.  What is the opening time signature?  What is the tempo?  Are there any mood markings?

3.                    Next, flip through and mark changes in key, tempo, and meter as they occur.  Will any of these transitions be difficult?  Often a fermata or ritard occur before a section change.  Do these pose problems for the conductor or players?

4.                    Go back to the beginning and sketch the story of the piece.  For example, this piece starts off in a happy march in 6/8 time played by woodwinds.  Then, more instruments (brass) are added until the instrumentation is quite “full”.  The music slows and moves into a charming but haunting ¾ waltz in a minor key.  This continues, changing instrumentation three times until a break and finally a rousing fanfare finale.

5.                    Go through the score by groups of instruments.  Is there anything difficult for the players that jumps out at you?  A few bars that seem amazingly technical?  Slurred octave (or greater) jumps for brass?  Lots of shifting for strings? 

6.                    Make a list of what may be hard for the players.  Are they supposed to enter low in the range of their instrument on a piano dynamic?  Are there sections in fourths or fifths that may be hard to tune?  Are there difficult rhythms?  Any strange notation?

7.                    Finally, use a keyboard to play through sections of the piece.  Perhaps play one line of the winds on the right hand and the brass choir accompanying them with your left hand.  Yes, this takes a bit of keyboard skill, but if you don’t have the skill yet this also serves as excellent practice.  Playing through sections gives you another viewpoint by which to catch any weirdness that you may not have seen just by looking at the score as a whole.

8.                    Finally, listen to several different recordings of the piece and see how others perform the work.  Make notes on the differences and similarities between the performances, and use this information to make your own decisions about how you interpret the score.

9.                    Armed with information, create a plan of attack for rehearsal, first starting with the largest problems the players are likely to encounter and then gradually working towards the more “picky” nuances.

This is the general manner in which I approach all of my scores, and hope it is helpful to you as well.