Former principal trombonist of the St. Louis Symphony Orchestra, Timothy Myers now channels his passion into
Ascenda Music Publishing while continuing to perform in the San Francisco Bay Area.
When we make our art with other people, we have many interdependencies. It takes lots of commitment and sacrifice to come together to rehearse and perform.
When one of us isn’t there until just before the downbeat, it causes anxiety among the people already present and ready to go. Even if they show up “just in time,” it can leave everyone else unsettled.
Being there early is not just calming for us. It’s calming for the whole group. Being punctual is another form of respect for your colleagues.
Being punctual is non-negotiable.
Former principal trombonist of the St. Louis Symphony Orchestra, Timothy Myers now channels his passion into
Ascenda Music Publishing while continuing to perform in the San Francisco Bay Area.
Everyone who studies music and understands pitch, rhythm, and meter can write out music themselves if they have to. But music notation penmanship receives very little emphasis in musical training,
“Wouldn’t that sound great on the [name your instrument]?” If you have picked up the habit of transcribing your favorite music for your instrument, then at some point you figured
I happened upon this intriguing video about a collaboration between one of my favorite vocal groups, Roomful of Teeth, and Nathalie Joachim, vocalist, flutist, and Professor of Composition at Princeton.
Let’s say you are a busy performer or college professor who has a knack for composing and arranging music. You have performed your own works or have friends and colleagues
We creative types have our specific talents. Some are good with words, some with melodies. Some take others’ work and make it useful to musicians who play other instruments. Some
We musicians have it hard enough, with keeping our skills up, learning new notes for the next gig, making sure our instruments are in good working order, and dealing with
Bringing worthy additions to the concert literature and providing value to composers and arrangers who might not be as well heard as they deserve.
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