Mr. Hickman (A Question about Visualizing the Sound)

Derek Reaban · Posted: Wed Jul 21, 2004 12:22 am Post subject:

Mr. Hickman,

Welcome to the Trumpet Herald! It’s great to have you here!

I just have to tell you how much I have enjoyed the Summit Brass over the years. The concert in Denver at the ITG Concert was fantastic. Also, the ASU Trumpet Ensemble on one of the other evening concerts with your arrangement of (I believe) the Shostakovich was easily my favorite trumpet ensemble performance of the convention. You have developed some marvelous students at ASU (this year and all of the years that I have been in Tempe)!

I’ve had a chance to read all of your posts here so far, and like your books, there is so much content and insight in your words. Thank you for participating.

Since you are here, maybe for only a brief amount of time since the school year seems to be right around the corner, I would love to ask a question, if you have the time. I posted about an experience that I had about a year and a half ago in the folder called Developing an Internal Sound Concept (Clarity & Intensity) (just click on this blue link to read my story). I have taken the advice of one of the posters on the TH to read the book Psycho-Cybernetics by Maxwell Maltz. While I have made progress in the book, I haven’t yet completed it, and I haven’t yet found a best time to do the visualization exercises that he suggests. They clearly seem to be something that will help me, but any additional insights that you could provide would be greatly appreciated.

Thanks in advance!

_________________
Derek Reaban
Tempe, Arizona

[ This Message was edited by: Derek Reaban on 2004-07-21 03:27 ]

scarface · Heavyweight Member Joined: 18 Feb 2004 Posts: 1806

Man, you're probably just down the block from ASU. Go take a lesson and come back to tell us what he says! J/J

trpt.hick · Posted: Wed Jul 21, 2004 4:05 pm Post subject:

Derek:

Thanks for the beautiful words. They mean a lot to me.

Your tonal concept experience (revelation?) is the type of thing that should hopefully happen often. Jim (I assume you are talking about Jimmy Benitez?) does have a great sound and he plays effortlessly and consistently. You a conceptualizing a fine tonal example!

I think that any player's sound, articulation, vibrato, etc. are based on role models in our brains that we pick up whenever we hear something played (in our own individual thinking) just a little better than the other role models in our heads. As one of my students says, his "ears get bigger" as the years go by.

I studied some with Bud Herseth. Although he did not play much in the lessons, I can easily hear him (after 20+ years) play Der Rosenkaviler with the CSO. It sent goosebumps up my spine then and still does when I really think of it. So, whenever I play the piece I can't help but hear that sound in my head. If my body functions are at their best I can almost sound that good.

I think we all base every single lick on whatever is the strongest concept in our head from hearing it before. In some cases, a horrible performance can stand out in the brain and cause a player to never overcome that sound image until a stronger (hopefully good!) one is heard.

Many times, concepts of sound on certain pieces are learned from composites of strong images logged into the brain. For instance, you mentioned in your TPIN article that you thought of "Some Enchanted Evening" when playing a different piece, and that you played that new piece with a similar sound to it.

It all comes down to what actually is musical talent? Is it just the abiulity to play fast, high, loud? I don't think so. That is mainly physical talent. MUSICAL talent is the ability to hear and later recall with great vividness a sound model you want at the moment. I have worked with hundreds of students. Some seem to be able to clearly recall sound concepts learned years ago, whereas some have trouble remembering them the very next day.

I asked Bud about where he got many of his lyrical concepts.......a quality which was always considered his finest. He said that he picked my much of it from guest vocal soloists and guest violin soloists. I know this was also true with Mendez because there are several live clinic and interview tapes in the Rafael Mendez Library at ASU. He said that all he ever really wanted to do was to be able to make the trumpet sing like them, without regard for technical difficulty.

It is very possible to train yourself to be able to conjure up any musical concept you want at any time. It sounds like you are already doing this. It can be developed in the practice room. But, listen to live musicians that you admire as much as possible. No matter how old and experienced you get, you still want your ears to grow!

Dave Hickman

camelbrass · Posted: Wed Jul 21, 2004 7:12 pm Post subject:

Thankyou for your insights. The conversion of the sound I hear in my head, developed and refined by listening to all sorts of musicians, to the sound that comes out of the bell of the trumpet is the reason I play a brass instrument.

Here's to my ears continuing to grow!!

Great post.

Regards,

Trevor

oj · Posted: Thu Jul 22, 2004 5:40 am Post subject:

Dear David Hickman,

I'm posting this a bit "off topic", but since you mentioned the great Rafael Mendez, I take the opportunity:

I have a tribute webpage about Rafael here:

http://abel.hive.no/trumpet/mendez/

Quite often, I get emails from people asking me how to get the box with the 12 Decca CDs. I have now placed a note on that page (http://abel.hive.no/trumpet/mendez/cd/) stating this:

Those same LP's were remastered and licensed by Summit Records. Unfortunately, that license expired and the recordings are no longer available.

Since Summit Records was founded by you, Mr. Hickman (as fas as I know), is it any change that these CDs will be available again?

Best wishes,

Ole in Norway

Derek Reaban · Posted: Thu Jul 22, 2004 12:30 pm Post subject:

Mr. Hickman,

Thank you so much for taking the time to read the long and detailed story about my “most resonant” sound experience. I believe that you’re the one of first people to read my story and actually know the player to whom I was referencing (Jimmy!).

Your response touched on so many of the ideas that I have been considering and I think I’m finally at a point to just “get down to business” and apply what I know to achieving the goal that I have set for myself (returning to this “most resonant” sound).

When I posed this question to John Hagstrom, he read my story and came back with a one-word answer: Immersion! I think it’s worth posting his comment’s here because this idea is so important and vital to achieving what we are all after, and that is “the ability to create musical artistry”!

trpt.hick · Posted: Thu Jul 22, 2004 12:42 pm Post subject:

Ole:

Your Mendez site is great. Happy you did it!

The box sets of the 12 Decca CDs are now gone and Summit's license to sell them through stores has expired. You can still, I believe, purchase the individual CDs (12 Decca + 2 pre-Decca CDs) directly through Summit Records.

Contact Kip@SummitRecords.com

Dave Hickman

PS. I'm sure you know of the Mendez website at the Rafael Mendez Library here at Arizona State University, but in case someone else doesn't..... RafaelMendez.ASU.edu

It contains over 1500 photos, letters, articles, reviews, and music manuscripts to view.

[ This Message was edited by: trpt.hick on 2004-07-22 17:19 ]

oj · Posted: Fri Jul 23, 2004 4:00 am Post subject:

Dave,

Thanks for the kind words.
Perhaps the most interesting thing on my site is the stories from people who met Mendez.

The main site is as you point out, the Rafael Mendez Online Library.

http://mendezlibrary.asu.edu/

It was in fact Kip who told me that the 12 CDs was not available any more. It is a sad situation, but someone with the right connections should be able to do something with it. How else can we listen to Rafaels great playing?

Btw, by making a lot of requests to Carl Fischer, they finally decided to make his book "Prelude to Brass Playing" available again. As of now it has not been re-released again, but hopefully this autumn.

Ole

P.S.
The CD Rafael Mendez "The Legacy", is available from Summit (as is The Legendary Trumpet Virtuosity)

http://www.summitrecords.com/

Get "The Legacy" and listen to Dave Hickman (on track 9) telling how he grew up listening to Mendez (and a few jazzers). Dave even got a private lesson from Mendez on circular breathing.

trpt.hick · Posted: Fri Jul 23, 2004 11:57 am Post subject:

Ole:

I am happy to hear that Carl Fischer is planning to reissue the "Prelude to Brass Playing." I often receive emails asking if there are extra copies lying around the Mendez Library.

I hate to dissappoint any of you die hard Mendez fans, but I have some inside information on this book. Mendez didn't actually write it!!

Turns out that Mendez signed a contract with Carl Fischer to publish many of his solos with piano reductions. The contract also included him recording Arban's single tongue exercises and to write a technique textbook. After years of never being able to find the time to write the book, he was being somewhat pestered by CF.

Mendez was performing a concert or two in Canada and met a man who was a local trumpet teacher. This fellow (I think I should keep his name anonymous) went to his concerts and asked Mendez if he could take him to lunch and then give him a ride to the airport. Mendez agreed.

The man presented Mendez with a copy of a book he had written (same title, too!) and hoped that he would someday read it. Evidently, the man had tried to get it published but no publishers were interested because the man was totally unknown outside of his area.

Mendez read it on the plane and felt that it was very good and quite similar to his own ideas about playing. Mendez called him and said "You have written my book!" Mendez asked permission to publish it and told the man that both of their names would appear on the cover. (Mendez DID edit the book a little.) He agreed to give the man half of the royalties from sales. The guy agreed and was very flattered. No contract between the man and Mendez was ever signed.

Carl Fischer published it only with Mendez' name. All Rafael could do was apoligize to the man. Mendez did pay the man some royalties, however.

Anyway, about five years ago this man sent a very long letter to me (it must have been 6 pages) explaining all of this and he included a few brief notes from Mendez that came with royalty checks. I am convinced his story is true.

Please don't let this influence your feelings about the book. It is still a fine text for beginners and I am glad that it will be available again.

Dave Hickman

dbacon · Heavyweight Member Joined: 11 Nov 2001 Posts: 8592

Dave,

Have you thought about sending this information to Carl Fischer? Maybe they should finally include this man's name on the book, set the record straight. I'd guess Rafael would approve.

Thanks for the information. There were always rumors about the book, and it did not sound a lot like Mendez. I thought it was perhaps another editor at Carl Fischer that did some ghost writting. Great to know the real story.

_bugleboy · Posted: Fri Jul 23, 2004 1:30 pm Post subject:

Great stuff! Very inside! Only on the Trumpet herald!

What would be the problem with divulging the real author's name? Is he still alive?

trpt.hick · Posted: Fri Jul 23, 2004 1:38 pm Post subject:

Well, I THINK he is alive. I should try to contact him and see if he would mind his name being listed here and on the book.

Anyone know who I should contact at CF about getting his name on the book if he wants to? I thought I heard something about the ITG being the driving force behind this reprint. Anyone know for sure?

I'll do my homework on this. CF may not see any benefit to them for listing the two names, but they ought to at least consider it.......even if just a small credit in the preface.

Dave

scarface · Heavyweight Member Joined: 18 Feb 2004 Posts: 1806

FYI http://www.tapmusic.com has several (8 or so) Mendez recordings, and they're having a summer sale until August 20th.

oj · Posted: Sat Jul 24, 2004 7:53 am Post subject:

Wow,

Dave, that was really something new. In my opinion, Carl Fischer must do this man right and have his name in the reprinted version.

I have read the book several times and also discussed it with Ted Lessley who did some work on my Mendez tribute site. See here: http://abel.hive.no/trumpet/mendez/prelude/

What both Ted and I agreed on was that Rafael not only was a great trumpet player, but even a very good writer. And not in his mother tongue (spanish), but in a foreign language (english).

When I listen to Mendez on videos I have sometimes wondered, his spoken american (english) was not so convincing.

I have to tell Ted about this.

As the authority you are, Dave in the trumpet world both as a player and as a teacher and also with your knowledge about Rafael Mendez, I hope you use your influence to let the original author have his name printed on the book.

It was Lola Kavonic, Manager of Business Affairs at the head office of publisher Carl Fischer who came with the info about the republishing.

Ole

P.S.
Derek I'm sorry this tread of yours turned into a Rafael Mendez tread

But listening to Rafael will develop our tonal concept. His single tongue studies from Arban are so far unmatched (I have heard some other players version).

[ This Message was edited by: oj on 2004-07-24 10:55 ]

trpt.hick · Posted: Sun Jul 25, 2004 5:30 pm Post subject:

Well, I have made some progress on the PRELUDE TO BRASS PLAYING book.

I dug out the correspondence from 1996 with a man named Edward Gibney (Vancouver, BC), read all of it again, and gave him a call. He is alive and doing well. He remembered our letters.

He claims that the reason the book went out of print is because he and Mendez were very disappointed in the sales back in the 1960s and '70s. No promotion. Plain cover. No illustrations. Etc. After sales dropped significantly by the late '70s, Gibney wanted to buy the rights to the book back from Carl Fischer. They said, "Fine, but only if Mendez agrees."

Mendez signed an agreement in 1979 approving of the deal. CF finally signed a transfer contract with Gibney in 1981. (This is all according to Gibney, mind you.)

Gibney also purchased the remaining inventory of books....about 200.....which he quickly sold to libraries in Canada. His plan was to publish the book himself (he had started a small music publishing company called Gibney Music Publications, Inc.) and include numerous photos of Mendez, a list of his recordings, illustrations, etc. However, he ran out of money.

When my wife wrote the biography on Mendez (published by Summit Records), Gibney purchased a copy and then contacted me about reissuing his Prelude book. Summit (I was president) declined because we then felt that CF might had diluted the market potential.

I don't know what more any of us can do right now. I do not know if Mr. Gibney actually has full ownership of the book or not. They will have to sort that out. I know that Gibney will speak to CF about acknowledgement of his part in the writing of the book.

If I find out anything more, I will report it here.

Dave Hickman

[ This Message was edited by: trpt.hick on 2004-07-31 14:22 ]

JackD · Posted: Mon Jul 26, 2004 1:45 pm Post subject:

The people we get here never cease to amaze me!

Mr. Hickman - I am a great fan of your playing. I would definitely consider your sound as being incorporated into my 'sound concept'.

Incidentally - I used your recording of Hartmann's 'Facilita' from the 'Golden Age of Brass' CD as a reference when I was learning that piece - however, my edition (from Harry Mortimer's 'Souvenir Album') seems to omit the minor variation before the Finale. I'm not sure if you're still familiar with the piece, but if you are, could you point me towards an edition that includes that variation? I would very much appreciate it.

Oh, and fancy doing some concerts in the UK any time soon??

Cheers,

Jack.

trpt.hick · Posted: Mon Jul 26, 2004 2:08 pm Post subject:

JackD:

Thanks for the beautiful words!

The "andante sostenuto" section just before the finale variation is missing from some editions. This is a real shame! The edition I own (cornet and piano) that DOES have this section is published by Tromba Publications (Denver) and is simply a photo reprint of some early (non-copyrighted) edition (original publisher not listed).

The band parts we used were published by Carl Fischer but had no copyright date on them. I suspect that they easily date back over 100 years. The UK should be very proud of Hartmann. He was a giant in the cornet world and his cornet compositions are amoungst the very best.

Dave Hickman

trpt.hick · Posted: Mon Jul 26, 2004 2:13 pm Post subject:

JackD:

I forgot.....

I have no plans at the moment for concerts in the UK. In fact, I have pretty much stopped touring as a result of some health issues. I mainly play around Phoenix now and do TONS of teaching, which I have always enjoyed but now LOVE. I don't fly longer distances very often any more. But, I will be at the ITG Conference in Bangkok next summer.

Dave Hickman

JackD · Posted: Tue Jul 27, 2004 3:18 am Post subject:

Thanks a lot - that variation is in my opinion the nicest part of the piece apart from the 'Air', so I found it very frustrating I didn't have it in my copy! Thanks for helping me out there - I will definitely look up that edition.

I agree about Hartmann - I have enjoyed all the pieces I have heard by him. It's a shame he tends to get overlooked for people like Clarke / Arban - he writes some very beautiful melodies aswell as the usual technical displays!

I'm sorry to hear about your health issues - I hope it is nothing serious.

Thanks for the reply.

Jack.

camelbrass · Posted: Tue Jul 27, 2004 3:48 am Post subject:

Agree about Hartmann and Facilita in particular.

Mr Hickman's playing on that Summit CD is a sound worth aspiring to.

Facilita holds a special place for me.. I won the junior Australasian BBb bass solo championships playing that piece in 1972. Competition was tough..the guy I beat played Flight of the Bumble Bee. Thought that he absolutely nailed it..thank goodness the adjudicator preferred tone over brawn. Quite rightly too!!

Thanks for the memories.

Regards,

Trevor

[ This Message was edited by: camelbrass on 2004-07-27 06:54 ]