Principals of Rehearsing (Training)

In the Army, musical performances are called “missions” and rehearsals are called “training.” Therefore, Army Bands, like professional symphony orchestras, opera companies, and ballet corps, do a lot of “training and missions.” This terminology helps us speak the same language as our non-musical colleagues (i.e. infantry, transportation, and engineering corps) and adhere to strict Army training guidelines.

Infantry Soldier: “What do you do in that band hall every day?”

Band Soldier: “Same thing you do in the field every day.

We train, so we can execute missions successfully.”

The Army has produced a 218-page guide to training, called Army Regulation 350–1: Army Training and Leader Development, and believe it or not, this document is full of good tips and concepts for conductors and musical leaders. I’ll spare you the long, acronym-laden read and just share with you my favorite Army Training Concepts, paraphrased, of course.

Principles of Army Training

1. Train as a Team. Obviously, an ensemble is a team. Musicians know the difference between practice and rehearsal (practice happens alone in a practice room; rehearsal happens with your team after you are already prepared as an individual), and the Army acknowledges the same phenomenon when training soldiers for combat operations. Team members practice on their own, but “train” as a team. They don't waste the team's time learning notes or working on technique in rehearsal.

2. Train as you Fight. This concept is fairly self-explanatory. Soldiers try to simulate real combat in training. Like musicians, they use the same equipment and work with the same people in training that they will execute the mission with. They train in similar environs, under the same conditions (lighting, weather, time of day, etc.). Musicians should strive to do the same. You wouldn’t use a different instrument on the day of the concert from the one you rehearsed with, right?

3. Prepare for your operational environment. See #2, and add to that: bring all the stuff with you that you will need. Remember: it’s better to bring too much equipment and not need it, than to wish you had your [whatever] when you have to perform. Have you ever showed up to a gig where there were no music stands? Played an outdoor gig and wished you had clothespins? Showed up in a pit and wished you had a stand light? "Prepare for your operational environment."

4. Train to standard, not to time. I love this one. Musicians, like soldiers, should rehearse until the music is “at standard.” What is the standard? That's tough to say. A musical performance, no matter how inspired, is never perfect – there is always something to improve – but a wise conductor knows when s/he has reached the pinnacle with an ensemble. Given the parameters (rehearsal time, repertoire, abilities of the players, preparation time, environment, etc.), the performance should be as good as it can reasonably be. That is the standard. If an ensemble reaches the standard, and there is still rehearsal time left, dismiss them early! Musicians love this! In fact, many players judge conductors based on how early they get to go home...

But if rehearsal time runs out and the [reasonable] standard is not yet reached, rehearse some more. Well...this concept works in the Army, where soldier-musicians are full-time, salaried, and at the beck and call of the Commander (Music Director). Civilian musicians typically have an orchestra manager or union rep who puts the kibosh on rehearsals that run over, which means conductors often have to settle for sub-par performance, knowing the ensemble can do better. Players often feel the same way, and in my experience professional musicians who are paid per service would often rather stay a few minutes longer and get it right, rather than say, “Well, time is up. I guess that’s as good as it’s gonna be.” Regardless, an ensemble should rehearse until it's right, ignoring the clock. In reality, you have to plan too much rehearsal time, or - if finances restrict your ability to do that - rehearse more efficiently!

5. Recovery is crucial. After every mission there is a recovery period. It includes physical recovery, but mostly it refers to the time needed to “reset” the organization to be ready for the next mission. In an orchestra, this is the time required for the library to recover/return/store the parts, the stage crew to break down/load out/store equipment, etc. For musical artists, the recovery period is often the after-party and sleeping in later tomorrow morning. Whatever you and your ensemble need to be prepared for the next “mission”—that is absolutely crucial to your success. Unless the gig was especially rough, your team won’t have PTSD, but they will need some recovery time.

So…for your next non-Army concert, enact some Army Training Principals. Get your players to prepare in advance so you can optimize your rehearsal time as a team, plan the rehearsals to be as similar to the concert environment as possible, bring all the equipment and supplies you could possibly need, plan sufficient rehearsal time so that the ensemble can reach its maximum potential (then let them go early!), and—for goodness sake—plan a good after-party.

Uncle Sam Wants You! (even conductors!)

I have been an Army Band Officer for about 14 months, and I love it. Most of my civilian conductor friends and colleagues think it's weird, but some of them understand the high level of musicianship and the gratifying nature of work in the Army (or any armed service). A few have asked me how one becomes an Army Band Officer, and as luck would have it, Uncle Sam is looking for conductors on an ongoing basis. Could you be an Army conductor?

MY STORY:

A few years ago, a friend of mine told me the Army was looking for conductors. I had never considered a career as a military musician because I had virtually no experience with bands. I am a classical guitarist-turned-orchestra-conductor, and I had never marched. My career as an orchestra conductor and opera producer was going just fine. What would the Army want with a guy like me? Why would I quit my current career to join the military? I applied for the job because that’s what conductors do – we apply for jobs, even jobs we know we won’t get and others we aren’t even sure we want. I was surprised to receive an invitation to the audition in Washington D.C. I thought, “They’ll never hire me, but I’ll take the audition for the experience. For the rest of my life I’ll be able to say, ‘I conducted the U.S. Army Band once.’ Why not?"


THE AUDITION:

I went to D.C., and on the first day of the audition I played a mini-recital on my instrument (Tarrega, Dowland, and Stevie Ray Vaughan) and took a bunch of musical exams: foreign language terms, score reading, sight-singing, arranging, transpositions, etc. It reminded me of the audition for the DMA program at Peabody or Eastman. I could see that they were looking for outstanding, excellent, versatile conductors.

On the second day, I conducted The U.S. Army Band in the morning and the U.S. Army Chorus after lunch. The level of musicianship was epic, and I enjoyed making music with them so much that I did not want the audition to end. Afterward, the selection committee – a panel of Band Officers – asked me about myself, my experience, why I wanted to be a Band Officer, etc. Then I waited in the lobby until a colonel called me back to an office and offered me a position as an Army Band Officer. The colonel told me to talk to my wife and think about it. He said, “This is a life-altering decision.”

THE DECISION:

I thought about this decision for a long time: Should I continue doing what I’m doing? I work in the opera department of a prestigious conservatory in New York City. I am the Music Director of two orchestras. I have guest conducting jobs. I have control over my schedule. I love living in New York. My career is getting better and better each year, though nothing is guaranteed.

Or should I quit life as I know it, join the Army, spend nine months in training separated from my wife, and commit myself to working with Army Bands? I will have to cancel all my conducting engagements for the next year, and for the rest of my career I will move to a new city every 2 or 3 years. I will have much better job security and a pension after 20 years, but there is a strict pay schedule – I will never get rich. I will be at the beck and call of the Army. And will it be musically fulfilling?

TWO YEARS LATER:

I accepted the job, of course, and I think joining the Army was the best decision I could have made. I love this job because I conduct nearly every week (sometimes several times a week), I work with great musicians, and I feel fulfilled and appreciated. This job is not for every conductor, but if you are talented (no hacks allowed!), hard-working, flexible, and fit (and not too old), you might make a good Army Band Officer.

On July 3, 2012, I conducted in front of 6,000+ people. That felt good.

THE PROs AND CONs:

There are plenty of pros and cons. Most of them are either pros or cons depending on you. Soldier-musicians have to stay fit. If you love to run and work out, as I do, this is a pro. Soldiers relocate on a regular basis. If you love to travel and live in new places, as I do, this is a pro. Our repertoire satisfies the needs of each mission and includes a lot of patriotic and pops repertoire. If you like to program long symphonic programs of serious music or opera, as I do, this is a con. Soldiers have to adhere to certain grooming regulations and moral codes. The Army is very structured and steeped in tradition. Military people love acronyms. These could all be pros or cons, depending on your personality.

PAY AND BENEFITS:

Our salaries are public information, and you can see the monthly base pay scale here. Officers start as Second Lieutenants (pay grade 0-1), and after about 2 years, we get promoted to First Lieutenant (0-2). In another 2 years, if all goes well, we make Captain (0-3). As you can see, a Second Lieutenant with less than two years of service is not paid very well. You can also see that a Major (0-4), Lieutenant Colonel (0-5), or Colonel (0-6) with twenty years of service makes a decent living.

In addition to the base pay, the Army pays each soldier a housing allowance. Click here and enter your zip code and "0-1" to see what a Second Lieutenant in your area would get for a housing allowance. The benefit are generous. Free health care for you and your dependents, life insurance, and some other perks. After 20 years, a Soldier can retire and draw 50% of his/her base pay until death. An Army Band Officer will never make as much as the Music Director of the Chicago Symphony, Philadelphia Orchestra, or Houston Grand Opera. If you think you have a serious shot at a job like that, good luck.

HOW DO I BECOME AN ARMY BAND OFFICER?

You have to apply by sending a resume, demo DVD, and a full-length photo. You must be at least 18 years old but not older than 35, a U.S. citizen, a college graduate, and physically fit. It is very competitive. The deadline is Friday, January 18, 2013. The Army generally accepts applications every January, so if this week is too soon, consider it in the future. See all the info about the job, audition process, and application here.

QUESTIONS?

If you have questions about the process, the job, or anything else, please contact me. What is basic training like? What is OCS like? What is your daily schedule like? How many performances a year do you conduct? What's the best/worst thing about the job? Just ask. I won't sugar-coat it.

My First 6 Months as an Army Conductor

At the end of April, I'll celebrate my first six months as a Band Officer in the U.S. Army. As the Executive Officer and Associate Conductor of the U.S. Army TRADOC Band at Fort Eustis, VA, I have already conducted three big public concerts, three outreach concerts at schools, six military ceremonies, and a recording session. I have also marched in my first parade ever (St. Patrick’s Day in Norfolk) and conducted the National Anthem at a Norfolk Admirals hockey game. This summer, the band is very busy with concerts and ceremonies - I estimate I’ll conduct 25 TRADOC Band performances between now and September. I love it.

My job entails more than music-making, though. There is a great deal of paperwork and meetings, too. I imagine the work load is very similar to that of an assistant or associate conductor at a big symphony orchestra. Of course, as a Soldier-Musician, I am also required to stay physically fit and competent in “warrior tasks and drills” (like firing and cleaning weapons), and we Soldiers are tested in these areas periodically. It’s not for everybody, but I enjoy all these aspects of this job.

I love Army language. In the Army, we call rehearsals “training,” and performances are “missions.” So we do a lot of training and missions. I love some training concepts and principles, too, like “train as you fight,” and “train to standard, not to time.” All of these concepts apply directly to civilian music-making, so I think I’ll share them with you in the near future. This blog has languished lately (since I started it, really), but I’ll make a concerted effort to share with my civilian musical friends some interesting and useful musical ideas more regularly from here out. For now, I’ll just sign off with some of my favorite organizational mottos.

"Always forward" - 1-34 Infantry Brigade,
"Standards - no compromises" - Officer Candidate School,
"Victory starts here" - U.S. Army Training and Doctrine Command,

Silas

Army Leader vs. Musical Director

I am in Basic Officer Leadership Course (BOLC) right now at the U.S. Army School of Music in Virginia Beach, VA. My buddies who are infantry, artillery, armor, or transportation officers are at their respective BOLCs, but nobody really knows what Army conductors do in BOLC. Well, here you go…

Here at the U.S. Army School of Music, we don't learn anything about music because my colleagues and I already know music—that's why we were chosen for this job. Instead, we learn a ton of non-musical subjects that are useful to us, like audio reinforcement, drill & ceremony, concert programming, copyright compliance, and unit cohesion/team development. Beyond that, we learn Army-important things, like supply procedures, how to prepare Army briefings and correspondence, fundamentals of joint operations, IED identification, soldier resilience, and a ton of regulations.

But the real subject of study here at BOLC is leadership, and it’s very interesting to learn the Army perspective on leadership. According to Field Manual 6-22 (Army Leadership), “An Army leader is anyone who...inspires and influences people to accomplish organizational goals. Army leaders motivate people...to pursue actions, focus thinking, and shape decisions for the greater good of the organization.” Hmm. Sounds like a music director. FM 6-22 also says that Army Leaders have three attributes—character, presence, and intellectual capacity—and Army Leaders essentially do three things—lead, develop others, and achieve results. Just like a music director. We Army leaders are expected to be agile, adaptable, and competent subject-matter experts who bring a team together and rely on the competence of others to accomplish a common goal. Wow. That sounds just like a music director.

Military leader vs. musical leader. What's the difference?

Now that I think of it, the Army's idea of a leader rhymes pretty well with what I've always thought a great musical leader was. As I begin my career as an Army Conductor, I am thinking a lot about how to incorporate my pre-conceived ideas about musical leadership into my military work, and I hope my military studies will help me improve my civilian musical work, too.

More soon...

I am a U.S. Army Officer! Hooah!

I just finished 6 months of Army immersion training – 3 months of Basic Combat Training and 3 months of Officer Candidate School. I won’t bore you with every detail, but here is a short synopsis:

Basic Combat Training (BCT) was a lot easier than I expected. I performed very well. I discovered that I like firing weapons and performing battle drills, and I excelled at both. The terrible part was being cut off from friends, family, and society. For ten weeks, we had no access to phones, email, or internet, and mail service was spotty. Also, I didn’t like being called “retard” (and worse), but it is all part of the game. Overall, the training was fun and easy (everyone who started with me graduated), and along the way I met some interesting and colorful characters, to say the least.

[click here to see a slideshow of my Basic Combat Training]

Officer Candidate School (OCS) was completely different. Designed to identify the best qualified soldiers for Army officership (and to eliminate the rest), the 12-week course was crazy difficult, psychologically stressful, and physically demanding. We ran miles and miles, and were tried physically and mentally, put under constant stress, and deprived of sleep. About 45% of my class dropped out (or was kicked out). Only the best of the best made it. OCS was the hardest thing I ever did in my life, but on July 28, 2011, my father, retired Lieutenant Colonel Rob Huff, swore me into the Army as a commissioned officer. Hooah.

[click here to see a slideshow of Officer Candidate School]

In my last week of OCS, the Fort Benning newspaper (The Bayonet) wrote this article about me: "Officer Candidate Strikes a New Chord in the Army"

Now I’m in Virginia Beach attending the US Army School of Music. It’s wonderful being with musicians again and learning how to run an Army band. I’ve recently learned that my first assignment – starting in November 2011 – will be as the Executive Officer and Assistant Conductor of the TRADOC Band (TRADOC = Training and Doctrine Command) at Fort Eustis, VA. The “TRADOC Band” is an amazing unit consisting of a concert band, marching band, jazz ensemble, rock band, Dixie band, brass quintet, trombone quartet, woodwind quintet, and a salsa band. I am very excited about this opportunity, and I look forward to blogging a little more frequently on musical and conducting issues.

As the 1-34th Infantry Battalion (where I did Basic Training) says: “Always forward!”

Thank you, New York

Hello there, New York City,

Got a minute? I need to tell you something. I have to leave you now, but I will miss you badly. Where am I going? Well, for the next six months I will live in Columbus, GA, then I'll spend 3 months in Norfolk, VA. After that, I'm not sure, but I won't live here. What? Of course I still like you!...No, I don't want to leave you, but I have to. I really would like to stay here forever, but I can't.

Before I go, I want to thank you personally for a few things. Thank you, New York, for:

1. Being the greatest city in the world
2. Having more great music and art than anywhere on earth
3. Being the most diverse and tolerant city I know
4. Having a generally cultured and intellectual populace
5. Having great public transportation, 24/7
6. 400 miles of bike lanes
7. Grand Central Station
   
8. 1,700 parks (so many great parks! Central Park is a little over-rated, but I have enjoyed her many, many times)
9. The Metropolitan Opera (Alas! How will I live without you?)
10. Oh yeah...Met broadcasts
11. American Ballet Theater and NYC Ballet
12. Carnegie Hall
    
13. Chinatown, Little Italy, Koreatown, Greenpoint, Washington Heights, and all the other good ethnic food neighborhoods
    
14. 18,951 restaurants. Seriously.
    
15. Great food, and bars that stay open until 4 am
16. Shoe-shine guys
    
17. MOMA, Natural History, Met, and all the other great museums
    
18. Times Square (to contain most of the tourists and keep them out of Astoria and other lovely places)
19. Diners and pizza joints
20. Abundant taxis
21. The jogging/bike path that encircles Manhattan
22. Fancy people
23. Weird people
24. Ridiculously liberal people
25. Really great people
    
26. Broadway, 30th Avenue, and Ditmars
    
27. The Bohemian Beer Garden
28. Astoria, the greatest neighborhood in the universe
29. Making Taylor happy (Veniero's is a nice touch)
30. Being invincible

Most of all, New York, thank you for all the opportunities you have provided, bringing so many talented people together, and offering me a chance to make it here.

Many of my friends and family members don't get you. "Why do you live in New York?" they ask. "What's so great about New York?"...I agree - they are dumb questions. You exposed me to higher standards in every field, the stiffest competition on earth, an audience for what I do, the largest/best community of talented artists and collaborators, and people and organizations with the means to support my work and growth. You taught me resilience, patience, compassion, and gratitude for what I have. You fostered my evolution in the most important part of my professional development.

Remember when I first came here to you? It was September 2002, and I had $100 in my pocket, no car, no job, no connections, and no apartment. I'm leaving 9 years later as the music director of 2 professional orchestras, co-director of an international conducting institute, and U.S. Army Conductor/Officer Candidate. You can't do that in many cities. You made me who I am, New York, and I am extremely grateful.

Next time I come here, I'll be a tourist. I'm truly sorry. I'll try to blend in, though. No, I won't wear a colorful ski jacket. No, I won't block pedestrian traffic by just standing in the middle of the sidewalk. No, I won't see the Spider-Man musical. Yeah, I heard it sucks, too.

Well, my friend, it's time for me to go. Thank you for all you have given me. You are New York City, the Big Apple. I made it here. I can make it any where. It's up to you, New York.

I love you.
Silas

Conductors in San Francisco

Recently, Taylor and I wanted to get out of freezing cold, snowy New York, and I found the perfect excuse: the 2011 Conductors Guild Conference in beautiful San Francisco. January 6-9 we went to California and had a great long weekend filled with food, fun, and a good dose of conductor-talk. (photo to the left by Taylor)

We stayed at the beautiful and historic Hotel Whitcomb. We could easily walk to most attractions in SF and it was an easy 5-10 minute stroll to the conference, which took place at the War Memorial Building, 1 block away from Davies Hall.

On the first day of the conference, we went to Davies Hall to watch guest conductor Kirill Karabitz rehearse the SF Symphony in Rachmaninoff's Symphonic Dances and Schumann's Piano Concerto (Helene Grimaud, piano). Davies Hall is amazing, and of course the orchestra is outstanding as well. And Helene...wow. This rehearsal was a great treat.

Davies Hall

The highlights of the conference included a discussion with Maestro Michael Morgan (Oakland Symphony) about finding one's place in the world of conducting, a panel discussion with concertmasters from several orchestras, and an enlightening lecture/demonstration with Maestro Vance George in which he discussed choral rehearsal techniques and examples. However, as a conductor who loves conducting ballet (and a lover of dance), my favorite session was probably the discussion entitled "The Role of a Ballet Conductor" by SF Ballet Music Director Martin West. I also discovered many new pieces for orchestra, band, and choir, and met quite a few colleagues I'd never met before.

The Conductors Guild is the only organization in the world dedicated exclusively to the art of conducting and to conductors. They offer publications, reviews, job postings, workshops, and so many other services to us conductors. Many of my European colleagues say, "You are lucky to have the Guild - there is nothing like it in Europe." Some of them join the Conductors Guild, even though it is based in the U.S. Let me say this: if you are a conductor, you should be a member of the Guild. It's affordable, and they have student rates, too. There's no excuse. If you are serious about your career and not a member of CG, join today.

The annual CG conference is an opportunity for conductors to gather, discuss problems, offer solutions, and learn from one another. It is also an opportunity to learn about services and companies that exist to make our jobs easier. It always happens in a great city (2012 in Chicago, 2013 in NYC!) and they are also a lot of fun. If you are able to attend the conference in January, you should do that, too.

I was at the conference representing the International Conducting Institute. Many conducting students, professionals, and teachers were interested in the Institute, and I anticipate full classes in 2011. We have already filled the NYC Workshop in March, and we are well under way with the Austin and CZ workshops (in May and July/August, respectively).

Me and the ICI Booth

Non-musical highlights of my SF trip included a wonderful lunch with my composer friend Jack Perla, a great walk with Tay from our hotel to the Ferry Building Marketplace, the best hot chocolate on earth - Recchiuti hot chocolate, and the Fisherman's Wharf where we ate an excellent dinner at Nick's Lighthouse - clam chowder in a bread bowl, a whole crab, and beer. Mmmmm...

Crab at Nick's Lighthouse, photo by Tay

We also shared a wonderful dinner with at Lers Ros Thai with a few new conductor friends, including the newly elected president of the Conductors Guild James Allen Anderson. We ate alligator! (among other not-so-weird stuff). We had lunch with my NYC colleague and friend David Leibowitz at a fantastic BBQ place called Tommy's Joynt, and we spent an amazing evening with my old buddy Suzanne and her beau - dinner at Le Trappe in North Beach and drinks and dancing at Top of the Mark - the bar where the martini was invented...supposedly. They were great martinis, and we had a fantastic night out.

Taylor and Suzanne

It was a beautiful weekend. I can't wait to go back to S.F.