Blog voor KAM

Eind december: Een goede tijd om mijn gedachten op een rijtje te zetten.Het laatste concert van het jaar zit er op. Een geweldig leuk Amstel Quartet concert met Dominee Gremdaat in Heerenveen. Ook achter de rug: een aantal spannende recitals met mijn goede vriend Hans Eijsackers aan de piano waar ik erg blij mee was.

Ties Mellema over écht luisteren en meer...

Ik kan tevreden terugkijken op december en eigenlijk op het hele begin van het seizoen. Het was zwaar maar gaf me veel voldoening. Vooral de laatste concerten met Hans in de Nieuwe Liefde, Hengelo en Nieuwkoop. Dat waren de concerten waar ik het allemaal voor doe, waar ik genoeg energie voor een jaar uit haal. Alles viel op zijn plek. Niet dat alles ging zoals gepland. Helemaal niet zelfs! Er kwam een soort vrijheid bij die eigenlijk niet te beschrijven is… Ik heb de laatste weken gestudeerd op luisteren, écht luisteren. En dat is nog moeilijk. Ik heb geprobeerd mijn eigen publiek te zijn. Dat is moeilijk met een blaasinstrument omdat er zoveel geluid binnenkort via botgeleiding door de tanden. Maar als ik heel langzaam speel en écht luister merk ik dat mijn lichaam zich aanpast. Mijn fysiek wordt rustiger, evenwichter en intuitiever. Alleen maar luisteren, ongelooflijk dat dat zoveel gevlogen heeft voor de uitvoering. Een belangrijk aspect hierbij is dat ik mezelf ook train niet te oordelen, ten goede of ten slechte. Ik merk dat veel leerlingen op het conservatorium tijdens hun studie zichzelf trainen om tijdens het spelen te luisteren naar wat er beter kan, of, in mindere mate, te luisteren naar wat er goed gaat. Als je dit doet dan ga je dat ook doen op het podium, en dat wil je eigenlijk niet. Er is altijd wel iets wat mis gaat het podium, maar als je echt leert luisteren, zoals je naar een concert luistert en je laat meevoeren zal je merken dat er meer dingen goed gaan. Rieten worden minder belangrijk, akoestiek doet minder ter zake. het is een wonderlijk proces.

Maar wat was er eerder, de kip of….?

Sinds september heb ik een hobby. Mijn vriendin noemt het soms een obsessie. Ik zoek al sinds 1995 (toen ik begon te studeren aan het conservatorium van Amsterdam) een hobby. Het is fotografie, of liever, lomography geworden. Ik loop sinds september altijd met een camera op zak (ik heb er inmiddels verschillende, elk met een eigen karakter) en ben veel meer aan het kijken en 'framen'. ik merk dat het veel met me doet. Ik weet al veel over zaken als compositie en balans maar ben sinds mijn negende vooral auditief ingesteld. Er gaat nu een hele andere wereld voor me open. Hierboven vertelde ik eigenlijk over afstand nemen. Afstand nemen van iets wat je zo dierbaar is, waar ik zelfs mijn vak van heb gemaakt. Het is een proces waar ik al een paar jaar mee bezig ben. Lomography is een belangrijke stap in deze ontwikkeling. De eerste stap was natuurlijk de geboorte van mijn zoon.

Later meer over lomography.

Chamber tips: "The Sponge"

In the serie 'Chamber tips', 'The Sponge'

It is hard to keep an ensemble together. But after 15 years I found out some things that turned out to be essential.

The ensemble should function like a sponge. It should absorb all input on whatever subject, be it musical or practical. Even if the input seems unmusical, ridiculous or unpractical to the other members, the ensemble should try it out and at least incorporate an essence of the idea. There is nothing more frustrating than having the feeling an idea is bouncing off on a wall while one might have the idea that he is bringing something beneficial to the ensemble.

That  means that sometimes the individual members of the ensemble should set aside their own preferences for the sake f the ensemble. The ensemble that is in the end, its own musical entity.

On the other hand, if the input does not work, and the ensemble functions uncomfortably, one should recognize this and accept it.

Watch my photos on Lomography.com

Since September I found a new passion, and it seems to be staying!

I am doing analogue photography. It uses a different part of the brain than music, at least, I guess :-)

I am looking at things now. It opened my eyes. We are on tour with the Amstel Quartet and usually I spend my time in the hotel doing administration, studying, meditating, swimming and fitness. But now I get out, looking at things. Talking to people. It's great!

Take a look at some of my pictures here: http://www.lomography.nl/homes/amellemseit

Review Vandoren BL3

Ever since I picked up the baritone in the '90's I wanted to play Vandoren, but it never worked for me.

The main problems were: Quacking sound when playing loud and squeaks! Every so many years I tried different types of Vandoren mouthpieces for baritone. I felt that there was something to gain from Vandoren. But the practical problems were always in the way. Vandoren came closer some years ago with the BL3 mouthpiece. The squeaks were gone for the largest part and the sound came closer to something that I liked. But of course, like on alto, the biggest gain I get from the BL3 is playing ease. Some eyars ago I decided playing ease was equally important as a 'good' sound when selecting material. The BL3 is fantastic in that sense that the legato, even in bigger jumps is so much easier. The sound is more consistent and 'cleaner'. I always have the feeling that the baritone is not a serious solo saxophone. It is too hard to play. The BL3 amkes the baritone come closer to a 'real' saxophone. When playing fast notes with register changes I can hear all the notes, whereas with my C* I just had to give up playing all the notes, some would fall out of the line, no matter how hard I tried.

In general, the mouthpiece is much easier to play than any other classical mouthpiece.

Disadvantages are still:

-There is a bigger chance of water on the reed, producing a strange effect to the sound.

-The squeaking is still there, but much less. I have not squeaked in the four concerts I gave in three days on our US tour. Gauvin's tip to put the reeds further over the tip worked, but also straighting out the reed with the Vandoren reed resurfacer seemed to work. And some reeds just squeak...

Also, I feel I have to take less mouthpiece in my mouth.

-The 'quacking' is still a risk. The Vandoren needs more containment, especially in the louder registers. On the Selmer I could open my embouchure and throat, and the sound would still be more or less focussed. On the Vandoren I have to focus the air more.

-The sound, even in legato, is a bit flat. You have to put a lot 'of yourself' into this mouthpiece to have personality and soul come into your sound.

Amstel Quartet arrived in Platteville, WI

Ties' blog:
It is 8:12 AM in and I am drinking a great capuccino in Platteville Wisconsin. Is was up very early today. We just flew in from the Netherlands and the jet-lag is in effect. I am not sure where the rest of my quartet but I got up and went out to explore the neighbourhood with my beloved Diana cameras. Infortunately the lighting is not so good today.

In a few hours we will be rehearsing, doing a masterclass, a lecture concert and in the evening a concert at the Platteville uni.
And I am loving it so far. Platteville is a relatively small town, but very charming. Everything is walkable and people give me friendly smile everywhere. In the coffee shop where I am now they are playing jazz music!
Our US tours are milestones in my musical season. Although I miss my girlfriend and son, I get a chance to get back to myself. I meditate, make some photos of unknown territory, eat, drink, sleep, watch tv and think. These tours are commas in my life. Places to breath. In a holiday I have the feeling I have to do something. During these tours I only have to make music. It's great to only have to focus on that.

Ties Mellema is now endorsed by Vandoren. He plays Vandoren AL3, SL3 and BL3, Vandoren classic reeds and Vandoren ligatures (Optimum, M/O).

Making a living

Many people told me that it is impossible to make a living out of playing chamber music on saxophone. Now I know it is hard, but certainly not impossible!

The road is long and difficult, I admit. At least, it was for me. But I am doing it. And loving it. I make a living out of playing classical saxophone and more specifically, chamber music on the saxophone. I play with my quartet and do solo gigs, recitals with my pianist, Hans Eijsackers and solo performances with Bach and stuff with electronics. I worked hard to get here. But it does take sacrifice. Hard work, not only on the saxophone, but also communicating and creativity (in that order in practice, yes!). We are saxophone players and our goal to astonish people and show that this is music as well. Our instrument does not know boundaries and this is how we should approach our practice. We are no violins, clarinets, there are no orchestras waiting for us. Thank God we get to do our own thing! Develop repertoire, arrangements, even compose and improvise ourselves. That is saxophone today.
When people tell you it is not possible to live off chamber music it is only partly true. It does take some adaptations in life style. Maybe not such a big house in not such a top location, reduce your expenses to a minimum while maximizing them for taxes. It's a fine line. But the reward could be making music for a living. If the circumstances are right. What circumstances? If I knew that I wouldn't be writing this blog and working out factors to create those circumstances….