I grew up playing classical music and longing to be in jazz band.
Granted, it didn’t take long for that to come to fruition—by eighth grade I was taking solos and groaning at lead parts like I’d done it all my life—but with jazz comes an often-stifling series of mistreatments. I don’t have to tell you that; I haven’t touched the art form in over a year, and while I still miss the music, I’m waiting for the opportunity to get back into it on my own terms with people who won’t shut me down at every turn. The thing I loved most about jazz, though, was simultaneously what I hated: the improvisation.
Continue reading Meet in the Middle: When You Want to Improvise, but it’s Not Entirely Jazz
It’s been a couple years since I’ve been okay with how the jazz world is run. Sure, the music’s great and it’s fun to go to shows, and I’d be lying to say I didn’t desperately miss those aspects (and others, like playing with the Nash Composers’ Coalition out in Phoenix), but if you’ve been with me for awhile you know that all the jazz scene manages to do is break my heart and piss me off. I spend almost all my time in male-dominated fields, but for whatever reason, traditional jazz is the one intersection of maleness and music that seems to just keep kicking when I’m down.
Before I go any further, let’s be clear: I’ve spent the most time in jazz circles that glorify swing and bebop, that don’t advocate for experimentalism, whose primary interest seems to be preserving tradition. The jazz people I’m around now aren’t like that; indeed, lots of the creative jazz scene in LA seems to intrinsically value the blending of genres, including jazz and non-jazz. I like that a lot more, but I’m still hesitant to dip my toes back into a world that has repeatedly told me I have no place in it. I thought about trying to explain why, but then I found some old writing I did on the subject and never sent out into the world. It still rings true, so I’ll let it speak for me:
Continue reading Taking Time Off and Why I Don’t Miss Jazz So Much
A week has come and gone, and one cancelled flight and many phone calls later, I’m in the air headed home from the Rafael Méndez Brass Institute. RMBI brings together a veritable army of instructors, students, auditionees, performers, and a couple amazing collaborative pianists for a week of brass-related shenanigans. I didn’t want to post too much about my expectations going into the festival, so for the most part I’ve kept quiet online. However, now that I’ve made it out the other side, I thought I’d compile a list of the festival’s greatest hits (and misses) for anyone who’s considering attending next year. As always, these opinions are my own, and I’m always cognizant of the fact that as a musician whose focus is largely on contemporary performance, my experience differs from my peers’. But here are my biggest pros and cons of RMBI 2018:
Continue reading Summer Festival Breakdown: the Rafael Méndez Brass Institute
I distinctly remember when I started telling people I planned to go into music.
It wasn’t some grand announcement—I mean, I was a junior in high school—but the way people reacted, you would’ve thought I’d just proclaimed I was going to major in winning the presidency.
Continue reading Choosing Music (and/or Money)
Four years ago, I was a very different person.
If you’d seen me at my college orientation, you would have encountered a girl feeling the keen edge of homesickness, shielding herself with a smile and throwing herself into social life in an effort to find some friends – any friends – to fill the gap between her and those she’d left behind. You would have met a girl who had a lot to say to the right people but who found that there weren’t many of those individuals cloistered within the walls of her fancy new dorm. So she remained quiet, because that was what she could do with who she had.
That girl didn’t last long; though she made the occasional reappearance, the woman she became found it far easier present the world with honesty and attitude in the hope of inciting genuine responses. And to a degree, that’s worked pretty well.
Continue reading Who I Am and Who I’ve Been (I Won’t Apologize For Either)
Mornings start early in the Arizona desert. Though summer and fall are by far the most torturous, runners, cyclists, and the athletically-inclined start going out before dawn as early as March in order to avoid heat stroke. It’s part of the state’s culture—get up early, be outside, then retreat to the depths of air-conditioned buildings until it’s safe to set foot outdoors again.
Brianne Borden’s mornings start early no matter how warm it is (or isn’t).
Continue reading The Pursuit of Relaxation: Brianne Borden on Music, Yoga, and Balance
Man, what a semester it’s been! I premiered five new works (Don’t Tell; Liar, Liar; Tipping Point, Storm Warning, and Flatline); I gave my senior recital; I visited Michigan, Canada, and Los Angeles; I spent quality time with family and friends; and I made big decisions about my future. After all that, it’s been nice to get back into the routine over the last couple weeks. I thought I’d take a moment to outline where I’ll be playing, attending, and presenting work for the rest of the semester, for those of you who are interested:
Continue reading We Now Return to our Regularly Scheduled Performances
The higher education application process stymies me. Sure, you can take a year or two off between high school and college or undergraduate studies and grad school, but for those of us that choose to power through it all, it’s a little crazy to be making super important life choices while juggling some of the craziest semesters of our education. I’m fresh off my senior recital, and now the time has come to make the next major decision of my professional and academic life: where I’m attending grad school.
Continue reading Graduate Programs: And the Winner Is….
After four fantastic (and incredibly challenging) years at ASU, I’m thrilled to be presenting some of my best work for various instrumentations on my senior recital! You’ll get to hear some trumpet music and some non-trumpet music as played by a swarm of my friends and collaborators from the Phoenix area. The program is as follows:
Continue reading Multifaceted: It’s Time for the Recital