'Tips from the Top' - An Interview with Mark Glover

Introducing the first in a series of interviews with top euphonium players from around the globe. This week we welcome Mark Glover, originally born in the UK but currently living and working in Dubai after 5 years in Singapore. Mark is a performing artist for Sterling Musical Instruments and is a past member of The Virtuosi GUS Band and The Staffordshire Band.

1.     When did you start to play the euphonium ?

Age 10, I wanted to play the trombone but was told my arms were too short (even though I have long arms!). I knew I wanted to play something big so ended up with the euphonium.

2.     What is a typical day/week like for you?

For almost a month I've been on holiday with zero practice and now my daily practice is extremely disrupted because I am starting a new job. When I'm on holiday I just try to imagine I am freezing my abilities and don't do buzzing or specific holiday stuff. I'm redesigning my new music department and writing the whole curriculum so I'm not having the time to practice. 

Once my job starts I'll likely practice an hour before work and an hour after but prior to my holidays and especially in the lead up to performing at ITEC2016 I was in a routine of about 3 hours practice every day. If you play in a natural relaxed way there is never the need for a day off! 

I do a varied warm up each morning covering basics, a performance practice run and recording of my programme, a technical practice session where I would improve on any issues then a sight reading session everyday because when I'm spending time on one set of repertoire I find my reading of music goes down in standard so I like to work on clarinet studies, tenor and bass clef studies or other random stuff.

3.     What has been your most interesting/unusual concert performance?

Giving the world premier of Zaidi Sabtu-Ramli's euphonium concerto in Brazil was an experience I will struggle to top. Also interesting was being guest soloist with Audley Band last Christmas, a 4th section band, we had little rehearsal time and it was just in a tiny village hall, no pressure I thought, until I found out that Gary Curtin was in the audience!! Suddenly I was nervous, but he's such a nice guy!

4.     What skills/personal attributes are most important to being a successful Euphonium Player?

Nowadays I think it's important to be different, play new music, have new music written and think like a musician not like a euphonium player! Also having the creativity to get out there and find gigs. I've performed in almost every South East Asian country just because I've made opportunities for myself. I'm sick of hearing young euphonium players saying that you can't make anything out of being a euphonium player, the opportunities are everywhere if you conduct yourself in the right way, no need for trombone gigs!

5.     What personal advice would you offer to the average Euphonium player?

Stop thinking you are an average euphonium player. Everything achieved by David Childs, Steven Mead, David Thornton etc can be achieved by anyone if they believe they have what it takes and are willing to put the work in.

6.     What are your favourite Euphonium Solo’s?

I appreciate all the old classic euphonium repertoire of course, but I really don't enjoy playing most of it. I find it too tempting to compare myself to others so I prefer new repertoire that's never been played before. But, a few current favourites: Concertino - Marco Putz, Hustle In Jozi by Zaidi Sabtu-Ramli, Cosma Euphonium Concerto, Ellerby Euphonium Concerto, Rabecando by Fernando Deddos.

7.     Tell me a little about your personal rehearsal schedule?

As I haven't been a full time member of any band or ensemble for a long time now, I don't have any rehearsal schedule other than my own practice and solo performances. Any ensemble opportunities I get, I actually try to minimise the number of rehearsals I need to attend just because I have a toddler and value as much time spent home with family as possible. When I have a solo performance with piano accompaniment I normally just arrange a 1 hour session with the pianist the day before the recital. I always send scores and recordings to the pianist so they have no excuses for not being up to speed!

8.     Tell me about your experiences with the Euphonium in Singapore?

Singapore is a funny place, lots of brass players but few who take it seriously. Often events are held with amazing guest artists and hardly anyone turns up to watch and those who do show up sit silently refusing to ask any questions. 

Brass players are not disciplined in their rehearsals and in their own private practice and they expect teachers to wave a magic wand which suddenly gives them amazing technique. That being said it's a brilliant place to live, I've made some fantastic friends through music and it is in a location where lower brass playing is gradually moving forwards.

Particularly look out for a lad called Kang Chun Meng, a fantastic young Singaporean euphonium player who I had the pleasure of teaching. I've been very lucky to have some great opportunities as a player because I was in Singapore and because I wanted to make a difference but I've had to work hard for it and have learnt a lot from the experiences.

9.     Who would you say is the one euphonium player who has influenced you the most?

I'm a bit of a one off player I think. I've never really had a regular teacher that has helped me much. I take full responsibility for my development; I've worked hard to find what works for me and what makes me improve without much guidance from a teacher. 

However, I've always respected and admired Steven Mead, especially his recordings which certainly helped me develop my sound. I remember him giving a masterclass once while I was a member of The Sandwell Youth Band and I loved how he spoke about the euphonium and it really inspired me! Nowadays though a lot of inspiration comes from players younger than me. Glenn Van Looy is someone I admire and sitting next to him in St Mary's Band while performing in the Nationals in Australia was like having a masterclass, my playing certainly developed following that experience.

10.     What are your 3 top tips for ambitious younger players?

1) Do your own thing, be different, find your own way because what works for one person might not work for you.

2) Decide what you want, believe and know that you have what it takes and never think about anything less. Dream bigger.

3) Work at mastering your existing skills THEN attempting the impossible. Like evolution!

11.     You have been a Sterling Virtuoso Artist for some time now, Could you describe some of what you do as a Euphonium Artist?

I feel honoured that I was asked to play a Sterling Virtuoso. The company in Singapore who sponsored me (www.musicthreesixty.com) are the South East Asian dealers for Sterling and John Packer and they asked me about playing a Sterling. 

I was actually reluctant for a while but I visited Paul Riggett in the UK and tried a selection of euphoniums. One was just perfect and with the small customization's that's possible and the careful personalised care you get, I ended up with the best euphonium I've ever played. Part of my role was to promote the brand around SE Asia and help customers who were interested in the range. I also assisted with sales of other brass instruments and especially the superb JP Sterling range which was extremely popular.

Being an artist really meant I had to up my playing standard and be on hand anywhere to help anyone who asks about Sterling. An example is at ITEC2016 a young student was interested in an instrument that was for sale on the DF Music stand. I sat with the customer while he tested the instrument and I was happy that he decided to buy it. Just little things like that go a long way when a customer isn't sure what is right for them.

12.     Psychology plays a huge part in playing; can you offer any simple tips to improve performance psychology?

It's actually a far bigger part than most people ever know. It's all about controlling thoughts. Remove negative thoughts and program only positive. Now this is very hard for some because we can get so set in our ways. 

The way I do it is to think of what my thought trail could be, maybe even play a piece and note down every 'subconscious negative thought' I have. Then all day every day I start repeating a positive version of this until that becomes a 'subconscious positive thought'. An example could be that a player always worries about making a mistake, like a split note. 

They worry and worry which just attracts more split notes. I would have that player think about the reality of a split note in a piece, is it life threatening or will it stop your family loving you? Likely not, so it's not worth worrying about. I would have that player repeat something over and over to themselves like "mistakes don't matter, they make me more accurate" or something similar, especially just before going to sleep. This will become the subconscious thought and mistakes will go. Don't get me wrong, consistency is essential in performance but stressing over it really doesn’t help. You just want to get to the point where you perform musically and become more and more confident and this technique can help. 

Of course, if you don't practice your instrument for a week it's unlikely to help at all so this idea only works with good regular practice. Many other techniques and lots of good books are out there about positive thinking but once you get it working its very powerful for performance.

Mark, Thank you for taking the time to chat to me, I want to wish you the best for all your future adventures and look forward to catching up with you soon.

Thanks for inviting me to be interviewed and I hope it’s all useful to read! Please visit, www.markglovermusic.co.uk