2016 in review

December 31, 2016January 1, 2018 ~ Bret Pimentel ~ Leave a comment

Here are some of the things that went on here at your favorite woodwind blog during the past year, and some things to look for in 2017.

My biggest “hits” in terms of site visits and social media response were Please stop telling you clarinet students to tighten their embouchures, A few thoughts on the new Roland Aerophone AE-10, Stuff bad music teachers say, Solo/chamber stage etiquette for first-year music majors, and Practicing and the two-minute rule.
Some oldies that were popular during 2016: my posts about college music education majors and applied instrument study, jazz chord symbols, and automatic sharps, flats, and naturals for Microsoft Word.
As always, some of the posts that felt most important to me didn’t get as much attention. Some that I wish would have sparked more discussion or been shared more widely were the articulation-related posts “Starting” notes with the tongue and Tonguing and language sounds, the tone-related posts The role of tone exercises and Achieving an ideal tone, and Things you need to cover in woodwind methods class.
The Fingering Diagram Builder didn’t get any new features or improvements this year, but I have a new version in progress with some improvements I hope you will like. No promises at this point about release date. These days I’m seeing FDB diagrams pop up in virtually every issue of some of the major woodwind organization journals, plus I’m hearing at least a few times a month from people working on books, articles, dissertations, and other things. I love to hear from anybody who is finding the FDB useful (and of course I expect people working on for-profit projects to touch base). I did write a blog post about using created diagrams: Creating fingering charts with diagrams from the Fingering Diagram Builder.
The big list of woodwind doubling in musicals continues to be a cool way for me to connect with woodwind players from all over the world. The list grows larger and more accurate on nearly a weekly basis. Thanks to all contributors, and I hope to hear from you some more in 2017.
I shared a few professional achievements and activities, like some multiple-woodwinds recital videos, a woodwind doubling presentation, a visit to the IDRS conference and a presentation there, and my interview on the Clarineat podcast.
I did another 12 months’ worth of my favorite posts from other blogs. I welcome tips on other woodwind-related blogs I should be following, including yours.
It has long been an ambition of mine for the things I write on this blog to crystalize into a book on woodwind playing. I’m pleased to report that I’m seeing the light at the end of the tunnel on that project, and am 85% on track to release it in the first half of 2017. It’s something that I am hoping will be useful for college woodwind methods classes, for school band directors and private teachers, and for woodwind players (especially doublers). If you’re interested, consider joining this mailing list so I can let you know when it’s available. Or make sure you’re following my blog posts on Twitter and/or Facebook for that eventual announcement, plus of course all my latest blog posts.

Thanks for reading, commenting, sharing, and otherwise connecting in 2016. See you next year!

Favorite blog posts, December 2016

December 31, 2016January 1, 2018 ~ Bret Pimentel ~ Leave a comment

Saxophonist Bill Plake discusses the relationship between strength and coordination in instrumental technique.
Jenny Maclay lists some important clarinet repertoire, in a festive format.
Clarinetist Denise Gainey shares a funny and relatable gig story.
David Pierce offers exercises for upper-register bassoon playing in sharp keys. I also liked this mini-etude for dealing with some common in-the-staff issues.
Khara Wolf compiles some information on making English horn reeds.
Oboist Patty Mitchell reminds us about posture and practicing.

Responding to free or low-paying gigs

December 14, 2016March 14, 2017 ~ Bret Pimentel ~ 1 Comment

Time to start thinking about New Year’s resolutions. Here are some sample scripts for phone calls or emails about “gigs” that pay nothing, or not enough. (Some inspiration came from Jessica Hische’s online tool for responding to graphic design inquiries.)

A friend wants you to provide music for a wedding, party, etc.

Sounds like a fun event! Thanks for thinking of me. There are a couple of ways we can handle this:

I can treat you like a regular client, with a real but affordable budget. Usually I charge [$XXX] so I can afford the time and expense of putting together a really great [party band/wind quintet/jazz quartet/etc.]. I charge extra for special song requests so I can work out [sheet music/rehearsal time/etc.]. Let me know and I’ll fill you in on the usual details about how and when to make payment. Since you’re [my bestie/my brother-in-law/etc.] you’ll get my top-of-the-line professional treatment plus [some extra love/a 10% discount].

Or, if it works better for you, I could just pick out one song I think you will really like, and it will just be me with my [flute/saxophone/etc.]. I can play it to help make a moment that is extra special, and then I can hang out with you and the gang for the rest of the night. You can just [feed me dinner/give me some free tax advice/call it a wedding gift] and we’ll consider it even.

A non-profit or other good cause wants you to donate musical services for a fundraising event:

Thanks for reaching out. I really respect your cause and what you are trying to accomplish.

Since I do this for a living, I’m sure you understand I have to be careful about giving away my time for free. Do you have a budget for the event that is paying for the [food/waitstaff/venue rental/prizes]? If so, maybe we can come up with an affordable option, like [a duo with me and this great cellist I know]. As a policy I really can’t give away my time when other professionals are being compensated. If everyone involved is 100% donating their services, then I can play for free occasionally for the causes that are most important to me personally, [and I would be happy to help for an hour/but I’ve really already done all the charity work that I can afford lately].

A business or person wants to hire you and can seemingly afford to do so, but has underestimated the cost of your services:

I appreciate the offer and would be interested in figuring out a way that we can make this happen. At this point it sounds like you are working with more of a [DJ/somebody’s-iPhone-plus-a-Bluetooth-speaker] budget, and if so then I might be able to recommend somebody.

But if I’m understanding you right, you’re looking for that really classy, upscale touch that live music provides. To give you that kind of service, I have to charge [$XXX] to hire the best people for the band, taking into account it will be an hour’s drive for everybody, plus there’s the time to set up and tear down all our gear. Don’t get me started on the gear—it cost as much as my car! I’m sure you get where I’m coming from.

Listen, I provide the very best for my clients, like I know you do for yours. My band just played for [the mayor’s/your competitor’s/etc.] holiday party—they like us so much they have us back every year. What do you say to giving us a try?

Musical skill is a real and valuable thing—don’t be afraid to ask for what you’re worth!

What I would do differently as a college music major

December 7, 2016March 14, 2017 ~ Bret Pimentel ~ Leave a comment

Believe it or not, some of my college students make mistakes that seem somehow familiar. If I could go back to college (and graduate school) and do it all over, here are a few things I might choose to do differently.

Embrace my teachers’ approaches. As readers of this blog know, I tend to be a bit opinionated about woodwind playing, and as a student I was sometimes too quick to dismiss what I was being taught. A better approach would have been to learn enthusiastically and immersively my teachers’ playing styles, thought processes, equipment choices, and philosophies, mine them for every bit of value and wisdom, and wait until later to make better-educated decisions about what to keep and what to discard.
Invest more time and effort into fundamentals. Like many students (and professionals?) I spent a fair amount of practice time focused on learning an étude or repertoire piece, as opposed to learning to play the instrument and to make music. The recitals and concerts I was so fixated on at the time seem much less important now, but the time I could have spent working on basics of tone production, finger technique, and interpretation would have paid nice dividends in the years since.
Listen to more music. Mostly I did pretty well at attending concerts on campus. And I went to a few things in the community. And I checked out a few recordings. But why let such a large percentage of my musical intake be performances by other students, or by the professors whose playing I already knew well? What if I had made a point of listening to something new every day, even for a few minutes? What kind of musical depth could I have developed by listening to 365 great woodwind players per year?

Study and practice smart!