- Clarinetist/doubler Gentry Ragsdale-Szeto finds ways to squeeze in practice on multiple instruments.
- Oboist Patty Mitchell discusses the energy musicians put into playing, teaching, and listening to themselves.
- Clarinetist and saxophonist Andrew Allen explores some difficulties and benefits of playing and teaching multiple instruments.
- Flutist Jolene Harju shares tips on keeping double-tongued notes resonant.
- Clarinetist Jenny Maclay doesn’t play rests, but does observe silences.
Month: June 2017
Random Note Picker, version 0.3
The Random Note Picker web app got a facelift and a few new features. I use this mostly for quizzing my students on their scales. Two features added by popular request: a timer function, so you can generate new groups of random notes every few seconds hands-free, and (optional) double-flats/double-sharps. Check it out, and send … Read more
Woodwind doubling on both oboe and bassoon
Mid- to late-20th-century music written for woodwind doublers, such as musical theater “books,” largely solidified around three main types of doubling specialists. The most common of these is the clarinet/saxophone/flute player. Less common but still widely used are the oboist with passable single reed skills, and the “low reeds” bassoon/bass clarinet/baritone saxophone player. In the … Read more
How are you going to improve this?
Practicing without a plan rarely produces the desired results.