Year: 2017

Connecting observations to techniques

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If you are teaching a woodwind methods course, you might be interested in my book.

In my woodwind methods class, I try to create lots of opportunities for students (future instrumental music educators) to practice observing woodwind playing and giving feedback. For the feedback to be useful, it needs to connect an observation to a technique. Here are some examples of what not to do:

Observation without technique

“Your tone sounds good.”

“Your intonation is problematic.”

“There are response issues.”

First, it’s important that an educator can articulate their observations with clarity and detail. What is “good” about the student’s tone? (Are you saying that it is characteristic? That it is consistent from note to note?) What is problematic about their intonation? (Is it flat overall? sharp overall? Is it unstable over the course of a phrase? over the course of a single note?) What “issues” are there with response? (Notes responding late? Notes responding with extraneous noise?)

But once the problem or success is clearly identified, it still isn’t of much use unless it comes with a recommendation.

“Your tone is very consistent. Nice work using steady breath support.”

“Your pitch is scooping upward into each note—be sure to articulate with just the tip of the tongue so your voicing remains stable.”

“Let’s see if a softer reed will allow your notes to respond more quickly and clearly.”

Technique without observation

“Try relaxing your embouchure.”

“Use more breath support.”

“Keep your fingers close to the keys.”

Barking orders without explanation might produce some short-term results, but when students know what result you’re trying to produce they can be proactive.

“Remember, you can get that bigger, clearer sound if you relax your embouchure.”

“Use more breath support so those high notes will be up to pitch.”

“You’re having trouble covering the toneholes because your fingers are starting from too far away. Keep them closer so they can find the holes more easily.”

When my students learn to give feedback that connects their specific, precise observations with clearly-taught techniques, they are preparing for fruitful lessons and rehearsals with their own future students.

Favorite blog posts, September 2017

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Hand-picked high-quality woodwind-related blog posts from around the web, September 2017 edition.

Preventing accidents with pencil marks

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After some recent windy weather I saw someone in my neighborhood cutting up some fallen tree branches with a chainsaw. He wore jeans and sneakers and handled the saw with something less than familiarity.

Later, I saw a professional tree removal crew working at a similar task. They operated their chainsaws expertly and with confidence, and wore helmets, eye and ear protection, and heavy protective clothing.

I thought the amateur might really be the one in need of safety gear. But the professionals showed up equipped to do the job right, do it promptly, and do it without mishaps.

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Jazz recital videos, August 2017

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This year I played all jazz at my Delta State University faculty recital. Program and some selected videos are below. I’m very much a part-time jazz player, so it was fun to spend the summer trying to get my chops in shape to play tunes in a variety of styles on a variety of instruments. … Read more

Naming the low E-flat (contrabass? contra-alto?) clarinet

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Every so often I hear from people about what I call the E-flat contrabass clarinet (or “contrabass clarinet in E-flat”), such as in my woodwind doubling in musicals list or in my woodwind methods book. Some prefer the term “contra-alto” or even “contralto,” but I find “contrabass” to be the most accurate and useful description … Read more

Favorite blog posts, August 2017

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Hand-picked high-quality woodwind-related blog posts from around the web, August 2017 edition.

Please lose the music binder

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For some reason a high percentage of my incoming students each year like to make a 3-ring binder for their sheet music and lesson materials. I don’t know why.

They apparently put a fair amount of time and money into this project, which often involves custom cover artwork, dividers, and plastic sheet protectors. As the semesters go by, the binder fills up with every bit of sheet music they have used, until the binder is so heavy that a music stand won’t support its weight.

I applaud and relate to their interest in keeping things organized and their enthusiasm for the course. But the big music binder just doesn’t work very well. Here are my complaints:

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Homemade EWI stand

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There are a few stands commercially available for the Akai EWI, and lots of folks have made their own or repurposed other items. I wanted one that was inexpensive and compatible with the Hercules stands I mostly use these days, and decided to try the DIY route. I came up with something workable but not … Read more

Endorsement deals

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First, let’s be clear about this: in an endorsement deal, the artist endorses the product or brand. The product or brand doesn’t endorse the artist. If an artist claims to be “endorsed by” a company, that is incorrect word usage.

An endorsement deal means that an artist agrees to be publicly associated with a product or brand, presumably because the company thinks that will encourage more people to purchase their products. In return, the artist generally receives some kind of compensation, which often takes the shape of free or discounted products. The contract might specify some requirements for the artist to fulfill, such as having their name and image used in advertising, appearing at the company’s publicity events, or plugging products on social media.

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