- Stephen Caplan embraces plastic oboes. Related: Elizabeth Brown lists some signs that your wooden oboe has a crack.
- Clarinetist Miranda Dohrman gives advice on building a freelance career.
- Jennifer Mackerras provides solutions for recorders slipping and sliding around in your hands.
- Peter Westbrook shares a 2003 interview with Herbie Mann, covering aspects of jazz flute playing, woodwind doubling, and more.
- Oboist Jennet Ingle offers some suggestions on a good mindset for solo performance.
- Clarinetist Jenny Maclay lists some reasons you might not be improving as much as you would like.
- If you are getting less than 80% playable clarinet or saxophone reeds from the boxes you are currently buying, buy different ones.
- Be realistic about strengths. If you are only getting 2-3 good reeds out of a box, you aren’t just being “choosy.” You are probably playing on reeds that are too resistant, and those 2-3 are the softer ones. Let go of the nonsensical old myth that better players play stiffer reeds. If you are getting less than 80% “good” reeds from a box, try moving down (or, in rarer cases, up) a half strength.
- Update your shopping list. There are many, many available reed options! Clarinet and saxophone players used to be stuck with the few brands available at nearby music stores. Now there are more brands, shipped anywhere in the world, probably for cheaper than buying at your local store. Don’t let a misplaced sense of brand loyalty or tradition keep you putting good money into bad reeds.
- Skip the sandpaper, mostly. If you are buying reeds that actually work for you, you won’t have to do more than a few minutes’ worth of adjustment over the reed’s useful lifetime. The available variety of cuts and profiles is staggering. And modern reed companies can shape reed vamps with very good consistency and accuracy.
A brand that genuinely makes clarinet or saxophone reeds with less than 80% success doesn’t deserve your repeat business. But there’s a strong chance you have simply mismatched the reeds to your mouthpiece and playing requirements. Keep searching!
I’ll keep this short: there are new bretpimentel.com t-shirts available, and everything in the store (shirts and the PDF of my book, Woodwind Basics) is priced at 1/3 off through Christmas Eve 2018 if you use coupon code reeds2018. Your purchases help pay for hosting and other site costs, and otherwise support what I’m doing on the site.
When learning a new étude or repertoire piece, it’s common to practice at first with focus on the notes, often playing them at a slow tempo and/or divided into chunks. This is a good approach for mastering the needed finger technique, but it may neglect one of the crucial parts of a performance: breathing.
In some music, it’s obvious where to breathe. But in a page of nonstop sixteenth notes, it’s harder to find the right places, and to execute them gracefully. Adding to the problem, I find that when I am nervous or playing under pressure, my breathing is one of the first things that falls apart: I start breathing in unaccustomed places, or skipping breaths that I know I really need.
I recommend establishing a breathing plan early in the process of learning new music. That way you can practice the breaths just like you practice the notes—they become a part of your muscle memory, and will happen automatically even under pressure.
The first step for a wind player should be to mark in the musical breaths, the ones that demarcate phrases. These are breaths that you will take (or possibly fake) regardless of your need for oxygen, because they serve the music. How exactly to do that is beyond the scope of this post, but here are a few quick tips:
- Beware breathing at bar lines. They look like nice stopping points, but often don’t make musical sense. (They are there only for your convenience in counting.)
- Background in music theory helps a lot, but you can also use your ears to help you figure out intuitively where a phrase comes to rest, or steal ideas from a good recording.
- To go deeper, consider studying phrasing, perhaps from a book like David McGill’s. (Put that one on your wish list if you haven’t read it already!)
Once the breaths required by the music are in place, you may decide you need more, perhaps because you haven’t worked the piece up to its full tempo yet (or because the piece isn’t written with sensitivity to your desire to survive). Mark in-between “survival” breaths as needed, perhaps in parentheses so you remember which ones they are. Put them in the best places you can find, and execute them as musically as you can, but as your tempo increases you may be able to skip them. If so, be sure to erase them so your marked-in plan stays up to date.
Choosing places for survival breaths is a trial-and-error process. Mark some in and give them a try, then adjust as needed. If you feel uncomfortable while playing, this can lead to panicked decisions on stage, so choose breaths for your comfort.
Particularly for the oboe, you may find you need some “breaths” where you can actually exhale stale air. Mark these clearly, too.
Always update your pencil marks if you decide to change the plan at all, so that your plan is 100% clear and you can practice it in a consistent way. You can change your mind later, as long as you change your marks.
- Start early in the process of learning a new piece.
- Mark in musical breaths, which you will observe even if you’re capable of playing longer without stopping.
- Mark in survival breaths, if necessary. Use trial and error to get them right.
- Practice the breaths just as diligently as you practice the notes.
- As you get closer to the performance, you might alter the breathing plan as your interpretation evolves, or as you no longer need some of the survival breaths.
- Be strict about keeping the markings current, and about playing just what is marked.
Well-planned, thoroughly-practiced breaths contribute to a relaxed, musical performance.
I might put in weeks or months preparing for a high-pressure performance. The groundwork is done—I have made the technical and interpretive decisions, drilled the difficult spots, and otherwise planned and prepared every aspect of my playing.
But all of that can fall apart pretty quickly if my head isn’t in the right place. Nerves, stress, and distractions can make one small error snowball into an unfocused, sloppy performance.
One of my favorite tricks to help avoid this is to plan my thinking. As I do the final preparations for my performance, I often pick out two or three things I would like to focus on as I begin each piece or movement. These might be important technical details (“make sure embouchure is stable before playing the first note”), more general advice (“keep breath support strong through the ends of phrases”), or interpretive thoughts (“light and playful”).
I write these two or three things (no more) on a sticky note, and place it at the beginning of the piece or movement. If the reminders seem especially crucial, I might put the sticky note over the first few measures of music, so I can’t start playing until I have physically moved it out of the way.
This small preparation helps ensure that as I begin to play, I’m thinking about the things that are most important to the success of the performance, rather than reacting to distractions.