Musicianship

Five little things that will make a difference in your next performance, audition, or competition

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illuminated stage of an empty theater

When I listen to young and advancing woodwind players at the high school level (masterclass participants, scholarship or honor band auditionees, competition participants), I often think that there are some small fixes that would make a big difference in their success. There’s no substitute for lessons with a qualified teacher, but these improvements are easy and set you apart from the rest:

  • Slow down a little. Speed is only impressive if your playing is clean, even, and precise. If taking a slightly slower tempo gives you better accuracy and control, do it.
  • Breathe intentionally. Where you breathe in the music makes a huge difference in your phrasing. Never just play until you run out of air. Find places to breathe that sound natural. If you’re not sure, listen to a recording of a good player and copy their breaths, or record yourself and notice what sounds right or wrong. Mark the breaths in (all of them!) and practice them carefully until they are a habit.
  • Do bigger dynamics. Even if you think you are already following the dynamic markings, make your softs softer and your louds louder.
  • Choose reeds wisely. I hear lots of ambitious young players using reeds that are much too hard. If a little softer reed allows you to play with ease and comfort, you will probably sound better. And a performance isn’t the time to use a brand-new one, or one that is past its prime. A week or two ahead, break in some new reeds and pick the best 2-3 to have on hand.
  • Relax. Tension is the biggest thing that tanks even well-prepared performances. Practice releasing the tension in your body. As you feel tension creep back in, release it again. Take advantage of rests or other pauses in the music to release once more. Try a pre-performance ritual like box breathing to reduce your adrenaline response, focus and calm your mind, and steady your hands.

Sometimes the smallest adjustments make the biggest difference. If you are an advancing player, which of these do you think would help you the most? If you’re a teacher, what small fixes do you recommend most?

Use your metronome most of the time

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pencil and a digital metro tuner on music sheet

Why should you use a metronome when you practice? How much should you use a metronome? But doesn’t playing with a metronome make your playing sound too mechanical? What about when you’re practicing something that doesn’t fit well with a metronome, such as changing time signatures? What if you’re “not good” at playing with a … Read more

Go ahead and use a fakebook

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gold saxophone

I felt a lot of stress and pressure during my years in college and graduate school, about jazz and Learning Tunes. Nobody who is anybody uses a fakebook! You have to Learn the Tunes! Do you know All the Tunes? Why don’t you know More Tunes? My teachers told me I would never make it … Read more

Playing at professional volume

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stressed black girl covering ears

One thing I notice about a lot of my younger university students is that they play softly. Sometimes they seem reluctant to play above what I might consider about a mezzo piano. If I ask, many of them reveal that they spent their formative years in school band programs getting The Hand from their directors. … Read more

Written jazz articulation problems

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In classical music for wind players, articulation markings are gospel—part of the composer’s intent, to be performed with accuracy. But printed jazz music, such as arrangements published for high school or college big bands, can take varied approaches to articulation markings.

Make your musical lines sing and dance

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man wearing blue jeans doing pirouette spin

In “classical” and related kinds of music, we are often asked to make our instrumental music sing or dance. In fact, most music of this type should do one or the other. Here’s how to make that happen.

Why you should use a scale sheet

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My university students take a scale exam covering all the major and 3-forms-of-minor scales, plus arpeggios, in all 12 keys, memorized. In preparation, I provide them with a scale “sheet,” with all of the scales and arpeggios written out note by note. There’s a part of my brain that objects to this, since I don’t … Read more