As I explained back in August, I’m having my university students purchase a required recording every semester. The purpose of this, of course, is to help the students develop good aural concepts of tone, phrasing, expression, vibrato, ensemble, and so forth. To try to learn to play an instrument well without a solid aural concept ...
Steven Hugley
That is an interesting philosophy. I’ve seen many people say they are not a doubler, but rather, and instrumentalist. But, I can see some pro’s and con’s to this mind-set. If it works for him that is great, it might even work for me. I think I won’t adapt it until I get through with Saxophone in my undergrad. But this is a very nice link, thank you for posting it.
It was also nice to see all the repair machines in the background.
Michael
This is exactly why, as a saxophonist, I fought so hard to become a clarinet primary during my graduate work as a woodwind specialist. In order to become very proficient on more than one woodwind instrument, you need to treat each additional one like it is your primary. Becoming comfortable with the clarinet has taken many years, and it probably would have taken even longer if I had to prepare for a saxophone lesson each week as well.
David Erato
Such a great approach to the concept of playing multiple woodwind instruments. I’ve had conversations with some of the great woodwind artists in LA (Sal Lozano, Dan Higgins, Jay Mason) and they all have the same philosophy.
Recent blog post: Childhood Music Lessons May Provide Lifelong Boost in Brain Functioning (May 31, 2011)