Influential music educator and longtime University of Iowa faculty member Himie Voxman has passed away at the age of 99. If you are a woodwind player, you have almost certainly used, at some point in your musical studies, something written or edited by Professor Voxman.
The Note Image Generator, version 0.1, is a tool for quickly generating batches of images of single notes on staves, like this:
It might be useful to users of my Fingering Diagram Builder, who want note images to combine with fingering diagram images when making fingering charts, but there are lots of potential uses for various educational materials. You can select a range of notes, a clef, and some other options, and download the images for your use.
The image creation is powered by LilyPond. The images are free for any usage.
To my own amazement, this blog is rapidly approaching its 15-year anniversary later this month, May 24th. (Some of the content is dated at even older than 15 years, because I wrote it before starting the blog and retroactively turned it into blog posts.)
If you like, send me question(s) about whatever you want, about woodwind playing, doubling, blogging, teaching, or whatever. You can remain anonymous if you like. If it makes sense to do so based on the responses, I’ll answer them in one or more blog posts starting on about the 24th. If the response is low or the questions are not particularly of interest to my audience at large, I’ll answer as many as I can privately.
Here are some videos from a guest recital I did at the University of Tennessee at Martin a few weeks ago. Among other things, I played Ástor Piazzolla’s Tango Etudes, originally for solo flute, in my own arrangement for multiple woodwinds soloist.
Backstage with my instruments and a space heater. Only one of us enjoys the recital hall’s powerful air conditioning.
I’m pleased to share some audio clips from my recent faculty recital at Delta State University.
It was the first evening concert of the new semester, so a nice crowd of students came to start accumulating their recital attendance points, as well as colleagues, friends, and community members. No one seemed daunted by the prospect of a solid hour of Debussy.
I enjoyed playing the flute Syrinx, clarinet Première Rapsodie, and saxophone Rapsodie, all of which I had studied in school but never performed publicly. The brief and charming clarinet Petite Pièce was new to me, and seemed to be a crowd favorite. I rounded out the recital with some of Debussy’s piano works, arranged for oboe and piano and for bassoon and piano. It works well for me to play all of the reed instruments on a recital, because that gives all my reed-playing students something to sink their teeth into, and the fabulous Dr. Shelley Collins was very gracious about me playing a flute piece on her turf. You can read my program notes here.
Having learned a couple of things from the last recital, I warmed up a little more extensively this time, and also brought in a space heater to keep my instruments warm backstage in the icy air conditioning. Both of these things seemed to help make the evening go more smoothly. One new experiment for me was the use of a bassoon harness, so I played that instrument standing up for the first time in public.
The Suite requires more-than-casual doubling on flute, clarinet, and saxophone. (Some of the altissimo in my performance isn’t in the original part.) Like most of Smith’s music, the Suite is light and appealing, with some rhythm/meter hijinks and a hint of jazz influence. Worth tackling if you’re a serious flute-clarinet-saxophone doubler and get a chance to work with a good wind ensemble.
Here’s a YouTube video (audio only) of the April 11 performance:
I heard about this on the Klarinet list. Sad :-(
What a great man and musician. He will be missed.
Nabbed for my friend on Facebook. Thank you for the post Brett.