Hi, come on in, you’re right on time for your lesson.

I have lots on things on my list for you today: we should double-check your rhythms on that etude, review those melodic minor scales that were giving you trouble last week, and discuss some finer points of vibrato.

But something about your sunken eyes when I met you at the door, the way you slouched into the room, the slept-in fashion statement, says that today you are Struggling. Not because you are lazy or undedicated. But because college life is fraught with deadlines for research papers and rent payments, and scheduled to the brim with marching band rehearsals and late shifts waiting tables, and fueled by store-brand Pop Tarts and never enough sleep.

And because of the heavy secrets that you carry. A friend spiraling into addiction. A boyfriend or girlfriend who tells you you’re not enough. A medical worry that you can’t afford to acknowledge. Sexual assault. Depression.

We can try to fight through your repertoire piece, but today Saint-Saëns isn’t breaking the top twenty things on your mind.

And while sometimes the biggest obstacle between you and your senior recital is sluggish articulation, sometimes it’s crippling anxiety about something else. And my calling is to get you from here to that recital, whatever is standing in the way. 

So for now let’s put off talking about how many practice hours you have logged. Instead I want to know whether you have eaten anything in the last 24 hours. How much you slept last night, and the night before. Whether you have gotten any sunshine this week. Sometimes, I think, the best thing I can do to improve your playing isn’t to harangue you about intonation, but to offer you a protein bar from my desk drawer, send you home for a nap before you have to clock in at the restaurant, or make you walk a few laps around the quad and take some breaths of fresh air.

Or sometimes to ask how you’re doing, ignore the reflexive “fine,” and wait for the real answer to come tumbling out.

I’m no therapist. And I’m not your parent or your doctor or a social worker. I might not always be the right person for you to talk to—luckily you have friends, family, clergy who are also ready to listen. And there’s the campus counseling center, for when you need to talk to someone who isn’t invested in your life, or someone who can offer a professional opinion when medications or other therapies are needed. But if I seem like the right person to open up to, then I want you to feel safe and unjudged doing it.

One thing, though: mentioning suicidal thoughts, even in passing, is a showstopper. Before we move on, I need you to tell me, emphatically, that you’re not in danger of harming yourself. If you can’t convince me, then I’m going to use this circa-1982 office phone to call one of the counseling staff for some help.

Your musical pursuits are important, but not more important than your life and health and happiness. So let’s make sure the real problems are at a manageable level first, and then I’ll resume hassling you about tension in your embouchure.

See you next week. Hang in there!

Thanks for reading! You’re awesome. If you found this post helpful, let me know with a donation or an email.

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  • Advice for prospective college music majors

    Photo, Surat Lozowick

    Planning on being a college music major? Good for you! But if you’re like I was as a high school senior, there are some things you haven’t thought of yet. Now that I’m on the other end of things—a college music professor, teaching music majors—I have some advice that I share with potential students (and that I’d like to send back in time to my younger self). I hope these tips help you get off to a good start on your own college music studies.

    • What you need the most right now, before starting college, is a good private teacher. If you’re not already taking lessons, it’s time to start. (Note that if you have your sights set on a top-tier school, most of the people auditioning will already have years of serious private study under their belts!) A good teacher can help you choose some possible schools, prepare audition material well, and get a sense for what advanced music study is like. Oh, and sculpt you into a fine young musician. The money you spend on lessons will pay off when scholarships are awarded.
    • Read More “Advice for prospective college music majors”

  • Five things to do before starting a new school year as a college music major

    Most colleges and universities will be starting classes again within the next month or two. If you are a music student, now might be a good time to make some preparations that will set you up for success in the new school year.

    photo, KosmoKarlos Photography
    photo, KosmoKarlos Photography
    1. Get your instrument ready. After a year of hard playing in ensembles, lessons, solo recitals, and the practice rooms, your (woodwind) instrument is most likely in need of a little maintenance. Take (or ship) your instrument to your teacher’s recommended technician for some care and you will be glad you did—a well-maintained instrument is fun to play, and makes you sound better with less effort. High-quality woodwind instruments played daily probably ought to have a full overhaul at least every 5-10 years; this is a bit expensive and includes things like replacing all the pads and corks, making sure the keywork fits precisely, removing dents or bends, and thorough cleaning and lubrication. In between overhauls, get your instrument checked out at least annually for what some shops call “playing condition”—a cheaper service, replacing or repairing just what is necessary to fix the most immediate issues.
    2. Get in shape. If you can feel a case of “summer chops” setting in, then now is the time to start getting back into fighting shape. If your summer days are long and unstructured, it can be easy to procrastinate, so set up a routine. Make a practicing schedule and stick to it. I recommend doing it first thing in the morning, before you get distracted by other things.
    3. Get a jump on lesson preparation. If you are a returning music major, you probably have a good idea what you will be assigned in that first lesson (let me guess: scales and/or technical exercises, etudes, and repertoire?). How pleased would your teacher be if you showed up to the first lesson of the semester with a week’s worth (or more) ready to go? What kind of momentum would that give you for the semester? You might not know yet exactly what repertoire your teacher will want you to tackle in the fall, but this could be a great chance to get started on a piece you would really like to play. (I, for one, am usually happy to accommodate students who show that kind of initiative.) If you are a new music major or aren’t sure what to expect, your teacher may or may not be answering email or phone calls over the summer, but it wouldn’t hurt to try.
    4. Clean up and stock up. Take a few minutes to clean out your instrument case, reed case, backpack, sheet music filing system, etc. and get rid of the clutter. If you have been working at a summer job or saving rent by living at home, now might be a good time to provision yourself for the coming months (reeds, cleaning swabs, cork grease, pencils). If you have been saving money toward a new instrument or mouthpiece, hold onto it and get your teacher to advise and assist you with that purchase after the semester starts.
    5. Choose some new, positive habits. Times of changing routine (such as the start of a new semester) are great times to insert new habits. Ask yourself what habits a really excellent music student would have: increased practice? better recital attendance? instrument care? reedmaking? listening to recordings? Make a list, commit to some plans, and hit the ground running from day one.

    Have a great year!

  • The value of chamber ensembles in music degrees

    My students learn to follow a conductor in their large ensembles, and how to work with a pianist on their individual repertoire. (The latter is a situation in which—unfortunately—the piano part is sometimes treated as secondary to the “solo” part.)

    But in chamber ensembles they learn how to make music in a group of equals, which is a very different ballgame. In a chamber group, every member is responsible for listening critically, making adjustments, matching, blending, and finding their own best ways to contribute to a cohesive, unified performance. And non-music-specific skills are developed here too: respectful exchange of ideas, balancing of personalities, cooperation, compromise. There’s no leader per se who makes judgment calls, arbitrates disputes, or takes charge of the artistic vision.

    Sometimes it seems like student chamber groups get treated as less important than solo repertoire or large/conducted ensembles, like they are auxiliaries of the band or orchestra, or pick-up groups good only for recruiting run-outs or potpourri concerts, or a way to trick  students into putting a little more mileage on their instruments. This is a mistake. Chamber music experience is critical to a complete musical education.

    Groups should be appropriately challenged with the quantity and difficulty of repertoire performed, just like they are in their solo repertoire and their large ensembles. I think the ideal is for each mature chamber group to put on its own full-length, well-balanced recital at least once each semester. (We aren’t currently requiring that at my small, regional university.)

    Groups should get regular coaching from faculty, but time rehearsing on their own is crucial to the experience. And by “rehearsing” I don’t mean just run-throughs: students should be spending rehearsal time discussing musical decisions together. (Depending on the group’s maturity, some of these decisions may need to be ratified in subsequent coaching sessions.)

    And, as with any educational pursuit, I think the risk of failure is part of the process. There are powerful lessons to be learned when student groups make inappropriate repertoire choices, fail to make good use of rehearsal time, or otherwise fall short of expectations.

    It’s exciting to see the maturity, confidence, and musicianship that my students develop in chamber ensembles. Take chamber music seriously as a part of a well-rounded musical education.

  • Do I have to practice over the summer?

    As I send my students off to their summer plans, I know many of them are asking themselves the same question I used to ask: Do I have to practice?

    Your teacher might give you a summer assignment. I feel like I really can’t give my students official, enforceable assignments when they aren’t enrolled in my courses. I could possibly guilt them into summer practicing. Or I could threaten them with high fall-semester expectations.

    On the other hand, some of my students need full-time summer jobs so they can afford to continue their education in the fall. Some have responsibilities to their families. Some may genuinely need a little downtime for their mental health. (Any mental health concerns should be discussed with a qualified professional.)

    So, do you have to practice over the summer? I guess the answer is no for my students, since they won’t get grades, and since I prefer not to teach by guilt or threats. But it probably isn’t the right question. I think the questions to ask are:

    What kind of student and musician do I want to be? If you’re planning on a career in music, or otherwise have your sights set on being the best musician you can be, then maybe you already know how you should spend your “vacation.”

    What’s possible in my circumstances? You should move toward your goals each day if you can. But if bill-paying or illness or family life or other high-priority obligations get in the way, that’s not a personal failure. It’s life. It’s not a reason to feel guilty or incapable.

    Ask yourself what kind of student and musician you want to be, balance that against what your circumstances will permit, and make your best use of your summer months.

  • Preparing for a fatiguing performance

    If you are practicing and concerned about fatigue during an upcoming performance, here are some (woodwind-centric) things to consider.

    • Embouchure. The embouchure is a frequent site for fatigue, but it shouldn’t be. Embouchure pain or tiredness in a conventional performance situation is usually a sign of incorrect tone production technique. (Not a matter of needing to “strengthen the muscles” or “build endurance,” neither of which makes sense for a well-formed, properly relaxed embouchure.) Rather than relying on the small, weak muscles of the embouchure, use good…
    • Breath support. The breath support muscles in your torso can (and do) work all day. If you are feeling fatigue in your embouchure or other small muscles, lean on your breath support more.
    • Breathing plan. Another frequent cause of fatigue is oxygen deprivation. Reconsider your breathing plan (you have one, right?) and make sure you are getting enough oxygen to your body and brain (and venting carbon dioxide, too).
    • Practice. Ask yourself how you can practice in a way that will leave you less tired and prepare you for a performance situation. Consider starting your practice with breaks frequent and long enough to let your body and mind rest, and gradually making them shorter and less frequent. When I’m preparing for a recital, I usually do a few rounds of recording the whole program: the first recording might take me half a day with longer breaks, but later recordings happen within a shortening time frame, approaching my intended recital length.
    • Equipment. I had some pain and fatigue in my back a number of years ago when I was practicing a lot of tenor saxophone. I bought a new neckstrap and the problem went away immediately. There are lots of products and alterations available for various instruments that can reduce strain on your body.
    • General health. Playing a musical instrument is serious physical activity. Make sure you are getting good rest, nutrition, exercise, life balance, physical and/or mental health care, and whatever else will keep you energized.

  • What to expect in your first semester studying music in college

    • Jumping in the deep end. In some college majors, you will spend your first couple of years doing “general education” courses (like writing, math, history, and science), and not take many “major” classes until later on. But with music, you usually start on day one with a lot of music classes.
    • A thorough and varied education. During your years in college you will probably study music theory and music history, play the piano (even if you’re not a pianist), sing (even if you’re not a singer), perform as a soloist and ensemble member, conduct, compose, and more. There’s a good chance you will dislike or think you are bad at some of those things, but they are part of your complete career preparation.
    • New teacher-student interactions. In high school you may have gotten used to a band or choir director being your go-to person for all things musical. But in college you may also work very closely with a teacher of your instrument or voice, plus teachers of other musical topics. Your teachers may expect you to meet differing expectations (such as different writing styles or vocabulary or attendance policies). You may find that your teachers put demands on your time that you will have to navigate carefully to avoid conflicts.
    • A dose of adulthood. Expect to take more individual responsibility for most aspects of your education (and life). Your college teachers are more likely to expect you to locate and obtain needed books, sheet music, supplies, instrument repairs, etc. on your own. (They may be willing to suggest some good companies to purchase from.) And if you’re used to a grown-up making sure you get up on time, do your homework, and eat reasonably nutritious meals, you are now that grown-up.
    • Choices with consequences. You may find yourself pulled in multiple directions by school, family, friends, and other activities. Understand that sometimes it may be the best choice for you to attend a family event and miss some classes, but that’s not the same thing as being “excused.” Your grade will probably suffer. And for music students, missing certain rehearsals or performances might have particularly dire consequences, since your absence affects the group.

    Studying music in college is fun and rewarding, but also a challenge. Good luck!

17 Comments

  1. Thank you Brett. What a great reminder of the most important things we can be and do as a teacher. Consider me inspired :)

  2. Thank you! I’m a school principal and I wish all teachers would understand the impact that real life has on their students. Awesome teachers do! Well said!

  3. Thank you for posting this! I find this to be a very important topic, and while I’m not a college professor, I find it to be an important reminder for all students and colleagues I’m working with.

  4. There’s a certain university music professor’s door I’d like to nail this article to. He’s a well-known, world respected woodwind professor who crushed the dreams of my daughter in telling her she should not be a music teacher. She has mental health problems, and her instrument provided a safe haven when she needed it. Just 4 months before, he had invited her to come with him and a select group of students from his studio to a European country where she would work with international professors. So to go from that invitation to being told she would not make it is ridiculous. Her instrument no longer provided the safe haven it once was. She has only picked it up a few times since then. The only thing stopping me from going after him legally is that she is happy in her chosen career path. Thank you. Maybe one day, he will read this article and stop and think the next time he opens his mouth. Probably not but maybe. I’m a hopeful kind of person.

    1. I hear you. But bear in mind that professors get zero or near-zero training on this sort of thing. It can be a difficult line to walk. I’ve wandered too far to one side and then the other many times, and expect to continue doing so.

      1. Normally, I would agree with you. I have been guilty myself of not initially showing empathy or understanding her struggles. Except by law he was required to tell her about the Disability Resource Centre on campus as soon as she informed him about her diagnosis, the year before. He did not. He should also have notified the DRC of their conversations. He did not. He was aware of that obligation. So setting aside his lack of compassion, he failed her in other ways. We fortunately found advocates in the DRC through our own means. One such counselor recommended we report his negligence. However, our other daughter still attended that school and we were concerned for any backlash that might impact her. She graduated last May.

  5. Am retired now. I agree “professors get zero or near-zero training on this sort of thing” but should be able to get training. Further, some universities or states do not allow faculty to refer students to counseling – the student must seek it. Thank you for this excellent, concise posting.

  6. My son’s applied teacher shared this on his page, and I couldn’t have been more grateful to read it. A mom needs to know that Somebody is watching out for her newly freed child who has only recently moved away for college. Thanks for writing this – I taught applied lessons in a university for several years, and you just never know how much these kids are carrying around. It’s invaluable for them to feel that when things get overwhelming, that there is someone besides their buddies, or their parents, that there is an adult who is there, who will listen.

  7. Thank you for writing this! It was wonderfully put together and should be read by more people. As a music student who will be a teacher; who has suffered through all of this and will need to help my students, I can safely say that it really is the teachers/professors that can sometimes make all the difference when a student needs to reach out for help. The fact that I’ve had a professor sit down and take that time to see how I was has honestly made all the difference for me. I wish more people were aware of this and took the time to treat it as important and get some training on how to help our students.

  8. A lot of times you were this for me, Dr. Pimentel. Although i was not an accomplished clarinet player, you never belittled me and you kept working with me until I decided it was time to change my major. You never gave up and that has made me a stronger teacher and person. I don’t give up on my students and they do so much better in their are because if it.

  9. Thank you. That’s all I can really say.
    Even in my first year as a music major this is exactly what I needed to hear.

  10. Ii way with all my heart that daughter’s clarinet professor had been as understanding as you, She left the music dept at her university after suffering panic attacks during lessons, caused by much more than her musicianship. Thank you for watching out for your students. Your students are incredibly fortunate to have you in their lives.

  11. One of my students walked in to his lesson this week and told me he read an article that made him think of me and pulled this up. I consider it a great compliment that he thought this, as that shows that he recognizes that I do my best to try to help him (and others) navigate the troubles of life and want them to feel comfortable opening up to me in lessons as a safe place. My teacher in grad school would always ask us “how’s life” when we walked in, and always had the time to let me vent. As I started the journey of private teaching, she taught me that the most important thing we can be for the kids is a confidante.

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