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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  • Wind playing and contagious diseases

    I’m not a (medical) doctor or disease expert of any kind, but I’ve been thinking a bit about the instruments I play and the risks of catching or spreading disease. (At the time of this writing, Covid-19 is foremost in many people’s minds.) I’m presenting a few thoughts here in hopes that people with real expertise will be able to address them in an authoritative way, and I’ll update this post as appropriate with links to additional information if/when it becomes available. Update: I have created a separate page with links to research/resources.

    As a player of reed instruments, I am of course concerned about reeds and mouthpieces (and related items like mouthpiece caps and reed cases, tools, and workspaces), and would like to implement some more structured, methodical ways of keeping them clean.

    But the thing that worries me more is what is in the air when I am playing wind instruments, or near people who are. Some research/modeling (the accuracy/relevance of which I am unqualified to judge) seems to suggest that “aerosol particles” from a cough can travel far and remain in the air for a long time:

    I can only speculate on how this relates to playing wind instruments, but it does leave me feeling uneasy. Some concerns that spring to mind:

    • If I am teaching lessons, even in my relatively spacious university studio, are my students and I both filling the air with potentially infectious particles, by blowing large amounts of well-supported air over sustained periods of time?
    • What surfaces in my studio are receiving these particles, and how long can germs survive there? Should I be altering my routine of teaching lessons all morning, then eating lunch at my desk? Do I need a routine for cleaning music stands, metronomes, and other items that are in the line of “fire?” Should I be concerned about what is settling on the bassoon reeds drying on pegs in a corner of the office?
    • When I or my students perform (especially in ensembles), how close are we to other people? I’ve certainly played orchestral gigs where there’s hardly enough elbow room to swab out a clarinet. What is being put into the air or onto surfaces when the entire wind section starts to play?

    Contagious diseases certainly aren’t new, and I think some basic courtesies and hygiene will continue to be adequate to keep ordinary disease risks in check. But at the time of this writing we find ourselves in an age when we are more attuned to physical (“social”) distancing, handwashing, and mask-wearing, and when we receive somber daily tallies of those affected by a public health crisis we don’t yet fully understand.

    Let’s all be listening to experts and thinking about how we can continue to share music with our students, teachers, collaborators, and audiences, safely and in good health. Stay well.

  • Mindset shifts for college music majors

    Here are some mindsets that I find can hold college music majors back from reaching their potential—or can launch them to the next level.

    From “This is how I was taught” to “I’m here to explore new ideas.“

    I can’t tell you how many times I’ve suggested a better fingering option to a student who resists because they already know a different fingering and would rather not have to remember a new one. But my most successful students are curious to learn new things and try them out. Someday you’ll have the option to choose your own path, but you’ll do so from a place of experience, not habit.

    From “I have to practice for hours” to “What can I get done in ten minutes?“

    Mastery takes time, but the quality of that time is what really gets results. I’ve had students suffer alone in practice rooms all week with nothing to show for it. But if they can set a few small goals and spend a few minutes pursuing each of them in a focused way, by their next lesson they have measurable progress, the confidence to show it off, and a grade that reflects it.

    From “I’m never going to use this” to “I’m building a versatile skill set.”

    My students often have very clear ideas about what they will and won’t be doing in their careers. But working in music and/or education can mean wearing a lot of different hats, and broad knowledge and experience can have surprising advantages.

    From “My teacher my is judge and executioner” to “My teacher is on this journey with me.”

    Rather than playing your assignment for your teacher and nervously waiting for a verdict, let your teacher be a guide and consultant. Be ready to outline and demonstrate your successes and frustrations from the week, and ask for help and advice on what’s holding you back. It’s not you versus your teacher—it’s the two of you versus the technical and musical challenges.

    From “I don’t play well enough to perform in front of others” to “I have something to share.”

    My students perform frequently for other music majors, for faculty, and for public audiences. It’s pretty normal to feel inadequate to the task or to feel outclassed by others. But our audiences, even when they are our peers or teachers, want us to succeed. If you see your performance as a gift rather than a test, you never know who you might impress, inspire, or uplift.

    Which of these mindset shifts feels the most uncomfortable to you? Often the one that scares us the most is the one that offers the biggest breakthrough. Let’s do this!

  • How I use my undergraduate core music curriculum every day

    My university students are sometimes unconvinced of the value of their core music curriculum. Like most music programs, the core at my school includes music theory, applied theory (aural skills like sight-singing and dictation, and piano/keyboard skills), and music history. Most of my students will be educators, like I am (most of them will teach music at a middle or high school level). Here is just a small handful of the ways that, as a teacher, I use my undergraduate music skills on a daily basis.

    Manuscript paper
    Photo, Andrew Malone
    • Evaluating student performances (aural skills, theory, history). Sometimes when I pick out a wrong note in a student’s performance, they express amazement that I have so much music “memorized.” I don’t. But I can follow the score and tell when what I’m hearing doesn’t match.
    • Preparing lectures, presentations, program notes, and so forth (theory, history). What makes this repertoire piece, this composer, this technique, this performance practice important? Context is crucial.
    • Selecting appropriate repertoire (history, theory). A good student recital or ensemble concert needs to balance the students’ educational needs and the audience’s attention span. And even once the repertoire is chosen, a broad-based musical education is key to differentiating between published editions.
    • Arranging, adapting, transposing, and transcribing music for soloists or ensembles (theory, aural skills, keyboard skills). This can be elaborately creative or simply functional. But every working musician and music educator at least needs to be able to take a given piece of music and make it work for a different instrumentation, taking into account instrument ranges, chord voicing, and balance.
    • Making and communicating interpretive decisions (theory, history). Good interpretive decision-making can mean following the “rules” with strictness, or making informed decision to bend or break those rules. Understanding the canon—insofar as one exists—of performance practices, and having the vocabulary to discuss them with precision, helps tremendously in either case.
    • Demonstrating musical effects for students/ensembles (theory, aural skills, keyboard skills). Good music teachers don’t let the instrument(s) collect dust, even if their primary outlet is as a conductor. Music is an aural tradition, and a “picture” is worth a thousand words. (“Instruments” in this situation includes the voice, for singers and non-singers alike.)

    That list is teaching-focused; as a performer I use all of those skills just as much, if not more. Study hard!

  • Which multiple woodwinds degree programs should I apply to?

    “Which multiple woodwinds degree programs should I apply to?” I get this question a lot, since I write about multiple woodwind degree programs here on the blog, have a couple of those degrees myself, and maintain a list of such programs.

    (The list is meant to be comprehensive but probably isn’t. If you know of a program that isn’t listed, please let me know! These days I mostly depend on emails from interested parties to help keep the list up-to-date. I don’t have some secret source where I can find all the current available programs.)

    The answer, of course, is that I don’t know which program you should choose. I graduated from two excellent programs, both of which I understand have evolved in the 10+ years since I finished school. Programs frequently change, and so do the faculty and administration that run them.

    So, you should narrow down your list of possibilities the best you can, and reach out to schools to find out more. You might try to figure out from the school’s music faculty directory who is the head of the woodwind department, or contact the professor of your “main” instrument (if you have one).

    If I were looking for a program today, here are some questions I might like to research on the school’s website, or ask a professor:

    • How many students are currently enrolled in the degree program? Are there any enrolled in multiple-woodwinds programs at other degree levels? Is this enrollment typical, or is it currently at a high or low?
    • How do the woodwind faculty feel about the program? Do they see woodwind doubling as a valuable, marketable skill? Are any of them doublers themselves? Do they try to push students into single-instrument degrees instead?
    • Do multiple-woodwinds students get the same kind of access/time/attention/instructional time from the faculty that single-instrument students get? Is there room for multiple woodwinds majors in, say, the oboe reedmaking class? The clarinet choir?
    • How big and how competitive is the music department in general? Is there any hope of auditioning into serious ensembles on secondary instruments?
    • Are there appropriate/relevant graduate assistantships available, like teaching or assisting with a woodwind methods class, or playing auxiliary woodwinds in the bands or orchestras?
    • How is the degree structured? What courses would I take? Would I have a minor, cognate field, etc?
    • How is individual instrumental study structured? Would I have a “main” instrument and “secondary” instruments? How would that affect the instruction and experience I get on each? Would I be studying multiple instruments each semester? How much total instruction would I get on each instrument? Would I perform on all my instruments in solo recitals and juries?
    • How strong do I need to be on each instrument for entry into the program? What is the audition process like? Do you have lists or guidelines for required audition repertoire?
    • Are there instruments available for my use? Do I need to own all the instruments I intend to study before I start the program?
    • What non-school-related opportunities are available in the area? Are students earning money playing gigs? Is there an active musical theater scene or some other kind of music-making that would value the services of an aspiring woodwind doubler?
    • What have former students in the program accomplished? Have they graduated? How long did it take them? Are they employed? Doing what?

    I did one of my multiple woodwinds degrees at a well-known, name-brand music school, and later in academic job interviews hiring committees did notice and comment on it; it’s possible the name opened some doors. My other multiple woodwinds degree is from a smaller (but not small), high-quality but lower-name-recognition school, where I got much better access to the faculty, better opportunities to perform, better financial aid, and lower costs. Both were valuable experiences in different ways.

    If you are in the US, there’s a decent chance that there’s a quality program or two within a few hours’ drive. Check with the faculty to find out about the details that are important to you. Give strong consideration to assistantship opportunities, especially if they involve teaching, as this experience has high educational value for you and can set your CV apart in an academic job search. If you’re having a hard time deciding between two similar programs, you probably won’t go wrong with either, so maybe choose the one that costs less and/or is closer to home.

    Good luck and happy practicing!

  • Getting past frustration and burnout

    Every musician (and music student) goes through periods of frustration and burnout. But there’s no one-size-fits-all solution. Here are just a few ideas to consider:

    • Talk to someone. It might be a colleague who can directly relate to what you’re going through. Or a friend or loved one who cares about you. Or a mentor who can offer wisdom. Or a professional counselor who can listen dispassionately and offer coping strategies. Or maybe all of the above.
    • Get organized. Sometimes taking control of your life can bring some calm and make problems seem more manageable. Clear your desk, make a to-do list, review your calendar, clean out your instrument case, make your bed.
    • Get inspired. Go back to what gets you excited about music. Listen to or play through some old favorites or something new you have been wanting to try. Go to the opera or a rock concert or a jazz club.
    • Do some self-care. Get some exercise, get some sunshine, get some sleep, get some air, stock the fridge with nutritious meals, meditate, worship, or do whatever else makes you feel balanced and healthy.
    • Take some time. If you can, take a little break to recharge. Depending on your circumstances, that might mean going on vacation for a couple of weeks, or spending a quiet weekend at home, or just taking a few minutes between practice sessions to rest and recover.
    • Ride it out. Bear in mind that frustration and burnout are extremely common complaints. When appropriate, it may be helpful just to recognize and accept the negative feelings, and forge ahead anyway.

    To expand on one point from above, if you find that you are no longer finding happiness or fulfillment in your musical pursuits, and the situation seems to be more than the usual ups-and-downs, consider checking in with a professional counselor. (If you are part of a university community, you might have no-cost or low-cost access to counseling services on campus.) Counseling isn’t just for people who are “sick” or “crazy”—most of us can benefit now and then for talking things through with someone who is good at it, and who, if and when needed, can identify issues that are treatable with medications or other therapies.

    Have more ideas on coping with frustration and burnout? Please share in the comments.

  • Health, wellness, and woodwind doubling

    I got an email from a college student taking an Occupational Health and Wellness course. He asked me some questions about health and wellness issues in woodwind doubling, and I tried to answer the best I could.

    How do you prepare for the many instrument switches in a musical which require changes of embouchure and hand position/key action adjustments? How do you deal with the physical demands of switches between many instruments?

    The best preparation is to develop good, relaxed technique on each instrument independently. I try to practice each instrument carefully and produce the best possible sound on each one.

    If I have the luxury of reviewing the part ahead of time, I will often practice the “choreography” for quick instrument switches, and make plenty of pencil marks so that I know ahead of time what switches are coming up. I try to keep a consistent layout of my instrument stands for each show, so that I get used to where each instrument is.

    As I am making each switch (even very quick ones) I will try to take a moment to totally relax my facial muscles, hands, etc., and, maybe most importantly, flip a mental switch to oboe mode or clarinet mode or whatever.

    Good reliable stands and neckstraps are vital.

    Would you say that having to adjust to the action and key pressure of multiple instruments makes you more susceptible to hand/forearm injury than a musician who plays a single instrument?

    I’m not an expert, but I would think that playing a single instrument is more dangerous in terms of repetitive motion injuries, etc. If I spend five hours a day practicing (I wish!) then I think I’m better off with more varied physical activities.

    Photo, MissTessmacher
    Photo, MissTessmacher

    Does playing any one instrument create body tension that affects another instrument? (ex. flute might create shoulder tension which affects playing the sax) Read More “Health, wellness, and woodwind doubling”

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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