How are you going to improve this?

I’ve blogged previously about getting my students to give more than pat answers about how they think their playing sounds:

It’s an ongoing battle to get my students to listen more deeply than that. Was the articulation “not good” because it started with air noise instead of tone? Because it was accompanied by an unwanted percussive sound? Was the articulation technique perfect but you failed to follow the composer’s markings? Or was it something else?

The next step is getting students to make a clear, actionable plan to improve. That conversation often goes like this:

Me: Okay, what are you going to do to improve that aspect of your—

Student [rolling eyes]: Practice.

Me: Well, obviously. But how are you going to prac—

Student [sighing]: Keep practicing until I get it right.

Me: No, I mean what specific practice tech—

Student [through clenched teeth]: Use a metronome.

In other words, the “plan” is usually to suffer for a few hours in the practice room, and maybe, against all odds, emerge with the problem magically fixed.

But practicing without a plan rarely produces the desired results. I’m much more optimistic about the student’s success if they can tell me something like: “Well, I need to slow this way down, slow enough that I can get it exactly right, and use the metronome to make sure I’m not rushing. When I can play this passage with the correct articulations 10 times in a row without mistakes, then I’ll inch the metronome up by a couple of clicks and try again.” That’s a clear commitment to a tried-and-true method. It will probably be a much more productive and satisfying practice session, which means the student is more likely to put in some more good hours the next day.

Less-experienced students might have a smaller repertoire of practice techniques, and I consider it a lesson-time priority to teach them more of those techniques. Trial and error in the practice room will help them refine these techniques, and determine which ones are most effective for them.

Productive practicing requires identifying an area to improve, selecting a technique (or series of techniques) to apply to it, evaluating progress, adjusting the practice technique as needed, and noting what does and doesn’t work for future practice sessions.

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  • Sharp, flat, and natural symbols on Android and iOS devices

    There are lots of ways to handle music symbols like sharps (♯), flats (♭), and naturals (♮) on iPhone/iPad and Android devices:

    • Not recommended: Use a pound/hash/number sign for sharp, and a lower-case b for flat. It’s ugly and unprofessional, and in some cases unclear, plus there’s not an obvious solution for natural.
    • Spell it out. Use forms like F-sharp, B-flat, or C-natural. Use a capital letter for the note name, then a hyphen (no spaces), then the name of the accidental in lowercase. For appropriate situations, this version is easy, clear, professional, and doesn’t require any special tools or setup.
    • Copy and paste. You can copy and paste symbols from a place you know them to exist, like a web page or your favorite notes app, using your device’s copy/paste method.
    • Use the built-in clipboard. My Android phone has a clipboard history, so if I have cut/copied/pasted the symbols recently, I can use them again. (Not all Android devices have this feature.) I tap and hold where I want the symbol to appear, and then choose the Clipboard popup. Then I can scroll through recent clipboard items and find the symbol I want. I can tap the symbol to paste it, or tap and hold to get the option of locking it to the clipboard so it will always be there.
      As far as I can tell iOS does not currently have this feature.
    • Use a clipboard app. For example, Clipper – Clipboard Manager on Android will let me create “snippets” that I can access from a persistent notification, and copy to my clipboard for pasting into text. Copied on iOS also provides ways of saving clipboard items for future use [update: app appears to have been removed from App Store].
    • Use autocorrect. On my Android phone, I can add words to the “personal dictionary” to incorporate them into the autocorrect feature. (On my device it’s in Settings → General management → Language and input → Personal dictionary, but on yours it might be different.) My preferred method is to add -sharp or -flat or -natural as the shortcut, and paste in the symbol as the “word.” Then, when I type A -flat, my phone offers the symbol as a correction. Notice there’s a space after the A. That’s because my phone won’t offer an autocorrection for a partial “word,” like the -flat in A-flat, so I have to trick it by putting in a space, which I can delete after accepting the autocorrect. I could get around this by adding a separate personal dictionary entry for each note, like A-flat, B-flat, C-flat, and so on.
      On iOS, use Settings → General → Keyboard → Text Replacement, and tap + to add -sharp etc. as the shortcut and the symbol as the phrase. As with Android, this requires typing the note name and then a space before the -sharp.
    • Use a text replacement app. On Android I like Texpand. I can create a phrase with, for example, -flat as the abbreviation, and as the phrase (paste it in), then enable that phrase’s “Expands immediately” and “Expands within words” options. Then typing E-flat immediately corrects to E♭ in any phone app. (This is my current favorite Android solution.)
      On iOS TextExpander + Keyboard offers similar functionality but requires using a special keyboard and does not appear to have an “Expands within words” option, so you must type the note name, then a space, then -sharp.
    • Use a special characters app. Something like Character Pad – Symbols works well on Android. Use the search function to find the symbol you want, then tap the heart to add it to your favorites, or tap COPY and it will automatically be added to your “Recents.”
      iOS has similar apps available, such as Unicode Map and Code Table. Use its search function to find the symbol you want, and it is automatically added to your “Frequently Used” list.
    • Use a custom keyboard. Some keyboard apps (such as CustomKey Keyboard on Android) will let you customize the key layout, so you can add any special characters you want.
      On iOS, Keyboard Characters & Symbols provides access to lots of symbols, including musical ones, and it’s easy to switch between it and your other favorite keyboards. (This is my current favorite iOS solution.)

    Using the correct symbols is the right choice for clear, professional communication about music. Do you have another solution for using these symbols on mobile devices? If so, please share in the comments.

  • Recommended: Jeanjean “Vade-Mecum” du Clarinettiste

    Lately I’ve been doing some clarinet work out of the Jeanjean Vade-Mecum. The title page translates charmingly to:

    “Vade-Mecum” of the Clarinet-player

    6 SPECIAL STUDIES

    to

    render the fingers and tongue rapidly supple

    But this is what really sold me:

    NOTICE

    The aim of these 6 standard-studies (combining the essential parts generally contained in several exercise books) is to prepare instrumentalists in a very short space of time (about 1/2 hour) when, due to their occupations, they are not able to devote the time necessary for developed exercises and must nevertheless be ready to execute difficult passages, from the standpoint of lips, tongue and fingers.

    The movements to which these Studies oblige the clarinet-player to submit will rapidly overcome those imperfections, the diminution or the passing weakness that might result from either fatigue or irregularity of technical work.

    “…not able to devote the time necessary … and must nevertheless be ready to execute difficult passages…” This, in a nutshell, is the quandary of the woodwind doubler. Read More “Recommended: Jeanjean “Vade-Mecum” du Clarinettiste”

  • Staying challenged

    I teach a small woodwind studio at a small university. That means that sometimes especially talented and hardworking students find they don’t have a lot of competition for ensemble placements, awards, and other things. Here’s what I suggest to students in that position, who want to stay motivated and challenged but have bumped up against the ceiling in terms of those typical measures of achievement.

    photo, Brad.K

    • Find inspiration (and some friendly competition) at conferences, festivals, or “clarinet days” (or whatever). Surround yourself by like-minded achievers. Going to a national/international conference can be expensive and disruptive to your semester, but is probably worth it if you can make it work. If not, consider regional events that happen within a few hours’ drive and often over a weekend.
    • Listen to music every day. Spend a few hours scouring a store, library, or online music service for players and repertoire for you instrument that you aren’t familiar with. Cue them up into a playlist so you can listen for five minutes while you get situated in a practice room or walk between classes. Form opinions about them. Next level: add to this some daily listening of music not for your instrument, something completely unfamiliar. Think outside the Western world, too.
    • Record yourself often. Listen back and take notes (the note-taking is important). What do you find embarrassing or unsatisfactory about it? Ask your teacher and see what other resources you can find for ideas on fixing the problem. Keep adding to your list of things to improve, and re-prioritizing as you do improve them.
    • Seek out opportunities that take you outside your comfort zone. Consider entering a competition or taking an audition (even one you know you won’t win), starting a chamber group, tackling repertoire that scares you, joining a rock band, or something else that musicians you admire do, but that seems a little scary and hard.
    • Think about the things you are doing that you feel you have maxed out—maybe you’re first chair in all your ensembles, you’re getting straight As in your lessons, you have won the top scholarship. Now ask yourself: what would it take to really surprise everybody at the next audition, lesson, etc.? What would set a new standard? What would people still be talking about years from now? What would multiply your achievement by two, or ten?

    Have other ideas? Please share in the comments section.

  • Sparking creative inspiration

    It’s tempting sometimes to see my students as either left-brained or right-brained players—either the precise, technically-oriented type or the creative, intuitive type. The reality, of course, is that they are all some of each, but may have greater strengths in one area or the other. And good musicians need both.

    Trying to get the more technically-inclined to play with imagination and spontaneity can be frustrating for student and teacher alike. And the more intuitive types sometimes need a little organization to make sure their creativity is focused into a cohesive musical statement. Here is a very simple technique that I use with “both” kinds of students to encourage creative exploration without wandering too far afield.

    photo, Bernat Casero
    photo, Bernat Casero

    First I select a brief passage and ask the student to imagine that it is part of the soundtrack to a movie, and start feeding them genres to try out: Can you play it like it’s part of a swashbuckling action-adventure movie? a slapstick comedy? a steamy love story? a tense courtroom drama? For the student who is tentative about playing imaginatively, this is a fairly simple, non-threatening way to experiment with some intuitive musical decisions. For a student whose flights of fancy need a little direction, this technique provides just enough discipline without suppressing creativity.

    The next step is to ask the student to pick a few favorite genres on their own, or even specific movies, and let them explore the passage within those frameworks. Some students, the more technically-inclined in particular, seem a little embarrassed about sharing even that much of their creative process aloud, so I don’t push them to do so as long as they can use it to create a few interpretations that are convincingly distinct. The important thing is that they are discovering the ability to generate ideas and apply them to the music.

    An additional step is to move beyond movie genres to something a little more esoteric. I have had success with having students play different colors (purple? yellow? black? fuchsia?), different moods or emotions (love? hate? joy? paranoia?), or different “instruments” (can you sound like a trumpet? a cello? an operatic soprano? a snare drum?). Sometimes I use this approach myself to tackle particularly tricky interpretive questions, like how to handle repeated sections that I want to sound just different enough on the second time through: maybe the first time royal blue, and the second time more of a navy blue.

    Advanced musical interpretation can be much richer and more complex, but starting out with this technique seems to help many of my students get started, by opening up an intuitive path for some students and providing some useful creative boundaries for others.

  • How well do you know your major scales?

    Can you play them…

    …in all twelve keys, smoothly and evenly, the full range of your instrument(s)?

    …with a beautiful sound on each and every note, and each note right in tune?

    …with poised, elegant phrasing? Read More “How well do you know your major scales?”

  • Playing at professional volume

    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. Beginning oboists and saxophonists in particular can make rather pungent and conspicuous noises. And band directors, understandably anxious to produce a well-blended ensemble, give the traffic-cop “stop” sign of the raised palm to hush the worst offenders. Those young musicians learn quickly to play in a restrained, timid way, and that anything louder than a murmur is a faux pas.

    I can’t really blame the band directors, who have a set of concerns different from mine. (When I have taught beginners in a private lesson setting, I have encouraged them to play loudly from day one, and treated softer dynamics as an intermediate-level technique.)

    But much of college-level music study is about students’ development as soloists. In that context, they need to play with authority, and, well, volume. And they may find that college ensembles have different demands than their high school groups, too.

    Fixing the problem usually doesn’t involve teaching much new technique, perhaps a review of proper breath support. The rest is encouragement and example from me.

    Over the course of a few weeks or months, I play for them in lessons, showing how I can fill up the room with sound. I ask them to imitate that sound, and urge them on to louder volumes. If I ask them to play their very loudest, and then ask them to top that, they usually can—they are just afraid to, and warn me that if they get any louder it will sound bad. But surprise! It doesn’t.

    If you aspire to play at a professional level, or teach students who do, explore the louder part of that dynamic range, and make yourself heard!

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