Technical limits

If I try to play too softly, sometimes my notes don’t respond as I would like. If I try to play too loudly, sometimes my tone or intonation suffer. I have similar limitations when it comes to things like finger or tongue speed, tone color or pitch flexibility, and more.

The way I deal with these limits is very different depending on whether I’m performing or practicing.

If I’m performing, I want to stay just within my limits. I want every note to be predictable and reliable. I want to take advantage of every bit of my dynamic range, but no more. I want to make wise, deliberate, professional-quality choices.

If I’m practicing, I want to explore those limits. Push those limits. Live just beyond those limits. It’s important to do this for couple of reasons. First, if I don’t go past those limits, I won’t know where the limits are for my upcoming performance. Second, if I’m too afraid to go past the limits in the practice room, I’ll never expand them. And if something goes wrong—a note cracks or fails to speak or is out of tune—that’s okay, it’s just practice.

Find your limits, know them well, and, in your practice space, break them.

Review: NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1

It’s hard to escape the inertia of the “standard repertoire.” NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1 is an elegant solution.

Favorite blog posts, February 2020

Hand-picked high-quality woodwind-related blog posts from around the web, February 2020 edition.

Updated: Music for woodwind doublers

As of February 2020, I’ve made some substantial updates to my catalog of music written for players of multiple woodwind instruments: Music for woodwind doublers There are a few pieces I have listed as currently being researched, mostly cases where I am awaiting responses from composers. And I now have a special section for pieces … Read more

Playing professional whole notes

I have spent many hours of my life absorbed in difficult études and repertoire. Challenging music pushes the limits of my abilities. But when I actually get hired to play music, it’s almost never anything that complicated. Many of my workaday gigs are very easy—on paper. One part of my career is playing with a … Read more

Working less hard

On some level it feels more like teaching if I can tell a student a new thing to do. Assign them an additional task. But the most productive and valuable lessons (or personal practice sessions) are often the ones when I can convince a student (or myself) to do one fewer thing.

Favorite blog posts, January 2020

Hand-picked high-quality woodwind-related blog posts from around the web, January 2020 edition.

Do I need a college degree for my instrumental music career plans?

While college study may not be the right choice for every instrumentalist, it’s hard to beat for a well-rounded musical education (with performance study, music theory, music history, and more), plus life skills, networking, and enhanced employability in the general job market.

10 ways to strengthen your embouchure right now!

You don’t need a “strong” embouchure, you need a relaxed embouchure.

Woodwind doubling and saxophone problems

It’s very common for woodwind doublers to be saxophonists first, and approach the other woodwinds later, often because of the demands of flute/clarinet doubling in jazz big band music. So advice for woodwind doublers is often really advice for saxophonists playing secondary instruments. But when players of other woodwind instruments pick up the saxophone, there … Read more