Sometimes staccato is neither “short” nor “separated”

It seems that many of us are taught first to treat notes with staccato markings as “short,” and then later refine that definition to mean something like “separated” or “detached.” The difference in these definitions is that a “detached” note might really be quite long, but has at least a sliver of silence separating it from the note afterwards.

But for wind players, even this definition may be too simplistic, and in some cases produces a sound that is too aggressively clipped or pecky.

To achieve an appropriate staccato effect, the notes might not actually be detached at all. Check out this demonstration of staccato technique on the violin:

It’s clear that the violinist is detaching the notes from each other. But listen carefully—does the instrument go completely silent in between notes? At a faster tempo, it doesn’t. Even though the violinist temporarily stops driving the strings’ vibrations with the bow, the instrument continues to resonate on its own, and this (softer) sound may bleed into the next note.

A wind instrument doesn’t resonate in the same way: when the wind player stops blowing, the sound stops immediately. But since our modern wind technique borrows so heavily from the bowed string tradition, in many cases it is necessary to imitate this resonance to achieve the desired effect. To oversimplify a bit, the wind player must end “staccato” notes with very brief decrescendos.

When this technique is applied to staccato passages, it may mean that rather than literally detaching the notes from each other, the wind player must give the impression of detachment while also giving the impression of a brief violin-style resonance following each note. In other words, the “space” between the notes is actually filled, at least partially but maybe completely, with a very quick decrescendo.

A reverberant performance space also helps to mask wind instruments’ lack of damped oscillation, but ultimately it is up to the wind player to create the faux resonance when the situation demands. Pay close attention to the ends of your staccato notes!

Teaching multiple instruments in higher education

While I thoroughly enjoy the variety in my day, there are some additional things worth considering if you take on multiple instruments in a collegiate teaching career.

Favorite blog posts, January 2014

Hand-picked high-quality woodwind-related blog posts from around the web, January 2014 edition.

Tips for student chamber music groups

A few of my favorite basic tips I use frequently with my college chamber music students.

Playing flat on the clarinet

The correct solution to this problem is to take at least a few lessons with an excellent clarinet teacher. A good teacher faced with this problem will review the fundamentals of tone production with you: breath support, voicing, and embouchure formation. With some dedicated practice, you will almost certainly see your pitch improve (as well as your tone, response, and more).

Creativity, hard work, and beginning jazz improvisation

I occasionally teach a university course in jazz improvisation, geared toward beginning improvisers. Sometimes I think prospective students are afraid to sign up because they don’t consider themselves already to be musically creative. On the other hand, I have some students enroll in the class with unrealistic expectations about the results, thinking that they will … Read more

Required recordings, spring 2014

Here are the recordings I’m requiring my university students to add to their collections this semester (depending on which instrument they play). All are available on CD or for download from Amazon or iTunes.

Allan Vogel: Oboe Obsession

Amazon (CD) | Amazon (download)

Repertoire: Saint-Saëns Sonata, Poulenc SonataBritten 6 Metamorphoses after Ovid, Schumann Three Romances, W. F. Bach Duet, Shinohara Obsession.

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2013 in review

Here is a recap of some of my favorite stuff from the blog from 2013. Because hey, I’m on vacation too. The Fingering Diagram Builder got a new major release, plus a minor release. Development has slowed down a bit on this, not because I’ve stopped planning and working on improvements to it, but because it’s really working surprisingly … Read more

Favorite blog posts, December 2013

Here are the woodwind-related blog posts that made my “nice” list for December. (One from late November seems to have slipped in here, too.) On his new blog, Timothy Owen explains how he tunes his saxophone like an M-16 assault rifle. Bassoonist Betsy Sturdevant (of the Columbus Symphony) reveals her basic reedmaking method. Cooper Wright doesn’t just play … Read more

Farewell: Yusef Lateef

Earlier this week jazz musician Yusef Lateef passed away at age 93. Lateef was known for his adventurous woodwind doubling, playing saxophone and flute, plus the oboe and a number of woodwinds from non-Western cultures. Here he is playing some tasty flute: https://www.youtube.com/watch?v=d4Wqd-b0FRM I’ve seen oboists look a bit uncomfortable when the topic of Yusef … Read more