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Bret Pimentel, woodwinds
Bret Pimentel, woodwinds
  • Favorite blog posts

    Favorite blog posts, June 2013

    ByBret Pimentel June 30, 2013January 1, 2018

    Some of the best woodwind-related stuff I’ve read this month:

    •  Clarinet professor Adam Ballif shares some thoughts on going paperless as a musician, and takes an easily-digestible look at voicing and the clarinet.
    • Flutist Catherine LeGrand gets super-methodical about interval practice and note shapes.
    • Oboist Patty Mitchell attends the IDRS conference and provides a sneak peek into pedagogical sessions with Peter Cooper, Carolyn Hove, and David Weiss (and friends). Jealous.
    • Bassoonist Cayla Bellamy tries playing like a superhero.
    • Rigid saxophone harnesses seem to be popping up from several makers lately. Barry Caudill tries one on for size. (Inclusion here isn’t an endorsement of this particular model; I’m just glad to see a nice thoughtful review of this type of product. I would like to see Vandoren sending some of theirs out for review—hint, hint?)
    • Woodwind doubler Steve Moffett passes along a good clear approach to determining how far in or out to roll the flute.
    • Saxophonist Ben Britton clarifies a few things about reed strength.

    Enjoy! If you or one of your favorite woodwind bloggers writes something especially awesome in July, drop me a note and I’ll give it a look for next month’s list.

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  • Woodwind playing and pedagogy

    Bassoon F-sharp fingerings

    ByBret Pimentel June 18, 2013January 2, 2018

    I recently set out to try to make sense of the handful of bassoon high F-sharp fingerings that I was aware of. As it turns out, I had no idea what I was getting into. I looked at a number of online and offline sources, and ended up with about 60 fingerings (yes, you read that correctly). I have compiled them into a document for your reading pleasure, with sources listed.

    A few points:

    • The sorting is fairly arbitrary; I tried to organize them into groups and orders that made some kind of sense to me. The indications “Legato” and “French” come from the venerable Cooper/Toplansky book; the rest are my own.
    • The numbering is strictly for convenience.
    • I mostly omitted fingerings that seemed to be specifically for individual trills.
    • Many of the sources indicated pitch characteristics; I have not included these since so much depends on the individual instrument, reed, etc. If you are looking for a good fingering for pitch alteration, there are plenty here for you to try out.
    • Some of the authors differentiated between half-hole, one-third-hole, etc. I have normalized all of these with a visual half-hole representation, since I find the exact amount of opening to require experimentation anyway.
    • I did try all these fingerings myself, and was able to produce approximately an F-sharp with virtually all of them, with varying degrees of difficulty.

    I welcome corrections, and would be mildly curious if you have other good published or otherwise reputable sources (not anecdotes) that list fingerings I have missed here. I will update the PDF as needed. I’m much less interested in hearing which fingering is your personal favorite, unless you have something more to contribute to the conversation, but some of you will email me or leave it in the comments anyway.

    Okay, on to the list. Abandon hope, all ye who enter here:
    F-sharp fingerings for bassoon: a perhaps-unnecessarily-comprehensive listing

    Version 1.0: initial release

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  • Woodwind playing and pedagogy

    Learning fingerings as shapes

    ByBret Pimentel June 16, 2013June 16, 2013

    I observe that many woodwind players, when learning a new fingering—whether a beginner learning a standard fingering or an advanced student learning a new alternate fingering—tend to think of them as sequences: “This finger plus this finger and this finger and this key over here.” Sometimes my students even want to recite the fingering aloud as they add one finger at a time, and then finally play the note. The problem with this is that there is obviously no time for such a procedure when playing music.

    I now occasionally find that I have the opposite problem: a student will ask about a fingering, and I will discover that I am not prepared to verbalize it. I need to pick up the instrument, do the fingering, and then explain which keys I am pressing. My fingers know how to make the right shape, even if I can’t immediately recall the list of keys involved.

    Photo, Bassonist26
    Photo, wfiupublicradio

    To learn new fingerings in the most efficient and practical way, move as quickly as possible to the “shape” stage. I suggest this method:

    • With instrument in hand, think through the fingering, referring to a fingering chart if necessary. If you need to, think in sequence about each finger that will move and where it will go, but don’t move yet.
    • When ready, move the fingers all at once, in a crisp and snappy way.
    • Freeze, and think through the fingering again. Did you form it correctly? If it is incorrect, don’t fix it “in place,” by moving a finger or two into place; release all fingers and start over. Fixing it in place habituates a sequence of events, rather than a single shape.
    • Put the fingering into context (a scale, a musical passage, etc.) using a metronome set on a very slow tempo. The object at this point is to succeed at forming the fingering shape accurately and on cue. Speed up only as you are certain that you can maintain 100% accuracy. If your fingers don’t move simultaneously, you are wasting time cementing a sequence.

    Practice hard smart!

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  • Musicianship

    Playing full-spectrum music

    ByBret Pimentel June 4, 2013January 2, 2018

    I’m far from being a photography expert, but I do have one trick. (This is a music-related post, I promise.)

    In general, good photos take advantage of the eye’s full light-to-dark range. In other words, the very darkest part of the photo should be very black, and the very lightest part should be very white.

    Here’s a photo that doesn’t meet those criteria—the darkest and lightest parts of the photo are both sort of medium-grayish.

    blah

    But a quick “auto-level” procedure in photo-editing software (like the free Gimp) corrects this by adjusting each pixel of the photo, basically making the dark ones darker and the light ones lighter: Read More “Playing full-spectrum music”

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  • Favorite blog posts

    Favorite blog posts, May 2013

    ByBret Pimentel May 31, 2013January 1, 2018

    Here are some high-quality woodwind-related blog posts from May, in no particular order.

    • Mark Catoe and Tim Gordon discuss music education, careers, and, of course, woodwind doubling: Interview with Tim Gordon
    • Flutist Meerenai Shim opens up about success, failure, pursuing your dream, and dealing with the practicalities: To Each Her Own
    • Jennet Ingle is always one of my favorites. I already responded to her post on sound quality and individuality, but I also liked this one about the realities of freelancing: A Freelance Week
    • David Erato learns a difficult lesson about swabs, and offers to let others learn from his experience: Don’t do this. Ever.
    • Helen Kahlke patrols the internet for weird saxophone stuff, and discovers this interesting approach to the octave vent problem: Frankensax’s Offspring Gets Its Patent
    • Saxophonist Shannon Kennedy deals with a hazard of being a musician in the internet age: There’s Honest and Then There’s Hurtful
    • Christa Garvey suggests listening to more music, and provides a nice jumping-off point for developing your oboe ears: Living a life WITH music—a guide to listening for the aspiring oboist
    • Flutist Jolene Harju has an epiphany about making her best sound in a natural, easy way: Open Sound: Why I Love Middle C!
    • John Bogenschutz of Tone Deaf Comics apparently buys his bassoons from Ikea: “Bundlövstx”

    Enjoy! If you have some favorites that I missed, please share them in the comments section below.

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  • Announcements and news

    Fifth anniversary

    ByBret Pimentel May 24, 2013January 1, 2018

    I always think that the worst blog posts are the ones where people blog about their blogs. So brace yourself. Sorry. I try not to indulge in this kind of thing too often.

    Anyway, today is the fifth anniversary of my first, rather inauspicious blog post. (You might notice that I do have posts dated older than that; those are older writings, many from college courses, that I retroactively turned into blog posts.) Five years isn’t that long by most measures, but it seems that, in the sea of abandoned blogs out there, five years and still active isn’t something to take for granted.

    I was working on a graduate degree in multiple woodwinds performance at the time this blog was born, and had read and reread everything I could find online about woodwind doubling, plus as many print sources as I could get my hands on. I will admit that the conceit did cross my mind that one day my website might be a primary web destination for woodwind doublers, and I flatter myself that that is now the case. Woodwind doublers form a fairly small club, but still the growth has been gratifying:

    Five years of site traffic
    Five years of site traffic

    What excites me even more than the traffic is the engagement. I’ve been pleased and flattered to hear from many, many of you—everyone from young, aspiring doublers to old friends to colleagues in academia to musicians who are some of my real heroes. Thanks for your emails, blog comments, content contributions, donations, and other shows of support.

    A few other things I’m really proud of: Read More “Fifth anniversary”

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  • Musicianship

    Individuality, conformity, and music students

    ByBret Pimentel May 20, 2013March 15, 2017

    I found myself relating to Jennet Ingle’s recent blog post about an independently-thinking oboe student and the subjective qualities of tone. I related both to the student and to the teacher.

    … I had to lecture a student on Sound a few weeks ago, and I couldn’t believe how uncomfortable it made me.  It is truly such a personal thing.  I felt like I was criticizing his smell, or his personality – it was that delicate for me.

    I don’t actually think I am leading him wrong in insisting that he sound more “American” to fit in at his Midwestern college – but I hated telling him so.   I would love for him to use his own unique voice and have it be accepted for what it is.  But instead I have to encourage him to get more generic, and to sound more like everyone else.  This rubs me wrong, philosophically.

    I have been in the position as a student of trying to do something that I think is a personal artistic expression, and being told that I need to toe the line. I have also been in the position as a teacher of watching a student pursue an individual course that conflicts with what I am trying to teach.

    Should music students (or students in any kind of artistic field, for that matter) be expected to conform, or allowed to explore freely? By letting a student do his or her “thing,” am I incubating innovative, boundary-smashing Art? Or am I failing a student by not grooming them in the established tradition? Read More “Individuality, conformity, and music students”

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  • Announcements and news

    Fingering Diagram Builder, version 0.5

    ByBret Pimentel May 15, 2013January 1, 2018

    I am pleased to announce the release of the Fingering Diagram Builder, version 0.5. The updates are mostly tech-nerdy stuff and won’t affect how you use it. Read on to find out what’s new, or just check it out yourself.

    It has been a bit over a year since the last “major” release, which I hope didn’t led anyone to believe that the project was abandoned. I still have every intention of continuing to update and improve it, and your suggestions and bug reports (also donations) are always welcomed.

    Here’s what’s new: Read More “Fingering Diagram Builder, version 0.5”

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  • Product reviews

    Review: Oboe Reed Maker PRO iPhone app

    ByBret Pimentel May 11, 2013January 3, 2018

    I saw a post a couple of months ago by Patty Mitchell (reigning champion of online oboe journalism) about the iPhone app Oboe Reed Maker PRO, and decided to bite the bullet, part with the $1.99, and take it for a spin. Here is my review. As is my custom lately, I have tried to keep the review balanced and accurate by involving the maker of the product. In this case that is Christopher Gaudi of the San Francisco Symphony and OboeClass.com.

    (Note that this is a review of version 1.0 of the app, so if you’re reading this after my publication date, then the app may have changed by now. I’ll update this post if I use any future versions that have changes worth mentioning; you’re also welcome to add your own updates in the comments.)

    In the world of iPhone apps, I’ve grown accustomed to getting a lot of good stuff for free, and hesitate even to buy a 99-cent app unless I’m sure it’s going to be great. For $1.99, it had better be outstanding! However, in the past I’ve paid the better part of $100 for individual books on reed making, so, realistically, $1.99 isn’t much if you’re looking for a few tidbits of information. And that’s what this app offers. If you’re interested in this thing, think of it as a very cheap book (a pamphlet, really), rather than an expensive app. Here is the main screen, as shown in the iTunes store:

    mzl.zazwdwoj.320x480-75

    If you’re reading this on my website you’ll see a border that I have added to the image, which reveals some white space at the bottom (the border might not show up in RSS feeds, etc.). Note that this space, in the actual app, contains an advertisement (at the moment, a 1-800 number for a criminal defense attorney). In my opinion, including ads is bad form for a paid application. There are additional monetization efforts built into the app. The “Oboe Gear” button leads to affiliate links to Amazon products, which are providing someone, presumably Mr. Gaudi, with additional income. The “More” button provides income-generating affiliate links to additional paid apps, some ostensibly music-related, some not. Mr. Gaudi responds:

    I can understand the criticism of the ads in a paid app though I hope you can understand the need to monetize it. The app wasn’t created for free. There was a considerable cost to produce it and there are costs to revise and update it over time. I hope you can appreciate the need for monetary compensation for those who create a product for sale. My time and knowledge is worth something, just as my private students pay for weekly lessons as do countless other oboe students across the country pay for private lessons.

    This is a fair response, I think, if the user knows they are paying for a product that will include advertisements; I was unaware of the ads before my purchase but you can consider yourself now warned. For every other app on my phone, paid versions are reliably ad-free. In my opinion, it would make more sense in the current app marketplace to raise the price on the app itself, if necessary, and scrap the ads, or maybe keep at least some of the ads/monetization and give the app away for free.

    The actual useful content of the app is accessed with the green “Reed Maker” and “Reed Doctor” buttons. The “Reed Maker” button leads to a summary of the reed scraping process, starting with a reed blank (tying is not addressed). The summary is ten pages, most with one or two sentences of text, and each showing the same image of a reed with different areas highlighted. Knife technique is not addressed, just which areas to scrape in which order. There are some interesting bits of information here, but be forewarned that this app does not attempt to teach the full process of reedmaking. (It doesn’t specifically claim to, but you don’t know what ground the instruction covers until you buy.) Mr. Gaudi points out: Read More “Review: Oboe Reed Maker PRO iPhone app”

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  • Woodwind playing and pedagogy

    The magical properties of air

    ByBret Pimentel May 8, 2013January 2, 2018

    Often, when I discuss with my students issues in their playing technique, I follow up by asking them, “How can you solve this problem?” They learn quickly that “breath support” (or a rough synonym like “more air”) is generally a safe answer.

    And with good reason. Breath support is absolutely key to tone production—it is crucial to reliable response, consistent tone quality, and stable intonation. If I can get a student to improve their breath support, I can generally count on each of those things improving immediately and noticeably.

    But I think there are other things that are improved, perhaps indirectly, with air:

    • Finger and tongue movement. I am lumping these together because I have a theory that air helps them in the same couple of ways. The first is that focusing on breathing—a movement so natural that we literally do it for our whole lives and barely think about it—diverts attention away from the finger and tongue movements that woodwind players get so stressed and tense about. This lets the autopilot (or Gallwey’s “Self 2”) take over and execute in a relaxed, natural way. The second way air helps here is that good breath support requires good breathing, and good breathing gets more oxygen to the finger and tongue muscles.
    • Expression. Expressive playing often involves things like dynamic contrasts, vibrato, and nuances of tone color (to name only a few). Each of those things functions better when well-supported: dynamic range expands, and vibrato is smoother and more controlled (again a result of better-oxygenated muscles?). Tone color, I think, actually gets less flexible, in the sense that it becomes more consistent note-to-note despite quirks of the instrument; this means that tone color changes may be applied in a more deliberate way.
    • Confidence and relaxation. Deep breaths are a common and effective insecticide for pre-recital butterflies. The breathing should remain centered and Zen even after the music starts.
    Pictured: air. Photo, Matt Peoples
    Pictured: air. Photo, Matt Peoples
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