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Bret Pimentel, woodwinds
Bret Pimentel, woodwinds
  • Musicianship

    It’s not too soon

    ByBret Pimentel February 14, 2013March 15, 2017
    Photo, thelouche

    Frequently I think about something one of my teachers said to me as an undergraduate student. I was preparing for a rapidly upcoming recital, and played one of my repertoire pieces in a private lesson. There was a tricky page turn in the printed sheet music, and my run-through came to a halt while I fumbled with the pages. A little embarrassed, I assured my teacher that I intended to photocopy a page at some point so this wouldn’t happen in performance.

    “You know, it’s not too soon to do that,” he said with a tired smile.

    Of course I learned many valuable lessons from that teacher, but “it’s not too soon” is one that has really stayed with me, and now I try to pass it along to my students. Here are some things they (and sometimes I) like to procrastinate, but I try to remind them it’s not too soon to do:

    • Photocopy pages to ease page turns
    • Mark in all the places you intend to breathe, and practice them
    • Look up any unknown foreign musical terms, and pencil in the translations
    • Decide exactly what all ornaments, trills, and such are going to sound like, and practice them
    • Listen to recordings
    • Get that sticky pad or crumbling cork replaced
    • Plan good fingerings, mark them in, and practice them
    • Study the accompaniment part
    • Pencil in any rhythms, accidentals, or other reminders that will improve your performance
    • Start stockpiling good performance reeds
    • Add dynamics or other expressive markings that support your interpretation, and practice them

    What small things are you procrastinating in your own preparation? It’s not too soon to do them now.

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  • Announcements and news

    Random Note Picker, version 0.2

    ByBret Pimentel February 7, 2013January 2, 2018

    A little over a year ago I made the Random Note Picker, a small web app for generating groups of random pitches. I mostly use it to quiz students on their scales. It otherwise hasn’t gotten much use, but if anyone is interested there is now a slightly improved version. Check it out.
    Random Note Picker, version 0.2

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  • Web reviews

    Yet more woodwind blogs you should be reading

    ByBret Pimentel February 6, 2013January 3, 2018

    I insist that you check out the following woodwind-related blogs, listed in no particular order. Also see my previous roundups:

    • A few woodwind blogs you should be reading
    • A few more woodwind blogs you should be reading
    • Still more woodwind blogs you should be reading

    David A. Wells

    David A. Wells

    David Wells is a bassoonist, educator, and scholar. His blog is excellent and rich in original, thoughtful, useful content. Try these on for size:

    • Jazz Bassoon — Graham Lyons
    • My Daily Tool Kit
    • Fingering Charts

    Read More “Yet more woodwind blogs you should be reading”

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  • Musicianship

    Memorizing scales

    ByBret Pimentel January 31, 2013February 1, 2024

    As I’ve mentioned before, my university students are subject to a scale proficiency exam. Most arrive at the university “knowing” at least some major scales, but most of them will also have to learn at least a few new ones and maybe put some old ones into a new format.  For their exam, the scales need to be memorized well enough to play three randomly-selected major ones, and three randomly-selected melodic minors.

    For some students, there are technical barriers to this:  untrained fingers, insufficient familiarity with alternate fingerings, or tone production issues in extreme ranges. Some also struggle with nerves or other psychological baggage (“I’ve never been good at scales, Dr. P.,”). Even among students who are moving rapidly through advanced repertoire, and have all the necessary facility to play the scales, there are some that find the memorization to be very difficult.

    metronome
    Photo, CZMJ

    Here are some of the issues that my students have: Read More “Memorizing scales”

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  • Woodwind playing and pedagogy

    Clarinet/saxophone doubling and “loose” and “tight” embouchures

    ByBret Pimentel January 16, 2013March 15, 2017

    I have been watching with dismay some recent online message board conversations about clarinetists picking up the saxophone and saxophonists picking up the clarinet. I am of course a big supporter of doubling, but much of the discussion seems to center around embouchure, and the language used is not only misleading but also vaguely pejorative. Clarinetists seem to regard the saxophone embouchure as “loose,” a term I think most saxophonists would take exception to, and saxophonists consider the clarinet embouchure to be “tight,” a concept I would expect clarinetists to shy away from.

    Photo, Adrian Midgley
    Photo, Adrian Midgley

    I am not aware of any difference in looseness/tightness between the embouchures of the two instrument families, and can’t think of a reason why there should be one. In both cases, the embouchure—the lips and surrounding facial muscles—need to be “tight” enough to form a non-leaking seal around the mouthpiece and reed, and “loose” enough to allow the reed to vibrate at the desired amplitude (volume). The most common looseness/tightness problem I see in teaching both instruments is excessive tightness, often used in an attempt to compensate for pitch stability problems caused by poor breath support, and resulting in sluggish response, restricted dynamic range, and stuffy tone. Read More “Clarinet/saxophone doubling and “loose” and “tight” embouchures”

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  • Fun

    Number sign, sharp, or tic-tac-toe?

    ByBret Pimentel January 12, 2013January 12, 2013

    Number sign, sharp, or tic-tac-toe?

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  • Product reviews

    Required recordings, spring 2013

    ByBret Pimentel January 7, 2013March 15, 2017

    As regular readers know, I have my university students (oboists, clarinetists, bassoonists, and saxophonists) each add a new recording to their library each semester. During the course of their respective degree programs, they should each accumulate a nice curated collection of recordings. Here are this semester’s selections:

    Peter Cooper: Cooper & Marriner

    Peter Cooper: Cooper/Marriner

    Amazon (CD) | Amazon (download)

    Repertoire: Concerti by Strauss and Mullikin. Read More “Required recordings, spring 2013”

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  • Announcements and news

    2012 in review

    ByBret Pimentel December 30, 2012January 1, 2018

    Here are some highlights (to me) of what happened on the blog this year. Thanks for reading, and stay tuned for new, non-meta content once the holidays are over.

    • Some technique talk for flutists, oboists, and clarinetists, and some stuff for reed players of various stripes.
    • Some stuff for woodwind doublers: finding gigs, why fingerings aren’t that big of a deal, an interview with a real live doubler on a touring musical, which instrument you should tackle next, and getting and keeping your skills up to snuff.
    • Some jazz insights for classically-trained musicians, including a chord symbol primer and some debunking of common jazz myths.
    • Wholly unsolicited opinions about things like full-range scales, class woodwinds textbooks, pencils, snobbery, instrument value, music education curricula, and, naturally, purple violins.
    • Product reviews: Rico’s new “Reserve” clarinet mouthpiece (plus a sequel), a woodwind doubles stand by Hercules, and a saxophone book by Ben Britton.
    • Reports on a couple of events: the very awesome/nerdy John Mack Oboe Camp, and my annual faculty recital.
    • A couple of new software projects designed to help bloggers and other web-dwelling folk to use proper musical accidental symbols, and a diatribe about why they should. Some significant improvements to these tools are on the way.
    • An overhaul of the Fingering Diagram Builder, and some tutorials. Still more improvements to the FDB are in the works.
    • Some snark about internet forums and about my students’ excuses, and a possibly borderline-felonious April Fools joke that seemed mostly to fly under the radar. Luckily I do those for my entertainment, not yours.

    Don’t forget to subscribe via your favorite feed reader or social network, and hit me up with your questions, comments, and requests. Happy New Year!

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  • Career

    What I’ve learned in my first three years as a college professor

    ByBret Pimentel December 22, 2012March 15, 2017

    I’m still at what I hope is the beginning of a long career, with lots of things left to learn. But here are a few little things I’ve picked up along the way so far (three and a half years, actually), and that I thought might be worth sharing.

    red pen
    Photo, cellar_door_films

    Getting hired for a job in academia is about being the right match. I applied to a lot of jobs during the final year of my doctoral studies. A few seemed like good matches on paper, but for a number of others I thought I could perhaps offer something better than what was listed in the requirements. For example, I applied for quite a few single-woodwind jobs, and tried to emphasize in my cover letters and CVs that I could potentially take on responsibilities with additional instruments. I got virtually no response to those applications. The jobs that I got interviews for were specifically multiple-woodwinds jobs.

    A highly-qualified and very talented friend of mine was hired for a teaching position. I had opportunity later to speak with one of his new colleagues, who raved about my friend’s lively and outgoing personality. “The other person we interviewed was so boring,” she moaned. I suspect that had I interviewed for that job, I would have been the “boring” one. At some other interview, my friend’s energy and humor might have been seen as frivolous or flippant, and my more muted social style might have won the day.

    Since being hired myself, I’ve had several opportunities to serve on committees that have sifted through applicants for other music faculty positions. There are lots of people looking for those jobs, and when the applications start to pile up, anyone who doesn’t meet the specific requirements of the job gets set aside pretty quickly, no matter what other strengths they might bring to the table. Read More “What I’ve learned in my first three years as a college professor”

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  • Fun

    Stuff my students say

    ByBret Pimentel December 10, 2012March 15, 2017
    What my students say What my students mean
    I was too busy to practice this week. My choices this week did not include practicing.
    I can play it perfectly when nobody is listening, I promise! When somebody is listening, I’m suddenly painfully aware of problems with my playing that I ignored in the practice room.
    I can play it, just not with the metronome. I can play the correct pitches in the correct order, but not with enough fluency to put each note where it belongs in time. In other words, I can’t play it.
    Right now I’m just trying to get the notes. I’ll add in the dynamics and articulations later. I might eventually get the “notes,” but don’t bet on me ever observing any of the other markings.
    The thing is, I’m just not good at _____ (rhythms, high notes, low notes, technical passages, lyrical passages, dynamic contrasts…). I wish to be excused from improving my playing.
    This _____ (etude, repertoire piece, technical exercise…) is boring. The way I’m playing it is boring.
    I practiced until I got it right! I played it wrong 99 times, then right once. Guess which will happen in my lesson, rehearsal, or performance?
    You’re mean. I’m unprepared.

     

     

     

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