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Bret Pimentel, woodwinds
Bret Pimentel, woodwinds
  • Musicianship

    Sorry, but you still can’t bring your reed knives on US flights

    ByBret Pimentel March 6, 2013January 3, 2018

    There has been some buzz (no pun intended) among US reed players about an announcement from the infamous Transportation Security Administration that some knives will be allowed in carry-on luggage starting next month. But make no mistake—your reed knife will still need to go in your checked bag or it will be confiscated at a security checkpoint.

    There are a couple of catches to the some-knives-allowed rule that will eliminate virtually all common reed knives. One is that carry-on knives must be folding knives, with blades that do not lock into position. While there are some reed knives in common use that meet this qualification, the other catch is even more significant: the blade must be no longer than 2.36 inches (6 cm) and no wider than ½ inch (2.27 cm). Most reed knives fall somewhere in the 3–4 inch length range, and some push the width limit, too. (If you’re using a good-quality reed knife with a folding, non-locking blade that is small enough to qualify, I’m curious to hear about it).

    The newly-permitted knives seem essentially to be limited to those small keychain-type Swiss Army knives.

    Additionally, the TSA reserves the right to make judgment calls:

    The final decision rests with TSA on whether to allow any items through security checkpoints.

    Nope. Photo, APMus
    Nope. Photo, APMus

    Check out these resources for more information:

    • Small Knives Permitted in Carry-on Luggage: Changes to the Prohibited Items List
    • Changes to Prohibited Items List (PIL)

     Keep those valuable and razor-sharp reed knives in your checked bags.

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  • Woodwind playing and pedagogy

    Crossing the break on the clarinet is easy

    ByBret Pimentel February 25, 2013January 2, 2018

    The following is a comprehensive list of what clarinetists need to do to successfully Cross the Dreaded Break:

    1. Put the correct fingers in the correct places at the correct time.
    2. That is all.

    I frequently meet young clarinetists who have been taught that a successful Crossing of the Dreaded Break requires many other things, including but not limited to:

    • A long lecture by the band director or private teacher about how impossibly difficult this is going to be
    • Tightening the embouchure
    • Experiencing crippling fear
    • Blowing harder
    • Getting a more expensive mouthpiece
    • Using a band method book that postpones crossing the break for absolutely months and months
    • Being really tense and working much too hard
    • Moving up to a much harder reed
    Photo, MikeBlogs
    Photo, MikeBlogs

    If breath support, embouchure, and voicing are correctly established, then Crossing the Dreaded Break ceases to be a Thing. It’s just another note: a moment ago you were playing B-flat, and now you are playing B-natural. As long as your fingers get where they are supposed to go, then that’s all there is to it. Personally, I don’t even use the word “break” with a beginning student—there’s no need to get them all uptight about what really is a non-event. Read More “Crossing the break on the clarinet is easy”

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  • 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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