Review: Vandoren “Maestro” score-marking pencils

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I am always pleased to hear from companies that want feedback on their products. And as you regular readers know, I try to be as thorough and honest as I can in my reviews. A couple of weeks ago I bumped into a Vandoren representative at a conference, and he offered to let me bring home some samples of a new product line for review. These haven’t shown up on Vandoren’s website or social media yet (though they do seem to have appeared on the Woodwind and Brasswind, a little prematurely!), so as far as I know this is an exclusive scoop. Update: WWBW has pulled the product listing. Update #2: read to the end for details on getting a free sample!

Vandoren has been doing some innovative things lately, and their new line of Maestro score-marking pencils is no exception. These are pencils specifically designed for the needs of the performing musician, and this focus is apparent in every detail. The pencils have a nice heft and balance to them, which the Vandoren rep tells me has to do with the hand-selected juniper wood harvested in the French Var Valley.

Click for larger
Click for larger

The premium erasers are some of the best I’ve used for score erasures—easy on valuable sheet music while removing the most stubborn pencil marks, with almost no smearing. They are currently available only in medium-soft, but my Vandoren source tells me they are “working on a medium-hard eraser, and a hard eraser geared toward professionals.”

But, of course, the real question is: how do they write? I’m happy to report that, when it comes to writing, these pencils have exceeded my expectations in every respect. The “lead” (graphite, actually) is, I understand, a proprietary formula designed for smooth, even writing on a variety of papers. But this is only part of the story.

My Vandoren source tells me that the real “secret” is the collars—the little metal ferrules that hold the erasers in place. While some “researchers” have suggested that the collar has little actual effect on the pencil’s writing characteristics, years of experience accumulated by some of the most respected woodwind players in the world say otherwise. And so I was not at all surprised to find that each collar has its own unique, shall we say, signature.

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Commonly-fudged woodwind fingerings

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Beginning woodwind players, including doublers, sometimes cheat a bit on fingerings, using fingerings that are almost right. If you’re doing this, it’s likely that you have notes with poor tone, intonation, and/or response. If you think you are getting away with it, you’re probably mistaken, and you may be cementing bad habits that are going to become even more apparent as aspects of your tone production improve.

Flute

The most common culprits at a beginning or intermediate level are the right-hand pinky and the left-hand first finger.

  • The pinky should stay down for virtually every standard fingering, with the exceptions being anything below the low D, anything above the high (4th-ledger-line) A, and the D in the staff. This is not only crucial to the pitch and tone of many notes (you’ll hear it as your embouchure improves!), but also helps to stabilize the instrument.
  • The left-hand first finger must lift for second-octave D and E-flat. You can probably make the notes respond without doing so, but you’ll sound better and struggle less if you do it right.
Make your own diagrams with the Fingering Diagram Builder

Oboe

It’s tempting to be a bit lazy with the various octave mechanisms: the half-hole, the first (thumb) octave key, and the second (side) octave key. Practice slowly and carefully:

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The few, the proud, the woodwind doublers

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I’m back from the the excellent Region VI conference of the North American Saxophone Alliance. I went to soak up some good saxophone playing and to deliver what is becoming more or less my standard spiel on woodwind doubling. This time I gave away half of the handouts I brought with me. That’s a dramatic … Read more

“Tip of the tongue” mythology and the flute

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As woodwind players we are often taught that articulation requires the use of the tip of the tongue and no more—to use more than the tip would just be wrong! For reed instruments, I think this is essentially true, but I don’t think it works that way on the flute. Try this: Using a reed … Read more

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

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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 … Read more

Crossing the break on the clarinet is easy

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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:

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.

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It’s not too soon

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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 … Read more

Random Note Picker, version 0.2

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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.

Yet more woodwind blogs you should be reading

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

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:

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Memorizing scales

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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:

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