- Saxophonist Ben Britton offers some hints on overtones. (Related: my review of Ben’s overtone book.)
- Flutist Nicole Riner provides some bullet points on self-auditing your private studio’s business model, in two parts.
- Clarinetist Jenny Maclay reminds us about proper head position.
- Erin Nichols compares available bass flute models. (Sort of a commercial post, but there is useful information.)
How to write boring program notes
Things to include in your program notes for maximum boredom: More than a sentence (two, tops) of general biography on the composer. Unremarkable facts about the piece’s structure (sonata form! key of F!). A blow-by-blow description (first there is a kind of sad theme! it starts out low and soft but then it gets higher … Read more
Reedmaking and choosing your college oboe or bassoon professor
If you’re considering a school where you might study with someone who isn’t a performer on your double reed instrument, it would be worthwhile to find out their plan for teaching you reedmaking.
Problem-specific vs. general solutions
I hinted at this idea in my recent post about clarinet undertones: Many of the ideas shared by the distinguished authors seemed like just descriptions of good basic clarinet technique (“ensure correct, stable embouchure formation,” “establish breath support/air pressure before releasing tongue”). … If you can play with a beautiful, characteristic tone, mostly in tune, … Read more
Favorite blog posts, June 2018
Hand-picked high-quality woodwind-related blog posts from around the web, June 2018 edition.
Voicing and clarinet undertones
A few months ago I shared a list of published opinions on how to avoid undertones on the clarinet. Many of the ideas shared by the distinguished authors seemed like just descriptions of good basic clarinet technique (“ensure correct, stable embouchure formation,” “establish breath support/air pressure before releasing tongue”). I agree that the most important … Read more
The value of chamber ensembles in music degrees
My students learn to follow a conductor in their large ensembles, and how to work with a pianist on their individual repertoire. (The latter is a situation in which—unfortunately—the piano part is sometimes treated as secondary to the “solo” part.) But in chamber ensembles they learn how to make music in a group of equals, … Read more
Not majoring in music
I was a very committed college music major. I had picked music as a career years earlier. Being a music student felt like a central aspect of who I was. While I did struggle at times, and had other (perhaps more widely marketable) skills I could have fallen back on, quitting the music-major track never … Read more
Favorite blog posts, May 2018
Hand-picked high-quality woodwind-related blog posts from around the web, May 2018 edition.
Tenth anniversary
Today makes ten years since I started the blog. At the five-year mark I did a little retrospective, and I don’t think there’s much need to do it again. Basically the things I was excited about and proud of then are the things I’m excited about and proud of now. Other than publishing my book, … Read more