Simple and effective cues

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Inspired by Jenny Maclay’s post about the importance of giving good cues in chamber music, I’d like to share some advice on cueing technique. Beginners to this often work much too hard at it, trying to execute movements that are large, elaborate, and confusing.

Instead, try one of these:

  1. Just breathe. For intimate ensembles, a purposeful breath on a preparatory beat is often enough. (For example, for a piece in 4/4 time that starts on beat one, breathe on beat four.) The breath is simple and natural, and is subtle but just detectable visually and aurally. To an audience, it looks almost like telepathy. A breath cue is also expressive—it can communicate not just tempo and downbeat, but also character.
  2. Or, if a more visually-oriented cue is really necessary, keep it extremely simple. For a preparatory beat, lift your instrument and/or head up (an inch is more than enough), then cue by bringing it back down. Skip the curlicues.

cue

Easy!

Woodwinds and “altissimo” registers

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I recently had a saxophone student perform a repertoire piece with some altissimo technique in it, and a non-woodwind-playing musician asked me afterward about the instrument’s extended range. This led to further questions about “altissimo” on other instruments. The answers are a little complicated, but here is some information: The term “altissimo” suggests an extreme high … Read more

Favorite blog posts, October 2016

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Hand-picked high-quality woodwind-related blog posts from around the web, October 2016 edition.

Solo/chamber stage etiquette for first-year music majors

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Here’s what I teach my first-year music majors as they are preparing for their first public performance of solo or chamber repertoire. Customs may vary in your area. Dress professionally and comfortably. Formalwear/eveningwear is overkill and a distraction for most music major recital performances. I like to wear a necktie and preferably also a jacket, but … Read more

Accents and the tongue (or not)

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As a follow-up to my previous post on the role of the tongue in articulation, I would like to address the problem of accents. When I hear my students playing heavy, thumpy accents, I ask them how they are playing the accents. The answer is usually the same: “tongue harder?” But when the tongue is properly … Read more

“Starting” notes with the tongue

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There’s a common misconception about woodwind articulation, that notes somehow “start” with the tongue. So, how do you start notes with your tongue? Does your tongue somehow strike the reed, making it vibrate?

Bret on the Clarineat podcast

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I had the pleasure of appearing on Sean Perrin’s Clarineat podcast. We talked about my blog, teaching, woodwind doubling, and more. Visit Clarineat.com to listen and subscribe, or search for it in iTunes or your favorite podcast app. Join the mailing list, too, to win a fancy ligature or future giveaways (plus stay up to date on … Read more

Favorite blog posts, September 2016

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Hand-picked high-quality woodwind-related blog posts from around the web, September 2016 edition.

Recital videos, August 2016

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I performed a recital with a faculty colleague on our campus at Delta State University, and again at the University of Mississippi (“Ole Miss”). Program and videos are below. The idea behind the first half was to play Paris Conservatory competition pieces from 1916 (100 years ago). The Büsser and Lefebvre pieces are not unknown, and the Fauré … Read more

The best practice routine

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Lately I’ve been on a diet that has a weekly “cheat” day. Six days out of the week, my meals are Spartan, but on cheat day I get to eat whatever I want. My guess is that isn’t the ideal way to manage my waistline. I would be better off eating more regimented meals every day. But I … Read more