- Rachel Taylor Geier offers a “practice blueprint” for the Poulenc flute sonata. I also liked her post on playing second flute (applicable to players of other instruments, too).
- Meri Dolevski-Lewis makes a case for not hiring woodwind doublers for performing or teaching gigs [update: link dead].
- Flutist Deanna Mathews Kilbourne discusses what an electronic tuner (or tuner app) is and isn’t good for.
- Saxophonist Ben Britton explains his theory about ligature position.
- Chris Hankin lists and comments on classical-period flute concerti by composers who aren’t Mozart.
- Clarinetist Jenny Maclay shares warm-up routines in small, medium, and large sizes.
- Cate Hummel offers suggestions on teaching the flute’s third octave.
- “Quinn the Eskimo”(?) expounds the history of the Mazzeo-system clarinet, with references.
- Eryn Oft discusses bassoons in the less-than-$5000 category. (Fair warning: she appears to have some kind of financial arrangement with one of the makers in question.)
- Bassoonist and historical-woodwinds player Theresa Koenig shares her experience with practicing and Alexander Technique.
- Saxophonist Bill Plake recommends practicing with vision.
Solo/chamber stage etiquette for first-year music majors
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)
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
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
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
Hand-picked high-quality woodwind-related blog posts from around the web, September 2016 edition.
Recital videos, August 2016
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
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
A few thoughts on the new Roland Aerophone AE-10
Don’t get me wrong: it’s great to see another company get into this space, and I hope they will seek to innovate further in wind controllers and push other companies to do the same. But Roland’s new Aerophone AE-10 seems like a misstep.
Preparing for a multiple woodwinds recital
For over a decade, all of my solo recital performances have been on multiple woodwind instruments. Last month I performed (twice) a recital program with pieces played on flute, oboe, clarinet, bassoon, and three saxophones. Here are some of the things I do to prepare. Practice the physical changes. I opened my program with an oboe piece, … Read more