What I’ve learned in my first three years as a college professor

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I’m still at what I hope is the beginning of a long career, with lots of things left to learn. But here are a few little things I’ve picked up along the way so far (three and a half years, actually), and that I thought might be worth sharing.

red pen
Photo, cellar_door_films

Getting hired for a job in academia is about being the right match. I applied to a lot of jobs during the final year of my doctoral studies. A few seemed like good matches on paper, but for a number of others I thought I could perhaps offer something better than what was listed in the requirements. For example, I applied for quite a few single-woodwind jobs, and tried to emphasize in my cover letters and CVs that I could potentially take on responsibilities with additional instruments. I got virtually no response to those applications. The jobs that I got interviews for were specifically multiple-woodwinds jobs.

A highly-qualified and very talented friend of mine was hired for a teaching position. I had opportunity later to speak with one of his new colleagues, who raved about my friend’s lively and outgoing personality. “The other person we interviewed was so boring,” she moaned. I suspect that had I interviewed for that job, I would have been the “boring” one. At some other interview, my friend’s energy and humor might have been seen as frivolous or flippant, and my more muted social style might have won the day.

Since being hired myself, I’ve had several opportunities to serve on committees that have sifted through applicants for other music faculty positions. There are lots of people looking for those jobs, and when the applications start to pile up, anyone who doesn’t meet the specific requirements of the job gets set aside pretty quickly, no matter what other strengths they might bring to the table.

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Stuff my students say

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What my students say What my students mean I was too busy to practice this week. My choices this week did not include practicing. I can play it perfectly when nobody is listening, I promise! When somebody is listening, I’m suddenly painfully aware of problems with my playing that I ignored in the practice room. … Read more

Review: Ben Britton’s A Complete Approach to Sound for the Modern Saxophonist

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I have been in touch with saxophonist Ben Britton since I mentioned his blog in a roundup review last year. He’s a nice guy, not to mention a great (and award-winning) saxophone player:

I was pleased to hear from Ben about his new book, A Complete Approach to Sound for the Modern Saxophonist. It is now available in print from Amazon (currently a very reasonable $14.95) and as a download from Payhip (a steal at $9.95).

The book is around 60 pages long, but it’s not densely packed text. It can easily be skimmed in one sitting. What you get for your money is a highly-concentrated, efficient approach to tone production. I (and probably you) have shelves of much longer and much more expensive books that take a week to read and longer to extract anything useful from. Ben’s book is a straightforward, less-is-more approach that is refreshing and worthwhile.

My copy arrived just in time, as my tenor hasn’t been getting enough attention lately (teaching classical repertoire means lots of alto) and, as I feared, my tone and control have suffered a bit. I soaked some reeds and spent the morning with the book.

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Changing octaves on the flute: a survey of published opinions

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On the flute, there are several notes that have identical fingerings: each note from bottom-line E through third-space C-sharp has exactly the same fingering as the note an octave higher. Obviously, some factor other than fingerings must account for the octaves, but flutists as a group seem to be unclear on what it is.

I got curious and dug through some pedagogical sources to see what flutists have published about it. I have compiled my findings into a chart:

To achieve the upper octaves on the flute

I have started from the baseline of the lowest octave’s tone production methods, and framed the authors’ ideas in terms of what has to be done to move into higher octaves. And I’ve grouped the answers together as best I can, hopefully with reasonable accuracy as to the authors’ intended meanings. For example, “move jaw” and “move jaw forward” obviously overlap, but I separated them to try to maintain the authors’ original levels of specificity. And “jaw” and “chin” may really be the same thing for most flute-playing purposes, but I’ve separated in them in a case where the author seemed to see them as distinct.

Some of the authors address the issue specifically and in detail, while others just mention something in passing, so the chart does not necessarily represent their complete and definitive views. I have provided a bibliography with page numbers so you can read the authors’ words in context, and I highly recommend doing this if you’re interested in the topic. I’ve color-coded things so you can see at a glance which ideas are most popular, though I don’t think this is an issue to be settled by popular vote.

There are some surprising outliers. Most authors who mentioned the size of the aperture indicated that it should get smaller in the upper octaves, but a couple insisted that it should not change. Several authors indicated that the distance from the aperture to the blowing edge decreases for upper registers, but one said it actually increases. There’s significant disagreement on whether blowing harder is part of achieving the higher octaves.

I think some of the differences of opinion shown in the chart may be due to flutists actually doing the same things but describing them differently. It’s also possible that the techniques listed can be combined in different ways to create different tone production “recipes” that produce similar results.

I’m interested in continuing to expand this in the future. If you can point me toward a published source, then send it along (I’m not really interested in anecdotes or private opinions), or let me know if you think I have misread or misinterpreted someone’s views (especially if you’re the author!).

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Best practices for accidentals in online music writing, and introducing jQuery Accidentals

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In an ideal world, you see five musical symbols here:

flat natural sharp double-flat double-sharp
♭ ♮ ♯

But, depending on the device you are using to read this, you may notice one of these problems:

  • None of the symbols show up properly: they are either missing or replaced with squares, diamonds, question marks, or some other “placeholder” symbol.
  • The flat, natural, and sharp appear properly, but the double-sharp and double-flat are missing or placeholders.
  • The symbols don’t quite match each other—they appear as though they come from different fonts.

And for the blogger or other online writer, there is an additional problem: these characters aren’t easily typed from a keyboard. Using them means copy-and-pasting or remembering obscure numeric codes. And then you hope that your readers’ devices can display them.

So, for most situations, some kind of text substitution is made. Two styles are fairly common:

  • Spelling out the symbols in words, such as “A-flat.”
  • Using a “close-enough” character, such as “A#” (pound sign, number sign, or hash) or “Bb” (lower-case B).

Using words is my preferred method, since using “#” and “b” is semantically incorrect, garbles the meaning for non-visual browsing devices (such as screen readers for the blind), isn’t compatible with all fonts (such as those that don’t have a clearly-differentiated upper- and lowercase B), and can be ambiguous:

  • “Today I did my patented Ab Workout. It’s basically all the major and minor scales starting from Ab.”
  • “Today I did my patented Ab Workout. It’s basically a bunch of sit-ups.”

Thus, I recommend this usage: “A-flat,” “B-natural,” “C-sharp,” “D-double-sharp,” “E-double-flat.” Note the hyphens (with no spaces), and the lower-case accidental names (even for titles: Sonata in D-flat).

This solves the major issues of typing and reading the accidentals in an onscreen situation, but leaves us with a rather inelegant and typographically boring representation of the true musical symbols. This would be intolerable for print media, and, as screen text steadily replaces print text, a better solution is required. Here are some possible scenarios (warning—a little technical):

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Why do some instruments transpose?

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I find it difficult to explain to the uninitiated the concept of “transposing” instruments. The what is confusing. The why is worse.

To get the what across, I usually have to resort to an example: “Okay, so it works like this. If I am playing an alto saxophone, and I see an F-sharp on the page, I think ‘F-sharp,’ and do the correct fingering for F-sharp, and then I blow into the instrument and an A comes out.”

Sometimes a visual representation is useful (here are transpositions for some common woodwind instruments):

Instruments Written pitch Sounding pitch
Piccolo
Down an octave
Up an octave
Clarinet in E-flat
Down a m3
Up a m3
Flute, Oboe
(non-transposing)
Bassoon
(non-transposing)
Clarinet in B-flat, Soprano saxophone
Up a M2
Down a M2
Clarinet in A
Up a m3
Down a m3
Alto flute
Up a P4
Down a P4
English horn
Up a P5
Down a P5
Alto saxophone
Up a M6
Down a M6
Contrabassoon
Up an octave
Down an octave
Tenor saxophone, Bass clarinet
Up a M9
Down a M9
Baritone saxophone, Contrabass clarinet in E-flat
Up an octave and a M6
Down an octave and a M6

This system is, shall we say, “difficult:”

  • Composer/arranger/copyist: “What was that transposition for alto flute again? A fourth, I think, but was it a fourth down or a fourth up? Or was it a fifth?”
  • Conductor: “Let’s see, the alto saxophones have an E and a B, the tenor has a D-sharp, and the baritone has a D-natural. So that chord would be, um…”
  • Educator: “Okay, everybody play a B-flat scale. I mean, ‘concert’ B-flat. So C for clarinets and tenor saxophones, G for altos and baritones, E-flat for English horn… or is it F for English horn?…”
  • Gigging musician: “I need to buy the fakebook in E-flat. Hmm, and I guess I also need the B-flat, in case I play clarinet on anything. I wonder if I’ll need the C book for flute, too? Wait, let me make a phone call.”

(And that’s just the system used for the modern band and orchestral instruments!)

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Why college music education majors need applied study

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Most of my university students are music education majors, with plans to become public school band directors. Their academic schedules are absolutely packed full with core music theory and musicology classes, keyboard proficiency, teaching methods, ensembles, and of course general education requirements. There isn’t room for anything extra. And yet they are required to take “applied” private lessons on their major instrument every semester in residence (on paper, that’s seven semesters, with the eighth being a student teaching assignment; for many students it turns into more semesters than that). At my school, I think the requirements for the music education applied sequence are pretty typical: weekly 1-hour lessons, 12 or more hours of practice per week (that’s my studio requirement for music education students), a scale/arpeggio exam, juried playing exams each semester, and a small juried recital. That’s a pretty serious multi-year commitment for a student who is already swimming in term papers, exams, rehearsals, and probably a part-time job.

Photo, peffs

And it’s likely that many of them, once settled into jobs, won’t have much time to spend with their instruments anymore—they will be consumed with the endless details and crises of running a public school band program, and the ensemble itself will become their primary “instrument” for musical expression. Few of them will ever again perform solo repertoire.

So why put so much emphasis on applied study for music education undergraduates? Is it possible or wise to reduce the individual instrumental study burden? I don’t think so.

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“Piccolo Phil” on doubling

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“Piccolo Phil” over at The Balanced Flutist discusses the benefits and challenges of woodwind doubling in preparation for an upcoming gig. Benefits: I actually don’t mind doubling that much, it can be a nice change of pace, plus, show tunes are just so much fun! It’s been great exploring these instruments again, especially since I’ve been … Read more

New sound clips: Faculty woodwinds recital, Sep. 13, 2012

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Here are some sound clips from my faculty recital last month. I try to make a point of keeping myself challenged, and mission accomplished on this one.

The repertoire, selected collaboratively with my outstanding pianist colleague Dr. Kumiko Shimizu, was all pieces with some connection to jazz music. First up on the program was selected movements from Claude Bolling’s Suite for Flute and Jazz Piano. Flute isn’t part of my teaching assignment at Delta State, but this piece was too fun to pass up and my flutist colleague Dr. Shelley Collins is extraordinarily supportive of my flute playing. Since I spend most of my work week living in reed land, however, my flute chops don’t get the attention I would like, and I’m a bit self-conscious about my sound and my control of the instrument. I hear a number of things on the recording that I am less than satisfied with, but overall I think it went okay, and it was well received by the audience (even the part of the audience whose grade doesn’t depend on keeping me happy).

Next was a new-ish piece by young composer Alyssa Morris, a fellow BYU alum. I had heard her Four Personalities for oboe and piano performed by Nancy Ambrose King a few years back at an IDRS conference, and it immediately sprang to mind when I started brainstorming jazz-influenced oboe pieces. We performed the first two movements (second, then first), which, to our ears, had the strongest jazz elements. The first movement (performed second) in particular has characteristic swing rhythms and figures, and it was strange but fun to tackle those things on the oboe.

At the John Mack Oboe Camp over the summer, I heard a fine performance of this piece by the Oregon Symphony’s principal oboist, Martin Hebert. I also got some reed help from Linda Strommen (of Indiana University), which has greatly improved the pitch stability of my reeds. I’m pleased with the improvement over last year’s recital. I’m not sure I have entirely adapted tone-wise to the change, however, and I was a little surprised by my sound on the recording—to me, I don’t quite sound like me.

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On purple violins

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Photo, Glamhag

I’m a little late commenting on this, but I still think it’s an issue worth addressing. Last month there was a minor scandal over an incident in a Farmington, New Mexico school orchestra program, where a beginning violinist was informed that she would not be allowed to use her own, um, unique instrument. Most of the reporting on the story took a similar tone to that employed by the Los Angeles Times:

The gift violin was a surprise from her grandmother. The color was purple, the girl’s favorite.

Lopez encouraged her daughter to stand up for what she believed in. “I told her, ‘Camille, you’re not like everyone else. We’re all different.'”

“She’s done with the orchestra class,” Lopez said. “She switched out. She no longer plays.”

Lopez said she’ll never know whether the decision ended the career of a budding Yo-Yo Ma. “I’d pay for private lessons if I could afford them,” Lopez said. “But it doesn’t matter now, I guess. Camille is taking choir now.”

The Times story sets up the uninformed reader for outrage: an underprivileged but spunky girl, a gift from a grandmother, stifled individuality, personal “beliefs” under attack, abandoned dreams, and a stodgy, stuffy establishment.

But a more careful reading of the Times story reveals some details that won’t escape the attention of music educators.

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