Flute Pro Shop interview with Tereasa Payne and Simon Hutchings

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There’s a nice interview by Joan Sparks at the Flute Pro Shop blog, with two woodwind doublers who happen to be married to each other, Tereasa Payne and Simon Hutchings. They discuss doubling, careers, and married life.

I can’t imagine being in a marriage with anyone other than a musician. Everyone makes sacrifices for what they value in life, but the time and commitment involved in becoming, and being, a professional musician…it’s so time consuming, and emotionally challenging – I imagine it’s like being married to an athlete. That being said, given that we are both woodwind doublers, with different “primary” instruments, our marriage is perfect (in so many ways!!!) in the sense that we are able to advise and support each other to a greater degree than almost any situation would allow.

Check it out at Flute Pro Shop on the Road.

Evaluating reeds

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Photo, chelseagirl There are three things to consider when evaluating a reed. I consider these same factors for either single or double reeds, and prioritize them in this order. Response. The overriding concern for me is that the reed responds exactly as I expect it to. A reed that is stiff, sluggish, stuffy, or otherwise … Read more

University of Northern Iowa offers new multiple woodwinds degree

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The University of Northern Iowa is now offering a Master of Music degree with a multiple woodwinds (3-instrument) emphasis. A few points of interest, according to degree information from their website: Students take 6 credit hours of study on a “primary” instrument, and 4 hours on a “secondary” instrument, and must “demonstrate proficiency” on a … Read more

Balancing voicing and breath support

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My oboe students frequently have this problem: These notes don’t respond well These notes are sharp and thin-sounding (Okay, sometimes I also have this problem.) The solution, in most cases, is quite simple. Step 1: Use the correct voicing. For oboe it should be low and open, like blowing very warm air. This is usually … Read more

Internet forum field guide: gear recommendations

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Enter with caution.

If you frequent any of the various woodwind-related Internet message boards, forums, or listservs, you have undoubtedly encountered some of the wildlife I will describe here. Remember that they can be dangerous creatures, and that it is often best not to attempt interaction with them.

One of the most common animal behaviors witnessed on the message boards is the exchange of gear recommendations. There are two primary families of wildlife the participate in this ritual: the askers and the answerers.

The askers

The askers all share a common behavioral trait: a proclivity for asking total strangers to blindly recommend instruments, mouthpieces, reeds, and other items. Their calls are varied.

Some prefer to remain hidden in the underbrush, offering no clarifying details:

hey guys first time on this board what reedz should I use lolz

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Ernie Watts on not doubling

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Check out this blog post by Helen over at the Bassic Sax blog for some thoughts from saxophone great Ernie Watts about the downside of doubling. At some point, you end up in a mush of mediocrity. Go read it

A toolkit for simple woodwind repairs

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I think it’s really valuable to be able to do a few small repairs on woodwind instruments. As a doubler, I’ve found it to be a financial necessity—I can’t afford to run to the repair shop every time some little thing needs tweaking on one of my instruments—and it’s a great way to get to … Read more

Jazz chord symbols: a primer for the classically-trained

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Printed jazz music often uses chord symbols to indicate the music’s underlying harmony. As with the Roman numeral system used in classical music theory, jazz chord symbols may be used as a tool for analysis. But they are also used for performance, like Baroque figured bass notation, with the musicians using the symbols as a framework for improvising melodies and/or accompaniments. In jazz, the symbols are  generally non-specific with respect to inversion, and players of chord-capable instruments (such as piano or guitar) in jazz are accustomed to making independent choices about inversion and voicing. Depending on the situation, printed jazz music may include written notes only, or notes plus chord symbols, or even chord symbols alone.

Simple major triads aren’t common in most “modern” (post-1940) jazz. But in the rare cases that they do appear, they are indicated with a single note name:

jazz chord symbol: simple triad
C major

The letter “C” above the staff is the chord symbol. The notes shown on the staff here are the corresponding pitch classes, stacked in root position in the thirds familiar to students of classical theory, though a jazz musician, composer, or arranger would rarely voice a chord in this way.

Almost always, there should some variety of seventh specified, using the numeral 7 (and when it isn’t specified, it is often implied). By convention, using the 7 alone with a note name indicates the lowered seventh:

jazz chord symbol: seventh
C seventh

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Required recordings, spring 2012

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It’s a new semester, so it’s time again for required recordings. I think I’ve got an exceptional group of recordings picked out for my students (and myself) this semester: lots of beautiful, virtuosic playing, and  great repertoire.

Enjoy:

Joseph Robinson: Principal Oboe, New York Philharmonic

Find it on: Amazon | iTunes

Repertoire: Saint-Saëns Sonata, Piston Suite, Poulenc Trio, Nielsen Two Fantasy Pieces, Dring Trio, Shickele Gardens, Still Incantation and Dance, Martin Petite Complainte

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2011 in review, and a New Year’s resolution

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Here are a few of my favorite blog articles from 2011, for your re-reading pleasure:

Remember, you can keep up with my humble blog in 2012 via feed reader, Twitter, or email. I try to cover a lot of ground here, so if you’re interested in narrowing things down, you can find a blog article you like and click on any of the related “instruments,” “categories,” or “topics,” and then subscribe by RSS or email up near the top of the page, under the main header and just above the first article on the page, like so:

Also, I love to hear from the highly intelligent, talented, and attractive people who read my stuff, so please don’t hesitate to check in if you see something you like, something you don’t like, or something you would like to see more or less of. Or if you just want to say hello.

And, as promised:

My New Year’s resolution

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