Report: Clarinet Academy of the South 2011

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Coaching on the Poulenc Sonata with Dr. McClellan. Photo by John Coppa.

I’m back from the Clarinet Academy of the South, a weeklong series of masterclasses by Robert DiLutis and D. Ray McClellan. The “Academy,” in its inaugural year, was held at the lovely campus of my recent alma mater, the University of Georgia. Dr. McClellan is the clarinet professor at UGA, and a former member of the President’s Own Marine Band. Mr. DiLutis is the clarinet professor at Lousiana State University, and formerly of the Rochester Philharmonic and the Eastman School of Music.

Around two dozen clarinetists attended. Most were college or graduate-school clarinet students, but there were also some professionals and educators. Many were current or former UGA or LSU students, and some were newly-admitted students looking to get a leg up for the fall.

Although the attendees found time to socialize, explore the campus, and try some favorite local eateries, the overall tone of the camp was studious. Each day’s itinerary began with practice time at 8:00 A.M., and finished after three intensive masterclass sessions at 9:00 P.M. Most of the attendees stayed in inexpensive and convenient on-campus housing.

Some highlights of the week included an opening recital by Mr. DiLutis and Dr. McClellan, sessions on reed adjusting and reedmaking by Mr. DiLutis, a class on phrasing by Dr. McClellan, a mock orchestral audition, and sessions dedicated to the Mozart concerto and the Nielsen concerto.

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Classical musicians and jazz music

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Photo, Andrei Z

I try to be both a classical musician and a jazz musician. This dual pursuit is sometimes detrimental to both sides, but often beneficial, and I enjoy it. I’ve put in serious study, listening, and practice hours with both kinds of music.

Jazz has influenced classical composers enough that classical musicians can’t ignore it—if you’re an orchestral clarinetist, it’s only a matter of time before you have to face Rhapsody in Blue. So it’s not unusual to hear classical musicians, especially in academic situations, address aspects of jazz playing.

It’s disappointing to me to hear classical musicians use pejorative language when describing jazz style, but frequently terms like “sloppy,” “lazy,” “harsh,” or “piercing” are used to characterize its techniques and sounds. In the last few months, some egregious and ill-informed examples of this have appeared in the blogosphere, and I can think of several examples during that same period when I have heard that kind of talk in masterclasses and workshops.

I don’t think that the examples I’ve seen lately were intentionally belittling or snobbish. And, in fact, in some cases the intent seemed to be to express appreciation for jazz music and jazz musicians, but the choice of words betrays some underlying attitudes about the relationship between classical and jazz.

If you’re a classical musician, these are the kinds of things I want you to know about jazz playing:

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Why tune to the oboe?

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Photo, nobleviola

Why do orchestras tune to the oboe?

Well, because it’s tradition, I suppose. But, realistically, in a professional group the pitch standard is likely determined in advance, and the oboist will use an electronic tuner to be sure they are giving precisely the correct pitch, so it could just as well be anyone.

But the principal oboist is almost always the keeper of the A. It seems like there are a lot of theories floating around as to why, none of which make the slightest bit of sense. I found all of these professed as gospel truth in less than five minutes of Googling:

  • Because the oboe can’t be tuned. Firstly: hogwash. (True, the oboe doesn’t have a built-in tuning slide. But an oboist can “tune” by switching reeds, and can humor individual notes sharper or flatter on the fly, just like any wind player.) Secondly: if we tune to the principal oboe because it can’t be tuned, then what is the second oboist expected to do? Or the harpist? Or the pianist?
  • Because the oboe’s pitch is the most reliable. More reliable than, say, the glockenspiel? Given a high-quality instrument, an excellent reed, a fine oboist, and a 72.0°F room, then yes, the oboe’s pitch ought to be pretty solid. But on a stage full of trained musicians, I can’t see any reason to expect it to be more reliable than anyone else’s.
  • Because the oboe can be heard better through the group, because of its volume or tone or something. If that’s the criteria for selecting a tuning instrument, then I suggest that we consider the trumpet, or perhaps the piccolo. The Wikipedia article on the oboe, incidentally, mentions both stability and “penetrating” tone as reasons for oboe tuning, but cites an online article that no longer exists.
  • Because the oboe warms up to pitch faster than the other winds. This could be true, but how much longer does it really take to warm a flute or clarinet or trombone up to pitch? Hopefully the other musicians aren’t tuning before their instruments are thoroughly warmed.

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Woodwind Doubler Census results, part 8: final comments

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I decided to leave a space in the survey for general comments, and many of you took the time to remark on a variety of subjects. Many of them were directed to me personally or seemed otherwise non-public in nature, so I’m not going to list them all, but I’ll share a few and summarize the rest.

Some of you politely made suggestions on how the survey could be better:

  • There’s a big gap between “casual dabbler” and “semi-pro”. I suggest an additional category: “serious amateur” or something like that.
  • It would be good to have a skill level between casual dabbler and music major (something along the lines of “good amateur”). As the poll currently is, it suggests that I play recorder to the same standard as sax. I would consider my recorder and flute playing better than “not at all” but my sax and clarinet playing not to be at the level of “music major”, hence they all closest to “casual dabbler”. I guess it’s too late to change the poll now, but I thought I’d offer my opinion anyway :).
  • maybe ask music arranging abilities. Small ensemble writing for different woodwinds is necessary in my working fields.
  • Not sure what your intent is with this data, but I do think that there are some fields that would be nice to have/know of (of course maybe for the next time you do this)…  For example,
    -“what do you consider your strongest/primary instrument”,
    -consider having three columns in the instruments section like:  own/play/don’t own
  • Didn’t know how to answer some of the questions because I’m still a high school student

I think these are all good suggestions, and ones that I would probably take if I could do the survey over. (At this point I have no specific plan for future surveys, but haven’t ruled the idea out, either.)

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Woodwind Doubler Census results, part 7: doubling tips

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We’re close to the end of the results from the Great Woodwind Doubler Census of 2011. I’m particularly excited to share your answers from one of the final questions:

Q. What is/are your best woodwind doubling tip(s)?

Your answers covered a lot of ground, but a few main themes showed up in many of your responses:

A little explanation:

  • Practice (quantity, quality): No surprise here—a large number of you mentioned the need for consistent, organized, focused, and/or extensive practicing.
  • Each instrument is different: A number of respondents pointed out that each instrument must be studied and played on its own terms, without depending on skills to transfer from one to the other. (It’s worth noting that a few of you saw the other side of this issue: that similarities between the instruments can perhaps be leveraged for more efficient improvement.)
  • Get good instruction
  • Work on fundamentals
  • Practice switching: Several of you suggested practicing the actual act of switching quickly between instruments.
  • Get quality gear
  • Flute-specific advice: Some of you offered advice about the flute, mostly about the particular challenges of maintaining a good flute embouchure on limited practice time.
  • Get experience: A few of you mentioned university or community groups as good ways to log some hours of experience on secondary instruments.

Here’s the full list of woodwind doubling tips. If you missed out on the survey, you’re welcome to add your own tips in the comments section.

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Woodwind Doubler Census results, part 6: benefits

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In this installment, we look at why woodwind doublers do what they do.

Q. What is the greatest benefit of being a woodwind doubler?

Here’s my own breakdown of the most common types of answers. Many answers fit into more than one category.

  • More gigs: Unsurprisingly, this was a factor for over half of the respondents. However, many if not most indicated some non-monetary motivation:
  • Variety
  • Fun/satisfaction
  • Artistic expression: A number of respondents mentioned the ability to access a variety of tone colors as a motivating factor.
  • Cross-training: Several respondents indicated that playing one instrument improves their skills at another.
  • Challenge

Here is the complete list of responses, with only very minor editing, in random order.

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Woodwind Doubler Census results, part 5: challenges

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Back for more, I see? Thanks to all who are still reading results from the Great Woodwind Doubler Census of 2011. At this point we are getting into some more of the questions with free-form answers, and I think your responses are really interesting.

Q: What is your greatest challenge as a woodwind doubler?

I categorized the answers as best I could, with many of your responses falling into multiple categories. Here are some of the most common issues raised:

By far, the most common issue reported was finding the time to practice multiple instruments—I’ll reveal that this was my own answer, as well.

Flute-specific problems were also frequently mentioned, with oboe, clarinet, and bassoon appearing lower on the list (the saxophone got only a mention or two). I do think that the flute as a double has some particular challenges, but, as we know, it’s also one of the most common doubles. It would be interesting to assemble a group of doublers who play all five major woodwinds at a somewhat equal level, and take a poll to see which instrument they think is the biggest challenge.

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Woodwind Doubler Census results, part 4: employment

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I hope you all are finding this as fascinating as I am. Here’s the latest batch of results from the Great Woodwind Doubler Census of 2011.

Employment

Q. Which of these do you play?

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Woodwind Doubler Census results, part 3: education and training

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More results from the Great Woodwind Doubler Census of 2011. Enjoy!

Education and training

Q: Which of these have been part of your education on woodwind instruments?

Out of 187 total respondents, every one answered this question. The complete wording of the possible responses was as follows:

  • school band/orchestra program (high school or younger)
  • private lessons outside of school
  • summer camps, workshops, or other formal programs outside of school
  • university band/orchestra program
  • university/conservatory bachelors degree with concentration(s) in multiple woodwinds
  • university/conservatory bachelors degree with single-instrument or other music concentration
  • university/conservatory masters degree with concentration(s) in multiple woodwinds
  • university/conservatory masters degree with single-instrument or other music concentration
  • university/conservatory doctoral degree with concentration(s) in multiple woodwinds
  • university/conservatory doctoral degree with single-instrument or other music concentration
  • other university/conservatory music degree or certification
  • self-taught on one or more instruments

The biggest surprise to me was the number claiming bachelors degrees in multiple woodwinds. I assume that many of these must be double majors or other oddities, since there are very few true bachelors degree programs in multiple woodwinds available.

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Woodwind Doubler Census results, part 2: instruments

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In the previous installment of results from the Great Woodwind Doubler Census of 2011, I shared some basic demographic information about the 187 survey respondents. In this installment (and those to come), we’ll dig into some real doubling stuff.

Instruments

Q: Which woodwind instruments do you play, and at what levels?

The top results are unsurprising: saxophone, clarinet, and flute being the most widely-played, with oboe in a distant fourth place. I was a little surprised to see folk/ethnic/period woodwinds edge out the bassoon.

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