Dear 2000

I’ve been reading the “Dear 1999” blogging project started by the guys over at MusicianWages.com. The project, which launched last month, was to have musician-bloggers answer this question:

If you could go back to 1999 and give yourself one piece of advice, what would it be?

I enjoyed the responses, including one from clarinetist Marion Harrington.

Although I was (*ahem*) not invited to participate, I’ve been thinking about the last ten years of my life and what brought me to where I am now. Over the last few weeks I’ve gotten a number of emails from musicians who are about the age I was ten years ago, who are interested in pursuing graduate school in multiple woodwinds, and so I’ve been in advice-giving mode already.

Since I missed posting at the end of 2009 anyway, I figure I can go ahead and change the format a little, as I think I’ve got more than one piece of advice for 2000 me.

Most of the “Dear 1999” bloggers are pursuing careers as performers, which I consider to be an important part of what I do, but my newly-begun main gig is as a university music professor. I am fortunate to be doing pretty much exactly what I love and what I’ve been aiming for for the past ten years, although sometimes it was hard to tell if I was headed in the right direction.

So here’s my advice, 2000 Bret:

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Required recordings, spring 2010

As I explained back in August, I’m having my university students purchase a required recording every semester.

The purpose of this, of course, is to help the students develop good aural concepts of tone, phrasing, expression, vibrato, ensemble, and so forth. To try to learn to play an instrument well without a solid aural concept is like trying to learn a foreign language from a textbook. You might pick up a few things, but you’ll be sunk unless you get to really hear—over and over—how the words and phrases sound.

I’m discovering that it’s a challenge to make the recording selections meet all the criteria I’d like. For example, I would like for each one to:

  • Be by a major soloist, preferably living
  • Contain very standard literature that my students should know, without too many repeats from previous selections
  • Contrast with last semester’s selection (for example, if last semester’s recording was music with piano, I tried to pick a concerto recording this time around)
  • If at all possible, contribute to a sense of diversity

The last one has been a challenge. So far my two-semester tally, selecting recordings for four different instruments, is six white men and two white women. I’d like to improve on that in the future, though I do think that, ultimately, what comes through the earphones is more central to this project than the colors or genders represented on the CD covers. I’ve got a few ideas for future selections and welcome additional suggestions.

Here are this semester’s selections:

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David Summer: Flute/trumpet doubling

I enjoyed reading some interesting thoughts from multi-instrumentalist and music educator David Summer, who doubles quite effectively on flute and trumpet (and a few other instruments). I’m quoting a few highlights below, but definitely read the whole thing here. I have seen no ill effects on either the trumpet embouchure or flute embouchure from playing both the … Read more

Quick quote: woodwind doubling in the 17th and 18th centuries

From Bruce Haynes’s The Eloquent Oboe: A History of the Hautboy, Oxford University Press, 2001: In the seventeenth and eighteenth centuries, a wind player was an hautboist who might by circumstance be led into a concentration on some other type of instrument. The modern idea of a musician who would limit himself to one instrument, … Read more

Using autotune in your practice sessions

Autotune has been getting a lot of attention lately. Whether you use it in recording or in performance is between you and your sound guy, but I think it also has useful application in the practice room. Here’s how to use it to shed some light on your own intonation. (I’m using all free Windows … Read more

Kenneth Fischer, saxophonist, teacher, and friend

One of my former teachers, Dr. Kenneth Fischer, passed away yesterday, after a brief illness. Dr. Fischer was a protégé of Eugene Rousseau, and, over the past 30 years at the University of Georgia, established himself as a major force in classical saxophone performance and teaching. His close associations with composers like the late Jindřich … Read more

10 jazz albums that should be in every music lover’s collection

Hello, music fans!

Miles Davis: Kind of Blue
You need this.

I’ve picked out, for your listening pleasure, ten essential jazz albums, as an easy introduction to the wide world of jazz. You’re welcome.

I’ll assume that you already love music. But maybe you’re a lifelong rocker. Or a connossieur of the great classical composers. Or maybe you like both kinds of music: country and western. No matter your taste, the jazz section of the record store can be a little bewildering.

Let’s face it, the jazz world is a members-only club. We jazz fans love to lord our superior musical tastes over the uninitiated masses. You listen to whom? Kenny G?! I think I need to lie down.

Plus, if you’re like me, your budget doesn’t quite allow for the latest comprehensive 40-disc boxed set from Verve or Columbia Records. Same thing goes for rare and valuable vinyl collector’s items.

So, these ten albums have been carefully chosen to do a few things:

  • Introduce you to key jazz artists, styles, albums, and songs.
  • Keep the cost reasonable. These albums are all readily available and reasonably priced single compact discs (no expensive multidisc sets) or iTunes albums.
  • Preserve the dignity of the jazz tradition, by giving you the music in complete album format whenever possible. No samplers or compilations, except in a couple of cases where compilations are the only logical choice.
  • And, most importantly, add the pleasure and richness of the jazz world to your life!

Let’s get going! We’ll do this in a sort of rough chronological order.

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Not making your own double reeds

I’ve posted a few times over the past year about making double reeds (cf. here, here, and here), and I maintain that this is the truest way to abiding oboe/bassoon satisfaction. If you consider those instruments to be serious parts of what you do as a musician, you need to learn to make—or at least skillfully adjust—reeds.

But, frankly, not everyone is up to the challenge.

The basic reedmaking process can be learned within a few lessons, but developing the skills well enough to make good reeds consistently can take years, and most reedmakers will continue to develop and modify their approach over a lifetime.

Reedmaking is expensive, too. A set of the most basic tools for making reeds from preprocessed (gouged, shaped, and, for bassoon, profiled) cane costs as much as several boxes of clarinet or saxophone reeds, and the cane doesn’t come cheap, either. If you want the control of doing your own gouging, shaping, and so forth, the additional equipment may cost you nearly as much as a pro-line clarinet.

And, of course, reedmaking takes time. I’ve heard the “rule of thumb” that an oboist, for example, should spend an hour making reeds for every hour he or she spends practicing. I don’t know that I agree entirely, but you get the idea of what kind of commitment is involved.

So, if I’ve now talked you out of making your own reeds, what are your options?

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Reed adjustment checklist

Problems with your clarinet or saxophone reeds? If you buy into the myth that there are only two or three “good” reeds in a box of ten, you are buying the wrong reeds. There are many, many options available to you. When I’ve got the right brand, cut, and size of reed for my mouthpiece … Read more

Joseph Phillips and Ben Kono on woodwind doubling

In a blog post from last week, New York City composer Joseph Phillips discusses his ensemble Numinous and his decision to use woodwind doublers instead of a conventional orchestral woodwind section.

Joseph Phillips
Joseph Phillips. Photos stolen from Joseph’s post.

When I started Numinous back in the fall of 2000, I knew I wanted flexibility of colors in the woodwind section. Even though I’m a saxophone/woodwind player, I didn’t want a saxophone dominant sound to the section. I also didn’t want to have 10 woodwind players to cover saxophones, oboe, English Horn, flutes, clarinets, and whatever woodwinds I happen to write for. So the most natural solution was to have woodwind doublers who would be able to play multiple instruments. Of course with the demands of my music, I didn’t want or need a typical jazz saxophone doubler: someone that plays maybe passable flute or clarinet but not well enough to match their saxophone abilities. In addition to being able to improvise well on all of the instruments, I really need musicians whose abilities on the other woodwind instruments are all fairly equal and could move easily between jazz, classical, and popular genres.

One of Numinous’s woodwind players is Ben Kono, who currently plays the reed 1 book for Jersey Boys on Broadway. In Joseph’s blog post, he interviews Ben about his woodwind abilities:

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