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If you’re going to be serious about playing the bassoon, reading tenor clef is a requirement.
If you’re unfamiliar with it, click through to Mike Spark’s website for a quick primer [update: link dead].
If you could use a little practice reading the notes, try eMusicTheory.com’s C-clef trainer. Click on “Settings…,” choose “Tenor clef,” and click “OK,” then click “Start Drill.”
I’ve been working on a little Baroque repertoire on the EWI in preparation for an upcoming recital. It’s not especially common to play recital-type music on wind controllers—they are far more often used in jazz and popular styles—but I think the instrument has great potential for “classical” performance. (I mean “classical” here, and throughout this post, in the record store sense, not in the more specific musicological sense.)
My EWI is customized with the really excellent Patchman soundbank which seems to be more or less de rigeur for EWI players. It has 100 different sounds designed especially for wind controllers. But it has been difficult to find sounds that work well for me for the music that I’m trying to play.
Before I continue, I should pause to point out that I’m not at all criticizing the Patchman bank, which I’ve unabashedly recommended to everyone I know. These sounds are fantastic. And really, some of the ones that seem worst-suited to this particular application are some of my favorite ones that I’ve used in other situations.
There are also plenty of additional sources for sounds. I personally like the convenience of on-board sounds, rather than plugging into external modules or a laptop, though those are certainly viable options. I also am personally uninterested in playing sampled or acoustically-modeled sounds that attempt to mimic the sounds of “real” acoustic instruments; I want to play a synthesizer as a synthesizer, not as a substitute for something else.
So I’m looking for good synthy sounds that align with the aesthetics of classical performance. But many of the sounds that work really well for other styles of music have features that don’t fit classical music ideals of wind playing. For example, some of the sounds:
I’ve been working on improving my pitch this summer. Why is it so difficult to play a woodwind instrument in tune? I believe there are three reasons:
The instruments are, of necessity, built in a hopelessly compromised manner. A flute or bassoon or whatever that plays perfectly “in tune” doesn’t exist. (“In tune” is in quotation marks because of #3, below.)
The human element is full of variables that affect pitch: a little change in embouchure, a little variation in breath support, and the intonation suffers.
Woodwind players (like string players, vocalists, and others) have to meet the sometimes-confusing standard of just intonation, meaning that the “right” pitch for a given note depends very much on the context. This, of course, has to be tempered somewhat when playing with equal-tempered instruments such as the piano. We’ll call all of this intonation, referring to the precise pitch relationships of one note to another.
To play in tune, I’m working on addressing each of these problems. Some notes-to-self: Read More “Playing in tune”
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I recently posted a video of Jeff Kashiwa demonstrating the Akai EWI4000s wind controller. As part of his demonstration, he plays a movement from one of the Telemann Canonic Sonatas (well, sort of an arrangement of one).
Jeff Kashiwa plays the Allegro movement from the first Canonic Sonata all by himself, playing the first part on the EWI and using a delay effect to create the second (echo) part. Here’s the video again—it should start playing about a minute and a half in, and the Telemann goes until about 2:40.
Most of the time, an average car shopper should consider buying a recent model. Newer cars (ostensibly) have better safety features, better fuel efficiency, and the latest conveniences. Service and parts are likely available and inexpensive.
Someone in the market for a “classic” car should know what they are getting into. Some older models might be cheaper than newer ones, but a good appraisal requires expertise. Or, some might have prices inflated by cachet, rarity, or “cool” factor. (Those are better suited for collectors or hobbyists than everyday drivers.) Older cars often lack desirable modern features, or need expensive parts.
Musicians face similar choices when buying instruments. For most players, there are significant advantages to modern instruments. They have (again: ostensibly) improved ergonomics, intonation, and evenness of tone.
There are “vintage” instruments with outstanding qualities. But often there are tradeoffs with features, condition, and “collector” pricing. That’s not to say that a vintage instrument is necessarily a bad choice, but (like a classic car buyer) you shouldn’t make that choice uninformed. “Cool factor” wears off quickly when you have to stop every few miles to add oil—or when you are wearing yourself out trying to match pitch in the saxophone section.
If you aren’t sure what you’re doing, a recent-model instrument is usually a smarter bet.
I got an email from a college student taking an Occupational Health and Wellness course. He asked me some questions about health and wellness issues in woodwind doubling, and I tried to answer the best I could.
How do you prepare for the many instrument switches in a musical which require changes of embouchure and hand position/key action adjustments? How do you deal with the physical demands of switches between many instruments?
The best preparation is to develop good, relaxed technique on each instrument independently. I try to practice each instrument carefully and produce the best possible sound on each one.
If I have the luxury of reviewing the part ahead of time, I will often practice the “choreography” for quick instrument switches, and make plenty of pencil marks so that I know ahead of time what switches are coming up. I try to keep a consistent layout of my instrument stands for each show, so that I get used to where each instrument is.
As I am making each switch (even very quick ones) I will try to take a moment to totally relax my facial muscles, hands, etc., and, maybe most importantly, flip a mental switch to oboe mode or clarinet mode or whatever.
Good reliable stands and neckstraps are vital.
Would you say that having to adjust to the action and key pressure of multiple instruments makes you more susceptible to hand/forearm injury than a musician who plays a single instrument?
I’m not an expert, but I would think that playing a single instrument is more dangerous in terms of repetitive motion injuries, etc. If I spend five hours a day practicing (I wish!) then I think I’m better off with more varied physical activities.
Does playing any one instrument create body tension that affects another instrument? (ex. flute might create shoulder tension which affects playing the sax) Read More “Health, wellness, and woodwind doubling”
Sometimes my students complain that they have had bad practicing days or weeks. Not that I have ever had this problem (ahem), but here are a few ideas for breaking out of a practicing slump.
Check equipment. Slightly-malfunctioning gear can make you feel like a bad player. Be sure to eliminate this possibility.
Are your reeds functioning well? Prioritize response-balanced-with-stability over more subjective and malleable things like tone. Many reed players use unnecessarily stiff reeds; consider trying something a little softer if you haven’t lately.
Is your instrument functioning well? If you know how, check the most important adjustment screws (oboe: left hand stack, left G-sharp key, F resonance; saxophone: bis, G-sharp, right hand stack). Re-check basics like alignment of bridge keys. And, of course, make sure your instrument gets regular (at least annual) maintenance checkups. Professional instruments should probably get full mechanical overhauls every 5-10 years.
Are you using the best equipment for you? Don’t let new purchases be your go-to solution for every problem, but in some cases replacing an instrument or accessory can remove a roadblock to progress. (Do a reality-check with your teacher to make sure you aren’t just throwing away money chasing a quick fix.)
Check technique. It might be you after all.
Have you warmed up thoroughly and correctly today? It’s best to do this at the beginning of your practice session, but there’s no rule that says you can’t warm up some more mid-session to double-check your tone production and reset your mental focus.
Have you reviewed all your fundamentals? Take a closer look at your posture, hand position, breath support, embouchure, voicing, finger movement, etc. Have you slipped back into a bad habit? Are you suffering the effects of a technique deficiency you know you should fix but haven’t gotten around to yet? If you don’t know how to fix it, check in with your teacher.
Can you release some tension? Frustration often goes hand-in-hand with tense muscles. Consider doing a little deep breathing, stretching, mindfulness practice, yoga, Alexander Technique, or whatever else puts your body back in balance.
Have you laid sufficient technical groundwork? If you are working on something especially difficult, is there something else you could practice as an intermediate step? Études, technical exercises, or other preparatory material can help bridge the gap between your current ability level and the ability level you need.
Check your health. If your body isn’t responding well, your practice sessions will be difficult and unpleasant.
Have you been getting enough quality sleep? Implementing good sleep habits is a major upgrade to the function of your mind and body.
Are you eating balanced meals? Are you eating enough? Are you eating too much? Is your diet too low on good stuff and/or too high in bad stuff?
Are you getting outside for at least a few minutes of sunshine and “fresh” air? Sunshine is important to your body’s vitamin D level.
Are you stressed, or otherwise not at your best mentally? In some cases, professional counseling and/or treatment may be needed. If you are a college student, there is a good chance there are free, discreet counseling services available on your campus. In other cases, taking a break, getting a little exercise, talking something out with a friend or loved one, or just getting a change of scenery might be enough.
Check your mindset.
Are you practicing mindlessly or without direction? Try making a short list of goals you would like to accomplish during this practice session. If you’re not sure where to start, make a quick recording (perhaps with the voice memo app on your smartphone) and listen to it to get some ideas about what needs improvement. If you don’t meet all your goals, you can tackle them again tomorrow or re-prioritize.
Check your environment.
At what time of day are your practice sessions the most productive and pleasant? Do you practice best in the morning before your body is tired and your brain is full? Or do you get a second wind after the sun goes down?
What locations are most conducive to good practice sessions? Sometimes just changing the scenery can revitalize your focus and productivity. Practicing in places with different acoustical qualities can make you hear yourself in new ways and get your creative juices flowing.
What distractions are getting in your way? Can you reduce or remove them?
Check your ego. Practicing should challenge you, but not overwhelm you.
Are you working on music that is inappropriately difficult for your current abilities? If you have some freedom to choose what you practice, consider working on something else for now and tackling this project later. If you are committed to a performance of something very difficult and have to make it work, be sure to include other things in your practice session that you can be successful at, to keep your motivation primed.
Don’t let poor practice sessions bring you down—use them to refine your habits and make the next session your best yet.
If you’re going to be serious about playing the bassoon, reading tenor clef is a requirement.
