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I’m pleased to share videos from my recent recital mini-tour, performed at Delta State University, Mississippi State University, and East Mississippi Community College. The program was five works for five different woodwind instruments, all using live electronics.
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. Read More “Report: Clarinet Academy of the South 2011”
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.
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 Feld fueled an influx of new compositions for the instrument. He was active and involved with the World Saxophone Congress and the North American Saxophone Alliance, and was making plans to host the latter’s 2010 conference.
Read the UGA Hugh Hodgson School of Music announcement here.
Here are a few things that I learned from Dr. Fischer.
Some things about saxophone playing:
You shouldn’t have to strain for the altissimo notes. Relax and let them come.
Every note is part of a larger musical gesture. Every note.
There’s something to be said for keeping the fingers close to the keys and closing them with a feather touch, but it’s also worth exploring larger, more aggressive movements for fingering. Saxophone keys aren’t flute keys.
Every sound is interesting and beautiful and musical. If the composer calls for key pops or multiphonics or flutter tonguing, commit to making those sounds really work musically. Practice them like you mean it.
Sometimes, what you really need is to struggle with a piece that’s way over your head. Other times, what you really need is to play a piece that you can absolutely nail. Do some of each.
A pleasing tone doesn’t mean much without good pitch and rhythm. Don’t just work on fundamentals, work on all the fundamentals.
One of Dr. Fischer’s favorite things to say to a student after a recital was, “That was terrific! But next time, use a reed.” It was a joke. Or was it?
Some things not about saxophone playing:
Relationships with other people are more important than anything, even music.
Take time to talk to people. Hear their stories, and share yours. Everything else can wait.
Every birthday deserves a celebration, complete with singing and cake.
The Suite requires more-than-casual doubling on flute, clarinet, and saxophone. (Some of the altissimo in my performance isn’t in the original part.) Like most of Smith’s music, the Suite is light and appealing, with some rhythm/meter hijinks and a hint of jazz influence. Worth tackling if you’re a serious flute-clarinet-saxophone doubler and get a chance to work with a good wind ensemble.
Here’s a YouTube video (audio only) of the April 11 performance:
New and significantly improved contrabassoon diagram. Thanks to several of you who contributed with keywork photos and other feedback. I haven’t had recent access to a contrabassoon myself, so if you’re a contra player and see things that need tweaking, please let me know. The old contrabassoon diagram is still available as a key set of the bassoon diagram (now called “Contrabassoon (old),” and the new one is its own separate entry (“Contrabassoon”). I’ll keep an eye on the server logs and if it looks like the old one is still getting a lot of use I’ll keep it around.
