Shaping a phrase

ByBret Pimentel

When a woodwind player plays a phrase like this:

…it could have a variety of shapes, depending. But often a rising line gets a subtle crescendo, and a long note at the end gets a little decrescendo:

To play create this shape, you blow air that makes the shape. You can imagine playing a single note, like this:

…and then let your fingers and tongue play the notes over the shape.

But sometimes less-experienced players blow like this:

That makes the phrase sound weird, like the notes each have their own shapes. For the notes to unite into a phrase, they need to combine into one shape.

To practice this, first decide what shape your phrase should have, and mark it into your music. Then, without your instrument, blow air that makes the shape of the phrase. Then pick up your instrument and do the fingerings, blowing the air shape outside the instrument. If some notes should be tongued, add that next. Once you are comfortable with all those steps, combine them to play a smooth, connected, well-shaped phrase.

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  • Making sense of third-octave flute fingerings

    ByBret Pimentel

    I recall as a beginning flutist (coming from background in saxophone) finding the third-octave fingerings to be a confusing, illogical jumble, but they do actually make some sense. There is an incorrect explanation for these fingerings that I hear every so often, and have seen published on a couple of flute-related blogs recently. It goes something like this: the flute’s third-octave fingerings are some kind of combination of two different first/second-octave fingerings. For example:

    ta4 + te5 = te6 ?
    1424179983 1424179997 1424180007

    Or…

    tbf4 + tf5 = tf6 ?
    1424180013 1424180018 1424180777

    If I squint my eyes just right I can sort of see how this almost makes sense fingerings-wise and overtones-wise, but ultimately this system is unnecessarily confusing and also doesn’t reflect acoustical realities.

    Here’s a better way to look at third-octave flute fingerings: they are the same as the first/second octave fingerings, with a vent opened. This is very similar to how upper registers are achieved on the reed instruments: by adding an octave or register key or releasing a whisper key to open a vent. Since the flute doesn’t have dedicated vent holes, toneholes are used.

    For some of the third octave notes, additional keys must be added or subtracted to improve pitch, tone, or response; again this is analogous to the systems used for the reed instruments. But here are the simplest examples of opening single vents for the third octave:

    te5 →  open vent → te6
    1424179997 1424183194 1424180007
    tf5 → open vent → tf6
    1424180018 1424183208 1424180777
    tfs5 → open vent → tfs6
    1424184167 1424183218 1424184173
    tg5 → open vent → tg6
    1424184151 1424183227 1424184158

    It is probably worth pointing out that having any “system” for remembering fingerings is just a crutch; for a performing musician, the only practical “system” is to thoroughly habituate them to the point that no conscious thought is required. Practice carefully and be on the alert for dubious pedagogy.

    Make your own handsome woodwind fingering diagrams with the Fingering Diagram Builder

  • Student-selected online woodwind pedagogy articles, 2016 edition

    ByBret Pimentel

    If you are teaching a woodwind methods course, you might be interested in my book.

    Last fall, I had students in my university woodwind methods course select, evaluate, and vote on some online woodwind pedagogy resources they might like to use as future public school music teachers. (My blog is off-limits.) Once again, I’m going to share a sort of edited/curated version of the results.

    This year, the votes got spread around quite a bit, but there were three articles that the class especially liked:

    • Top 10 (+) Things That Beginning Clarinet Players Do Wrong and How to Correct Them, by Marilyn Mattei. My students were impressed with the troubleshooting ideas and solutions-oriented thinking. They successfully identified some areas that differ from what I teach in class, and made some thoughtful comments weighing the differences. They thought, correctly, that some of the exercises and techniques would be best used in a private lesson or sectional, rather than in a full beginning band rehearsal.
    • Teaching the Beginning Bassoonist, by Terry Ewell. This is a repeat favorite from last year. (I may need to figure out a way to ensure that future classes don’t just recycle previous years’ selections from these blog posts.) My students appreciated the provided lesson plans, the level of detail, and the reassuring tone directed toward non-bassoonist band directors.
    • The Flute Embouchure, by Bradley Garner. Students liked the depth of information, but disagreed on its presentation: some found the text clear and straightforward, but others found it dense reading.

    A number of other articles got fewer votes. I’m listing, without additional comment and in no particular order, a few of those that I agree are worth a look:

    What I want my class to get from the assignment is a sense of how to sift through the information (“information”) available online, taking into account the author’s credentials or sources, a common-sense evaluation of ideas, and applicability to a particular teaching situation. Be careful out there.

  • Woodwind doubling and oboe problems

    ByBret Pimentel

    There’s an increasing expectation that woodwind doublers be competent and confident oboists. It can be a challenging double, but a worthwhile one. Many of my doubling gigs have come to me because of my ability and/or willingness to play the oboe. And even though it’s not my strongest instrument, there are considerable spans of my career during which I’ve made more money playing the oboe than any other instrument.

    Here are some of the common problems woodwind doublers, often coming from background in the single reed instruments, have with the oboe:

    Fingering awkwardness. Dedicated, conscientious practice of scales/arpeggios and technical material goes a long way here, but there are some additional considerations specific to the oboe.

    First, the oboe’s toneholes are rather widely spaced, maybe surprisingly so for clarinet and saxophone players. (This has to do with the oboe’s very narrow bore—the toneholes have to be quite small so as not to catastrophically weaken the instrument’s body, which means they have to be spaced widely to produce a scale.) This can be a cause of tension. Work diligently at keeping your hands relaxed. If it helps, use a neckstrap to further reduce hand strain.

    Second, the oboe, more than the other woodwinds, tends to have more keys the more you pay for it. It’s very worthwhile to save up for an oboe with a left F key, and to learn to use it fluently. The left F key should be seen as part of the instrument’s core fingering technique. Many of the other keys available on professional or semi-professional instruments are less-used, but valuable in specific situations.

    Uneven tone and intonation. The oboe requires a very low voicing, lower than a saxophonist is used to and much lower than a clarinetist is used to. It also offers little forgiveness for weak or inconsistent breath support. Learn to balance low voicing against steady support to even out the instrument’s sound and stabilize its pitch. (Like fellow conical-bore instruments the saxophone and the bassoon, the oboe’s response suffers particularly in the lowest register when your voicing is too high.)

    Similarly, embouchure should remain open, not pinched, regardless of register. Remember that the embouchure’s function is to be a mostly-passive gasket between your air system and the instrument. Resist the urge to bite when moving into the highest register—rely on good breath support instead.

    Overall response sluggishness/unreliability. My experience is that many, many intermediate (and especially self-taught) oboists are playing on reeds that are far too stiff. If your notes won’t respond reliably and delicately at a soft dynamic, and you’re sure your breath support, voicing, and embouchure are working well, you should consider a more responsive reed.

    Because oboe reeds are so susceptible to change, the best way to sound like a pro reed-wise is to spend a few years’ worth of lessons learning to make (or at least adjust) them yourself. Failing that, it’s worth it to buy reeds face-to-face from a good reedmaker, rather than from a music store or a distant internet reedmaker, so that they can adjust them for you on the spot. Reeds from a local reedmaker are also adapted to your altitude and climate.

    Another important and ongoing concern is adjustment of the instrument itself. The oboe has many adjustment screws that need occasional tweaking. It’s best of course to learn this art under the supervision of a good teacher. But if you’re mechanically-inclined and have a good oboe technician standing by to bail you out, there are a number of books and resources that explain the method in a clear and methodical way. A small tweak here and there can transform a stuffy, stubborn oboe into a responsive, cooperative instrument that is a joy to play.

    Approach the oboe on its own terms, equipped with good reeds and a good grasp of tone-production fundamentals, and enjoy!

  • A minimal Little-Jake electric bassoon setup

    ByBret Pimentel

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    Be sure to check out my recent interview with Trent Jacobs, the inventor of the Little-Jake bassoon/woodwind pickup.

    During the past year I got myself a Little-Jake to experiment with some electrified bassoon playing. I didn’t know much about using electronics in this way, and it took some research and trial-and-error to figure out exactly what I needed to use the Little-Jake with my bassoon. I thought others might find it useful to see that information all in one place. Here’s a kind of minimum setup:

    • A bocal that you’re willing to have altered. I had an old one that I liked but wasn’t using much.
    • The bocal needs a small hole drilled in it and an adapter soldered to it. A skilled instrument technician can probably make you an adapter from scratch, or you can buy one pre-made. Forrests Music has one, and so does Midwest Musical Imports. I bought Forrests’s (cheaper) version, plus the threaded plug in case I want to use the bocal without the Little-Jake. I shipped my bocal to Forrests and they installed the adapter for a very reasonable fee.
      Brass adapter visible just above whisper key pip

      Adapter with plug
    • The Little-Jake pickup. It’s a thin cable with a 1/4″ plug on one end, and a little threaded connector on the other. The threaded end connects to the adapter on your bocal.
    • A preamp. The 1/4″ end of the Little-Jake connects to the preamp’s input jack. The preamp works some electrical magic to get the electronic “signal” ready for amplification. You can buy an inexpensive one made from an Altoids tin, or this L. R. Baggs one that Trent recommends, or there are other options if you know what you’re doing. The L. R. Baggs is handy because it clips to your belt and provides a volume control.
    • An audio cable, like the ones used for electric guitars. One end plugs into your preamp’s output jack.
    • An amplifier. The other end of the audio cable plugs into an input jack on the amplifier. There are many options at many price points. I use a small Mackie PA system for practicing or small venues, or a keyboard amplifier if I need more volume. Keyboard amps and PA systems are usually designed for a relatively “clean,” unaltered sound, whereas guitar amps tend to add their own character. This is a personal choice depending on what you want to sound like, but for me the keyboard/PA-type amp seemed to make sense as a starting point.
    Assembled system: bocal → Little-Jake → preamp → audio cable → amplifier (in this case, a small PA system)

    That’s enough to start making some fun sounds, but refer to Trent’s interview and an article on his website for some thoughts on adding effects pedals, which really make things interesting.

    My current pedalboard setup

    The Little-Jake can be used for some other instruments, as well, with the same setup (except the adapter must be attached to a saxophone or bass clarinet neck, clarinet barrel, etc.).

  • |

    Practice slump checklist

    ByBret Pimentel

    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.

    photo, Katy Wrathall
    photo, Katy Wrathall
    1. 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.)
    2. 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.
    3. 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.
    4. 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.
    5. 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?
    6. 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.

  • Synthetic reeds are probably the future

    ByBret Pimentel

    I was pleased to receive recently some samples of D’Addario Woodwinds’s new “Venn” synthetic clarinet and saxophone reeds. In an upcoming post, I’ll share some thoughts about and demonstrations of the specific products. But here are a few thoughts to set the stage:

    • I’m thrilled to see a major cane reed manufacturer like D’Addario take on this challenge. My hunch is that other major reed makers are either close at their heels or betting on musicians’ provincial thinking about modern materials. Let’s hope it’s the former.
    • I am a strong believer that synthetic reeds are the future. Modern science has invented amazing materials for clothing and smartphone screens and space travel; we can invent something that works great for reeds. Natural cane isn’t sacred or magical—it’s a material with upsides and some very clear downsides.
    • It’s easy to fall into the trap of trying something like a synthetic reed and asking the question, “does this synthetic material sound as good as cane?” And, if the reed doesn’t play as well as one’s usual cane reeds, to answer the question with a no, and perhaps to further opine that nothing can ever sound as good as “real” cane. But that knee-jerk reaction fails to take into account all the other things we already know about reeds, such as that their geometry matters a great deal, and that their match to the mouthpiece is equally crucial. We’ve all found the reed-plus-mouthpiece combinations that work for us, and introducing any random new reed (cane or synthetic) isn’t especially likely to improve the situation. The better question to ask is, “Is this a viable reed?” In other words, does it function like a reed should, when paired with an appropriate mouthpiece: with appropriate response, stability, and characteristic tone, regardless of whether it is my new personal favorite?
    • Assuming there are viable synthetic reeds available, it may make sense to adopt them and claim all the potential benefits (consistency, longevity, resistance to warping, reduced waste, cost savings), and, if necessary, seek out new mouthpieces that are well suited to them. I have mouthpieces I like, but if I can replace them and never have to deal with the problems of cane again, that seems like an option well worth considering.

    Zealous loyalty to “traditional” materials isn’t a virtue. (If you’re a woodwind player like me, there’s a good chance your equipment already includes materials that are “new” since the instrument’s invention anyway.) Keep an open mind!

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