Stuff bad music teachers say

ByBret Pimentel

We can all stand to improve our teaching. Here are some things I’ve either said or heard said that are symptomatic of gaps in pedagogical knowledge.

“I’ve been doing it this way for years and I’m very successful.”

Nobody is arguing with your success. But success isn’t a reason to stop improving, nor is it evidence of a perfect approach. Be open to new ideas. Choose to accept or reject a new approach based on its merits, not based on inertia.

“My famous and well-respected teacher taught it to me this way.”

The craft doesn’t progress if your let hero worship blind you to new ideas. Would your teachers want you to cling to outdated pedagogy out of loyalty, or to further your knowledge and advance the discipline?

“Well, those scientific results don’t matter, because this is music and it can’t be studied in that way. I think musicians know a little more about music than scientists, don’t you?”

Sound is a phenomenon very observable, measurable, and understandable through empirical study. Don’t worry, more information won’t ruin the magic. Take the example of high-level athletes and embrace careful, systematic scientific method as a means of achieving more.

In woodwind teaching in particular, I hear a lot of vague, contradictory, or fantastical ideas that fall apart after even a cursory study of anatomy, acoustics, or fluid dynamics.

And, just like you wouldn’t expect a stodgy old scientist to fully grasp the finer points of your musical performance, recognize your own limitations when it comes to scientific rigor. The Wikipedia article or a blog post you read probably aren’t very solid sources, and the experiment you did with different mouthpieces in your living room probably wouldn’t pass muster with a scholarly journal.

“It’s not a contradiction.”

If your teaching is making you and your students experience cognitive dissonance, getting defensive and brushing past the problem doesn’t help. Watch out for this kind of nonsense: “You have to increase the breath support as you go up to the high register. No, no, don’t reduce the breath support as you go back down to the low register.”

“No, I haven’t read it.”

Music teachers should be active readers of pedagogical materials new and old, and should be actively questioning what they read. (Attending masterclasses, watching videos, etc. is also good, but you will find someone’s clearest, most organized thinking when they have to commit it to paper and/or digital text.) Proliferation of small publishing companies, self-publishing operations, and, of course, the internet, have made the bar for “expertise” very low, but have also made it possible for conscientious readers to consume more and to police what is written. Readers shouldn’t take anything at face value, and authors shouldn’t expect a pass on low-quality work.

Have the courage, conscience, and dedication to pursue deeper, broader, and more accurate knowledge of the concepts you are teaching!

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    Advice on multiple-woodwinds graduate degrees and teaching careers

    ByBret Pimentel

    I often have university students bring up the idea of graduate school and a university teaching career, and I have previously given general advice about that.

    Perhaps since my graduate degrees and a teaching career are in multiple woodwinds, my students sometimes wonder if that’s a path they should take. Here are a few thoughts:

    I’ve mentioned previously that, even for talented and hardworking folks, a graduate education is far from a guarantee of employment. Does a multiple-woodwinds degree help? I think it helped me, but I also had some significant luck.

    The year I was on the job market, I applied for a small handful of multiple-woodwinds jobs and got a small handful of interviews. I landed in the job that was the best match. I kept an eye on job listings in subsequent years, and years went by without a single multiple-woodwinds job being listed. If I had graduated a year later than I did, I may well have been unemployed.

    During my job search I also applied for single-instrument teaching jobs, and got zero responses. Having been on the hiring side of things a few times now, I understand why. Faculty jobs get dozens of applicants that need to be narrowed down quickly, and the ones whose qualifications and experience are laser-focused for the job in question rise to the top. Though I felt I had things to offer, my multiple-woodwinds background wasn’t a precise enough fit, and somebody else’s background was.

    So is a multiple-woodwinds education better, employability-wise, than focused study of a single instrument? It’s a calculated gamble. When you’re on the job market there might happen to be a windfall of single-instrument jobs, and if you’ve been focused on multiple woodwinds instead, you may be out of luck. However, there are fewer multiple-woodwinds graduates, so if a multiple-woodwinds-geared job opens, your background might prove very valuable.

    Multiple-woodwinds teaching jobs tend to be common at smaller schools with smaller music departments, and that may or may not affect your decision. I have a mixed but mostly positive relationship with my small-university job. If your heart is set on teaching at a major university, then most of the jobs won’t be multiple-instrument jobs, and your competition will mostly be highly-specialized, highly-focused single-instrument players.

    One other factor to consider is what kind of multiple-woodwinds education you want to get. Do you want to have a “primary” and “secondary” instruments, or study them in an equal way? Do you want to do a masters degree and a doctoral degree both in multiple woodwinds, or one in multiple woodwinds and one in a single instrument? How you focus your studies will affect which theoretical future jobs you will or won’t be a match for. (Each degree program is a little different, so check with the schools you’re interested in to see how their programs are structured.)

    Graduate study in multiple woodwinds can be valuable preparation for a career in higher education, but the job opportunities are limited and hard to predict. I suggest pursuing that path if you have additional reasons or motivations for doing so, like a fascination with the woodwind instruments and woodwind doubling.

  • Some useful phrases for gig calls

    ByBret Pimentel

    Here are some phrases that have been useful to me when somebody calls about a gig. When dealing with other professionals (or working through the musicians’ union) mostly these aren’t necessary—the caller should give the needed info unprompted. But many of the gigs in my rural area are one-offs for weddings or school or business events, and I’m dealing with callers who don’t regularly hire musicians.

    Let me call you back in five minutes.

    This has saved me many times. Sometimes I need a moment to think through the money/mileage/scheduling/etc., or to find a polite way to negotiate the terms or just turn the gig down. It’s fine to put the conversation on pause for a moment and prepare your response. (Or, depending on the caller, to pivot the conversation to text messaging, which gives you more time to formulate responses, plus a record of what was said).

    Who will be my contact person when I arrive?

    I use this one all the time with, for example, brides who are micromanaging the wedding planning (down to calling the saxophone player). If I arrive at the gig and need to know where to set up or collect my check, it’s going to be awkward for everybody if I have to bother the bride with business details On Her Special Day. If necessary, I gently suggest that she put a trusted friend in charge of answering the band’s questions and handing over their payment.

    Who is the musical director?

    This one is sort of a trick, because if it’s the kind of gig that actually has a musical director, then it’s less important that I know in advance (and, often, it’s the musical director who is offering the gig anyway).

    When I really need this one is when a well-meaning non-musician is trying to hire a band piecemeal (“Oh, my cousin is going to play guitar, and this guy I know from church is going to play drums, and my boss’s friend is a piano player…”). Asking this question gives me a chance to drop the hint that somebody needs to be in charge musically. In some cases, I’m able to segue into some friendly advice that they hire an existing professional group, or hire a professional to put together an ensemble.

    Just so I’m totally clear, are you offering me a paying gig, or is this more of a volunteer situation?

    I do still get calls asking me to donate my time. While I mostly turn those down, I don’t think it’s helpful to be nasty or condescending about it. Phrasing it this particular way gives the caller an easy multiple-choice question to answer without any waffling or weaseling. And when I turn them down, it seems less like I have refused a direct request, and more like I’m just passing up a chance to “volunteer.”

    Can I count on $XXX?

    Sometimes less-experienced hirers (such as someone hiring for a business or school event) have a budget range in mind, and (foolishly) tell me what that range is (“Well, we can pay between $AAA and $BBB”). The number they are hoping to pay is the smaller one, but I’ve made the mistake before of fixating on the larger one (and being disappointed later). Always nail down an exact fee. I try to get the top end of the range, of course, but make it worthwhile: “Can I count on $BBB? That way I can be sure to get a great keyboard player.” Or: “Can I count on $BBB? Then I can cancel some lessons that week and have time to look over the music in advance.”

    If they are hesitant to commit, you can say something like, “Okay, why don’t you call me back as soon as you have an answer, and we can firm things up?”

    Is that the base rate, or does that include travel/doubling/etc.?

    If the caller really is thinking in terms of base rates, then I probably won’t need to ask this question. But hirers who aren’t tuned in to this are probably counting on me to walk them through the process of hiring me. Asking this question gives me an opening to educate them that it’s appropriate to pay extra for travel time, or for bringing multiple instruments. (A quick web search for “afm wage scale” will give you at least a rough idea of what the union considers fair for doublers.)

    Do you have useful phone strategies for lining up gigs (large or small)? Please share in the comments section.

  • Death from exposure

    ByBret Pimentel

    Working musicians, especially those trying to launch their careers or take them to the next level, are all too familiar with the idea of playing for “exposure”—in other words, playing gigs for free with the idea that maybe it will somehow lead to paying gigs.

    Playing for free is one thing; there’s no reason you can’t do a favor for a friend, or show up at a jam session for fun and/or practice. But it’s more insidious when your unpaid labor is fueling somebody else’s profits. This seems to be a phenomenon that particularly affects creative types: the same people who want your band to play at their event for “exposure” or “experience” are no doubt paying the waitstaff, stage crew, or what-have-you, because people in those jobs simply don’t work for free.

    Photo, Mark Robinson
    Photo, Mark Robinson

    The fallacy here is that the prospective employer is offering you exposure and experience and networking instead of money, as if the alternative were gigs that paid money but didn’t offer those things. That simply isn’t the case: you get all those benefits from paid gigs, too, plus you get to pay your rent that month. Read More “Death from exposure”

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    Becoming a professional musician

    ByBret Pimentel

    Sometimes when my students get paying engagements for the first time, I joke with them that they are now “professional” musicians. That’s true in a sense, but I think there’s more that goes into being a true professional.

    If you are a college student aspiring to be a professional musician, here are some things you might ask yourself:

    • Am I reliably on time to things?
    • Do I always have a pencil? Extra reeds? Whatever else is needed?
    • Do I show up to rehearsals with my parts learned and ready?
    • Am I self-motivating when it comes to practicing?
    • Am I pleasant and cooperative on a gig or in a rehearsal?
    • Am I easy to contact, and prompt about replying?
    • Is my closet stocked with clean, sharp gig apparel?
    • Do I keep my instruments well-maintained?
    • Do I have a sense of what my time and talents are worth, and a firm but polite way of expressing that?
    • Do I meet and exceed my teachers’ expectations?
    • Am I willing to play any part, including the less-prestigious ones? Am I willing to put my best into supporting someone else’s solo moment, even if I think that opportunity should have been mine?
    • Have I recorded myself lately? Did I come away from it with some ideas of what needs improvement?
    • What are the most common issues my teachers or ensemble directors mention about my playing? Am I addressing those in a focused way?
    • Am I responsive to useful criticism, thick-skinned against non-useful criticism, and able to tell the difference?
    • Is there anything about my playing or demeanor that would cause stress to someone who hired me for a gig? Am I currently stressing out my teachers, directors, or fellow students?

    Graduation from college doesn’t guarantee you any gigs. Become the person that other musicians want to work with.

  • Interview: flutist Tammy Evans Yonce

    ByBret Pimentel

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

    Flutist Tammy Evans Yonce is an active recitalist, writer, clinician, speaker, contributor to various conferences and professional organizations, and professor at South Dakota State University (plus: she is my former classmate). Her thoughtful blog is a favorite of mine and my regular readers will recall that I have featured her posts on a number of occasions. Her debut CD will be released earlier next year—keep an eye on her website and Twitter for details.

    I am always particularly amazed by her brutally busy performance schedule, and she kindly agreed to let me pick her brain about it.

    How often do you perform?

    I do an annual fall tour, which includes multiple performances and masterclasses. This year it was to Virginia, North Carolina, and Tennessee. Sometimes I choose these places because it’s a geographical area I want to explore or because I have friends and collaborators there. This year’s tour included collaborations with some really fantastic friends. I’ve been able to perform in 24 states so far, so that’s been fun.

    I always give one on-campus recital each year but also frequently collaborate with colleagues on theirs.

    Other performances include festivals, conventions, and such. I like giving 15–20 performances per year.

    How do you maintain such a busy performance schedule, on top of teaching full time, having a family, etc.?

    It mainly comes down to organization and clearly defined goals. And making consistent progress every day. I work in big six-month chunks, where I have goals listed in a variety of categories (performance, writing, recording, commissions, etc.). Those goals help me organize my day-to-day decisions, and they also allow me to stretch beyond what I think I’m capable of.

    I have some general long-term goals but I think the nature of my work (music + academia) means that I can’t anticipate all opportunities that might arise, so I try not to be too rigid about those long-term plans. My upcoming fellowship to Israel came out of left field, for example, so I try to keep my eyes open.

    I also have a really supportive husband who carries his share (plus some, probably) at home so I have some flexibility.

    How does your performance schedule affect you? What benefits or drawbacks are there to a busy performance calendar?

    I enjoy travel and find it invigorating. It helps me to break up my schedule, see new people and places, and be in a different environment, and it certainly helps my teaching. I enjoy collaborating with friends.

    Performing frequently has effectively eliminated performance anxiety for me. There’s just not time to be nervous and I have a lot of hours banked actually on the stage. I’ve “practiced” performing so much that I can stay in the moment. Since creation and analysis are completely different processes, if I can stay in the moment I’m not worried about analyzing my performance as it happens.

    Being busy might be considered a drawback for some but I feel like the things I do are a worthwhile use of my time. I don’t do things just to have something to do.

    How do you maintain balance in your career and life?

    I have a couple of trusted people who understand me and my goals that I check in with regularly. We make sure that we’re staying on track. Also, I don’t check work email after 5pm or on the weekends.

    Do you have any self-care or stress-reduction practices?

    I get regular massages. I used to see this as a luxurious indulgence but being a musician does take a physical toll. I like good food, I travel as much as I can, and I try to work with my friends whenever possible. Finally, I read a lot. I read at least 25 books a year.

    You frequently commission new works. How do you connect with and select composers?

    Sometimes I’m approached by composers who hear me play and have an idea of something they’d like to write. Other times there are composers I know I’d love to work with, and I approach them. Most of these connections happen either online (Twitter, usually) or at conferences and festivals. Even if I haven’t met a composer, it’s likely that I’ve seen them around online or have mutual friends, so there’s usually a connection.

    Generally I work with the composer during the compositional process. We meet via Skype or FaceTime so I can try out their ideas or they send sketches as the piece progresses, so I have a good idea of what the piece is before it’s done. The composers I work with want things to work, so if something is awkward or impractical, we find a solution.

    You have done some performing and commissioning with the Glissando Headjoint. How does this play into your career? Is it bringing you opportunities that you wouldn’t have otherwise? Does it cause you to be pigeonholed?

    The Glissando Headjoint has been a lot of fun. I don’t think it has helped or hindered me. I see it as another item in the toolkit I can use to get the musical message across. Since there isn’t much repertoire for it, it has been fascinating to see how composers use it. They are really drawing from their own creativity instead of basing their musical decisions on existing repertoire.

    When programming, how do you balance new repertoire with previously-performed works?

    Big considerations are the audience, the logistics of the performing venue, and whether or not I have collaborators available.

    My recitals have taken a big turn lately and are much more logistically complex. Last month’s recital featured dancers, lines of poetry projected in real time, a lithograph displayed during one piece, multiple collaborators, and a variety of equipment changes. While it was complex, I think it was effective.

    I’m already planning next year’s recital, which will involve literature, readings, photographs and other visual art, and several new commissions. Once I get the plans in place, I’ll put more info on my website. I like the impact of a cohesive recital that involves more than just the ears.

    Do you have any favorite flute-playing tips?

    Practice. You can’t go wrong with lots of etudes and Taffanel and Gaubert.

    Thanks, Tammy, for taking the time to answer some questions! Find her at:

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    When things get canceled

    ByBret Pimentel

    I had a very busy final semester of my bachelor’s degree. I was performing with six different university ensembles (one of which was planning a month-long international summer tour), doing woodwind doubling for a musical, teaching at a nearby music school, and preparing for graduate school auditions.

    Then I broke my arm. I slipped on something in a parking lot and landed on my elbow. The doctor put me in a cast from fingertips to shoulder.

    At the time it seemed like the world was coming to an end. But things worked out. I canceled some things and modified or delayed some others. Some kind professors gave me advice and perspective and helped out with some logistics.

    Looking back, it’s barely a bump in the road to where I am now. But I think of it now and then, when the next gig or recital starts to feel like the most important thing I will ever do.

    For my college students, lots of things have been canceled this semester. Some of them won’t get to do their recital class performances or their Honors Recital auditions or their ensemble concerts.

    It’s a shame to miss out on things. But right now there are bigger things going on in the world that demand some changes of plan. And in another year or two, those missed opportunities will be crowded out by all the new ones. A few missed performances will be a war story, not a lasting tragedy.

    (That said, we shouldn’t forget that some musicians’ livelihoods are threatened by things like shutdowns of venues. Now is an excellent time to buy your favorites’ albums and merch to enjoy at home.)

    Stay well, and look forward to the opportunities to come.

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