Nicole Riner Archives | Bret Pimentel, woodwinds

Saxophonist Ben Britton offers some hints on overtones. (Related: my review of Ben’s overtone book.)
Flutist Nicole Riner provides some bullet points on self-auditing your private studio’s business model, in two parts.
Clarinetist Jenny Maclay reminds us about proper head position.
Erin Nichols compares available bass flute models. (Sort of a commercial post, but there is useful information.)

Favorite blog posts, May 2018

July 18, 2022May 31, 2018 by Bret Pimentel

Flutist Jolene Madewell improves her articulation with understanding of how the tongue moves.
Patty Mitchell discusses the oboe and getting into college.
David Pierce gives brief summaries of some books on bassoon reedmaking [update: link dead].
Saxophonist James Barger explains a method of vibrato development using a mobile app.
Clarinetist Jenny Maclay is organizing a Kroepsch studies boot camp for June.
Nicole Riner gives piccolo advice.

April 30, 2018 by Bret Pimentel

The flute bloggers were especially busy in April.

Flutist Nicole Riner shares some research-based recommendations (from 2004) about gender stereotypes and school band programs.
Jolene Harju Madewell prioritizes aspects of flute tone production.
Michelle Barraclough discusses orchestra pit playing for flutists.
Roderick Seed gives tips on improving flute resonance.
Flutist Rachel Taylor Geier offers advice on recital preparation.
Bassoonist Betsy Sturdevant continues her series of orchestral excerpt blog-masterclasses with the Berlioz Symphonie Fantastique.
Woodwind player Larry Weintraub explores musical careers on cruise ships and in European publicly-funded ensembles.

July 19, 2022February 28, 2018 by Bret Pimentel

Flutist Nicole Riner assigns her students repertoire that reinforces skill development (a re-“print” from the 2012 A Flutist’s Handbook: Pedagogy Anthology Vol. 2).
Oboist Stephen Caplan reconsiders concentration in performance.
Bassoonist Barry Stees shares a simple but revealing way to test reeds.
Flutist Jessica Dunnavant discusses her complicated relationship with university teaching.
David Pierce considers a pedagogical order for the Vivaldi bassoon concertos (a re-“print” from a 1987 article in the Journal of the International Double Reed Society) [update: link dead].
Oboist Jennet Ingle figures out how to give a good tuning A every time.
Saxophonist Helen Kahlke avoids germs on the gig.

January 1, 2018December 31, 2017 by Bret Pimentel

Betsy Sturdevant brainstorms some (tongue-in-cheek) reasons not to sharpen her bassoon reed profiler blade.
Woodwind doubler Ed Joffe shares some practical advice about subbing on gigs.
Flutist Nicole Riner explores some lessons about focus learned during an artist retreat.
Joan Martí-Frasquier lists some repertoire for baritone saxophone.
Oboist Jennet Ingle considers some ideas about motivation and doing difficult things.
Clarinetist Michael Dean offers some small but useful performing tips.
Flutist Jessica Quiñones shares some ways to build a private studio.
Saxophonist Larry Weintraub recalls a day spent with Michael Brecker.
Khara Wolf suggests solutions for oboe reeds with too-wide tip openings.

July 19, 2022November 30, 2017 by Bret Pimentel

Flutist Nicole Riner lists extended techniques with some sample repertoire and practice tips.
Saxophone mouthpiece reviewer extraordinaire Steve Neff explains how to test a mouthpiece thoroughly.
Oboist Patty Mitchell offers a somber reminder that sexual harassment is an issue in the music world, too.
Clarinetist Liz Aleksander outlines a methodical approach to tuning.
Bassoonist Nadina Mackie Jackson gives some perspective on teachers and teaching.
The “Curious Clarinetist” tells a satirical tale of new instruments. [update: link dead]
Cynthia Ellis and Cate Hummel provide tips on playing the piccolo.
Clarinetist Jenny Maclay shares ideas for mastering a new repertoire piece besides just practicing.
Oboist Jennet Ingle discusses the importance of choosing the right reed for a performance (and which factors are most important).
Ariel Detwiler discusses some of the issues of choosing which students are good prospective bassoonists.