- Flute Journal (Jessica Valiente): The 19th-Century French Five-Key Flute and the Modern Boehm-System Flute in Cuban Charanga
- Blue Moon Bassoon Blog (Amanda Pierce): 10 Helpful Things I Wish I Knew Before Teaching Private Music Lessons
- Rachel Taylor Geier (flute): The Gizmo Key
- The Flute Examiner (Keith Hanlon): Arm-Chair Experts and Filtering Forum Content
- bassoon blog (Betsy Sturdevant): Playing the bassoon in an orchestra
- Jennet Ingle | Oboist: Reedmaking Fear and Anxiety
- Joffe Woodwinds (John Yoakum): A Guide to Being a Studio Musician
- The Flute View (Terri Sánchez): On Practicing Slow
- Blue Moon Bassoon Blog – Blue Moon Bassoon LLC (Amanda Pierce): What’s Wrong With My Bassoon?
- DoctorFlute (Angela McBrearty): Playing with an Open Throat
I’m pleased to share videos from my recent Delta State University faculty recital. I performed for a reduced in-person audience due to COVID-19 precautions.
All the repertoire involves electronics of some kind: prerecorded tracks, a looper, an actual electronic instrument (the Akai EWI), and/or live signal processing. This was my first time doing something so electronics-intensive, and I was learning to use some new equipment, so I’m including here some videos from the live recital and some from a dress rehearsal depending on audio quality, etc. (You will still notice some distortion and other issues, which I’m learning from and hoping to improve in future performances.)
- Hodge Products, Inc.: Latest News (Rebecca Watson): BASSOON WIRE GAUGE: DOES IT MAKE A DIFFERENCE?
- Jenny Maclay (clarinet): The Science of Squeaking – What Your Squeaks are Trying to Tell You
I use an inexpensive Fox plastic crutch on my bassoon. The shaft has always been a little too short for my preference, and I wasn’t interested in paying for a custom-made one, so I decided to attempt removing and replacing the shaft. I’m sharing this information here in case anyone else wants to do the same.
I wasn’t sure if the stock shaft was glued or molded into the plastic or if I would be able to remove it without destroying the crutch. But a little heat, slowly applied to the shaft not too close to the plastic, did the trick and the shaft pulled right out. (It’s hot! I used pliers.) The plastic inside the hole was slightly mangled, so I reamed it out a little with a drill bit.
I replaced the shaft with some brass that I had on hand. 3/16″ turned out to be too thick to fit into the bracket on my bassoon, but 5/32″ (just under 4mm) worked. The stock shaft seems to be somewhere in between. I cut the brass a bit too long with a Dremel cutting wheel, so I could gradually trim it down until it was just right.
I cut some shallow notches into one end to imitate the stock shaft, hopefully giving the glue something more to hold onto. My 5-minute epoxy had hardened, so I substituted some gel-type cyanoacrylate (“super”) glue.
After a little trimming I found the length I wanted. (I use my crutch in this position, which I think is less-common, but gives me the “ball” of the crutch right in the palm of my hand which feels good for balance.)
With my minimal skill set and tools, plus a little trial and error, this was a manageable and successful project.
- Joffe Woodwinds (article by Ron Odrich): Science in the Art of the Clarinet Sound
- Hodge Products, Inc. Double Reed Supplies Blog (Rebecca Watson): Bassoon Wire Gauge: Does It Make a Difference?
- How To Make Oboe Reeds (Tim Feil): Reed Response
- Jennet Ingle | Oboist: Harder Isn’t Better
- International Clarinet Association (Marcus Eley): Clarinet Works by Black Composers
- International Clarinet Association (Katherine Breeden): An Overview of Making Clarinet Reeds by Hand
- Bill Plake Music (saxophone): Awareness In Playing Music: “Looking For” In Contrast To “Noticing”
- Indy Flute Shop (Erin Nichols): Open-holed flutes
- Best. Saxophone. Website. Ever. (Zhenya Strigalev): The Secret to Reaching Below the Saxophone’s Low Bb
I’m pleased to share videos from my recent Delta State University faculty recital. I performed for a very small in-person audience due to COVID-19 precautions.
All the repertoire is unaccompanied. The program begins with multiple-woodwinds repertoire by Samuel Adler, Kyle Tieman-Strauss, and Nicole Chamberlain (a world premiere of a commissioned piece), followed by some odds and ends on recorders, clarinet, and tinwhistles.