Favorite blog posts, November 2024
- oboealli (Alli Gessner): Top 3 tips for doubling English horn
- International Clarinet Association (Julianne Kirk Doyle): Pedagogy Corner: Fostering New Traditions in Programming
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Favorite blog posts, October 2024
- earspasm – read. (Michael Lowenstern, bass clarinet): Mailbag: Auditioning for a semi-pro orchestra?
- DoctorFlute (Angela McBrearty): Playing the First Notes of Your Solo
- oboealli (Alli Gessner): English horn support options
- Joan Martí-Frasquier (saxophone): What I Like About A Baritone Sax?
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Experiments with electric woodwinds
I’ve been having fun with woodwinds enhanced with pickups or microphones. (If you’re interested in natively-electronic instruments like wind controllers, I’ve written about those elsewhere.)
I still have a lot to learn about working with electronics. But here are a few observations in case anyone finds them helpful.
Which instrument(s) to use? I find lower-pitched instruments to be more fun, since they can provide convincing bass lines. Electronics can pitch a high instrument down, of course, but I haven’t had the success I would like making this sound good. So far I’ve installed pickups into a bassoon bocal, a bass clarinet neck, and an English horn bocal. I’ve used microphones for other instruments.
Which gadgets to use? I’m personally using the Little-Jake pickups, a looper, and a multi-effects unit. When I started getting into effects pedals, I found it alarmingly easy to accumulate quite a few. This was a good and inexpensive way to get started. But I quickly discovered that it was becoming unwieldy to try use use more than a few in performance (I literally had to walk back and forth across the stage to get to them all). A multi-effects unit turned out to be much more practical, with a few foot switches I can configure to operate a large number of effects. (I’m currently using one by Boss.) It takes a little more advance setup than individual pedals, but greatly simplifies the onstage footwork. And I was pretty easily able to sell off the individual pedals to fund the purchase.
Which effects to use? I think the best-known guitar-type effects are distortion, delay/echo, and reverb. Those are fun to play with, but I’ve become more interested in ones I can use to give my instruments new capabilities, rather than just give their sounds a little grittiness or echo. For example, smart harmonizers (which add harmony lines based on a selected key) and pitch shifters (which add harmony lines based on selected intervals) make my instruments polyphonic, a significant upgrade for a woodwind player. And a looper, or even a cleverly-used delay, can create counterpoint.
Here are a few examples of my experiments:
There are eight audio tracks here, but each one is performed “live.” I’m trying to somewhat replicate sounds from the original song: two vocal parts, two guitars, piano, electric piano, and electric bass, plus various synthesizer lines that I’ve consolidated into one. I’m using harmonizers and pitch shifters on the “guitars” and “keyboards” to perform chords in real time. I’m also pitch shifting the “bass” to let the English horn play much lower than its natural range. I’m using a harmonizer here similarly to how I used it in the English horn video, but you can get a better view of what that involves footwork-wise. I’m using several carefully-programmed footswitches to change the harmonizer’s parameters as I go, in order to get the chromatic harmony that I want. On the A sections of the tune, I’m also using a pitch shifter to double the melody up an octave. The separate bass part that starts at about 0:28 uses pitch shift to drop the sound down an octave. This is an example of using a looper (the red unit) to layer multiple lines, while using the multi-effects unit (black) to do real-time harmony and some other things. The “bass” part, shifted down two octaves, isn’t as convincing as I would like (you may have to use earphones to hear it). Here’s a live-performance example using looper plus multi-effects unit. Here I’m using the multi-effects unit to perform the melody “call” and harmonized “response” (unfortunately distorted and too soft), and using the looper to provide backing for an improvised solo. Here’s an attempt to replicate one of Paul Hanson’s incredible electric bassoon “hocket” performances (I fell a bit short). The technique uses a delay to create a single well-timed echo, with the result being that I’m only playing every other note you hear; the in-between notes are echoes of previously-played ones. To get the full effect, check out Paul’s video. This one you can actually buy sheet music for; the arranger, Melissa Keeling, provides parameters for using a harmonizer and a delay (which could be separate pedals or functions of a multi-effects unit). -
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Favorite blog posts, December 2016
- Saxophonist Bill Plake discusses the relationship between strength and coordination in instrumental technique.
- Jenny Maclay lists some important clarinet repertoire, in a festive format.
- Clarinetist Denise Gainey shares a funny and relatable gig story.
- David Pierce offers exercises for upper-register bassoon playing in sharp keys. I also liked this mini-etude for dealing with some common in-the-staff issues [update: links dead].
- Khara Wolf compiles some information on making English horn reeds.
- Oboist Patty Mitchell reminds us about posture and practicing.
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Favorite blog posts, February 2016
Some woodwind blog posts I liked in February:
- Bassoonist Barry Stees shares an interesting idea about reed autopsies, plus a method for practicing the Rite of Spring solo.
- Oboist Patty Mitchell has some advice for students who think they have unfixable technique problems.
- Rachel Taylor Geier has some suggestions if you need more flute etudes to work on.
- Saxophonist Andy Austin discusses the role of passion in pursuing a musical career.
- Specific instrument brand/model recommendations should always be taken with a grain of salt, but woodwind doubler Josh Johnson discusses the importance of backup instruments, plus some of the issues involved with choosing instruments for situations where crack-proofness is important.
- Clarinetist Meri Dolevski-Lewis shares a process for developing sight-transposition skills [update: link dead].
- Flutist Jennifer Cluff offers some ideas on increasing success on the problematic high B.
- Jolene Harju plays the flute with her feet. (Okay, it’s really a post about having “a grounded, rooted connection between the feet and the floor.”)
- Gaenor Burchett-Vass discovers some favorite treasures of the English horn repertoire [update: link dead].
- Clarinetist Sandy Herrera seeks a new balance between a musical career and family life after having a baby. (Congratulations, Sandy!)
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Favorite blog posts, June 2014
- David Wells has updated his excellent bassoon fingering charts.
- Oboist Cooper Wright discusses shaper tip widths.
- Clarinetist Victoria Soames Samek suggests there are better options than just circling problem notes in your sheet music.
- Bassoonist Kristopher King explains the usage of the little finger whisper key. (Warning: auto-plays music. If you have a website, don’t do that.)
- John Witt reports on the Carolyn Hove English Horn Masterclasses, days 1 and 2 and days 3 and 4.
- Bassoonist Betsy Sturdevant warns about carrying musical instruments onto airplanes.
- Jennifer Cluff offers tips for cleaning a flute (spoiler alert: she suggests letting a professional do it).
- On the WindWorks Design blog, J. D. Smith shares a do-it-yourself modification for the Yamaha WX5 wind controller.
- Christa Garvey does some facial stretches for a tired oboe embouchure.
- Bassoon professor Christin Schillinger offers advice for musicians choosing a college.
- Saxophonist Anton Schwartz recommends “back-chaining” as a practice technique.
- Oboist Patty Mitchell muses on her choice to be a musician.
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Interview: Jay Mason, saxophone and woodwind artist
One of the cool people I’ve come in contact with through this blog is Jay Mason, a very busy southern California woodwind player. If you’re a fan of Gordon Goodwin’s Big Phat Band (and you should be), you have heard Jay’s baritone anchoring the saxophone section. You may have also heard him on film scores (like the recent Monsters University), on television (The Tonight Show with Jay Leno, for one), in the theater (numerous productions around southern California), on high-profile recording projects (Patti Austin, Barry Manilow, Chick Corea…), and backing up a wide variety of marquee acts in concert (Barry White, Kenny Rogers, Michael Bolton, Bob Hope, and many more). He also teaches at Cal State Long Beach and Concordia University – Irvine. Jay was nice enough to take the time to answer some questions about his work.
Jay Mason and friends BP: What do you do for a living?
JM: A combination of playing saxophones and woodwinds in recording and live situations, and music education.
What education (formal or otherwise) and experience prepared you for the work you do?
I was very fortunate to have several great young players in my high school bands, both jazz and concert band, who have gone on to successful careers in music. The choir director there started a music theory class during my junior year, which was very thorough and inclusive of many styles, which really helped me to understand how music works, not just how to play. In college, quite a few of the professors either were or had been involved in studio and live work, and working with them, talking shop, etc. helped me to understand what I needed to do if I wanted to become part of that scene. In terms of experience, the opportunity to double on flute and clarinet, as well as all of the different types of saxophones, came along in college in a variety of situations in and outside of school: musicals, different ensembles, saxophone quartets, you name it. After college, I performed at Disneyland for quite a while, which put me into a huge variety of situations, playing everything from piccolo to bass saxophone, often having to read new material or learn new parts quickly, and make it happen day in and day out, no matter the weather, the crowd, or my mood and health.
What is a typical work week like for you? Read More “Interview: Jay Mason, saxophone and woodwind artist”
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Required recordings, fall 2013
As you know, I require my university woodwind students (oboe, clarinet, bassoon, saxophone) to grow their personal listening libraries by a minimum of one recording per semester. Here are this semester’s picks. They are all available from Amazon on CD or MP3 or both (links provided), and also on iTunes.
Carolyn Hove: English Horn & Oboe
Oboists get some key English horn repertoire this time around, as performed by the reigning queen.
Repertoire: Hindemith Sonata; Salonen Second Meeting (oboe); Marvin Pieces; Persichetti Parable; Carter Pastorale; Stevens Triangles IV Read More “Required recordings, fall 2013”
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Favorite blog posts, June 2013
Some of the best woodwind-related stuff I’ve read this month:
- Clarinet professor Adam Ballif shares some thoughts on going paperless as a musician, and takes an easily-digestible look at voicing and the clarinet.
- Flutist Catherine LeGrand gets super-methodical about interval practice and note shapes.
- Oboist Patty Mitchell attends the IDRS conference and provides a sneak peek into pedagogical sessions with Peter Cooper, Carolyn Hove, and David Weiss (and friends). Jealous.
- Bassoonist Cayla Bellamy tries playing like a superhero.
- Rigid saxophone harnesses seem to be popping up from several makers lately. Barry Caudill tries one on for size. (Inclusion here isn’t an endorsement of this particular model; I’m just glad to see a nice thoughtful review of this type of product. I would like to see Vandoren sending some of theirs out for review—hint, hint?)
- Woodwind doubler Steve Moffett passes along a good clear approach to determining how far in or out to roll the flute.
- Saxophonist Ben Britton clarifies a few things about reed strength.
Enjoy! If you or one of your favorite woodwind bloggers writes something especially awesome in July, drop me a note and I’ll give it a look for next month’s list.
