Favorite blog posts, June 2013

Some of the best woodwind-related stuff I’ve read this month:

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.

Favorite blog posts, May 2013

Here are some high-quality woodwind-related blog posts from May, in no particular order. Mark Catoe and Tim Gordon discuss music education, careers, and, of course, woodwind doubling: Interview with Tim Gordon Flutist Meerenai Shim opens up about success, failure, pursuing your dream, and dealing with the practicalities: To Each Her Own Jennet Ingle is always one of … Read more

Review: Oboe Reed Maker PRO iPhone app

I saw a post a couple of months ago by Patty Mitchell (reigning champion of online oboe journalism) about the iPhone app Oboe Reed Maker PRO, and decided to bite the bullet, part with the $1.99, and take it for a spin. Here is my review. As is my custom lately, I have tried to keep the review balanced and accurate by involving the maker of the product. In this case that is Christopher Gaudi of the San Francisco Symphony and OboeClass.com.

(Note that this is a review of version 1.0 of the app, so if you’re reading this after my publication date, then the app may have changed by now. I’ll update this post if I use any future versions that have changes worth mentioning; you’re also welcome to add your own updates in the comments.)

In the world of iPhone apps, I’ve grown accustomed to getting a lot of good stuff for free, and hesitate even to buy a 99-cent app unless I’m sure it’s going to be great. For $1.99, it had better be outstanding! However, in the past I’ve paid the better part of $100 for individual books on reed making, so, realistically, $1.99 isn’t much if you’re looking for a few tidbits of information. And that’s what this app offers. If you’re interested in this thing, think of it as a very cheap book (a pamphlet, really), rather than an expensive app. Here is the main screen, as shown in the iTunes store:

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If you’re reading this on my website you’ll see a border that I have added to the image, which reveals some white space at the bottom (the border might not show up in RSS feeds, etc.). Note that this space, in the actual app, contains an advertisement (at the moment, a 1-800 number for a criminal defense attorney). In my opinion, including ads is bad form for a paid application. There are additional monetization efforts built into the app. The “Oboe Gear” button leads to affiliate links to Amazon products, which are providing someone, presumably Mr. Gaudi, with additional income. The “More” button provides income-generating affiliate links to additional paid apps, some ostensibly music-related, some not. Mr. Gaudi responds:

I can understand the criticism of the ads in a paid app though I hope you can understand the need to monetize it. The app wasn’t created for free. There was a considerable cost to produce it and there are costs to revise and update it over time. I hope you can appreciate the need for monetary compensation for those who create a product for sale. My time and knowledge is worth something, just as my private students pay for weekly lessons as do countless other oboe students across the country pay for private lessons.

This is a fair response, I think, if the user knows they are paying for a product that will include advertisements; I was unaware of the ads before my purchase but you can consider yourself now warned. For every other app on my phone, paid versions are reliably ad-free. In my opinion, it would make more sense in the current app marketplace to raise the price on the app itself, if necessary, and scrap the ads, or maybe keep at least some of the ads/monetization and give the app away for free.

The actual useful content of the app is accessed with the green “Reed Maker” and “Reed Doctor” buttons. The “Reed Maker” button leads to a summary of the reed scraping process, starting with a reed blank (tying is not addressed). The summary is ten pages, most with one or two sentences of text, and each showing the same image of a reed with different areas highlighted. Knife technique is not addressed, just which areas to scrape in which order. There are some interesting bits of information here, but be forewarned that this app does not attempt to teach the full process of reedmaking. (It doesn’t specifically claim to, but you don’t know what ground the instruction covers until you buy.) Mr. Gaudi points out:

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Commonly-fudged woodwind fingerings

Beginning woodwind players, including doublers, sometimes cheat a bit on fingerings, using fingerings that are almost right. If you’re doing this, it’s likely that you have notes with poor tone, intonation, and/or response. If you think you are getting away with it, you’re probably mistaken, and you may be cementing bad habits that are going to become even more apparent as aspects of your tone production improve.

Flute

The most common culprits at a beginning or intermediate level are the right-hand pinky and the left-hand first finger.

  • The pinky should stay down for virtually every standard fingering, with the exceptions being anything below the low D, anything above the high (4th-ledger-line) A, and the D in the staff. This is not only crucial to the pitch and tone of many notes (you’ll hear it as your embouchure improves!), but also helps to stabilize the instrument.
  • The left-hand first finger must lift for second-octave D and E-flat. You can probably make the notes respond without doing so, but you’ll sound better and struggle less if you do it right.

Make your own diagrams with the Fingering Diagram Builder

Oboe

It’s tempting to be a bit lazy with the various octave mechanisms: the half-hole, the first (thumb) octave key, and the second (side) octave key. Practice slowly and carefully:

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Sorry, but you still can’t bring your reed knives on US flights

There has been some buzz (no pun intended) among US reed players about an announcement from the infamous Transportation Security Administration that some knives will be allowed in carry-on luggage starting next month. But make no mistake—your reed knife will still need to go in your checked bag or it will be confiscated at a … Read more

Yet more woodwind blogs you should be reading

I insist that you check out the following woodwind-related blogs, listed in no particular order. Also see my previous roundups:

David A. Wells

David A. Wells

David Wells is a bassoonist, educator, and scholar. His blog is excellent and rich in original, thoughtful, useful content. Try these on for size:

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Required recordings, spring 2013

As regular readers know, I have my university students (oboists, clarinetists, bassoonists, and saxophonists) each add a new recording to their library each semester. During the course of their respective degree programs, they should each accumulate a nice curated collection of recordings. Here are this semester’s selections:

Peter Cooper: Cooper & Marriner

Peter Cooper: Cooper/Marriner

Amazon (CD) | Amazon (download)

Repertoire: Concerti by Strauss and Mullikin.

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New sound clips: Faculty woodwinds recital, Sep. 13, 2012

Here are some sound clips from my faculty recital last month. I try to make a point of keeping myself challenged, and mission accomplished on this one.

The repertoire, selected collaboratively with my outstanding pianist colleague Dr. Kumiko Shimizu, was all pieces with some connection to jazz music. First up on the program was selected movements from Claude Bolling’s Suite for Flute and Jazz Piano. Flute isn’t part of my teaching assignment at Delta State, but this piece was too fun to pass up and my flutist colleague Dr. Shelley Collins is extraordinarily supportive of my flute playing. Since I spend most of my work week living in reed land, however, my flute chops don’t get the attention I would like, and I’m a bit self-conscious about my sound and my control of the instrument. I hear a number of things on the recording that I am less than satisfied with, but overall I think it went okay, and it was well received by the audience (even the part of the audience whose grade doesn’t depend on keeping me happy).

Next was a new-ish piece by young composer Alyssa Morris, a fellow BYU alum. I had heard her Four Personalities for oboe and piano performed by Nancy Ambrose King a few years back at an IDRS conference, and it immediately sprang to mind when I started brainstorming jazz-influenced oboe pieces. We performed the first two movements (second, then first), which, to our ears, had the strongest jazz elements. The first movement (performed second) in particular has characteristic swing rhythms and figures, and it was strange but fun to tackle those things on the oboe.

At the John Mack Oboe Camp over the summer, I heard a fine performance of this piece by the Oregon Symphony’s principal oboist, Martin Hebert. I also got some reed help from Linda Strommen (of Indiana University), which has greatly improved the pitch stability of my reeds. I’m pleased with the improvement over last year’s recital. I’m not sure I have entirely adapted tone-wise to the change, however, and I was a little surprised by my sound on the recording—to me, I don’t quite sound like me.

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Faculty piano and woodwinds recital, Sept. 13, 2012

Kumiko Shimizu, piano
Bret Pimentel, woodwinds

Faculty Recital
Delta State University Department of Music
Recital Hall, Bologna Performing Arts Center
Thursday, September 13, 2012
7:30 PM

Program

from Suite for Flute and Piano
Claude Bolling (b. 1930)

I. Baroque and Blue
V. Irlandaise
VII. Veloce

from Four Personalities for Oboe and Piano
Alyssa Morris (b. 1984)

II. White
I. Yellow

Three Pieces for Clarinet Solo
Igor Stravinsky (1882-1971)

I.
II.
III.

Naima
John Coltrane (1926-1967), arranged by Bret Pimentel

Peace Piece
Bill Evans (1929-1980), transcribed by Brent Edstrom

Fuzzy Bird Sonata
Takashi Yoshimatsu (b. 1953)

1. Run, bird
2. Sing, bird
3. Fly, bird

Ballade
Keri Degg (b. 1975)

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Required recordings, fall 2012

Here, once again, are my required recordings for the new semester. These are recordings I select each semester for my university students, a different one for each instrument (I teach oboe, clarinet, bassoon, and saxophone), so that over the course of their degree program they build up a collection of great players playing great repertoire.

Humbert Lucarelli: Wolf-Ferrari/Strauss/Vaughan Willams/Barber

 

Amazon (CD) | Amazon (download)

Repertoire: Barber CanzonettaStrauss Concerto, Wolf-Ferrari Idillio-ConcertinoVaughan Williams Concerto.

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