Recital videos, August 2021

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.)

Favorite blog posts, August 2021

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Favorite blog posts, June 2021

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Favorite blog posts, May 2021

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Favorite blog posts, March 2021

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Favorite blog posts, February 2021

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Transcription: Stan Getz, tenor saxophone on Huey Lewis and the News “Small World (Part Two)”

Get the transcription (PDF)

Huey Lewis tells the story in Kansas City Magazine (strong language edited):

Well, my dad was a jazzer and Zoot Sims died. And when Zoot Sims died, they had a benefit in San Francisco at Kimball’s or somewhere. …

So I take him and sit down … and then I get a tap on my shoulder. I turn around, and it’s Getz. It’s really amazing … he’s wearing his horn and taps me on the shoulder, and my dad turns around and Phil Elwood turns around. And my old man goes, “Holy s***!”

Getz says, “Why don’t you let me play on some of your s***? I can play that s*** too.” And I said, “Oh, why, yes sir, I’m sure you can.” And then he took a card and he wrote on it: “Stan Getz. Have sax, will travel.”

He played beautifully, and on the way home, my old man says, “If you don’t take him up on that offer, I will never, ever forgive you!”

Get the transcription (PDF)

Favorite blog posts, December 2020

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Stop teaching clarinet and saxophone embouchures like this

As a ten-year-old beginning saxophonist, I was taught to form an embouchure like this:

  • Put your top teeth on the mouthpiece
  • Let your lower lip sort of roll or squish over your lower teeth
  • Close your mouth

That’s how I played for years. As I advanced and started to practice more, I would sometimes hurt the inside of my lower lip, drawing blood or forming blisters or scar tissue. I considered this a badge of honor: I practiced until I bled.

But I don’t play that way anymore, nor do I teach students that way. I made an important change to my embouchure that lets me play for extended periods pain- and blood-free, while sounding better and having more control.

The problem with the lower-lip-over-the-teeth approach is that it sets the lower lip up to serve as a sacrificial cushion, to protect the reed from the lower teeth. Sure, you can just tell your students to “stop biting,” but if you’re teaching them an embouchure that’s based on biting, then good luck.

It’s more useful to think of the embouchure this way:

  • Put your top teeth on the mouthpiece
  • Let your jaw hang open a bit, so your lower teeth stay clear of the reed
  • Keep your jaw open, and allow your lips to close around the mouthpiece and reed.

This approach makes sure the lips are used to form the embouchure, not the jaw. It improves tone, response, dynamic range, and more, and virtually eliminates lower lip pain.

Left: jaw-formed clarinet embouchure. Right: lip-formed clarinet embouchure.

If you are used to a jaw-formed embouchure concept, you might find that switching to the lip-formed embouchure leaves you feeling like you’ve lost some control of pitch and tone. If so, double-check your breath support; with the jaw out of the way you will need to depend on those support muscles more for stability.

Don’t play through pain—use a better approach.

Recital videos, August 2020

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.