- Everything Saxophone (Ben Britton): Kenny Garrett & Jazz Articulation
- The Flute View (Rena Urso): Understanding the Connection Between Your Arms and Tongue Can Improve Your Articulation
- Clarinet Divas (Diana Haskell): Female Clarinetists In U.S. Part Two – College Professors/Teachers
- ProneOboe (Jennet Ingle): Discouraging Words
- Practice Room Revelations – Jolene Madewell (flute): How I Practice Vibrato: 6 Self-Awareness Questions [Video]
- Jess Voigt Page (saxophone): Making money as a private music lesson teacher on public holidays!
- Jennifer Cluff (flute): Presto Young Person’s fingerings
- MATTHEW EMANUELSON – Blog (bassoon): 10 Tips for Audition Day
- The Flute Examiner (Keith Hanlon): Modern Piccolo Mechanisms
- Recorder Jen (Jennifer Mackerras): Choosing a new recorder – wood or plastic?
- Bill Plake Music: Clarifying A Common Misconception About Your Lungs To Help You Breathe More Optimally
- ClarinetMike Blog (Michael Dean): ClarinetMike’s Top 10 Tips for Successful Private Lessons!
- Nicole Riner, flutist: Developing your Home Music Studio: A Worksheet
- LearnSaxophoneOnline.com (Jeffrey Cunningham): 6 Steps for Learning Music by Ear
- oboeinsight (Patty Mitchell): Acknowledge the Listeners!
- Sam Newsome’s Blogspot: Soprano Sax Talk: Teachers Versus Role Models, and The Note Onion Theory
- Jenny Maclay: Common Clarinet Emergencies and How to Fix Them, and Questions to Ask Yourself for a More Productive Practice Session
- Jennifer Stucki, oboist: How does the altitude affect your reeds?
- Recorder Jen (Jennifer Mackerras): How to take apart stuck plastic recorder joints
- Angela Lickiss-Aleo: IDRS Class on Contemporary Techniques
- eflatclarinetproject (Jennifer Fraley): Getting Back to Practicing
- International Clarinet Association (Nora-Louise Müller): The Bohlen-Pierce Clarinet: Exploring a New Tonality
The Flute View (Leighann Daihl Ragusa): Developing Your Ornamental Toolbox
- Jenny Maclay: The Musician’s Guide to Studying Abroad: How to Turn Your Dreams Into Reality
- Recorder Jen (Jennifer Mackerras): How you breathe in is vital to a good recorder tone
- Dr. Pierce’s Bassoon Studio: A stand for an EWI
- Nicole Riner, flutist: A graded list of flute etude books available on Petrucci: college level
- Jennifer Stucki, oboist: Why is my Reed Playing Sharp and Flat?
- Rachel Yoder, clarinet: Objective Language in Applied Music Instruction
- Just Flutes Blog (Roderick Seed): Tips on Andersen Etudes: Op15, No. 3
- Sam Newsome’s Blogsite: Soprano Sax Talk: Acute and Chronic Practicing
- Bassoon Blog (Betsy Sturdevant): Contrabassoon for Dummies
- The Flute Examiner (Kelly Wilson): 11 Cool Things About the Tongue
- Peter da Silva Music: Woodwind Tips – Venting
- Recorder Jen (Jennifer Mackerras): Why we should all start practising long notes
- The Flute View (Jolene Madewell): 7 Tips for Sparking Joy in Your Practice Room
- Stephen Caplan embraces plastic oboes. Related: Elizabeth Brown lists some signs that your wooden oboe has a crack.
- Clarinetist Miranda Dohrman gives advice on building a freelance career.
- Jennifer Mackerras provides solutions for recorders slipping and sliding around in your hands.
- Peter Westbrook shares a 2003 interview with Herbie Mann, covering aspects of jazz flute playing, woodwind doubling, and more.
- Oboist Jennet Ingle offers some suggestions on a good mindset for solo performance.
- Clarinetist Jenny Maclay lists some reasons you might not be improving as much as you would like.
- Oboist Jennifer Stucki offers some suggestions and resources for keeping a reed log.
- Clarinetist Diana Haskell shares ideas on helping students avoid injury.
- Flutist Roderick Seed explains a comprehensive method for memorizing music.
- Anne Norman reports on the 2018 World Shakuhachi Festival.
- Oboist Nuria Cabezas demonstrates hand and finger stretches.
Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.
What are your thought on voicings on the various extensions of the big five? I find I get optimal results on flute with low voicing, but on piccolo I use something more similar to high register alto sax.
I tend to be generally consistent within instrument families: low voicing for flute, so also low voicing for piccolo, alto flute, etc. High voicing for clarinet, so also high voicing for bass clarinet. Saxophones are a little different because they require a “middle” voicing, and I do think it’s worthwhile to target each member of the saxophone family precisely. The easiest way to do that is with mouthpiece pitch: a baritone mouthpiece should sound a concert D (a ninth above middle C on the piano), a tenor mouthpiece sounds a G, alto an A, and soprano a C.
I recently purchased a pennywhistle and I’m really enjoying it so far. I was wondering if there’s any specific kind of voicing associated with that kind of instrument. It feels easy to play the lower octave, but going up higher than the fourth or fifth in the second octave is really difficult without absolutely blasting.
For fipple flutes like recorders and pennywhistles (also known as tinwhistles or “Irish” whistles), I recommend a very low voicing, the same as for concert flute or double reeds. Recorders have a thumb hole that serves (sometimes) as a register vent, which tames the upper registers somewhat. Pennywhistles don’t have that—the only way to get to the upper register is to overblow. With some practice and finesse the registers can be balanced somewhat, but with fipple flutes don’t expect nearly the level of dynamic control that you have on a concert flute or modern reed instrument. Bear in mind, too, that fipple flutes generally take much less air than a band/orchestra woodwind.
Some nice handmade pennywhistles are designed to improve the register imbalance issue. (Narrower-bore whistles in particular tend toward a sweeter, softer upper register, but a weaker lower register.) But many professional whistle players prefer the more “authentic” sound of inexpensive whistles, and might try out quite a few to find one that plays well enough.
Thanks for your questions! Voicing is a little-understood, little-taught aspect of woodwind playing.
- Bassoonist Anna Norris suggests showing up for auditions.
- Michael Shults switches between jazz and classical saxophone.
- David Freeman transcribes recorder parts for Stairway to Heaven (but plays them on an electric keyboard…).
- Michael Lowenstern addresses a bass clarinet reed question.
- Flutist Vanessa Breault Mulvey discusses squeezing’s detrimental effect on flute playing.
- Saxophonist Bill Plake discusses tone imagination.
- Flutist Jolene Harju shares ideas for getting the most out of your lessons. I also liked her “Fundamentals Workout Planner.”
- Jennet Ingle learns something about disappointing performances.
- Saxophonist Jay Brandford shares an Eric Dolphy anecdote about dedication to detail in practicing.
- Matt Stohrer shares his procedure for “setting up” a new saxophone. This is sort of a commercial post, but instructive about what a new instrument might need to play to its best potential.
- Flutist Jennifer Cluff explains anchor tonguing.