Tuesday, June 16, 2015

12 Reasons Why You Should Use a Metronome Every Time you Practice

12 Reasons Why You Should Use a Metronome Every Time you Practice.


1. No excuses. You can download the app for free if you have a smart phone. Even though I have a drawer full of stand-alone metronomes, I almost always use Pro Metronome on my iPhone. It's convenient, simple, and offers everything I need, including the ability to listen though headphones if I want.

2. It trains you to listen outside of yourself while playing, thus making you a better ensemble player. 

3. It keeps you honest about your rhythm and tempo, and helps you find errors in your playing. We all have a tendency to rush or drag with certain types of playing. We all have the potential to be lazy about correct subdivision of beats. You can improve and overcome these tendencies. 

4. It helps you know what you can and cannot do at certain speeds. We all need work on both faster and slower playing. Keep track of progress as you set goals and work to push your playing ability on both ends of the spectrum. Work to make your scales faster. Work to make your long tones slower.

5. It is a necessary tool when learning challenging syncopated rhythms. Slow it down and really listen. Don't stop listening when you speed it up.

6. Being prepared for performance is all about consistency. Practicing with a metronome reinforces consistent rhythm, tempo, and the ability to play through the piece or excerpt to completion with no mistakes.

7. It makes practice more efficient. Set goals. Play things at both slower and faster tempi than your final goal. Keep track of your progress and write down the speeds at which you have played the excerpt/piece and check them off as you accomplish them.

8. It prepares you to play with backing tracks/click tracks. Playing with that external click takes some getting used to. 

9. For rhythms that you're having a hard time figuring out,  put down your instrument and clap/sing the rhythms along with the metronome before you add in the extra challenge of playing them.

10. It builds in a sense of tempo markings, so that if you are away from the metronome and see a marking of quarter=140 vs. quarter=132, for example, you understand what speed that is.

11. You can fool most of the people most of the time if you have rock solid rhythm even though you've wigged out about playing the all the correct pitches. Good rhythm comes before correct pitches when it comes to a solid, convincing performance.

12. Techniques such as trills can mess with your sense of time. Always always practice with a metronome when you've got trills....especially long ones. 


Sunday, January 4, 2015

Double Reed Resources for Composers

Below is a short bibliography, a list of links, and a list of standard repertoire to familiarize yourself with as you begin to write for the double reed family. Many extended techniques are possible. Be aware of the clef preferences for bassoonists who play at different levels (i.e. college students and professionals prefer to read the upper range in tenor clef).


Books: 

New Sounds for Woodwind (2nd Ed.) by Bruno Bartolozzi
Library call #: MT339B29 1982, Published by Oxford University Press
Contains descriptions of how to produce tones with monophonic possibilities, multiphonic possibilities, combinations of the above, and fingering diagrams. It is a general guide, with fingerings for all the woodwind instruments.

Oboe, by Goosens
Library call#: MT360G66, Published by MacMillen Publishing
Contains history of the oboe up to 1800, including bass oboe and Heckelphone. Also discusses technique, including contemporary music technique.

Index of Oboe Music, by Wayne Wilkins
Published by Music Register (1976)
Contains a bibliography of oboe music arranged alphabetically within genre and includes methods, solo and chamber music and books of interest.

Contemporary Solo Literature for the Bassoon: An Analysis of Representative Compositions and a Survey of Compositions Suitable for the College Student, by Richard Dean Scott. Library call#: ML128.B26 S360 1971b, Published by University of Illinois
Contains an annotated repertoire list of contemporary solo music of published works from 1945 to 1971.


Double Reed and Composition Websites:

This is a small list to get you started. My apologies to composer friends and colleagues who have not yet been added to the list. Please let me know if you'd like me to add you.

International Double Reed Society
Must be an IDRS member to have full access to the site (the journal is available on-line to members), but a great deal of the site is available to non-members.

Trevco Music
www.trevcomusic.com
My favorite purveyor of sheet music for double reeds. They offer a vast catalogue of the music that is in print for bassoon, oboe, English horn, double reed ensemble and small ensembles that include double reed instruments.

Ken Watson
http://kwatsonmusic.com
Composer and arranger for double reed instruments. Member of the Washington Double Reed Quartet.

Mike Curtis
http://mikecurtismusic.com
Composer who writes wonderful arrangements of klezmer, jazz and tango music for double reeds and chamber ensembles.

Thomas Dempster
www.thomasdempster.com
Composer and bassoonist who has written several great pieces for bassoon and bassoon in chamber ensemble.


When you write for double reeds, you should find a professional player to ask questions of and to review your manuscript. Clef choices, technique demands (even simple things like slurring from particular notes), extended techniques (such as the use of just the keys for percussive effect), and tendencies of the instruments are not always obvious. To get in touch with a local bassoonist or oboist, seek out regional double reed societies, professional double reed players in your area (through local symphonies, woodwind quintets, and wind ensembles) and area universities that have music departments or schools of music. The double-reed world is small. If you connect with one person, they can likely get you in touch with many more.





Standard Bassoon Repertoire in Chronological Order:


1.     Antonio Vivaldi, Concerto in e RV484
2.     Georg Philipp Telemann Sonata in f minor  (1728)
3.     W.A. Mozart Concerto K191 for bassoon and orchestra (1774)
4.     François Devienne Quartet Op. 73 (1798)
5.     Carl Maria von Weber Concerto in F  (1811)
6.     Johann Nepomuk Hummel Grand Concerto for Bassoon and Orchestra (1816)
7.     Camille Saint-Saëns Sonata Op. 168 for bassoon and piano (1921)
8.     Heitor Villa-Lobos Ciranda das sete notas for bassoon and string orchestra (1933)
9.     Paul Hindemith Sonata for bassoon and piano (1939)
10.  Jean Francaix Divertissement for bassoon and string orchestra (1942)
11.  Alvin Etler Sonata for bassoon and piano (1952)
12.  Wilson Osborne Rhapsody for Bassoon (1952)
13.  Alexandre Tansman Sonatine for bassoon and piano (1952)
14.  André Jolivet Concerto for bassoon, harp, piano and string orchestra (1954)
15.  John Williams The Five Sacred Trees , a concerto for bassoon and orchestra (1995)


Standard Oboe Repertoire in No Particular Order:


1.     Schumann: Three Romances
2.     Handel: Sonata No. 1
3.     Labate: Pastorale
4.     Corelli-Barbirolli: Concerto
5.     Barlow: Winters Passed
6.     Clerisse: Fantasie
7.     Handel: Concerto in Bb
8.     Loeillet: Sonata in G
9.     Nielson:Romance and Humoreske
10.  Handel:Sonata No. II
11.  Guihaud:First Concerto
12.  Valentine:Sonata No. 8
13.  Godard:Legende Pastorale
14.  Donizetti:Sonata in F
15. Albinoni:Sonata in a
16.  Telemann:Concerto in f
17. Berio Sequenza

Friday, February 28, 2014

Link Up Recorder Basics

Resources for Beginning Recorder


Squeaky's Recorder Playhouse

  • Clear fingering chart that includes only notes that will be used in Link Up/first year of recorder
  • Step-by-step process of learning to play recorder music as a beginner
  • Large collection of songs that can be downloaded, printed, and listened to for free (you will need to download Finale Performance Assessment Program, which is also free)
  • You will need a username and password to access these resources. As a Link Up teacher you will have access.
  • These materials are now included in the printed Link Up Teacher's Guide. 
  • Lesson plans for different grades
  • Huge collection of sheet music for beginners
  • Program Ideas for 1st and 3rd grade
  • Recorder resources, including graphics for each of the basic fingerings


Fingering chart from Squeaky's Recorder Playhouse


Monday, February 3, 2014

Link Up Arkansas 2013-2104

Arkansas Philharmonic Partner Schools Materials


Agenda and PowerPoint for Professional Development Workshop for The Orchestra Sings 2013-2014:
https://www.dropbox.com/sh/fc9eujww8w9qczu/uESypKEkLr

Arkansas Philharmonic:
http://arkansasphilharmonic.org/


Carnegie Hall LinkUp Online:
http://www.carnegiehall.org/Education/Link-Up/

Going Home: Dvorak's 9th Symphony, Third Movement

The hymn "Going Home", can be set to the music of Dvorak's 9th Symphony, third movement. 

Going home, going home, 
I'm just going home. 
Quiet-like, slip away- 
I'll be going home. 
It's not far, just close by; 
Jesus is the Door; 
Work all done, laid aside, 
Fear and grief no more. 
Friends are there, waiting now. 
He is waiting, too. 
See His smile! See His hand! 
He will lead me through. 

Morning Star lights the way; 
Restless dream all done; 
Shadows gone, break of day, 
Life has just begun. 
Every tear wiped away, 
Pain and sickness gone; 
Wide awake there with Him! 
Peace goes on and on! 
Going home, going home, 
I'll be going home. 
See the Light! See the Sun! 
I'm just going home. 

Words are by William Arms Fisher and Ken Bible. 

The sheet music and recording for the hymn can be downloaded here: http://www.lnwhymns.com/Hymns.aspx

Sheet music and free recordings for Dvorak's 9th including original orchestration and arrangements for piano, voice and piano, recorder and piano, organ, and other resources: 
http://imslp.org/wiki/Symphony_No.9,_Op.95_(Dvo%C5%99%C3%A1k,_Anton%C3%ADn)

Tuesday, January 21, 2014

Tone Matrix Project


Picture Example 1: violin

Picture Example 2: violin close-up

Pattern Example 1: diagonals

Pattern Example 2: dots

Picture Project
a.     Draw a picture using your worksheet matrix.
b.     Draw the same picture on the computer matrix and see how it sounds.
c.      Experiment. Try different things.
d.     Make your own composition that you would like to save and share. Take your time and make changes and make it just like you want it to be.
e.     If you change the picture on the computer, change it on your worksheet too.

f. In writing, on your worksheet:

  1. Give it a name (a title should be short...one or two words)
  2. Describe it ( Is the music fast/slow, high/low, busy/simple, mellow/crazy) 
  3. Dedicate it to someone (who would you like to give this to as a gift?)
  4. Save the link here (with the help of one of the teachers) 

g.   Save the link of your composition (for final CD project)

  1. Click on “copy link to clipboard” at the bottom of the matrix
  2. Ask a teacher to save the copied link

h. Share your compositions with the class and explain what you have done




Pattern Project
a.     Draw a pattern using your worksheet matrix.
b.     Draw the same pattern on the computer matrix and see how it sounds.
c.      Experiment. Try different things.
d.     Make your own composition that you would like to save and share. Take your time and make changes and make it just like you want it to be.
e.     If you change the picture on the computer, change it on your worksheet too.

f. In writing, on your worksheet:

  1. Give it a name (a title should be short...one or two words)
  2. Describe it ( Is the music fast/slow, high/low, busy/simple, mellow/crazy) 
  3. Dedicate it to someone (who would you like to give this to as a gift?)
  4. Save the link here (with the help of one of the teachers) 

g.   Save the link of your composition (for final CD project)

  1. Click on “copy link to clipboard” at the bottom of the matrix
  2. Ask a teacher to save the copied link

h. Share your compositions with the class and explain what you have done


Friday, October 11, 2013

Nobel medicine winner says: I owe it all to my bassoon teacher

Please see the original blog article here:  www.artsjournal.com


Nobel medicine winner says: I owe it all to my bassoon teacher

October 9, 2013 by  54 Comments

Thomas Sudhof, who shares this year’s Nobel Prize for medicine and physiology, told The Lancet in August 2010 that he owes his powers of analysis and concentration to studying a musical instrument.

What apart from your family is the passion of your life?
I always try to understand everything I encounter—not only in science, but also historical and political events and music and movies—get to grips with the content, meaning, and process. This is immense fun, as strange as that may sound.
Who was your most influential teacher, and why?
My bassoon teacher, Herbert Tauscher, who taught me that the only way to do something right is to practice and listen and practice and listen, hours, and hours, and hours.
How do you relax?
Drink wine and talk to the people I love.
What is your favourite book, and why?
Johann Wolfgang von Goethe’s Faust, because it is a microcosm of the world and Goethe’s beautiful language expresses all of our potential and contradictions.
You can have dinner tonight with a famous person—who would it be?
Wolfgang Amadeus Mozart, so that I could try and find out if his creativity was conscious or inherent.
h/t Gerhard Veith