You might have been told many times over that you need to use hard reeds. Because. No. Just because. Don't question me. I'm the band director. I know it all. I went to college for this. I probably don't play clarinet, and if I don't I DID take a woodwind methods class...I mean, that's some comprehensive stuff right there.
Just kidding. That's how it is for most band directors because they do not play single reeds. There are so many other instruments they might have played that it is unlikely you will land a clarinet playing director. Even if you do, not all of them understand how reeds work. Hard reeds are great...for some people. Hard reeds tend to work better on soprano clarinet, but that is not a hard and fast rule either (see what I did there.)
Your only hope of playing the right reeds is to play what you like. You need to make sure that you are on softer reeds that give you a chance to feel some sort of response. You can slowly move to keep your pitch up (providing your embouchure is strong...not firm...just strong.) You must remember that reeds are supposed to help you, and any reed that does not blow freely is likely too hard for you. There are so many choices that you will not have to worry about finding the right one, but you do need to go searching until you find it.
I play a Gonzalez 2.75 on a Selmer D mouthpiece and Leblanc 430. That's a BIG setup, and it works for me. If I gave it to you, it wouldn't work. If we traded horns, I would not enjoy playing your horn because it doesn't work for me. It works for you. You have to be happy with what you re using or you are going to have problems. You can lie to yourself and say that it will get better, but your setup does not get better until you decide that you are going to make a change. Just waiting for reeds to be more free blowing won't work...it never does.
Monday, April 6, 2015
Sunday, April 5, 2015
No More Emotional Drain
Starting in 2001, I joined a community band here in the area. We played all kinds of music, conferences and conventions. I basically did the bulk of the bass clarinetting in a section that is beset with very nice people. The section has changed slightly over the years, and I even took a 5-year hiatus from the group.
When I came back to the group, I was having a VERY hard time in my personal life. So, playing was a good thing to do because I was so distracted by everything. I had just gotten my contra and alto, and I started using the three-way setup in the group, essentially, to entertain myself. I played some very good stuff, but I was mostly doing it for me. It doesn't pay, so that was not the issue.
We played a conference this year, and the whole experience aside from the concert was a nightmare. I had to spend ten minutes earlier this season explaining to the director that I shall not play with a bland tone. I spend a good deal more time explaining the breadth and resonance in my sound as it relates to a band that is so big it shouldn't be a problem.
If you've ever dealt with a manipulative person, you know that they are working very hard to point all the conversation at them. Everything is about making them look good, and even more is about making sure they look smart. They change little details in stories hoping no one will notice, and they tell these stories to tons of people who were not there. Manipulative people change history, and they are very good at making you feel bad because they are being a jerk to you.
If you have dealt with the same manipulative person on and off for nearly 25 years, you get used to their tells. I mean, you never start out thinking they're manipulating you, but when you realize what is really going on, it's hard to ignore. Because you're a nice person, you don't say anything. You try to be as chill as possible, and you go on about your life. However, there comes a time when you have to cut ties.
My life is very drama free. I don't like drama, and I have close friends who don't like drama. MY family doesn't like drama, and I'm not a teenager anymore. When a band director uses you (and your classmates) as a teenager to make themself look good, it's kind of sad when you repeat the pattern (in my case twice) when you are an adult. Some people have a "respect cup" that is bottomless, and they are going to make you fill it all the time. There are band directors like that you who live on respect. It's a drug, and when you don't play by their rules, they single you out (sometimes in EXCEEDINGLY subtle ways) to make sure that you fall in line. I don't fall in line like that anymore, and so I have to remove myself from the situation.
The fact is that the majority of the people in the band are happy because they don't know any better. That's fine. There's no reason for me to mess with that, but I won't be party to it anymore. I literally have too much going on to care anymore, and I need to focus my energy on projects that I know I can release this year. I can really do something, but I can't if I'm constantly listening to someone who is trying to get their respect cup filled. You may say that that's selfish, but you have to remember that I know what I'm worth. I don't get paid to perform a service that is highly valuable, and I have to listen to the constant barrage of manipulative banter which, even though it no longer works on me, is upsetting to listen to.
I just finished writing lyrics for an album, half the music is done, and I am going to record the melodies in the next couple weeks. The children's book may get a boost because I may have found an artist, and I have a thousand things I want to release digitally.
So, if you're experiencing drama in your life, it may be time to walk away or create some distance. You don't kick over the table and tell everyone to fuck off, but maybe it's time to get out of the situation and try something else. If you're a student who is stuck in the situation, hang in there as best you can. The best advice I can offer is this:
1. You're worth more than they say
2. You have a long life after this to live
3. I especially prefer when Lorelai explains to her mom the way she acts. She tells her that she chooses to laugh at Emily's insanity and narcissism. That is where all the jokes and sillyness come from. She uses humor to get around the fact that she knows she is being manipulated in every conversation. Choose to laugh at how silly it is on the other side, do something else with yourself and move forward. You don't always just move on, but you can move forward.
When I came back to the group, I was having a VERY hard time in my personal life. So, playing was a good thing to do because I was so distracted by everything. I had just gotten my contra and alto, and I started using the three-way setup in the group, essentially, to entertain myself. I played some very good stuff, but I was mostly doing it for me. It doesn't pay, so that was not the issue.
We played a conference this year, and the whole experience aside from the concert was a nightmare. I had to spend ten minutes earlier this season explaining to the director that I shall not play with a bland tone. I spend a good deal more time explaining the breadth and resonance in my sound as it relates to a band that is so big it shouldn't be a problem.
If you've ever dealt with a manipulative person, you know that they are working very hard to point all the conversation at them. Everything is about making them look good, and even more is about making sure they look smart. They change little details in stories hoping no one will notice, and they tell these stories to tons of people who were not there. Manipulative people change history, and they are very good at making you feel bad because they are being a jerk to you.
If you have dealt with the same manipulative person on and off for nearly 25 years, you get used to their tells. I mean, you never start out thinking they're manipulating you, but when you realize what is really going on, it's hard to ignore. Because you're a nice person, you don't say anything. You try to be as chill as possible, and you go on about your life. However, there comes a time when you have to cut ties.
My life is very drama free. I don't like drama, and I have close friends who don't like drama. MY family doesn't like drama, and I'm not a teenager anymore. When a band director uses you (and your classmates) as a teenager to make themself look good, it's kind of sad when you repeat the pattern (in my case twice) when you are an adult. Some people have a "respect cup" that is bottomless, and they are going to make you fill it all the time. There are band directors like that you who live on respect. It's a drug, and when you don't play by their rules, they single you out (sometimes in EXCEEDINGLY subtle ways) to make sure that you fall in line. I don't fall in line like that anymore, and so I have to remove myself from the situation.
The fact is that the majority of the people in the band are happy because they don't know any better. That's fine. There's no reason for me to mess with that, but I won't be party to it anymore. I literally have too much going on to care anymore, and I need to focus my energy on projects that I know I can release this year. I can really do something, but I can't if I'm constantly listening to someone who is trying to get their respect cup filled. You may say that that's selfish, but you have to remember that I know what I'm worth. I don't get paid to perform a service that is highly valuable, and I have to listen to the constant barrage of manipulative banter which, even though it no longer works on me, is upsetting to listen to.
I just finished writing lyrics for an album, half the music is done, and I am going to record the melodies in the next couple weeks. The children's book may get a boost because I may have found an artist, and I have a thousand things I want to release digitally.
So, if you're experiencing drama in your life, it may be time to walk away or create some distance. You don't kick over the table and tell everyone to fuck off, but maybe it's time to get out of the situation and try something else. If you're a student who is stuck in the situation, hang in there as best you can. The best advice I can offer is this:
1. You're worth more than they say
2. You have a long life after this to live
3. I especially prefer when Lorelai explains to her mom the way she acts. She tells her that she chooses to laugh at Emily's insanity and narcissism. That is where all the jokes and sillyness come from. She uses humor to get around the fact that she knows she is being manipulated in every conversation. Choose to laugh at how silly it is on the other side, do something else with yourself and move forward. You don't always just move on, but you can move forward.
Thursday, March 26, 2015
New Video---Right Down The Middle Of The Horn
I talk for 15 minutes in this video, but it's all about playing right down the middle of the horn. For me, this is the sweet spot on the instrument. Give it a shot, and hear me out...I hope it helps!
Tuesday, March 24, 2015
Does Your Setup Really Make A Difference? (No, I mean REALLLLLLLY)
Ok, I really mean it. Does your setup really make that much of a difference? I mean, does your horn to the mouthpiece, ligature and reed actually do something for you?
Yes and no.
Your Horn
Your horn helps you up to a point. Wooden horns sound a little nicer because they are made of wood and have thicker walls. A horn with a larger bore gives you more room to move the sound around. An extended horn allows you to play notes you cannot play on a standard horn. Certain horns have notes that are right in a sweet spot, but most instruments are VERY similar. A new horn or a nicer horn is not going to make you suddenly better. It's great to have a nice horn (I have a very nice horn,) but that horn does not make me a good player. You cannot learn to play with your eyes on another prize. Learn to play what you have, plan to get something better in the future maybe (but never blame the horn as long as it is adjusted properly.) Yes, broken horns suck, but you can even learn to play past certain leaks if you're really dedicated. However, everyone can go to the shop (and most of the time your school band will pay for it.)
Your Mouthpiece
Mouthpieces make a big difference, and they are much cheaper than instruments. You can play any mouthpiece you want, but it has to be the right one for you. You NEVER EVER play a mouthpiece simply because someone told you to. I don't care if Jesus whittled it by hand out of gold, frankincense, and myrrh. I just don't care. The price of the mouthpiece of whatever other marketing they use is NOT helpful to you unless the mouthpiece is actually nice for you to play. This is why you order mouthpieces on approval and try them.
Your Ligature
Ligatures provide response, but they do not make you a better player. They do not allow you to do anything, but they do give you a certain level of response. It is like the ammunition you put in a gun. You can get the regular bullets, or you can get armor piercing rounds or you can go all military and get fragmentation rounds that explode when they hit a target. Your ligature does the same thing, you're in a first person shooter with your ligature. You can use something soft like a Rovner for softer response, or you can use a metal ligature for more crisp response. The metals and materials make a difference, and you could spend a LONG TIME thinking about which one to use. These ligatures do not make you better, but they allow you to do the things you already know how to do.
Your Reeds
Your reeds make a HUGE difference. Go watch my videos and you can tell which reeds were good and which were not. It's pretty obvious. They die, and you have to rotate them. They can make a HUGE difference if they are too hard, and they will squeak at you all the time if they are too soft. You can spend a lifetime finding the right reeds, but they are the biggest predictor of your success because they directly interface with your air to make sound.
Notice how I never said any of these things makes you better. I have actually seen marketing for ligatures and mouthpieces with "testimonials" of people saying that that product "allowed" them to do....whatever. Guess what, if you need a specific product to do something that is relatively standard, you're not practiced enough at it yet. You should learn how to do the thing really well, they you can do the thing on ANY equipment, but you can look for the equipment that makes it the EASIEST to do the thing?
If that made any sense...
Yes and no.
Your Horn
Your horn helps you up to a point. Wooden horns sound a little nicer because they are made of wood and have thicker walls. A horn with a larger bore gives you more room to move the sound around. An extended horn allows you to play notes you cannot play on a standard horn. Certain horns have notes that are right in a sweet spot, but most instruments are VERY similar. A new horn or a nicer horn is not going to make you suddenly better. It's great to have a nice horn (I have a very nice horn,) but that horn does not make me a good player. You cannot learn to play with your eyes on another prize. Learn to play what you have, plan to get something better in the future maybe (but never blame the horn as long as it is adjusted properly.) Yes, broken horns suck, but you can even learn to play past certain leaks if you're really dedicated. However, everyone can go to the shop (and most of the time your school band will pay for it.)
Your Mouthpiece
Mouthpieces make a big difference, and they are much cheaper than instruments. You can play any mouthpiece you want, but it has to be the right one for you. You NEVER EVER play a mouthpiece simply because someone told you to. I don't care if Jesus whittled it by hand out of gold, frankincense, and myrrh. I just don't care. The price of the mouthpiece of whatever other marketing they use is NOT helpful to you unless the mouthpiece is actually nice for you to play. This is why you order mouthpieces on approval and try them.
Your Ligature
Ligatures provide response, but they do not make you a better player. They do not allow you to do anything, but they do give you a certain level of response. It is like the ammunition you put in a gun. You can get the regular bullets, or you can get armor piercing rounds or you can go all military and get fragmentation rounds that explode when they hit a target. Your ligature does the same thing, you're in a first person shooter with your ligature. You can use something soft like a Rovner for softer response, or you can use a metal ligature for more crisp response. The metals and materials make a difference, and you could spend a LONG TIME thinking about which one to use. These ligatures do not make you better, but they allow you to do the things you already know how to do.
Your Reeds
Your reeds make a HUGE difference. Go watch my videos and you can tell which reeds were good and which were not. It's pretty obvious. They die, and you have to rotate them. They can make a HUGE difference if they are too hard, and they will squeak at you all the time if they are too soft. You can spend a lifetime finding the right reeds, but they are the biggest predictor of your success because they directly interface with your air to make sound.
Notice how I never said any of these things makes you better. I have actually seen marketing for ligatures and mouthpieces with "testimonials" of people saying that that product "allowed" them to do....whatever. Guess what, if you need a specific product to do something that is relatively standard, you're not practiced enough at it yet. You should learn how to do the thing really well, they you can do the thing on ANY equipment, but you can look for the equipment that makes it the EASIEST to do the thing?
If that made any sense...
The Second Video Is Finally Ready!
I won't recap 15 minutes of talking, but here it is:
http://youtu.be/q1Tmfh60VLY
Just a talk about extracting as much sound as you can get from your instrument without sounding like a lunatic.
http://youtu.be/q1Tmfh60VLY
Just a talk about extracting as much sound as you can get from your instrument without sounding like a lunatic.
Monday, March 23, 2015
The First Video Is Up (And It's About Tone....Oooohhhhhhh)
I could posted anything for my first video. I could have played some ridiculously high mess, or I could have growled, flutter tongued and techniqued my way through the video, but that doesn't really hold my interest. I can do all those things, but I feel like Quigley. I didn't say I didn't know how to do that, I just said I didn't have much use for it.
So, I started with tone: The video is here https://youtu.be/uK3P3EYSuqs and it's just me playing Amazing Grave at the bottom of the instrument with a lot of resonance, a little volume and many styles and speeds of vibrato. I would never release that as an album, but it is something that I would use to teach.
You have to get all the sound out of your instrument that you can, and it's kind of hard to do that when you are not actually blowing air into the instrument or thinking about it. I blab for like 15 minutes in the instructional video (which is coming soon), so go watch if you want a primer in thinking about your sound (and yes, I've thought about it a lot.)
Happy hunting!!!!
So, I started with tone: The video is here https://youtu.be/uK3P3EYSuqs and it's just me playing Amazing Grave at the bottom of the instrument with a lot of resonance, a little volume and many styles and speeds of vibrato. I would never release that as an album, but it is something that I would use to teach.
You have to get all the sound out of your instrument that you can, and it's kind of hard to do that when you are not actually blowing air into the instrument or thinking about it. I blab for like 15 minutes in the instructional video (which is coming soon), so go watch if you want a primer in thinking about your sound (and yes, I've thought about it a lot.)
Happy hunting!!!!
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