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handy dandy information about woodwinds

Live Music – Living Musician

How do musicians land performing gigs in a time when more people play tunes on their phones than on their pianos? Many venues where musicians were hosted in the past have removed music performances from their budget.

What do musicians do when economic times don’t even give space on a street corner for them to earn money with the skill that took over a decade or more to learn?

Barista musicians

Back in the 1980s, we had WWQuintet gigs that were weekly, mostly monthly. Then the gigs became quarterly, yearly — until the request for paid performances dried up and we all returned our individual instrumental parts to the owner of the score. Paring down to a quartet helped for a brief time. The most “popular” group to be hired was a trio. Eventually, the request was for a duo. Then — down to a soloist.

Our training is extensive as well as expensive when we consider the potential job market. “Fall back” positions as teachers is an insult to my ears considering I decided and prepared to be an educator since the age of twelve.

Back in the 1990s, I received phone calls from “charities” inquiring about musicians to help them earn money for their cause. They always seem to think the musician was able to donate his/her skills or product because they “enjoy” what they do and may benefit from the “exposure.” When I became more skilled at discerning the intent or asked bluntly “Do you have a budget?” the request for a “free performer” did not make my skin crawl as often.

At some point, I began to question whether the fundraiser consisdered asking a garage mechanic, electrician or plumber to donate their time. I replied to a lady who expected I find someone to be a volunteer so SHE could earn money, “The electric company is not impressed that we are musicians when they send a bill, or that we volunteered for your organization.” Her “tune” changed and she said she could afford $75. Wow, from $0 – $75 in only 5 minutes. Good work on my part.

There still is the problem of skilled musicians that have “real” day jobs — and then volunteer. They play for fun by volunteering their service for local symphonies who don’t even pay the musicians! The symphony will pay for tote bags, advertisement — but not have money to pay the musicians?!

This topic is open for discussion and suggestions for how to preserve our heritage of live music performance (not “pop stars”)

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Double/single reed comparison

Bassoon reed (left) Oboe reed (right)

Clarinet reeds

Tools or Training

Is it the tool or the training? So often in my years of teaching, I noticed how people were immediately ready to buy a reed, knife, thread, cane, reed case. When students enrolled for oboe lessons, the first question was “what should I buy for supplies?”

When students asked what was needed for the first lesson, my response was “Just bring your enthusiasm!” I meant that. My students could own a box loaded with reed making supplies, yet nothing in that box was near as important as their true desire to learn. They too often overlooked the importance of the training they were about to receive. Their curiosity, their intrigue of the process – that was the most important element in learning music or creativity — mindset.

The training you receive is worth MORE than any tool you can purchase, still holds true today. I see many people clambering to purchase the latest, greatest computer software, program, and gadget. However, without the foundation, training and breakthrough that occurs with their mind, no amount of technology will ever make them become a musician. Some folks have become technicians with their tools. But the ability to reach an audience with a transformational product, message or performance only happens when the mind matches the material.

Sousoboephone – Brass Attack

Are your ears ringing from this bell?

Most oboe players are familiar with the decision the conductor makes for where to place us in the ensemble.
Now here’s a look that goes way beyond anything we could imagine. Is this a Sousoboephone?

Cold Corks

Here in the Northeast, we have been experiencing mixed weather, as usual. We can go from 60 degrees to 20 degrees Fahrenheit in one day. This weekend we were down in temperature to single digit. These extreme low temperatures are detrimental to woodwind instruments.

oboe reed staples with cork

In a small way, the cork which is inserted into the instrument to hold the reeds OR to hold the instruments together securely are adversely affected by extreme temperatures.

Clarinet Tenon Corks

A compounded problem occurs when saxophonists and clarinetists with too much cork grease or loose corks shorten their instrument due to playing and handling which makes the pitch rise even more.

Saxophone Neck Cork

Also, if brass players only tune their main tuning slide (usually pulled out, unless cold), then the sharp fingering combinations (all 2 and 3 valve combinations) become even sharper. This, of course, overtaxes the embouchure from continuous liping down which makes the tone quality sound more and more spread and unfocused.

Trumpet Water Key Cork

Bassoon Bocal with Cork