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Showing posts from May, 2016

Setting Up for Success

When it comes right down to performance time, what do you do to get ready to perform?  What are the notes that you play or the things that you think?  How do you set yourself up for success?

My students are all preparing for our annual spring recital.  We've had our final lessons of the year, and the question I asked everyone was "What do you need to do right before you go on stage to prepare for this piece?"

The answer is different for each of them.  For Carla, playing the Schumann A Major Romance, a slow C#, A, F# slur is going to prepare her embouchure for the descending intervals that start the piece and recur throughout.  For Braydon, playing Handel F major, the biggest issue is tempo and character.  He is to think about the tempo of his slow movement and play the first four notes, beautifully, to himself before he comes out on stage.  For Megan, playing the Jacob Sonatina, it's B and D long tones, to get her sound and vibrato flowing before she starts.  In gene…

Preparing Your Reed Case

I had a huge performance this past weekend - the Rouse Oboe Concerto on my orchestra's final Masterworks concert.  We all know that reeds can be unpredictable and that the need to actually craft a crucial piece of your instrument can be a huge stressor, so my goal was to take that piece of the worry off the table as much as possible.

How do you make sure you have the best reed possible on the big day? 

I've seen students and colleagues treat this problem in three main ways: saving, obsessing, and collecting.

Some people discover a good reed, and immediately tuck it into the "special" reed case, the one that doesn't come out to every gig, and just wait for the "special" time to use it.  They'll play their daily gigs and practice on "normal" reeds, withholding the "special" one for the big concert.

Some people begin weeks in advance, trying extra hard with every single reed that they make.  A basically good reed is not good enough, …