Building and Maintaining Consistency When Doubling

I've recently begun preparing music for four concerts between now and the end of June, and I'll be doing a lot of doubling. The first concert is only alto and sopranino recorder, the second is both recorders and flute. The third is going to be my first multiple woodwinds recital (piccolo, flute, clarinet, alto sax, and alto recorder) ever, and as the woodwinds professor at NSU.

The main concept I have to remind myself about - which is not earth-shattering - is that you must carry over as many concepts as possible when doubling. It's so easy to get wrapped up in the differences between instruments that basic concepts fall by the wayside.
Concepts like:
- consistent airflow
- swift, relaxed finger motion
- clarity in tone and articulation
- intonation

It's far too easy to let yourself think "Oh, I'm just running through this, I'll worry about intonation(tone/fingerings/etc.) later."

The issue here is that by allowing yourself to essentially drop your guard this one time you're setting yourself up for inconsistency in performance later, which is a much steeper price to pay than to just focus in on an issue when it springs up. I remember once when I was still in school I was playing clarinet in the pit for "Annie Get Your Gun." I hadn't prioritized clarinet, and wasn't practicing properly or enough. In the middle of the show one night I went to play an exposed solo - and completely blanked. I simply couldn't remember which key to press! If I had just been practicing the tiniest bit, I really doubt that would have happened.

If you're getting back into the routine of doubling, try this:
Set aside some time *before* your practice session starts to plan out your practice session. Incorporate some time to work on fundamentals (tone, articulation, scales) before delving into repertoire. I also strongly recommend that you work toward a "standard warm-up" for each instrument. Whenever I practice other woodwinds, I start my practice the same way and it always helps me "settle" into the new horn quickly and easily. Even something as simple as five minutes at the beginning of a session will an immediate impact on your practice session and, perhaps more importantly, will set you up for long term success.

Goals for Quarter 2, First rehearsal tomorrow!

Tomorrow is the first rehearsal of Wild Party, and I'm definitely looking forward to it! Turns out I won't have a soprano sax, but I think I'm okay with only playing 4 instruments for now.

One major goal for me is to play (flute) every day. Even if I only get to play for a couple minutes or so, I really don't want to find myself slipping into one, two, or three days in a row without playing. 
I'm working out of Geoffrey Gilbert's Technical Flexibility, Boehm's 12 Etudes, and I'm going to try my hand at the Karg-Elert 31 Etudes.
As far as repertoire goes, I know I'm going to do Debussy Syrinx and Varese Density 21.5, probably the Taktakishvili Sonata, and from there I'm not too sure.

I've sent out more resumes to schools and universities to see if I can get a little more adjunct work, and I'm really going to push for getting some students this quarter.

I've got a busy day tomorrow, can't wait!

Goodbye Quarter 1, Helloooo Quarter 2!

Welp, the first quarter of the year ended yesterday. This post *would* have been up yesterday, but apparently the "Schedule" feature on this website doesn't actually do anything.

 It feels like August 1st was such a long time ago. In the past week or two while the quarter has been coming to a close, I've been thinking a lot about the progress I have (or haven't) made.

I set out with grand ideas of playing every day, revolutionizing my practice routine, doubling and tripling my technical abilities, and conquering new rep and excerpts. That's not how it went down. It would be possible for me to list here every one of my failures, my missed marks, all of it, but why? It doesn't help my cause at all. Actually, when I think about where I am as a player today as compared to where I was on August 1, I'm incredibly proud of myself.

In August, playing the flute was a terrifying experience. I was always afraid for whatever sounds might come out of the instrument. I could barely play in the second and third octaves. I quit my job, packed up my cat and my car, moved over a thousand miles from the beautiful hills of West Virginia that had been my home for the past three years. I arrived in Florida, homeless, damn near broke, no job for (certainly no gigs or teaching positions!). While I've been trying to keep practicing, sometimes it worked better than others. Thankfully, I've managed to land on my feet, and things are looking up!

So, what's in store for this "Balanced Flutist" now?

Well, for starters, it's time to change my technique books, etudes, and repertoire. It's safe to say that in this category, Quarter 1 was a BUST. I've got a couple things picked out, but I'll be sharing more about my selections in the days to come.I intend to get together enough repertoire for one recital (using mostly pieces I've played before, but some new stuff too!). I also hope to record another video for my YouTube channel, maybe one of the etudes I'm working on.

As far as work goes, rehearsals for Wild Party are going to be starting in the next week or so, and I'm going to contact some other theaters as well to try and get some more doubling gigs. I'm also going to start advertising for lessons.

I have some big news to share though....

Starting in January 2013, I will be adjunct faculty at Nova Southeastern University! I've been offered (and have accepted!) my very first college teaching position, and I couldn't be more exciting! I don't know exactly what my course load is just yet, but all in due time. 

:)

Woodwind Imposter Syndrome

This post was inspired by a reader who wrote in:

“[A]s I've started to build whatever career I have at the moment, I've [been] getting calls for musicals. The one I'm currently doing has a great deal of exposed flute parts, and I have to come to terms with how "sax-player-playing flute" I now sound. I was wondering if you have any thoughts or observations on saxophone/reed players picking up the flute.” - Tim

Over the years there have been many times when I needed to dust off the reeded beasts and find ways to make myself presentable again. Usually I would play them only once a year, so there were always cobwebs to be removed. Of course, every time I pulled the ignored instruments out of the closet I had to face the fact that I sounded exactly like I was: a Woodwind Imposter.

No one wants to be an imposter, so how do we remedy this issue?

What I’ve found that works best for me is to start each instrument completely independent of all others - I try to approach each instrument as if it’s the only instrument I play. When I’m playing sax I’m a saxophone player, not a flute player trying to work on my doubles. If I practice sax as if it’s my only instrument I’m suddenly able to really focus on issues that are sax-specific, and I make much more progress.

I also make sure that when I am practicing more than one instrument a day I give myself a large enough break between instruments so that the lips can recover or reset (this is particularly true when transitioning from reed to flute). As skill level increases (or performance date approaches!), the time between instruments can be reduced. Because of reed-induced lip trauma, I think it’s always best to start the day with flute (of course, I’m a tad biased). The vibrations from the reed cause the lips to swell and tingle, which can make switching to flute very hard at first.

Even though I am a degree-holding flutist, I *still* have to deal with the fact that if I'm playing a lot of sax or clarinet and then switch to flute, my flute tone will suffer in the short term. While simple daily practice makes switching between flute and reeds easier, here are some other tips that I’ve found get me back into flute-mode:

- During breaks between reeds and flute I buzz my lips - but not like a brass player. Instead, use a  “Bbbbbb” or “Ppppppp.” Keep the lips relaxed and floppy (just pretend you're a five-year-old). I’m not sure why this helps, but it does. Be careful not to overdo it, just a couple times for a few seconds each time.

- Playing a couple high notes on the flute can help as well. When the lips have the post-reed tingle, it can feel like you’re forming a small aperture when in reality the aperture is incredibly broad and, frankly, useless. If you have a piccolo available to play some notes on, it can also really help.

- Also, and I realize that this may not be an issue for sax-primary players, I've found that if I'm playing sax improperly, switching to flute will be much harder. I have to remember to support my airstream from my abdomen and also let the larger facial muscles do some of the work on the saxophone. Otherwise, I'll find myself biting the mouthpiece and really straining my lips, which all but eliminates the chance for me to get the focused, resonant sound I want on the flute.

I also like to use a very simple, all-purpose warm-up that I can easily transfer from instrument to instrument:

What I like about this one is that it's not too easy, not so hard I hate myself for even trying, and it covers a good range without being terribly long. I usually start on a fingered G with flute and saxes, and on clarinet I start the same pattern on a fingered middle C. From this starting point I can easily transpose it up or down chromatically, but sometimes I go around the circle of fourths or fifths instead. I also switch up articulations, dynamics, and often play these with a drone for intonation.

Here's one final idea for getting used to switching instruments quickly. After a normal flute warm-up, grab the sax (or any reed) and play for maybe 5 seconds, maybe even just one note. Put the reed down and go back to flute. Take note of any changes to your flute sound, and try to fix them as you continue practicing. Keep doing this, but gradually increase the time spent playing sax (30 seconds, a minute or two, five minutes). You're almost guaranteed to sound different after playing sax than you did before, but by interrupting your flute playing with ever-increasing amounts of reed playing you'll figure out what you need to do to still perform, and isn't that the end goal?

I got a gig!

I've been contacting all sorts of people from a wide variety of places and ensembles looking for some sort of work in music, and I'm happy to say that I have been hired for a gig with a brand-new musical theatre company!
I'll be playing the Reed 1 book of the show "Wild Party," which includes piccolo, flute, clarinet, alto sax AND soprano sax (which I have never touched before). Should be fun. I've ordered new reeds and a triple stand that will hold the clarinet and saxes. I'm waiting to set up a time to sign the contract and get the book!

Rest assured that I will be sharing the dates, times, ticket prices with you. I trust that you will all be in attendance for at least three of the shows. ;)