Showing posts with label Piccolo. Show all posts
Showing posts with label Piccolo. Show all posts

Thursday, July 4, 2019

Summer Update

Just a quick update today.

I've been doing a nice job keeping up with practice and with rotating my DeLorenzo exercises. I started incorporating more of them into my practice rotations as well. There were many that I've putting off certain exercises until I was "ready" for them, which is slightly misguided. No, I'm not ready to plow through tons of exercises at a fast tempo, but I can definitely do a few a day at a slower, reasonable tempo. This variety from day to day keeps my practice interesting, and it stretches my abilities just enough. After enjoying my coffee and a crossword on the balcony, it'll be time to start today's practice!

Happy Fourth of July!

Monday, June 24, 2019

My Journey with Anxiety

Since it's summer I decided to try and get back into practicing regularly with the hopes of being able to put together a recital in early fall (we'll see if that works out or not). It's not uncommon for me to ebb and flow and try to get into a new practice routine only to have it fall apart pretty easily. I then end up in some sort of shame spiral because I've yet again failed to prove myself a "real musician."

Earlier this week I had a realization while practicing that it has been seven years - SEVEN. YEARS. - since I was practicing and playing regularly and at a fairly respectable level.  No wonder why it's been so hard to get back into the swing of things! I was under a lot of stress during the end of my time in grad school (around 2011-2012) and that was the beginning of some significant anxiety for me. I left West Virginia after finishing grad school in 2012 and moved to south Florida, where I've had some significant dry spells.

During my last year in graduate school, I had a pretty humiliating experience with a playing a chamber recital for a pianist friend. The repertoire was the Prokofiev flute sonata and Saint-Saens' Tarantelle for flute, clarinet, and piano. By this time I was already struggling with stress and it was beginning to have a negative effect on my playing. After a several rehearsals on the Prokofiev and a couple coachings with the pianists' teacher, she told me that her teacher had decided that another flutists should play the Prokofiev. No one had indicated to me that there were significant issues with my playing. The pianist hadn't voiced any concerns to me directly (I don't know that it would have served anyone well if she had; it likely would have had the unintentional consequence of looking tacky on her part), her teacher hadn't said anything to me, and my own professor hadn't said anything either. I should add here that maybe they did, maybe someone did try to tell me that I was not up to snuff. If they did though, I never got the message.

This was the start of significant issues for me. My self esteem dropped, my playing continued to suffer. This manifested in two significant ways: long phrases were impossible (even "normal" length phrases were very difficult), and playing anything in the second octave (especially C/B/A's). Once I had moved to south Florida, my anxiety eventually got so bad that some days I couldn't even produce a sound. I remember once having to literally tell myself that everything was okay and I was fine just holding the flute down by my side.  Keep in mind that I had just finished my MM in flute performance and I had given my final degree recital only a year before. This was the tipping point for me.

In either 2013 or 2014 I started going to therapy for anxiety. I was teaching very part-time at a university and thankfully was able to sign up for therapy for very cheap. Going to therapy really helped provide me with tools to manage my thoughts and stress levels, and I was able to get back to playing although I still struggle with performance anxiety.

It's been a long time coming, but I am feeling more comfortable and confident about myself and my playing. I still have times of worry, but they are usually shorter and I have ways to handle the situation.

Tuesday, January 20, 2015

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.

Sunday, August 19, 2012

Reflections on Today's Practice

Most everything went smoothly today in the practice room. There are some consistency issues, but they are mostly fixing themselves as I am getting back into a routine.

Before I continue, I really should apologize for not having posted examples of the various exercises yet. I'm a bit hesitant to do so because I don't want to step on anyone's toes or share information without permission, trample over copyright, etc. I'm trying to work all of these issues out so that I can hopefully share these great exercises with you here.

The harmonic exercises are kicking my butt right now, but I'll keep working at it and it should come back quickly. This is hands down one of the best exercises that I know, and one of the three that I love to start the day with because it gets everything working right off the bat (the other two are tongueless attacks and chromatic scales at a brisk tempo).

I'm really enjoying working through the Taffanel-Gaubert. I have to keep reminding myself that I'll be playing these same exercises for the next 8-9 weeks though, so I really do have lots of room to SLOW DOWN and enjoy exploring my own playing. It's quite liberating, really.

Bolero would be going fine, except I'm having what seem to be some pretty significant troubles finding spots to breathe. The rhythm is better than it was, although I still need some time with a metronome. Tomorrow I'm going to try and focus on the spots where the breaths need to be to see if I can assemble the pieces.

I did play piccolo some, mostly just for the sake of playing it (I did do work, too!). I just love playing piccolo.

Practice Plans for Aug. 19, 2012

I've decided to go ahead and post my practice plans for today before I practice, then I'll come back later today and post some reflections on how it went. If this set up works, I'll draw up similar plans for the next two days and go from there with revised the Master Practice Plan.

Here we go:
Jim Walker's Harmonic Exercise
From the Patricia George Taffanel-Gaubert pages:
No. 2 1st 8va
No. 4 – Group 1 (C major – g minor)
No. 5 – All Keys
No. 6 – Inverted 3rds, C major
No. 7 – E major
No. 8 – Variation 3
No. 9 – Variation 5
No. 12 – B-F#, two beat chunks

Then I'm going to get back to working on Bolero, maybe I'll be able to video record it and post the first and final versions on Tuesday.

Piccolo – Piccolo Practice Book Exercises 1&3 (pg. 6)