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Archive for June, 2008

I will be visiting my grandparents in Miami starting today until June 23. They don’t have an internet connection, so hopefully I’ll be able to update once a week… But if not, just picture me enjoying the beach and working on reeds!

Have a great summer in the meantime!

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I’m playing in a reed trio at the moment, and it has been a complete blast. Picture an ensemble where all reed complaints are immediately understood, where the instruments have similar technical concerns (although I win when it comes to the question of thumb dexterity), and, perhaps most importantly, where we all have a similar reedy sense of humor.

…Okay, maybe not the last part.

But anyway, I’m playing in a reed trio with the oboist from my quintet at Eastman (he lives about half an hour away), and one of our clarinetist friends who will be a freshman at Eastman in the fall (he lives only ten minutes away!). They’re amazing musicians and are sort of turning into my brothers. Which is always a good time, if I should ever need anyone beaten up once I get back to school.
Granted, musicians are never good as hired thugs. Just thought I should put that out there!

We’re working on the Francaix Divertissement, which is adorably French and a little jazzy and effervescent and fun. It’s a perfect piece to work on in the summer, because when you play and really get into the groove it feels so effortless.
It’s also super hard and which we’ve only had for two weeks, and which we’re performing for the first time tomorrow, but I have to say that I’m really proud of what we’ve accomplished in such a short span of time.

And anyway, my recital is in August, so there’s plenty of time for practice to make perfect. 🙂

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Yesterday I had a lesson at Northwestern — my last lesson with Professor Kirk until next year! (He takes me on as a temporary student when the breaks for Eastman and Northwestern are different, which is always a good time. And I have a lesson with my old teacher scheduled for tomorrow. So there hasn’t been too much distress.)

Anyway, it was (as usual) fantastic. I would stop there, except that there are a few things I need to share with the wider world.

One: If you are a bassoonist with even a little desire to improve your technique, you should go out and buy Christopher Weait’s Bassoon Scales for Reading & Bassoon Intervals for Reading. You should do this now. (They sell both at Trevco!!) These books are the bassoon music equivalent of a salad from California Pizza Kitchen: fun, tasty, and so healthy you can practically feel yourself glowing. I worked out of both books for an hour today and I can feel them working already.
If for some strange reason you can only buy one of the books, definitely definitely buy Bassoon Intervals for Reading. It’s extremely bizarre — try the consecutive major second page if you don’t believe me — but amazing for technique. If you work at for a while, I’m pretty convinced you should be able to hit any interval on the first try. Maybe the second, if it’s a particularly bad down-slur. But still. Definitely invest in this book!

Two: This might be my inner indie-snob coming to light, but I’ve never been a big fan of the Mozart Bassoon Concerto. I like the Weber a lot (I even made up a little romantic comedy that corresponds to the music of the first movement!), but the Mozart has never won me over. Also, I’ve never played it.
Anyway, I had to have the first two movements prepared for yesterday, and somehow I fell in love. It’s just all so comprehensive; the technique is so organic and the mood moves from light and happy to serious and gorgeous to bombastic and silly seemingly without effort. The Weber does this at its best moments, but Weber definitely took advantage of the orchestra in creating the transitions…whereas Mozart manages them within the actual bassoon part.
Of course, this makes the technique harder because it has to have that sense of flow. And so much of the technique is just a fancy way of moving around to the next gorgeous moment, so it has to be controlled enough to come into the background. On the bright side, it just goes to show Mozart’s supreme confidence in future bassoonists!

All in all, it was definitely a great lesson and I am pumped to keep working on the Mozart.
We’ll see what Mr. Hunt has to say about it in the fall when I’m gearing up for sophomore jury… 🙂

(Also, in unrelated-but-entertaining news: I cannot stop listening to The Decemberists’s “Here I Dreamt I Was An Architect”. Even if all you listen to is classical music, I really think you should venture out on a limb and listen to it. The lyrics against the simplicity of the music and the texture of Colin Meloy’s voice are absolutely fantastic.
And you thought all I wrote about was bassoon!)

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One thing I hate: musicians with obnoxiously low self-esteem. Well, actually I don’t mind those with low self-esteem, I mind those people who broadcast their feeling to the entire world. It’s emotionally draining — there have been people who I have to assure, practically on every encounter, that yes, they are a good musician, yes, they sound awesome, yes, they are so not terrible.

And yet I really can’t complain, because there are numerous times when I, too, have struggled with low self-esteem when it comes to playing the bassoon, and when I’ve relied far too heavily on my friends to tell me that, “Yeah, Rachel, you know how you keep saying you suck? Way to be delusional.”

So I think that low self-esteem is a problem everyone struggles with, and especially musicians. After all, we sit alone in practice rooms trying to figure out what’s bad about our playing. We go to rehearsals where conductors — or our peers — tell us that this note is out of tune, this note has too hard an attack, this phrase does not go anywhere. We ask to be chastised. We get better by noticing our flaws.

Before I go further, let me say that one should never become self-congratulatory. I tend to fall into this trap very easily. I want to be happy! So I congratulate on getting my butt to a practice room, congratulate myself on picking up the bassoon, and congratulate myself on making a reed that will play, however dubiously. These practice sessions are always short and always, if not completely ineffective, then certainly much less effective than they could be.

So back to being down on ourselves. This is not a bad thing. In the end, that out-of-tune note in the Shostakovitch 9 solo will probably keep you from winning the job of your dreams, so it is completely in one’s best interest to notice that it’s out of tune, every time.
But one also has to make sure to fix these problems, and this, I think, is where we musicians can escape the path of obnoxiously low self-esteem.

See, it’s one thing to say, “Gee, that sucks!” and then delve into what, exactly, was so sucktastic about the passage. (You can use better English than me, I am sure.) But obviously just acknowledging this gets one nowhere. You’ve got to fix it — and then, I think, you have to enjoy the feeling of fixing the problem. It’s okay to celebrate your awesomeness when you’ve nailed the Ravel Piano Concerto excerpt or when you’ve gotten your double tonguing ten clicks faster. You are fixing problems. You are indeed awesome!
After really productive practice sessions I like to treat myself. Maybe it’s concocting a super amazing dessert in the cafeteria (luckily, they ONLY thing our cafeteria does well are desserts) or taking some time before bed to read some of my favorite book or letting myself have some chill time with friends. This keeps me feeling happy about my progress without getting too cocky. The reward is in the music, and in the fact that the music allows me to create something beautiful. And when I create something beautiful, everything gets more beautiful. So why not celebrate?

Just don’t get too carried away with all the celebration. There’s always something to improve.
At least, there definitely is for me. But I’m going to fix it!

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