The Instrumentalist

Articles March 2012

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Interview:
Adventures Every Summer Running a Music Camp An Interview with Fritz Stansell
“A big part of the initial struggle was dealing with boards and individual personalities. One quick example was the considerable amount of time spent arguing over whether we should serve strawberries. That wasn’t what I had in mind when I started the camp.”
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Feature:
The Wisdom of Francis McBeth, Part 2
“When I was young I marked much of the score because I was taught to do so. I found that my usual markings in an hour’s work caused me to spend more time reading markings because the eye and ear do not go together. Once the eye goes to the page, the ears shut down about 40%. It was a great revelation to me that if I had to mark the score, I did not know the score.”
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Directory:
2012 Directory of Music Camps
Information about the sessions this year for students and the workshops that feature programs for teachers.
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Jazz Clinic:
Starting a Jazz Program
To start students on improvisation, “I let them pick any kind of rhythm, but they are only allowed to play the tonic. Students often forget not to play; they feel every beat has to have music. With limited note choices, they rest more.”
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Woodwind Clinic:
A Distinctive Tone on the Saxophone
Although the saxophone possesses the widest tonal spectrum of any of the wind instruments, it takes discipline to play beautifully.
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String Clinic:
Develop Better Bowing with Beginning and Intermediate Students
“To improve coordination, create different practice patterns that alternate between the frog and tip.”
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Notes from Northfield:
Reflections on Francis McBeth

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Woodwind Clinic:
Finding Your Sound
“Most orchestral conductors expect flutists to use vibrato unless the printed music indicates otherwise. Flutists should have a wide array of vibrato speeds and widths.”
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Life of Reely:
Coming to Terms

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