Gregory Agid

2010-03-29T18:08:00.000-07:00

Monday March 29, 2010

Warm up- off, on long tone exercise. Connecting intervals. Chromatic scale

All major scales-throughout the range of the instrument, Quarter @ 60 in 32 note triplets. Then in thirds.

17 staccato exercises for clarinet- #17 focus on first 3 lines. Reading exercise in quarter, triplets, and finally sixteenth notes @ 70. Focusing on making each note the same. Read through entire exercise.

Listen to and sight read Mozart Requiem (preparation for gig).

Read through Mozart first movement

Brahms sonata no 2 for clarinet and piano first movement.

Practicing today was especially hard because I have completely lost my stamina. I have my wisdom teeth pulled 2 weeks ago and this is the first day of intense practice following surgery. The music is there however I am physically unable to do many of the things I want/need to do. I was extremely tired after 2 hours of practice and had to stop. I am trying to get myself back into playing shape! JUST STOP BITING GREG!

Beginning to Tongue

2010-02-25T06:35:00.000-08:00

When you are tonguing does your tongue actually touch the reed or is it touching the roof of your mouth...my instrutor tells me it should be touching the reed but when I play I don't feel like it does, and my instructor is a trumpet player so advice from a fellow clarinet player would be nice.

-Clarinet

Well, I have some good and bad news for you. Bad news: your tongue SHOULD be touching the reed to create any type of articulation. Good news: your teacher knows what he is talking about! Well, thats my horrible attempt at a joke. Anyways, back to business. Tonguing is something that I have had some trouble with in past. I didn't actually start using my tongue until later in high school. It was a very difficult learning process to retrain my tongue.

The first golden rule to tonguing the reed is, "the tip of the tongue touches the tip of the reed." If you are learning how to do something you want to make sure you learn the right way the first time because changing bad habits are very difficult to do. At first this is going to be a very awkward action, it was for me. It is also very important to remember that when your tongue touches the reed you are stopping the sound, when you release your tongue you create a sound. Its easy to get the two confused.

Secondly, you tongue is at home while it is touching the reed. The creation of tone always starts with the tongue touching the reed then when you release your tongue the sound will follow. You do not want your tonguing to seem violent and harsh which is why I like to think of tonging as releasing the tongue off of the reed versus attacking or hitting the reed.

I know you already have a million things to think about but you must also make sure your air is supported, constant, and very quick. Think of a garen hose: when you turn on the hose, water flows out. If you stop the water with you hand the pressure builds up in the hose. The water never actually stops flowing you are simply preventing water from escaping. Finally, when you move your hand the water rushes out. If you've never seen this happen go try it...... or just trust me. Well, the same thing should happen with your air when tonguing. The air NEVER stops. One day, just hold out an open G, then place the tip of the tongue on the tip of the reed, stopping the sound. DO NOT STOP BLOWING. Some times you will hear air leaking out of the sides of your mouth, that is a good thing at first (you can work on getting rid of that later). Then simply remove your tongue and the sound will start again. If it sounds like crap the first few times its okay, thats why we practice.

I am pretty sure I talk about the "OFF, ON" exercise in this video http://www.youtube.com/watch?v=TBUHwvZBDuQ. Check it out. Its a great one to get you started on tonguing.

Hope this helps,

Greg

Student-teacher relationship

2010-01-27T09:36:00.000-08:00

This is me venting for the day!

The student teacher relationship is a very interesting relationship. Especially now, as a teacher, I can see how students dictate the direction of the relationship. Now I don't want it to seem like teacher's personalities and teaching style do not affect the relationship; the important thing to remember is that TEACHERS ARE NOT PAID TO BE YOUR FRIEND! I know it sounds harsh, but its completely true. Yea, I'll be the first one to agree that some teachers suck, but it is the students responsibility to get everything out of that teacher. Weather you personally like the teacher or not, he will have some type of valuable information for you!

Having this mindset will dramatically alter your attiude towards lessons and ensemble work. I constantly hear friends and students complain about teacher's personalities, teaching styles, and the teacher's ability to play. Well everybody I have news for you, STOP COMPLAINING AND GET A NEW TEACHER!

From my experience teaching, students bring certain expectations and attitude to teaching situations which really drive the experience. As a student, you must realize that there are many things that you do not know because of your lack of experience. Teachers have overcome all or most of the problems you may be facing. Experience is a huge difference between students and teachers. There is such a big difference between a student and professional musician. Students and professional musicians have two completely different outlooks and approaches to music.

At the end of the day the student is the one who loses from a negative relationship. Most teachers already have established careers. In a sense, students must trust that teachers will lead them in the right direction.

Sight reading

2010-01-25T13:50:00.001-08:00

Hi Gregory,

I play clarinet and I need a little bit of help. I've seen the lessons on your website and they've helped me a lot, but I still have one huge problem. I can't read fluently...I play everything by ear (well almost everything). I've been playing since high school (idk how I made it thru by ear)...I can read to an extent but unfortunately that extent isn't taking me as far as I would like to go in music. I know the notes and I know note value. But for some reason (sight) reading is a different ball game for me. I can figure music out if I can hear it. Is there any advice you can give me or any tools that you could suggest to help me reach my goal of reading and some day directing my own band?

Thanks A Lot!!!

Clarinet

Well, first of all, thanks so much for watching the youtube videos. It's kind of funny that you ask because I used to have the same exact problem. Honestly, I've probably encountered every clarinet/music issue possible! I have fixed a lot of things however I am still trying to improve on a lot of things. Reading is actually pretty simple. My biggest problem was that I was so behind, reading wise, that when I would work on reading I would try to play thing that were way too hard!

Fist of all, get an etude book, that is very simple. You might even want to start from the beginning. Buy five or six books, elementary band music to more advanced things. If you are serious about reading you MUST do it every night! You have to force yourself to read! Read things that you don't know. If it takes you 3 hours to read 8 bars... thats what you have to do. The only way you are going to get better is by reading. I know it sounds stupid, but its the truth.

You have to understand sub-divisions of the beat. For example.... If you put a metronome on 60 and play quarter notes...well thats the same thing as playing half notes at 120. If you play eight notes at 60, its the same as quarters at 120. Understanding the similarities and relationships between rhythms is very important. A dotted quarter followed by an eighth is the same as a dotted eighth followed by a sixteenth just at a different tempo.

It is also important to know what each rhythm sounds like. You want to make things as simple as possible. If you can look at a rhythm and play it with no thought... well then you only have to worry about playing the right notes. You want to make things as simple as possible for yourself.

College was a great experience because I had a chance to read so much music. Jazz band charts on tenor sax, wind ensemble music, and orchestra. I went from very little reading in high school to reading all day in college. That was a great experience.

Hopefully this was somewhat helpful. Let me know how it goes.

Greg

Questions 1/19/10

2010-01-19T14:54:00.000-08:00

Hi there!

First off, I think your videos and "lessons" are awesome. (:
Anyways, I play clarinet too, and I was wondering if you could give any advice on register jumps. I'm having a bit of embouchure control issues; when I go into the altissimo range from the lower range, it's squeaky. Heck, even jumping from the altissimo G to D is difficult. If you've ever heard/played Copland's clarinet concerto (adagio), you'll know what I'm talking about. =/
Any tips or advice would be very appreciated.

Best,

Clarinet

Thanks for checking out the videos. I played the Copland last year.....(havent looked at it since) thats a tough one.
This might sound kind of crazy but your goal is to trick your mind into not thinking in registers. You essentially want to be like a keyboard in the sense that every note is equally easy to play.... anyone can walk up to a piano and play any note with ease. However as a clarinet player each note presents its own problems. Playing a low E is much different than playing a high G.

You achieve this ease by practicing everything in 12ths(E to a B, F to a C... just using the register key, I will be sure to make a lesson on this). Your embouchure should not change through different registers. Practice long tone and tonguing exercises using 12ths. This should help a lot with the large jumps.

Also another piece of great advice i was given is that your mouthpiece rests on the top teeth....not your bottom lip. When playing high or big jumps be aware of where pressure is applied on your mouthpiece. If you apply pressure from your bottom lip on to your reed, it will muffle and do other things to your sound. If you apply pressure on your teeth and try to make the reed as free as possible to vibrate that should help open up your sound.

Hope some of this helps
Let me know how it goes

Wow! Your advice really helped.
I never thought of the reed that way before, and didn't know that the pressure should be on top rather than the bottom. That helped so much, my tone pretty much improved instantly.
And the whole relaxed mindset got rid of the extra tension I had in my throat and jaw area when I played. I never thought that would go away, haha.
I really appreciate you taking the time for those bits of advice. (:

getting serious

2010-01-19T13:49:00.001-08:00

Well, this is my first blog post in about 9 months. I know its really sad, but I am going to make a HUGE effort to get this thing going. I finally have some type of vision as to what exactly I want to do with this blog. First and foremost, this is going to be a place for me to discuss whats on my mind, music and non music. I also want this to be a forum for question. If any one has any questions relating to music, practice, or any interesting topics, please feel free to ask. I will post the discussion on my blog so we can all learn something. Don't worry I'll hide identities.

Buffet

2009-05-15T10:19:00.000-07:00

Well, I havent made a post in about a month...sorry. Man, so many great things have happened over the last couple weeks. I had my senior recital, played new orleans jazz fest, and now im in switzerland. Most of my family lives in europe, so hey we might as well visit them every 10 or 12 years, uh? Way too long in my opinion. I have only been here for 8 hours and already this place is a total culture shock. Life seems to move much much slower. We can get into a bit more detail later.

Though visiting family is very exciting, the highlight of my trip is going to be visiting the Buffet factory in Paris. I am fortunate enough be be allowed to visit Buffet in Paris, take a tour and try a couple of clarinets out! There is a very good chance I will be leaving Europe with a new toy! Very excited.

While here, I will also get a chance to play in the oldest church in switzerland, its a pretty incredible place.

anyways, hopefully ill get to check out some music, I will keep everyone posted.

later,

Greg

Willingness to learn

2009-03-29T17:13:00.000-07:00

One of the hardest things to do as a human being is to break routine: driving to class/work the same way, the way you shower, and in my case how I play. How do you break away from bad habits and expand on your good qualities. Criticism is very hard to understand and is often times met with hostility. However it takes humility to realize there might be truth to the critique. I am often the first to draw conclusions about people's playing and how they must fix it.

I was recently put in a situation that test my willingness to accept and consider a critique of my playing. Although I was automatically defensive I realized that being defensive would not get me anywhere. Change is in the air. Not only was I critiqued, but I was fortunate enough to be given great advice on how to fix my situation. I have two choices: be stubborn and not learn anything or try something new and potentially become that much better of a player. By taking advice I am put in a position of power, I can now do things two ways...my way and the new way. I am then given the chance to choose which is the best way. I can choose my own destiny.

I have encountered too many stubborn people who have refused to take advice over the last several years to want to become like that.

"You know more than you think you know, just as you know less than you want to know." Oscar Wilde

Taking it to the next level

2009-03-22T21:18:00.001-07:00

What is commitment? How much do you really want it? How much are you willing to sacrifice in order to achieve you goals?

Unfortunately, reaching goals involves a level of commitment that most are not willing to endure. In my case, I want to be a musician and teacher. Though I am not the most talented guy in the world I feel I have a work ethic that is second to none. Jason Marsalis told me when I was back at NOCCA, "Hard work seven days a week beats talent any day." In most cases this is very true. You hear stories about musicians like Trane who practiced all day. Every moment of their life revolved around music. Today, I feel it is rare to love the music so deeply that all aspects of life come second to it.

Since my time at NOCCA, music has been my life. I am very fortunate to have been constantly surrounded by very inspirational musicians: Alvin Batiste, Mike Pellera, Jonathan Batiste, Ted Boasso, Conun Pappas, Max Morran, Joe Dyson, the list goes on and on... I feel that I am at a point in my life where I have to choose: Music or something else? Thought I felt I was serious before, I feel I have reach a new level of understanding, love, and most importantly, dedication to the creation of beautiful music. It is time for me to choose. I feel I have made the choice and am ready to nourish my musical side. I am ready to work for the next level. Only time will tell if I have worked for the next level.

-The music will only love you as much as you love it.

Questions

2009-03-19T18:28:00.000-07:00

Just wanted to add, I highly encourage anyone that has any questions or wants to contact me to do so! I want this to be as interactive as possible!

Post on my blog!

or go to....

www.gregoryagid.com

www.myspace.com/gregoryagid

www.twitter.com/gregoryagid

Whoa Blog time

2009-03-19T18:13:00.001-07:00

Hello, this is my new Blog... My name is Gregory Agid, a New Orleans based clarinet player. I'll be graduating this May from Loyola University New Orleans with my BM in music business. The content on this blog will be primarily music based, however it might get personal if it must.

I'll start with a little bit about myself. I am 22 years old, play clarinet....try to play tenor and soprano sax, one day its gonna happen. I lived in Hawaii until I was 12 years old and moved to New Orleans in 1999. I was introduced to Jazz in 2000 when I attended the Louis Armstrong Jazz camp (www.louisarmstrongjazzcamp.com). I was fortunate enough to be able to study with clarinet master, Alvin Batiste for seven years. Most of my musical knowledge and inspiration stems off of the lessons I leaned from him. He was truly a master and had a huge impact on my life both musically and personally. I began studying "classical" music in 2006 at Loyola University where I am pursuing a music business degree. At School, Jazz in not my primary focus however all of my musical lesson directly relate to Jazz.

Currently, I teach at the louis armstrong jazz camp, NOCCA summer sessions, and twice teach jazz combos at Benjamin Franklin High school.