David Erato on his clarinet “journey”

David Erato, a Wisconsin-based woodwind doubler and teacher, describes the motivation behind his year-long “journey” to improve his clarinet chops:

The idea as a “doubler” is to make whatever instrument is in your hand not feel like a foreign object. One should really study the instrument as if it is the only instrument you play. Practice the same method books, etudes, solos, as a clarinetist in a symphony once did.

David devised a plan to work his way through a book of technical etudes, and carried it out. His plan was based on the a similar system he had used as a university saxophone student. The result?

I can say after all of that, I really do feel like I’ve taken my technique game up several notches on clarinet.  It may be hard to believe, but about half way through the book I felt more connected to the instrument.  Even though I was in more difficult keys, larger interval jumps became easier than when I started.  By the end of it, I didn’t have to think much about playing 4ths in the key of D# harmonic minor.

It’s worth reading the whole thing. There’s one key point from David’s story that I’ve discussed here before, but which is worth restating: as a woodwind doubler, you have to be a beginner on each instrument. David had already completed a technique-building regimen on the saxophone, prescribed by a good saxophone teacher, but hadn’t done so yet on the clarinet. Many of us make the mistake of thinking that such things transfer automatically. They don’t!

I know that many of my readers are college students and/or educators, and may have some discretionary time coming up when the spring semester ends. What fundamental techniques can you spend the summer shoring up?

Similar Posts

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

  • Changing octaves on the flute: a survey of published opinions

    On the flute, there are several notes that have identical fingerings: each note from bottom-line E through third-space C-sharp has exactly the same fingering as the note an octave higher. Obviously, some factor other than fingerings must account for the octaves, but flutists as a group seem to be unclear on what it is.

    I got curious and dug through some pedagogical sources to see what flutists have published about it. I have compiled my findings into a chart:

    To achieve the upper octaves on the flute

    I have started from the baseline of the lowest octave’s tone production methods, and framed the authors’ ideas in terms of what has to be done to move into higher octaves. And I’ve grouped the answers together as best I can, hopefully with reasonable accuracy as to the authors’ intended meanings. For example, “move jaw” and “move jaw forward” obviously overlap, but I separated them to try to maintain the authors’ original levels of specificity. And “jaw” and “chin” may really be the same thing for most flute-playing purposes, but I’ve separated in them in a case where the author seemed to see them as distinct.

    Some of the authors address the issue specifically and in detail, while others just mention something in passing, so the chart does not necessarily represent their complete and definitive views. I have provided a bibliography with page numbers so you can read the authors’ words in context, and I highly recommend doing this if you’re interested in the topic. I’ve color-coded things so you can see at a glance which ideas are most popular, though I don’t think this is an issue to be settled by popular vote.

    There are some surprising outliers. Most authors who mentioned the size of the aperture indicated that it should get smaller in the upper octaves, but a couple insisted that it should not change. Several authors indicated that the distance from the aperture to the blowing edge decreases for upper registers, but one said it actually increases. There’s significant disagreement on whether blowing harder is part of achieving the higher octaves.

    I think some of the differences of opinion shown in the chart may be due to flutists actually doing the same things but describing them differently. It’s also possible that the techniques listed can be combined in different ways to create different tone production “recipes” that produce similar results.

    I’m interested in continuing to expand this in the future. If you can point me toward a published source, then send it along (I’m not really interested in anecdotes or private opinions), or let me know if you think I have misread or misinterpreted someone’s views (especially if you’re the author!). Read More “Changing octaves on the flute: a survey of published opinions”

  • Does woodwind doubling ruin your embouchure?

    Nope.

    We use our embouchure muscles for all kinds of things: facial expressions, speech, eating, kissing. Do any of those things “ruin” your embouchure? Of course not. The embouchure is made up of very flexible, agile muscles that are very capable of carrying out multiple tasks.

    When people (almost always non-doublers) express concern about embouchure ruin, most of the time what they seem to be talking about is tension, or sensitivity loss, or buildup of callused tissue, or maybe strengthening the “wrong” muscles. If playing any woodwind instrument is giving you these kinds of problems, you are playing it wrong. Your embouchure for any and every woodwind instrument should be relaxed, balanced, and pain-free. Get some lessons with a qualified teacher, quickly.

    Woodwind doubling presents real challenges. No need to invent fictional ones!

  • Three stages of practicing

    My practicing has evolved quite a bit since my beginner days. In those earliest days as a middle-school band student, my idea of “practicing” amounted to playing the scale/piece/etc. through from beginning to end, generally with a number of mistakes, and then (optionally…) doing it again. I did manage to make some progress, but the results were far from ideal: few problem spots ever really got fixed.

    As my musical standards, maturity, and commitment to practice time improved, it became clear that beginning-to-end practicing was not the best use of my time. As I started taking private lessons during high school, and transitioned into university music studies, I began spending more of my practice time focusing on the problem spots. With some work, at least some of those spots got solved, and my rate of progress ramped up noticeably.

    At that point, I found myself in the same situation that my own university students now sometimes complain of: they successfully improve the problem spots, but, frustratingly, the “easy” parts fall apart under pressure (in a lesson, a performance, etc.).

    photo, Wolfgang Lonien
    photo, Wolfgang Lonien

    For me, the third stage of my practicing development began when I realized the obvious: every part of what I am practicing needs concentrated, methodical practice. If the “easy” parts are falling apart, it’s because I have essentially been sight-reading them in the practice room, and under pressure my sight-reading ability suffers a bit. Instead I need to know every note, rest, and expressive marking intimately. Problem-spot practicing gets me up close and personal with the “hard” parts, but neglects the rest.

    So now I practice, and encourage my students to practice, phrase by phrase, measure by measure, even beat by beat, through every bit of the music, regardless of difficulty. Some parts might require more work, but every part needs work.

    When I explain this to students, I sometimes see in their faces the same hesitation that I initially had: this is going to take forever! It does require serious commitment, but isn’t it worth it to play the lesson or performance with confidence and control? Besides, it might not take as long as you think. Sometimes I walk through the math with a student to show them that it’s actually pretty doable. For example, suppose the student’s assignment includes a 50-measure etude. If the student spends two focused minutes on each and every measure, that only adds up to a bit more than an hour and a half of practicing, but begins an intimate acquaintance with the entire etude. That’s less than one day’s worth of practicing for most college-level music students, leaving quite a few additional hours in the week to shore up the hard parts plus practice other assigned materials.

    I think that, at least for me, this progression through three different stages was necessary; in other words, I don’t think it’s necessarily wise or feasible to push all beginners straight into something as intensive and committed as third-stage practicing. Your results may vary.

  • Woodwind Doubler Census 2021 results, part 5 (final): self-identification

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’ve released the results in installments, so be sure to check out the rest.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    In the final section of the survey, I gave respondents the option to identify and tell me a little about themselves, including their names, locations, affiliations, websites, and other comments. I’m not sharing personally-identifiable information here, but I’ll respond in a general way to each question.

    What is your name?

    Almost 180 of you identified yourselves by name. It was lots of fun to scroll through see musicians I know and have worked with, who I have connected with online, and even some of my heroes and role models. And it was also very cool to see lots of names I didn’t know (yet). If you’re out there and would like to connect, I hope you will feel free to reach out.

    Where do you live?

    I’m sharing these sorted alphabetically and lightly edited.

    19047
    Ada, OK
    Ada, Oklahoma
    Archer City, Texas
    Arizona
    around Boston
    Around Raleigh, North Carolina
    Asheville, NC
    Ashland, KY
    Atlanta
    Auburn, ME
    Austin TX
    Austin, TX
    Australia
    Baltimore, MD area
    Bangkok, Thailand
    Berlin, CT
    Birmingham, England (studying)
    Bolivar, MO
    Boston
    Boston
    Boston-area
    California
    Cambridge, UK
    Canada
    Centra Michigan
    Charlotte, NC
    Chatham, Ontario, Canada
    Chicago
    Chicago Suburbs
    Chicago suburbs
    cincinnati
    Cleveland OH
    Coburg, OR (but still gig in San Jose, CA, my previous residence)
    Colorado
    Comerío, Puerto Rico.
    Connecticut
    Conroe, TX (40 miles north of downtown Houston)
    Coopersburg, PA
    Corvallis
    Covington, LA
    Currently in Tampere, Finland; usually SoCal/ SF Bay Area
    Dallas – Fort Worth Area
    Dallas, Texas
    Dallas, TX
    Dallas/Fort Worth region
    Darien, IL
    DC area
    Durant, Oklahoma / Las Vegas, Nevada
    East Bay of SF Bay Area
    East Lansing, MI
    Eastern Mass
    Eastern North Carolina
    Edmonton, Alberta, Canada
    Eugene, Oregon
    Fargo ND
    Fargo, ND
    Finger Lakes region of New York
    Florida
    Fort Worth, Texas
    Fresno, Ca.
    Germany
    Germany
    Grand Rapids, Michigan
    Greater Vancouver, BC, Canada
    Greensboro, NC
    Greensboro, NC
    Greensboro, North Carolina
    Hamels, Braughing, Hertfordshire, England
    Hampton Roas, VA
    Harrisburg, PA
    Hong Kong
    Honolulu, Hawaii
    Houston
    Houston TX
    Houston, TX
    Ihio
    Indiana
    Indianapolis
    Indianapolis
    iowa
    Iowa USA
    Jersey City
    Kanagawa, Japan* (originally from Maine)
    Kansas
    Kansas
    Kansas City metro area
    Lancaster area PA
    Lancaster, CA
    Las Vegas
    Las Vegas
    Little Rock, Arkansas
    Liverpool, NY
    London
    London
    London and Cape Town
    Long Beach, CA USA
    Los Angeles
    Los Angeles
    Los Angeles/Orange County, CA
    Madeira Beach, FL
    Manhattan and Connecticut
    Melbourne, Australia
    Melbourne, Australia
    Melbourne, Australia
    Memphis
    Memphis
    Memphis, TN
    Memphis,TN USA
    Metro Atlanta
    Miami, FL
    Miami, Florida
    Michigan
    Middleton Massachusetts
    Midwest U.S.
    Milwaukee
    Milwaukee
    Milwaukee
    Milwaukee WI
    Minneapolis
    Minneapolis, MN
    Minnesota
    Mississippi
    Mississippi
    Montgomery, AL
    Murfreesboro
    Myrtle Beach, SC
    Nashville, TN
    Nashville, TN
    Nashville, TN
    Near Eugene Oregon
    Nebraska
    Nevada
    New England, USA
    New England, USA
    New Jersey
    New Jersey
    New Jersey, US
    New Orleans
    New York
    New York City
    New York City
    New York City
    New York City Metro area
    New York, Montreal, and Florida
    New York, NY
    North Kingstown, RI
    North Texas
    Northeast Ohio/Western PA
    Northeast Tennessee
    Northeast U.S.
    Northeastern and Central Pennsylvania
    Northern California
    Norway
    NY
    NY area
    NYC
    NYC
    NYC
    Ocean Reef, Perth, Western Australia
    Ohio
    Ohio
    Oklahoma City
    Oregon
    Oregon
    Orlando, Florida
    Oxford, UK
    Pennsylvania
    Perth
    Perth, Western Australia
    Pickering, ON Canada
    Piedmont Triad Area of North Carolina
    Pittsburgh
    Pittsburgh, Pa.
    Preston, UK
    Queensland, Australia
    Reno, NV
    San Antonio
    San Antonio TX
    San Antonio, TX
    San Francisco
    San Fransisco Bay Area
    San Jose
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San W
    Saskatchewan, Canada
    Scenic Martin, TN
    Scotland
    Scotland
    Seattle, WA
    SF Bay Area
    SF Bay Area
    SF Bay Area
    SF Bay Area
    SF South Bay Area
    SF South Bay Area
    Singapore
    SLC Utah
    South Eastern Wisconsin, USA
    southern Virginia
    Springfield, MO
    St Andrews
    St Paul/Minneapolis
    St. Louis area
    St. Louis, MO
    State College PA
    Sussex, Wi
    Tampa Florida
    Teaneck, NJ
    Tennessee
    Toronto
    Toronto
    Toronto CA -> Greensboro,NC
    Toronto, Canada
    Troy, AL
    Trumansburg, NY
    UK
    Urbana, IL (& Springfield, IL)
    Va Bch, VA.
    Washington, DC
    Washington, DC
    Washington, DC metropolitan area
    Wellington, New Zealand
    Will be moving to Denton, Texas
    Yorkton, Saskatchewan, Canada

    What is your main gig, performing group, teaching institution, etc.?

    I have edited a number of these (the asterisks are mine) in cases where, based on my best judgment, I felt strangers might be able to identify you through web searches.

    *** Big Band
    *** College/*** Community College/*** College/private studio/*** Festival Orchestra/*** Philharmonic
    *** County Schools, Freelance musician
    *** Ensemble, Broadway shows, recordings, *** College of Performing Arts
    *** Episcopal School
    *** High School (band director)
    *** Jazz Band
    *** London West End
    *** Middle School (Teacher)
    *** Musician
    *** Quartet, Goodspeed Musicals, Playhouse on Park, etc.
    *** Symphony Orchestra (Assistant Principal Bassoon/ Contrabassoon and much of the Saxophone work), teach at the University of ***, lots of studio recording sessions.
    *** Symphony Orchestra, Bassoon
    *** University graduate teaching assistant
    *** Videogame Symphony
    *** Winds, Ballet *** Orchestra
    ***Winds, ***, ***
    2nd Alto Sax, US Navy Band *** Jazz Ensemble
    6-12 band director
    A school big band
    ABRSM
    Air Force, formerly with a regional band, but now assigned a non-music job
    Alabama State University
    Band Director – High School
    Band instrument repair
    Bar gigs w/ a combo
    Before the pandemic I was regularly doing musical theatre work 3/4s of the year and also was doing a fair bit of big band playing as well. The big band and various offshoots of it play pre 1940s swing music and some smaller “Dixie” stuff so there’s a lot for me to do on clarinet. I also teach privately at a school system and a music store and was leading an after school ensemble and doing sectional work with the other bands at the school system. Those ended up being fairly evenly split, and then I would pick up various odd work at studio sessions or local bar gigs
    Big band jazz
    Broadway
    Broadway and Lincoln Center
    Broadway pits
    Certified bad*** (jk, picking up jobs when I can/doing musicals)
    Church and Various community bands
    Church Music Director
    Church of ***, Music Director and keyboardist
    Coastal Carolina University
    Community band/ musicals
    Community bands
    Community Bands – 4 of them.
    community orchestra
    Community theater
    Community wind ensemble
    Cruise ship musician (saxes, flute, piccolo, clarinet)
    Currently all virtual – mostly with the Royal Canadian Naval Reserves at ***.
    Currently RSO/VVGO/various guest player roles at Chinese orchestras in Singapore
    Currently teaching orchestra.
    DMA student at the University of ***
    Elementary Music Teacher
    Everywhere 😂
    Fargo Moorhead Community Theatre
    Free-lance musician
    Freelance
    Freelance
    Freelance musician around the west end and London
    Freelance teaching and performing
    Freelance woodwind specialist, director of local volunteer big band (Ensemble Swing Time), Singer
    Freelancer / university adjunct
    Going to the *** College of Music and Drama for Oboe Performance (with a touch of Woodwind doubling) this september
    High School
    High School Teacher
    Home based teacher
    I am a high school student at *** High School
    I attend Brandon University
    I play the flute family for the *** Symphony Orchestra
    I primarily teach private students.
    I work at *** full-time during the days, and sub regularly on Broadway on nights and weekends (under normal circumstances)
    I’m in high school so this doesn’t apply
    Instrument repair
    Instrument Repair at ***
    Jazz Big Band
    Just freelance
    Local high school and regional theater
    Local theatre groups
    Mainly in undergrad jazz band and concert band
    Mars Hill University
    Mid-*** Symphony, *** Jazz Band
    Middle school music teacher, play in local symphony and a collegiate wind orchestra
    Military Band
    Military musician and private teacher
    Missouri State University
    Music bachelors student
    Music education undergrad
    Music teacher/Teaching artist
    Musical instrument repair/orchestral oboe.
    Musical theater, church
    My band, The ***
    My online business as a content creator and educator
    National or international tours.
    No main gig during The pandemic.
    No main gig.
    None, teach at *** College, produce concerts at ***, run the *** Saxophone Quartet,
    North Carolina State University
    Nowadays it’s mostly University ensembles in Cambridge
    Performing
    Performing
    pit orchestra
    playing in musical orchestras/ bands
    Playing in musical theater pits
    Playing on Broadway
    Playing: Civic Theater and the *** Jazz Orchestra. Clarinet teacher for local school district.
    Private instructor, various big bands, west coast style combo and various pits when they come up
    private lessons at *** Music
    Private lessons teaching
    Private Studio
    Private Studio
    Private teacher & reed maker out of my home
    Private teaching studio
    Private woodwind teacher & freelance musician
    Prof. of Music, The University of ***
    Professional and community theatre pits. Too many to list.
    Professional orchestra librarian
    Professor at *** University
    Professor at NDSU
    Put work
    Recent college graduate, premed, member of *** (funk group), and jazz musician/woodwind instrumentalist
    Regional big band & GB
    Regional Broadway caliber theater productions and local hire for national tours.
    Regional theater, private lessons
    Retired
    Rockland County Concert Band
    Royal Birmingham Conservatoire (studying)
    Sam Houston state
    Saxophone with ***
    School band
    Schriener University
    Self-employed
    senior in college, about to student teach
    simpson college
    Six Flags
    Small School Band Director
    Software Engineer
    solo jazz performer
    Southwest *** Community College
    Stockton CA
    Student
    Student
    Student right now
    Substitute teacher specializing in music
    Teach at ***. Play gigs w/my jazz combo.
    Teacher (Elementary)
    Teaching and free lancing.
    Teaching and instrument repair
    Teaching at a school(still a uni student)
    Teaching Bassoon Lessons
    Teaching middle school band
    teaching private lessons
    Teaching the reed studio at *** University.
    Teaching: *** Music (lesson studio and music store) | Playing: *** (amusement park) Dixieland Band
    The *** Quartet (baritone chair), freelancer/soloist, Orchestra of ***
    Theater
    Theater Musician
    Theatre
    There are several
    Touring Musician (Broadway shows)
    UNC Charlotte
    Univ. of ***, *** Technical College
    University adjunct professor, Broadway touring shows (local hire) and local theater company.
    University as a student
    University New Music Ensemble
    University of *** *** Society (the musical theatre society)
    University of Nevada, Reno
    University of North Carolina School of the Arts
    University of Oregon
    University of Texas at San Antonio/private lessons (self employed)
    University Professor an conductor
    University student with some private teaching and freelancing
    US Army Musician
    US Navy Pacific Fleet Band
    Varies
    VVGO, RSO, UFB – virtual ensembles.
    WAAPA – Western Australian Academy of Performing Arts
    Weddings
    Western Australian Academy of Performing Arts
    Will be attending UNT
    Youngstown State University

    What is your website address?

    Lots of you shared websites. In cases where I could locate a relevant and reasonably-fresh RSS feed, I’ve added them to my feed reader, which also puts them on my public blogroll.

    Any other comments you would like to share?

    Some of you took this opportunity to share some general thoughts about woodwind doubling, to expand upon your biographical details or musical experiences, or to offer critique/commentary on the survey itself. Many of you were also kind enough to express appreciation for the survey, my blog, and other resources on my website. It was deeply gratifying and also super weird to hear from a few of you that you drew inspiration from my website as kids and are now working musicians, graduate students, etc. Anyway, thanks for taking the time to say hello or share a few thoughts.

    In conclusion, thanks once again to all for your participation, readership, and friendship. It was great to hear from so many of you, and I hope to do it again in 2031.

  • Playing in tune

    I’ve been working on improving my pitch this summer. Why is it so difficult to play a woodwind instrument in tune? I believe there are three reasons:

    1. The instruments are, of necessity, built in a hopelessly compromised manner. A flute or bassoon or whatever that plays perfectly “in tune” doesn’t exist. (“In tune” is in quotation marks because of #3, below.)
    2. The human element is full of variables that affect pitch: a little change in embouchure, a little variation in breath support, and the intonation suffers.
    3. Woodwind players (like string players, vocalists, and others) have to meet the sometimes-confusing standard of just intonation, meaning that the “right” pitch for a given note depends very much on the context. This, of course, has to be tempered somewhat when playing with equal-tempered instruments such as the piano. We’ll call all of this intonation, referring to the precise pitch relationships of one note to another.

    To play in tune, I’m working on addressing each of these problems. Some notes-to-self: Read More “Playing in tune”

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