Update from the black hole

I just finished a presentation I had at work. I had to present a paper on molecular beacons. The papers themselves are something else. The target audience of these scientific journals are people with PhD's in biochemistry, molecular biology, or chemical engineering. So you can only imagine how difficult it is to get through them. I had to look for background information that was more at my level like this before I could even begin to read my paper. Then I had to make a powerpoint presentation and present it to some principal investigators here as well as other interns and graduate students. Can we say INTIMIDATION? I felt quite uncomfortable lecturing about a topic I was still unsure about to people who've actually published papers on that topic. In the end it turned out pretty well. I was nervous and stumbled a little bit through some of my explanations, but the comments at the end were positive.

Between preparing for this presentation and my frustrations with my playing, I've not been playing all that much the last few days. But I am looking forward to returning to my instrument tonight. I plan to just do basics: long tones and slow scales for a few days before working on my piece again. Every time I focus too much on actual repertoire I tend to lose control of things I thought I already had under my belt, namely, embouchure and intonation. It could also be reed related, which means I have to spend more time on that too. I think I've been playing on some bad reeds that have caused me to start biting. Hence I want to use a newer reed which doens't play flat in order to get used to a more correct, open (non-biting) embouchure.

For my next lesson on Tuesday I need to make two new reeds. At our previous lesson T told me that since my goals are "lofty" I needed to get more serious about my reed making. I am going to really put some time into that during the next month before classes start up again.

I've been thinking more about the musical expression thing. I realized that if I have the music in front of me I am capable to analyzing it and coming up with ideas of how it should sound. So if I can do this on paper, theoretically I should be able to do it on the instrument. I think the problem is that it's difficult to be a good critic while you're actually playing. At least it is for me. Maybe this will get easier with time. That's probably what good practicing is about for more advanced students. I often wondered why they'd play the same piece for hours when it wouldn't take them more than a few minutes to get the actual notes under their belts. The difficult thing is figuring out HOW to play the notes. Once you get to a certain level, the notes themselves are no longer the problem. So how do you deal with this while you're still working up to that level? I'm assuming your teacher must help you until you can do it on your own.

I just want to feel that there is hope for me. That the reason I am not expressive now is not due to a tragic personal flaw, but simply to lack of technique and being "green" on the instrument. Sometimes I feel that the sound blinds me. I love the sound so much and it's so exciting that I am finally sounding oboe-like. But I think this distracts me and I pay no attention to actual expression because just making it sound is beautiful to me. Hopefully I'll get over this soon enough so that I can start moving up to the next level.

Blood, Sweat, and Tears

I was a bad little reedmaker all week long and so I ended up having to get up at 8AM on a Saturday morning to try to make a reed before my noon lesson. I figured I wouldn't completely finish it but I could at least take in something half-way decent. At my last lesson we spent quite a bit of time going over proper knife sharpening technique. I was very grateful for this because I knew that I had been doing something wrong; my knives NEVER felt sharp before. She got me away from the ceramic sticks and into a real sharpening block. Those had scared me up until then. It's amazing how much more cane you can pick up with a knife that's actually sharpened. I had been using entirely too much force in my reedmaking to try to make up for blunt knives. As a result of this, I ended up nicking my thigh while working on my reed tip. BLOOD.

It's 85 and high humidity so I won't go into the SWEAT.

The drive into the City was somewhat nervewracking because my reed activity made me leave the house late so I was hauling butt the entire time. I even witnessed a fender bender. The strange part was that I totally saw it coming. I was in the middle lane and could see that up ahead in the right lane cars were nearly completely stopped. The folks coming up behind me on the right were going entirely too fast. I quickly shifted to the left lane to get away from the inevitable. I think that about 4 cars ended up ramming into each other. Nothing serious, but these folks will all have to get new bumpers.

I am not making excuses for myself but the fact was that I got to the lesson already tensed up. Or should I saw more tense than usual? We talked briefly about reeds again and then I had to present my scales. She threw me off by asking me to do a different articulation. I fumbled the first few times but by the end I was ok. I'd rate my scale performance as satisfactory. They're improving but there's still a lot of room to grow.

We ended up skipping long tones and going right into the Giga from my Corelli piece. I had practiced it quite a bit over the week and was nervous about whether it would show. I did mostly fine with the notes and managed to include some varying dynamics. In my naivete I thought it was sounding pretty ok but I was missing the big picture. A lot of my choices had been somewhat misguided. T helped me understand ways to better phrase the passages. Everything she said was very helpful and whenever she demonstrated for me it sounded much more beautiful (even though she was purposely not using vibrato). I think that deep down I was feeling frustrated that I hadn't been able to figure it out on my own. She assured me that I was doing more than well and that it would all come with time. But still, I couldn't help but feel inadequate. Why can't my lines flow yet? Why is my air stream wimpy?

It was in this state of mind that we started a "pre-vibrato" exercise. This consisted mostly of controlled shouting so that I could isolate the area I will eventually get my vibrato chops from. I've struggled with vibrato and too much throat/nose in my singing so I've known (and dreaded) all along that vibrato would be a challenge for me. When you add self-consciousness into the mix, it's a recipe for disaster. I battled through the exercises, rarely getting them right. I continued on but eventually broke down. When I tried to make a sound it got caught up with a knot in my throat and my eyes welled up with tears. I was mortified! How embarrassing to be crying in front of one of my beloved teachers. Crying because I couldn't do something. TEARS.

She was very sweet about it and got me water and encouraged me. We went on for a few more minutes but with the instrument instead because I was just too uncomfortable trying to produce weird sounds with my voice. I was able to get a single beat in the middle of a long tone and we stopped at that point.

While I put my instrument away we had a nice talk. I was feeling ridiculous still and wanted to figure out my feelings. I know that I was frustrated but it's not like I wanted to give up. If anything, I was more motivated than ever to get through this hurdle and I wanted to convey that to her. This wasn't the first time I've shed tears on this journey and I know it won't be the last. She made me feel better because she verbalized something I had been feeling for a few weeks. It's like I am about to get to the next level but am not quite there yet. The levels before it were easier and faster to reach. I had been lingering somewhat and have recently started making progress again, to the point where I can sort of taste the next level. Being almost there is what makes one get frustrated. She said that she experienced those points in her own journey and reassured me that I WILL get through and that I will feel very good about it once it happens. And then it will be on to the next hurdle. She also said that not everything will come naturally. Some things I am naturally good at (not sure which ones she meant - I will have to ask her). Other things I will have to work very hard for. The messed up part is that as adult students we tend to focus on things we can measure easily like technique or intonation whereas my biggest challenges are going to be in the realm of musical expression. All these years I've merely been dabbling in music, getting into things half-way but always backing out when I really had to SAY something. I've reached the point where I need to start worrying about how my music is coming out, not just that the right notes are being played. I am so scared. I've been scared of this all my life. I think this is why I've always run very far away from improvisation (even though as a child I composed songs prolifically). I am very afraid that I have naught to say. That all I will be good for robotic playing. Rather than finding that out, I've quit while I was still ahead. But this time I am in for the long haul and I know that I will have to face my nemesis. This is the real reason I broke down. Because I thought for a second "I can't do this" and I had never really thought that before. The feeling of sadness that came from that thought overwhelmed me. I MUST do this.

I don't think I quite believe in me, but she seems to. She said that those things that are most hard are the ones we feel most proud of in the end. So I have to just believe that some day I will play music from my heart and soul, not just from my mind. Others will enjoy what I am playing not only because it's lovely oboe sound but because I am sharing myself and giving the music meaning through me. T said that if I don't share what's inside that I am being selfish. I guess that means that she thinks there is something good in me to share in the first place. Let's hope so.

I am determined to work through this but am still worried about whether or not I have enough talent. Only time will tell. For now, I just need to keep on practicing. That's the panacea.

Happy Birthday . . .

... to me!!!!!!

I turned 32 today! I still feel like a big kid.

I have a good feeling about the upcoming year. :-)

Progress

I just realized something today: Having nearly weekly lessons has accelerated my progress rate! I don't really mean in terms of audible results. Instead, something is changing inside me. My motivation level and discipline are entering a new, more mature level. I've been having longer (75 min. plus) practice sessions more frequently. Rather than feeling like it's something I have to get through I am starting to feel like I wish I had more time each day to practice. This is certainly a paradigm shift. Knowing that I will see a teacher again in a matter of days instead of weeks has given me the incentive to practice better. For instance tomorrow I will be away from home 8am - 11pm. I plan on getting up at 6am so that I can get an hour of practice in before we leave.

That being said, I didn't play anything at my lesson today. It ended up turning into a long reed lesson. It was a welcome change though because I needed more time to prepare my scales anyway! T makes her reeds quite differently from J, so I was fumbling somewhat which is always frustrating. One of the bad things about being an adult learner is feeling like a complete klutz a lot of the times. I imagine that those that start young grow into these things naturally. I, on the other hand, have to deal with my hands cramping up from holding my knife awkwardly. I did eventually almost finish a reed. As in, all the parts of a reed. J's method consists of completely finishing the tip before even starting on the back. Because my tips are never refined enough I haven't really worked much on the windows or heart ever. T''s method has you doing a little bit of everything and so I finally learned how to get clear windows without killing the spine or sides of the reeds. I need a LOT more practice but now I feel that I know enough to be able to practice at home. I am very curious to find out which method will yield the best reeds for me.

My next lesson will be on Saturday which gives me time to prepare my scales (C's and a review of B's and B-flat's) and to get my Giga faster. I was finally able to get through the darn thing (w/o repeats) yesterday. What a workout!

We (well, I) decided to postpone the Ravel piece for now. I was being impatient in wanting to play things beyond me. Maybe I will try it again soon, but for now it doesn't really make sense to try to play it when I don't yet have all the tools for it. My next piece will be the Marcello concerto in C minor. I'm listening to it on Rhapsody now and it sounds quite beautiful. But that third movement does sound somewhat scary. So many notes and most of them articulated. Ahh! Well, I will order it along with the reed supplies I need to restock on. Oh and I need another instrument stand. I've basically killed the one I have. WHy are music supplies so expensive???

So I asked T if it would be a good idea for me to audition for the Wind Ensemble at school and she said YES! I think it would be a good place for me to get some practice sight reading and playing in tune with others. I was worried that it would distract me from my studies but I think that by September I should be on a roll with practicing and the rehearsals will just be additional practice for me (rather than taking the place of practice). This should help my endurance a lot. I'll also continue meeting my new oboist friend for duets from time to time.

YAY! It feels so right whenever I make more space for music in my life. Why am I constantly trying to sabotage this by trying to force myself to live up to old, outdated dreams (i.e. med school)? Go, go PA!

Mother-in-law induced OCD

Ok, I have been horrid at keeping up with my blog. The problem is that these days I am NOT at the computer all day long. In fact, many days may pass by before I have a chance to sit down at one. I also have my MIL at home for the summer and it's done a number on me.

Oboe is going well, thankfully. As well as it can go when you're only practicing an hour a day. My repeated attempts at working up to two daily practice sessions have been fruitless. I am not sure why it's so difficult. God knows I want it badly enough. I have never in my life wanted anything as much as I want to get good at the oboe. So why then am I lazy? Maybe lazy is not the right word. I mean I am practicing. And I do see improvement at this rate. It just seems very slow. Perhaps the reason is that as you progress it gets exponentially harder to get to the next level. Trying to beat my scale times was sort of fun for a while, but now I am kind of bored of it. Plus I was starting to focus too much on speed and not enough on clarity, sound, and evenness (is that even a word?).

In the last few months I have made improvements in the technique front. I am able to play faster and clearner than before. This is good because it was one of my weakest areas. Now I feel that my weakest area lies in the air stream. I need to focus on breathing and on how I am using my air. I think that once I do that I will be a more even player. Both of my teachers have now told me that I am ready to learn vibrato but neither of them have taught me it yet. We keep getting distracted by other stuff at lessons. And since I don't really want to rush into vibrato I won't push for it. I really want to feel more confident with my air before I get into vibrato anyway. I wonder if a week is enough time? My next lesson is on Sunday.

I am nearly done with my initial studying of the Correlli concerto. I can play all the movements now close to tempo. My intonation has been good, at least when I am being careful about my embouchure and not biting. I need to just work more on expression.

I am also starting on a new piece. We've decided that it's still a bit hard for me but we'll go on with it anyway. It's an oboe version of Ravel's "Piece en forme de Habanera". Technically it's not all that bad except for two scaley runs. The problem is playing it beautifully. It will be a challenge but I really love Ravel and the Tombeau de Couperin is still years away! I must admit, however, that I've been practicing the intro to the Prelude at 40 (real tempo is 92) as a way to warm up the last few days. I also dabble at the Minuet intro and the Rigaudon solo. I can't help myself! Gimme my Ravel! *giggle*

I passed the 1.5 year mark a few weeks ago. Though the Type-A part of me focuses on everything that needs to improve I think that I should feel pretty good with my progress thus far. I seriously thought it would take YEARS to play scales on the oboe. Everyone had said it was so hard that they had freaked me out. I can't do scales lightning speed yet but I can certainly do any of them slowly enough. And who would have thought that I'd be playing the Habanera piece at 19 months? Now if I could only make myself walk down the stairs for a second practice session tonight!!!

Scales can be your friend

I'm pleased to say that practicing is going much betters these days. I have fallen into a nice little groove after being in a plateau for a while. What helped was making my practices more structured (T's suggestion). It started with trying to work on scales more consistenly. She assigns me a scale for the week to work on in major and all three minor forms. I then decided to keep track of my tempi on paper every several days. Then I decided to make my long tone notes be the ones of the major triad of my weekly scale. My long tone/scale work up takes at least 30 minutes (I make sure I play the scale satisfactorily at least 3 times) and by then I am nice and ready for music. Or on days where time is limited I at least get a GOOD warmup in.

By breaking up my big goal of becoming a good oboist into something more tangible (getting my scales faster) I've been able to feel much better about my practice time. I feel more productive and I can see my improvement. And yes, I can hear it too. My scales are becoming more even and my intonation is improving. My fingers feel more agile. I even think that my sound is slightly better.

Previously when a reed died on me I knew I had a week of bad practices ahead of me as I tried to adjust to a new reed. With this new warmup it now takes only an hour or so to break in a new reed as opposed to days. It's much easier to tolerate a hard reed when you're doing scales than when you're rushing to play real music.

Who would have thought that scales could be so friendly? I will never avoid them again!

Redemption

So after that awful performance experience I was blessed with one of my most wonderfully musical days ever this past Wednesday. Even before the Fiasco of 2006 I had been looking around for other people to play with. All three of the other quartet players are out of commission right now. The bassoonist is no longer practicing his instrument and is too busy with his recording studio. The flutist moved across the Tappan Zee bridge. The clarinetist basically tore down his house and is rebuilding it from scratch. This is why I took on that gig in the first place. I had gotten somewhat desperate to play with others. But now I realize that it's best to wait for the right opportunity instead. Luna and I might be alone for quite some time yet still.

Or maybe not . . . Some time last year I joined the Amateur Chamber Music Players, Inc. One of the perks of joining is that you are included in their directory of amateur players and you gain access to said directory. One of the things you must do before you're listed is rate yourself according to this scale:

A. "Excellent."
You know much of the standard repertoire, from many time periods and for a variety of ensembles including your instrument, "inside out." If your partners make a mistake, you can often bring them back in without stopping. You are a prima sight-reader and you consistently sound excellent on your instrument. You already aim for cohesive musical expressiveness with attention to fine nuance on a first reading.

B. "Good."
You are quite familiar with portions of the standard repertoire (perhaps pieces from certain periods or for certain instrumental combinations). You generally sound good on your instrument and sight-reading is not a problem. You usually pay attention to blend, balance, dynamics, and basic phrasing on a first reading.

C. "Fair."
You are in the process of exploring the standard repertoire, perhaps avoiding those works that are currently too technically challenging. You concentrate on not making major mistakes while reading an unfamiliar part, though you are aware of what the others are doing. You often slow down a fast movement for technical reasons.

D. "Etc."
You play a repertoire carefully chosen to be within your technical limitations. On a first reading, you usually aim to get through the music and end together without too many stops and starts in between.


At the time I joined I rated myself a "D". Even still I'd call myself a D+ or perhaps a C-. I am not sure that I am quite yet exploring the standard oboe repertoire. Anyway, there are not all that many other D players. While I do want to challenge myself I don't want to ruin anyone else's experience by stumbling all over the place. So about a month ago I looked through the directory and found one other D oboist in my area. We corresponded via email and then by phone and agreed to meet on Wednesday.

Wednesday, June 14th:

10:30 - 1:20
I am pleased to say that my meeting with the oboist went very well! We were both quite nervous at first and weren't really sure where to start. We talked for a bit about how we got involved with the oboe and what we've done so far. He's been playing for 2 years and it turns out we're more or less on the same level. Though they were a bit on the easy side, we had loads of fun going through duets from my method books. We played for so long that both of us were almost too tired to talk! We will definitely be meeting up again as his schedule permits (he's often on religious missions). I even got to eat lunch at the parish house which was fun!

1:20 - 2:20
I ran out of there and took a bus then the subway to T's house for a lesson. I ended up getting there 20 minutes late - yikes!

2:20 - 4:00
Luckily she did not have a rehearsal or other lesson to run to and we ended up together for quite a while. I was concerned about whether I'd be able to play after my 2 hours with my new oboe buddy, but my fears were needless. The lesson went quite well. I've improved at my dynamics control while doing long tones, though she still wants my forte to be a lot louder. And I'm breathing slightly better too. Other oboists out there: do you breathe through your mouth or your nose or both? I sort of mangled the B-flat scales I had prepared but eventually I got them out. I'm still struggling with the fingerings that T wants me to use. No forked F's at all means that I end up doing some fancy stuff with my right pinky on the B-flat minor scales. Next time we meet I have to prepare B scales. The minors are easy there, only the major scale is a bit tricky. I have no excuse to be sloppy next time.

I played the second movement of my Correlli and she was mostly satisfied with it. She thinks I can play it at tempo (100) even though I've been practicing it closer to 80. So for my next lesson I have to play it at tempo and also prepare the third and fourth movements. She said that she gave me a lot to do because she thinks I can handle it. Cool!

Oh I forgot to mention that at the lesson before this one I asked her what my "level" is and she said I was playing at around a sophomore in high school level. That's pretty cool for 1.5 years I think.

4:00 - 4:30
Pizza break

4:30 - 5:45
My musical day wasn't over yet. I take the subway down to 59th street and walk over to Patelson's Music House. After looking through all they had for oboe solo/duo I ended up purchasing two books of oboe duets for my new friend and me. They were $20 a piece but now we have 41 new duets to play and these are more substantive than the ones in my method books. I also saw several "real" duets that we can aspire to play in the future. There was one with strings accompaniment which looked really interesting. He met some string players through ACMP so whenever we're ready they can help us with it.

5:45 - 6:00
As I sit on a crosstown bus on my way to meet the hubby I reflect upon the day so far. I feel completely happy and satisfied and realize that this must be what it feels like to live like a musician (well without the pressure and financial woes). Everything I had done thus far that day had been music-related. Boy did that feel good! I even ended up playing for 3.5 hours!

I know that not all days can be like this. But wouldn't life be great if I could have days like this at least every once in a while? Ahhhh ...

Oily scissorhands (somewhat of a rant)

There are many interesting expressions used in the merengue scene. Many of which, I suspect, only make sense to the people involved. I was reminded of them last weekend as I got through that church "concert" and will attempt to share them.

One of the expressions is tijera' or scissors (Dominicans seldom pronounce the "s" at the end of a word). The word is often used as a verb, tijerear, to mean something like " to heavily criticize other musicians or music". Though the connotation is somewhat negative tijereros who actually know what they're talking about are usually well respected. Of course, there are also many folks who should just be at home practicing but instead are out tijereando.

The other expression is aceitoso(a) which literally means "oily man (or woman)". This one is used to describe someone who has become a showoff. It's also used in a more general sense when someone is having a bad day and acting a bit distant. In fact, if you're not deemed as being down with the crowd for whatever reason you might be called an aceitoso.

Well, after above-mentioned church concert this past weekend I may have just become an oily scissorhands. In a word the whole thing was CHAOTIC. The arranger had interesting ideas but was overly ambitious given the amount of time we had to rehearse and the talent of the singers involved. Also, his harmonic ear is pretty limited. My husband and I kept encouraging him to reharmonize some things but everything we suggested sounded wrong to him because he only believes in like three chords. The sound system was atrocious. I still have no idea what people were hearing. On stage, all we heard was noise. You can't imagine how frustrating it was to try to play oboe on songs it simply didn't fit well in and then to try to be heard over a bunch of amplified instruments. We had three keyboards for God's sake. Then there were the diva attitudes. If you can't sing on pitch you should NOT be acting like a diva. Enough said. Even the MC's had an attitude. One of the them had the nerve to try to cut short the singer from my choir (who was a special guest). He was one of the few real artists there! ARG!

I really care for my friend the arranger but I don't think I ever want to be involved in something like this again. I understand that I am not a great oboist yet, but I will be damned if I am stuck playing at this level for the rest of my life!

Yes, I HAVE become a Classical music snob. My friends will just have to deal. I don't want to play other types of music on my oboe. I don't want to play crappy arrangements where my instrument isn't used well. And I don't want to mess up my embouchure trying to play ffffff.

Where are you oh other serious amateurs??

The only way I can ensure that I will NOT be stuck at that level is by becoming my best which means that I need ample amounts of TIME to practice. So this does actually tie in to my latest posts about my career junk. For now, what feels most comfortable is postponing school thoughts at least temporarily and focusing on oboe and my body.

This is what I'd be looking forward to

I've been a faithful reader of this medical blog for a while. Her latest post is pertinent to what I've been babbling about here. The poor thing basically has no time for anything. She's a resident and a new mom and she and her husband spent a grand total of 8 hours together all week. There would be no time for music in that case. I know that she's a resident and that residency is supposed to be hard. But I honestly don't think I could survive those three years with my sanity intact. And not to mention that the 4 years before that are pretty crappy too. And in today's climate life doesn't get substantially better even when you're done.

It seems that the folks who have made medicine and music work are either older doctors who were able to make a decent living while that was still possible or folks who can afford to go very part-time. Based on all the research I've done with people entering the profession nowadays, the future looks very very bleak.

When I read stuff like that blog I am convinced, at least temporarily, that I never EVER want to put myself through that. Not even for one day. Especially not for years on end. So if I know this already, why can't I just let go??

Act II

Was going to put this under comments to the previous post but then decided to just post it separately because it was getting kind of long. Thanks for the responses so far. They were greatly appreciated.

I've been looking into some of the other fields, but I admit only half-heartedly. I am somewhat uncomfortable with not going "all the way" and not having complete autonomy (though not even MDs really have that these days due to the insurance issues). That all being said if I manage to rule medicine and dentistry out, I'd still consider PA or PT.

For now I am putting my hopes on that summer research program I start soon. It might work out because I really do love the underlying science. I think that if I find a job where I am always learning and still contributing something to society, albeit indirectly, that perhaps I can still be happy.

Regarding my playing: I just assumed that because I started so late that there is no hope for me ever being a professional. I haven't even allowed myself to think that there is hope because when I do I tend to get starry-eyed and impractical. I do believe that I could get to a point where I could earn *some* money from oboe playing. Maybe by forming a small group to play at weddings or something like that. That would be several years off but it's definitely possible. But given that I live in an expensive area I doubt that I'd be able to make a real living off it. Plus I don't think I'd want it to become my job. I'm not sure I could take that kind of pressure.

Even though I wouldn't be able to live off it I would still like to be the best I could be. I have daydreams where I become a teacher or professor and have the summers off to devote entirely to music. Surely then I could be the best I could be?

I've always wanted to ask my teachers what my potential is but have been embarrassed to. Maybe a part of me is scared about what they'll say. If they were to say that I am not all that talented at oboe I will be sad. But if they say that I could have made it to the top I may become consumed with trying (however futilely) to live up to my potential.

I definitely can NOT live without playing, that much I know is true. Whether I can be an MD and still play the oboe is uncertain. I think I will have some time, but it's going to be limited compared to what I'd have if I didn't do medicine. If my innate oboe potential is a 500 (random number) I feel that if I go into medicine I am automatically reducing it to at least 250 due to time constraints. Perhaps that is still good enough to join a community orchestra. But maybe I'll get paged during rehearsals or I'll be on call every Tuesday, etc. If I did medicine music will NEVER be first. Medicine will always be first before anything else (even family - ouch!).
But shouldn't your passion be first? Shouldn't I try to hit that 500, or even exceed it?

Medicine and music are indeed doable, particularly for people who are already good at their instrument when they start. And for people who are good at managing their time. I am not in that position though. I'm an intermediate student at best and am a chronic procrastinator. The other issue is that I also have to start thinking about family planning because medical training would run through my thirties and into my forties. So when I add everything up together I can't convince myself that I could still be an oboist if I become a doctor, hence my hesitancy to go into it. I've often been told that you CAN have it all, just not all at the same time. My life choices have brought me to this crossroads where I'd either have to try to have it all or will be forced to give something up. And if I had to give up oboe, becoming a mom someday, or medicine, the choice would actually be really easy. Even if I do think "what if" for the rest of my life. 2 out of those 3 things I am 100% I do want.

When I think about my ideal life it includes involvement in many activities: I'd have a job that is intellectually stimulating, not like my position back in corporate America. Preferably it would be in the sciences because science makes the brain happy. Because I do like people, medicine has always seemed like the right choice, but I am actually an introvert by nature. I wouldn't exactly mind working by myself again as long as the work is meaningful to me. I could always hang out with people during lunch. I do want to help people but it doesn't HAVE to be directly through my job. For example, if I were to do research as opposed to clinical work, I could then go into inner city schools as a volunteer and talk to students about careers in the sciences. One of my chemistry professors does this. I really love talking to kids and would enjoy working that into my life somehow. Besides it might be a better way to give back than vaccine injections. I'd also go back to martial arts and finally get my black belt. The older I get the more I realize how important it is to try to stay fit. I'd have time to play my oboe every day and continue lessons. Maybe I'd even be able to take some continuing ed courses in music or something. Several schools around here have wonderful adult certificate programs. I would love to play both in an orchestra and a smaller chamber group someday. And let's not forget time for spiritual activities, family, and friends. What a busy but enriched life it would be! I've seen it time and time again that I tend to be happiest when my life is balanced, when I am able to include as many of these things as possible without too much stress. I like medicine but am so afraid it's incompatible with this ideal.

My husband too has told me that no matter which route I chose I will always wonder "what if". Maybe I just need to understand that and move on. As wonderful as medicine is every time I make the decision to go through with it I suddenly feel as though I'm trapped inside a box. That I will be in there toiling while the rest of my life happens outside of me. Try as I may I can not get rid of that imagery. When I decide that I won't do it I can imagine a life where I have time to pursue absolutely everything I can dream of. Yet there is also a hint of sadness here because I had to give something I really wanted up. Perhaps it's a matter of choosing the lesser of two evils. Do I pick medicine and risk not really being present in my own life? Or do I give it up understanding that I will likely take some regret with me to the grave? I guess I can hope that the joy I will feel through my other activities will make up for it.

Seeking advice

Rather than following my detailed schedule for MCAT studying I've been spending inordinate amounts of time every day thinking about the decision. You know the one. Should I do med school? I had managed to get myself motivated enough about the MCAT by seeing it as a way to redeem myself after a mediocre semester. I guess I can still pull it off. But the question remains. Do I really want to be a doctor? For whatever reason I've got it ingrained into my head that this would be the only job I'd ever really like. But I am really starting to doubt this. I would have no issues going through with it if I could be assured that I'd have time for my other pursuits (oboe). But no one can reassure me of this. If anything most people tell me flat out that I will NOT be able to pursue my oboe studies to the degree that I wish to pursue them. As the days go by I am starting to feel that I should just settle for a job I don't hate and have time for the oboe, rather than going for a job I *think* I might like but have no time for anything.

I ask you this: do you think it would be silly of me to give up on the medicine thing for my oboe? Especially when we all know that I will never be up for any auditions or anything resembling a professional oboe career?

For someone like me it's hard to give up something I think I can be excellent at for something I know I will never be great at. Yet the thought of not even allowing myself to give it a try, no matter how futile, makes me sad. I feel like deep down a part of me would rather be the best amateur oboist I can be rather than a physician. If it took me so long to find my passion, why would I deny myself the opportunity to try to get as far as I can? Sure, I can play oboe as a doctor. I should have some free time here and there. But that's all I can ever hope for. Oboe will have a very secondary role once I'm really into the medicine thing. Even though I can never be great I would still like to devote as much time as possible to the oboe. I don't think that an hour here or there would be enough to make me happy.

Any advice? When I look back on my life in about 20 years' time, which choice will leave me feeling better?

Swimming, Soccer, Ballet, Oboe

Hahah! I was watching the news on Fox when a new Dunkin' Donuts commercial come up. It's about a Mom in a van taking her four kids to different activities: swimming, soccer, ballet, and oboe. They go through the jingle several times, each time getting a bit faster. How funny that they picked an oboe! I always love when we get publicity of any kind. I wonder how many, if any, kids across America will be intrigued by the commercial and maybe take it up? You never know.

I think I'm going to have me a donut tomorrow!

Reed blahs

My lesson yesterday went mostly well. I was so proud of having three reeds to present this time. Their tips weren't quite refined enough but my tying and the scraping I had done thus far were good. After adjustment by my teacher all three of my reeds are still in the "possibly good reeds" category. Time will tell whether or not they will get played on regularly but I am hopeful thus far.

I didn't play a ton of music at the lesson but it was ok because we actually got to talk a lot which is not always the case. It was mostly about reeds but also about other general playing stuff. I tried very hard to NOT fall into my nervous chatter routine because I realize that it wastes both of our time. As per J's suggestion, I started practicing standing up and now I feel immensely more comfortable playing standing than I do sitting. My breathing feels more controlled that way and I am better able to get rid of excessive tension. J mentioned that I was noticeably less tense than usual but that I still have more work to do in that area. I think that going to another teacher helped in this regard because I let out a lot of nervous energy worrying about how she'd react to my playing the first time she heard me. Once I got over that with no trauma, I felt like I have less to fear.

I've now been ordered by both teachers to do more scales and to do them quicker. I admit I've been quite lazy about scales for some reason. Maybe because they're BORING! They're also frustrating on the oboe because it's difficult to get them in tune and even.

Today's practice session didn't go very well. My new reeds are still too hard and my old reed is close to being unplayable. I didn't feel like breaking in reeds today though so I ended up just playing crap on my old one. I felt like crap myself after doing that for an hour. I need to focus on what's going to help me improve. Tomorrow I will play on my new hard reeds even if all I end up doing is long tones!

One of the three bakeries nearby is apparently making cinnamon buns. The smell is intoxicating!!

Despite the fact that after watching X-Men 3 last night I was convinced that I am indeed Phoenix I may not be evil enough after all:

You Are 34% Evil

A bit of evil lurks in your heart, but you hide it well. In some ways, you are the most dangerous kind of evil.

How Evil Are You?

Wow, an update

Isn't difficult to write in a neglected blog? I feel like I should write absolutely everything that has happened since my last update, but just the thought of that makes me tired. Yet I know I have to do some kind of recap in order to be able to keep going. So here goes.

My last final was on May 9th, over two weeks ago. However, the traumatic effects of last semester linger on. I realized that being back at Columbia made me regress emotionally. I picked some of my inferiority complexes back up. It was very difficult feeling inadequate all of the time. It went beyond my not being able to focus and my procrastination. What hurt the most was feeling like I was living a lie. Try as I may I couldn't muster up enough genuine motivation. My feelings regarding whether or not I should continue down the pre-med path are still ambivalent. On the one hand a part of me is convinced that it's the only job I'd ever like yet on the other hand I am convinced that pursuing it will lead to me becoming depressive. Let's hope I can work this all out by the end of the summer. For now I am on schedule to begin the research internship on June 19th. I'm pretty excited about it and am hoping that maybe my niche will be somewhere in there.

Music stuff . . .

Where to begin? Well, it turns out that I now have two teachers! How did this happen? I mentioned that the first time that I went to an Imani Winds concert (back in March) I introduced myself to the oboist and got her contact information. I went to another concert of theirs on May 11th and at that point we set up a time to meet up at her house for a free lesson (so kind of her). My first lesson with her was last week and afterwards she asked if I wanted to take more lessons with her and I was more than happy to. My teacher is very busy (and a bit more expensive) so I can't go to her weekly anyway. In fact some times I end up seeing her only once in a month because of our schedules. I liked it back when I met with my very first teacher every week because it kept me on my toes in terms of practicing. I figured that seeing two teachers now would have a similar effect. It's really interesting to have someone else listen to you because all teachers are really different. Both are amazing players and I feel so blessed right now to be working with both of them. My second teacher, "T", focuses on different things than my first teacher, "J". I feel that this will only help because it will lead to me becoming a more balanced player. For example, J focuses a lot of embouchure and sound and intonation. During my first lesson with T she remarked that my sound and intonation were quite good for the amount of time I've been playing. That makes since it's it's what I've been focusing on. Like J, she suggested that my next thing to attack is dynamics control. Both teachers gave me basically the same exercise for this: a very long tone that starts pp goes ff then goes back to pp. One interesting suggestion she made was to NOT use my tuner during these exercises for now. I've been so worried about "perfect" intonation that I do think it had limited my dynamic range. I was very afraid to play loudly because I tended to always go sharp in those cases. Yet if I never practiced it how was I ever supposed to get better at keeping my intonation against increased air pressure? T has also had good advice for me in terms of breathing and support. Another thing she noticed was that my attack on the notes was a bit harsh. I had been tonguing similarly to how I tongued for my saxophone and this is way more than what the tiny oboe reed calls for. I'm now practicing a much softer attack and it's amazing how much more "musical" my playing is when I do it correctly. I had my second lesson with T today and I think that it went well. She said that I'm a quick learner. YAY! We've gone over a lot of new things in the two meetings and she said that for now we'll just focus on improving on those things before introducing any other new concepts. Once I get over these fundamentals she is going to help me with the "v" word: vibrato. Ooo! She was happy that I haven't tried to apply a sax vibrato (or any vibrato at all for that matter) to the oboe because apparently the results are pretty disastrous. I had read that on several sites and it's one of the reasons I've been patient about it and not pursued it yet.

Tomorrow I have a lesson with my J. I'm hoping to finish the three reeds I've started. And I may practice again later tonight to work some more on my Corelli piece. I hope she'll notice some improvement. Another added benefit of having someone else listen to me is that I think I've become slightly more comfortable and relaxed when playing in front of really good musicians. I should be a lot less nervous at tomorrow's lesson. *crosses fingers*

I didn't mean for both lessons to fall on the same week. I have to figure out a better way to coordinate them.

This past Saturday I played for the longest ever since I began playing. I was on my instrument for a good 4 hours total! I had a nice, productive practice session at home early that afternoon. I ended up doing just long tones, scales, and technical stuff for 90 minutes. I didn't play around with music at all. My husband was playing at a church concert (not our parish) that night and they were rehearsing for two hours before it started. I took the oboe with me figuring that I could find a corner somewhere and play a few tunes while they practiced. I did that for about 30 minutes and then walked on stage with them half jokingly. They welcomed me to play along with then and then said that I should go ahead and play at the concert with them too. Pretty funny! I didn't end up playing on the very fast tunes but I did do the intros on all of the slow ones (along with the trumpet player). I even did some little solos in between verses and stuff like that on some of them. The last time I "performed" like this was March of last year at which point I was still sounding pretty bad. At that point some of the other musicians did like it but others weren't as enthused. This time everyone liked my oboe! That's because it actually sounds like an oboe now. It was such a nice feeling to expose folks to my instrument.

The only downside was that I think I made my mouth sore from all the playing. It felt a little sore that night but I didn't really think about it until I tried practicing the next day. My upper gums were a bit swollen, especially in the middle (that little tissue that connects your upper gums to your upper lip). Forming my embouchure aggravated it and I ended up only playing like 20 minutes on Sunday. It's all ok now thankfully.

I now have another performance opportunity coming up. The person who organized last year's concert (at my parish) is now preparing another one. Our first rehearsal is this coming Saturday and this time I will not be doubling on the sax since I never touched it again after that past concert. The arranger told me he's going to write some nice little solos for me. It should be fun!!

As I was driving home today I was thinking yet again about how grateful I am for having found this. The oboe brings out the best in me. For example, I can't believe just how bold I am when it comes to my oboe stuff. Even though I am still very much a student I don't have much shame when it comes to playing. Things would be different if the audience were other classical musicians but before I was afraid to play in front of anyone. But I really enjoy this so much that I don't focus on the fear anymore. I rather play and get a bit nervous than not play at all. Being bold has helped me in this path because I've befriended several great teachers/musicians (you too Patty!). Another great thing is that I have demonstrated at least some degree of discipline in this endeavor. Though I wish I had even more, I am remarkably more disciplined with this than I am with anything else. This gives me hope that I can organize other areas of my life too. If not, then at least I can continue to see improvement in my playing.

For my next post I will be putting up a picture of me at my rock band gig last night. It was at a pretty famous venue! I'll keep you guessing for now.

Infatuated

I just want to note how grateful I am to God for having found my true passion. After my 7 hour stint at the library today, I sat outside for about 30 minutes enjoying the weather. As the wonderful warm breeze blew on my face I suddenly felt very grateful for my life. I tend to spend so much time inside my head trying to "figure things out" that it's hard to really be in the moment. I then remembered how empty my life was before when I had nothing I really loved doing. I was so afraid that my entire existence would be like that. Nowadays it's as though the world is painted in brighter colors. I am able to truly appreciate everything. And even if a cloud temporarily darkens the way, all I have to do is listen to oboe music in my head and I know that the sun will come out again soon.

My aching mouth

I got in two hours of practice time today!! I wasn't playing the entire time though. Some of the time I used to do harmonic analysis of the piano accompaniment to that Corelli piece I am studying. That serves a dual purpose. I've always seemed to listen to music more vertically than horizontally. It's only now that I'm playing the oboe that I am worrying more about melodies. I do still need to understand the underlying harmony in order to feel that I really "get" what I'm playing. I do tend to harmonize everything in my head anyway, but I like to know what the real hamonization is just in case there are any surprises. The other nice thing about doing this analysis (besides pure intellecual fun) is that I can write out the chord changes for my husband and he can accompany me as I practice. He doesn't really read Classical piano music (and is, in fact, intimidated by it) since what he's played all his life is Latin stuff and started on jazz recently. Merengue piano parts are written in tab.

I spent most of the time on my piece but I did also work on some long tones and octaves. By the end of it my embouchure completely died and my mouth just gave up and looked something like this. Pretty funny stuff! I mean to give myself another workout tomorrow. I have to try to get a lot in before the finals crunch gets much worse.

Today was a good day. A very good day. :-)

Lesson!

My lesson yesterday turned out better than expected which was a pleasant surprise. I was convinced that my sound had taken a huge turn for the worse because of my forced time off last month. I do have to keep working on intonation and dynamics issues, but thankfully the bad sound thing must have been a figment of my imagination. It's not like I sound heavenly yet, but I am still moving forward. What can I say? Those months of the goose/kazoo/duck/bagpipe really work a number on you. I think I am traumatized!

I ended up not completing two reeds. In fact I only had one nearly finished reed to show. She never really pressures me about them but I am always afraid that she might and I always feel disappointed in myself when I don't go in with a lot of reeds. The reason I hadn't finished that one reed was because my knife was feeling dull no matter what I did. I have a sharpening block that I only use rarely. I've been using ceramic sticks for most of my sharpening. They work well for my teacher and are easy to use. Well it turns out that I was doing it at a slightly wrong angle and was probably dulling my knife instead of sharpening it. Now that I know what to do I won't need to fear finishing off the tips.

My teacher emphasized my need for working on long tones, octaves, and scales every day as well as on being more aware of tension. We worked a bit on the Corelli piece and she seemed pleased with what I had figured out on my own. Next time I hope to have all 5 movements mostly ready. I only presented 2 of them yesterday.

Less than two weeks left in the semester!! This means that pretty soon I will be stepping up my practicing to a minimum of two hours a day. Or at least I hope so! I have nearly 6 weeks off in between the end of the semester and the beginning of my summer research internship. I have some lofty goals for that time: lose 10 pounds, practice 2 hours a day, and start studying for the MCAT. Why can't I just relax like normal people? Hehe, I should have some time for that too. As much as one can relax when the mother in law is in town.

Baroque-y Me

When I think back at the time when I was trying to decide whether to play oboe or clarinet I remember that one of my perceived cons for the oboe was that a lot of its literature is from the Baroque era. It's not that I didn't like Baroque music. It simply wasn't my favorite.

So now I am working on my very first real piece with my teacher and it's Corelli's Concerto for Oboe and String. And guess what? I had a grand old time today working through the gavotta, which is arguably the most "baroque-y" sounding of the movements. I was very surprised at how I seemed to get into the feeling of the piece without really trying. For some reason I always thought that it would be unnatural to play in that style. But I think the instrument lends itself quite well to it which explains why they wrote so many oboe concertos in those days. Tada!

I am glad I proved myself wrong because now I have a ton of pieces to look forward to playing.

I wonder how it will go on Wednesday when I play it for my teacher. I haven't told her yet that I got the music. I am trying to work through it as much as I can to surprise her at the lesson. The piece is just at my level technique-wise. Not too easy yet the challenging parts are all things I can work through slowly. The range is pretty comfortable too. It does have some extreme notes but they are not troubling me. What I need to work on most is intonation and articulation. Oh and dynamics. For some reason I am still not back to where I was before my flu in terms of dynamics control. I was able to play softer than I am now. Maybe it's the reeds?

At one point tonight I realized that I've come really far in the past year. At this point last year I was still struggling with everything. Well, I guess I still am. But now I sound like an oboe. One without vibrato yet though. Hahah. It will all come in due time. It's really fulfilling to be able to work on real music and play it closely in tune and with some semblance of musicality. I think I've gotten to a point where the practice is reinforcing itself. Before I'd be almost afraid to practice because I didn't want to find out how bad I'd be playing that day. For a while one thing would get better while three others would get worse. So on any given day I had no idea what would come out of the instrument. At least now I am consistent. I know what I need to work on and when I practice the next day I usually don't feel that I am playing worse. I guess I had hit a plateau and am now on a new rising curve. It must be because my embouchure is finally closer to a real oboe embouchure.

I have another lesson Wednesday so I will definitely be writing about my preparations for that and the lesson itself. I have to make 2 reeds and am procrastinating on it. My scraping technique has been faulty lately. I keep making my tips uniformly too thin (instead of being slightly thicker in the center and thinning out towards the side). This creates a very raucous sounding reed which even after professional adjustment are barely good enough for doing long tones. I'm happy though because right now I'm still playing on the reed my teacher lent me for the Beethoven. It has a nice sound and I can control the pitch (but not the dynamics) better on it.

Off to listen to some music before calling it a night.

The start of something big

I am no longer an orchestral virgin! WOOHOO!! I still can't believe that I played a symphony. Not bad after playing oboe for only 16 months. I can't even explain how nervous I was from about 30 minutes before it was due to start until we actually started playing. Even during the tuning I was still ultra nervous. I was almost shaking. Part of it too was that I wasn't feeling secure about my playing. I still haven't fully recovered from the days of practice that I lost during my illness. The intonation and dynamics control that I was beginning to gain had become elusive again. My teacher was kind enough to meet me at school today to bring me one of her reeds because I didn't want to play in public with the ones I've been practicing with. Her reed was great, but I hadn't played on it before and I didn't get there early enough to warm up. Plus, I felt a bit shy about the others hearing me. Thankfully, my sound blended in with the others decently enough. And I didn't have any major intonation issues tonight (though some of the clarinetists did hehe).

The interesting thing was that the nerves disappeared as soon as we began to actually play. Oh I forgot to say that the instrumentation ended up being a bit unbalanced. We had 4 oboes, 2 on each part. Two other oboists from the orchestra showed up but left when they saw that there were 4 of us already. The other 2nd oboe was also not a regular member of the orchestra. No bassoons showed up and there was only one French Horn. There were 5 clarinetists and not enough low strings. We even had two guitarists show up and try to play the violin part. It ended up sounding pretty ok even with the weird orchestration.

Back to the music. The first movement was the most fun. Maybe it's because I am really familiar with it so I didn't have to count as much and could feel the music better. I ended up getting somewhat lost during parts of the second movement. We had really long rests and I would get distracted! Oops. I would start worrying about whether my reed would dry out. Or I'd start listening to the music. We ended up skipping the 3rd movement which sucked because I really like that one. But I think part of that may have been because we were lacking in terms of the lower pitched strings and brass. The 4th movement was really fun too! I managed to do pretty well on it to my surprise. There is a little part near the the beginning that I sort of memorized and if I tried to do it while reading I would end up messing up the fingerings. So I had to just close my eyes to do that part and then open them once it was over. How weird! The conductor marked the presto at the end REALLY fast!! I didn't think I'd be able to keep up but miraculously I mostly did.

My only complaint about the whole thing (besides the funky instrument balance) was that it was too short! We ended up only playing for an hour. When he said we were done I thought we were going to take a break and then play the whole thing from top to bottom. WAAAH! Oh, and the only other bad thing is that now I want to play in an orchestra every single day. What have I done? I've unleashed a demon. I knew I would just absolutely love playing in an orchestra. I am still in disbelief that it actually happened. I wasn't able to really think about my FEELINGS about the whole thing while I was there because I was so worried about the music, my sound, my dynamics, etc. But it was great. I really really want to be playing my oboe so much better and so much more. I KNEW that I was right. That once this hit me, it was the real thing. My husband doesn't always believe that I really found my passion but I know I have.

I came home and since I was still yearning to play I ended up practicing my piece for about 45 minutes. It sounded better than it has all week. I am getting back into shape.

So there you have it. I wanted to write more about it. Maybe I will be able to once the adrenaline rush goes away. All I know is that I am more determined than ever to be as good as I can be. I HAVE to do this more than once a year!

Here I am before we started. What a natural! :-D



Check me out in action! Oooh, my chin looks nice and flat.

My Symphonic Debut!

So I stop posting for a few weeks and now I get to tell you all that my symphonic debut will be next Tuesday and I will be playing Beethoven's Fifth! Nope, I am not joining an orchestra just yet, simply participating at a "play-along" here at school. I couldn't be more excited! It's as though my adrenaline has been pumping ever since I saw the first flyer for it last night. I have no idea how it will all work out. Will all the orchestra members be there and we will be doubling up? That's what I'm assuming. In preparation I've gone ahead and borrowed a copy of the full score from the music library. I am not about to blow my debut by messing up with the sight reading.

I have not been a good little oboist. But it was not entirely my fault. I was sick for 9 days! So sick in fact that I missed many days of practice. I am heart-broken about this and now struggling to restart my daily practice habit. Luckily my score of the Corelli/Barbirolli Oboe Concerto came in yesterday so perhaps that will help me get back on track. It's always such a pain to deal with sloppy chops. *cry* Just when I was starting to make real progress I had to go and catch a bunch of viral bugs. I won't despair though, I have next week to look forward to and that alone should be enough motivation.

I went ahead and contacted the oboist I met a few weeks ago at that other school's orchestra rehearsals. She and her teacher seem really nice and once I am done with the semester we will be getting together to chat about all things oboe and to play some trios. It will be nice to meet up with others who are oboe obsessed.

Ok I am going to go practice on my reed alone now!