A few years ago, I subbed in an already established woodwind quintet for a few months. Extremely talented musicians tend to rub off on other musicians and unfortunately, the same holds true in reverse. That summer, I enjoyed my bassoon in a way I never had before. I played pieces of which I hadn’t realized I was capable. Difficult stuff, and we not only played it well but damnit, we made music out of those note-filled pages! The regular bassoonist returned and I have truly missed playing with them.

On to something besides informal audition whinging…

Right now, I’m working on the Ibert trio for Oboe, Clarinet, and Bassoon. Two friends and I have a little trio that meets once a week. We’re hoping to hire ourselves out later but for now, we’re just playing music and having a good time together. Also on my docket is endless double-tonguing practicing and the Vivaldi Bb Major Concerto. Yes, it is somewhat easy but it’s what my professor wants so it is what he shall have. Too proud to play ball, I am not. If I am serious about working on my technique, I need to start somewhere.

Made a decision to not take a volunteer gig in which I am very interested. It conflicts directly with a chamber orchestra concert. Sure, we’re only doing Handel’s Messiah (AGAIN!), but I signed up to help ferry around the timpani so I don’t think I have much choice. The volunteer project sounded so interesting that it’s bothering me to have to say no. I’m trying to get more information before I officially turn it down, but it is not looking good.

He flat out asked me if I was taking the audition and I couldn’t lie. We spent the whole time working on the Mozart and Bolero. I am nervous now where before I was not, but I hope it will be a good thing. I had become used to hearing my Fs and my Es flat. I’m not in tune with myself. *scream* I’ve been practicing in a vacuum and it seems that all it does is gear me up to be out of tune and still nervous for the audition. An hour or two a day is not enough practice. I have to do more. It’s going well, but for the Mozart to still be shaky after having it around for so many years is not good. For me to be freaking out right now is not good either. I am a great musician. I just need to let it out and remember to have fun with it.

New fingering for Bolero should help, but it will take a good chunk of time to get used to it. I feel a little guilty that I am considering leaving the kids at Kidco again today so that I can practice, but that is why we signed them up for it. They’re bored but safe, and I should accept it and do what I need to do. Really don’t have any desire to go to playgroup today. Want to stay home and practice and practice and practice until it’s all rock solid and indestructible.

Don’t get distracted by the contra. It is secondary. They will write you off before you even get to it if you screw up on the Mozart.

Found on iTunes in the last week:

• Trio for Flute, Bassoon, and Piano by Chick Corea
• The Bass Nightingale by Susan Nigro
• Mozart Concerto for Bassoon with Klaus Thuneman
• Duet Concertino for Clarinet and Bassoon by Richard Strauss
• “Sleeping Bassoon”, episode of Disney show, Little Einsteins

Bought all of them but The Bass Nightingale, which is an album entirely of contrabassoon music. Still pondering that one, but I’ll probably cave within the week.