Clarineat Podcast Review and Interview with Sean Perrin

I discovered the Clarineat Podcast at Clarinetfest this fall and have been listening to Sean Perrin’s interviews and product reviews ever sense.  I am so excited to get the opportunity to talk with Sean Perrin and share my thoughts on the podcast.  Sean has  interviewed many artists including some of my favorites: Martin Fröst, Michael Lowenstern, Harry Sparnaay, and Michael Norsworthy.

Clarineat Podcast, clarineat podcast, Clarineat podcast

I chose to do a post on the Clarineat Podcast because I am very impressed with all of the work Sean is doing to bring “all that’s new and neat for clarinet” to his listeners all over the world.

How the Clarineat Podcast Came to Be

When asked why he decided to start his podcasts, Sean responded saying:

“In late 2015 I was listening to a lot of podcasts, as I always do, but I was becoming bored of the shows that I typically listened to. So I decided to search for something clarinet related iTunes, but there was nothing. Every month I kept checking back with no success, and I started to get a little impatient.

Then one day I got carried away chatting with Peter Spriggs on the phone for over an hour. He was sharing some great stories, and we were having such a great conversation. Suddenly it hit me: this was exactly the kind of conversation I wanted to hear on a clarinet podcast! Why couldn’t I try and make the very show I had been searching for?

After this “Eureka moment” I got to work right away, and I’m sure glad I did!”

Sean Perrin

How He Decides Who to interview

Sean interviews a wide range of performers(not all clarinetists), teachers, manufacturers along with giving his own opinion on products. He has a new topic of discussion for each of his interviews that makes each of them unique. When asked how he picked his guests for his podcasts, Sean explained that:

“I tried to select guests that are not only great clarinetists (ex. Martin Fröst and Michael Lowenstern), but also people who are interesting and meaningful to the community in an indirect way (ex. Etymotic Research, Daryl Caswell). In fact, I have found some of the most valuable conversations have actually been with non-clarinetists because their perspective is so different.

Looking back at the first season, it seems that I subconsciously focused on guests and topics who I really wanted to talk to (contemporary music, freelancing, technology, etc.). This is fine, of course, because it is important that I’m engaged with the guests and knowledgeable about the topic.”

He even gives some insight into what we can look forward to this year and how you can get involved if you have any suggestions for episode topics:

“However, I think for the second season I’m going to intentionally step outside of my comfort zone. I’m looking to include a wide variety of orchestral players, klezmer musicians, educators, manufacturers, and more.

In fact, I’m open to suggestions! If anyone would like to apply to be a guest, or send requests my way, I would encourage them to please get in touch at feedback@clarineat.com.”

Advice from Sean

Concerning careers in music, Sean is a very knowledgeable and experienced. I’m sure he could talk about the do’s and don’ts of how to succeed but here is a quick summary he offered for us:

1) It’s important that you take responsibility for your career. It may be hard to hear this, but the fact of the matter is that nobody really, truly cares if you succeed or fail except for YOU. You will have to decide what it is the really want to do, and then find a way to get there. If you don’t, you won’t. And not deciding, is deciding not to.

2) Spend some time outside the practice room learning some basic business, marketing, and networking skills. Then use them! Being good at your instrument is simply not enough these days (if it ever even was). Gigs might be perfected in the practice room, but they are never found there. Ever.

3) Nothing is more compelling than someone who is truly different. But nothing is more boring than someone who is different simply for the sake. Different doesn’t mean better. This brings to mind another quote:

My Personal Thoughts and Favorites

As I said before, I have been very excited to write this post not only because it is my first review, but because I have enjoyed listening to the podcast and my conversations with Sean. One of my favorite parts of the Clarineat podcasts are his interviews with Micheal Norsworthy of the Boston Conservatory. I personally have been looking into both the Berklee College of Music and the Boston Conservatory for possible options for graduate school. Listening to Mr. Norsworthy talk about his own experiences with his lessons teachers  was very entertaining. I also enjoyed listening to Ryan Pereira of 3D Clarinet Innovations .  I first came across Pereira 3D at the 2016 Clarinet Festival hosted by the International Clarinet Association. I was very interested in how the 3D printing worked and how it effected the sound of the clarinet. I was very excited to see that Sean had already done all the work for me and all I had to do was sit and listen. These were the first two podcasts I listened to, but they were by far my two favorites. I personally prefer the interviews of musicians to the product reviews, but it has all been very interesting.

I am so glad that Sean Perrin has taken on the task of bringing the Clarineat podcast to life. Its a lot of work for one person, but he is doing a magnificent job and has many supporters. I encourage you to listen to his podcast on itunes or on his website here:


 

 

Why You Should Join a Community Band

If you’re anything like me, school band isn’t enough for you. Many school bands spend a majority of the  year playing the same songs over and over again to prepare for one competition or one concert. But if you want more, community band is the perfect place to start. Throughout the year you will be challenged with a constant intake of new music that you will be expected to perform on stage after only a few rehearsals. This is more like how a musicians schedule is and gives you the opportunity to experience it before you even graduate high school.

Community Band

ANYONE CAN GET INVOLVED WITH A COMMUNITY BAND

If you can play an instrument proficiently, you can join a community band! It’s as simple as that. Some bands require a small audition and some require you to be All Region player, but each band is made up entirely of volunteers from all different careers who want to continue playing music. Even High School students can play in community bands. I started playing with the Arkansas Winds in 10th grade. Depending on what your local band’s guidelines are, you may have to pay dues or be asked to make a donation to contribute to the funds so that the band can continue operating. But its all worth it.

MAKING CONNECTIONS

As a high school student, playing with the local community band was a challenge at first because everyone was much older and had been playing their instruments for as long as I have been alive. I had always been first chair in my bands and playing with more experienced players pushed me to practice harder to keep up. Little did I know that these musicians would become such influential people in my life. Each and every person I have met through the Arkansas Winds have been extremely talented and generous. I have made many new friends and connections that have supported me and helped me out in my playing and my personal life.

PLAYING NEW, CHALLENGING MUSIC

My sight-reading has improved a lot since I joined The Arkansas Winds due to the constant input of new, challenging music. The first day was very intimidating. We were playing music with lots of key changes and lots of weird time signatures at very fast tempos. I could hardly keep up and thought about quitting. But every week after that it got easier and easier and now I have no problem keeping up.

PERFORMING OFTEN

My community band’s season starts in October and ends mid July. During our season we play around 8-10 concerts. Several Christmas concerts, a Fourth of July concert, and many more concerts for students and the community. Each concert has a new set of music and a new audience at a new location.

 

 

Overall, joining a community band is one of the best decisions I have made for myself and for my journey with music. Regardless if you plan to make music your career, joining a band outside of school will allow you to continue playing music. If you don’t know of a Band near you, here is a link to a list of bands by location: Check it out!  If you participate in a community band let me know how you like it and if you have any questions about Arkansas Winds  feel free to email me!

How to Survive Auditions

It seems ironic to be writing this the week of my own audition, but maybe this time I’ll take my own advice. Every tryout has different music, judges, location, and scoring  process. But the most important difference is how well you prepared for the tryout.

Audition

MONTHS BEFORE THE AUDITION

Be sure you are practicing the right materials. You don’t want to show up to an audition and realize that you spent months practicing the Junior High material instead of the Senior High  material.

After you know you have the right material, PRACTICE, PRACTICE, PRACTICE. Don’t forget to use a METronome. I know they get annoying and that it gets frustrating, but the MET will be your best friend and keep you on track for the rest of your career as a  musician.

BEFORE YOU LEAVE

Make sure you know the time and address of your audition and be sure to be there not on time, but early. This is band: to be on time is to be late, and to be late is to be dead.

Make sure you don’t leave anything behind:

  • music
  • stand
  • headphones or earplugs
  • tuner and metronome
  • water
  • instrument

Leaving your instrument behind might seem impossible, but I promise it’s happened before. Don’t be that person… please.

FIRST IMPRESSIONS

Upon arriving at the location, find your tryout room, the practice room, the commons area, and the bathroom. Yes, the bathroom can be very crucial to the tryout process, especially if you suffer from nerves or need to escape the chaos of the practice rooms.

Performing well in an audition or tryout is a game and all you can do to get better is practice playing over and over again. The good players know how to make you nervous in hopes that you will mess up your etudes or scales. So be careful how you spend your time before your scheduled time, you don’t want to make yourself panic by paying too close of attention to the other musicians practice.

IN THE PRACTICE ROOM

This is where the earplugs come in. Nothing is more intimidating than listening to people play the etude better than you can. The practice room is going to be full of all different kinds of people playing constant loud music. Some people will spend the entire time practicing, but that may not be the best idea for you. I find that the more time I spend practicing, the more nervous I get. Warming up with the posted scales and running through the cuts 2-5 times is enough to be warmed up and ready to perform well. DO NOT WEAR YOURSELF OUT.

IN THE AUDITION ROOM

If you’ve never tried out for anything before, you should know what kind of tryout you are walking into. There are two types of auditions: live and blind. Most of the tryouts I have been to have been blind. This means you will be performing your prepared pieces to a block sheet instead of a visible judge. This process ensures that there are no biased scores or placements.

In the audition room it is important to stay calm because if you make a mistake in there it will reflect on your score,  and no matter what, DO NOT TALK. If you talk, and the judges believe that it caused your judges to give you a bias score, your score could be eliminated, or you could have to tryout again.

When your judge or room monitor tells you to play a scale or etude, you are allowed to play one note before you begin. If you choose to do so, I advise playing the first note of the excerpt. TAKE YOUR TIME. Auditions normally run ahead of schedule because people begin playing the second the judge tells them to go. But you can take all the time you need. Before you play take a deep breath and pick a solid slow tempo. When I am nervous I tend to pick a faster tempo that will lead me to make more mistakes. Slow down and pick a comfortable tempo even if it isn’t the tempo marking on the piece.

AFTER THE AUDITION

Breathe. Relax. Don’t sit around waiting for a phone call or email, and don’t stand by the wall were results are being posted. Go have your fun.

But when results are posted remember that the biggest differences between auditions are the people your’e up against and the people judging you. You may get a really high score and get a low placement, or you could get a really low score and get first chair. Everything is situational and all you can do is work hard, learn the music, and perform.

Feel free to ask any questions about auditions or just let me know how yours went. I’d love to hear from you. Good Luck