Articles on topic: etudes (6 found)

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Vadala doubling book review

Improve Your DoublingI spotted this new review of Chris Vadala’s Improve Your Doubling: Advanced Studies for Doublers on jazzreview.com:

Featured Book: Improve Your Doubling: Advanced Studies for Doublers

I reviewed the book myself a couple of years back.

The jazzreview.com review is by Peter Westbrook. He gives some nice perspective on woodwind doubling:

The practice grew out of the need for players to cover parts on more than one instrument in the big bands of the 1920′s and 30s, and spread to the pits of Broadway shows and the TV staff orchestras at NBC and CBS. Saxophonists were initially expected to double on the clarinet until it was largely replaced by the flute in the 50′s, as it saw more acceptance in jazz. The 60′s brought new colors, adding oboe and bassoon parts for doublers—or triplers—to deal with, until players such as the legendary Romeo Penque appeared on the New York studio scene prepared to play every woodwind instrument known to man, often in quick succession, a situation further complicated by the re-emergence of the clarinet on the 1980′s. I counted over 20 instruments stacked up in front of the five-piece reed section of the Maria Schneider Orchestra at a recent concert.

Read more →

Quick tip: learn tenor clef

tenor clefIf you’re going to be serious about playing the bassoon, reading tenor clef is a requirement.

If you’re unfamiliar with it, click through to Mike Spark’s website for a quick primer.

If you could use a little practice reading the notes, try eMusicTheory.com’s C-clef trainer. Click on “Settings…,” choose “Tenor clef,” and click “OK,” then click “Start Drill.”

The next step, of course, is to get your fingers to do their thing automatically as you read the tenor clef notes. Try Oubradous for a gentle introduction, then move on to the Milde “Studies in All Keys” Op. 24 (also found in this edition of the Weissenborn method) for a more serious workout.

Recommended: Jeanjean “Vade-Mecum” du Clarinettiste

Lately I’ve been doing some clarinet work out of the Jeanjean Vade-Mecum. The title page translates charmingly to:

“Vade-Mecum” of the Clarinet-player

6 SPECIAL STUDIES

to

render the fingers and tongue rapidly supple

But this is what really sold me:

NOTICE

The aim of these 6 standard-studies (combining the essential parts generally contained in several exercise books) is to prepare instrumentalists in a very short space of time (about 1/2 hour) when, due to their occupations, they are not able to devote the time necessary for developed exercises and must nevertheless be ready to execute difficult passages, from the standpoint of lips, tongue and fingers.

The movements to which these Studies oblige the clarinet-player to submit will rapidly overcome those imperfections, the diminution or the passing weakness that might result from either fatigue or irregularity of technical work.

“…not able to devote the time necessary … and must nevertheless be ready to execute difficult passages…” This, in a nutshell, is the quandary of the woodwind doubler. Read more →

Review: Improve Your Doubling, by Chris Vadala

Improve Your DoublingI only know of one etude book geared toward woodwind doublers, and it’s Chris Vadala’s Improve Your Doubling: Advanced Studies for Doublers (Dorn Publications, 1991).

Mr. Vadala is on my list of “notable woodwind doublers,” and certainly he is an outstanding player on single reeds and flute, but I think what makes him really notable in the (tiny) world of woodwind doubling is that he jumped on the opportunity to establish himself as an expert in the field, by writing this etude book and by contributing a semi-regular column, “Tips on Doubling,” in Saxophone Journal throughout the 1990′s. If you find yourself in the odd position of trying to do scholarly research on woodwind doubling (like I do, now and then), you find a lot of Chris Vadala and not much of anybody else.

So. I’m generally leery of anything that is “for doublers.” I don’t want, say, a clarinet mouthpiece “for doublers”—I want a clarinet mouthpiece for clarinetists. What do I want to sound like when I play the clarinet? A doubler? No. And so I find the idea of an etude book “for doublers” to be a little problematic—wouldn’t I be better off using the tried-and-true etude books for each individual instrument? Read more →

Learning to play a woodwind: is previous woodwind experience a disadvantage?

I teach a woodwind methods class as part of my graduate assistantship (and was the teaching assistant in the class for several years before teaching it on my own). In this class music education students get a crash course in playing and teaching the woodwind instruments, in preparation (too little!—but that’s another blog post) for careers as school band directors. My class is made up of woodwind players, brass players, percussionists, keyboardists, and even vocalists. It is interesting to see how to woodwind players fare in comparison to the non-woodwind players. Read more →