I’ve been using various drafts of this book for the last few years with my own woodwind methods classes. (If you’re a reader of this blog, you’re familiar with mycomplaintsabout the existing textbooks.) I wanted to write something very focused, clear, and methodical, with the side benefits of being relatively short, easy to read, and inexpensive.
I’m pretty happy with how it turned out and I hope you’ll get yourself a copy. I especially recommend the PDF/ebook version for low price and immediate delivery, but it’s also available in paperback from Amazon.
I owe a special thanks to readers of this blog over the past 9 years. The 500+ posts I’ve written here, plus your comments and other responses, have done a lot to shape my ideas about woodwind playing and teaching. So, if you will send me an email, I’ll be happy to send you a coupon code worth a few bucks toward the PDF version. Let me know who you are and why you’re interested in the book. Offer good through June 2017.
The Fingering Diagram Builder didn’t get any new features or improvements this year, but I have a new version in progress with some improvements I hope you will like. No promises at this point about release date. These days I’m seeing FDB diagrams pop up in virtually every issue of some of the major woodwind organization journals, plus I’m hearing at least a few times a month from people working on books, articles, dissertations, and other things. I love to hear from anybody who is finding the FDB useful (and of course I expect people working on for-profit projects to touch base). I did write a blog post about using created diagrams: Creating fingering charts with diagrams from the Fingering Diagram Builder.
The big list of woodwind doubling in musicals continues to be a cool way for me to connect with woodwind players from all over the world. The list grows larger and more accurate on nearly a weekly basis. Thanks to all contributors, and I hope to hear from you some more in 2017.
I did another 12 months’ worth of my favorite posts from other blogs. I welcome tips on other woodwind-related blogs I should be following, including yours.
It has long been an ambition of mine for the things I write on this blog to crystalize into a book on woodwind playing. I’m pleased to report that I’m seeing the light at the end of the tunnel on that project, and am 85% on track to release it in the first half of 2017. It’s something that I am hoping will be useful for college woodwind methods classes, for school band directors and private teachers, and for woodwind players (especially doublers). If you’re interested, consider joining this mailing list so I can let you know when it’s available. Or make sure you’re following my blog posts on Twitter and/or Facebook for that eventual announcement, plus of course all my latest blog posts.
Thanks for reading, commenting, sharing, and otherwise connecting in 2016. See you next year!
I had the pleasure of appearing on Sean Perrin’s Clarineat podcast. We talked about my blog, teaching, woodwind doubling, and more. Visit Clarineat.com to listen and subscribe, or search for it in iTunes or your favorite podcast app. Join the mailing list, too, to win a fancy ligature or future giveaways (plus stay up to date on new interviews).
I performed a recital with a faculty colleague on our campus at Delta State University, and again at the University of Mississippi (“Ole Miss”). Program and videos are below.
The idea behind the first half was to play Paris Conservatory competition pieces from 1916 (100 years ago). The Büsser and Lefebvre pieces are not unknown, and the Fauré Fantaisiefor flute and piano is core repertoire. The Paul Puget Solo for bassoon and piano was much harder to find, as it seems to have been out of print for some time. The University of Michigan library has it, and was willing to send their yellowed copy on interlibrary loan for a fee. (I am hoping to get it up on the IMSLP. Update: it’s now on the IMSLP.) If anybody is familiar with the piece, I would be curious to hear from you.
No special theme on the second half, just a couple of contemporary works I wanted to do. Greg Pattillo’s Three Beats for beatbox flute was a fun challenge and a crowd pleaser. (My beatboxing has a long way to go. Also: I bought the piece as a PDF through Pattillo’s website, but the site seems to have been updated and now I can’t find it to link to.) And Roberto Molinelli’s Four Pictures from New York is a charming piece for saxophonist playing soprano, alto, and tenor, performed here with piano but also available in several ensemble versions. I copied Otis Murphy‘s substantial cuts to the third movement, which make sense for the saxophone/piano texture.
More and more university music teaching positions require wearing several hats, sometimes including teaching multiple instruments. (Oboe plus bassoon is an especially common combination, even though it’s unusual for musicians to play both well.) Teaching multiple instruments is also a potentially valuable skill for instructors at lesson studios in private music schools or in music stores, for instructors in middle or high school band and orchestra programs, and for those establishing private studios from their homes.
In many multiple-instrument hiring situations, the expectation is proficiency on one instrument and willingness to fake your way teaching the other(s). Any actual training or background on secondary instruments immediately sets you apart. Strongly consider taking at least a few lessons on a secondary instrument—this shows seriousness about the multiple-instrument thing, even if it doesn’t make you a virtuoso.
Having access to books (or websites) isn’t a substitute. Neither is “knowing a guy” who you can “ask questions.” Though those are usable resources, they aren’t convincing to hiring committees because they don’t demonstrate any actual effort prior to submitting your application.
Be honest but positive with yourself and with hiring committees about your ability and/or enthusiasm for teaching multiple instruments. For example:
“I play oboe professionally, but I am deeply committed to both instruments and am working to improve my bassoon skills. I have some experience playing bassoon in semi-professional settings.”
“Bassoon is really my thing, but I took oboe lessons for a couple of summers during graduate school and am enthusiastic about teaching the double reeds.”
“Teaching bassoon would be a brand new challenge for me, and one that I would take seriously.”
You won’t have to fix all of your students’ technical issues on day one, but you will have to assign repertoire and studies right away. Spend some serious time browsing other teachers’ syllabi and “suggested repertoire” lists (many are available online!), and start compiling some lists of your own. Are you ready to recommend, for example:
some remedial etudes and an easy solo for an incoming freshman?
an hour’s worth of varied and challenging-but-doable repertoire for a junior entering a competition?
a solid program for a senior recital that can double as serious graduate school audition repertoire?
pieces with extended techniques?
chamber pieces with strings?
concerti with concert band?
and so on…
You will, of course, have to address technical issues at some point. Be advised that your students know when you’re making things up. But it can be a great experience to spend a few minutes researching a question together, or calling a colleague or mentor on speakerphone for advice.
Both you and the student can learn a lot when you dare to get an instrument out and try some things together. Your students know it’s not your main instrument, and appreciate seeing you step out of your comfort zone. Consider giving them a chance to teach you something—teaching is a skill they should be learning anyway.
Institutional resources like money, time, and space are often allocated per faculty member, not per instrument taught. As appropriate, consider making a case for the following (for example):
Funding for your oboe studio plus funding for your bassoon studio. Per-faculty funding can be unfair to students, who won’t benefit from purchases made for the other studio.
Additional prep time built into your schedule to accommodate the logistics of multiple studios.
Studio space and storage space suitable for several studios’ worth of instruments, sheet music, reed desks, etc.
If you are a single-instrumentalist teaching multiple instruments, consider forming partnerships with others in the same situation. Visit each other’s schools once or twice a year, maybe more often if the travel is short. Be each other’s consultants, guest artists, masterclass teachers, reed sources.
Consider which aspects of running a studio you can streamline to accommodate multiple instruments without multiplying your workload. For example:
Use your university’s LMS features, perhaps to combine all of your applied students into one “course,” instead of having to communicate separately to each instrument group.
If permissible and appropriate, rotate or combine things like studio classes and chamber group coachings.
Repurpose, say, oboe sight-reading excerpts as saxophone excerpts, or vice-versa. (Doesn’t work as well between oboe and bassoon. Clefs, you know.)
Staying sharp (figuratively)
Join an organization. Attend conferences. Read the journal. Summer camps (that welcome or at least tolerate adults) are great, too.
For oboe-plus-bassoon teachers, IDRS is perfect! Be sure to attend recitals and masterclasses for your secondary teaching instrument, and familiarize yourself with equipment and repertoire options in the vendor exhibits.
Build your library of recordings, pedagogical materials, and experiences related to your secondary teaching instrument(s). If it suits your goals, budget toward buying or upgrading your secondary instruments and investing in your further education.
Be smart, informed, and conscientious about learning what pedagogical techniques, ideas, etc. you can share between instruments and what you can’t.
If you are at even an intermediate performing level on a secondary instrument, strongly consider playing it on your faculty recitals (one short, easy piece?). Keep yourself challenged to improve.
Shameless plug: Keep an eye on bretpimentel.com for blog posts and other resources related to playing and teaching multiple woodwind instruments, and the fundamental techniques that those instruments share.
Long-term career planning
Is teaching multiple instruments an end goal for you, or just a way to get that first teaching job that will be a stepping stone to something that fits you better? Hint: either is okay, and it’s also okay to change your mind.
If you need to meet certain expectations for tenure, annual reviews, etc., be smart about how your multiple-instrument duties affect this. For example:
If leadership in professional organizations is important, you may need to attend your major instrument’s conference every year, instead of bouncing from conference to conference.
Understand student recruitment expectations—will you need to keep your studios balanced in a certain way, or is it acceptable if, say, recruiting for your main instrument is more successful?
I had a blast at the 2016 International Double Reed Society conference, hosted by Columbus State University in Columbus, Georgia. As I have said before, the IDRS puts on an outstanding conference, maybe my favorite of the various woodwind conferences I attend. Very well organized, with lots of outstanding talent, varied events, and presences from all the top makers and dealers of double reed instruments and gear.
A few personal highlights:
Excellent evening concerts, some with chamber music and some with orchestra. Too many great performances to do justice to them all, but a couple that stood out in my mind were the premiere of Alan Elkins’s double oboe concerto with Elizabeth Koch Tiscione and Kathryn Greenbank, and Cary Ebli‘s performance of his own edition of the Donizetti Concertino for English horn.
Some very interesting lectures and presentations. A few favorites were Mark Eubanks‘s on bassoon reed tuning, Jamie Sampson‘s on her methodical research into bassoon multiphonics, and Janet Grice‘s on adapting Brazilian choros to double reed instruments.
I gave a presentation on teaching multiple instruments. You can check out my handout/lecture notes if you like.
I got to meet or reconnect with lots of cool people, including some who, to my delight and surprise, introduced themselves as “fans” of this blog or of my other online stuff. I’m always happy to connect with nice people who find my stuff useful or interesting in some way.
I released version 0.6 and then version 0.7 of the Fingering Diagram Builder. Most of the improvements were either minor fixes or additional instruments, such as the Viennese oboe, the Albert/Oehler clarinets, and the French bassoon.
I shared interviews with woodwind players Sal Lozano and Sarah Cosano. (Nominations welcomed for future interviews.)
I did another 12 monthly installments of my favorite blog posts. Last year I reported that I was tracking about 500 woodwind-related blogs. Now it’s at about 600. Drop me a line if you have one (such as yours) to recommend.
Most years I complain a bit about how nobody liked my April Fool’s Day joke post, but this year’s entry attracted enough attention to be embarrassingly gratifying. (The weather info seems to be temporarily[?] broken due to a thing beyond my control. Sorry.)
A few years back I commissioned a piece, Divertissement by Sy Brandon for multiple woodwinds soloist with piano, with the help of a Co-op Press Commission Assistance Grant. Brian Levels, who was until recently a doctoral student at the University of North Texas, has written a dissertation on the piece, which is now available through the UNT Digital Library. Be sure to check out the dissertation, and, of course, the piece.