ClarinetFest 2014 presentation: The 21st-century woodwind doubler

I gave a presentation at the International Clarinet Association conference (“ClarinetFest”) last week on woodwind doubling, with a particular focus on the rising expectations on woodwind doublers to play more instruments at a higher level (including “world” and even electronic woodwinds). Here is the blurb from the program:

The typical working woodwind doubler in the 20th century was a strong player on one or two instruments, with a lesser level of achievement on one or two more. Woodwind doubling continues to be a marketable skill in live performance and studio work, but the expectations of woodwind doublers have changed with the music industry; 21st century “doublers” may be expected to play a much larger group of instruments (sometimes including “world” woodwinds and electronic instruments), and to play each of those at a more virtuosic level and in a variety of styles. This places increasingly high demands on woodwind players, but also offers a variety of rewards. This presentation profiles the modern woodwind doubler, and includes practical information for developing valuable doubling skills.

Here is the handout: The 21st century woodwind doubler

Victor Chavez from the University of Tennessee at Knoxville did a brief write-up on the ClarinetFest blog.

The crowd, as usual, was small but enthusiastic. I got to reconnect with some old doubler friends and meet some new ones. I was gratified to have many of them mention that they follow this blog (hello!) or make use of other resources on this site.

I understand there are several doubling-related events going on at the International Double Reed Society conference this week, as well!

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  • Playing in tune

    I’ve been working on improving my pitch this summer. Why is it so difficult to play a woodwind instrument in tune? I believe there are three reasons:

    1. The instruments are, of necessity, built in a hopelessly compromised manner. A flute or bassoon or whatever that plays perfectly “in tune” doesn’t exist. (“In tune” is in quotation marks because of #3, below.)
    2. The human element is full of variables that affect pitch: a little change in embouchure, a little variation in breath support, and the intonation suffers.
    3. Woodwind players (like string players, vocalists, and others) have to meet the sometimes-confusing standard of just intonation, meaning that the “right” pitch for a given note depends very much on the context. This, of course, has to be tempered somewhat when playing with equal-tempered instruments such as the piano. We’ll call all of this intonation, referring to the precise pitch relationships of one note to another.

    To play in tune, I’m working on addressing each of these problems. Some notes-to-self: Read More “Playing in tune”

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

  • Woodwind Doubler Census 2021 results, part 3: training/education

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    Which was your first instrument, among the major woodwinds?

    2021 Data
    flute 37 13%
    oboe 13 5%
    clarinet 106 38%
    bassoon 6 2%
    saxophone 119 42%
    none of these apply 1 ~0%

    2011 Data
    flute 22 12%
    oboe 10 5%
    clarinet 77 41%
    bassoon 5 3%
    saxophone 73 39%

    Which of these have been part of your education on woodwind instruments?

    2021 Data
    school band/orchestra program (high school or younger) 262 93%
    private lessons outside of school 248 88%
    summer camps 188 67%
    university band/orchestra program 241 85%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 10%
    university/conservatory bachelors degree with single-instrument or other music concentration 182 65%
    bachelors-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 111 39%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds 35 12%
    university/conservatory masters degree with single-instrument or other music concentration 75 27%
    masters-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 31 11%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 10 4%
    university/conservatory doctoral degree with single-instrument or other music concentration 24 9%
    doctoral-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 6 2%
    other university/conservatory music degree or certification 14 5%
    self-taught on one or more instruments 167 59%

    2011 Data
    school band/orchestra program (high school or younger) 175 94%
    private lessons outside of school 170 91%
    summer camps 131 70%
    university band/orchestra program 143 76%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 14%
    university/conservatory bachelors degree with single-instrument or other music concentration 97 52%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds 13 7%
    university/conservatory masters degree with single-instrument or other music concentration 37 20%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 4 2%
    university/conservatory doctoral degree with single-instrument or other music concentration 5 3%
    other university/conservatory music degree or certification 12 6%
    self-taught on one or more instruments 118 63%

    What factors influenced you first to get involved in woodwind doubling?

    Besides the provided answers, several of you included personal anecdotes of influences including boredom, norms of the early music scene, orthodontia and injuries, career aspirations like instrument repair and studio work, and the Lawrence Welk Show.

    2021 data
    just interested in more than one instrument 202 72%
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 139 49%
    had or wanted opportunities to play for musical theater 196 70%
    influenced by a teacher or role model 136 48%
    wanted to improve employability 138 49%
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 118 42%
    an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another 46 16%
    your training/experience as a teacher required you to branch out 56 20%

    2011 Data
    just interested in more than one instrument 40
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 37
    had or wanted opportunities to play for musical theater 35
    influenced by a teacher or role model 23
    wanted to improve employability 19
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 19
    your training/experience as a teacher required you to branch out 9

    What sources have you used to learn about or otherwise engage with woodwind doubling?

    Besides the provided answers, nine of you wrote in something to the effect of “lessons” or “teachers,” which I didn’t include as an option because I covered formal training in other questions. A few of you also wrote in “YouTube,” which I have lumped in with “social media sites.”

    Thanks again for your participation and stay tuned for more survey results.

  • Pedagogical recipes

    I want to follow up on something I touched on in my last post. I described in that post how I had my woodwind methods class evaluate some online pedagogical resources, and mentioned that I had them compare the information found online to the information presented in class. My idea was to prepare them to deal with conflicting information, which will be part of their reality as public school band directors.

    Woodwind pedagogy, unfortunately, is a mishmash of contradictory ideas. This is supported by a culture of hero worship of certain teachers and performers, a permissive editorial process for publishing pedagogical materials (increasingly so with the rise of the internet), and an attitude that music is not subject to scientific method.

    When conflicts exist between one school of thought and another, in some cases that is because one or both sides is incorrect. In other cases the problem is a communication failure: both sides are applying the same techniques in the same way, but describing them poorly (or at least differently). But I think there are other cases where the difference can be attributed to what I think of as different “recipes.”

    photo, Sarah Horrigan
    photo, Sarah Horrigan

    There are many ways to make a chocolate cake. Some cake recipes might be objectively better than others by some measure or another. Some might produce results that are generally satisfactory but especially suited to certain tastes. And in some cases, two different recipes might produce results that are very similar. In those cases, the way the ingredients and techniques balance is significant: one recipe might call for two eggs instead of three, but has more of another ingredient that makes up the difference, or a difference in baking time and temperature.

    I think a similar thing can happen with “recipes” for woodwind playing. Equipment preferences are a fairly clear example: one clarinet teacher might favor very stiff reeds, while another prefers softer ones. Both might produce excellent results, so long as they are balanced properly—the first teacher probably balances stiffer reeds against mouthpieces with a more closed tip, and the other might use softer reeds with more open mouthpieces. One oboe teacher might clip his reeds to 70mm while another clips hers to 69.5mm, but they probably balance this with narrower or wider shaper tips, or tweaks to any of a dozen other variables.

    Playing techniques are a little more abstract and complicated to separate out, but I think the same concept applies. One bassoon teacher might encourage some jaw movement when articulating lower notes, while another teaches a more stable embouchure, but it’s always more complicated than that: the technique’s usefulness and effectiveness has to be evaluated in the context of each teacher’s approach to breath support, voicing, embouchure, equipment, and more.

    The idea that I wanted to bring across to my class is that, for band directors or other musicians and music educators who might not be specialists in each of the woodwind instruments, it is important to beware little pedagogical proverbs taken out of context. Something like “firm up your embouchure” or “use a stiffer reed” or “use the alternate F-sharp” can seem like a quick and digestible solution, but can’t be applied casually and without understanding of the larger picture.

  • Making sense of third-octave flute fingerings

    I recall as a beginning flutist (coming from background in saxophone) finding the third-octave fingerings to be a confusing, illogical jumble, but they do actually make some sense. There is an incorrect explanation for these fingerings that I hear every so often, and have seen published on a couple of flute-related blogs recently. It goes something like this: the flute’s third-octave fingerings are some kind of combination of two different first/second-octave fingerings. For example:

    ta4 + te5 = te6 ?
    1424179983 1424179997 1424180007

    Or…

    tbf4 + tf5 = tf6 ?
    1424180013 1424180018 1424180777

    If I squint my eyes just right I can sort of see how this almost makes sense fingerings-wise and overtones-wise, but ultimately this system is unnecessarily confusing and also doesn’t reflect acoustical realities.

    Here’s a better way to look at third-octave flute fingerings: they are the same as the first/second octave fingerings, with a vent opened. This is very similar to how upper registers are achieved on the reed instruments: by adding an octave or register key or releasing a whisper key to open a vent. Since the flute doesn’t have dedicated vent holes, toneholes are used.

    For some of the third octave notes, additional keys must be added or subtracted to improve pitch, tone, or response; again this is analogous to the systems used for the reed instruments. But here are the simplest examples of opening single vents for the third octave:

    te5  open vent te6
    1424179997 1424183194 1424180007
    tf5 open vent tf6
    1424180018 1424183208 1424180777
    tfs5 open vent tfs6
    1424184167 1424183218 1424184173
    tg5 open vent tg6
    1424184151 1424183227 1424184158

    It is probably worth pointing out that having any “system” for remembering fingerings is just a crutch; for a performing musician, the only practical “system” is to thoroughly habituate them to the point that no conscious thought is required. Practice carefully and be on the alert for dubious pedagogy.

    Make your own handsome woodwind fingering diagrams with the Fingering Diagram Builder

  • Choosing instructional materials for beginning saxophone students

    Importance of appropriate materials

    Choosing the right method books and materials—or choosing not to use them—can be a deciding factor in a beginning saxophone student’s success. A student assigned page after page of boring finger exercises will lose interest quickly, but a student given only “fun” assignments may fall behind in development of sound technique. Read More “Choosing instructional materials for beginning saxophone students”

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