Endurance and breath support

Physical endurance can be an issue for woodwind players, most often manifesting as fatigue in the muscles of the embouchure. But I think in most cases tired facial muscles are a symptom of a more fundamental problem.

The muscles used for forming woodwind embouchures are small and finely-tuned for precise movements, such as in speech and in facial expressions. This also makes them well-suited to the fine control needed for woodwind playing. But those muscles are not really adapted to feats of strength or endurance.

photo, Denise Coronel
photo, Denise Coronel

Tired and sore embouchure muscles lead to additional problems, such as compensation by clamping down with the larger, stronger jaw muscles, which sacrifices control and causes woodwind players (especially reed players) to bite into their own lips. (As a less-experienced player, I thought of those raw, swollen, and eventually calloused spots in my lips as signs of dedication to practicing. I don’t have those spots any more. In many cases, the need for some kind of cushion or dental appliance over the teeth when playing is a sign of unnecessary biting.)

Woodwind players should be doing most of their physical “work” with muscles that have strength and stamina. The “core” muscles of the torso have both: they are an integral part of posture, balance, and virtually all gross motor activities (walking, jumping, lifting, sitting, standing, and many more). The core muscles are also the muscles of breath support, which is arguably the most crucial, foundational aspect of woodwind playing.

Powerful breath support takes a huge burden off the facial muscles. For example, it stabilizes pitch, reducing the need to “lip” notes up or down (which is a less-effective technique anyway); it strengthens and solidifies tone, reducing the tendency to “control” the tone (poorly) by biting or squeezing with the lips; and it eases response, reducing tension. Weak breath support leads to biting and pinching with the embouchure, and that tension spreads throughout the body.

When you start to feel your embouchure muscles start to tire, allow your face to relax, and focus instead on powerful abdominal breath support.

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  • Recorder notation vs. band/orchestral woodwind notation

    At the request of a reader, I’m going to try to clarify some things about notation for recorders. (I touched on it previously in an article about woodwind key nomenclature systems.)

    Those of us who play modern band/orchestral woodwinds are familiar with a system in which, within a family of instruments, a notated pitch always corresponds to a certain fingering. No matter how large or small the instrument, the same fingering always corresponds to that same written pitch, even though the smaller instruments produce higher sounding pitches and the larger instruments produce lower sounding pitches. For example:

    E-flat clarinet B-flat clarinet A clarinet Bass clarinet
    Notated pitch
    Fingering
    Sounding pitch

    This is convenient for clarinetists because, essentially, they only need to learn one set of fingerings to be (in that respect) prepared to play any instrument in the clarinet family. Note also that even the bass clarinet is notated in treble clef, as are its even lower cousins. All the major modern woodwind families (flutes, oboes, clarinets, bassoons, and saxophones) use this approach: consistent clefs, and consistent correspondence of notated pitch to fingering. The transposition is a function of the instrument’s size.

    Because of the prevalence of this system in the Western woodwind tradition, it’s an understandable error to assume that the recorder family is notated in the same way. But recorders typically use a different system, in which each instrument is notated in concert pitch, and the fingerings change depending upon the instrument. Or, to be more precise, each instrument is notated in a sort of “concert pitch class,” since some of the recorders are notated as transposing by one or more octaves, but a notated C always produces a sounding C. Bass recorder and lower are notated in bass clef. Here are the most common ones:

    Descant (“soprano”) recorder Treble (“alto”) recorder Tenor recorder Bass recorder
    Notated pitch
    Fingering
    Sounding pitch

    Recorder players must learn two sets of fingerings, one with the instrument’s lowest note being C (for descant and tenor recorders), and one with the instrument’s lowest note being F (for treble and bass recorders), and must be prepared to read in two clefs. Read More “Recorder notation vs. band/orchestral woodwind notation”

  • A minimal Little-Jake electric bassoon setup

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    Be sure to check out my recent interview with Trent Jacobs, the inventor of the Little-Jake bassoon/woodwind pickup.

    During the past year I got myself a Little-Jake to experiment with some electrified bassoon playing. I didn’t know much about using electronics in this way, and it took some research and trial-and-error to figure out exactly what I needed to use the Little-Jake with my bassoon. I thought others might find it useful to see that information all in one place. Here’s a kind of minimum setup:

    • A bocal that you’re willing to have altered. I had an old one that I liked but wasn’t using much.
    • The bocal needs a small hole drilled in it and an adapter soldered to it. A skilled instrument technician can probably make you an adapter from scratch, or you can buy one pre-made. Forrests Music has one, and so does Midwest Musical Imports. I bought Forrests’s (cheaper) version, plus the threaded plug in case I want to use the bocal without the Little-Jake. I shipped my bocal to Forrests and they installed the adapter for a very reasonable fee.
      Brass adapter visible just above whisper key pip

      Adapter with plug
    • The Little-Jake pickup. It’s a thin cable with a 1/4″ plug on one end, and a little threaded connector on the other. The threaded end connects to the adapter on your bocal.
    • A preamp. The 1/4″ end of the Little-Jake connects to the preamp’s input jack. The preamp works some electrical magic to get the electronic “signal” ready for amplification. You can buy an inexpensive one made from an Altoids tin, or this L. R. Baggs one that Trent recommends, or there are other options if you know what you’re doing. The L. R. Baggs is handy because it clips to your belt and provides a volume control.
    • An audio cable, like the ones used for electric guitars. One end plugs into your preamp’s output jack.
    • An amplifier. The other end of the audio cable plugs into an input jack on the amplifier. There are many options at many price points. I use a small Mackie PA system for practicing or small venues, or a keyboard amplifier if I need more volume. Keyboard amps and PA systems are usually designed for a relatively “clean,” unaltered sound, whereas guitar amps tend to add their own character. This is a personal choice depending on what you want to sound like, but for me the keyboard/PA-type amp seemed to make sense as a starting point.
    Assembled system: bocal → Little-Jake → preamp → audio cable → amplifier (in this case, a small PA system)

    That’s enough to start making some fun sounds, but refer to Trent’s interview and an article on his website for some thoughts on adding effects pedals, which really make things interesting.

    My current pedalboard setup

    The Little-Jake can be used for some other instruments, as well, with the same setup (except the adapter must be attached to a saxophone or bass clarinet neck, clarinet barrel, etc.).

  • 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
    flute3713%
    oboe135%
    clarinet10638%
    bassoon62%
    saxophone11942%
    none of these apply1~0%
    2011 Data
    flute2212%
    oboe105%
    clarinet7741%
    bassoon53%
    saxophone7339%

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

    2021 Data
    school band/orchestra program (high school or younger)26293%
    private lessons outside of school24888%
    summer camps18867%
    university band/orchestra program24185%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds2710%
    university/conservatory bachelors degree with single-instrument or other music concentration18265%
    bachelors-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program11139%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds3512%
    university/conservatory masters degree with single-instrument or other music concentration7527%
    masters-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program3111%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds104%
    university/conservatory doctoral degree with single-instrument or other music concentration249%
    doctoral-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program62%
    other university/conservatory music degree or certification145%
    self-taught on one or more instruments16759%
    2011 Data
    school band/orchestra program (high school or younger)17594%
    private lessons outside of school17091%
    summer camps13170%
    university band/orchestra program14376%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds2714%
    university/conservatory bachelors degree with single-instrument or other music concentration9752%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds137%
    university/conservatory masters degree with single-instrument or other music concentration3720%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds42%
    university/conservatory doctoral degree with single-instrument or other music concentration53%
    other university/conservatory music degree or certification126%
    self-taught on one or more instruments11863%

    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 instrument20272%
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in13949%
    had or wanted opportunities to play for musical theater19670%
    influenced by a teacher or role model13648%
    wanted to improve employability13849%
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it11842%
    an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another4616%
    your training/experience as a teacher required you to branch out5620%
    2011 Data
    just interested in more than one instrument40
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in37
    had or wanted opportunities to play for musical theater35
    influenced by a teacher or role model23
    wanted to improve employability19
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it19
    your training/experience as a teacher required you to branch out9

    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.

  • |

    Woodwind Doubler Census results, part 8: final comments

    I decided to leave a space in the survey for general comments, and many of you took the time to remark on a variety of subjects. Many of them were directed to me personally or seemed otherwise non-public in nature, so I’m not going to list them all, but I’ll share a few and summarize the rest.

    Some of you politely made suggestions on how the survey could be better:

    • There’s a big gap between “casual dabbler” and “semi-pro”. I suggest an additional category: “serious amateur” or something like that.
    • It would be good to have a skill level between casual dabbler and music major (something along the lines of “good amateur”). As the poll currently is, it suggests that I play recorder to the same standard as sax. I would consider my recorder and flute playing better than “not at all” but my sax and clarinet playing not to be at the level of “music major”, hence they all closest to “casual dabbler”. I guess it’s too late to change the poll now, but I thought I’d offer my opinion anyway :).
    • maybe ask music arranging abilities. Small ensemble writing for different woodwinds is necessary in my working fields.
    • Not sure what your intent is with this data, but I do think that there are some fields that would be nice to have/know of (of course maybe for the next time you do this)…  For example,
      -“what do you consider your strongest/primary instrument”,
      -consider having three columns in the instruments section like:  own/play/don’t own
    • Didn’t know how to answer some of the questions because I’m still a high school student

    I think these are all good suggestions, and ones that I would probably take if I could do the survey over. (At this point I have no specific plan for future surveys, but haven’t ruled the idea out, either.) Read More “Woodwind Doubler Census results, part 8: final comments”

  • Music practice and technical debt

    In software development there’s a concept referred to as “technical debt.” The debt is created when software code is written in a less-than-optimal way. The computer program works, but has some bugs or inefficiencies that will need to be fixed or improved later. Like other kinds of debt, it can be a useful way to get something done now, but will cost more (time, effort, dollars) in the long run.

    The metaphor works well for practicing music, too. Suppose I am working on a passage where a certain alternate fingering would be the most efficient choice. But I don’t use that fingering very often and I’m not completely comfortable with it, so I fall back on a more familiar solution. That gets me playing the passage now with some degree of success, but it also solidifies my attachment to the familiar fingering. Or perhaps my articulation is a little too heavy and thumpy, and I cover that up by adding some slurs in crucial places. That makes the passage work, but means that if I ever want to play it right I’ll have to improve my tongue movement and unlearn the slurs.

    In a perfect world I would always tackle the issue head-on: invest whatever is necessary to habituate the alternate fingering or clean up my articulation technique. In reality sometimes a looming performance means plastering over the problem and promising myself I’ll fix it later, at a greater price.

    I have found it useful to keep a running list of things I want to improve in my playing, including technical debts that need to be paid off. Incorporating relevant exercises, a few at a time, into my warmups helps me make small daily payments, so that hopefully the next time I need those techniques I own them free and clear.

  • |

    Frequently-asked questions about woodwind doubling, and their unpopular answers

    Q. Should I be a woodwind doubler?

    A. In most cases, no. If you already feel driven to do it, and have the time and resources to devote to it, then maybe.

    Q. What’s the trick to getting in enough practice time on all these instruments?

    A. Figure out what to de-prioritize in your life to devote more hours to practicing.

    Q. What’s the trick to affording all these instruments?

    A. Figure out what to de-prioritize in your life to devote more money to instrument purchases.

    Q. What instrument/mouthpiece/etc. should I buy?

    A. The one that you have carefully, methodically selected from among dozens or more high-quality specimens, without blindly following internet recommendations.

    Q. What’s a good mouthpiece, instrument, etc. for a doubler?

    A. Only buy things “for doublers” if you want to sound like a doubler. If you want to sound like, say, a good clarinetist, use what good clarinetists use.

    Q. Which instrument should I learn next?

    A. Whichever motivates you enough to devote the necessary time and money.

    Q. Playing one instrument already means it will be easy to learn another, right?

    A. If your goal is to develop only a superficial command of the instrument, then yes. 

    Q. How do I know when I am “good enough” at an instrument to count it as one of my doubles?

    A. You stop getting fired for how you sound.

    Q. How do I get gigs?

    A. Sound great, behave professionally, and be liked by the right people.

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