FAQ: Practicing schedule

ByBret Pimentel

Some of the questions I am asked most frequently about woodwind doubling are about how I practice. Specifically, how often do I get to each instrument, and how do I divide up my time?

The truth is that there isn’t an ideal solution, and maybe not even a good one. There are only so many hours in the day. The best, say, clarinet players are spending a good number of those practicing the clarinet. If I practice the same number of hours, but I’m dividing that time among multiple instruments, then I’m likely to feel a bit behind. This is the big obstacle to fine woodwind doubling: practice hours are hopelessly divided.

photo, Jon Delorey
photo, Jon Delorey

Sure, there are ways of improving your practicing efficiency, but the best single-instrumentalists are using those same approaches. And any cross-training effect is minimal at best for players who are beyond the beginner level. If you want to sound like a serious player on your secondary instruments, you have to put in the hours on those instruments.

Realistically, an embarrassing amount of my practicing is triage: which instrument needs to sound passable to get through the next performance? But when I have the luxury, I like to organize a little better.

For me it generally isn’t useful to squeeze too many instruments into one day, since the time allotted to each instrument gets too short to be productive. So, if I am trying to practice five instruments about equally and can find about three hours per day to practice, I might decide to practice three instruments per day, for an hour each. But if I rotate through the instruments too fast, different ones each day, I’m not able to reinforce my improvements enough to make them permanent. So I usually settle into something like this:

Day 1 Day 2 Day 3 Day 4 Day 5 Day 6
flute
oboe
clarinet		 oboe
clarinet
bassoon		 clarinet
bassoon
saxophone		 bassoon
saxophone
flute		 saxophone
flute
oboe		 start again…

In that example, I practice each instrument three days in a row, then neglect it for two. That balance, for me, seems to be a reasonable compromise. If I want to rotate but I feel like a certain instrument needs extra attention, I might assign it two blocks of time on the days it appears in the rotation, and adjust the other instruments around it.

When organizing your own practice time, you should be asking yourself some questions about your own priorities: How many instruments are you practicing? Are you trying to bring them to a uniform level of proficiency, or do you have primary and secondary instruments? Do have instruments that are “behind” and need extra time for catching up? Does it make sense for you to devote separate blocks of time to (for example) flute and piccolo, or will you fit them within a single block?

Practice smart, and keep at it.

Similar Posts

  • Raphael Sanders: Doubling the clarinets

    ByBret Pimentel

    A few tips on doubling on various sizes of clarinets, from Raphael Sanders, clarinet professor at SUNY Potsdam.

  • Factors in woodwind instrument response

    ByBret Pimentel

    Response is how readily the equipment/player combination produces sound. “Good” response generally means that the player-plus-instrument are able to produce a sound that starts precisely when intended, with clarity and with no unwanted additional noise. Many factors affect the quality and reliability of the response:

    • Instrument condition. An instrument with leaks, cracks, problematic dents, etc. will often respond in a delayed or unpredictable way.
    • Instrument quality. The instrument’s design and manufacture also play a role—an instrument of inferior design/build may respond inconsistently.
    • Setup. Mouthpieces and reeds are similarly subject to design and manufacturing flaws, and must also be well-matched to each other and the instrument. A common issue with single-reed instruments, for example, is using a “strength” of reed that isn’t a good fit for the mouthpiece.
    • Breath support. One of the most immediate and effective ways to improve response, even when other factors are less than ideal, is to use powerful, consistent breath support.
    • Embouchure. Any embouchure problem can affect response, but by far the most common is embouchure tightness or tension. Remember that all woodwind embouchures should be relaxed.
    • Voicing. This is one of the least-taught and least-understood, but one of the most crucial aspects of good woodwind playing. Properly-calibrated, steady voicing improves response (and just about everything else).
    • Finger accuracy and timing. Fingers that arrive on their keys or toneholes out of sync, or that fail to form proper seals, impede response like the leaks that they are.
    • Inherent acoustical problems. Even the best-made instruments have some built-in compromises that might make certain notes less responsive even under the best circumstances. A common example is the lowest notes on the flute, the oboe, and the saxophone, which may tend toward slight sluggishness even for the best players and equipment. Players may need to compensate in various ways.
    • Musical context. Related to the acoustical problems of the various woodwinds, certain musical contexts may exacerbate issues. For example, the bassoon has some specific intervals that are hard to slur smoothly, and skilled bassoonists might use special fingerings to improve these.

    For your best response on every note, be sure to address each of the many factors involved.

  • Finding information for the Woodwind Doubling in Musicals list

    ByBret Pimentel

    I continue to be amazed by all the interest in and support for my Woodwind Doubling in Musicals list. I hear frequently from musicians who have information to contribute or who just want to say hello or thanks. It’s pretty great.

    Over ten years ago(!) when I started putting the list together, I spent a good deal of time and effort compiling data. I don’t do that very much anymore, partly because I have already picked over the most obvious sources, partly because I want to focus more time on teaching and playing music, and partly because I get better information when I get emails from woodwind players down in the orchestra pits with the reed books in front of them.

    So these days my role in the list’s upkeep is basically that of editor, data-entry monkey, and mostly-benevolent dictator, and I count on you cool people to send me what you know. In the interest of encouraging and facilitating that, I’m going to dump here (in alphabetical order) some potential resources for gathering information. Maybe some of you know of other sources that you would like to share in the comments section. (I’ll selectively edit them into this post.) Enjoy!

    Woodwind Doubling in Musicals

    Show publishers, rental companies, etc.

    Sometimes these websites list woodwind doublings. You might find that information under something like “orchestration,” or under something like “rental materials.” The information is often vague and has errors, but it’s a start. (Also, keep in mind that I do want submissions for shows that have no reed books, since a verified lack of reed parts can be useful to doublers.)

    Information on specific productions

    Sometimes in sources like this you can find the orchestra personnel, sometimes with their instruments listed. Or you may be able to use this information to, say, Google the orchestra members and possibly get in touch through a personal website or social media account. Please be super considerate and respectful of people’s time and privacy.

    Miscellaneous

    • Google and social media sites. Sometimes people post information from productions, photos of program pages, etc. Sometimes musicians put a brag list on their personal websites of what shows they have played. Or, sometimes you can find out something like a musical director’s name, get in touch, and ask for information (maybe the doubling information itself, or maybe a connection to the woodwind players). Again, be incredibly sensitive about hitting up strangers on the internet.
    • Musical Theatre Reed Book Orchestrations [update: link dead] – I believe this one actually precedes my list, though I didn’t discover it until mine was already online. I don’t think it has been updated in a number of years.

    Have information to submit? Check out the contribution guidelines and send it along. Thanks, you’re awesome.

  • |

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

    ByBret Pimentel

    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.

  • Woodwind doubling and oboe problems

    ByBret Pimentel

    There’s an increasing expectation that woodwind doublers be competent and confident oboists. It can be a challenging double, but a worthwhile one. Many of my doubling gigs have come to me because of my ability and/or willingness to play the oboe. And even though it’s not my strongest instrument, there are considerable spans of my career during which I’ve made more money playing the oboe than any other instrument.

    Here are some of the common problems woodwind doublers, often coming from background in the single reed instruments, have with the oboe:

    Fingering awkwardness. Dedicated, conscientious practice of scales/arpeggios and technical material goes a long way here, but there are some additional considerations specific to the oboe.

    First, the oboe’s toneholes are rather widely spaced, maybe surprisingly so for clarinet and saxophone players. (This has to do with the oboe’s very narrow bore—the toneholes have to be quite small so as not to catastrophically weaken the instrument’s body, which means they have to be spaced widely to produce a scale.) This can be a cause of tension. Work diligently at keeping your hands relaxed. If it helps, use a neckstrap to further reduce hand strain.

    Second, the oboe, more than the other woodwinds, tends to have more keys the more you pay for it. It’s very worthwhile to save up for an oboe with a left F key, and to learn to use it fluently. The left F key should be seen as part of the instrument’s core fingering technique. Many of the other keys available on professional or semi-professional instruments are less-used, but valuable in specific situations.

    Uneven tone and intonation. The oboe requires a very low voicing, lower than a saxophonist is used to and much lower than a clarinetist is used to. It also offers little forgiveness for weak or inconsistent breath support. Learn to balance low voicing against steady support to even out the instrument’s sound and stabilize its pitch. (Like fellow conical-bore instruments the saxophone and the bassoon, the oboe’s response suffers particularly in the lowest register when your voicing is too high.)

    Similarly, embouchure should remain open, not pinched, regardless of register. Remember that the embouchure’s function is to be a mostly-passive gasket between your air system and the instrument. Resist the urge to bite when moving into the highest register—rely on good breath support instead.

    Overall response sluggishness/unreliability. My experience is that many, many intermediate (and especially self-taught) oboists are playing on reeds that are far too stiff. If your notes won’t respond reliably and delicately at a soft dynamic, and you’re sure your breath support, voicing, and embouchure are working well, you should consider a more responsive reed.

    Because oboe reeds are so susceptible to change, the best way to sound like a pro reed-wise is to spend a few years’ worth of lessons learning to make (or at least adjust) them yourself. Failing that, it’s worth it to buy reeds face-to-face from a good reedmaker, rather than from a music store or a distant internet reedmaker, so that they can adjust them for you on the spot. Reeds from a local reedmaker are also adapted to your altitude and climate.

    Another important and ongoing concern is adjustment of the instrument itself. The oboe has many adjustment screws that need occasional tweaking. It’s best of course to learn this art under the supervision of a good teacher. But if you’re mechanically-inclined and have a good oboe technician standing by to bail you out, there are a number of books and resources that explain the method in a clear and methodical way. A small tweak here and there can transform a stuffy, stubborn oboe into a responsive, cooperative instrument that is a joy to play.

    Approach the oboe on its own terms, equipped with good reeds and a good grasp of tone-production fundamentals, and enjoy!

  • Thinking through scales

    ByBret Pimentel

    My university woodwind students have to pass a scale exam as one of the requirements to progress in their degree program. They have to be able to play major scales and three forms of minor scales, plus arpeggios, through the “full range” of the instrument, from memory.

    Many of my students learned their major scales in their school band programs, well enough to have most of them in muscle memory. But some of them are less familiar with the minor scales.

    It can be a little overwhelming to keep track of 48 different scales. With plenty of accurate repetitions my students can get to the point of muscle memory for all 48. But in the meantime sometimes they get stuck trying to remember the right notes for the next scale, or get mixed up and play the wrong one.

    I find it very helpful to have a mental roadmap for thinking through the next scale, and especially so if I can relate it to something I already have in muscle memory. My map might go something like this, but there are lots of possibilities:

    • C major scale: already in muscle memory, little or no “thinking” needed. As I play, notice the first, third, and fifth scale degrees, so I can use them in the next step.
    • C major arpeggio: first, third, and fifth degrees of the scale I just played.
    • C natural minor scale: since it’s a minor scale, I’m going to lower the third from E to E-flat. And E-flat major is the relative key to C minor, and I have E-flat major in my muscle memory, so I can play that same pattern of notes without too much thought.
    • C harmonic minor scale: now that I’ve got C natural minor under my fingers, I just need to change one note to produce the harmonic minor: B-flat becomes B-natural.
    • C melodic minor, ascending: this one is just like the C major scale I played a minute ago, but lower the E to E-flat.
    • C melodic minor, descending: this one is just like the C natural minor scale (related to E-flat major) that I played a minute ago. Notice the first, third, and fifth scale degrees, so I can use them in the next step.
    • C minor arpeggio: first, third, and fifth degrees of the scale I just played.

    Another approach that appeals to some of my students is to think in terms of scale degrees: start with the major scale that’s already in muscle memory, and remember that for, say, harmonic minor, you have to lower the third and the sixth.

    Having an organized way of thinking through the scales helps prevent the paralysis and overwhelm of trying to conjure up the whole scale from nothing. When my students take their exam, nobody minds if they take a few moments to think before they start playing, but getting stuck mid-scale would be a problem.

    As you get better and faster at thinking through the scales, a good way to push yourself is to use a metronome, and limit yourself to a pre-set amount of time before the next scale starts. Maybe a certain number of beats (or, ultimately, zero beats) before jumping into the next one. If that doesn’t go well in the practice space, you know that particular transition is a problem spot, and can reorganize your efforts accordingly.

    Happy practicing!

2 Comments

  1. Do you find it necessary to practice the different members of the sax family separately? I’m mainly a clarinet player and I’m confident I’m missing many (most?) of the finer points of playing saxes. Still, I find practicing tenor sax doesn’t help my alto much and vice versa. I rarely practice soprano sax unless I have a performance on the calendar.

    Reply

    1. To play multiple members of an instrument family well, yes, absolutely you have pay your dues on each one. I think saxophones are particularly tricky that way since each requires a different voicing. This can be trained through mouthpiece pitch exercises—this article is a good introduction.

      Reply

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.