Free download: New orchestration of the Creston saxophone sonata

Italian pianist Marco Ciccone has done a new orchestral transcription of the Paul Creston saxophone sonata. I haven’t heard it, but I got email from Mr. Ciccone about it and thought I would pass the word along.

The score and parts (you have to provide your own saxophone part) are available here in PDF format, presumably for a limited time, as the arrangement is slated to be published soon. [Update: looks like this is no longer available.] According to the “warning” document, there are some restrictions on performances made with the free parts, but in any case it seems worthwhile to download the score and check it out. Instrumentation is eight woodwinds, five brass, two percussion, strings, and, of course, alto saxophone solo.

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  • Report: John Mack Oboe Camp, 2012

    You know you are at oboe camp when the rules include “no crowing reeds before 7:30 a.m.”

    I’m back from the John Mack Oboe Camp, held every June at the Wildacres Retreat in the mountains of North Carolina. The camp has been an institution for over 30 years, and has been carried on by Mr. Mack’s students since his passing in 2006.

    The JMOC is a a week of intensive oboe study. Most of the 60 or so attendees were motivated undergraduate and graduate oboe students, plus a handful of us in the “30+” category and a smattering of talented teenagers. There is an application but no audition; ability levels ranged from enthusiastic amateur to professional.

    It’s possible to enroll as an auditor, but most attendees participated in masterclasses, performing a Barret or Ferling etude and an orchestral excerpt over the course of the week and getting coaching from the camp’s distinguished faculty (I got to do Barret melody no. 40 and the second movement of the Brahms violin concerto, with coaching from Martin Hebert and Linda Strommen).

    A typical day included morning masterclasses, afternoon workshops or free time, evening masterclasses, and late night snacking and socializing. Other events included a faculty recital, ad-hoc chamber music rehearsals, free oboe adjustments and repairs by John Symer, shopping in the RDG Woodwinds mini-store, a mass oboe choir, and reed evaluation/advice sessions with the faculty.

    The spirit of John Mack was very much present during the week, with the faculty (all Mack protégés) making a point to share wisdom and stories from their studies with him: “As ‘our teacher’ would say…” Having the camp taught by all Mack students gave a nice continuity and unity of message to the masterclasses.

    The week wasn’t all business, though—Wildacres is a paradise with gorgeous mountain vistas, fresh air, deliciously mild summer weather, comfortable lodges, and outdoor activities. It’s also a haven for the arts, that hosts many arts-related camps every year (including several woodwind-related ones). Every space at Wildacres is filled with sculpture, paintings, photography, poetry, and other evidence of the inspiration generations of visitors have found there. There are instructional spaces and a nice little auditorium. The dining hall serves three hearty family-style meals a day, with vegetarian options and other special accommodations available. Internet access and cellular service are spotty at best, but Wildacres spins this as a feature: unplug, relax, and enjoy the here and now.

    I found my fellow campers to be happy, relaxed, supportive, and friendly. The makeshift “reed room” in the main lodge was usually packed, with more experienced reedmakers happy to offer advice.

    The JMOC is a surprisingly good value, as tuition costs less than a week’s hotel stay, but includes lodging, meals, and extensive educational opportunities.

    Highly recommended!

  • Update: Woodwind doubling in Broadway musicals

    A few years back, I started compiling a little list of Broadway-style shows and their woodwind books—the printed parts the woodwind players use in the orchestra pits. It has since grown wildly out of control to over 900 shows and has firmly cemented itself as the most popular thing on this website. Many of my visitors—from top Broadway musicians to community theater weekend warriors—contribute to the list by sending in information from the trenches.

    Over the last few months, I’ve hosted two versions of the list, and solicited feedback about the newer version versus the classic edition. Thanks to all of you who took the time to test drive the new version and submit some comments.

    The feedback showed an overwhelming preference for the new version, which as of today is replacing the old one. It adds some extra functionality, most notably a search bar, and will also load faster for most users. It includes links to search for soundtrack albums for each show on iTunes and Amazon—I hope that this will be a convenience for some users and not an undue hassle to others; it provides a revenue stream which, while pitifully tiny, nevertheless helps to keep this website going.

    Thanks once more for your support of the Woodwind doubling in Broadway musicals list. I hope you will continue to make use of it and of other woodwind stuff here at bretpimentel.com.

  • Doublers in the news: Hunter Diamond

    Check out an interview (with audio) of Indiana University undergraduate student Hunter Diamond about his interest in woodwind doubling.

    He’s hoping his skills on multiple instruments will eventually land him commercial gigs or even a position playing in a pit for musical theater performances.

    “The most important thing now is to find something unique about my playing that I can market in a positive way.”

  • Farewell: Buddy Collette

    Notable woodwind doubler Buddy Collette, known for his skill and artistry as a jazz saxophonist, flutist, clarinetist, and composer, passed away on Sunday. Check out the Los Angeles obituary, or, even better, enjoy his flute and tenor:

    Tip of the hat to Eric at jazz-sax.com for bringing this sad news to my attention.

  • Update: Woodwind Doubling in Musicals

    I’m pleased to announce the release of a very much new-and-improved version of what used to be my “Woodwind doubling in Broadway musicals” page. Now it’s just “Woodwind Doubling in Musicals,” since I long ago abandoned any idea of limiting it to shows produced on Broadway.

    Woodwind Doubling in Musicals

    Here is what’s new, besides the title:

    • Each show now has its own page. I know some of you will object to this change. Sorry. This has been a long time coming; almost 1,100 shows is clearly way too many for one page. Splitting things up shouldn’t really slow you down if you are using the list as a reference and looking up shows using the navigation at the top of the page; it is, admittedly, less convenient for idle browsing. It is also kinder bandwidth-wise to those visiting from mobile devices, which is more and more of you.
    • This is huge: there is now a commenting system. Many of you who have contributed over the years (since about 2005!) have included insightful commentary along with the specifics of instrumentation for each show, and I haven’t had a good way to incorporate that information. Please go to town sharing useful information on each show’s individual page.
    • There are some new ways to browse, including by production location, year, etc. This information is far from complete, so please please help me fill in the blanks. In the earliest days of the list, I didn’t keep track of sources or of any background info on each show, so there are still a lot of listings that are pretty bare other than instrumentation.
    • If you want to keep track of the very latest updates and are RSS-savvy, you can hook up to feeds. The most useful ones are probably the main site feed, which delivers the most recently modified listings, the whole-site comments feed, and the comments feeds for individual shows that you care about.
    • You can now “register.” There aren’t a lot of really clear reasons to do so at this point, but it creates the possibility in the future that I could extend editing privileges to trusted contributors. And I’ll tell you what: if you register for an account and send a donation of any amount at all (except I think the PayPal minimum is a buck), then I’ll turn off advertisements for you when you’re signed in.
    • Which reminds me, there are ads on the individual show pages. I know. But I have put many, many hours into this thing. Also, I would happily consider running your ads instead if you have something relevant to promote and want to purchase some space.
    • I have brought back the Frequently Asked Questions, and created a new page with hints and guidelines for submitting information.

    Please do check it out.

  • Fingering Diagram Builder, version 0.8

    I’m pleased to announce a new release of the Fingering Diagram Builder.

    One thing I wanted to do in this release is give something back to the very generous and sexy people who have been kind enough to use the PayPal donation link to show their support over the years, so I’ve added some special exclusive features for donors. Most of those features are geared toward those doing large or involved projects, such as for publication.

    To be clear, none of the old features have been put behind a paywall, and with this release and future releases I’ll keep working on improvements for the free users, too. And you can get the donors-only features with a one-time donation of literally any amount of your choice. (If you’ve donated before, you can try the “Are you a previous donor?” link to activate your special features, but you might have to email me so I can fix it for you manually, especially if your donation was a few years ago.)

    Anyway, here’s what’s new:

    • Some weird/cool new key sets like Kingma-system flutes, the Redgate oboe, and the Contraforte. I’m flying a little blind on those since I don’t exactly have those instruments laying around, so if you’re an expert let me know what tweaks are needed.
    • Downloads in .gif format (in addition to the previously-available .png and .tif). For some purposes .gifs won’t look as nice as .pngs, but the file sizes are very compact, which is useful in some situations. And for donors, you can also download in .svg format, which gives you basically unlimited scalability with no loss of image quality. .Png and .svg downloads also now get lossless compression, which you can turn off if for some reason you want to.
    • Diagrams can be rotated 90° in either direction. Donors can also mirror them, which I think is a strange idea but lots of people have requested it.
    • Image backgrounds can be white (like before), or now also transparent.
    • Some more flexibility for donors: finer control of image size and line thickness, and an editable color palette. Donors also have some new options for how images are cropped.
    • You can still, as before, let the FDB automatically provide unique filenames for your downloaded images or name each one manually. But now you can also type placeholders: %i to auto-insert the name of the current instrument, %k for the key set, and %c for an auto-incrementing counter. It’s hard to explain, but try it out and I think you’ll see it’s pretty easy and useful.
    • In addition to downloading images to your device or uploading to Dropbox, you can also post them to Imgur. That gives you quick-and-easy shareability of images on all the social media sites, and you don’t need to create an account or anything.
    • People have been rightfully baffled for years by the powerful but undocumented “Keywork details” thing. That hasn’t gone away, but many of the instruments now have a more user-friendly interface for turning certain keys on or off. I hope to add to and refine these interfaces in response to the continuing frustrated emails. It has also become abundantly clear that, while I’ve tried to make everything as intuitive as possible, it’s time for a help page.
    • The FDB can, if you like, remember the fingering you were working on in a previous session. (This feature is turned off by default.) I don’t expect that many people need multiple visits to the FDB to complete one fingering diagram, but it’s handy if, say, you accidentally navigate away.
    • Once again, a thorough visual refresh and lots of little interface tweaks.
    • This one is boring but important: basically a ground-up rebuild of the FDB’s guts, using smarter coding than I knew how to do nearly nine years ago when I first released it. (For the code-savvy, I’ve replaced my spaghetti jQuery code with slightly-less-pasta-like Vue.js code.) That will hopefully help keep it running reliably and maintainably on modern web browsers for the better part of another decade.

    Please do check it out, and send me your bug reports and other feedback.

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