Handout from Mid-South Flute 2010 lecture: Folk, ethnic, and period flutes for fun and profit

Here is the handout from today’s presentation at the Mid-South Flute Festival at the University of Memphis campus. The audience was small but enthusiastic, asked good questions, and some of them stayed extra long to try out some instruments from my collection.

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  • Breath support, register breaks, and resistance

    A few months ago I wrote this about the clarinet:

    IfĀ breath support, embouchure, andĀ voicingĀ are correctly established, then Crossing the Dreaded Break ceases to be a Thing. It’s just another note: a moment ago you were playing B-flat, and now you are playing B-natural. As long as your fingers get where they are supposed to go, then that’s all there is to it.Ā Personally, I don’t even use the word ā€œbreakā€ with a beginning student—there’s no need to get them all uptight about what really is a non-event.

    My point was that crossing a register break is merely a fingering issue, and shouldn’t be turned into a big to-do about embouchures and equipment purchases and so forth. And I stand by that, but there is something I glossed over a bit that perhaps ought to be revisited in more detail, and that applies to register break crossings on all woodwind instruments.

    The point that I want to return to is that of breath support. If it, and some other basic tone-production matters, are “correctly established,” then break-crossing is indeed nothing more than a new fingering or two. But assuming that breath support is 100% correct with a student just reaching the break-crossing stage is often a mistake.

    Each note on the clarinet (and on any woodwind) has a certain level of resistance—that is to say, it requires a certain amount of air pressure to get the air column vibrating. Some notes are more resistant, and some are less resistant. As a sort of general oversimplification, we might assume that a long-tube note (with more toneholes closed) is more resistant than a short-tube note (with more toneholes open). Other factors do apply, of course: the size of the toneholes, whether the fingering is a “forked” fingering, and more, but let’s isolate tube length for the moment. So for the clarinet, having a break between A-sharp and B, we would expect to see this kind of resistance change while crossing the break:

    Taller grey bar = higher resistance
    Taller grey bar = higher resistance

    (Note that the bar graphs here are strictly illustrative and not based on any real measurements.)

    A beginner who is accustomed to the lower resistance of a few chalumeau-register notes might have intuitively developed just enough breath support to make those notes respond. When he or she attempts to cross the break, the breath support isn’t enough to overcome the increased resistance: Read More “Breath support, register breaks, and resistance”

  • Woodwind Doubler Census 2021 results, part 4: gigs

    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.

    What is your main source of income? (under normal circumstances)

    “Retired” was an option I neglected to include, but enough of you wrote it in that I’ve added it to the chart here. Some of you also wrote in other things, most of which I felt fit into the existing categories, so I’ve used my best judgment to include them here.

    2021 DATA
    playing gigs 51 18%
    teaching music 97 35%
    working in another aspect of music 20 7%
    working in a non-music field 63 22%
    student, supported by family/financial aid/etc. 40 14%
    retired 10 4%

    2011 DATA
    playing gigs 40 21%
    teaching music 42 23%
    working in another aspect of music 4 2%
    working in a non-music field 44 24%
    student 42 22%
    other 15 8%

    Which types of paid woodwind doubling gigs have you done in the past?

    Some of you wrote in additional categories such as church gigs, concert bands in the community or the military, and theme parks.

    2021 Data
    school/community theater 229 81%
    large-scale tour of a musical (as traveling orchestra member) 42 15%
    large-scale tour of a musical (as local hire) 74 26%
    Broadway show or other major-city musical production (as permanent orchestra member) 43 15%
    Broadway show or other major-city musical production (as sub) 74 26%
    orchestral, opera, or similar 156 55%
    chamber music 158 56%
    studio recording (as leader or permanent group member) 46 16%
    studio recording (as hired gun) 118 42%
    television/radio/broadcast (live) 36 13%
    television/radio/broadcast (pre-recorded) 38 13%
    jazz big band 158 56%
    jazz small group or solo 109 39%
    rock/pop group 75 27%
    cruise ship 17 6%
    none 22 8%

    2011 Data
    school/community theater 153
    large-scale tour of a musical (as traveling orchestra member) 17
    large-scale tour of a musical (as local hire) 47
    Broadway show or other major-city musical production (as permanent orchestra member) 29
    Broadway show or other major-city musical production (as sub) 29
    orchestral, opera, or similar 86
    studio recording (as leader or permanent group member) 28
    studio recording (as hired gun) 72
    television/radio/broadcast (live) 26
    television/radio/broadcast (pre-recorded) 29
    jazz big band 112
    jazz small group or solo 87
    rock/pop group 65
    cruise ship 18
    other 25

    Which of these do you play?

    Some of you wrote in additional genres. A handful mentioned musical theater as being its own genre or mish-mash of genres.

    2021 Data
    classical music 270 95%
    jazz music 229 81%
    pop/rock music 156 55%
    folk/world music 78 27%

    2011 Data
    classical 178
    jazz 160
    pop/rock 124
    folk/ethnic 60
    other 19

    How often do you improvise (such as jazz improvisation) on gigs?

    2021 Data
    never 43 16%
    rarely 77 28%
    sometimes 100 36%
    always or nearly always 57 21%

    2011 Data
    never 31 17%
    rarely 53 29%
    sometimes 58 31%
    always or nearly always 43 23%

    On average, how frequently do you have woodwind doubling gigs? (under normal circumstances)

    2021 Data
    Every week or more 45 16%
    Every month or more 76 38%
    Every three months or more 64 23%
    Every six months or more 53 19%
    Never or almost never 36 13%

    2011 Data
    Every week or more 44 24%
    Every month or more 52 28%
    Every three months or more 32 17%
    Every six months or more 23 12%
    Less than once every six months 36 19%

    What kind of competition is there for woodwind doubling gigs in your area?

    2021 Data
    slim or nonexistent 45 16%
    moderate 139 50%
    fierce 56 20%
    don’t know or not applicable 38 14%

    2011 Data
    slim or nonexistent 40 23%
    moderate 98 55%
    fierce 40 22%

    Which of the following teaching situations are part of your income?

    2021 Data
    private lessons 153 54%
    ensemble directing or chamber music coaching 57 20%
    teaching from home or a private studio 97 34%
    teaching at a school (elementary through high school) 70 25%
    teaching at a university or conservatory 62 22%
    teaching more than one woodwind instrument 104 37%
    teaching classroom-type (including online) courses about music (such as music theory, history, etc.) 42 15%

    2011 Data
    private lessons 93
    ensemble directing or chamber music coaching 39
    teaching from home or a private studio 58
    teaching at a school (elementary through high school) 38
    teaching at a university or conservatory 31
    teaching more than one woodwind instrument 66

    How has woodwind doubling affected your employability?

    2021 Data
    no discernible effect 23 9%
    slight improvement to employability 27 11%
    moderate improvement to employability 58 23%
    significant improvement to employability 143 57%
    decreased employability 0 0%
    does not apply 28 10%

    2011 Data
    no effect 23 13%
    slight improvement to employability 25 14%
    moderate improvement to employability 32 18%
    significant improvement to employability 93 54%
    decreased employability 1 1%

    Which of these have resulted from your woodwind doubling?

    2021 Data
    more non-doubling gigs on my primary instrument(s) 107 38%
    more non-doubling gigs on my secondary instrument(s) 136 48%
    fewer non-doubling gigs on my primary instrument(s) 22 8%
    fewer non-doubling gigs on my secondary instrument(s) 4 1%
    none of these 92 33%

    2011 Data
    more non-doubling gigs on my primary instrument(s) 69
    more non-doubling gigs on my secondary instrument(s) 86
    fewer non-doubling gigs on my primary instrument(s) 19
    fewer non-doubling gigs on my secondary instrument(s) 6

    What woodwind-doubling-related goals or ambitions do you have, that you have not (fully) achieved yet?

    Responses given here in random order and lightly edited.

    to be a professional historical woodwind doubler
    LA studio musician (not likely as I don’t live in LA and health of industry)
    Double tonguing on flute with success. Playing jazz clarinet successfully at my saxophone skill level.
    * Excellent question! I found it clarifying to put down some of my doubling goals in writing.

    – starting a woodwind quintet consisting of doublers
    – performing solo recitals on flute/clarinet
    – make a living primarily through professional level musical theater work

    Proficiency on double reeds
    I really want to pick up some double reeds! Oboe has been calling to me for years but I don’t have the money yet to get my hands on one.
    And some day I’d love to play in a West End show.
    playing double reed instruments
    N/A
    Ability to make double reeds.
    Synth work.
    Proficiency on double reeds
    I would love to own one of each type woodwind from each instrument family.
    Playing more pops orchestra shows
    Playing more professional shows like a regional musical theater gig
    Playing a musical and having a book that has oboe, flute, sax, and clarinet.
    Broadway show in New York
    Parity across all families of instruments
    Become more fluid with double reds and flute
    Better at jazz improv; skill on my doubles at level of primary instrument.
    Broadway subbing, traveling tour sub
    Getting a more consistent flute tone, and soloing better on both flute and clarinet
    Be a consistent member of a union theater
    Playing all instruments at the same skill level
    I would LOVE to play in a real Broadway (or even touring) pit. With all that life demands, at this stage, that’s not a likely thing. But it would be rad. That’s about the only thing that could ever make me consider leaving teaching :)
    Developing my own line of single reeds
    Greater level of improvisational ability in various jazz styles, familiarity with a larger variety of ‘world’ instruments (esp. flutes)
    Own remaining missing ‘standard’ instruments across all families (have still studied most that I don’t own but will lose access upon graduation)
    I have a few dream shows, I’d like to commission a piece for 5 woodwind doublers
    Great fluency in the jazz idiom. I was going to reserve that as a sabbatical project, but I got a head start with it as a pandemic project and it’s benefiting my classical playing on all instruments as well.
    More theatre work
    I want to create an online course or program to help woodwind doublers improve their flute/piccolo/alto flute skills, but I need to make sure there’s a market for that!
    Learn bassoon, better flute ability
    I would like to become a regular hire for a downtown theatre company in Boston. I would also like to learn bassoon.
    Playing union rate shows more frequently
    I would love to feel more confident while playing gigs. Even though I get called back, I never feel like I sound as good as some other doublers and I feel that I sound better at home than I do at the gig. Also I’d love to play at higher profile venues, Broadway tours, etc.
    More frequent and regular doubling gigs
    Find consistent playing opportunities.
    To complete my doctorate and befome a professor of woodwinds at a university.
    Owning an English Horn. Maybe Bassoon as well?
    Improving my skills on instruments I have the least experience at. Purchasing more secondary instruments that I don’t have.
    Play orchestral clarinet gigs
    I would like to hone my skills on bassoon and clarinet (the two instruments I think I am best at besides my primary) and would love to gain more experience on the doubles I struggle with (flute and oboe). I would also enjoy becoming a “low reeds doubler” of sorts who specialized in A/T/B saxophone, bassoon, and bass clarinet.
    Play with a professional show
    Improving skills on my secondary instruments
    Practice more
    Try oboe again, but need an instrument.
    learning oboe
    Owning all the instruments most often seen in a reed 1 boom
    Learn the double reeds. Play in a big tour/original production or West end. Study a multi woodwind degree, Play in an ensemble on just flute.
    Do a paid gig
    To sub on additional Broadway shows.
    Just to get better?
    To create my own music
    Fluency in bassoon/flute, making multitrack videos which allow me to get chops up for wider array of woodwinds
    A true Broadway gig, but that will have to wait!
    the abilities of playing on each instruments at the same level as my primary instrument.
    I achieved a tenure-track position this year. That was my goal. I need a new goal!
    To play in national level musical theatre
    Bassoon
    Still working on tenor sax. I plan to branch out from the greater flute family at some point but reeds are incredibly different and require much more work on my end before I’ll feel comfortable with them.
    To achieve the same level of proficiency as my main instrument.
    Get better on flute
    Study of double reeds
    playing all my instruments at approximately a college undergraduate level, learning the oboe (no money for one yet), acquiring more of the secondary instruments (alto flute, bass clarinet, more saxophones – no money for those either)
    Playing in some shows that, musically, are extremely complex and would be very challenging.
    Full time woodwind playing work
    Get pit work regularly
    Mastery of oboe and bassoon.
    Being proficient on all of the major woodwind family of instruments.
    More Broadway shows as a local hire
    I still want to get my flute and clarinet playing strong enough to do work in an orchestral setting
    To be better at Oboe and Flute.
    I would like to have regular, paid doubling gigs.
    Improvise at the level I want to on oboe and english horn. Also to buy my own bass clarinet and set of low flutes.
    I still need to improve my flute chops
    Perform at the Dallas Summer Musicals
    Publish a book on woodwind pedagogy, record a multiple woodwinds album and form a woodwind doubling chamber ensemble.
    Would like to own every saxophone and eventually learn the double reed instruments
    I want to reach the level of a Broadway doubler. Eddie Daniels is one of my heros.
    Record more standard solo works on various woodwind doubles
    Piccolo has always been a struggle for me and i would like to get some proficiency on that
    Improve my clarinet playing.
    Bringing my secondary instrument (Oboe) to the level of my primary instrument (Saxophone)
    Take oboe lessons and become a stronger oboist
    Would like to be called for more musicals
    Learn Bassoon, Get clarinet to a very high level. Play on Broadway
    Play musical theatre show on flute which is my weakest instrument
    I would like to get better at bassoon and low reeds.
    learn bass clarinet, and get hired for gigs on only secondary instrument[s]
    buying a pro flute and reaching the same level on flute as my clarinet and sax. I might be interested in learning oboe later.
    To improve my sax playing so that it is the same standard as my other instruments
    Would like to get into folk woodwinds more.
    I want to spend more time on improving my flute, sax, and bassoon to match my level on clarinet (the instrument I studied longest/most). My doubles are fine for playing shows and I have not run into any issues performing on them, but I know that there are areas of my playing on those instruments that I want to improve with continued study.
    Bassoon.
    Adding a 3rd instrument
    I would love to woodwind double professionally. My dream is to be able to have a seat in a Broadway orchestra or on a cruise ship. I am also trying to get accepted to a woodwind doubling program in college (I’m a high school junior right now).
    I play sax primarily, can play clarinet and oboe, want to be proficient on flute
    Double reeds in musicals
    Would like to play on a Broadway tour
    Consistent musical theater doubler.
    Playing on Broadway eventually
    – to play every single woodwind instrument as best as possible. The listener should not hear differences between your primarly and secondary instruments.
    – someday to play in NYC in a broadway show as a sub :-)
    Playing in regional tours of Broadway shows, or playing in pits for more local/professional productions
    Hoping to do my first doubling gig this fall!
    I would like to add piccolo and alto flute capacity. I’d like to purchase a new high quality bass clarinet.
    Play a Broadway show tour.
    Making use of electronic wind instruments more mainstream in theatre pits as an alternative to shifting multiple parts to keyboards.
    Saxophone altissimo work
    College professor of one or more woodwind instrument
    Sub on Broadway. Work to diversity Musical Theatre Pit Orchestras nation-wide through social justice initiatives.
    I would like to achieve semi-professional level in at least one of my instrument families, and get paid to perform in a doubling context.
    Permanent musical theatre pit orchestra member.
    I’m looking to study clarinet in college, not necessarily in a woodwind-doubling context, but I would like to work both as a doubler and as a classical musician after college.
    Playing certain musical theatre shows like Phantom of the Opera.
    To get more comfortable with my flute playing. I’d like to get more comfortable with my technique in all registers so less overall practice is required when I take a flute gig. I’d also like to improve my tone quality so I feel less like an imposter when performing on flute.
    Get better at my doubles
    Wish I could play flute. Wish I owned a bari sax and a bass clarinet.
    Adding bassoon— the final frontier!
    Masters in multiple woodwinds
    I want to play as a permanent member of a national/ international tour and possibly play on Broadway some day.
    I would like to play in musicials, and i would like to become fluent on all 5 of the woodwind family members.
    Learn to play oboe
    I would very much like to improve my skills on flute.
    I would like to play a doubling book for an original musical & record its cast album. Also, as a young student, my goal was to work towards a permanent doubling seat on Broadway. But now as an adult, I realize that theater can be made anywhere & there are other major cities producing fine theater.
    Playing in professional level theatre orchestra
    None to be honest. I’m completely satisfied with the opportunities I’ve had and there’s nothing really left on my doubling bucket list.
    Feel confident taking a musical theatre gig with heavier flute requirements.
    To better my double reed proficiency. I’ve taken oboe lessons for six months during Covid and improved significantly, but I need to purchase a different bassoon with short-reach keys before I can do much with it.
    Play for a professional tour
    Play in musicals at Broadway.
    Getting my flutes chops on the same level as my sax/clarinet abilities. Improvising, particularly on flute.
    Play more recitals.
    Play for a professional level theater production
    Being versatile enough on all the secondary instruments to not be nervous for a theatre or session call.
    Playing for touring theatre shows
    Technique-wise, get to a solid skill level on flute, bass clarinet, and soprano/baritone sax, and improve my tenor chops. In the future (after college), I’d like to be able to make a living at least partially from doubling in musical pits/cruise ships/etc.
    Broadway!
    To play in a pit on Broadway. Be a part of a studio recording
    There are a few shows I’d like to do still.
    I aim to play with characteristic expression & tone color on all my instruments, and to feel as comfortable improvising on all my instruments as I do on my primary.
    I have yet to enter the world of paid doubling gigs, as many of my instruments are newly acquired. I’d love to double in a pit band/orchestra for theatre or similar.
    Maintaining skills is a challenge. Steady practice time.
    Acquiring a larger number of students on my secondary instruments
    Release a jazz album displaying all my doubles on improvised solos.
    To be known as a doubler on all 5 major woodwinds
    Experience most of the major wind instruments
    Learning bassoon
    Improvising as comfortably on doubles, as on saxophone (primary instrument)
    Play with a touring Broadway musical
    Met my career goals, in general.
    Making music with some of the best musicians in the world
    doctoral level degree and college teaching
    To be widely known as the best in my market.
    Learn bassoon
    Get the double reeds going, starting with Bassoon
    A few more recordings I wish to do.
    Get better on saxes
    The goal is to be as proficient on clarient as saxophone.
    I would like to get a gig in a significant production outside of community theater.
    I would like to become proficient on all saxophones
    Growth as an improviser, not only in ā€œtraditionalā€ jazz, but also in folk/world and contemporary/avant-garde stlyes;
    increased mastery of contemporary playing techniques (multiphonics, microtonality, etc.) on all instruments;
    recording projects (multi-track and single instrument);
    Possibly authoring pedagogical materials for aspiring doublers, especially aspiring double Reed musicians
    Getting the last two familes of woodwinds up to the level of my ā€œprimaryā€ three. Also, buy a contrabassoon.
    learning bassoon
    Be more regularly employed locally, without touring
    Playing all instruments at a more accomplished level. If not then understanding better to be a better teacher of each instrument.
    Solo recording with own arrangements
    Extended technique knowledge/facility on ā€œsecondaryā€ instruments
    Master flute
    Would love to do a few pro show seasons or even just sub.
    Bring up the double reeds to a higher standard!
    I’d love to become equally proficient in every woodwind instruments.
    Getting in a Broadway musical pit
    Be able to play flute equally well as clarinet and saxophone, buy an oboe/be able to use it as a double for theater and/or jazz big band, become a regularly contracted musician in my local professional theater scene

    What are your proudest or most significant achievements as a woodwind doubler?

    Responses given here in random order and lightly edited.

    Playing my first book without a primary instrument.
    Giving degree recitals on all of them.
    Playing at major university graduation ceremonies
    Being able to play flute proficiently as a sub on a show in Florida. I no longer have to transpose flute parts on the clarinet!
    Getting into a DMA program in Multiple Woodwinds
    Performed West Side Story multiple times.
    Being able to teach beginners in middle school band settings and help them see it’s possible to do more than one. One student has gone on to become proficient in multiple woodwinds and is considering it for employment after college because of this setup.
    Cover an Oboe/Eng Horn pit orchestra part after 6 weeks of playing (after not playing oboe for 30 years).
    I’ve been a hired member of a national tour.
    That sometimes at a gig people will think I’m a clarinetist until they hear me play the saxophone. The other proudest achievement was getting that look people give you when something really stood out in a good way, and it was after one of the piccolo solos in the Addam’s Family Reed 1 book
    Helping with a workshop production of a new musical
    Generally speaking, the times that I have been able to take what was once a double and represent myself as a specialist on that instrument are the memories that stand out (ex. playing principal chair or a major solo in an orchestra on my former ā€œdouble,ā€ performing on a former ā€œdoubleā€ at major a conference). Nothing too major to report here. :)
    Feeling confident enough in my abilities to accept any and all doubling gigs… and getting called back to do more
    Professional oboe/English horn playing
    25 years in the Orpheum theater orchestra in Memphis.
    Performing with a major musical production touring through the city. Also performing with one of the finest opera companies on earth (though not as a doubler)
    Touring with a show and getting to know the other band members
    Playing the oboe/English horn parts on WEST SIDE STORY and TUCK EVERLASTING.
    Learning to play the flute to a professional standard
    Getting non-doubling gigs on my secondary instruments as it makes me feel like I am legit on them rather than the stereotype of just a doubler who is dabbling.
    Playing my first pit gig on oboe and tenor saxophone, and mostly teaching myself tenor sax and clarinet
    Performing in over a hundred different groups / situations.
    Being asked to play an off Broadway tour
    Feeling adequate enough to finally step up and attempt flute for a live gig (Drowsy Chaperone)
    I achieved a tenure-track position as assistant professor of flute and clarinet.
    Traveling with the Glenn Miller Orchestra, being a first call sub at a union opera house.
    my first season as a gig muscian
    My proudest accomplishment was subbing on a few shows on Broadway, and having it all go well! I worked very hard preparing the books and following all of the advice I was given by peers and past teachers. The recurring positive comments I have heard from other reed players, music directors, and contractors has confirmed that I am on the right path. Working as a regular sub on Broadway has been one of my greatest performance (and life) accomplishments.
    Depping in the west end
    Being able to do orchestral excerpts better than majors – eg rhapsody in blue opening excerpt better than a clarinet major
    Also getting recognised for my efforts.
    Getting a contra alto clarinet solo in a wind ensemble.
    Making a living on Broadway in NYC
    One of my proudest achievements as a woodwind doubler was learning the book for my first show as a doubler. Another achievement was playing the Oboe/English Horn book in Chitty Chitty Bang Bang. I wasn’t proficient with double reeds at the time, so I transposed the whole book to saxophone! It was a lot of work, but it was totally worth it. Getting to play in a show gives me such a sense of joy!
    Getting props from Edgar Meyer while playing contrabass clarinet on his own bass concerto
    composing and performing a concerto for woodwind doubler and orchestra
    One of only very few people within a 100km radius that plays all five woodwind families at a pro level, and owns the instruments.
    Playing major difficult community theater pits like West Side Story and Chicago.
    Being the teacher of record on two different instruments at a major university.
    playing as a local hire of broadway tours in multiple cities in the region
    Don’t know if this counts: In High School, after my sophomore year, our only oboe player graduated. My band director asked if I wanted to learn oboe over the summer, so I did. Played it the next two years in concert band (while playing alto sax in jazz band)
    Graduating with my Masters in Multiple Woodwind Performance from NJCU! (And seeing my students succeed due to my skills as a doubler/educator.)
    Being the first call for many of the Music Directors in my area.
    Making oboe reeds that work!
    When I first made a decent sound on a flute and then again on piccolo.
    Being able to sight read the music on tenor sax an clarinet. Being able to cover my own part w/out another player sitting next to me to cover the clarinet part.
    I played the whole run of community theater Once Upon a Mattress splitting both the horn book and the oboe book. (1/2 the run on horn, 1/2 the run on oboe)
    Doubling in a jazz band
    Getting paid as a doubler in a community theater setting, which is what I love doing.
    West Side Story
    Making first woodwind chair in a regonal production of “The Wizard Of Oz”
    Appearing on several albums and soundtracks
    Subbing on shows with lots of fast horn changes, difficult technical passages, and exposed solos, and doing it well. Finding time to practice, heh.
    A collegiate musical premiere
    At a read-through, playing more accurately than my colleagues
    1. Recital with a world-class pianist, playing major literature on flute, clarinet, and alto sax. 2. Subbing flute/picc/clarinet/sax book on the 1st National tour of Les Miz with no rehearsal
    My reputation as a doubler has grown and people identify my musicianship with this skill.
    Subbing for Beautiful a Carole King Musical National Tour!
    Being able to play what I’m needed to play on the instrument wanted.
    Playing almost all of the woodwind books of West Side Story during various production runs.
    Broadway shows
    Broadway
    Being able to play nearly any woodwind asked for
    Oboe
    West Side Story WW books…having played 3 different books over different shows.
    I can now fluently cross the break on clarinet.
    Playing on Broadway and LA Studio work. I also currently play on all the Disney on Ice recordings.
    Being able to play at a level on each instrument where people assume each instrument is my only instrument
    Playing more professional gigs that more heavily involved doubles, even gigs only on doubles (no saxophone)
    Playing some sax heavy show books, laughing about my soprano sax debut.
    Being able to come into a sub situation and knock it out of the park. I’ve gotten most of my regular gigs from subbing in musicals and jazz bands.
    Getting the opportunity to play the pre-Broadway run of Frozen
    Being on two national Broadway tours
    Playing for Penn State School of Theatre productions.
    Performing as a guest artist at the Aspen Music Festival on flute, clarinet, saxophone, and oboe
    Learning oboe/English horn on request from beginner to anchoring the chair for a production of Les Mis in 6 months, and playing well enough that everyone who didn’t know me thought I was an oboist and asked to hire me for orchestra gigs only on oboe. šŸ˜‚
    I was part of a professional recording session in high school. In graduate school, I got to play in a side-by-side performance with the local professional orchestra.
    Sight-reading on Broadway
    Developing my abilities on my secondary instruments to gain enough confidence to seek out gigs including those instruments, knowing that I can manage them reasonably.
    Arranging wind books and playing all three for an album
    Playing a show where i had to cover sax and clarinet parts out of 5 reed books because the only other WW player was flute/piccolo. I basically made my own book.
    got a call when the band need some doubles
    Reed 2 – Music Man
    An American in Paris – Westchester Broadway Theatre 2019
    Moving to a new area and almost immediately getting gigs – also companies enjoying my playing and keeping me in the loop
    professional work
    Playing 7 instruments in one show; flute, clarinet, bass clarinet, bassoon, soprano/alto/tenor saxophone.
    Getting the opportunity to play for a filled production of beauty and the beast for Disney’s ā€œEncores!ā€
    Phone rings again
    Playing clarinet/bass clarinet in my university’s top orchestra, subbing on clarinet in a semi-professional orchestra, playing clarinet/bass clarinet/alto flute on a Gil Evans repertory concert and getting complimented by a flute professor who didn’t know me
    I was very hesitant to write this, as the gig has not happened yet. — But I recently booked a Broadway tour as a permanent member. I will be going later this year. I feel that this is a major milestone for me & it’s something ive been working towards since my youth.
    Hearing my students progress.
    I’m grateful for having had the opportunity to play so many different musical theater productions.
    Having others in the ensemble not be able to tell which instruments are my primary/secondary
    Getting a (part-time) University job before even completing my Masters.
    Making a respectable living performing full-time as a doubler.
    Being able to hold my own in an orchestra section on my secondary (bassoon in this case)
    Playing a regional broadway show.
    Top call woodwind doubler in Houston and playing An American in Paris movie score with the Houston Symphony (tenor sax/Bb clarinet)
    Being able to read and pick up most parts on the spot, and being able to translate jazz improvisation to doubles
    Live performance concerts with stars traveling to town to perform.
    Being able to go from tenor sax to clarinet w/out a glitch. Really being able to nail the parts.
    Subbing on Broadway, hearing myself in a film score for the first time.
    extending my flute register was so rewarding, something i struggled with for a while.
    Being asked by the music director of a show I was subbing in , which instrument was my primary. She could not tell.
    Recording an album last year
    called again by the contractor of a big city musical show a second time :-)
    Performing as Reed 1 at the American Repertory Theater.
    Making music with some of the best musicians in the world
    6 Instruments on one musical.
    I have enjoyed being able to play across multiple books with facility. I enjoy the challenge of performing multiple woodwinds at a single performance (typically a musical).
    Subbing on a well known and long-standing Broadway musical.
    Having a fine violinist in NYC tap me on the shoulder with her now and ask which of my six instruments in the gig was my first instrument. Of course I never told her
    International competition wins on multiple instruments
    I agreed to play a production is Oklahoma, knowing it would REALLY stretch my clarinet chops. I knew I’d be playing 2nd, to a far superior clarinetist/friend so I thought it would be great. All the bass was in the 2nd book, so she took that and said ā€œYou’re on 1st. Have fun!ā€ It was terrifying, at first, but ended up being one of my best experiences and that one run raised my clarinet chops from passable (at best) to a place I felt confident, moving forward, taking predominantly clarinet books.
    Receiving a return call to play from a contractor.
    Live tv, session work, pro theatre
    Being able to switch onto clarinet and still feel somewhat comfortable. Being given a very heavy doubling book all to myself show coming up!)
    Playing West Side Story professionally.
    Finally feeling comfortable on all my doubles but always more to learn
    Regular, paid theater work at a local professionally managed theater
    The Cor Anglais solo in Dirty Rotten Scoundrels
    Forty years on Broadway, Concerts, recordings, tours
    Working in musical theatre
    Learning to play the Eb Clarinet for a specific gig.
    Playing for a major cancer fundraiser cabaret event, personal connection and great musicians.
    Playing the original US production of The Hunchback of Notre Dame
    Dixieland and ragtime solos in musicals on secondary instrument, playing with a group of reeds where everyone is formally trained on their primary and very very good on the others
    I have fairly quickly become one of the top woodwind players in the area and I (under normal circumstances) often have more offers to perform than will fit in my schedule. What more could I ask for?
    Playing in the orchestra for the premiere of “Ain’t Too Proud”
    Playing for touring musicals in Denver
    Played in 117 different shows on Broadway
    Become a competent oboist
    Creating Doublers Collective
    Touring Broadway show local hire.
    I recorded an an album that featured a set of original music and features myself as a soloist on 10 different woodwinds.
    Played on a few Broadway shows that passed through town
    Broadway and first national tours.
    Playing an entire reed book for a musical is very satisfying, particularly as a non-major/non-career musician
    Performing on multiple secondary instruments that I taught myself and haven’t played very much and being successful. Playing 6 instruments for one Broadway musical.
    Playing in multiple ensembles for fun
    learning and playing in two community theatre performances at the same time
    Community theatre is enough for me!😁 at least thus far
    Playing the flute in a show, and people commenting that they thought it was an actual flutist. Playing clarinet in a Dixieland group.
    High level of ability across most major woodwind families, high level of flexibility, and ability to learn quickly (either styles or instruments)
    Hired to play flute books on shows
    Playing several touring shows as local hire. Being by company to play in another city because they liked my work.
    That I can play multiple instruments
    Playing (tenor/clarinet) with Lady Gaga in her Jazz & Piano show in Vegas. Outside of that, all of the subbing I’ve done on production shows and musicals.
    National Tour
    Becoming the alto sax player at six flags fiesta texas
    easily switching between different families of winds
    Being reviewed by you!
    When someone thinks a double is my primary
    Building a solid reputation as being a great musician and nice person.
    Woodwind-doubling has checked items of my bucket list I never knew I had! Because of doubling, I have gotten to tour the world and have landed in a lovely corner of the world.
    Touring Japan with a show. Also performing with celebrity artists like Johnny Mathis
    Reading an entire musical book that used 98% flute
    I have a contracted position in a pit orchestra where I play over 100 performances per year.
    My flute sound.
    Masters recital at UNT where I performed on all five woodwind instruments
    1. Writing and recording my own works. 2. Film scores
    Being able to play both flute and dizi for multiple concerts in a wide variety of musical group types (ethnic orchestra, concert band, guitar ensemble, etc.)
    Being told that they couldn’t tell what my primary instrument was.
    Traveling with a production to perform at the International Thespian Society Conference in Nebraska
    Playing flute for the first time in a show this weekend!:)) Being flexibile!:) Being able to play so many shows!:)
    Flute: learning Nielsen’s flute concerto
    Clarinet: learning the Brahms sonatas
    Saxophone: final recording project (small group jazz) for my undergraduate degree
    Being hired to do full performances on secondary instruments
    Being the first to incorporate electronic wind instruments into professional theatre pits in my area.
    Talking about ocarinas long enough that people around me became interested in the instrument, eventually resulting in the credits song of this piece: https://www.youtube.com/watch?v=92HX8Zstijs
    I landed myself on a national tour of a musical
    Getting a gig where I had to play 14 instruments in one night, while simultaneously compĆØring for the event!
    Becoming just as sufficient on flute as the other flute majors at my university.
    playing bassoon and contrabass clarinet for my university’s production of a musical after having “played” clarinet for all of six weeks
    Winning a Premier Military Big Band seat
    I had to pick up clarinet for a university jazz gig after having not played in about two years and it went really well.
    Hired for a show at a professional summer stock theater
    Some shows made me get good at instruments. For example bass clarinet and clarinet.
    I’m proud of when I played reed 3 on Annie as it was the first time I did a show that didn’t include my primary instrument.
    Playing a show with a Bari on a harness and making the switch to the bass clarinet in 4 beats
    I am most proud of getting into a Master’s degree and switching from a flute primary to oboe primary.
    Being the only doubler in high school band concerts
    I received two awards for ā€œbest instrumentalistā€ in high school for two different instruments. It allowed me to get a significant music scholarship.
    Being a big band MD commissioning new works and being able to offer composers the choice of lots of woodwinds
    Getting my first paid gig in a pit band
    Playing in various orchestras with directors on different Instruments at different times, and then not suspecting that I wasn’t on my primary instrument.

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

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. IĀ was careful to name it the FingeringĀ DiagramĀ Builder instead of the FingeringĀ ChartĀ Builder because it is a tool for creating individual diagrams, notĀ for assembling them into comprehensive fingering charts.Ā 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 downloadĀ a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering chartsĀ 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,Ā 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 freeĀ software like LilyPond could be used in similar ways.

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

    MuseScore setup

    Next I created my fingering diagrams in the FDB.Ā 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 insertedĀ 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 editingĀ software

    This codeĀ 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 mayĀ 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 moreĀ 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!

  • When there’s no place to breathe

    When you’re working on a new piece and there’s no place to breathe:

    • Re-examine. Are you sure there’s no place? Tonal wind-instrument music usually has phrases. To find them might take some careful analysis, or maybe listening to a recording to check out someone else’s solutions. Once you know where the phrases end, you may be able to take a little extra time to breathe in those spots without it sounding disruptive.
    • Practice. With some effort and repetition, you may be able to play longer phrases than you thought. Make sure you’re really taking a full breath—the inhalation should feel pretty physical, much more so than “normal” (tidal) breathing.
    • Edit thoughtfully. If the music was written originally for, say, piano or a string instrument (or if it’s just written by a less-experienced wind composer), it may not have good built-in breaths. Where absolutely necessary, consider breaking a slur, reducing the dynamic level, boosting the tempo, or making some other minor adaptation. Mark it in, so you’re in the habit of breaking with the composer’s intent only after serious deliberation.
    • Be quick. Sometimes a very small, very short breath is all you need to finish out a phrase strong. Find a reasonable musical place to insert one, and mark it in such a way that you will remember not to take too much time for it.
    • Consider circular breathing. It’s a challenge but not impossible for someone playing at a reasonably advanced level. But be careful: don’t use it an excuse to avoid the issue of phrasing. Plus, it’s not very comfortable to circular-breathe for extended periods, for you or your audience. (Audiences often breathe with you!) Use this as a last resort or when specifically requested by the composer.

  • Voicing and clarinet undertones

    A few months ago I shared a list of published opinions on how to avoid undertones on the clarinet.

    Many of the ideas shared by the distinguished authors seemed like just descriptions of good basic clarinet technique (“ensure correct, stable embouchure formation,” “establish breath support/air pressure before releasing tongue”). I agree that the most important way to improve undertones is to have a solid baseline tone production technique. If you can play with a beautiful, characteristic tone, mostly in tune, with good response, then your undertones are probably mostly gone already.

    I do have one small tip that I find helps a great deal with clearing up any remaining undertones, that wasn’t mentioned by any of the sources I consulted. My readers know I frequently discuss the importance of keeping voicing very stable, but as I have indicated previously that’s only one side of a multifaceted issue.

    I have good success with lowering my voicing just a little bit in the upper clarion register. (I tell my students to think of warming the air by just a degree or two.) This seems to stabilize and clarify those notes.

    As always, expect any change in voicing to have multiple consequences, for tone, pitch, and response. In the case of clarinet upper-clarion notes, I find a very slight lowering of my voicing to have only minimal and acceptable effects.

    If anyone is aware of others teaching this technique, I would be curious to hear about it.

  • What kind of ligature should I get?

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

    I’m on record as believing that clarinet and saxophone ligatures make little if any actual difference in how you sound. You’re welcome to disagree, but you might want to watch Michael Lowenstern’s video about it first.

    So, assuming the ligature has little direct influence on sound, what is the best kind to buy?

    Consider the humble fabric-type ligature:

    Fabric-type clarinet and saxophone ligatures

    They can be made of fabric or various other flexible materials. Fake-leather materials are popular.

    Here are their advantages over most other ligatures:

    • Generally inexpensive, although there are pricier versions available if paying more makes you feel better
    • Relatively easy to fit to even unusual mouthpieces and reeds, since they are flexible
    • Durable: I still have and use one I bought in high school
    • Not easily damaged: can be dropped, stepped on, or otherwise battered with little if any ill effect
    • Won’t dig into or otherwise damage reeds or mouthpieces
    • More expensive than an actual shoelace, but quicker and easier to install
    • Ambidextrous: many of the popular inexpensive ones can be switched for left- or right-handed screw tightening
    • Usually just one screw to tighten, so 50% less tightening/loosening time than the many other kinds of ligatures that have two screws
    • Available: no waiting lists or custom-building, easily purchaseable from just about any brick-and-mortar or online band-instrument retailer

    I have a number of fancy and expensive ligatures that various teachers required I buy over the years of my education, including some plated in actual gold. They don’t outperform my fabric-type ones in any meaningful way. You may still see them in my performance videos, etc., as I am still trying to get my money’s worth out of them. When they break or wear out, I’ll replace them cheaply and easily with good reliable fabric ones.

    Get a good, reliable, no-nonsense ligature to hold your reed in place, and happy practicing!

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