Joe the Musician: the first rule of woodwind doubling
I’m not much of a tweeter (though you can follow my automatically-generated tweets about new blog posts). But I liked this one today from Joseph “Joe the Musician” Tomasso:
Similar Posts
From WindWorks Design: Wind controller in a pit orchestra
- Photo, mabel.sound
“Gertjan” at the WindWorks Design blog posted some interesting comments about using a wind controller in a local production of Seussical the Musical. Gertjan (I wasn’t able to positively identify him from the WindWorks website, but maybe he will find his way here and let us know who he is) played saxophones in the show as well, and used the wind controller to cover a number of wind and non-wind instrument parts.
Although it gives me a little indigestion to see a wind controller substituting for woodwinds that might otherwise have been played by a doubler, I do think there is application for wind controllers in orchestra pits. Keyboard-driven synthesizers are ubiquitous in recent shows (or are sometimes used to replace other instruments, especially a string section), and, in some cases, a wind synth might be even better suited to certain kinds of synthesizer parts. Gertjan mentions some synthy sounds like “vocal doo,” “scary voices,” and “ghostly shimmering breathy sound,” all of which strike me as likely to be very effective with a wind synthesizer’s breath control. Some others, like “harp” and “tinkle bell” seem like they might be more intuitively assigned to a keyboard. Read More “From WindWorks Design: Wind controller in a pit orchestra”
Woodwinds and “altissimo” registers
I recently had a saxophone student perform a repertoire piece with some altissimo technique in it, and a non-woodwind-playing musician asked me afterward about the instrument’s extended range. This led to further questions about “altissimo” on other instruments.Ā The answers are a little complicated, but here is some information:
The term “altissimo” suggests an extreme high register. The term is widely used by clarinetists and saxophonists,Ā with essentially the same definition: pitches in the instrument’s third register or higher. Basically, this is notes above (written) F-sharp-6 for saxophones or (written) C6 for clarinets.Ā (It’s not really that simple if you factor in alternate fingerings: a clarinetist, for example, might use a trill fingering to produce a D6 in the second register, or a saxophonist might use a “front” fingering to produce E6 or F6 in the third register.) For clarinetists, using some of the altissimo register is a pretty basic technique, part of the instrument’s “standard” range (which extends maybe to G6, depending on who you ask), and accessible to, say, an intermediate-level high school student. For saxophonists, altissimo is viewed as a more advanced technique, outside the “standard” range, perhaps accessible toĀ college-level musicians or motivated high schoolers.
The wordĀ “altissimo” isn’t used much in the flute and double reed worlds, though those instruments’ third registers are widely used even by intermediate-level players. (Christopher RedgateĀ does use the termĀ in his writings about oboe extended techniques, but arbitrarily defines it as beginning at G6, well into the instrument’s third register.) The flute’s third register begins (basically) at D6, the oboe’s at C-sharp-6, and the bassoon’s at E-flat-4.
the lowest pitch (written) of each woodwind’s third register In short, all of the woodwinds do have an “altissimo” range in the sense that they have a third register and higher. But not all of them use that terminology, and those that do differ on whether the altissimo range is “standard” or an extended technique.
Why do I need to use alternate fingerings?
Woodwind instruments including the flute, oboe, clarinet, bassoon, and saxophone all have more than one fingering for some notes. Why is that, and do you need to learn them all? Instead, could you just learn the one main fingering for every note and get really good at using it?
Here are some things to think about:
- There’s not always one “main” fingering. For example, the clarinet has its “pinky finger” notes that have left-hand or right-hand options, and you need to know both equally well to play above the beginner level. The flute has “1 and 1” and “thumb” fingerings for B-flat that are both common and standard. The oboe has two or three standard fingerings for F. The bassoon’s thumb and pinky options for F-sharp and A-flat and the saxophone’s “side” and “bis” B-flats are also arguably equally important.
- Using an alternate fingering can sometimes help avoid awkward movements. One example is flip-flopping (one finger lifting up while another presses down) with F to F-sharp on saxophone or in the clarinet’s middle register. Another is sliding (moving a finger from one key to another) like going from D on the oboe to F with the right-hand F key. Sometimes these awkward movements are unavoidable, but good woodwind players avoid them whenever possible.
- Alternate fingerings don’t always sound or respond the same. Some do, such as the clarinet’s pinky finger notes, because the pinky keys open and close the same holes. But some alternate fingerings might be a little louder or softer, sharper or flatter, more or less resistant, or brighter or darker in tone. Excellent woodwind players use these differences in artistic ways.
So alternate fingerings are important and useful. But do you need all of them?
There can be a lot of alternate fingerings. Advanced bassoonists sometimes refer to a book of fingerings that is over 300 pages long! (There are books for other instruments, too.) Sometimes there can be dozens of fingerings for a single note.
If you’re currently learning an instrument and using a method book (individual or band method) that has a fingering chart, you could check to see which notes have more than one fingering. It might be a worthwhile challenge to learn all those fingerings, and see if the book gives any hints about when to use which ones.
If you’re a more advanced student, the music you’re working on might present challenges when fingering patterns get awkward. Take on the challenge of researching lesser-known alternate fingerings that might help. (Sometimes a fingering has both advantages and disadvantages that you have to weigh carefully.) Start collecting useful fingering charts, or compile your own.
If you have my sights set on playing professionally, then you will need to know lots of alternate fingerings, have good resources to consult when you need more options, and know exactly how each fingering sounds, responds, and tunes on your instrument.
Good luck!
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 donāt 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 workProficiency 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, thatās not a likely thing. But it would be rad. Thatās 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, Iād 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 Iād 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 donāt 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 bassoonā 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 Iād 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 ātraditionalā 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 musiciansGetting the last two familes of woodwinds up to the level of my āprimaryā 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 āsecondaryā 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! Iād 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 itās 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). Iāve 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 ādouble,ā performing on a former ādoubleā 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 didnāt know me thought I was an oboist and asked to hire me for orchestra gigs only on oboe. š 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 Disneyās āEncores!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 Iād 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 āYouāre 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 havenāt 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!š 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 degreeBeing 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. Iām proud of when I played reed 3 on Annie as it was the first time I did a show that didnāt 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 ābest 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.
Woodwind Doubler Census 2021 results, part 3: training/education
Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up.
I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.
Which was your first instrument, among the major woodwinds?
2021 Data flute 37 13% oboe 13 5% clarinet 106 38% bassoon 6 2% saxophone 119 42% none of these apply 1 ~0% 2011 Data flute 22 12% oboe 10 5% clarinet 77 41% bassoon 5 3% saxophone 73 39% Which of these have been part of your education on woodwind instruments?
2021 Data school band/orchestra program (high school or younger) 262 93% private lessons outside of school 248 88% summer camps 188 67% university band/orchestra program 241 85% university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 10% university/conservatory bachelors degree with single-instrument or other music concentration 182 65% bachelors-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 111 39% university/conservatory masters degree with formal concentration(s) in multiple woodwinds 35 12% university/conservatory masters degree with single-instrument or other music concentration 75 27% masters-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 31 11% university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 10 4% university/conservatory doctoral degree with single-instrument or other music concentration 24 9% doctoral-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 6 2% other university/conservatory music degree or certification 14 5% self-taught on one or more instruments 167 59% 2011 Data school band/orchestra program (high school or younger) 175 94% private lessons outside of school 170 91% summer camps 131 70% university band/orchestra program 143 76% university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 14% university/conservatory bachelors degree with single-instrument or other music concentration 97 52% university/conservatory masters degree with formal concentration(s) in multiple woodwinds 13 7% university/conservatory masters degree with single-instrument or other music concentration 37 20% university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 4 2% university/conservatory doctoral degree with single-instrument or other music concentration 5 3% other university/conservatory music degree or certification 12 6% self-taught on one or more instruments 118 63% What factors influenced you first to get involved in woodwind doubling?
Besides the provided answers, several of you included personal anecdotes of influences including boredom, norms of the early music scene, orthodontia and injuries, career aspirations like instrument repair and studio work, and the Lawrence Welk Show.
2021 data just interested in more than one instrument 202 72% required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 139 49% had or wanted opportunities to play for musical theater 196 70% influenced by a teacher or role model 136 48% wanted to improve employability 138 49% an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 118 42% an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another 46 16% your training/experience as a teacher required you to branch out 56 20% 2011 Data just interested in more than one instrument 40 required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 37 had or wanted opportunities to play for musical theater 35 influenced by a teacher or role model 23 wanted to improve employability 19 an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 19 your training/experience as a teacher required you to branch out 9 What sources have you used to learn about or otherwise engage with woodwind doubling?
Besides the provided answers, nine of you wrote in something to the effect of “lessons” or “teachers,” which I didn’t include as an option because I covered formal training in other questions. A few of you also wrote in “YouTube,” which I have lumped in with “social media sites.”
Thanks again for your participation and stay tuned for more survey results.
Why doesn’t my new mouthpiece work?
So you bought a new mouthpiece! How exciting. But wait—it’s not playing as well as you hoped. Maybe it squeaks, or some (or all) notes don’t come out very well, or the tuning is weird. Let’s consider some possible reasons why:
- First, it’s always a good idea to review the fundamentals of tone production: breath support, voicing, and embouchure. Those things probably didn’t really change when you got a new mouthpiece, but maybe the old one was more forgiving of some weaknesses in your technique, and the new one is revealing those issues.
- A new mouthpiece is likely to require a different reed than the old mouthpiece. Try some harder or softer reeds and see if your results change. In general, a mouthpiece with a larger tip opening tends to like a softer reed, and a smaller opening works better with a harder reed. But it’s more complicated than that, and the only way to really know which strength, cut, brand, etc. will work best is to try them out. (Some mouthpiece makers do suggest reeds that go well with their mouthpieces, but your results may vary.)
- Also: even if your new mouthpiece is compatible with the reeds you have been buying, ones that you previously used on the old mouthpiece may have kind of molded to the old mouthpiece. Try some fresh ones.
- Not all mouthpieces are created equal, even mouthpieces of the same brand and model. This can be due to hand-finishing or other manufacturing variables. It’s possible that the one you got isn’t as good as the one that your friend or teacher or favorite professional player uses. If possible, it’s worth trying several before you pick one. And especially with older or used mouthpieces, they can warp or otherwise change shape in small ways, and that can change their playing characteristics and ability to mate well with a reed.
- Let’s consider one more hard truth: if you bought a mouthpiece never having played on it (or at least one like it) before, you may have picked something that just isn’t going a good match for you. It’s easy to get caught up in the promises in advertising copy or on product websites, or to assume that your favorite player’s mouthpiece will be suited to your equipment and playing style. Some mouthpieces are made for extreme or unusual reed choices, embouchures, or playing situations, but most players benefit from a relatively middle-of-the-road mouthpiece. And, of course, some mouthpieces just aren’t as good as advertised at all. Your best bet might be to return or sell the new mouthpiece, and invest instead in lessons with a good teacher who can either guide you in a better-informed purchase, or help you get the results you want out of a mouthpiece you already have.
A good rule of thumb is that a mouthpiece can’t give you skills, talent, or creativity. It can only remove, or add, obstacles to tone production. Pick a mouthpiece that makes it easier for you to do what you do, and get some help from a qualified teacher if needed. Good luck!
Hello there Bret,
Love your website!
I am doing a bit of research to see if I can learn more about the few sax players out there who have managed to earn a full time living playing sax who *don’t* double.
Do you know of anyone who matches that description?
Thanks!
Doron
Hi Doron,
Doublers have more fun, but I suppose there are a few people out there who are forced to make their living with just one instrument. You might try my list of saxophonists’ websites as a starting point.
Haha, yeah, it is fun to play flute, although clarinet isn’t really a favorite of mine. Anyhow, thanks for the list will check it out asap.
:-)