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Bret Pimentel, woodwinds

Bret Pimentel, woodwinds

Saxophone, flute, oboe, clarinet, bassoon, and world and electronic woodwinds

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Using electronic harmonization with woodwindsRecital videos, August 2023Favorite blog posts, August 2023The future of woodwind instrumentsFavorite blog posts, July 2023Interview: Stefanie Harger Gardner, clarinetist and #clarequality activistFavorite blog posts, June 2023Favorite blog posts, May 2023Q&A: Personal reflectionsQ&A: Woodwind doubling adviceFifteenth anniversaryAt the 15-year mark: ask me anythingFavorite blog posts, April 2023Do I really need…Principles for teaching woodwind methodsFavorite blog posts, March 2023Experiments with electric woodwindsSwitching between clarinets: tone productionFavorite blog posts, February 2023Clarinet glissandoFavorite blog posts, January 2023Out-of-tune accentsHow to fix your clarinet sectionFavorite blog posts, December 2022Review: ClariMate digital clarinet mute by Buffet-CramponWhat college professors don’t know about their music department colleaguesFavorite blog posts, November 2022What kind of ligature should I get?Why doesn’t my new mouthpiece work?Playing at professional volumeFavorite blog posts, October 2022Common woodwind-playing mythsWritten jazz articulation problemsFavorite blog posts, September 2022Why do I need to use alternate fingerings?Is jazz swing triplety, or not?Recital videos, August 2022Favorite blog posts, August 2022Half-holes on the Fingering Diagram BuilderListing your woodwind doublesFavorite blog posts, July 2022Getting gigs on woodwind doublesTeaching a college woodwind methods courseMake your musical lines sing and danceFavorite blog posts, June 2022Make a better markingReview: Griff Musical Products EWI StandWhat to listen for (or ignore) in cane vs. synthetic reed comparisonsFavorite blog posts, May 2022What to expect in your first semester studying music in collegeDoubling up pinky fingers on the clarinetWhy you should use a scale sheetFavorite blog posts, April 2022Creating “lightness”What really went wrong? Leaning into problem spotsFavorite blog posts, March 2022Woodwind trill techniqueMaking every marking audiblePractice fewer notesFavorite blog posts, February 2022A woodwind player’s introduction to: Native American flutesThe wallpaper effectList collection: Woodwind music by composers in underrepresented groupsFavorite blog posts, January 2022Jazz education and the “ya gotta listen” cop-outJazz and classical musicians’ concerns about jazz playingMusic guiltFavorite blog posts, December 2021A woodwind player’s introduction to: pennywhistlesPitfalls of giving musical instruments as giftsFavorite blog posts, November 2021Shaping a phraseA woodwind player’s introduction to: recordersWhat is my old instrument worth?Favorite blog posts, October 2021Preparing a focused mindHow to have a good lessonHow to convince me not to play your newly-composed pieceFavorite blog posts, September 2021Recital videos, August 2021Some woodwind problems with competition repertoire rulesReview: Multiple-woodwinds works by Darren LordFavorite blog posts, August 2021How to behave at your first classical music concert, and why it’s so weirdBecoming a professional musicianPreparing for a fatiguing performanceFavorite blog posts, July 2021Voicing for multiphonicsWhen there’s no place to breatheFavorite blog posts, June 2021Woodwind Doubler Census 2021 results, part 5 (final): self-identificationWoodwind Doubler Census 2021 results, part 4: gigsWoodwind Doubler Census 2021 results, part 3: training/educationWoodwind Doubler Census 2021 results, part 2: doubling abilitiesWoodwind Doubler Census 2021 results, part 1: demographicsFavorite blog posts, May 2021Synthetic reeds are probably the futureFavorite blog posts, April 2021Flute pressure against lip: survey of published opinionsThe Great Woodwind Doubler Census of 2021PersistenceFavorite blog posts, March 2021Note Image Generator, version 0.2Fox bassoon crutch modificationBig dynamicsFavorite blog posts, February 2021Review: Characteristic Etudes for the Woodwind Doubler by Gene KaplanDon’t work for exposure for brands, eitherFavorite blog posts, January 2021Transcription: Stan Getz, tenor saxophone on Huey Lewis and the News “Small World (Part Two)”Should I buy something new?Fingering Diagram Builder, version 0.83Favorite blog posts, December 2020Factors in woodwind instrument responseUsing “borrowed” fingerings in EWI modeFavorite blog posts, November 2020Do woodwind instruments have similar fingerings?Teaching with your earsInterpretation at small and large scalesFavorite blog posts, October 2020Giving feedback in masterclasses and competitionsAdvice on multiple-woodwinds graduate degrees and teaching careersFingering Diagram Builder, version 0.82Favorite blog posts, September 2020Stop teaching clarinet and saxophone embouchures like this“More air”Recital videos, August 2020Favorite blog posts, August 2020Keeping your fingers “close”Clarinet vibratoShould I buy a “step-up” instrument?Favorite blog posts, July 2020Starting at the right tempoDon’t say this to your beginning oboistsUpdate: COVID-19 wind playing resourcesFavorite blog posts, June 2020Understanding response and stabilityWind controllers as “practice” woodwindsShould I tighten the screws on my woodwind instrument?Favorite blog posts, May 2020Let audiences applaud at your classical music concerts. Or don’t.Interpreting wind articulation markingsDo I have to practice over the summer?Favorite blog posts, April 2020Wind playing and contagious diseasesAnnouncing the Note Image GeneratorFingering Diagram Builder, version 0.81Favorite blog posts, March 2020When things get canceledTechnical limitsReview: NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1Favorite blog posts, February 2020Updated: Music for woodwind doublersPlaying professional whole notesWorking less hardFavorite blog posts, January 2020Do I need a college degree for my instrumental music career plans?10 ways to strengthen your embouchure right now!Woodwind doubling and saxophone problemsFavorite blog posts, December 2019Triplets don’t swingThe right clarinet or saxophone reed strength “for you”Favorite blog posts, November 2019Review: Duets for the ‘Double-Reed Doubler’ by Gene KaplanSharp, flat, and natural symbols on Android and iOS devicesMS Word music hack: Automatic sharps, flats, and naturals (Updated 2019)Favorite blog posts, October 2019Woodwind doubling and clarinet problemsWhich multiple woodwinds degree programs should I apply to?Getting the most out of practicing your scalesFavorite blog posts, September 2019Review: D’Addario Evolution clarinet mouthpiecesCalculating gig feesRecital videos, August 2019Favorite blog posts, August 2019Focus on fundamentals, not localized fixesUsing the Fingering Diagram Builder’s advanced keywork controlsYour first lesson with your college instrument teacherFavorite blog posts, July 2019Fingering Diagram Builder, version 0.8Where to buy your child’s new school band instrumentWhat if I don’t love to practice?Favorite blog posts, June 2019What are registers?So you want to hire a horn sectionWoodwind doubling and oboe problemsFavorite blog posts, May 2019Time-crunch vs. long-term practicingLocal vs. big-picture dynamicsPlaying issues vs. reading issuesFavorite blog posts, April 2019Why my college band chair placements ended up not mattering a bitFix fixable problems nowWhat does it mean to “interpret” music?Favorite blog posts, March 2019Thinking through scalesDoes woodwind doubling prevent you from being the “best?”Does woodwind doubling ruin your embouchure?What I’ve learned from playing different musical stylesFavorite blog posts, February 2019Performance postmortemsSwitching between saxophonesWhat should be on your musician websiteFavorite blog posts, January 2019Decrescendo to zeroObserving woodwind playing objectivelyWhich college should I choose for music?Favorite blog posts, December 2018The difference between “student” and “professional” instrumentsFAQ: LigaturesThings beginning band directors say to clarinet sectionsFavorite blog posts, November 2018How to get 10 good reeds from a boxDiscount on book and new t-shirtsPlanning breathsUsing sticky notes to focus my performance thinkingFavorite blog posts, October 2018Bassoon jaw movement: survey of published opinionsHi, come on in, you’re right on time for your lesson.Clarifying woodwind doubling goalsFavorite blog posts, September 2018Recital videos, August 2018Recording: Claude T. Smith Suite with Delta State Wind EnsembleMusic practice and technical debtFavorite blog posts, August 2018The bassoon’s special(?) staccatoFrequently-asked questions about woodwind doubling, and their unpopular answersBuying more instruments, or making do with what you haveFavorite blog posts, July 2018How to write boring program notesReedmaking and choosing your college oboe or bassoon professorProblem-specific vs. general solutionsFavorite blog posts, June 2018Voicing and clarinet undertonesThe value of chamber ensembles in music degreesNot majoring in musicFavorite blog posts, May 2018Tenth anniversaryQ&A: The big pictureQ&A: Woodwind doublingQ&A: ReedsQ&A: VoicingAt the 10-year mark: ask me anythingA minimal Little-Jake electric bassoon setupFavorite blog posts, February 2018Interview: bassoonist and inventor Trent Jacobs“Problems” vs. solutionsStale airFavorite blog posts, January 2018Prepping the dumb guySome useful phrases for gig callsReview: “Double Troubles” by Paul Saunders2017 in reviewFavorite blog posts, December 2017What I listen for in scholarship auditionsInterview: flutist Tammy Evans YonceFavorite blog posts, November 2017Hercules stand clip modificationBe suspicious of instrument blingWhen you’re too sick for a lessonFavorite blog posts, October 2017Sample woodwind methods syllabusConnecting observations to techniquesGetting past frustration and burnoutFavorite blog posts, September 2017Preventing accidents with pencil marksJazz recital videos, August 2017Naming the low E-flat (contrabass? contra-alto?) clarinetFavorite blog posts, August 2017Please lose the music binderHomemade EWI standEndorsement dealsFavorite blog posts, July 2017Aspects of articulationRecording your practicingBuy intonation, not toneFavorite blog posts, June 2017Random Note Picker, version 0.3Woodwind doubling on both oboe and bassoonHow are you going to improve this?Favorite blog posts, May 2017New book! Woodwind Basics: Core concepts for playing and teaching flute, oboe, clarinet, bassoon, and saxophoneStaying motivated for summer practicingQuick flute switches and embouchure problems for woodwind doublersInterview: Jonathan Tunick, Broadway orchestrator and moreFavorite blog posts, April 2017Confident entrancesBeing a beginner on your doublesReedcast™ version 2.0Favorite blog posts, March 2017Priorities and patienceAdvice on graduate performance study and university teaching careersReview: D’Addario Select Jazz tenor saxophone mouthpiecesFavorite blog posts, February 2017Concept-based woodwind methodsWhy scales?Review: “So You Want to Play in Shows…?” by Paul SaundersFavorite blog posts, January 2017Low reed stand showdown: K&M vs. HerculesStaying challengedMusicians should embrace carry-on baggage fees2016 in reviewFavorite blog posts, December 2016Responding to free or low-paying gigsWhat I would do differently as a college music majorFavorite blog posts, November 2016Student-selected online woodwind pedagogy articles, 2016 editionSimple and effective cuesWoodwinds and “altissimo” registersFavorite blog posts, October 2016Solo/chamber stage etiquette for first-year music majorsAccents and the tongue (or not)“Starting” notes with the tongueBret on the Clarineat podcastFavorite blog posts, September 2016Recital videos, August 2016The best practice routineA few thoughts on the new Roland Aerophone AE-10Preparing for a multiple woodwinds recitalFavorite blog posts, August 2016Go practicePlaying modern vs. “vintage”Favorite blog posts, July 2016Students and paying gigsTeaching multiple instruments: IDRS 2016 presentationReport: 2016 International Double Reed Society conferenceFavorite blog posts, June 2016Tonguing and language soundsWoodwind instrument “care kits” are bad newsStuff bad music teachers sayFavorite blog posts, May 2016Please stop telling your clarinet students to tighten their embouchuresThings you need to cover in woodwind methods classThe role of tone exercisesFavorite blog posts, April 2016Achieving an ideal tonePracticing and breathingFollow @woodwindtips on TwitterFavorite blog posts, March 2016Woodwind doubling for flutistsRepair or buy new?Thoughts on musicians’ websitesFavorite blog posts, February 2016Trevor Wye’s “Flexibility I” flute exerciseBeginners, parents, and making double reedsPractice slump checklistFavorite blog posts, January 2016Creating fingering charts with diagrams from the Fingering Diagram BuilderEndurance and breath supportPracticing and the two-minute rule2015 in reviewFavorite blog posts, December 2015Pedagogical recipesStudent-selected online woodwind pedagogy articlesFavorite blog posts, November 2015Interview: Sarah Cosano, woodwind player and moreSelecting alternate fingeringsConfidence and airFavorite blog posts, October 2015But I can do it in the practice roomThe double reeds and “uneven” embouchuresDissertation on Divertissement for multiple woodwindsFavorite blog posts, September 2015Woodwind dynamics and the embouchureFAQ: Practicing scheduleRecital videos, August 2015Favorite blog posts, August 2015Finding information for the Woodwind Doubling in Musicals listReasons to choose an instrumentReview: Duos for Doublers by Gene KaplanFavorite blog posts, July 2015Woodwind doubling and flute problemsPushing in and pulling outFive things to do before starting a new school year as a college music majorFavorite blog posts, June 2015Playing in tune: five factorsFingering Diagram Builder, version 0.7Review: D’Addario Select Jazz alto saxophone mouthpiecesFavorite blog posts, May 2015Clarinet and saxophone embouchures and the “chin”Subdivision, long notes, and slowing the tempo“Next” steps in preparing repertoireFavorite blog posts, April 2015Sparking creative inspirationHandout: Blogging to build your woodwind careerIntroducing ReedCast™: scientific woodwind reed quality forecastingFavorite blog posts, March 2015Handout: woodwind voicingThree stages of practicingFavorite blog posts, February 2015Fingering Diagram Builder, version 0.6Making sense of third-octave flute fingeringsVoicing: stable vs. flexibleFavorite blog posts, January 2015Counting rhythms with a non-quarter-note pulseInterview: Sal Lozano, saxophone and woodwind artistUniversity of New Mexico offers new multiple woodwinds degree2014 in reviewFavorite blog posts, December 2014Purposeful fingering choicesWoodwind t-shirts now availableFavorite blog posts, November 2014Practicing, boredom, and guiltJazz swing notationVideos: Piazzolla Tango Etudes for multiple woodwindsFavorite blog posts, October 2014Isolating problem spotsSlowing downReview: ReedGeek “Universal” reed toolFavorite blog posts, September 2014Saxophone hand positionInternet forum field guide: the all-too-frequently asked questionsBasic tuplet mathFavorite blog posts, August 201410 ideas for more focused practicingClarinetFest 2014 presentation: The 21st-century woodwind doublerReport: International Clarinet Association “ClarinetFest” 2014Favorite blog posts, July 2014Woodwind doubling and the “main” instrumentAuxiliary instruments and college study12(+) ways to practice a technical passageFavorite blog posts, June 2014The problem with “ethnic” woodwindsDissertation: Woodwind doubling on folk, ethnic, and period instruments in film and theater musicReview: Ben Britton’s A Complete Approach to OvertonesFavorite blog posts, May 2014The amazing shrinking woodwind section: increasing demands on woodwind doublersDid I play that “right?”Irish flute/whistle ornamentation symbols à la Grey Larsen, in LilypondFavorite blog posts, April 2014Practice technique: anchoringNovelty and solo multiple-woodwind performanceMemorization and practicingReport: NNFA Conference, Southeastern Region, 2014Favorite blog posts, March 2014Answering equipment questionsDeath from exposureImprovisation and doublingMisconceptions about saxophone-to-clarinet doublingFavorite blog posts, February 2014Maintaining direction in staccato passagesSometimes staccato is neither “short” nor “separated”Teaching multiple instruments in higher educationFavorite blog posts, January 2014Tips for student chamber music groupsPlaying flat on the clarinetCreativity, hard work, and beginning jazz improvisationRequired recordings, spring 20142013 in reviewFavorite blog posts, December 2013Farewell: Yusef LateefAnatomy of a bad bamboo fluteFAQ on multiple woodwinds degreesFavorite blog posts, November 2013Saxophone altissimo books: Raschèr vs. RousseauOrnaments are notesFarewell: Frank WessFavorite blog posts, October 2013Fingering Diagram Builder, version 0.51: flute half-holesMusic for its own sakeMy studio “fresh air” policyNot goodReview: Butch Hall Native-American-style flutesFavorite blog posts, September 2013Telemann Canonic Sonata tutorial revisited: EWI with delay pedalNew sound clips: Faculty woodwinds recital, Aug. 27, 2013Breath support, register breaks, and resistanceStudent auditionsFavorite blog posts, August 2013Interview: Jay Mason, saxophone and woodwind artistFaculty woodwinds recital, Aug. 27, 2013Required recordings, fall 2013Ask yourself these questions before becoming a woodwind doublerBuying a new instrument for college-level studyFavorite blog posts, July 2013Which instrument to “start” onUpdate: Woodwind Doubling in MusicalsHow I use my undergraduate core music curriculum every dayProblems of wind controller sounds for classical performanceFavorite blog posts, June 2013Bassoon F-sharp fingeringsLearning fingerings as shapesPlaying full-spectrum musicFavorite blog posts, May 2013Fifth anniversaryIndividuality, conformity, and music studentsFingering Diagram Builder, version 0.5Review: Oboe Reed Maker PRO iPhone appThe magical properties of airFavorite blog posts, April 2013Stuff my students say: attendance editionFollow-up: Hercules woodwind standsHealth, wellness, and woodwind doublingReview: Vandoren “Maestro” score-marking pencilsCommonly-fudged woodwind fingeringsThe few, the proud, the woodwind doublers“Tip of the tongue” mythology and the fluteSorry, but you still can’t bring your reed knives on US flightsCrossing the break on the clarinet is easyIt’s not too soonRandom Note Picker, version 0.2Yet more woodwind blogs you should be readingMemorizing scalesClarinet/saxophone doubling and “loose” and “tight” embouchuresNumber sign, sharp, or tic-tac-toe?Required recordings, spring 20132012 in reviewWhat I’ve learned in my first three years as a college professorStuff my students sayReview: Ben Britton’s A Complete Approach to Sound for the Modern SaxophonistChanging octaves on the flute: a survey of published opinionsBest practices for accidentals in online music writing, and introducing jQuery AccidentalsWhy do some instruments transpose?Why college music education majors need applied study“Piccolo Phil” on doublingNew sound clips: Faculty woodwinds recital, Sep. 13, 2012On purple violinsReview: Hercules DS538B woodwind standThings that aren’t jazzThe value of a musical instrumentFaculty piano and woodwinds recital, Sept. 13, 2012Which instrument should I learn next?Required recordings, fall 2012Review: Rico Reserve clarinet mouthpieces, part IIWhat I learned about practicing from my summer fitness classReview: Rico Reserve clarinet mouthpiecesThe myth of beginning band instrument “tests”Brand snobberyReader email: maintaining doublesReader email: Chinese woodwindsImproving habits: use a timerStaying connected to the clarinetInterview: Woodwind road warrior Terry HalvorsonPlay reeds that fitWoodwind doubling and “similar” fingeringsReport: John Mack Oboe Camp, 2012Internet forum field guide: conflict resolutionUsing a pencil like a proGetting an “outsider” opinionThree Fingering Diagram Builder tutorialsFingering Diagram Builder, version 0.4Reader email: doubling opportunitiesRecital preparationDoublers in the news: Hunter DiamondBreaking: Rico to produce bizarre double-tipped reedsThings you don’t need to cover in woodwind methods classRediscovering the clarinet’s left-hand sliver keyFull-range scales and arpeggiosFlute Pro Shop interview with Tereasa Payne and Simon HutchingsEvaluating reedsUniversity of Northern Iowa offers new multiple woodwinds degreeBalancing voicing and breath supportInternet forum field guide: gear recommendationsErnie Watts on not doublingA toolkit for simple woodwind repairsJazz chord symbols: a primer for the classically-trainedRequired recordings, spring 20122011 in review, and a New Year’s resolutionInterview: Ryan Lillywhite of Cannonball Musical InstrumentsReview: Bob Hartig’s Giant Steps Scratch Pad CompleteIntroducing the Random note pickerFarewell: Himie VoxmanThe woodwind doubler as orchestral utility playerDoubling fees under fire in DenverFree music: five Arno Bornkamp saxophone albumsWoodwinds smashedStill more woodwind blogs you should be readingThe best _____ for woodwind doublersUnderstanding woodwind key nomenclature systemsThe Doublers Collective: progressive jazz saxophone quintetDo it yourself: replace a tenon corkNew sound clips: Faculty woodwinds recital, Aug. 30, 2011Divertissement for multiple woodwinds now availableInterview: Gene Scholtens, Broadway woodwind doublerFingering diagram builder, version 0.3Required recordings, fall 2011Faculty woodwinds recital, Aug. 30, 2011NFA 2011: Woodwind doublers roundtable discussionReport: National Flute Association Convention 2011Do it yourself: replace saxophone palm key padsSam Newsome on not doublingReview: Rico reed casesMormons and musiciansHistorical woodwind recordings on the National JukeboxEddie Daniels is not a doublerFollow the woodwind doublers list on TwitterReport: Clarinet Academy of the South 2011Classical musicians and jazz musicWhy tune to the oboe?Woodwind Doubler Census results, part 8: final commentsWoodwind Doubler Census results, part 7: doubling tipsWoodwind Doubler Census results, part 6: benefitsWoodwind Doubler Census results, part 5: challengesWoodwind Doubler Census results, part 4: employmentWoodwind Doubler Census results, part 3: education and trainingWoodwind Doubler Census results, part 2: instrumentsWoodwind Doubler Census results, part 1: demographicsAdvice for prospective college music majors“How I Became a Broadway Musician” at MusicianWages.comDavid Erato on his clarinet “journey”The Great Woodwind Doubler Census of 2011A farewell to woodwind playingDr. P’s Practice Club: using Facebook to acknowledge student achievementsA few more woodwind blogs you should be readingCrossing the break (or not) on saxophoneDon’t adjust your best reedOpen rehearsal of DivertissementDavid Liebman on not doublingMore free reeds from RicoLesson bingoHow to make a bad fingering chartFingering diagram builder, version 0.2Jazz opportunities for woodwind players: learn the saxophoneSpelling test for woodwind players and teachersDivertissement for multiple woodwinds and pianoRequired recordings, spring 2011Recommending gear for beginnersWoodwind teaching resources for school band directors (and others)December links digestFrom WindWorks Design: Wind controller in a pit orchestraMultiple woodwinds commission, sixth movement (multiple woodwinds or piccolo)Conrad Asklund on finding woodwind doublersFarewell: James MoodyMultiple woodwinds commission, fifth movement (oboe)Introducing the Fingering diagram builderFingering chart for an imaginary woodwindMultiple woodwinds commission, fourth movement (clarinet)Multiple woodwinds commission, third movement (bassoon)A brief thought about new music for saxophoneMultiple woodwinds commission, second movement (saxophone)Time required for instrument switchesNew multiple woodwinds commission: Sy BrandonSeven habits of highly effective beginnersWoodwind doubling recital program, Northwestern University, 1950Reader email: multiple woodwinds degree or single-instrument degree?More on the science/fiction of woodwind materialsSeven habits of highly effective music studentsThis week in airline travel with musical instrumentsQuick tutorial: Telemann Canonic Sonata on EWI, à la Jeff KashiwaFarewell: Buddy ColletteYouTubeage: Cool EWI videosJoe the Musician: the first rule of woodwind doublingUpdate: Woodwind doubling in Broadway musicalsNew sound clips: Faculty woodwinds recital, Aug. 31, 2010Faculty woodwinds recital, Aug. 31, 2010A few woodwind blogs you should be readingRequired recordings, fall 2010Oboist on the Supreme Court? part IIIPeter Hilliard on contracting woodwind doublersFlexible EWI fingeringsStill going strong: Seymour “Red” PressQuick review: Bo-Pep Flute Finger RestPetition: Ask the U.S. Congress to support better air travel for musiciansAdvice on writing for doublersB-flat and A clarinets: redundant?Review: Akai EWI4000s wind controllerDan Willis in the West Side Story pitNew York Times blog: Steve GornConfessions of a mail-order shopperInformation overload: oboe F fingeringsWhat is voicing?Pedro Eustache: Suite Concertante for World Woodwinds and OrchestraOboist on the Supreme Court? part IIOboist on the Supreme Court?Vadala doubling book reviewVinny Golia reviewRaphael Sanders: Doubling the clarinetsDubious pedagogy alert: woodwind vibratoNew endorsement dealHandout from Mid-South Flute 2010 lecture: Folk, ethnic, and period flutes for fun and profitNew sound clips: Faculty woodwinds recital, Feb. 15, 2010Handouts from NASA 2010 woodwind doubling lectureNASA 2010 Biennial Conference reportBuying a new instrumentFrom The Savvy Musician: military gigs and the saxophonistFaculty woodwinds recital, Feb. 15, 20106 advantages of adult studentsReview and blindfold test: Légère Signature Series clarinet reedsDoubling-specific skills vs. instrument-specific skillsDear 2000Required recordings, spring 2010David Summer: Flute/trumpet doublingQuick quote: woodwind doubling in the 17th and 18th centuriesUsing autotune in your practice sessionsKenneth Fischer, saxophonist, teacher, and friend10 jazz albums that should be in every music lover’s collectionNot making your own double reedsReed adjustment checklistJoseph Phillips and Ben Kono on woodwind doublingMS Excel music hack: Sort musical instruments by score orderDuco cement and bassoon reedsPhysical factors and beginning woodwind playersWoodwind organizationsDoubling reed tip from Lawrie BloomRequired recordings, fall 2009Quick tip: learn tenor clefClarinet pinky fingeringsKnow your foreign musical termsTaking your doubles to the next levelThe Usual Suspects – Los Angeles studio musiciansThoughts on plastic reedsGo Fightin’ OkraMore on airline travel with musical instrumentsAirline travel with musical instrumentsWhy I don’t list my equipmentOboe reedmaking resourcesWoodwind players on the webMore thoughts on multiple woodwinds degreesNew old blog postsCommon doubling combinations from the Broadway doubling listTrade in your old reeds for new Ricos, part IIDoctor of Musical ArtsReview: The Woodwind AnthologyMore on brass doubling10 ways to improve your musicianship with a computer200+ woodwind doublers’ websitesFree woodwind sheet music on the IMSLPWhy musicians cost moneyVideos: John Miller, Broadway music contractorTrade in your old reeds for new RicosFrom Google: Lord of the Rings on whistle, low A on bassoon, woodwind commonalitiesMS Word music hack: Automatic sharps, flats, and naturalsRampal on flutist/flautistDoubling reminders for the dayReview: The Woodwind Player’s CookbookEight live microphone tips for woodwind playersBassoon as a doubleDRQOD: Ghandarvas and powdered wigsFlutist spotlight: Captain Chesley B. Sullenberger IIIJust like tying my shoesMore woodwind blogsMario Rivera (1939-2007): Latin saxophone and fluteFree download: New orchestration of the Creston saxophone sonataSpeaking the language of woodwindsGetting started with ethnic woodwinds: your holiday wish listNew sound clipsPedro Eustache: ethnic woodwindsRecommended: Jeanjean “Vade-Mecum” du ClarinettisteTake your instruments apartFact and fiction in woodwind teachingMy doubling bagRecital 11/3/2008Woodwind doubling gigs: seven basic tipsAuditioning for a multiple woodwinds degree programUniversity woodwinds job postings, 10/12/08Breath supportDoublers in the news: Douglas OwensBrass doubling?Review: Improve Your Doubling, by Chris VadalaRecommended: Jennifer Cluff’s flute blogLearning to play a woodwind: is previous woodwind experience a disadvantage?Why I don’t loan out instrumentsDoctoral multiple woodwinds examsInstrument stands for doublers: mini-reviews and a wish listSal Lozano on doublingAbe Weiss on practicingIDRS 2008: Confirmed doubler sightingsIDRS 2008 Conference reportImportant people in woodwind historyLarry Krantz on not doublingFlutist/flautistBad ideas woodwind doublers getWhich is your favorite?Essential woodwind literatureUniversity/conservatory degree programs in woodwind doubling, part II: jazzNew Grove on flute materialsUniversity/conservatory degree programs in woodwind doublingHow many instruments do you play?Playing in tuneReview: The Many Sides of Al GallodoroNeed a panflute? Woodwind doubling gear woesUniversity woodwinds job postings, 6/6/08How well do you know your major scales?Masato Honda plays recorderUniversity woodwinds job postings, 5/30/08Public domain woodwind clip artWhat’s in a name? What “doublers” call themselves, part IIWhat’s in a name? What “doublers” call themselvesNew blogWoodwinds in ArtDoes material affect tone quality in woodwind instruments?: Why scientists and musicians just can’t seem to agreeA troublemaker in the octet: A hermeneutical approach to Beethoven’s op. 103Buying woodwind instrumentsThe woodwind section in Mozart’s late symphoniesWoodwind doubling in musical theater orchestras: Taking the insanity out of Crazy for YouPaul Hindemith and the Trio Op. 47: Steps toward a mature styleA jazz improvisation curriculum: Junior high through collegeIdeas for directing student jazz bandsMulti-instrument method in Rahsaan Roland Kirk’s “Creole Love Call”Sidney Bechet’s “Summertime”Essential saxophone recordings: A work in progressDvorák’s “New World” and jazz music: Heirs to a common heritageThe modern saxophonist: The changing career climate of the concert saxophone artistSaxophone vibratoChoosing instructional materials for beginning saxophone studentsPrivate teaching methods of university music professors: Observations, analysis, and applicationAnton von Webern’s Quartet for violin, clarinet, tenor saxophone, and piano, op. 22
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