New old blog posts

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In order to try to keep things tidy around here, I’ve reorganized the site a bit (again). One thing that happened was that the old “articles” section disappeared and some of the old articles have turned retroactively into blog posts. The official start of the blog was May of 2008, but some of my old stuff (going back to 2001) can now be found there.

Here are a few highlights:

Also, don’t be shy about pointing out broken links, etc., while the dust is settling around here. Thanks!

Common doubling combinations from the Broadway doubling list

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The most popular thing on my website is the Woodwind doubling in Broadway musicals page, which brings in visitors from around the world. I’ve even been lucky enough to hear occasionally from major woodwind doublers who are working on Broadway.

I thought it might be interesting to take a look at the most common combinations of instruments called for. I’m including a table at the end of this post that shows every combination that occurs 10 or more times on the current version of the list. The first column numbers the rows for convenience in referring to specific data; the second column indicates how many times that particular combination occur.

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Trade in your old reeds for new Ricos, part II

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In March I blogged about this promotion from Rico reeds. I’m pleased to report that, after sending this motley crew of rejects off to Rico…

before

…I got these in the mail, at absolutely no charge.

after

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Review: The Woodwind Anthology

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Woodwind Anthology cover

I recently got my own copy of The Woodwind Anthology, a massive two-volume collection of articles from The Instrumentalist and Flute Talk magazines. I’ve used this anthology from various university libraries throughout my  long college education, and found it to be a go-to source for pedagogy classes and comprehensive exam preparation.

Inexplicably, Instrumentalist is selling these right now for $37 for the set. Check it out here. The shockingly low price makes me wonder if this has gone out of print. If you’re interested, I suggest ordering soon.

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More on brass doubling

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Prior post: Brass doubling?

Boston Symphony Orchestra bass trombonist Douglas Yeo has a page on his website with doubling tips. In addition to bass trombone, he plays bass trumpet and serpent. Not tenor trombone.

I don’t knock anyone for finding their niche. And Mr. Yeo is clearly a very accomplished musician—listen to some of his sound clips if there is any doubt. But I have to admit a few items from his doubling tips amused me as a woodwind doubler.

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10 ways to improve your musicianship with a computer

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laptopIt seems like there’s very little I do these days without a computer. Here are some ways I have used a laptop to boost my practice sessions.

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200+ woodwind doublers’ websites

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I just finished updating my list of woodwind doublers on the web, which as of right now lists just over 200 valid websites (201, to be precise). I am happy to include on the list woodwind doublers of any skill level, as long as their website gives some indication of their inclination toward multiple woodwind … Read more

Free woodwind sheet music on the IMSLP

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IMSLP logoThe Internet Music Score Library Project is an online library of public-domain sheet music. Most of the available music is in PDF format and can be freely downloaded. The files are uploaded by users, mostly scanned from published sheet music that falls into the public domain. This means mostly compositions that are old enough to be public domain, in published editions that are also old enough to be public domain.

This is a fantastic resource for finding older editions of woodwind solo pieces, chamber music, and orchestral parts.

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Why musicians cost money

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I very much appreciate this brief article by trumpet player Jeff Purtle: Why Do Musicians Charge? [Edit: article no longer exists, but see the video in Mr. Purtle’s comment below.] Mr. Purtle makes the point that it costs a lot of money to be a musician. This is painfully true for woodwind doublers, who need not only a large number of high-quality instruments, but also reeds, maintenance and repairs, insurance, stands, cases, and more for each instrument, not to mention the cost of lessons or even college or conservatory study.

I think the overhead costs of being an instrumentalist are a really important and valid point. But I do think are some more reasons why musicians should expect to be compensated fairly for what they do:

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