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Bret Pimentel, woodwinds
Bret Pimentel, woodwinds
  • Woodwind playing and pedagogy

    B-flat and A clarinets: redundant?

    ByBret Pimentel July 1, 2010March 16, 2017

    I wrote this a few years back for a graduate school course. The professor, not a wind player, raised the question of why I limited the discussion to clarinets in B-flat and A, and ignored, for example, the C clarinet. The reason for this, which may not be obvious to a non-clarinetist, is that the B-flat and A instruments use the same mouthpieces, reeds, and sometimes even barrels. Since other sizes of clarinet require their own mouthpieces and reeds, there is a clearer separation between these instruments.

    Photo, Ollie Crafoord

    Alert concertgoers will be aware that the orchestral clarinetist is often seen on stage with not one, but two clarinets, which appear to be nearly identical. These are clarinets in the keys of B-flat and A, and, in truth, they very nearly are the same—identical in keywork and playing approach. The difference is one of an inch or so in length, giving the A clarinet a range that is deeper by one semitone.

    It seems a redundancy to have two instruments so close in range. The ubiquity of the B-flat and A clarinets is a vestige of the clarinet’s early days, when its simpler keywork made it poorly suited to playing in more than a handful of keys; early clarinetists owned several instruments of different transpositions so that they could play in whatever key was required. But the modern instrument has a more involved mechanism that allows much more chromatic agility. The problem that remains is that the clarinet has accumulated two hundred and fifty years of repertoire, some of which calls for the instrument in B-flat, some of which calls for the instrument in A, and even some that calls for a little of each. Read More “B-flat and A clarinets: redundant?”

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  • Product reviews

    Review: Akai EWI4000s wind controller

    ByBret Pimentel June 24, 2010April 19, 2014

    I recently got my hands on one of these:
    Akai EWI 4000s wind controller

    Believe me when I tell you that this is a seriously cool instrument.

    Even after hearing and reading a number of rave reviews of the Akai EWI 4000S, I was pleasantly surprised by its playability, responsiveness, and capacity for expression. In my opinion, this is a real instrument, and a viable option for serious music-making.

    A few highlights:
    Read More “Review: Akai EWI4000s wind controller”

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  • Woodwind playing and pedagogy

    Dan Willis in the West Side Story pit

    ByBret Pimentel June 13, 2010January 3, 2018

    Tip of the hat to Patty at oboeinsight for this one:

    EDIT: I originally had an embedded video here, of a CBS news interview with Broadway woodwind doubler Dan Willis. It appears the video is no longer available. You can read a text summary here, at least for the time being. Below is a picture I stole from their website.

    Dan Willis

    It appears Mr. Willis is playing reed 3.

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  • Woodwind playing and pedagogy

    New York Times blog: Steve Gorn

    ByBret Pimentel June 8, 2010January 3, 2018

    The New York Times’s “Lens” blog did a nice piece on Steve Gorn, a woodwind doubler who has turned his primary focus to the bansuri (Indian bamboo flute). Surf on over to see a nice photo and hear audio of an interview/performance. (Both photo and audio feature Gorn’s soprano saxophone playing.)

    Steve Gorn on his beginnings as a woodwind player:

    I advanced relatively quickly with the clarinet. When I got into eighth or ninth grade I got into a lot of jazz, and I started playing saxophone at that point. Jazz became much more of a focus. I played clarinet in the school orchestra.

    Read More “New York Times blog: Steve Gorn”

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  • Musicianship

    Confessions of a mail-order shopper

    ByBret Pimentel June 1, 2010April 23, 2012

    I’m not sure I can recall the last time I walked into a music store and bought something.

    I hear every so often that I should support local businesses and mom-and-pop shops, and I have to admit that this sounds vaguely like a responsible and virtuous thing to do. But here’s why I don’t—and can’t.

    1. It costs too much. Prices are inevitably higher in local stores. I understand that so-called “full-service” establishments have overhead, but so do I. If they can justify charging higher prices, it seems fair that I can justify shopping around.
    2. They don’t stock what I need. Other than a few scattered specialty shops, local music stores stock what they can sell in volume, and that’s inexpensive instruments and accessories for the beginning band market. I live in a small town, but even in the fairly large cities where I have lived, I have, more frequently than not, been unable to get what I like. A few months ago I made a two-and-a-half hour drive to go saxophone shopping with a student at a large music store in a large city. The store was large enough to have a saxophone specialist on staff. The store regularly stocks one brand of (arguably) professional-quality saxophone (and it’s not Selmer, Yamaha, Yanagisawa, or Keilwerth), and had exactly two major-brand instruments available, used. We also contacted a small saxophone specialty shop that was a little farther away, one that actually has “saxophone” in the store’s name. They had zero pro-line horns in stock.
    3. As far as I can tell, the “superior customer service” factor is largely a myth. I think most woodwind players have experienced the frustration of going into a music store and being “helped” by the heavy-metal guitarist behind the counter. And even in specialty shops, I’ve rarely found a salesperson who can answer serious questions with much more than regurgitated advertising copy or a personal opinion. And, while I don’t doubt that specialty retailers are passionate about what they do, it’s important to keep in mind that they are businesspeople and subject to motivations other than getting you the best possible product for the smallest possible price. Read More “Confessions of a mail-order shopper”
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  • Woodwind playing and pedagogy

    Information overload: oboe F fingerings

    ByBret Pimentel May 23, 2010January 2, 2018
    First and second octave F on the oboe
    First and second octave F on the oboe

    The oboe typically plays Fs in three octaves. The lower two have a variety of available fingerings, which can be a challenge for new oboists to navigate, particularly because the available fingerings change depending upon the make of the instrument.

    A typical “budget” student model instrument, for example, uses the following fingerings. (For all fingerings given in this article, the one shown corresponds to the lower octave; the higher octave is achieved by adding the first [thumb] octave key.)

    Basic "right" F
    Basic "right" F
    "Forked" F, with E-flat key
    "Forked" F, with E-flat key

    The “right” F is the basic choice, to be used in almost all cases where it is possible to do so, as the tone produced by this fingering tends to be the best match to the tone of the surrounding notes.

    The “forked” F tends toward a sound that might be described as “muted” or sometimes even “fuzzy,” and should therefore generally be avoided where possible (unless the muted or fuzzy sound is desirable for the musical situation—I do like to use the forked F, for example, in the beginning and ending sections of the second movement of the Saint-Saëns sonata). Read More “Information overload: oboe F fingerings”

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  • Woodwind playing and pedagogy

    What is voicing?

    ByBret Pimentel May 12, 2010June 22, 2010

    I’d like to address the term “voicing,” which I think is often misunderstood. Here’s my best definition:

    Voicing refers to the relative size of the oral cavity, which can change depending on the position of the back of the tongue.

    There are a number of other terms that are used to describe this same concept in woodwind playing. I don’t take issue with any of these terms individually, and I think that as a teacher it’s useful to have a variety of possible ways to explain this concept. (These terms can become problematic, however, when they are used in opposition to each other: “Open up, and blow cooler air.”)

    Here are some examples of ways of describing voicing. I consider the terms in the left column all to be descriptions of the same thing, and those on the right to be likewise equivalent to each other. Read More “What is voicing?”

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  • Web reviews

    Pedro Eustache: Suite Concertante for World Woodwinds and Orchestra

    ByBret Pimentel May 4, 2010July 24, 2022

    Ethnic woodwind guru and composer Pedro Eustache (“ayoo-STAH-chay”) has posted videos on YouTube of most of his recent work Suite Concertante for World Woodwinds and Orchestra, featuring himself as soloist playing a staggering 21 instruments over the course of 12 movements (45 minutes).

    The instruments are mostly ethnic flutes and reeds, though a few modern Western instruments appear as well. Since some of the instruments are Eustache’s own unique creations or modifications, it would seem he doesn’t intend for anyone beside himself to perform this piece. Certainly few woodwind players would have the ability to do so, nor to obtain or make the unusual and customized instruments required.

    Here are the movements currently available on YouTube.

    Mvts. 1-2: Three different bansuri (Indian bamboo flutes).

    Mvt. 3: “Oryxophone,” neys (Middle Eastern flutes), mezoued (Tunisian reed instrument), and flute fitted with ney headjoint

    Mvt. 4: Duduk (Armenian reed instrument), blul (Armenian flute)

    Mvts. 6-7: Soprano saxophone, flute

    Mvts. 8-9: Quenacho (South American flute), “double tarka” (customized version of South American flute)

    Mvt. 10: Fjitchu (South American flute)

    The missing movements include shvis (Armenian flutes), fujara (Slovakian flute), didgeridoo (Australian lip-reed), and apparently vocal percussion. There is some additional information on Eustache’s website and in a Spanish-language concert program [update: links dead]. Even if your Spanish isn’t good, it’s worth looking through the program to find the picture of Eustache surrounded by his instruments.

    Elsewhere on this website, I list more compositions involving performance on multiple woodwind instruments.

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  • Announcements and news

    Oboist on the Supreme Court? part II

    ByBret Pimentel April 30, 2010January 1, 2018

    I posted last week about Diane Wood, the federal judge and oboist who is a candidate to fill a soon-to-be vacant seat on the US Supreme Court. (Unsurprisingly, Patty Mitchell, prolific blogger and online curator of all things oboe-related, also picked up the story.)

    Yesterday the LA Times ran an op-ed by Meghan Daum, herself a recovering oboe player, entitled “The Supreme Court could use an oboist.” Here are the good parts:

    The oboe isn’t just an instrument; it’s a way of life. … Playing the oboe means living your life entirely at the mercy of tiny wooden double reeds that crack at inopportune moments (weirder and more awful yet, you’re supposed to make them yourself as though you were a 19th century artisan). It also means blowing so hard into them that you risk a brain aneurysm every time you try to hit a high D. It also means you’re a huge nerd.

    Read More “Oboist on the Supreme Court? part II”

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  • Announcements and news

    Oboist on the Supreme Court?

    ByBret Pimentel April 20, 2010January 1, 2018
    Judge Diane Wood, oboist
    Judge Diane Wood, oboist

    Federal judge and oboist Diane Wood is reportedly under consideration to fill a Supreme Court vacancy.

    Wood has demonstrated a willingness to challenge her fellow jurists without offending, say lawyers and clerks who have observed her in court. Those attributes may be an asset as President Barack Obama considers her to replace retiring Justice John Paul Stevens on an often-divided U.S. Supreme Court…

    Wood, 59, who plays oboe in the Chicago Bar Association Symphony Orchestra, was one of four people interviewed by Obama last year before he picked Sotomayor.

    You can read the whole article at businessweek.com. Read More “Oboist on the Supreme Court?”

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