My doubling bag

ByBret Pimentel

Today I found myself in the embarrassing situation of arriving at a rehearsal, contrabassoon in tow, without a single contrabassoon reed. Luckily the problem was easily solved—the reeds were literally just a few moments away, and I didn’t miss a note of rehearsal.

The problem, of course, is that the contra is a university-owned instrument, used by several student bassoonists, and so I don’t like to leave my reeds in the case. I just keep them in my bassoon case, with my bassoon reeds, and usually this works out fine since it’s rare that I go anywhere with the contra unless I have my bassoon along, too. But on the rare occasion that it happens, like today, I can easily forget to bring the reeds with me.

A number of years ago, when I started to get really serious about the doubling thing, I decided I needed a bag in which to keep my non-instrument-specific stuff. For example, in prior years as a dedicated alto saxophonist, I kept my accessories in my saxophone case: a metronome, a tube of cork grease, and so forth. When my instrument cases began to multiply, I found myself sometimes without an accessory that I needed. Buying more tubes of cork grease isn’t a big deal, but multiple metronomes can turn into real money for a college student. So I invested in a cheap messenger-type bag.

In my instrument cases, I keep things that I use for that instrument only. So my clarinet case has my clarinet reeds, a clarinet swab, a clarinet reed trimmer, clarinet tuning rings, a couple of extra barrels, and that’s it. In my bag, I keep a metronome, tuner, some emergency repair items, a few reed tools, and cork grease. I also keep all the sheet music for my current practicing and gig projects in there, mostly because I like to keep my instrument cases compact rather than buying larger cases with sheet music pockets. So, whatever rehearsal or gig I’m running off to, I always grab my bag along with whatever instruments are coming along.

One weakness of this system manifested itself today in the brief contrabassoon reed crisis. If I owned my own contra, I would keep my reeds in the case. But I don’t, so the reeds currently cohabitate with my bassoon reeds. My oboe reed case also has English horn and oboe d’amore reeds in it. I’ve also got a stash of baritone saxophone reeds and reeds for the larger clarinets. I could possibly keep all those in my bag—that way I would always be sure I had them. But who wants to carry around oboe d’amore reeds for years on the slim chance of playing a borrowed d’amore again? Clearly, I’m going to have to buy a contrabassoon, an English horn, a d’amore, a bari, and some big clarinets so that my reeds will have permanent homes.

Another issue is that when I’m on my way to a gig with a saxophone case in each hand and several smaller woodwinds slung over my shoulders (case covers with shoulder straps are essential for a doubler!), I’ve got an additional bag to lug around, with lots of things in it that I may not really need for the situation.

For now, I’m putting the contrabassoon reeds into the bag, since contra is on the docket through December for sure, and likely through spring. The d’amore reeds will have to continue to bunk with the oboe and English horn reeds until further notice.

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  • Woodwind Doubler Census 2021 results, part 3: training/education

    ByBret Pimentel

    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.

  • What would go wrong if you played louder?

    ByBret Pimentel

    My university students are often, at least at first, quite timid about playing loudly. (This is probably a side effect of learning the instrument in a school band program. They learn to play quietly because their section is too loud. Or, they get the hand from a band director who doesn’t have the time or bandwidth to correct tone production issues.)

    When I push them in lessons to play with soloist-level dynamic range, they often give me a weak mezzo forte instead of the fortissimo I’m looking for. The more I ask for volume, the more they dig in at an unimpressive medium-ish.

    At this point I usually ask what they think would go wrong if they played louder. The consensus seems to be that it would sound “bad,” in ways that they generally can’t quite pin down.

    So I give them permission to play so loud that something goes wrong. Then they usually find some volume they have been holding in reserve, but still fall short of what they are capable of. I usually have to insist more and more firmly that they play louder and louder to show me what will go wrong.

    And, virtually all the time, nothing goes wrong. They find some more available volume, and probably a fuller tone to go with it. If I’m lucky, they learn the lesson and feel less timid about volume in the future.

    The issue does often come back when we encounter something new, unfamiliar, or stressful, like a complicated ornament or a note outside their comfortable range. In those cases, I have to remind them to go ahead and put air into the instrument, and to allow whatever bad thing they are dreading to go ahead and happen. If it does (and it usually doesn’t), we can hear it and troubleshoot it. But sabotaging themselves by choking off the air just guarantees failure.

    Use your air confidently and powerfully. You might discover that what you have been worrying about isn’t a problem at all.

  • Should I buy a “step-up” instrument?

    ByBret Pimentel

    Should you buy a “step-up” or “intermediate model” woodwind instrument? In most cases, I think the answer is no.

    For flute, oboe, clarinet, bassoon, or saxophone, I think the wisest course, if you can afford it, is usually to start with a high-quality, best-in-class student-model instrument. The advantages of this are:

    • Lower price range (though maybe in the upper part of that range)
    • High-quality student instruments are easier to play than low-quality ones, giving beginners an advantage and a positive experience
    • Quality student instruments can, in some cases, be used all the way through high school band
    • Quality student instruments retain their value better, so you may be able to recoup some of your investment if the instrument falls into disuse or you replace it with a more advanced model

    At some point, the option may be suggested, by an educator or a salesperson, to “step up” to an intermediate model. My experience with these is generally:

    • The price range is not much lower than professional-quality instruments
    • The quality not much better than good student instruments
    • Sometimes they have some cosmetic differences that make them seem more “professional” or luxurious but which do not give any real advantage to the player

    So, in most cases my advice is to skip the step-up instrument. Instead consider investing in some private lessons with a good teacher. These will bring much greater benefits.

    And if you intend to audition for college scholarships, participate in competitions, or otherwise play at a high level, the private teacher is a crucial resource when you are ready to buy a professional model. These are instruments suitable for the demands of college music programs and at least semi-professional playing situations. Because they are expensive, it’s worth choosing one very carefully, and a good teacher can help you figure out what you need, connect with a reputable dealer, and get the best price.

  • Endurance and breath support

    ByBret Pimentel

    Physical endurance can be an issue for woodwind players, most often manifesting as fatigue in the muscles of the embouchure. But I think in most cases tired facial muscles are a symptom of a more fundamental problem.

    The muscles used for forming woodwind embouchures are small and finely-tuned for precise movements, such as in speech and in facial expressions. This also makes them well-suited to the fine control needed for woodwind playing. But those muscles are not really adapted to feats of strength or endurance.

    photo, Denise Coronel
    photo, Denise Coronel

    Tired and sore embouchure muscles lead to additional problems, such as compensation by clamping down with the larger, stronger jaw muscles, which sacrifices control and causes woodwind players (especially reed players) to bite into their own lips. (As a less-experienced player, I thought of those raw, swollen, and eventually calloused spots in my lips as signs of dedication to practicing. I don’t have those spots any more. In many cases, the need for some kind of cushion or dental appliance over the teeth when playing is a sign of unnecessary biting.)

    Woodwind players should be doing most of their physical “work” with muscles that have strength and stamina. The “core” muscles of the torso have both: they are an integral part of posture, balance, and virtually all gross motor activities (walking, jumping, lifting, sitting, standing, and many more). The core muscles are also the muscles of breath support, which is arguably the most crucial, foundational aspect of woodwind playing.

    Powerful breath support takes a huge burden off the facial muscles. For example, it stabilizes pitch, reducing the need to “lip” notes up or down (which is a less-effective technique anyway); it strengthens and solidifies tone, reducing the tendency to “control” the tone (poorly) by biting or squeezing with the lips; and it eases response, reducing tension. Weak breath support leads to biting and pinching with the embouchure, and that tension spreads throughout the body.

    When you start to feel your embouchure muscles start to tire, allow your face to relax, and focus instead on powerful abdominal breath support.

  • “Problems” vs. solutions

    ByBret Pimentel

    I often see this kind of thing in woodwind pedagogical books, workshop handouts, and lecture notes:

    Common clarinet problems

    • embouchure too loose
    • chin not flat
    • fingers not curved enough

    This bothers me because it’s really not clear that these are “problems.” Would you have a student tighten a “too loose” embouchure if they sound great and play with ease and control? Would you insist on a flatter chin or more curved fingers if there weren’t some persuasive reason to do so?

    Real problems in woodwind playing generally have some audible result: notes that don’t respond well, or are out of tune, or have an uncharacteristic tone, or come too late because the fingers didn’t arrive in time. Alterations to embouchure, hand position, and so forth are solutions to specific issues, not commandments to be preached and enforced indiscriminately. Your doctor doesn’t give out a standard grab bag of medications to every patient—he or she (hopefully) finds out what your symptoms are and prescribes something appropriate (or tells you you don’t need any pills at all).

    Diagnose problems mostly with your ears, not with a checklist of questionable dicta, and not with a picture from a textbook of what good playing should look like. Then offer solutions that fit the problems.

  • Preparing for a multiple woodwinds recital

    ByBret Pimentel

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

    For over a decade, all of my solo recital performances have been on multiple woodwind instruments. Last month I performed (twice) a recital program with pieces played on flute, oboe, clarinet, bassoon, and three saxophones. Here are some of the things I do to prepare.

    multiple-woodwinds-recital_mini

    • Practice the physical changes. I opened my program with an oboe piece, and followed that with a flute piece with a delicate entrance. As the recital approached, I made sure to follow each oboe practice session by practicing that flute entrance, to be sure I could do it under those conditions. Something that didn’t work very well: after the oboe, flute, and bassoon pieces, my hands and jaw tended to be a little tense for clarinet playing. If I were preparing this recital again, I would bump the clarinet to the end of my practice sessions to work on playing relaxed even when fatigued.
    • Practice the mental changes. If I can put myself into the right place mentally for the instrument I’m about to play, my physical technique seems to fall into place. Sometimes I will do some rotating warmups—play, for instance, some scales on one instrument, and then immediately play them on another, and another. That gives me a chance to practice shifting mental gears. Once I have my program order set, I also make liberal use of Post-it Notes to give myself reminders between pieces: “take a moment to relax embouchure,” “keep breath support strong in low register,” “clear moisture from octave vent.”
    • Make thorough checklists. With seven instruments on my most recent recital, I surely would have forgotten something—a bassoon seat strap, a case of clarinet reeds, a piece of sheet music. I made a detailed list and used it to set up for a dress rehearsal. Sure enough, there were a few things that hadn’t made it onto the list, and I was able to retrieve those items and add them to the list before the first public performance. When I traveled a few hours for another performance, I was confident that I had everything I needed.
    • Use good stands. Good ones are sturdy and make it easy to set down or pick up an instrument without fuss. Since I played flute, oboe, clarinet, and bassoon on the first half without leaving the stage, having some good stands kept things moving smoothly and let me stay focused.
    • Do thorough warmups. As the performance approaches, it’s tempting to practice in panic mode, and skip over things like warmups. I always play much better if I do my warmups faithfully all the way up to the day of the performance. I find that if I warm up slowly and thoroughly on each instrument before the performance (this might take a few hours with multiple instruments! I usually do it in the morning), then I’m able to switch between them more easily.

    Break a leg!

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