New blog
Hi folks,
Thanks for checking out the new blog. Stay tuned for woodwind-doubling-related stuff!
Best,
Bret Pimentel
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Woodwind Doubler Census results, part 6: benefits
In this installment, we look at why woodwind doublers do what they do.
Q. What is the greatest benefit of being a woodwind doubler?
Here’s my own breakdown of the most common types of answers. Many answers fit into more than one category.
- More gigs: Unsurprisingly, this was a factor for over half of the respondents. However, many if not most indicated some non-monetary motivation:
- Variety
- Fun/satisfaction
- Artistic expression: A number of respondents mentioned the ability to access a variety of tone colors as a motivating factor.
- Cross-training: Several respondents indicated that playing one instrument improves their skills at another.
- Challenge
Here is the complete list of responses, with only very minor editing, in random order.
Read More “Woodwind Doubler Census results, part 6: benefits”Kenneth Fischer, saxophonist, teacher, and friend
One of my former teachers, Dr. Kenneth Fischer, passed away yesterday, after a brief illness.
Dr. Fischer was a protégé of Eugene Rousseau, and, over the past 30 years at the University of Georgia, established himself as a major force in classical saxophone performance and teaching. His close associations with composers like the late Jindřich Feld fueled an influx of new compositions for the instrument. He was active and involved with the World Saxophone Congress and the North American Saxophone Alliance, and was making plans to host the latter’s 2010 conference.
Read the UGA Hugh Hodgson School of Music announcement here.
Here are a few things that I learned from Dr. Fischer.
Some things about saxophone playing:
- You shouldn’t have to strain for the altissimo notes. Relax and let them come.
- Every note is part of a larger musical gesture. Every note.
- There’s something to be said for keeping the fingers close to the keys and closing them with a feather touch, but it’s also worth exploring larger, more aggressive movements for fingering. Saxophone keys aren’t flute keys.
- Every sound is interesting and beautiful and musical. If the composer calls for key pops or multiphonics or flutter tonguing, commit to making those sounds really work musically. Practice them like you mean it.
- Sometimes, what you really need is to struggle with a piece that’s way over your head. Other times, what you really need is to play a piece that you can absolutely nail. Do some of each.
- A pleasing tone doesn’t mean much without good pitch and rhythm. Don’t just work on fundamentals, work on all the fundamentals.
- One of Dr. Fischer’s favorite things to say to a student after a recital was, “That was terrific! But next time, use a reed.” It was a joke. Or was it?
Some things not about saxophone playing:
- Relationships with other people are more important than anything, even music.
- Take time to talk to people. Hear their stories, and share yours. Everything else can wait.
- Every birthday deserves a celebration, complete with singing and cake.
Free music: five Arno Bornkamp saxophone albums
Check it out: Dutch classical saxophone virtuoso Arno Bornkamp has made five of his albums available for free download from his website. There’s a real wealth of repertoire here, and beautifully played. Did I mention free?Follow the woodwind doublers list on Twitter
For a while now I’ve maintained lists of woodwind doublers’ websites and blogs, but, as it turns out, a number of fine woodwind doublers also have entertaining and/or informative Twitter feeds. Starting today, you can check them out on this site, or head on over to Twitter to “follow.”If you’re a woodwind doubler (of any skill level) and would like to be included, send me an email or a Tweet.
If you’re looking for a good list to follow that focuses on a specific instrument, you might try one of these:
- @lhbflute/flute
- @DTclarinet/clarinetists
- @jkmbassoon/bassoon
- @doronorenstein/saxerati
- or @MazzaClarinet/woodwind for a variety of woodwind players who aren’t necessarily doublers
I haven’t been able to find a great oboe list. Let me know if you start one (looking at you, @pattyoboe).
Twitter lists, if you’re unfamiliar, are put together by individual Twitter users, and are a good way to keep track of a group without cluttering up your personal Twitter timeline.
Note Image Generator, version 0.2
I’m pleased to announce a new release of the Note Image Generator, my web app for quickly creating images of notes on staves (such as you might use for fingering charts, note identification flash cards, etc.).
I’ve added some new features for all users, but also some special features for those kind enough to donate to the Note Image Generator (there’s a PayPal link near the bottom of the page).
New features include:
- More bar line options.
- A new handwriting-type “jazz” notation font.
Plus a bunch more new fonts for donors!
- Parentheses around accidentals.
- Enharmonic note spellings for donors.
- More precise image sizing options for donors.
- Various bug fixes and speed/stability/usability improvements.
- More bar line options.
New multiple woodwinds commission: Sy Brandon
Sy Brandon I am pleased to announce a newly-commissioned piece in progress, for multiple woodwinds soloist and piano, being composed by Sy Brandon. Dr. Brandon is Professor Emeritus of Music at Millersville University in Pennsylvania and an active, prolific composer. He also blogs about his composition process at Composing Insights. The commission is made possible by a Co-op Press Commission Assistance Grant.
I was delighted a few years ago to have a fascinating new piece, seventy times seven, written by Dan Bradshaw, which was a blast to perform but required some instruments I don’t own (baritone saxophone and B-flat contrabass clarinet) and some fairly sophisticated electronics operated in live performance by the composer. I fear that, because of the complications involved (did I mention the composer now lives in Hawaii?) I may never get to perform it again.
In my application for the Co-op Press grant, I made the case that even though there are a small handful of pieces for woodwind doublers, few of them are very portable—most require a large ensemble, hard-to-find instruments, or electronics, or otherwise have logistical barriers to performance. I think there is demand among the doubling community for pieces that showcase multiple-woodwind skill and that can be programmed on a recital with reasonable ease.
I’ll be posting updates here, and Dr. Brandon has already started documenting his work on the piece over at Composing Insights. He has posted the first movement, for flute and piano, and is asking for comments, so surf on over and take a look.
