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?
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
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.
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 … Read more
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 … Read more
I was pleased to receive recently some samples of D’Addario Woodwinds’s new “Venn” synthetic clarinet and saxophone reeds. In an upcoming post, I’ll share some thoughts about and demonstrations of the specific products. But here are a few thoughts to set the stage: I’m thrilled to see a major cane reed manufacturer like D’Addario take … Read more
My own past flute teachers gave me conflicting advice about how much the flute headjoint should press into the lower lip. One would pull on the crown of my flute while I played to make sure it came away from my lip with no resistance. Another would push the headjoint more firmly into my face … Read more
Back in 2011 I did a “census” of woodwind players. It’s been 10 years, so I guess we’re due to be counted again. If you’re a doubler of any stripe/ability, you’re invited to take the survey. I’ll share the results as I did last time. It’s a long survey, so set aside a little time … Read more
