A couple of months ago, I wrote this as part of a sort of tongue-in-cheek FAQ:
Q. Should I be a woodwind doubler?
A. In most cases, no. If you already feel driven to do it, and have the time and resources to devote to it, then maybe.
I got a comment on this by “C Lee”:
I’m a teen who started playing pits last year on flute and piccolo a year ago. Since then, I’ve fallen in love with pit, have played in four more musicals and am actively seeking out other gigs to gain experience. In addition, I’ve also taken up the saxophone and have plans to learn as many woodwinds as I can if not all of them. Do you think I should be a woodwind doubler?
It would be irresponsible to make a recommendation based on so little information, and of course it’s ultimately a very personal choice. I’ve previously suggested some questions worth asking oneself before pursuing woodwind doubling, so I won’t rehash those here.
But I think it’s also worth considering exactly what you mean by being a “woodwind doubler:”
- Playing as many instruments as possible?
- Playing a select group of instruments?
- Playing multiple instruments as a hobby or part-time semi-pro gig?
- Studying multiple instruments at a university/conservatory level?
- Playing professionally or semi-professionally as a specialist on one instrument, but adding doubles to increase employability?
- Competing for the highest-profile doubling gigs in a major market like New York City or Los Angeles?
- Performing recital repertoire, orchestral music, and/or chamber music on multiple instruments?
- Using multiple instruments in the creation of a unique personal repertoire (jazz, avant-garde, electronic, etc.)?
Your individual goals might include several of these, or others I haven’t listed. And your goals might be a little fuzzy or might change, which is okay. But just “woodwind doubler” isn’t a very clear path. Having some sense of direction might help you make decisions about education and training, investment in instruments, location, practice strategies, and more.
