ClarinetFest 2014 presentation: The 21st-century woodwind doubler

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I gave a presentation at the International Clarinet Association conference (“ClarinetFest”) last week on woodwind doubling, with a particular focus on the rising expectations on woodwind doublers to play more instruments at a higher level (including “world” and even electronic woodwinds). Here is the blurb from the program:

The typical working woodwind doubler in the 20th century was a strong player on one or two instruments, with a lesser level of achievement on one or two more. Woodwind doubling continues to be a marketable skill in live performance and studio work, but the expectations of woodwind doublers have changed with the music industry; 21st century “doublers” may be expected to play a much larger group of instruments (sometimes including “world” woodwinds and electronic instruments), and to play each of those at a more virtuosic level and in a variety of styles. This places increasingly high demands on woodwind players, but also offers a variety of rewards. This presentation profiles the modern woodwind doubler, and includes practical information for developing valuable doubling skills.

Here is the handout: The 21st century woodwind doubler

Victor Chavez from the University of Tennessee at Knoxville did a brief write-up on the ClarinetFest blog.

The crowd, as usual, was small but enthusiastic. I got to reconnect with some old doubler friends and meet some new ones. I was gratified to have many of them mention that they follow this blog (hello!) or make use of other resources on this site.

I understand there are several doubling-related events going on at the International Double Reed Society conference this week, as well!

Report: International Clarinet Association “ClarinetFest” 2014

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I got to attend this year’s International Clarinet Association conference (“ClarinetFest”) on the Louisiana State University campus in Baton Rouge. The conference started on a sad note, as a car accident claimed the lives of two clarinetists on their way to represent Baylor University, and injured two others. In their memory, many of the conference … Read more

Favorite blog posts, July 2014

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Hand-picked high-quality woodwind-related blog posts from around the web, July 2014 edition.

Woodwind doubling and the “main” instrument

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I identify very much as a woodwind player: as far as I’m concerned, if it’s a woodwind, it’s part of what I do. But when I introduce myself to someone that way, I am frequently asked, “But which one is your main instrument?”

Auxiliary instruments and college study

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One thing that seems to surprise some prospective college music majors is that we have different views about what I consider “auxiliary” instruments. For example, it’s common for prospects to identify themselves as bass clarinetists, or as tenor saxophonists. Some of these students have never even attempted to play a B-flat clarinet or an alto saxophone, and sometimes show little interest in doing so. Am I old-fashioned to expect my saxophone majors to play mostly alto and my clarinet majors to play mostly B-flat?

12(+) ways to practice a technical passage

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Rhythmic variation is an excellent way to keep some variety and interest in your practicing, even when you’re stuck on a particularly frustrating passage.

Favorite blog posts, June 2014

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Hand-picked high-quality woodwind-related blog posts from around the web, June 2014 edition.

The problem with “ethnic” woodwinds

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I am trying to get away from using the term “ethnic” woodwinds, one that I have used frequently in the past as a catch-all for the instruments I play that aren’t modern Western woodwinds. The term was problematic from the beginning, since, for example, I was using it to include instruments like recorders, which fall squarely under the umbrella of Western music traditions, but are arguably period or historical instruments. Additionally, I find that the term “ethnic” increasingly grates on my ear as too ethnocentric and limited a view, and incompatible with my real attitudes concerning music from cultures and traditions other than my native ones.

Dissertation: Woodwind doubling on folk, ethnic, and period instruments in film and theater music

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My doctoral dissertation is now available online through the University of Georgia library, entitled Woodwind doubling on folk, ethnic, and period instruments in film and theater music: Case studies and a practical manual.

Review: Ben Britton’s A Complete Approach to Overtones

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A review of Ben Britton’s book A Complete Approach to Overtones: Vivid Tone and Extended Range, a broad-based approach to improving every aspect of saxophone tone production (particularly tone, intonation, and response).