Do I really need…

crop man getting dollars from wallet

For woodwind doublers and lots of other musicians, the shopping list can go on and on. Do I need a clarinet in A? In E-flat? Do I need an alto flute? A contrabassoon? A bass saxophone?

Clearly there’s no one-size-fits all answer, but here are some things to consider.

  • Are you doing, or aspiring to, the kind of gigs where not having access to the right instrument is a dealbreaker? Or the kind where nobody minds too much if you cover that bassoon part on something else? (The answers to these may depend on a lot of factors like the musical genre, the hiring contractor, the location, and the availability of other musicians in the area.)
  • Are you happier being the person who is equipped for every situation? Or are you happier being the person who gets by with the necessities? (It’s okay to be either, or some of each.)
  • Do you expect, in purely financial terms, a return on investment for your new instrument? Do you see a clear path to pay for the instrument, its upkeep and accessories, and then some, by getting gigs you wouldn’t otherwise get? (It’s also okay if you have non-financial motivations.)
  • Are you pondering another purchase because of opportunities you’ve had to turn down? Or are you betting on future opportunities? Or just fascinated by another shiny object? (Any of those can be acceptable reasons if they fit with your financial resources and goals.)
  • If the purchase is part of a strategy to get more opportunities, what is the market like? For a particularly expensive instrument like a contrabassoon, it might be worthwhile if there is an unmet or under-met need for it in your area. (But if other contrabassoonists nearby have already locked down all the gigs, your expensive toy might end up collecting dust.)

It’s hard to predict which instrument purchases will help you meet employment or income goals. Ultimately, it’s up to you to weigh the tangible and intangible factors and decide whether investing in something new is the right choice. Good luck!

Principles for teaching woodwind methods

a flutist checking her musical instrument

If you are teaching a woodwind methods course, you might be interested in my book. I teach a woodwind methods course at my university. This class (sometimes known as “woodwind techniques” or “class woodwinds”) is for music education majors. It’s a kind of crash course in the woodwind instruments (flute, oboe, clarinet, bassoon, and saxophone) … Read more

Favorite blog posts, March 2023

Hand-picked high-quality woodwind-related blog posts from around the web, March 2023 edition.

Experiments with electric woodwinds

I’ve been having fun with woodwinds enhanced with pickups or microphones. (If you’re interested in natively-electronic instruments like wind controllers, I’ve written about those elsewhere.) I still have a lot to learn about working with electronics. But here are a few observations in case anyone finds them helpful. Which instrument(s) to use? I find lower-pitched … Read more

Switching between clarinets: tone production

Switching to bass clarinet

Switching between any two instruments, even two closely-related ones, is a challenging prospect. You must practice for many hours to do it well. But often people switching between clarinets (such as between B-flat clarinet and bass clarinet) are making larger changes than necessary. The fundamental concepts in clarinet tone production are breath support, voicing, and … Read more

Clarinet glissando

There are few more coveted clarinet techniques than the smooth glissando, as heard in the famous opening to Rhapsody in Blue. But the technique isn’t intuitive, and lots of questions persist about how to do it. (Incidentally: the Rhapsody in Blue score doesn’t call for a smooth portamento-type effect, but a scale with discrete notes. … Read more

Favorite blog posts, January 2023

Hand-picked high-quality woodwind-related blog posts from around the web, January 2023 edition.

Out-of-tune accents

selective focus beige and brown goat

Young woodwind players often have trouble playing elegant, well-controlled accents. Accented notes are too often thumpy and out of tune. The most common manifestations are accented notes that are too flat, or that scoop up to pitch. This is usually a side effect of the mistaken idea that accented notes should be tongued “harder.” The … Read more