Bret Pimentel, woodwinds

We’re close to the end of the results from the Great Woodwind Doubler Census of 2011. I’m particularly excited to share your answers from one of the final questions:

Q. What is/are your best woodwind doubling tip(s)?

Your answers covered a lot of ground, but a few main themes showed up in many of your responses:

A little explanation:

• Practice (quantity, quality): No surprise here—a large number of you mentioned the need for consistent, organized, focused, and/or extensive practicing.
• Each instrument is different: A number of respondents pointed out that each instrument must be studied and played on its own terms, without depending on skills to transfer from one to the other. (It’s worth noting that a few of you saw the other side of this issue: that similarities between the instruments can perhaps be leveraged for more efficient improvement.)
• Get good instruction
• Work on fundamentals
• Practice switching: Several of you suggested practicing the actual act of switching quickly between instruments.
• Get quality gear
• Flute-specific advice: Some of you offered advice about the flute, mostly about the particular challenges of maintaining a good flute embouchure on limited practice time.
• Get experience: A few of you mentioned university or community groups as good ways to log some hours of experience on secondary instruments.

Here’s the full list of woodwind doubling tips. If you missed out on the survey, you’re welcome to add your own tips in the comments section.

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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.

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Back for more, I see? Thanks to all who are still reading results from the Great Woodwind Doubler Census of 2011. At this point we are getting into some more of the questions with free-form answers, and I think your responses are really interesting.

Q: What is your greatest challenge as a woodwind doubler?

I categorized the answers as best I could, with many of your responses falling into multiple categories. Here are some of the most common issues raised:

By far, the most common issue reported was finding the time to practice multiple instruments—I’ll reveal that this was my own answer, as well.

Flute-specific problems were also frequently mentioned, with oboe, clarinet, and bassoon appearing lower on the list (the saxophone got only a mention or two). I do think that the flute as a double has some particular challenges, but, as we know, it’s also one of the most common doubles. It would be interesting to assemble a group of doublers who play all five major woodwinds at a somewhat equal level, and take a poll to see which instrument they think is the biggest challenge.

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I hope you all are finding this as fascinating as I am. Here’s the latest batch of results from the Great Woodwind Doubler Census of 2011.

Employment

Q. Which of these do you play?

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More results from the Great Woodwind Doubler Census of 2011. Enjoy!

Education and training

Q: Which of these have been part of your education on woodwind instruments?

Out of 187 total respondents, every one answered this question. The complete wording of the possible responses was as follows:

• school band/orchestra program (high school or younger)
• private lessons outside of school
• summer camps, workshops, or other formal programs outside of school
• university band/orchestra program
• university/conservatory bachelors degree with concentration(s) in multiple woodwinds
• university/conservatory bachelors degree with single-instrument or other music concentration
• university/conservatory masters degree with concentration(s) in multiple woodwinds
• university/conservatory masters degree with single-instrument or other music concentration
• university/conservatory doctoral degree with concentration(s) in multiple woodwinds
• university/conservatory doctoral degree with single-instrument or other music concentration
• other university/conservatory music degree or certification
• self-taught on one or more instruments

The biggest surprise to me was the number claiming bachelors degrees in multiple woodwinds. I assume that many of these must be double majors or other oddities, since there are very few true bachelors degree programs in multiple woodwinds available.

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In the previous installment of results from the Great Woodwind Doubler Census of 2011, I shared some basic demographic information about the 187 survey respondents. In this installment (and those to come), we’ll dig into some real doubling stuff.

Instruments

Q: Which woodwind instruments do you play, and at what levels?

The top results are unsurprising: saxophone, clarinet, and flute being the most widely-played, with oboe in a distant fourth place. I was a little surprised to see folk/ethnic/period woodwinds edge out the bassoon.

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