Woodwind Doubler Census results, part 1: demographics

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First things first: thank you thank you thank you to all who participated in the survey, and especially those who Tweeted, Facebooked, and otherwise spread the word. I was bowled over by the number and diversity of woodwind doublers who responded: top professionals, rank amateurs, and everyone in between, for a grand total of 187 responses. Wow! It has been fascinating to see your answers and read your comments. Over the next few weeks, I’ll be revealing what I’ve learned in installments. If you’re not already subscribed in some way, you can grab the RSS feed, sign up for updates by email, or follow me on Twitter. And you can see all related posts in one place, tagged as .

And now, with no further ado, I give you:

Woodwind Doubler Census results, part 1: Demographic background

Gender

Although a number of talented and versatile ladies responded, as a group we are mostly of the male persuasion.

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Advice for prospective college music majors

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Photo, Surat Lozowick

Planning on being a college music major? Good for you! But if you’re like I was as a high school senior, there are some things you haven’t thought of yet. Now that I’m on the other end of things—a college music professor, teaching music majors—I have some advice that I share with potential students (and that I’d like to send back in time to my younger self). I hope these tips help you get off to a good start on your own college music studies.

  • What you need the most right now, before starting college, is a good private teacher. If you’re not already taking lessons, it’s time to start. (Note that if you have your sights set on a top-tier school, most of the people auditioning will already have years of serious private study under their belts!) A good teacher can help you choose some possible schools, prepare audition material well, and get a sense for what advanced music study is like. Oh, and sculpt you into a fine young musician. The money you spend on lessons will pay off when scholarships are awarded.

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“How I Became a Broadway Musician” at MusicianWages.com

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Pianist David Hahn at MusicianWages.com recently posted a 5-part series on his path to becoming a musician on Broadway. Check it out!

David Erato on his clarinet “journey”

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David Erato, a Wisconsin-based woodwind doubler and teacher, describes the motivation behind his year-long “journey” to improve his clarinet chops: The idea as a “doubler” is to make whatever instrument is in your hand not feel like a foreign object. One should really study the instrument as if it is the only instrument you play. Practice the … Read more

The Great Woodwind Doubler Census of 2011

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Attention: woodwind doublers!

The time has come to stand up and be counted. The linked survey is for anyone who considers themselves to be a woodwind doubler of any ability level at all.

All the questions are optional, so you can skip anything you don’t feel like answering, but thorough responses are much appreciated. The survey will remain open for an as-yet-undetermined amount of time. When there are enough responses to be interesting, I’ll post some analysis here.

The more responses, the better, so please share this with your woodwind doubling buddies. You can use the “Share” buttons (to the left, if you’re reading on a large screen) to pass this along to people via email, Facebook, Twitter, and others, or use this short link as you see fit: http://wp.me/pfZdF-TZ

TAKE THE SURVEY

Update: The survey is now closed. Thanks for your participation!

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A farewell to woodwind playing

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Well, it has been a great ride studying, teaching, and performing on the instruments of the woodwind family. Thanks everyone for your support here at bretpimentel.com. I’ll leave this website up for now, but I hope you will all check out my new project: Bret Pimentel, brass

Dr. P’s Practice Club: using Facebook to acknowledge student achievements

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I’ve been using Facebook this school year to semi-publicly acknowledge my university students who are meeting their minimum practice requirements:

I’ve gotten a lot of questions about it from Facebook friends who are music educators, so I thought it might be worth discussing here.

The concept is pretty simple:

  • When my students come in for their lessons, I ask them to self-report their practice hours for the week. My students are good kids (born and raised in the Bible Belt), and I generally just trust them to report honestly. I also have them keep practice journals, which would at least slightly complicate fibbing about their hours.
  • If they meet their minimum weekly requirement (it varies: more for performance majors, less for music education majors, etc.) they are automatically inducted into “Dr. P’s Practice Club” for the week. At the end of the week I post their names on Facebook and on my office door, plus usually a running tally for those who have made it for several weeks in a row. There are, at this point, absolutely no benefits or privileges to “club” membership other than a little recognition (and, of course, a week’s worth of improvement).
  • I also use Facebook to give public kudos to students for their recitals, ensemble performances, and competition participation and awards.
  • Most of my students have become my Facebook friends, so I can “tag” them when I post. This means that they get alerted that they have been mentioned in my post, and certain of their Facebook friends and mine will also be able to see it. For some of the students, this may include classmates, other music or non-music faculty, friends studying music at other schools, authority figures from work or church, and even parents.

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A few more woodwind blogs you should be reading

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A few months ago I posted some of my recommendations for good woodwind-related blogs, and shared a couple of tips on getting the most out of your blog reading. I’ve got a few more favorite blogs I’d like to share today, and another blog-reading tip, too.

This time I came up with a blog each for flute, oboe, clarinet, bassoon, and saxophone, plus a bonus one. Here they are in no particular order:

Barrick Stees (Barry Blogs)

Barrick Stees is the assistant principal bassoonist in the Cleveland Orchestra, and a professor at the Cleveland Institute of Music and the University of Akron. His blog is fairly new (started earlier this year) but is already full of good stuff. Professor Stees shares some insights on playing excerpts at a level suitable to one of the great American orchestras:

He also keeps a travelogue of his tours with the orchestra, and comments on other items of interest to professional or developing musicians, such as:

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Crossing the break (or not) on saxophone

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Much has been made of “the break” on clarinet—the point at which the chalumeau register and throat tones cross over to the clarion register—but all modern woodwind instruments have at least one break in their “standard” ranges. The saxophone has exactly one (ignoring the altissimo range), between the second C-sharp and the second D.

From an acoustical perspective, that point is the division between the fundamental pitches and the first overtone. When playing a lower-register note, the air column’s vibration is at its simplest. The pitch is determined by the effective length of the saxophone, which depends on which toneholes the player opens or closes. In the upper register, the air column is manipulated into vibrating twice as fast (by changing the airstream and/or opening a register vent), and a sound an octave higher is produced.

This means that there is, technically, some overlap between the registers shown above, which really are based on one specific set of “standard” fingerings. The fingerings for low B-flat, B, C, and C-sharp can be used to produce sounds in the second overtone, and the fingerings for high D through F-sharp can likewise produce sounds at the fundamental. In theory, this should mean an overlap of over a fifth:

If you’ve experimented with those fingerings, you know that they don’t work quite as expected in practice. The low B-flat fingering with the octave key added, for example doesn’t sound great, and neither does the high F-sharp fingering with no octave key. But with some experimentation, a few usable alternative fingerings can be found within this range.

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Don’t adjust your best reed

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Photo, stonelucifer I worked on reeds today (both single and double). My favorite reed tip: don’t adjust your best one. Adjust some others until one of them is the best, and then go back and work on the first one if you like. Adjusting reeds can be a little risky, so gamble on a reed … Read more