“Piccolo Phil” over at The Balanced Flutist discusses the benefits and challenges of woodwind doubling in preparation for an upcoming gig. Benefits:
I actually don’t mind doubling that much, it can be a nice change of pace, plus, show tunes are just so much fun! It’s been great exploring these instruments again, especially since I’ve been really aiming to build a foundation on both instruments, not just patch the holes just enough that I can survive the gig.
Challenges: Endurance, jazz style, obtaining necessary instruments and accessories, and, of course, reeds:
As flutists, we’re super-spoiled. We buy our instrument, a nice headjoint, and we’re done. Not so with reeded instruments – reeds suck.
I’ve been really enjoying these videos of John Miller. Mr. Miller (not to be confused with the eminent bassoonist) does much of the contracting of the musicians who play in Broadway shows. In these videos, he is addressing a group of his fellow bass players, but everything he has to say is highly applicable to woodwind players and anyone else who wants to make money playing their instrument(s).
Here are my picks from October. I strongly suggest that you read all of these, share them on your favorite social media outlets, leave thoughtful comments to the authors, and subscribe with your favorite blog-reading apparatus.
A whole lot of clarinet bloggers have posted in the last couple of days about the Robert Marcellus masterclasses now available through Northwestern University’s website. I believe Chastine Hofmeister’s post was the first one to come to my attention.
David Wells blows the bassoon world’s minds with a video of eminent bassoonist Klaus Thunemann playing jazz(?!). And this isn’t a cute little novelty swing tune, either—it’s full-fledged, Mahavishnu-esque 1970’s fusion.
Flute professor Tammy Evans Yonce muses on the purposes of a woodwind pedagogy course. (You don’t have to compliment me by name to get picked as a “favorite blog post,” but let’s say it doesn’t hurt your chances. Worth a read in any case.)
Oboist Jennet Ingle had a tough month. She shares a frustrating rehearsal experience (no, Jennet, it’s not just you!) and characterizes her relationship with the instrument as, well, adversarial. (She does also offer some constructive tips for dealing with oboe-related struggles.)
Saxopedia announces an influx of new (old) transcriptions by Danish saxophonist Thomas Høeg-Jensen, to add to an already-impressive listing [update: links dead].
On the Powell Flutes Teach Flute blog, distinguished flute pedagogue Leone Buyse shares some thoughts about her own teacher David Berman, and makes a strong case for taking notes in your lessons.
Ethnic woodwind guru and composer Pedro Eustache (“ayoo-STAH-chay”) has posted videos on YouTube of most of his recent work Suite Concertante for World Woodwinds and Orchestra, featuring himself as soloist playing a staggering 21 instruments over the course of 12 movements (45 minutes).
The instruments are mostly ethnic flutes and reeds, though a few modern Western instruments appear as well. Since some of the instruments are Eustache’s own unique creations or modifications, it would seem he doesn’t intend for anyone beside himself to perform this piece. Certainly few woodwind players would have the ability to do so, nor to obtain or make the unusual and customized instruments required.
Here are the movements currently available on YouTube.
Mvts. 1-2: Three different bansuri (Indian bamboo flutes).
Mvt. 3: “Oryxophone,” neys (Middle Eastern flutes), mezoued (Tunisian reed instrument), and flute fitted with ney headjoint
Mvts. 8-9: Quenacho (South American flute), “double tarka” (customized version of South American flute)
Mvt. 10: Fjitchu (South American flute)
The missing movements include shvis (Armenian flutes), fujara (Slovakian flute), didgeridoo (Australian lip-reed), and apparently vocal percussion. There is some additional information on Eustache’s website and in a Spanish-language concert program [update: links dead]. Even if your Spanish isn’t good, it’s worth looking through the program to find the picture of Eustache surrounded by his instruments.
Saxophonist Ben Britton explores the connection between tone and intonation. He also gives a nice introduction to the desperately under-taught art of swing articulation.
Woodwind doubler Ed Joffe compares “part” players and true musical artists.
John Reeks examines the history surrounding the use of clarinets in the Beatles song “When I’m Sixty-Four.”
Oboist Stephen Caplan discusses staying comfortable and healthy while sitting for extended periods of playing music.
If you’re interested in ethnic woodwinds, you ought to check out virtuoso flutist Pedro Eustache. I like that on his website he refers to himself as a “multidirectional flute soloist.”
Thanks for the plug, Bret! Keep up the great posts!