Purposeful fingering choices

ByBret Pimentel

I have gotten into the habit of grilling my students about their fingering choices: “Can you tell me which fingering you used for the last note in that phrase, and why you chose it?” Often they take this (and often correctly so) as an indication that I disapprove of their choices: “Oh, I guess I should have used the other fingering.” But I would like them to actually answer the question that I asked—why did they use the fingerings that they did?

Usually the answer is either that he or she has a “usual” fingering for that note and didn’t bother to consider any others, or that he or she finds the alternative fingering to be physically awkward or hard to remember. As you might guess, I do not find these reasons satisfactory. Professional-level command of an instrument requires a thorough knowledge of fingering options, a thoughtful, purposeful approach to choosing from among them, and conscientious practice to habituate them.

photo, Gala Medina
photo, Gala Medina

Ideally, there should never be a situation where a woodwind player falls back on a “usual” fingering for a note; each possible option should be considered and weighed each and every time. (Training and experience can automate this to some extent within common patterns of notes, such as scalar or arpeggiated passages.)

In some situations a student knows that a different fingering is the “right” one but shies away from it because they can’t remember it or have difficulty executing it. (One example is the left E-flat fingering for beginning oboists; reaching for the left-hand key can move the ring finger enough that it fails to cover its hole.) These situations are resolved simply through careful repetition until they become a part of (so-called) “muscle memory.” There are a number of method/exercise/etude books that provide material for practice of unfamiliar fingerings (the Klosé clarinet method and the “Universal” saxophone method are some time-honored examples.)

An amateur tries to get the job done with a few low-quality tools. A professional keeps his or her toolbox fully stocked with sharp, high-quality tools and knows just which ones to use to get the job done right the first time.

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  • Bassoon F-sharp fingerings

    ByBret Pimentel

    I recently set out to try to make sense of the handful of bassoon high F-sharp fingerings that I was aware of. As it turns out, I had no idea what I was getting into. I looked at a number of online and offline sources, and ended up with about 60 fingerings (yes, you read that correctly). I have compiled them into a document for your reading pleasure, with sources listed.

    A few points:

    • The sorting is fairly arbitrary; I tried to organize them into groups and orders that made some kind of sense to me. The indications “Legato” and “French” come from the venerable Cooper/Toplansky book; the rest are my own.
    • The numbering is strictly for convenience.
    • I mostly omitted fingerings that seemed to be specifically for individual trills.
    • Many of the sources indicated pitch characteristics; I have not included these since so much depends on the individual instrument, reed, etc. If you are looking for a good fingering for pitch alteration, there are plenty here for you to try out.
    • Some of the authors differentiated between half-hole, one-third-hole, etc. I have normalized all of these with a visual half-hole representation, since I find the exact amount of opening to require experimentation anyway.
    • I did try all these fingerings myself, and was able to produce approximately an F-sharp with virtually all of them, with varying degrees of difficulty.

    I welcome corrections, and would be mildly curious if you have other good published or otherwise reputable sources (not anecdotes) that list fingerings I have missed here. I will update the PDF as needed. I’m much less interested in hearing which fingering is your personal favorite, unless you have something more to contribute to the conversation, but some of you will email me or leave it in the comments anyway.

    Okay, on to the list. Abandon hope, all ye who enter here:
    F-sharp fingerings for bassoon: a perhaps-unnecessarily-comprehensive listing

    Version 1.0: initial release

  • Mario Rivera (1939-2007): Latin saxophone and flute

    ByBret Pimentel

    I recently got a copy of the 1984 Tito Puente disc El Rey. I’m sorry to say I wasn’t familiar with the names of any of the other musicians on the album—everyone sounds absolutely incredible—but I was blown away by the flute and tenor playing of Mario Rivera.

    A quick Google search later and I can see that the late Mr. Rivera ranks among the heavies of Latin Jazz, and I have been missing out on his playing before now. Pick up a copy of El Rey and check out his virtuosic charanga-style flute playing (on Puente’s Oye Como Va, for example—that’s right, Tito Puente wrote it, not Carlos Santana) and some really tasty tenor sounds, too (check out the Latin cover of Giant Steps).

    Or, surf on over to YouTube for some videos from a Bern Jazz Festival appearance. Hear some breathtaking baritone  playing, some really nice flute duets (not to mention piccolos, timbales, and scat) with Dave Valentin, and, if that’s not enough, Rivera on vibes and even trumpet(!). Read More “Mario Rivera (1939-2007): Latin saxophone and flute”

  • Woodwind Doubler Census 2021 results, part 4: gigs

    ByBret Pimentel

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    What is your main source of income? (under normal circumstances)

    “Retired” was an option I neglected to include, but enough of you wrote it in that I’ve added it to the chart here. Some of you also wrote in other things, most of which I felt fit into the existing categories, so I’ve used my best judgment to include them here.

    2021 DATA
    playing gigs 51 18%
    teaching music 97 35%
    working in another aspect of music 20 7%
    working in a non-music field 63 22%
    student, supported by family/financial aid/etc. 40 14%
    retired 10 4%

    2011 DATA
    playing gigs 40 21%
    teaching music 42 23%
    working in another aspect of music 4 2%
    working in a non-music field 44 24%
    student 42 22%
    other 15 8%

    Which types of paid woodwind doubling gigs have you done in the past?

    Some of you wrote in additional categories such as church gigs, concert bands in the community or the military, and theme parks.

    2021 Data
    school/community theater 229 81%
    large-scale tour of a musical (as traveling orchestra member) 42 15%
    large-scale tour of a musical (as local hire) 74 26%
    Broadway show or other major-city musical production (as permanent orchestra member) 43 15%
    Broadway show or other major-city musical production (as sub) 74 26%
    orchestral, opera, or similar 156 55%
    chamber music 158 56%
    studio recording (as leader or permanent group member) 46 16%
    studio recording (as hired gun) 118 42%
    television/radio/broadcast (live) 36 13%
    television/radio/broadcast (pre-recorded) 38 13%
    jazz big band 158 56%
    jazz small group or solo 109 39%
    rock/pop group 75 27%
    cruise ship 17 6%
    none 22 8%

    2011 Data
    school/community theater 153
    large-scale tour of a musical (as traveling orchestra member) 17
    large-scale tour of a musical (as local hire) 47
    Broadway show or other major-city musical production (as permanent orchestra member) 29
    Broadway show or other major-city musical production (as sub) 29
    orchestral, opera, or similar 86
    studio recording (as leader or permanent group member) 28
    studio recording (as hired gun) 72
    television/radio/broadcast (live) 26
    television/radio/broadcast (pre-recorded) 29
    jazz big band 112
    jazz small group or solo 87
    rock/pop group 65
    cruise ship 18
    other 25

    Which of these do you play?

    Some of you wrote in additional genres. A handful mentioned musical theater as being its own genre or mish-mash of genres.

    2021 Data
    classical music 270 95%
    jazz music 229 81%
    pop/rock music 156 55%
    folk/world music 78 27%

    2011 Data
    classical 178
    jazz 160
    pop/rock 124
    folk/ethnic 60
    other 19

    How often do you improvise (such as jazz improvisation) on gigs?

    2021 Data
    never 43 16%
    rarely 77 28%
    sometimes 100 36%
    always or nearly always 57 21%

    2011 Data
    never 31 17%
    rarely 53 29%
    sometimes 58 31%
    always or nearly always 43 23%

    On average, how frequently do you have woodwind doubling gigs? (under normal circumstances)

    2021 Data
    Every week or more 45 16%
    Every month or more 76 38%
    Every three months or more 64 23%
    Every six months or more 53 19%
    Never or almost never 36 13%

    2011 Data
    Every week or more 44 24%
    Every month or more 52 28%
    Every three months or more 32 17%
    Every six months or more 23 12%
    Less than once every six months 36 19%

    What kind of competition is there for woodwind doubling gigs in your area?

    2021 Data
    slim or nonexistent 45 16%
    moderate 139 50%
    fierce 56 20%
    don’t know or not applicable 38 14%

    2011 Data
    slim or nonexistent 40 23%
    moderate 98 55%
    fierce 40 22%

    Which of the following teaching situations are part of your income?

    2021 Data
    private lessons 153 54%
    ensemble directing or chamber music coaching 57 20%
    teaching from home or a private studio 97 34%
    teaching at a school (elementary through high school) 70 25%
    teaching at a university or conservatory 62 22%
    teaching more than one woodwind instrument 104 37%
    teaching classroom-type (including online) courses about music (such as music theory, history, etc.) 42 15%

    2011 Data
    private lessons 93
    ensemble directing or chamber music coaching 39
    teaching from home or a private studio 58
    teaching at a school (elementary through high school) 38
    teaching at a university or conservatory 31
    teaching more than one woodwind instrument 66

    How has woodwind doubling affected your employability?

    2021 Data
    no discernible effect 23 9%
    slight improvement to employability 27 11%
    moderate improvement to employability 58 23%
    significant improvement to employability 143 57%
    decreased employability 0 0%
    does not apply 28 10%

    2011 Data
    no effect 23 13%
    slight improvement to employability 25 14%
    moderate improvement to employability 32 18%
    significant improvement to employability 93 54%
    decreased employability 1 1%

    Which of these have resulted from your woodwind doubling?

    2021 Data
    more non-doubling gigs on my primary instrument(s) 107 38%
    more non-doubling gigs on my secondary instrument(s) 136 48%
    fewer non-doubling gigs on my primary instrument(s) 22 8%
    fewer non-doubling gigs on my secondary instrument(s) 4 1%
    none of these 92 33%

    2011 Data
    more non-doubling gigs on my primary instrument(s) 69
    more non-doubling gigs on my secondary instrument(s) 86
    fewer non-doubling gigs on my primary instrument(s) 19
    fewer non-doubling gigs on my secondary instrument(s) 6

    What woodwind-doubling-related goals or ambitions do you have, that you have not (fully) achieved yet?

    Responses given here in random order and lightly edited.

    to be a professional historical woodwind doubler
    LA studio musician (not likely as I don’t live in LA and health of industry)
    Double tonguing on flute with success. Playing jazz clarinet successfully at my saxophone skill level.
    * Excellent question! I found it clarifying to put down some of my doubling goals in writing.

    – starting a woodwind quintet consisting of doublers
    – performing solo recitals on flute/clarinet
    – make a living primarily through professional level musical theater work
    Proficiency on double reeds
    I really want to pick up some double reeds! Oboe has been calling to me for years but I don’t have the money yet to get my hands on one.
    And some day I’d love to play in a West End show.
    playing double reed instruments
    N/A
    Ability to make double reeds.
    Synth work.
    Proficiency on double reeds
    I would love to own one of each type woodwind from each instrument family.
    Playing more pops orchestra shows
    Playing more professional shows like a regional musical theater gig
    Playing a musical and having a book that has oboe, flute, sax, and clarinet.
    Broadway show in New York
    Parity across all families of instruments
    Become more fluid with double reds and flute
    Better at jazz improv; skill on my doubles at level of primary instrument.
    Broadway subbing, traveling tour sub
    Getting a more consistent flute tone, and soloing better on both flute and clarinet
    Be a consistent member of a union theater
    Playing all instruments at the same skill level
    I would LOVE to play in a real Broadway (or even touring) pit. With all that life demands, at this stage, that’s not a likely thing. But it would be rad. That’s about the only thing that could ever make me consider leaving teaching :)
    Developing my own line of single reeds
    Greater level of improvisational ability in various jazz styles, familiarity with a larger variety of ‘world’ instruments (esp. flutes)
    Own remaining missing ‘standard’ instruments across all families (have still studied most that I don’t own but will lose access upon graduation)
    I have a few dream shows, I’d like to commission a piece for 5 woodwind doublers
    Great fluency in the jazz idiom. I was going to reserve that as a sabbatical project, but I got a head start with it as a pandemic project and it’s benefiting my classical playing on all instruments as well.
    More theatre work
    I want to create an online course or program to help woodwind doublers improve their flute/piccolo/alto flute skills, but I need to make sure there’s a market for that!
    Learn bassoon, better flute ability
    I would like to become a regular hire for a downtown theatre company in Boston. I would also like to learn bassoon.
    Playing union rate shows more frequently
    I would love to feel more confident while playing gigs. Even though I get called back, I never feel like I sound as good as some other doublers and I feel that I sound better at home than I do at the gig. Also I’d love to play at higher profile venues, Broadway tours, etc.
    More frequent and regular doubling gigs
    Find consistent playing opportunities.
    To complete my doctorate and befome a professor of woodwinds at a university.
    Owning an English Horn. Maybe Bassoon as well?
    Improving my skills on instruments I have the least experience at. Purchasing more secondary instruments that I don’t have.
    Play orchestral clarinet gigs
    I would like to hone my skills on bassoon and clarinet (the two instruments I think I am best at besides my primary) and would love to gain more experience on the doubles I struggle with (flute and oboe). I would also enjoy becoming a “low reeds doubler” of sorts who specialized in A/T/B saxophone, bassoon, and bass clarinet.
    Play with a professional show
    Improving skills on my secondary instruments
    Practice more
    Try oboe again, but need an instrument.
    learning oboe
    Owning all the instruments most often seen in a reed 1 boom
    Learn the double reeds. Play in a big tour/original production or West end. Study a multi woodwind degree, Play in an ensemble on just flute.
    Do a paid gig
    To sub on additional Broadway shows.
    Just to get better?
    To create my own music
    Fluency in bassoon/flute, making multitrack videos which allow me to get chops up for wider array of woodwinds
    A true Broadway gig, but that will have to wait!
    the abilities of playing on each instruments at the same level as my primary instrument.
    I achieved a tenure-track position this year. That was my goal. I need a new goal!
    To play in national level musical theatre
    Bassoon
    Still working on tenor sax. I plan to branch out from the greater flute family at some point but reeds are incredibly different and require much more work on my end before I’ll feel comfortable with them.
    To achieve the same level of proficiency as my main instrument.
    Get better on flute
    Study of double reeds
    playing all my instruments at approximately a college undergraduate level, learning the oboe (no money for one yet), acquiring more of the secondary instruments (alto flute, bass clarinet, more saxophones – no money for those either)
    Playing in some shows that, musically, are extremely complex and would be very challenging.
    Full time woodwind playing work
    Get pit work regularly
    Mastery of oboe and bassoon.
    Being proficient on all of the major woodwind family of instruments.
    More Broadway shows as a local hire
    I still want to get my flute and clarinet playing strong enough to do work in an orchestral setting
    To be better at Oboe and Flute.
    I would like to have regular, paid doubling gigs.
    Improvise at the level I want to on oboe and english horn. Also to buy my own bass clarinet and set of low flutes.
    I still need to improve my flute chops
    Perform at the Dallas Summer Musicals
    Publish a book on woodwind pedagogy, record a multiple woodwinds album and form a woodwind doubling chamber ensemble.
    Would like to own every saxophone and eventually learn the double reed instruments
    I want to reach the level of a Broadway doubler. Eddie Daniels is one of my heros.
    Record more standard solo works on various woodwind doubles
    Piccolo has always been a struggle for me and i would like to get some proficiency on that
    Improve my clarinet playing.
    Bringing my secondary instrument (Oboe) to the level of my primary instrument (Saxophone)
    Take oboe lessons and become a stronger oboist
    Would like to be called for more musicals
    Learn Bassoon, Get clarinet to a very high level. Play on Broadway
    Play musical theatre show on flute which is my weakest instrument
    I would like to get better at bassoon and low reeds.
    learn bass clarinet, and get hired for gigs on only secondary instrument[s]
    buying a pro flute and reaching the same level on flute as my clarinet and sax. I might be interested in learning oboe later.
    To improve my sax playing so that it is the same standard as my other instruments
    Would like to get into folk woodwinds more.
    I want to spend more time on improving my flute, sax, and bassoon to match my level on clarinet (the instrument I studied longest/most). My doubles are fine for playing shows and I have not run into any issues performing on them, but I know that there are areas of my playing on those instruments that I want to improve with continued study.
    Bassoon.
    Adding a 3rd instrument
    I would love to woodwind double professionally. My dream is to be able to have a seat in a Broadway orchestra or on a cruise ship. I am also trying to get accepted to a woodwind doubling program in college (I’m a high school junior right now).
    I play sax primarily, can play clarinet and oboe, want to be proficient on flute
    Double reeds in musicals
    Would like to play on a Broadway tour
    Consistent musical theater doubler.
    Playing on Broadway eventually
    – to play every single woodwind instrument as best as possible. The listener should not hear differences between your primarly and secondary instruments.
    – someday to play in NYC in a broadway show as a sub :-)
    Playing in regional tours of Broadway shows, or playing in pits for more local/professional productions
    Hoping to do my first doubling gig this fall!
    I would like to add piccolo and alto flute capacity. I’d like to purchase a new high quality bass clarinet.
    Play a Broadway show tour.
    Making use of electronic wind instruments more mainstream in theatre pits as an alternative to shifting multiple parts to keyboards.
    Saxophone altissimo work
    College professor of one or more woodwind instrument
    Sub on Broadway. Work to diversity Musical Theatre Pit Orchestras nation-wide through social justice initiatives.
    I would like to achieve semi-professional level in at least one of my instrument families, and get paid to perform in a doubling context.
    Permanent musical theatre pit orchestra member.
    I’m looking to study clarinet in college, not necessarily in a woodwind-doubling context, but I would like to work both as a doubler and as a classical musician after college.
    Playing certain musical theatre shows like Phantom of the Opera.
    To get more comfortable with my flute playing. I’d like to get more comfortable with my technique in all registers so less overall practice is required when I take a flute gig. I’d also like to improve my tone quality so I feel less like an imposter when performing on flute.
    Get better at my doubles
    Wish I could play flute. Wish I owned a bari sax and a bass clarinet.
    Adding bassoon— the final frontier!
    Masters in multiple woodwinds
    I want to play as a permanent member of a national/ international tour and possibly play on Broadway some day.
    I would like to play in musicials, and i would like to become fluent on all 5 of the woodwind family members.
    Learn to play oboe
    I would very much like to improve my skills on flute.
    I would like to play a doubling book for an original musical & record its cast album. Also, as a young student, my goal was to work towards a permanent doubling seat on Broadway. But now as an adult, I realize that theater can be made anywhere & there are other major cities producing fine theater.
    Playing in professional level theatre orchestra
    None to be honest. I’m completely satisfied with the opportunities I’ve had and there’s nothing really left on my doubling bucket list.
    Feel confident taking a musical theatre gig with heavier flute requirements.
    To better my double reed proficiency. I’ve taken oboe lessons for six months during Covid and improved significantly, but I need to purchase a different bassoon with short-reach keys before I can do much with it.
    Play for a professional tour
    Play in musicals at Broadway.
    Getting my flutes chops on the same level as my sax/clarinet abilities. Improvising, particularly on flute.
    Play more recitals.
    Play for a professional level theater production
    Being versatile enough on all the secondary instruments to not be nervous for a theatre or session call.
    Playing for touring theatre shows
    Technique-wise, get to a solid skill level on flute, bass clarinet, and soprano/baritone sax, and improve my tenor chops. In the future (after college), I’d like to be able to make a living at least partially from doubling in musical pits/cruise ships/etc.
    Broadway!
    To play in a pit on Broadway. Be a part of a studio recording
    There are a few shows I’d like to do still.
    I aim to play with characteristic expression & tone color on all my instruments, and to feel as comfortable improvising on all my instruments as I do on my primary.
    I have yet to enter the world of paid doubling gigs, as many of my instruments are newly acquired. I’d love to double in a pit band/orchestra for theatre or similar.
    Maintaining skills is a challenge. Steady practice time.
    Acquiring a larger number of students on my secondary instruments
    Release a jazz album displaying all my doubles on improvised solos.
    To be known as a doubler on all 5 major woodwinds
    Experience most of the major wind instruments
    Learning bassoon
    Improvising as comfortably on doubles, as on saxophone (primary instrument)
    Play with a touring Broadway musical
    Met my career goals, in general.
    Making music with some of the best musicians in the world
    doctoral level degree and college teaching
    To be widely known as the best in my market.
    Learn bassoon
    Get the double reeds going, starting with Bassoon
    A few more recordings I wish to do.
    Get better on saxes
    The goal is to be as proficient on clarient as saxophone.
    I would like to get a gig in a significant production outside of community theater.
    I would like to become proficient on all saxophones
    Growth as an improviser, not only in “traditional” jazz, but also in folk/world and contemporary/avant-garde stlyes;
    increased mastery of contemporary playing techniques (multiphonics, microtonality, etc.) on all instruments;
    recording projects (multi-track and single instrument);
    Possibly authoring pedagogical materials for aspiring doublers, especially aspiring double Reed musicians
    Getting the last two familes of woodwinds up to the level of my “primary” three. Also, buy a contrabassoon.
    learning bassoon
    Be more regularly employed locally, without touring
    Playing all instruments at a more accomplished level. If not then understanding better to be a better teacher of each instrument.
    Solo recording with own arrangements
    Extended technique knowledge/facility on “secondary” instruments
    Master flute
    Would love to do a few pro show seasons or even just sub.
    Bring up the double reeds to a higher standard!
    I’d love to become equally proficient in every woodwind instruments.
    Getting in a Broadway musical pit
    Be able to play flute equally well as clarinet and saxophone, buy an oboe/be able to use it as a double for theater and/or jazz big band, become a regularly contracted musician in my local professional theater scene

    What are your proudest or most significant achievements as a woodwind doubler?

    Responses given here in random order and lightly edited.

    Playing my first book without a primary instrument.
    Giving degree recitals on all of them.
    Playing at major university graduation ceremonies
    Being able to play flute proficiently as a sub on a show in Florida. I no longer have to transpose flute parts on the clarinet!
    Getting into a DMA program in Multiple Woodwinds
    Performed West Side Story multiple times.
    Being able to teach beginners in middle school band settings and help them see it’s possible to do more than one. One student has gone on to become proficient in multiple woodwinds and is considering it for employment after college because of this setup.
    Cover an Oboe/Eng Horn pit orchestra part after 6 weeks of playing (after not playing oboe for 30 years).
    I’ve been a hired member of a national tour.
    That sometimes at a gig people will think I’m a clarinetist until they hear me play the saxophone. The other proudest achievement was getting that look people give you when something really stood out in a good way, and it was after one of the piccolo solos in the Addam’s Family Reed 1 book
    Helping with a workshop production of a new musical
    Generally speaking, the times that I have been able to take what was once a double and represent myself as a specialist on that instrument are the memories that stand out (ex. playing principal chair or a major solo in an orchestra on my former “double,” performing on a former “double” at major a conference). Nothing too major to report here. :)
    Feeling confident enough in my abilities to accept any and all doubling gigs… and getting called back to do more
    Professional oboe/English horn playing
    25 years in the Orpheum theater orchestra in Memphis.
    Performing with a major musical production touring through the city. Also performing with one of the finest opera companies on earth (though not as a doubler)
    Touring with a show and getting to know the other band members
    Playing the oboe/English horn parts on WEST SIDE STORY and TUCK EVERLASTING.
    Learning to play the flute to a professional standard
    Getting non-doubling gigs on my secondary instruments as it makes me feel like I am legit on them rather than the stereotype of just a doubler who is dabbling.
    Playing my first pit gig on oboe and tenor saxophone, and mostly teaching myself tenor sax and clarinet
    Performing in over a hundred different groups / situations.
    Being asked to play an off Broadway tour
    Feeling adequate enough to finally step up and attempt flute for a live gig (Drowsy Chaperone)
    I achieved a tenure-track position as assistant professor of flute and clarinet.
    Traveling with the Glenn Miller Orchestra, being a first call sub at a union opera house.
    my first season as a gig muscian
    My proudest accomplishment was subbing on a few shows on Broadway, and having it all go well! I worked very hard preparing the books and following all of the advice I was given by peers and past teachers. The recurring positive comments I have heard from other reed players, music directors, and contractors has confirmed that I am on the right path. Working as a regular sub on Broadway has been one of my greatest performance (and life) accomplishments.
    Depping in the west end
    Being able to do orchestral excerpts better than majors – eg rhapsody in blue opening excerpt better than a clarinet major
    Also getting recognised for my efforts.
    Getting a contra alto clarinet solo in a wind ensemble.
    Making a living on Broadway in NYC
    One of my proudest achievements as a woodwind doubler was learning the book for my first show as a doubler. Another achievement was playing the Oboe/English Horn book in Chitty Chitty Bang Bang. I wasn’t proficient with double reeds at the time, so I transposed the whole book to saxophone! It was a lot of work, but it was totally worth it. Getting to play in a show gives me such a sense of joy!
    Getting props from Edgar Meyer while playing contrabass clarinet on his own bass concerto
    composing and performing a concerto for woodwind doubler and orchestra
    One of only very few people within a 100km radius that plays all five woodwind families at a pro level, and owns the instruments.
    Playing major difficult community theater pits like West Side Story and Chicago.
    Being the teacher of record on two different instruments at a major university.
    playing as a local hire of broadway tours in multiple cities in the region
    Don’t know if this counts: In High School, after my sophomore year, our only oboe player graduated. My band director asked if I wanted to learn oboe over the summer, so I did. Played it the next two years in concert band (while playing alto sax in jazz band)
    Graduating with my Masters in Multiple Woodwind Performance from NJCU! (And seeing my students succeed due to my skills as a doubler/educator.)
    Being the first call for many of the Music Directors in my area.
    Making oboe reeds that work!
    When I first made a decent sound on a flute and then again on piccolo.
    Being able to sight read the music on tenor sax an clarinet. Being able to cover my own part w/out another player sitting next to me to cover the clarinet part.
    I played the whole run of community theater Once Upon a Mattress splitting both the horn book and the oboe book. (1/2 the run on horn, 1/2 the run on oboe)
    Doubling in a jazz band
    Getting paid as a doubler in a community theater setting, which is what I love doing.
    West Side Story
    Making first woodwind chair in a regonal production of “The Wizard Of Oz”
    Appearing on several albums and soundtracks
    Subbing on shows with lots of fast horn changes, difficult technical passages, and exposed solos, and doing it well. Finding time to practice, heh.
    A collegiate musical premiere
    At a read-through, playing more accurately than my colleagues
    1. Recital with a world-class pianist, playing major literature on flute, clarinet, and alto sax. 2. Subbing flute/picc/clarinet/sax book on the 1st National tour of Les Miz with no rehearsal
    My reputation as a doubler has grown and people identify my musicianship with this skill.
    Subbing for Beautiful a Carole King Musical National Tour!
    Being able to play what I’m needed to play on the instrument wanted.
    Playing almost all of the woodwind books of West Side Story during various production runs.
    Broadway shows
    Broadway
    Being able to play nearly any woodwind asked for
    Oboe
    West Side Story WW books…having played 3 different books over different shows.
    I can now fluently cross the break on clarinet.
    Playing on Broadway and LA Studio work. I also currently play on all the Disney on Ice recordings.
    Being able to play at a level on each instrument where people assume each instrument is my only instrument
    Playing more professional gigs that more heavily involved doubles, even gigs only on doubles (no saxophone)
    Playing some sax heavy show books, laughing about my soprano sax debut.
    Being able to come into a sub situation and knock it out of the park. I’ve gotten most of my regular gigs from subbing in musicals and jazz bands.
    Getting the opportunity to play the pre-Broadway run of Frozen
    Being on two national Broadway tours
    Playing for Penn State School of Theatre productions.
    Performing as a guest artist at the Aspen Music Festival on flute, clarinet, saxophone, and oboe
    Learning oboe/English horn on request from beginner to anchoring the chair for a production of Les Mis in 6 months, and playing well enough that everyone who didn’t know me thought I was an oboist and asked to hire me for orchestra gigs only on oboe. 😂
    I was part of a professional recording session in high school. In graduate school, I got to play in a side-by-side performance with the local professional orchestra.
    Sight-reading on Broadway
    Developing my abilities on my secondary instruments to gain enough confidence to seek out gigs including those instruments, knowing that I can manage them reasonably.
    Arranging wind books and playing all three for an album
    Playing a show where i had to cover sax and clarinet parts out of 5 reed books because the only other WW player was flute/piccolo. I basically made my own book.
    got a call when the band need some doubles
    Reed 2 – Music Man
    An American in Paris – Westchester Broadway Theatre 2019
    Moving to a new area and almost immediately getting gigs – also companies enjoying my playing and keeping me in the loop
    professional work
    Playing 7 instruments in one show; flute, clarinet, bass clarinet, bassoon, soprano/alto/tenor saxophone.
    Getting the opportunity to play for a filled production of beauty and the beast for Disney’s “Encores!”
    Phone rings again
    Playing clarinet/bass clarinet in my university’s top orchestra, subbing on clarinet in a semi-professional orchestra, playing clarinet/bass clarinet/alto flute on a Gil Evans repertory concert and getting complimented by a flute professor who didn’t know me
    I was very hesitant to write this, as the gig has not happened yet. — But I recently booked a Broadway tour as a permanent member. I will be going later this year. I feel that this is a major milestone for me & it’s something ive been working towards since my youth.
    Hearing my students progress.
    I’m grateful for having had the opportunity to play so many different musical theater productions.
    Having others in the ensemble not be able to tell which instruments are my primary/secondary
    Getting a (part-time) University job before even completing my Masters.
    Making a respectable living performing full-time as a doubler.
    Being able to hold my own in an orchestra section on my secondary (bassoon in this case)
    Playing a regional broadway show.
    Top call woodwind doubler in Houston and playing An American in Paris movie score with the Houston Symphony (tenor sax/Bb clarinet)
    Being able to read and pick up most parts on the spot, and being able to translate jazz improvisation to doubles
    Live performance concerts with stars traveling to town to perform.
    Being able to go from tenor sax to clarinet w/out a glitch. Really being able to nail the parts.
    Subbing on Broadway, hearing myself in a film score for the first time.
    extending my flute register was so rewarding, something i struggled with for a while.
    Being asked by the music director of a show I was subbing in , which instrument was my primary. She could not tell.
    Recording an album last year
    called again by the contractor of a big city musical show a second time :-)
    Performing as Reed 1 at the American Repertory Theater.
    Making music with some of the best musicians in the world
    6 Instruments on one musical.
    I have enjoyed being able to play across multiple books with facility. I enjoy the challenge of performing multiple woodwinds at a single performance (typically a musical).
    Subbing on a well known and long-standing Broadway musical.
    Having a fine violinist in NYC tap me on the shoulder with her now and ask which of my six instruments in the gig was my first instrument. Of course I never told her
    International competition wins on multiple instruments
    I agreed to play a production is Oklahoma, knowing it would REALLY stretch my clarinet chops. I knew I’d be playing 2nd, to a far superior clarinetist/friend so I thought it would be great. All the bass was in the 2nd book, so she took that and said “You’re on 1st. Have fun!” It was terrifying, at first, but ended up being one of my best experiences and that one run raised my clarinet chops from passable (at best) to a place I felt confident, moving forward, taking predominantly clarinet books.
    Receiving a return call to play from a contractor.
    Live tv, session work, pro theatre
    Being able to switch onto clarinet and still feel somewhat comfortable. Being given a very heavy doubling book all to myself show coming up!)
    Playing West Side Story professionally.
    Finally feeling comfortable on all my doubles but always more to learn
    Regular, paid theater work at a local professionally managed theater
    The Cor Anglais solo in Dirty Rotten Scoundrels
    Forty years on Broadway, Concerts, recordings, tours
    Working in musical theatre
    Learning to play the Eb Clarinet for a specific gig.
    Playing for a major cancer fundraiser cabaret event, personal connection and great musicians.
    Playing the original US production of The Hunchback of Notre Dame
    Dixieland and ragtime solos in musicals on secondary instrument, playing with a group of reeds where everyone is formally trained on their primary and very very good on the others
    I have fairly quickly become one of the top woodwind players in the area and I (under normal circumstances) often have more offers to perform than will fit in my schedule. What more could I ask for?
    Playing in the orchestra for the premiere of “Ain’t Too Proud”
    Playing for touring musicals in Denver
    Played in 117 different shows on Broadway
    Become a competent oboist
    Creating Doublers Collective
    Touring Broadway show local hire.
    I recorded an an album that featured a set of original music and features myself as a soloist on 10 different woodwinds.
    Played on a few Broadway shows that passed through town
    Broadway and first national tours.
    Playing an entire reed book for a musical is very satisfying, particularly as a non-major/non-career musician
    Performing on multiple secondary instruments that I taught myself and haven’t played very much and being successful. Playing 6 instruments for one Broadway musical.
    Playing in multiple ensembles for fun
    learning and playing in two community theatre performances at the same time
    Community theatre is enough for me!😁 at least thus far
    Playing the flute in a show, and people commenting that they thought it was an actual flutist. Playing clarinet in a Dixieland group.
    High level of ability across most major woodwind families, high level of flexibility, and ability to learn quickly (either styles or instruments)
    Hired to play flute books on shows
    Playing several touring shows as local hire. Being by company to play in another city because they liked my work.
    That I can play multiple instruments
    Playing (tenor/clarinet) with Lady Gaga in her Jazz & Piano show in Vegas. Outside of that, all of the subbing I’ve done on production shows and musicals.
    National Tour
    Becoming the alto sax player at six flags fiesta texas
    easily switching between different families of winds
    Being reviewed by you!
    When someone thinks a double is my primary
    Building a solid reputation as being a great musician and nice person.
    Woodwind-doubling has checked items of my bucket list I never knew I had! Because of doubling, I have gotten to tour the world and have landed in a lovely corner of the world.
    Touring Japan with a show. Also performing with celebrity artists like Johnny Mathis
    Reading an entire musical book that used 98% flute
    I have a contracted position in a pit orchestra where I play over 100 performances per year.
    My flute sound.
    Masters recital at UNT where I performed on all five woodwind instruments
    1. Writing and recording my own works. 2. Film scores
    Being able to play both flute and dizi for multiple concerts in a wide variety of musical group types (ethnic orchestra, concert band, guitar ensemble, etc.)
    Being told that they couldn’t tell what my primary instrument was.
    Traveling with a production to perform at the International Thespian Society Conference in Nebraska
    Playing flute for the first time in a show this weekend!:)) Being flexibile!:) Being able to play so many shows!:)
    Flute: learning Nielsen’s flute concerto
    Clarinet: learning the Brahms sonatas
    Saxophone: final recording project (small group jazz) for my undergraduate degree
    Being hired to do full performances on secondary instruments
    Being the first to incorporate electronic wind instruments into professional theatre pits in my area.
    Talking about ocarinas long enough that people around me became interested in the instrument, eventually resulting in the credits song of this piece: https://www.youtube.com/watch?v=92HX8Zstijs
    I landed myself on a national tour of a musical
    Getting a gig where I had to play 14 instruments in one night, while simultaneously compèring for the event!
    Becoming just as sufficient on flute as the other flute majors at my university.
    playing bassoon and contrabass clarinet for my university’s production of a musical after having “played” clarinet for all of six weeks
    Winning a Premier Military Big Band seat
    I had to pick up clarinet for a university jazz gig after having not played in about two years and it went really well.
    Hired for a show at a professional summer stock theater
    Some shows made me get good at instruments. For example bass clarinet and clarinet.
    I’m proud of when I played reed 3 on Annie as it was the first time I did a show that didn’t include my primary instrument.
    Playing a show with a Bari on a harness and making the switch to the bass clarinet in 4 beats
    I am most proud of getting into a Master’s degree and switching from a flute primary to oboe primary.
    Being the only doubler in high school band concerts
    I received two awards for “best instrumentalist” in high school for two different instruments. It allowed me to get a significant music scholarship.
    Being a big band MD commissioning new works and being able to offer composers the choice of lots of woodwinds
    Getting my first paid gig in a pit band
    Playing in various orchestras with directors on different Instruments at different times, and then not suspecting that I wasn’t on my primary instrument.

    Thanks again for your participation and stay tuned for more survey results.

  • Flute pressure against lip: survey of published opinions

    ByBret Pimentel

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    My own past flute teachers gave me conflicting advice about how much the flute headjoint should press into the lower lip. One would pull on the crown of my flute while I played to make sure it came away from my lip with no resistance. Another would push the headjoint more firmly into my face as I played. (I improved under both teachers’ approaches.)

    I got curious about it recently and looked up what some flute pedagogues have had to say. I’m presenting my findings here without taking a personal stance (yet).

    It’s a little tricky to parse some of these, since many speak in terms of avoiding too much pressure, but don’t clarify whether that means to use as little pressure as possible or some moderate amount of pressure.

    In the avoid-too-much-pressure camp:

    A very important point to remember is never to force the mouth plate against the lower teeth as such forcing will limit the amount of flexibility after the embouchure has been developed.

    James Pellerite: “Improving Tone Production in Flute Performance,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 11. Article originally printed in The Instrumentalist in 1953.

    Do not press the head joint hard against the lips. Control of the tone must come from the lips themselves, not from pressure.

    George Waln, “First Flute Lesson,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 25. Article originally printed in The Instrumentalist in 1957.

    “The chin is, of course, an aid in support, but it must not be depended on for support, since pressure against the jaw will seriously disturb the embouchure.”

    Edwin Putnik: The Art of Flute Playing, revised edition. Miami, Florida: Summy-Birchard Inc., 1970, p. 7.

    In order to correct this problem [sharpness/pinching], the student should be certain that he is not pressing the flute against his lower lip, but rather thinking of the flute as resting lightly against the lip…

    Mary Jean Simpson: “Flute Intonation Trouble: Spare Not The Rod,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 117. Article originally printed in The Instrumentalist in 1972.

    Do not press the flute too tightly against the chin because too much pressure will alter the tone and pitch.

    Kathleen Goll-Wilson, “Erratic Intonation in Flute Sections,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 661. Article originally printed in The Instrumentalist in 1992.

    Excessive pressure against the chin should be avoided.

    William Dietz, Jerry Kirkbride, Hal Ott, Mark Weiger, Craig Whittaker: Teaching Woodwinds: A Method and Resource Handbook for Music Educators. Belmont, California: Schirmer, 1998, p. 174. Note: Hal Ott is the flutist among the authors, so this presumably reflects his opinion.

    …the flute should rest lightly against the chin in order to leave the lips free and flexible.

    Nancy Toff: The Flute Book: A Complete Guide for Students and Performers, third edition. Oxford University Press, 2012, p. 94.

    [Common problems:] Too much pressure into the lip. The teacher should be able to tap the flute off of the lip with very little effort. … [for piccolo:] Too much pressure into the face, especially upper register. Excessive pressure makes high notes much more difficult if not impossible.

    Charles West: Woodwind Methods: An Essential Resource for Educators, Conductors, and Students. Delray Beach, Florida: Meredith Music Publications, 2015, p. 17.

    These are the ones I could find that seemed to advocate for at least some pressure, although neither is explicit about how much:

    Students should keep in mind the three points of pressure… [including] the lips pushing out against the flute…

    John Knight, “Flute Intonation,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 529. Article originally printed in The Instrumentalist in 1989.

    “Keep a relaxed embouchure, but place the flute firmly on the chin.”

    Michel Debost: “Basics of Flute Playing,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 632. Article originally printed in The Instrumentalist in 1991.

    John Knight is the only author to speak in terms of the lips putting pressure on the flute, rather than the reverse.

    In any case, among the sources I consulted, there seems to be some consensus that pressure of flute against lip should be light, or at least not “excessive.”

  • Time required for instrument switches

    ByBret Pimentel
    Photo, mbshane

    I got some questions by email yesterday from Sy Brandon, about the multiple woodwinds piece (Divertissement) he is writing funded by my Co-op Press Commission Assistance Grant. He is considering a movement that involves switching between instruments, and wanted to know about some of the technical details. Here are my answers:

    Keeping reeds wet is a minor hassle but quite doable, especially for a movement that’s only a few minutes long.

    Time required for switching instruments is an interesting question. Short answer: anything shorter than about five seconds is risky.

    A slightly shorter switch might be possible with something like saxophone to flute or clarinet, since you can just let the saxophone hang from its neckstrap. And switches among flute and clarinet and, to a lesser extent, oboe (due to its fragile reed) are reasonably fast because there aren’t any straps to unhook and you can pick one up while you’re setting the other down. Bassoon is more difficult—it uses either a seat strap or a somewhat awkward harness, and definitely requires both hands to pick it up or put it down. Read More “Time required for instrument switches”

  • The best _____ for woodwind doublers

    ByBret Pimentel
    flute and clarinet
    Photo, Jope 1978

    What are the best instruments, mouthpieces, reeds, headjoints, method books, and other products for woodwind doublers?

    I often see this question asked on online message boards (“I’m a saxophone player, so which clarinet mouthpiece should I buy?”) or answered in advertising copy (“The perfect flute headjoint for the woodwind doubler”).

    When aspiring doublers ask this question, I think often what they are really asking is, “What product can I purchase that will save me having to really learn a new instrument?” If you’re serious about playing the flute, you’ll want to use the kind of flute that a good flutist would use. If you’re serious about the clarinet, you’ll seek out the kinds of reeds, mouthpieces, and instruments favored by fine clarinetists. In other words, the best clarinet for a woodwind doubler is… the best clarinet.

    To double successfully, you have to abandon the idea that you can double on flute and clarinet (and so forth) without having to commit to being a flutist and a clarinetist. There are no shortcuts!

One Comment

  1. I’m sure it drives em all nuts when you ask, especially if they themselves don’t know, but way to keep em honest!

    I find myself sometimes sinking into bad habits like that … the biggie being using bis Bb when it’s not always appropriate.

    To try to break myself of habits like that … I force myself to use side Bb where it’s appropriate and if I’m not sight reading something for the first time, I also challenge myself to use alternate fingerings through passages and play it differently each time with a different goal in mind … especially on Saxophone. Eg. Side C vs regular, Bis Bb, Side Bb, 1+1, Low/Mid F# alternates, Upper register altissimo E, F, F# vs palm keys.

    If you get really ambitious you can throw in some overtones for good measure.

    Reply

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