Raphael Sanders: Doubling the clarinets
A few tips on doubling on various sizes of clarinets, from Raphael Sanders, clarinet professor at SUNY Potsdam.
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Q&A: Woodwind doubling
Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.
What are the highlights of your career related to doubling thus far?
Hello, I was wondering about how feel about what you play as a woodwind doubler vs as a single instrumentalist. Do you feel like you’re still able to connect musically with things like pit orchestra as opposed to solo repertoire? Or what other options are there for woodwind doublers to express themselves?
I’m not a Broadway pit orchestra doubler, or a Los Angeles studio doubler, or even working in a medium-sized market. When the opportunities have arisen I’ve done the usual journeyman doubling work: playing local musical theater, regional orchestras and chamber groups and big bands, church gigs, and rock and blues bands. I enjoy all of these, and in particular I enjoy the variety in my performing career.
For me the biggest highlights have been connected to my academic career. This includes my attempts at bringing doubling to the recital hall, doing recitals (on my own college campus and others) of concert repertoire on multiple instruments. It also includes my teaching of multiple instruments in a studio setting, as well as woodwind methods courses, plus the textbook I wrote. This blog has been a highlight, too, that has put me in touch with woodwind doublers around the world, including some of my heroes.
How does someone with a full time job, kids, etc. who does doubling as a hobby effectively split practice time among all of their instruments? I’m usually able to practice 1 hour per day. Should I split my session among instruments, or focus on one a day? What’s a good rotation? Any tips or tricks are appreciated!
There’s never enough time in a day for a woodwind doubler. The answers to your questions will probably depend on you: what are your goals? do you want to play all your instruments equally, or do you want to have a “primary” instrument? are you practicing for specific performances or with specific goals in mind, or are you just trying to maintain and develop your skills in a general way? I think the answers to these questions will help clarify for you how you should be allocating your time.
For me personally, an hour is just enough to feel like I’m making some amount of progress on a single instrument, so I suppose if I were in your situation I would mostly practice one instrument per day. Your results may vary. If you’re practicing for general skill development, I do think some kind of pre-planned rotation is valuable, though I don’t think the specifics are important. For me, just having some kind of purposeful rotation makes sure I don’t fall into a rut of, say, grabbing my flute every time because it’s easier than getting a reed wet.
Thanks for your questions! It’s extra special to me to hear from fellow woodwind doublers.
Working less hard
As a 10-year-old brand-new saxophonist, I learned a bunch of tasks I needed to do to play the instrument: blow in a certain way, form my lips just so, put my fingers into such-and-such positions, and so on. Every time I thought I had learned all of the skills I needed, my teacher would add some more.
In the 30 years since, playing saxophone and other woodwinds, I have mostly worked on doing less—letting my embouchure relax, keeping my jaw still, keeping my breath support consistent, moving my fingers more efficiently. The more I can strip away the excess effort, the more my playing is easy, pleasant, pain-free, fatigue-free, and expressive.
On some level it feels more like teaching if I can tell a student a new thing to do. Assign them an additional task. But the most productive and valuable lessons (or personal practice sessions) are often the ones when I can convince a student (or myself) to do one fewer thing.
From WindWorks Design: Wind controller in a pit orchestra
- Photo, mabel.sound
“Gertjan” at the WindWorks Design blog posted some interesting comments about using a wind controller in a local production of Seussical the Musical. Gertjan (I wasn’t able to positively identify him from the WindWorks website, but maybe he will find his way here and let us know who he is) played saxophones in the show as well, and used the wind controller to cover a number of wind and non-wind instrument parts.
Although it gives me a little indigestion to see a wind controller substituting for woodwinds that might otherwise have been played by a doubler, I do think there is application for wind controllers in orchestra pits. Keyboard-driven synthesizers are ubiquitous in recent shows (or are sometimes used to replace other instruments, especially a string section), and, in some cases, a wind synth might be even better suited to certain kinds of synthesizer parts. Gertjan mentions some synthy sounds like “vocal doo,” “scary voices,” and “ghostly shimmering breathy sound,” all of which strike me as likely to be very effective with a wind synthesizer’s breath control. Some others, like “harp” and “tinkle bell” seem like they might be more intuitively assigned to a keyboard. Read More “From WindWorks Design: Wind controller in a pit orchestra”
Need a panflute? Woodwind doubling gear woes
A handy “panflute flowchart” from toothpastefordinner.com. Read More “Need a panflute? Woodwind doubling gear woes”
