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2012 in review
Here are some highlights (to me) of what happened on the blog this year. Thanks for reading, and stay tuned for new, non-meta content once the holidays are over.
- Some technique talk for flutists, oboists, and clarinetists, and some stuff for reed players of various stripes.
- Some stuff for woodwind doublers: finding gigs, why fingerings aren’t that big of a deal, an interview with a real live doubler on a touring musical, which instrument you should tackle next, and getting and keeping your skills up to snuff.
- Some jazz insights for classically-trained musicians, including a chord symbol primer and some debunking of common jazz myths.
- Wholly unsolicited opinions about things like full-range scales, class woodwinds textbooks, pencils, snobbery, instrument value, music education curricula, and, naturally, purple violins.
- Product reviews: Rico’s new “Reserve” clarinet mouthpiece (plus a sequel), a woodwind doubles stand by Hercules, and a saxophone book by Ben Britton.
- Reports on a couple of events: the very awesome/nerdy John Mack Oboe Camp, and my annual faculty recital.
- A couple of new software projects designed to help bloggers and other web-dwelling folk to use proper musical accidental symbols, and a diatribe about why they should. Some significant improvements to these tools are on the way.
- An overhaul of the Fingering Diagram Builder, and some tutorials. Still more improvements to the FDB are in the works.
- Some snark about internet forums and about my students’ excuses, and a possibly borderline-felonious April Fools joke that seemed mostly to fly under the radar. Luckily I do those for my entertainment, not yours.
Don’t forget to subscribe via your favorite feed reader or social network, and hit me up with your questions, comments, and requests. Happy New Year!
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Oboist on the Supreme Court?

Judge Diane Wood, oboist Federal judge and oboist Diane Wood is reportedly under consideration to fill a Supreme Court vacancy.
Wood has demonstrated a willingness to challenge her fellow jurists without offending, say lawyers and clerks who have observed her in court. Those attributes may be an asset as President Barack Obama considers her to replace retiring Justice John Paul Stevens on an often-divided U.S. Supreme Court…
Wood, 59, who plays oboe in the Chicago Bar Association Symphony Orchestra, was one of four people interviewed by Obama last year before he picked Sotomayor.
You can read the whole article at businessweek.com. Read More “Oboist on the Supreme Court?”
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2013 in review
Here is a recap of some of my favorite stuff from the blog from 2013. Because hey, I’m on vacation too.
- The Fingering Diagram Builder got a new major release, plus a minor release. Development has slowed down a bit on this, not because I’ve stopped planning and working on improvements to it, but because it’s really working surprisingly well at this point and its popularity is growing in a satisfying way. I expect future releases to be on the deliberate side at least for the foreseeable future. (Don’t let that stop you from sending in your suggestions, feature requests, and bug reports.)
- My Woodwind Doubling in Musicals list got a long-overdue major overhaul. Check it out and share information about the shows you have played.
- I discontinued my “woodwind blogs you should be reading” series in favor of a monthly roundup of my favorite posts. I think it’s more interesting and useful, plus I can give regular shout-outs to woodwind bloggers who are consistently putting out good stuff, or highlight a diamond in the rough.
- I finally got most of my best advice about doing a multiple woodwinds degree all in one place.
- I ranted about why I think music education is important (spoiler: it’s not math skills).
- I gave a presentation and a recital.
- I want my students to show up, to be individuals but also embrace tradition, and to listen critically to themselves.
- I reviewed Butch Hall Native-American-style flutes, Hercules saxophone/woodwind stands, and some innovative new products from Vandoren (note the date on that one). Note to makers/sellers of woodwind products: I get a large amount of traffic to this site for my product reviews, and in more than a few cases my reviews get higher Google placement than the makers’ own websites. Drop me a line if you want to send me cool stuff to check out (even just on loan).
- I wrote about the flutist’s tongue, the clarinet’s break (part 1 and part 2), the bassoon’s terrifyingly numerous high F-sharp fingerings, and clarinet-to-saxophone doubling or vice versa.
- For electronic-woodwind buffs, you special kind of nerds, you, I did a how-to on playing the Telemann Canonic Sonatas on wind controller with a delay pedal. You, too, can play duets with yourself.
- I gave unsolicited advice to high school and college students on auditioning and on buying new instruments.
- And I did my best to clear up some things for the Twitter generation of musicians.
Thanks for your ongoing support. Best wishes to you and your reeds for 2014.
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Farewell: Buddy Collette
Notable woodwind doubler Buddy Collette, known for his skill and artistry as a jazz saxophonist, flutist, clarinetist, and composer, passed away on Sunday. Check out the Los Angeles obituary, or, even better, enjoy his flute and tenor:
Tip of the hat to Eric at jazz-sax.com for bringing this sad news to my attention.
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Fingering Diagram Builder, version 0.8
I’m pleased to announce a new release of the Fingering Diagram Builder.
One thing I wanted to do in this release is give something back to the very generous and sexy people who have been kind enough to use the PayPal donation link to show their support over the years, so I’ve added some special exclusive features for donors. Most of those features are geared toward those doing large or involved projects, such as for publication.
To be clear, none of the old features have been put behind a paywall, and with this release and future releases I’ll keep working on improvements for the free users, too. And you can get the donors-only features with a one-time donation of literally any amount of your choice. (If you’ve donated before, you can try the “Are you a previous donor?” link to activate your special features, but you might have to email me so I can fix it for you manually, especially if your donation was a few years ago.)
Anyway, here’s what’s new:
- Some weird/cool new key sets like Kingma-system flutes, the Redgate oboe, and the Contraforte. I’m flying a little blind on those since I don’t exactly have those instruments laying around, so if you’re an expert let me know what tweaks are needed.
- Downloads in .gif format (in addition to the previously-available .png and .tif). For some purposes .gifs won’t look as nice as .pngs, but the file sizes are very compact, which is useful in some situations. And for donors, you can also download in .svg format, which gives you basically unlimited scalability with no loss of image quality. .Png and .svg downloads also now get lossless compression, which you can turn off if for some reason you want to.
- Diagrams can be rotated 90° in either direction. Donors can also mirror them, which I think is a strange idea but lots of people have requested it.
- Image backgrounds can be white (like before), or now also transparent.
- Some more flexibility for donors: finer control of image size and line thickness, and an editable color palette. Donors also have some new options for how images are cropped.
- You can still, as before, let the FDB automatically provide unique filenames for your downloaded images or name each one manually. But now you can also type placeholders: %i to auto-insert the name of the current instrument, %k for the key set, and %c for an auto-incrementing counter. It’s hard to explain, but try it out and I think you’ll see it’s pretty easy and useful.
- In addition to downloading images to your device or uploading to Dropbox, you can also post them to Imgur. That gives you quick-and-easy shareability of images on all the social media sites, and you don’t need to create an account or anything.
- People have been rightfully baffled for years by the powerful but undocumented “Keywork details” thing. That hasn’t gone away, but many of the instruments now have a more user-friendly interface for turning certain keys on or off. I hope to add to and refine these interfaces in response to the continuing frustrated emails. It has also become abundantly clear that, while I’ve tried to make everything as intuitive as possible, it’s time for a help page.
- The FDB can, if you like, remember the fingering you were working on in a previous session. (This feature is turned off by default.) I don’t expect that many people need multiple visits to the FDB to complete one fingering diagram, but it’s handy if, say, you accidentally navigate away.
- Once again, a thorough visual refresh and lots of little interface tweaks.
- This one is boring but important: basically a ground-up rebuild of the FDB’s guts, using smarter coding than I knew how to do nearly nine years ago when I first released it. (For the code-savvy, I’ve replaced my spaghetti jQuery code with slightly-less-pasta-like Vue.js code.) That will hopefully help keep it running reliably and maintainably on modern web browsers for the better part of another decade.
Please do check it out, and send me your bug reports and other feedback.
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Report: 2016 International Double Reed Society conference
Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.
I had a blast at the 2016 International Double Reed Society conference, hosted by Columbus State University in Columbus, Georgia. As I have said before, the IDRS puts on an outstanding conference, maybe my favorite of the various woodwind conferences I attend. Very well organized, with lots of outstanding talent, varied events, and presences from all the top makers and dealers of double reed instruments and gear.
A few personal highlights:
- Excellent evening concerts, some with chamber music and some with orchestra. Too many great performances to do justice to them all, but a couple that stood out in my mind were the premiere of Alan Elkins’s double oboe concerto with Elizabeth Koch Tiscione and Kathryn Greenbank, and Cary Ebli‘s performance of his own edition of the Donizetti Concertino for English horn.

Elizabeth Koch Tiscione and Kathryn Greenbank - Too many recitals to count. I liked, among others, Joey Salvalaggio‘s “When Giant Babies Attack,” Paul Hanson‘s always-astonishing solo bassoon with electronics, the Paradise Winds reed quintet, Benjamin Coelho with Andrew Parker, Eric Stomberg with Barry Stees, and Mark Ostoich with Alyssa Morris and Petrea Warneck playing Morris’s new and outstanding trio for two oboes and English horn.

Paul Hanson sound check, with appropriate reaction from conference volunteer - Some very interesting lectures and presentations. A few favorites were Mark Eubanks‘s on bassoon reed tuning, Jamie Sampson‘s on her methodical research into bassoon multiphonics, and Janet Grice‘s on adapting Brazilian choros to double reed instruments.
- I gave a presentation on teaching multiple instruments. You can check out my handout/lecture notes if you like.
- I got to meet or reconnect with lots of cool people, including some who, to my delight and surprise, introduced themselves as “fans” of this blog or of my other online stuff. I’m always happy to connect with nice people who find my stuff useful or interesting in some way.
- And I did come home with a, uh, souvenir:

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- Excellent evening concerts, some with chamber music and some with orchestra. Too many great performances to do justice to them all, but a couple that stood out in my mind were the premiere of Alan Elkins’s double oboe concerto with Elizabeth Koch Tiscione and Kathryn Greenbank, and Cary Ebli‘s performance of his own edition of the Donizetti Concertino for English horn.
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I wasn’t aware that Yusef Lateef was such an active and great composer in a classical way. Great music, great playing, super interesting Programm!