Woodwind doubling bibliography

Bain, Kimberly Anne. “The saxophonist’s perspective on woodwind doubling: its history and current trends.” M.M. thesis, Bowling Green State University, 1989.
A brief history of woodwind doubling, and appendices of “selected material” for study of each woodwind instrument family.
Catalano, Frank. “Keys to Saxophone Doubling.” Downbeat (May 2003): 82-83.
A few opinions on practical matters, for saxophonists doubling flute and/or clarinet.
Filas, Thomas. “The Art of Doubling.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist, Vol. 2. Northfield, Illinois: Instrumentalist, 1992: 735-736.
Discusses fundamental issues of playing mulitple instruments, woodwind or otherwise.
Holgate, Max. “Some Thoughts on Multi-Instrumentalism.” The School Musician (October 1984): 18-20.
An argument in favor of multi-instrumentalism, mostly focusing on the benefits and challenges of woodwind doubling.
Joffe, Edward. “Woodwind doubling: A historical survey and examination of performance problems and practices between saxophones, clarinets and flutes.” D.M.A. diss., The City University of New York, 2006.
History of woodwind doubling from 1300 to 2005, plus a pedagogical approach to woodwind doubling and discussion of musical excerpts (mostly from musical theater).
Kennedy, Shannon. “Flute as a Double.” Flute Talk (April 2006): 22-23.
A basic introduction to woodwind doubling, not particularly geared toward flute.
McLaughlin, Dennis Brian. “An Investigation of Performance Problems Confronted by Multiple-woodwind specialists.” Ed.D diss., Columbia University, 1985.
Based on a survey of fourteen professional woodwind doublers with varied “primary” instruments. Chapters discuss issues of transferring ability from each of the five major woodwinds to each of the four others. Appendices include recommended recordings, literature, and pedagogical materials, problematic fingerings, and selection of instruments.
Pickett, Lenny. “Rock ‘n Roll Doubling, Part I.” Saxophone Journal (May/June 1994): 56.
Introduction to saxophone doubling other instruments in rock music.
Pickett, Lenny. “Rock ‘n Roll Doubling, Part II.” Saxophone Journal (July/August 1994): 58-59.
Discussion of flute, clarinet, and multiple saxophones in rock, plus saxophone doubling keyboards, guitar, percussion, and backing vocals.
Pickett, Lenny. “Rock ‘n Roll Doubling, Part III.” Saxophone Journal (September/October 1994 1994): 58-59.
Discussion of the double reeds—oboe, bassoon, and even sarrusophone—in rock music.
Rath, Richard. “Doubling the Double Reeds.” Woodwind, Brass, and Percussion (October 1983): 3-5.
Discusses problems of taking up oboe or bassoon as a secondary instrument, and addresses common problems and possible solutions.
Reimer, Bennett. “Woodwind Doubling: Mind over Matter” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist, Vol. 2. Northfield, Illinois: Instrumentalist, 1992: 706-707.
Addresses physical and mental challenges inherent in woodwind doubling.
Ricker, Ramon. “Doubling in the Studios: An Interview with George Marge.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist, Vol. 2. Northfield, Illinois: Instrumentalist, 1992: 827-829.
A peek into the life of a New York City studio doubler, including advice for aspiring woodwind doublers and studio musicians.
Rossi, Michael. “Doubling His Standards: Chris Vadala on Woodwind Doubling.” Jazz Educators Journal (March 2000): 90-93.
An interview with Chris Vadala, part of which deals with practicing and performing on flute-clarinet-saxophone doubles.
Ruyle, Eric. “Reed Players Doubling on Flute.” Flute Talk (August 2002): 18.
A brief but valuable article addressing problems of doublers taking up the flute.
Simon, Richard. “Woodwind Doublers in the L. A. Studios.” Windplayer 62 (2001): 20-29.
Swoboda, John. “Woodwind Doubling.” NACWPI Journal (Summer 1991): 29-30.
Brief thoughts on problems of doubling flute/piccolo, clarinet, oboe/English horn, and saxophones.
Thompson, Phil Atterbury. “A historical survey of woodwind doubling and a form/style analysis of four works for doubler and wind ensemble, a lecture recital together with three recitals of selected works by W. A. Mozart, A. Glazounov, P. Tate, A. Szalowski, A. Copland and others.” D.M.A diss., University of North Texas, 1993.
Works discussed are Concerto for Doubles (Thomas Filas), Concerto Tri-Chroma (Michael Kibbe), Rhapsody Nova (Clare Fischer), and Suite for Solo Flute, Clarinet, and Alto Saxophone (Claude Smith). Also a survey of woodwind doubling in the fifteenth through twentieth centuries.
Vadala, Chris. Improve Your Doubling: Advanced Studies for Doublers. Medfield, Massachusetts: Dorn Publications, 1991.
Brief textual introduction followed by etudes with switching between flute, clarinet, and saxophone.
Vadala, Chris. “Tips on Doubling.” Saxophone Journal. Recurring column, selected issues 1994-2000.
Brief articles on doubling issues, geared toward saxophonists.

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