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.
Gender identity
I provided more options for gender identity than in 2011’s survey. Here’s the breakdown. (Percentages are of those who answered the question.)
As was the case 10 years ago, the numbers skew toward the younger end. I’m not sure if this is affected by the survey being distributed primarily online. No respondents claimed to be younger than teenaged or older than in their 70s.
I provided options for this that broke down by continent. A few of you island dwellers responded with “other” and specified locations in Oceania and the Caribbean. I probably need to rethink this question for 2031, but for purposes of data reporting I have lumped everyone together into continents for now.
The continued absence of responses from Africa and South America may be related to language barriers and/or other factors. I did get a few responses from Asia this year, which I didn’t in 2011.
The “city, but not a ‘major’ one” option was added based on feedback from the 2011 survey. A few of you used the “other” option to explain more complicated living situations (such as multiple locations), and for reporting purposes I’ve taken the liberty of lumping those into the categories I thought were the closest match.
Describe your current level of formal education (in any field).
“Less than high school diploma” is a new option this yea. The categories in the graph are abbreviated; the full text from the survey is in the data table.
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I made a small modification to my Hercules instrument stands so I could clip them onto my instrument cases for easier carrying.
The stands all have this same yellow sort of teddy-bear-head piece on the bottom:
Remove the nut from the center of the bear’s forehead:
I bought a handful of these. They are almost the right thing for the job:
…but they don’t quite fit: the holes are too small. The metal seemed fairly soft and not too thick, so I managed to open up the holes a bit with a handheld drill and a 1/4″ wood-drilling bit. It would probably be safer and more precise to use a drill press and a proper metal-drilling bit.
Or, even better, can anyone recommend a premade part with two 1/4″ (65mm) holes about 1″ (3cm) apart, no thicker than about 1/16″ (1mm), preferably without sharp corners?
Anyway, with the holes slightly enlarged, put the part in place and replace the nut.
This worked well on all my Hercules stands, with a minor modification for the bassoon/bass clarinet stand. The “forehead” bolt was too short to get the nut back on with the extra piece in place, so I installed it off-center. It works fine.
I’d be curious to hear about your favorite equipment modifications in the comments.
I recall as a beginning flutist (coming from background in saxophone) finding the third-octave fingerings to be a confusing, illogical jumble, but they do actually make some sense. There is an incorrect explanation for these fingerings that I hear every so often, and have seen published on a couple of flute-related blogs recently. It goes something like this: the flute’s third-octave fingerings are some kind of combination of two different first/second-octave fingerings. For example:
+
=
?
Or…
+
=
?
If I squint my eyes just right I can sort of see how this almost makes sense fingerings-wise and overtones-wise, but ultimately this system is unnecessarily confusing and also doesn’t reflect acoustical realities.
Here’s a better way to look at third-octave flute fingerings: they are the same as the first/second octave fingerings, with a vent opened. This is very similar to how upper registers are achieved on the reed instruments: by adding an octave or register key or releasing a whisper key to open a vent. Since the flute doesn’t have dedicated vent holes, toneholes are used.
For some of the third octave notes, additional keys must be added or subtracted to improve pitch, tone, or response; again this is analogous to the systems used for the reed instruments. But here are the simplest examples of opening single vents for the third octave:
→
open vent
→
→
open vent
→
→
open vent
→
→
open vent
→
It is probably worth pointing out that having any “system” for remembering fingerings is just a crutch; for a performing musician, the only practical “system” is to thoroughly habituate them to the point that no conscious thought is required. Practice carefully and be on the alert for dubious pedagogy.
The concept of “articulation” in woodwind playing is really a bunch of concepts mashed together. Suppose one of my students comes in for a lesson and I tell them their “articulation” needs work. Do I mean they should: Read More “Aspects of articulation”
Lately I’ve been doing some clarinet work out of the Jeanjean Vade-Mecum. The title page translates charmingly to:
“Vade-Mecum” of the Clarinet-player
6 SPECIAL STUDIES
to
render the fingers and tongue rapidly supple
But this is what really sold me:
NOTICE
The aim of these 6 standard-studies (combining the essential parts generally contained in several exercise books) is to prepare instrumentalists in a very short space of time (about 1/2 hour) when, due to their occupations, they are not able to devote the time necessary for developed exercises and must nevertheless be ready to execute difficult passages, from the standpoint of lips, tongue and fingers.
The movements to which these Studies oblige the clarinet-player to submit will rapidly overcome those imperfections, the diminution or the passing weakness that might result from either fatigue or irregularity of technical work.