Woodwind Doubler Census results, part 4: employment

I hope you all are finding this as fascinating as I am. Here’s the latest batch of results from the Great Woodwind Doubler Census of 2011.


Q. Which of these do you play?

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

Q. What is your main source of income?

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

Original wording of the answers:

  • school/community theater
  • large-scale tour of a musical (as traveling orchestra member)
  • large-scale tour of a musical (as local hire)
  • Broadway show or other major-city musical production (as permanent orchestra member)
  • Broadway show or other major-city musical production (as sub)
  • orchestral, opera, or similar
  • studio recording (as leader or permanent group member)
  • studio recording (as hired gun)
  • television/radio/broadcast (live)
  • television/radio/broadcast (pre-recorded)
  • jazz big band
  • jazz small group or solo
  • rock/pop group
  • cruise ship
  • other

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

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

Q. On average, how frequently do you have woodwind doubling gigs?

Original wording of the answers:

  • every week or more
  • every month or more
  • every three months or more
  • every six months or more
  • less than once every six months

Q. How has woodwind doubling affected your employability?

Q. Which of these have resulted from your woodwind doubling?

More survey results to come…


Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.