Woodwind doubling and the “main” instrument

I identify very much as a woodwind player: as far as I’m concerned, if it’s a woodwind, it’s part of what I do. But when I introduce myself to someone that way, I am frequently asked, “But which one is your main instrument?”

I am hesitant to give a straightforward response to this. To identify a “main” instrument feels like an admission of failure. I work hard to play all of my instruments at a high enough level to be qualified for whatever gig you were thinking of hiring me for—if I pick just one, are you going to write me off as a possibility for the others?

photo, Neil Moralee
photo, Neil Moralee

Do I genuinely play all of my instruments at the very same ability level? Of course not. It would take some strange kind of balancing act to keep them perfectly equal all the time. I do have a woodwind that I played for a decade before getting serious about any of the others, the one I earned a bachelor’s degree in performance with (my graduate degrees are “multiple woodwinds” degrees). To some extent, that one still is my comfort zone, though that gap is very slowly closing.

Not all woodwind doublers feel the same way about it, nor should they, necessarily. There are lots of ways to be successful and fulfilled as a woodwind player. But my own goal is to play them all well enough that I could convincingly claim any of them as a “main” instrument. My favorite compliment is when, after hearing me play several instruments, someone still asks which is my main one. Sometimes I receive that compliment, and sometimes I don’t.

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    photo, Javier
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    • It may be worth pointing out, too, that reedmaking involves razor-sharp tools. These can of course be handled safely with proper training, but it’s still a concern where small hands are involved. Pieces of cane can be dangerous, too—I’ve cut myself more times with sharp or jagged pieces of cane than I have with knives or razor blades.

    The best thing you can do for your beginning oboists or bassoonists is to pair him or her with excellent teachers who can help them improve their skills on their instruments, make and adjust reeds for them, and lay the groundwork for future instruction in reedmaking.

  • Doubling reminders for the day

    Non-doublers often seem to think that the most amazing thing about doubling is keeping all the fingerings straight. I don’t find that to be a major problem; the keywork of each instrument feels different enough in my hands that I think I tend to switch into the right fingering mode automatically.

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    Photo, José Camba

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  • Dubious pedagogy alert: woodwind vibrato

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  • My doubling bag

    Today I found myself in the embarrassing situation of arriving at a rehearsal, contrabassoon in tow, without a single contrabassoon reed. Luckily the problem was easily solved—the reeds were literally just a few moments away, and I didn’t miss a note of rehearsal.

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  • Preparing for a multiple woodwinds recital

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    For over a decade, all of my solo recital performances have been on multiple woodwind instruments. Last month I performed (twice) a recital program with pieces played on flute, oboe, clarinet, bassoon, and three saxophones. Here are some of the things I do to prepare.

    multiple-woodwinds-recital_mini

    • Practice the physical changes. I opened my program with an oboe piece, and followed that with a flute piece with a delicate entrance. As the recital approached, I made sure to follow each oboe practice session by practicing that flute entrance, to be sure I could do it under those conditions. Something that didn’t work very well: after the oboe, flute, and bassoon pieces, my hands and jaw tended to be a little tense for clarinet playing. If I were preparing this recital again, I would bump the clarinet to the end of my practice sessions to work on playing relaxed even when fatigued.
    • Practice the mental changes. If I can put myself into the right place mentally for the instrument I’m about to play, my physical technique seems to fall into place. Sometimes I will do some rotating warmups—play, for instance, some scales on one instrument, and then immediately play them on another, and another. That gives me a chance to practice shifting mental gears. Once I have my program order set, I also make liberal use of Post-it Notes to give myself reminders between pieces: “take a moment to relax embouchure,” “keep breath support strong in low register,” “clear moisture from octave vent.”
    • Make thorough checklists. With seven instruments on my most recent recital, I surely would have forgotten something—a bassoon seat strap, a case of clarinet reeds, a piece of sheet music. I made a detailed list and used it to set up for a dress rehearsal. Sure enough, there were a few things that hadn’t made it onto the list, and I was able to retrieve those items and add them to the list before the first public performance. When I traveled a few hours for another performance, I was confident that I had everything I needed.
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    • Do thorough warmups. As the performance approaches, it’s tempting to practice in panic mode, and skip over things like warmups. I always play much better if I do my warmups faithfully all the way up to the day of the performance. I find that if I warm up slowly and thoroughly on each instrument before the performance (this might take a few hours with multiple instruments! I usually do it in the morning), then I’m able to switch between them more easily.

    Break a leg!

2 Comments

  1. So where were you on your musical journey when you first described yourself as a woodwind player?

    I unintentionally reached a happy milestone a few weeks ago. I was talking with someone in a nonmusical setting when we each learned the other is a musician. He asked what I played and without thinking I replied “reeds”.

    It was probably a bit of an overstatement. I used to think of myself as a clarinetist, then started adding members of the sax family. At first when I played sax it sounded kind of painful. It’s getting better. I’ve played so much sax and so little clarinet the past six months identifying myself as a clarinetist doesn’t describe what I’ve been doing.

    Maybe if I played more instruments. Perhaps if I played a double reed or could get satisfactory sounds out of the flute stashed in the corner …

  2. I’ve been playing members of the saxophone, clarinet, and flute families for over forty years. At first I was primarily a clarinetist, then played more saxophone and flute. After I retired several years ago from my day gig, I decided to take up the oboe (and English horn), expecting to play it occasionally as a double in a musical pit and maybe in a community orchestra.

    Well, playing oboe and English horn went beyond the community orchestra and occasional pit gig and now it seems that this year I’m playing oboe more than anything else. I was playing alto sax, including sometimes as a soloist, in a community band. When they needed a new oboist recently, I was asked to switch, and did. I have now been using the woodwind player tag and have no idea what my “main” instrument is anymore.

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