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.
Which was your first instrument, among the major woodwinds?
school band/orchestra program (high school or younger)
175
94%
private lessons outside of school
170
91%
summer camps
131
70%
university band/orchestra program
143
76%
university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds
27
14%
university/conservatory bachelors degree with single-instrument or other music concentration
97
52%
university/conservatory masters degree with formal concentration(s) in multiple woodwinds
13
7%
university/conservatory masters degree with single-instrument or other music concentration
37
20%
university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds
4
2%
university/conservatory doctoral degree with single-instrument or other music concentration
5
3%
other university/conservatory music degree or certification
12
6%
self-taught on one or more instruments
118
63%
What factors influenced you first to get involved in woodwind doubling?
Besides the provided answers, several of you included personal anecdotes of influences including boredom, norms of the early music scene, orthodontia and injuries, career aspirations like instrument repair and studio work, and the Lawrence Welk Show.
2021 data
just interested in more than one instrument
202
72%
required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in
139
49%
had or wanted opportunities to play for musical theater
196
70%
influenced by a teacher or role model
136
48%
wanted to improve employability
138
49%
an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it
118
42%
an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another
46
16%
your training/experience as a teacher required you to branch out
required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in
37
had or wanted opportunities to play for musical theater
35
influenced by a teacher or role model
23
wanted to improve employability
19
an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it
19
your training/experience as a teacher required you to branch out
9
What sources have you used to learn about or otherwise engage with woodwind doubling?
Besides the provided answers, nine of you wrote in something to the effect of “lessons” or “teachers,” which I didn’t include as an option because I covered formal training in other questions. A few of you also wrote in “YouTube,” which I have lumped in with “social media sites.”
Thanks again for your participation and stay tuned for more survey results.
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 … Read more
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 … Read more
Back in 2011 I did a “census” of woodwind players. It’s been 10 years, so I guess we’re due to be counted again. If you’re a doubler of any stripe/ability, you’re invited to take the survey. I’ll share the results as I did last time. It’s a long survey, so set aside a little time … Read more
I’ve previously reviewed a couple of Gene Kaplan‘s publications, sets of duets for woodwind doublers. Recently Gene was kind enough to send me a copy of his latest, Characteristic Etudes for the Woodwind Doubler. Unlike his previous doubling-duet books, this is intended for a lone woodwind doubler to use in developing his or her doubling … Read more
I often have university students bring up the idea of graduate school and a university teaching career, and I have previously given general advice about that. Perhaps since my graduate degrees and a teaching career are in multiple woodwinds, my students sometimes wonder if that’s a path they should take. Here are a few thoughts: … Read more
I’m pleased to share videos from my recent Delta State University faculty recital. I performed for a very small in-person audience due to COVID-19 precautions. All the repertoire is unaccompanied. The program begins with multiple-woodwinds repertoire by Samuel Adler, Kyle Tieman-Strauss, and Nicole Chamberlain (a world premiere of a commissioned piece), followed by some odds … Read more
As of February 2020, I’ve made some substantial updates to my catalog of music written for players of multiple woodwind instruments: Music for woodwind doublers There are a few pieces I have listed as currently being researched, mostly cases where I am awaiting responses from composers. And I now have a special section for pieces … Read more
It’s very common for woodwind doublers to be saxophonists first, and approach the other woodwinds later, often because of the demands of flute/clarinet doubling in jazz big band music. So advice for woodwind doublers is often really advice for saxophonists playing secondary instruments. But when players of other woodwind instruments pick up the saxophone, there … Read more
