- Everything Saxophone (Ben Britton): Kenny Garrett & Jazz Articulation
- The Flute View (Rena Urso): Understanding the Connection Between Your Arms and Tongue Can Improve Your Articulation
- Clarinet Divas (Diana Haskell): Female Clarinetists In U.S. Part Two – College Professors/Teachers
- ProneOboe (Jennet Ingle): Discouraging Words
- Practice Room Revelations – Jolene Madewell (flute): How I Practice Vibrato: 6 Self-Awareness Questions [Video]
- Jess Voigt Page (saxophone): Making money as a private music lesson teacher on public holidays!
- Jennifer Cluff (flute): Presto Young Person’s fingerings
- MATTHEW EMANUELSON – Blog (bassoon): 10 Tips for Audition Day
- The Flute Examiner (Keith Hanlon): Modern Piccolo Mechanisms
- Recorder Jen (Jennifer Mackerras): Choosing a new recorder – wood or plastic?
- Bill Plake Music: Clarifying A Common Misconception About Your Lungs To Help You Breathe More Optimally
- ClarinetMike Blog (Michael Dean): ClarinetMike’s Top 10 Tips for Successful Private Lessons!
- Nicole Riner, flutist: Developing your Home Music Studio: A Worksheet
- LearnSaxophoneOnline.com (Jeffrey Cunningham): 6 Steps for Learning Music by Ear
- oboeinsight (Patty Mitchell): Acknowledge the Listeners!
- Sam Newsome’s Blogspot: Soprano Sax Talk: Teachers Versus Role Models, and The Note Onion Theory
- Jenny Maclay: Common Clarinet Emergencies and How to Fix Them, and Questions to Ask Yourself for a More Productive Practice Session
- Jennifer Stucki, oboist: How does the altitude affect your reeds?
- Recorder Jen (Jennifer Mackerras): How to take apart stuck plastic recorder joints
- Angela Lickiss-Aleo: IDRS Class on Contemporary Techniques
- eflatclarinetproject (Jennifer Fraley): Getting Back to Practicing
- International Clarinet Association (Nora-Louise Müller): The Bohlen-Pierce Clarinet: Exploring a New Tonality
The Flute View (Leighann Daihl Ragusa): Developing Your Ornamental Toolbox
- Jenny Maclay: The Musician’s Guide to Studying Abroad: How to Turn Your Dreams Into Reality
- Recorder Jen (Jennifer Mackerras): How you breathe in is vital to a good recorder tone
- Dr. Pierce’s Bassoon Studio: A stand for an EWI
- Nicole Riner, flutist: A graded list of flute etude books available on Petrucci: college level
- Jennifer Stucki, oboist: Why is my Reed Playing Sharp and Flat?
- Rachel Yoder, clarinet: Objective Language in Applied Music Instruction
- Just Flutes Blog (Roderick Seed): Tips on Andersen Etudes: Op15, No. 3
- Sam Newsome’s Blogsite: Soprano Sax Talk: Acute and Chronic Practicing
- Bassoon Blog (Betsy Sturdevant): Contrabassoon for Dummies
- The Flute Examiner (Kelly Wilson): 11 Cool Things About the Tongue
- Peter da Silva Music: Woodwind Tips – Venting
- Recorder Jen (Jennifer Mackerras): Why we should all start practising long notes
- The Flute View (Jolene Madewell): 7 Tips for Sparking Joy in Your Practice Room
- Stephen Caplan embraces plastic oboes. Related: Elizabeth Brown lists some signs that your wooden oboe has a crack.
- Clarinetist Miranda Dohrman gives advice on building a freelance career.
- Jennifer Mackerras provides solutions for recorders slipping and sliding around in your hands.
- Peter Westbrook shares a 2003 interview with Herbie Mann, covering aspects of jazz flute playing, woodwind doubling, and more.
- Oboist Jennet Ingle offers some suggestions on a good mindset for solo performance.
- Clarinetist Jenny Maclay lists some reasons you might not be improving as much as you would like.
- Bassoonist Anna Norris suggests showing up for auditions.
- Michael Shults switches between jazz and classical saxophone.
- David Freeman transcribes recorder parts for Stairway to Heaven (but plays them on an electric keyboard…).
- Michael Lowenstern addresses a bass clarinet reed question.
- Flutist Vanessa Breault Mulvey discusses squeezing’s detrimental effect on flute playing.
- Saxophonist Bill Plake discusses tone imagination.
- Flutist Jolene Harju shares ideas for getting the most out of your lessons. I also liked her “Fundamentals Workout Planner.”
- Jennet Ingle learns something about disappointing performances.
- Saxophonist Jay Brandford shares an Eric Dolphy anecdote about dedication to detail in practicing.
- Matt Stohrer shares his procedure for “setting up” a new saxophone. This is sort of a commercial post, but instructive about what a new instrument might need to play to its best potential.
- Flutist Jennifer Cluff explains anchor tonguing.
My doctoral dissertation is now available online through the University of Georgia library:
It was completed in 2009 so some things are already out of date. Also, lately I’m trying to steer away from the term “ethnic” instruments (“world” instruments seems slightly less problematic until I can find a better solution).
Woodwind doubling is the practice of playing instruments from more than one woodwind family. In musical theater and film music, woodwind doublers are valuable for their ability to produce the sounds of a varied woodwind section for a fraction of the cost of hiring a specialist musician to play each instrument.
Since the 1990’s, composers and orchestrators in musical theater and film scoring have shown increased interest in instrumental sounds from outside the traditional symphony orchestra. Many have featured folk, ethnic, or period instruments as solo instruments, bringing authentic sounds to scenes set in faraway locations or historical periods, giving an exotic flair to fictional locales, or simply adding new colors to the usual palette of instrumental sounds.
Composers of film and theater scores have used ethnic woodwinds, in particular, in their scoring. To meet the demand for ethnic woodwind sounds, many prominent woodwind doublers on Broadway and in Hollywood have adopted these instruments, in addition to their usual arrays of modern Western instruments.
Eight folk, ethnic, and period woodwinds recently employed in film and theater scoring have been selected for study in this document: bamboo flutes (especially the Indian bansuri and flutes used by some flutists in Irish traditional music), the Chinese dizi, the Armenian duduk, the Native American flute, the panflutes of Romania and South America, the pennywhistle, the recorder, and the Japanese shakuhachi.
For each instrument, a representative example of use in theater or film music has been selected and transcribed from a commercial audio recording. Each transcription is discussed with emphasis on demands placed upon the ethnic woodwind musician. Additional discussion of each instrument includes suggestions for purchasing instruments, fingering charts, description of playing technique, description of instrument-specific performance practices, discussion of various sizes and/or keys of each instrument, discussion of instrument-specific notation practices, annotated bibliographies of available pedagogical materials, lists of representative recordings (including authentic ethnic music and other music), and information on relevant organizations and associations of professional or amateur musicians.
Here are the woodwind-related blog posts that made my “nice” list for December. (One from late November seems to have slipped in here, too.)
- On his new blog, Timothy Owen explains how he tunes his saxophone like an M-16 assault rifle.
- Bassoonist Betsy Sturdevant (of the Columbus Symphony) reveals her basic reedmaking method.
- Cooper Wright doesn’t just play the oboe, he plays the concert hall.
- Theresa Koenig domesticates a wild recorder.
- David Freeman experiences a gig frustration common to woodwind doublers.
- Jennet Ingle plays the oboe while sick, and learns some things about her playing.
- Trent Jacobs shares a good contrabassoon fingering chart.
- Saxophonist Bill Plake discusses advanced metronome usage.
- Steve Moffett uses a vibrato exercise to develop his flute tone.
- Jeff Cunningham has a literary adventure in the saxophone’s upper register.
- Matt London asks some important questions about the “classical” tenor saxophone.
- Bassoonist Christin Schillinger clears up some misconceptions about practicing.