 The Doublers BBoard
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Author: christian10992
Date: 2011-11-28 04:01
Hello all!
I am a freshman at Southeastern Louisiana University studying music education.
From a performance standpoint, I am bassoon II for our universities wind symphony, as well as the bassoonist for our woodwind quintet. I play alto sax in marching band, and soprano in one of the sax quartets. I also play euphonium in basketball band. Perform on tuba occasionally as well, and can play a bit of oboe.
As of recent, I have become interested in performing more, especially pit doubling. I have also started tackling clarinet/bass clarinet. I was hoping to get some pointers and perhaps a general overview of the whole scene.
Both my bassoon and saxophone teachers have a lot of experience doubling, and many of their students have gone on to be quite successful, so I feel like I am on the right track, but would like some outside input as well.
Christian Harris
Southeastern Louisiana University
Post Edited (2011-11-28 04:06)
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Author: Joseph Tomasso
Date: 2011-11-28 05:08
practice
practice
practice
When I got my masters in multiple woodwind performance I was in the practice room at least 8 hours a day (this does not include ensembles or other rehearsals). I often turned down extracurriculars (like clarinet choir) for practice time. Bummer, but worth it in the long run.
You will have to spend at least some time treating each "secondary" instrument as a main instrument. I double majored in clarinet/saxophone as an undergrad, but my "junior year" was basically a year of all clarinet with trying my best to move forward on saxophone. I also took two summers to study primarily clarinet back then as I started as a classical saxophonist. Depending on how well you take to an instrument, you might find just a few summers switching your primary to be enough. You may also find you take a full year (perhaps between degrees) to focus 80% on flute, and 20% on staying in shape on the other instruments. Work with your teacher, they will know how to guide you.
In my MM I actually took the first summer off from everything to work on oboe reeds and of course oboe. It was rough... there were days all I wanted was to pick up a clarinet or saxophone and play something that gave me confidence, but I got through it all for the better.
Get multiple degrees if you're interested in teaching. if you just want to perform what the paper says does not matter as much as your ability to play, but if you have any interest in academia those diploams are super important. Multiple Woodwind degrees or degrees in multiple instruments make you more attractive for a faculty position looking for a woodwind specialist.
Finally, make sure you're mentally prepared. You will work harder than your peers and often feel that you're ignored because you are "just a doubler." Put that energy into practicing. Once I won a few auditions and competitions things started to really pick up for me and people started to respect me as a musician first and doubler second. There is no magic there, just a lot (i'm serious) of practicing.
Oh, and listen to the greats. Hold yourself to their standard. When you play oboe you have to sound like its the only instrument you play. When you play clarinet, the same. Hiring a doubler because they can fumble through the parts doesn't really happen outside of the community groups. Hiring a doubler because they are both the best saxophonist and best bassoonist in town is what works
now go practice!!!!!!
Bachelor of Music, Sax/Clarinet Performance (2005, 06)
Master of Music, Multiple Woodwind Performance (2008)
Master of Music, Oboe Performance (2013)
Gainesville Chamber Orchestra (Clarinet)
University of Florida 2010-2011(Visiting Lecturer in Woodwi
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Author: christian10992
Date: 2011-11-28 12:22
Thanks,
I know what you mean about taking taking time to focus on one instrument over the over. This has certainly been a saxophone semester for me, which before has always been a secondary instrument for me. Not that I haven't made adequate practice on bassoon, and kept up on my others as well.
I'm trying my hardest to get at least two to three hours a day of practice in, but as freshman, I have a huge course load. I try and spend whatever free time I have holed up in a practice room.
I was also wondering, for low reed doublers, do the books also call for higher voices? Bassoon, bari, and bass clar. I think wouldn't be too much for me to handle, I'm used to making more awkward switches, but is there often a lot of flute or soprano instruments thrown in there?
Christian Harris
Southeastern Louisiana University
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Author: rcnelson
Date: 2011-11-28 17:43
Christian,
To answers your last question, checkout http://bretpimentel.com/woodwinds/doubling/shows/. Dr Bret Pimental has compiled over the past several years the best collection of what instruments are needed in the various shows. Normally, the Reed IV or V book is the low reed book, with an occasional flute and/or Bb clarinet needed.
Good luck with your future. Being a multiple woodwind player (I hesitate on calling it doubling) is one of the most challenging and yet at the end of the day (or run of show) is the most satisfying of musical experiences.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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