See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, October 2026 appeared first on Bret Pimentel, woodwinds.

• HeaneyMusings – Joshua Heaney (saxophone): OKMEA All-State Band Audition Tips from a Judge

See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, September 2026 appeared first on Bret Pimentel, woodwinds.

I’m pleased to share videos from my recent faculty recital at Mississippi State University.

Here’s the program and video playlist:

If you enjoyed this blog post, you might like my book.

The post Recital videos, August 2026 appeared first on Bret Pimentel, woodwinds.

See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, August 2026 appeared first on Bret Pimentel, woodwinds.

See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, July 2026 appeared first on Bret Pimentel, woodwinds.

See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, June 2026 appeared first on Bret Pimentel, woodwinds.

Here’s a new minor release of the Fingering Diagram Builder with a few improvements:

• New and significantly improved contrabassoon diagram. Thanks to several of you who contributed with keywork photos and other feedback. I haven’t had recent access to a contrabassoon myself, so if you’re a contra player and see things that need tweaking, please let me know. The old contrabassoon diagram is still available as a key set of the bassoon diagram (now called “Contrabassoon (old),” and the new one is its own separate entry (“Contrabassoon”). I’ll keep an eye on the server logs and if it looks like the old one is still getting a lot of use I’ll keep it around.
• Miscellaneous minor bug fixes.

Enjoy!

If you enjoyed this blog post, you might like my book.

The post Fingering Diagram Builder, version 0.84 appeared first on Bret Pimentel, woodwinds.

A couple of new books of duets for woodwind doublers hit my inbox recently. (I received complimentary copies without any promise of a review.) Gene Kaplan has published a second volume of his Duos for Doublers, following up the volume I reviewed previously. And Paul Saunders, whose other doubling publications I’ve reviewed, has written Six Duets for Woodwind Doublers.

As I noted in previous reviews, (solo) etudes for woodwind doublers have an issue: it’s too easy to take extra time during instrument changes, a luxury that doesn’t exist in musical theater or many other doubling scenarios. Kaplan’s two volumes solve this by pairing the player with another doubler. Saunders’s previous works provided piano accompaniment (including downloadable backing tracks). Either solution keeps the woodwind doubler accountable to another musician (at least a virtual one) to execute the quick changes without disrupting the tempo.

Saunders’s new publication expands on his previous offerings by introducing a duet format with piano or backing track. The backing tracks include versions with just accompaniment (piano plus a virtual rhythm section), or with accompaniment plus Saunders ably playing the first woodwind part, or with accompaniment plus the second part.

Kaplan’s solution of course requires a duet partner with skills on three instruments, but also provides some flexibility in rehearsal with tempos or repeating problem sections. With two volumes available, each with a dozen 2-3 page duets, this would be a great resource for a sight reading session with a friend or student. (This new volume has well-placed page turns.)

Saunders’s approach lends itself well to solo practice, and since you can play either part with Saunders covering the other, the six duets amount to twelve parts to work on. The included piano score also raises some possibilities for a polished public performance. (The introduction also indicates that the duets are composed to work without the accompaniment.)

The books are similar in instrumentation, for flute/clarinet/saxophone doublers, with the first part using alto saxophone and the second using tenor. Saunders’s book has one duet with optional piccolos. I’ve been clear that I think the flute/clarinet/saxophone doubling paradigm is outdated in the 21st century, and while the market for such things is admittedly probably small, I’d like to see more resources available that incorporate double reeds.

Both books publish the duets as separate parts, which is probably a closer match to the musical theater doubling experience, but I do prefer seeing both lines on the same page. With Saunders’s book, the additional piano score does show both parts, which could be helpful for perusal or rehearsal.

I’ve updated my Music for woodwind doublers page to include these new publications. Keep me posted if you are aware of additional ones.

If you enjoyed this blog post, you might like my book.

The post Review: New woodwind doubling duets from Gene Kaplan and Paul Saunders appeared first on Bret Pimentel, woodwinds.

• International Clarinet Association (Shawn Copeland and Jackie McIlwain): Pedagogy Corner — A Clarinetist on Her Head: Redefining Support

See the woodwind blogs I’m following, and suggest others!

If you enjoyed this blog post, you might like my book.

The post Favorite blog posts, May 2026 appeared first on Bret Pimentel, woodwinds.

When I listen to young and advancing woodwind players at the high school level (masterclass participants, scholarship or honor band auditionees, competition participants), I often think that there are some small fixes that would make a big difference in their success. There’s no substitute for lessons with a qualified teacher, but these improvements are easy and set you apart from the rest:

• Slow down a little. Speed is only impressive if your playing is clean, even, and precise. If taking a slightly slower tempo gives you better accuracy and control, do it.
• Breathe intentionally. Where you breathe in the music makes a huge difference in your phrasing. Never just play until you run out of air. Find places to breathe that sound natural. If you’re not sure, listen to a recording of a good player and copy their breaths, or record yourself and notice what sounds right or wrong. Mark the breaths in (all of them!) and practice them carefully until they are a habit.
• Do bigger dynamics. Even if you think you are already following the dynamic markings, make your softs softer and your louds louder.
• Choose reeds wisely. I hear lots of ambitious young players using reeds that are much too hard. If a little softer reed allows you to play with ease and comfort, you will probably sound better. And a performance isn’t the time to use a brand-new one, or one that is past its prime. A week or two ahead, break in some new reeds and pick the best 2-3 to have on hand.
• Relax. Tension is the biggest thing that tanks even well-prepared performances. Practice releasing the tension in your body. As you feel tension creep back in, release it again. Take advantage of rests or other pauses in the music to release once more. Try a pre-performance ritual like box breathing to reduce your adrenaline response, focus and calm your mind, and steady your hands.

Sometimes the smallest adjustments make the biggest difference. If you are an advancing player, which of these do you think would help you the most? If you’re a teacher, what small fixes do you recommend most?

If you enjoyed this blog post, you might like my book.

The post Five little things that will make a difference in your next performance, audition, or competition appeared first on Bret Pimentel, woodwinds.