Recital videos, August 2026
Iām pleased to share videos from my recentĀ faculty recital at Mississippi State University.
Hereās the program and video playlist:
Iām pleased to share videos from my recentĀ faculty recital at Mississippi State University.
Hereās the program and video playlist:
Hereās a new minor release of the Fingering Diagram Builder with a few improvements:
Enjoy!
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.
Just one to share this month:
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:
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?
When I’m working with new or prospective college music students, one thing that I often hear in their auditions or early lessons is awkward ornamentation. Here are some common pitfalls:
Graceful ornaments raise the maturity level of your playing, and audition judges notice. Don’t wing it!