Double Troubles – A collection of pieces for the aspiring Woodwind Doubler
Composed by Paul Saunders
For Woodwind Doubler (one player) and Piano
Published by Forton Music
Includes score and part
These pieces were composed as a direct consequence of the increase in College Level students studying the art of woodwind doubling. They are of moderate to advanced level and are designed to be played sitting down, with the required instruments set up on their stands in exactly the same way as if the player were in a pit or studio. The varying styles are representative of the demands that are made on today's woodwind doubler and should prove a valuable resource for experienced players wishing to improve their skills.
There and Back – Flute, Clarinet and Alto Saxophone
Perhaps the simplest track in this book, 'There and Back' is a pop-ballad that utilises the 'doubler friendly' register of the flute in its opening few bars. On changing to Clarinet, you will need to approach this section NOT as a classical player. For example the grace notes are certainly not to be played as if they were in a Mozart Divertimento! Try to retain a relaxed overview of phrasing and imagine you are singing a vocal line. All the instrument changes can be made comforatably and the Alto Saxophone section is accompanied by a light groove that's set up 4 bars before your entry. Listen to it and ensure you lock in thus enabling this section to benefit from being stylistically authentic and rhythmically precise. The final instrument change brings you back to the Flute, although this time not in as friendly territory!
Blues Cruise – Flute, Clarinet and Alto Saxophone
A fun workout for the Alto Sax is included in this piece after an opening 'Bluesy' clarinet melody. The simpler you can make that clarinet sound, the better! Stick to the rhythm of the melody like glue and SWING those quavers! The Alto change is quick, you will probably want it 'slung' from the start. The volume can creep up here, enjoy it! The middle Flute solo provides a break from all those jazz-quavers but when you get back to the Alto, you're in for the long haul. Start soft and let it build until you reach the 'silly' high notes! The last figure can be played in your own time as a cool jazzy afterthought.
Dirty Toe Rag – Clarinet, Tenor and Soprano Saxophone
One of the trickier pieces in this selection, Jennifer Whyte's Rag presents the player with ample opportunity for some 'schmaltzy' Tenor playing during the introduction, experiment with lip bends and smears until it sounds FILTHY! The change of pace suits the Soprano entry perfectly and including the occasional smeared note is certainly appropriate for this style of music. The clarinet part is hard, especially bars 108-9. Slow practice will help but always remember, this piece is supposed to be fun! The Sop Sax needs to be close at hand (maybe on your lap from bar 74) to make the LIGHTNING quick change at Bar 112. It's definitley possible, just!
Disco Nap – Flute, Clarinet and Alto Saxophone
Darren Lord's 'Disco Nap' is an upbeat number that relies heavily on tight rhythmical playing. Try to make the most of the rests/silences, short though they are. Emphasising the last note of a group (before a rest), is the correct way of articulating this piece, possibly the reverse of traditional classical phrasing. Ensuring that this happens really makes this piece leap off the page. The Alto entry in bar 70 needs to be straight but 'smoochy' at the same time. Don't be afraid of the dynamic marking and focus on making a long phrase, directly contrasting the other sections. I'll leave the final 8va Flute run up to you!
Waltz 'n All – Flute, Clarinet and Alto Saxophone
This Jazz Waltz is another challenging work that provides an opportunity to cement your approach to jazz quavers. How should they be played? Not triplets (too folky) not dotted quaver-semiquaver (too classical). Once set however, the die is cast for the whole piece, leaving you with the task of mastering the notes and slotting in to the one in a bar feel of the Jazz Waltz. As you will know by now, slow practice is the quickest route for any fast passages.
Funktion Banned – Flute, Clarinet, Tenor, Saxophone
This piece should be FUNKY! It's the hardest piece in the book demanding true versatility on all three instruments, and that's why it's last. Whilst composing this piece I attempted to make no concession for the 'welfare' of the performer… This piece therefore represents the technical expertise that is expected for today's woodwind doubler. All the writing is complex and a familiarity of authentic funk phrasing is essential.