The newly revised 2021 edition of Woodwind Doubling for Saxophone, Clarinet & Flute is an expanded 436-page comprehensive study of the art of multiple woodwind performance divided into four parts—Historical, Pedagogical, Musical Excerpts, and Essential Resources. This edition includes a new chapter on equipment; a new section on “Playing In Tune”; an enhanced study of the breathing process; additional transcriptions, musical exercises and historical photos; up-to-date information on the hiring prospects for woodwind doublers; and an expanded list of recommended recordings and study materials for multi-woodwind performers. Endorsed by woodwind artists such as Gary Foster, Ted Nash, Dick Oatts, Dan Higgins and Lawrence Feldman, Woodwind Doubling for Saxophone, Clarinet & Flute examines each of these areas in great detail and offers the aspiring “doubler” as well as the seasoned professional insight into a sector of the music industry that has previously received little or no attention in the media or press. Interviews with noted doublers from across the U.S., extensive research, and the author’s own experience from over forty-five years as a successful New York woodwind performer and music educator has served as the basis for this work. This book has become a source of reference internationally in eleven countries.Continue reading
Beyond the Notes: Musical Thoughts and Analyses by Thomas Nyfenger, Compiled & Edited by Dr. Edward Joffe.
The second book by flutist/educator Thomas Nyfenger provides a window into his musical concepts and thoughts that he had begun to write down before his untimely passing at the age of 53. Former student and friend, Dr. Edward Joffe, helped to finish the compilation of materials and edited the book. While Nyfenger’s first book, Music and the Flute, deals primarily with recommendations for how to approach the physical aspects of flute playing (embouchure, articulation, vibrato, etc.) in order to arrive at a more successful musical performance, this latest work puts greater emphasis on musical examples and Nyfenger’s approach to solving the inherent musical problems. Some of the works cited include the J.S. Bach Partita and sonatas, Handel sonatas, Mozart Concerti, Fauré Fantasy, and numerous orchestral excerpts. In addition, there are sections that deal with “Playing and Practicing” and “Survival in the Music Industry.” Finally, Nyfenger’s emphasis on harmony (“Hearing the Changes”) and how it governs the melodic line is demonstrated in two realizations that he used as teaching tools: a Jeanjean etude for solo flute with his own piano accompaniment provided and a Telemann Fantasy, now offered as a duet. This book is a tribute to the golden age of flute playing in the twentieth century when giants such as Barrère, Laurent, Moyse, Kincaid, Rampal, Dufrêne, Mariano, Tipton, Sharp, Baker and Gilbert roamed the planet and how they approached playing Beyond the Notes!
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