woodwind methods: the reference book

i

Woodwind Methods

I. Breathing and Support pp. 1-2 II. Clarinet pp. 3-37

a. Playing Information pp. 3-27 i. Fingering chart/Alternate Fingerings/resonance fingerings/alternating

pinkies pp. 3-9 ii. Assembly pp. 10-13

iii. Posture p. 14 iv. Hand Position pp. 14-15 v. Embouchure pp. 16-19

vi. Tone pp. 20-24 1. Problems in tone p. 20 2. Intonation pp. 20-22 3. Vibrato p. 22 4. Tone Exercises pp. 23-24

vii. Tonguing pp. 25-27 1. Double/Triple Tonguing p. 26

viii. Problems and Other Information p. 27 1. Crossing the break p. 27 2. Registers p. 27

b. The Clarinet Family pp. 28-29 c. Hardware pp.

i. Instrument Care p. 30 ii. Mouthpieces, Reeds, and Ligatures p. 31

iii. Instruments p. 32 iv. Mouthpieces p. 33 v. Reeds pp. 34-36

d. “Clare ‘N’ Ed in Paradise” p. 37

III. Saxophones pp. 38-66 a. Playing Information pp. 38-51

i. Fingering chart/Alternate Fingerings pp. 38-40 ii. Assembly pp. 41-43

iii. Posture p. 44 iv. Hand Position pp. 44-45 v. Embouchure pp. 46-47

vi. Tone pp. 48- 1. Problems in tone p. 48

ii

2. Intonation p. 49 3. Vibrato pp. 50-51

vii. Tonguing pp. 52-54 1. Double/Triple Tonguing p. 54

viii. Problems and Other Information p. 55 b. The Saxophone Family pp. 56 c. Hardware pp. 57-65

i. Instrument Care p.57 ii. Purchasing an Instrument p. 58

iii. Mouthpieces pp. 58-59 iv. Ligatures p. 59 v. Reeds p. 59

vi. Mouthpiece Charts pp. 60-61 vii. Reed information pp. 62-65

d. “In All Saxuality…” p. 66

IV. Flute pp. 67-91 a. Playing Information pp. 67-82

i. Fingering chart/Alternate Fingerings pp. 67-69 ii. Piccolo alternate fingerings pp. 70-71

iii. Assembly p. 72 iv. Posture p. 73 v. Hand Position pp. 74-75

vi. Embouchure pp. 76-79 vii. Tone pp. 80-82

1. Problems in tone p. 80 2. Intonation p. 80 3. Vibrato p. 81 4. Tone Exercises p. 82

viii. Tonguing pp. 83-84 1. Double/Triple Tonguing p. 84

ix. Problems and Other Information p. 85 b. The Flute Family p. 86 c. Hardware pp. 87-90

i. Care and maintenance p. 87 ii. Instrument Purchase pp. 87-88

iii. Piccolo Purchase pp. 88-89 iv. Flute options p. 90

d. “Flute of the Loom” p. 91

iii

V. Oboe pp. 92-116

a. Playing Information pp. 92-104 i. Fingering chart/Alternate Fingerings pp. 92-94

ii. Octave key exercises p. 95 iii. Assembly p. 96 iv. Posture p. 97 v. Hand Position pp. 97-98

vi. Embouchure pp. 99-100 vii. Tone pp. 101-102

1. Problems in tone p. 101 2. A Note on Oboe Tone p. 101 3. Intonation pp. 101-102 4. Vibrato

viii. Tonguing pp. 103-104 b. Problems and Other Information p. 105 c. The Oboe Family p. 106 d. Hardware pp. 107-115

i. Instrument Care p. 107 ii. Instruments pp. 108-109

iii. Reeds pp. 110-115 e. “O’Boe, Another Blasted Exam” p. 116

VI. Bassoon pp. 117-140

a. Playing Information pp. 117-140 i. Fingering chart/Alternate Fingerings pp. 117-118

ii. Assembly pp. 119-120 iii. Posture p. 121 iv. Hand Position pp. 121-122 v. Embouchure pp. 123-124

vi. Tone pp. 125-127 1. Problems in Tone p. 125 2. Intonation pp. 125-127 3. Note on Tuning p. 127 4. Vibrato p. 127

vii. Tonguing p. 128-129 1. Double/Triple Tonguing p. 128

viii. Problems and Other Information p. 129 1. Flick Keys p. 129-130 2. Clef Issues p. 129

iv

b. The Bassoon Family p. 131 c. Hardware pp. 132-139

i. Instrument Care p. 132 ii. Instruments p. 133

iii. Reeds pp. 134-139 d. “Song for Screaming Bedposts” p. 140

VII. Appendices pp. 141-150

a. Methods and Materials Handout pp. 141-147 b. Ranges pp. 148-149 c. Transpositions p. 150

1

Breathing and Support

A breath when playing a woodwind instrument consists of three steps: inhalation, exhalation and

support. Those who play woodwind instruments must take great care not to forget these

important steps – PRACTICE PRACTICE PRACTICE!!!

Inhalation • Inhalation is a function of the diaphragm and two sets of supporting muscles, one in the

front of the body, the other at the back. • When air is drawn in, the downward movement it produces pushes against body organs,

producing a perceptible movement of the abdominal area. • Diaphragmatic breathing fills the lungs with air from the bottom to the top; it is a deep

breath. • No movement from the shoulders should occur when taking a breath for a woodwind

instrument. When completely filled, the lungs will push the chest outward a bit, but no other movement of the chest is needed or desired.

Exercises in Breathing:

1. Place one hand on the chest and the other at the waistline. Instruct the student to take a slow, deep breath. If the hand on their waistline moves and the hand on their chest remains stationary, the breath was sufficient.

2. Place the back of the hands on the lower back muscles. If inhalation is correct, the student should also feel expansion here.

3. Grasp the side of the body with thumbs just under the rib cage. The student should feel expansion.

4. Imagine the belly is a balloon – now imagine inflating it fully. 5. Put the arms behind the back, pushing the shoulders backward, and then inhale. This

method does not allow chest breathing, so it gives students a feel for where their air needs to go.

6. Take a breath as if yawning. The expansion of the stomach with the air intake is from the diaphragm (Use this exercise with students cautiously, lest they doze off).

Exhalation and Support

• During natural exhalation, a set of muscles that were previously relaxed in inhalation contract. These muscles provide the basis for support.

• Support is the isometric tension between inhalation and exhalation muscles.

Exercises in Exhalation:

1. Place one hand at the waistline. Inhale and exhale. Notice the inward motion during the exhale.

2

2. With one hand at the waistline, say “ha” several times, and notice the thrusting of the exhalation muscles.

Exercises in Support:

1. Have the student take a deep breath. Then have them exhale their air slowly through a small opening in their lips. This should create a firm tension in the lower abdominals.

2. Push tip of thumb into lower abdominals. Breathe deeply and hiss on the exhale. A downward, outward motion should be felt by the thumb.

3. Imagine blowing out a ludicrously long row of candles. The student will form a small aperture (as if blowing out candles) with her or his lips. Have the student take a deep breath and blow out as many candles as possible – this means using a supported air stream for a significant length of time.

4. Piece of paper

a. Method one: Hold a piece of paper against a stand about a foot from the student’s mouth. Tell him or her that you are going to drop the paper and that she or he must use air to keep it in place. It may help to ask the student to aim their air at a specific spot on the paper.

b. Method two: Hold a piece of paper, perpendicular from the floor, about a foot from the student’s mouth. Have the student use a supported airstream to make the paper parallel with the floor and to keep it like that for as long as possible.

5. A helpful analogy: Support muscles are the very same muscles used when taking a No. 2 in the loo.

5

Resonance Fingerings Leave Right Hand 1, 2, and 3 down when playing G, A-flat, A, and B-flat

Add:

G A-flat A B-flat

Alternating Pinkies:

When two or more notes that use a pinky follow each, pinkies should alternate between left and

right.

OR OR

10

Assembly

1. Put the bell on the lower joint using a slight twisting motion.

2. Pressing down the rings on the upper joint to raise the upper bridge key, add it to the lower

join with a slight twisting motion. Line up exactly the upper and lower bridge keys.

3. Add the barrel joint.

4. Add the mouthpiece from which the cap, ligature, and reed have been removed. Line up the

center of the flat side of the mouthpiece with the register key on the bottom of the clarinet.

Reference Figure C.2, C.3

(Taken from pg. 53 of Guide to Teaching Woodwinds)

Cork Grease:

1. Apply cork grease to cork.

2. Spread with finger.

3. Grease corks weekly.

Reed Placement:

1. Place reed completely in mouth until moistened thoroughly.

2. Place the ligature with screws loosened about half way down the mouthpiece, holding it

away from the flat portion of the mouthpiece.

3. Holding the reed with the thumb and forefinger of the right hand, slip it under the top of

the ligature.

4. Slide the ligature down so the top of the ligature is at the bottom of the scrape of the reed.

5. Position the reed so that both top and bottom are exactly centered on the mouthpiece.

6. The reed is the proper distance from the tip if the hairline of black can be seen when the

tip is pressed against the tip of the mouthpiece.

7. Tighten the screws of the ligature just until snug.

8. Place mouthpiece cap on mouthpiece when not in use.

(Paraphrased from pg. 55-56 of Guide to Teaching Woodwinds)

13

Posture

14

When sitting: 1. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot

should be slightly in front of the other. Sit up straight.

2. The clarinet is held directly in the center of the body at an angle of 30-40 degrees.

*Rest Position: Place the clarinet diagonally across the lap with the tone holes up.

When standing:

1. Stand erect with feet shoulder width apart, one foot slightly ahead of the other to help

maintain balance.

2. The clarinet is held directly in the center of the body at an angle of 30-40 degrees. (Paraphrased from pg. 58 of Guide to Teaching Woodwinds)

Hand Position Hang hand at side to achieve desired hand position. Hands should be naturally relaxed.

Right Hand:

Thumb – contacts the thumb rest on the flesh to the side of and at the base of the nail.

Pinky – touches the F key.

Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the

finger should be used.

Left Hand:

Thumb – closes the tone hold and operates the register key. Place at diagonal angle across

the angle so that the ball is closing the hole and the register key is operated by the tip.

Operate the register key by vertical movements of the first joint of the thumb.

Pinky – touches the E key.

Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the

finger should be used.

For beginners: to simplify hand position, use left hand only. The right hand may simply hold on

to the thumb rest. (Paraphrased from pg. 61-66 of Guide to Teaching Woodwinds)

15

Embouchure:

16

Forming the Embouchure:

1. With the lips together, lower the lower jaw so the teeth are 3/8” apart, without pushing the lower

jaw forward.

2. Say the syllables “dee-oo” or “wee-too” to form the proper lip formation.

3. The lower lip should be over the lower teeth. The amount of lip over the teeth depends on facial

structure.

4. Insert mouthpiece into mouth. The lips should close around the mouthpiece and reed, with the

corners of the mouth pulling towards each other (like a drawstring bag).

5. There should be enough reed in the mouth so that the reed is able to vibrate freely.

6. The upper teeth should rest on the top of the mouthpiece, but they should not bite down.

7. The lower teeth should support the lip without biting.

8. The chin should be firm while pulling downward.

Problems in Forming the Embouchure:

1. Students with thin lips may need to put more lip over the lower teeth, and vice versa.

2. Adjust the amount of mouthpiece in the mouth if tone quality is problematic.

3. Sometimes the mouthpiece is the problem. Consider having the student try different mouthpieces

if the current one is not working.

4. Biting is bad. If a student bites, the tone can become thin and they may have difficulty producing

higher notes. The lips should be tight around the mouthpiece, but the inside of the mouth should

be open.

5. Make sure the lips seal around the mouthpiece so no air escapes.

6. If the chin muscles are not firm, the student will typically compensate with a biting embouchure.

7. Puffing cheeks are a sign of lack of support or escaping air. To remedy this, have students play a

note with just their left hands so that they can feel their cheeks with their other hands.

8. If dimples form when playing, there can be a loss of tone quality and control.

9. Air pockets under lips can lessen support and tonal control.

10. If a reed is too soft, the notes will tend to be flat and the student will bite to compensate. If the

reed is too hard, the tone will be uncontrolled and the student will also bite to compensate. (Paraphrased from p. 70-72 of Guide to Teaching Woodwinds)

19

Tone:

20

1) Problems in Tone:

A) Worn reed: A damaged reed is frequently the sole cause of poor tone. Pay close attention to

students’ reeds – students will play on atrociously tattered reeds. Reeds that are covered in a dingy crust

should also be discarded.

B) Small, pinched, or muffled tone: This may be caused by too much pressure from the lower jaw

or because of too little mouthpiece in the mouth. Asking the student to play flatter will often help resolve

this issue.

C) Squawky tone: The uncontrolled tone (stereotypically associated with beginning clarinetists)

resulting in squawking is the result of a reed unsupported by the lower lip, lack of lip pressure from all

sides of the mouth, or a poor reed.

D) Hard, cold tone: This is caused by a reed that is too hard or a mouthpiece with a lay that is too

long or open.

E) Squeaking: Also stereotypically associated with clarinets, squeaking is most often caused by a

tone hole being incompletely covered. It can also be caused by a leaky pad, the reed, or by an embouchure

dealing unequal pressure on the reed.

F) Weak, colorless tone: Most often caused by lack of breath support.

G) Loud, raucous tone: Most often caused by too much breath support and over-blowing. This can

also be caused by a mouthpiece with a very open tip and the use of reeds that are too hard.

H) Control of soft tone: Difficulty producing and maintaining soft tone is usually the result of the

student not using proper breath support or a constant air stream.

I) Throat tone resonance: The addition of resonance fingers is standard for improving the tone

quality of the throat register. Consult the section on fingerings for the resonance fingerings.

J) Dynamics: Extremely loud and soft dynamics can cause problems with tone if the student does

not have a developed embouchure.

K) If tone problems continue despite other efforts, consider a new mouthpiece. The mouthpiece that

comes with a new clarinet is frequently sub-par at best. Consult the section on mouthpieces for

information about choosing an appropriate model.

2) Intonation:

A) Crossing the Break: Unlike the other woodwind instruments, the clarinet does not operate in

terms of an octave. Rather, adding the register key produces a note a twelfth above the otherwise

normally fingered note. Because of this, the clarinet encounters many intonation problems associated with

the break.

21

B) Natural Tendencies:

C) Embouchure: Sharpness in the clarion and high registers can be indicative of too little

mouthpiece in the mouth. Too little mouthpiece can cause overall flatness, but it can also make

controlling the pitch of individual notes challenging. The angle of the instrument also affects intonation.

If the angle is too wide, the embouchure will become unsupported and the pitch will drop. Likewise, an

angle less than forty-five degree causes the pitch to become sharp.

D) Reed: A reed that is too hard tends to cause sharpness, while a reed that is too soft can lead to

flatness. However, a soft reed will also cause the instrument to play out of tune with itself.

E) Mouthpiece: Not all mouthpieces are equal. However, with the proper reed the particular design

of any given quality mouthpiece can be successfully played by the student. Teachers should check their

students’ mouthpieces for any flaws as any problem with the mouthpiece itself will dramatically affect the

tone of the instrument.

F) Dynamics: The clarinet tends to fall flat at louder dynamic levels and rising sharp as the

dynamics become softer. Proper diaphragmatic support is necessary for maintaining intonation.

G) Barrel: If the player is consistently flat and other variables have been ruled out, the barrel may

be too long for the particular instrument they are playing. If the player consistently has to pull the barrel

out more than a quarter of an inch, the barrel is too short. If the barrel is very short, the player may

consistently pull out the upper joint or require the use of tuning rings. A student’s embouchure, breath

support, mouthpiece, and reed should be considered before the barrel.

H) In Ensemble: The clarinetist should listen to others in ensemble, but playing the instrument in

tune with itself is fundamental.

I) A-440: Clarinets are manufactured to tune with A-440, so deviations from this standard will

ultimately cause intonation problems.

J) Adjusting Individual Notes: A variety of changes to basic fingers can be made to improve the

tone quality. Generally, covering tone holes raises the pitch and opening them lowers it.

22

K) Warming Up: Most intonation problems associated with a cold instrument will be resolved after

five minutes of warming up.

3) Vibrato: Vibrato is not yet considered standard for the clarinet.

(Paraphrased from pg. 73-79 & 281of Guide to Teaching Woodwinds)

24

Tonguing:

25

a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and breath support.

Placement of Tongue:

a) Exactly where and how the tongue touches the reed depends on embouchure formation. b) The tongue acts as a valve – as the breath support remains constant, the tongue stops and

releases the air to articulate notes. c) More air pressure makes a louder note, and more pressure on the tongue before the

release makes a harder articulation. d) In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the

tongue moves, and (3) the tongue is a valve and depends on good air support. First method:

a) With correct embouchure formation and mouthpiece placement, the tip of the tongue should be in the V-shaped pocked formed by the reed and lower lip meeting.

b) The top of the tongue touches the reed lightly about 3/8” from the tip. c) Air is built up behind the tongue and is released as if saying the word “too.”

Second method:

a) With correct embouchure formation and mouthpiece placement, the tongue is drawn more up and back, with the throat remaining open.

b) The tip of the tongue placed about 1/8”-1/16” from the tip of the reed. c) The air behind the tongue is released as if saying “du.”

Anchor Tonguing:

a) This method generally used for students with longer tongues than normal. b) With correct embouchure formation and mouthpiece placement, the tip of the tongue is

anchored against the base of the lower teeth. c) With the tip anchored, the upper part of the tongue contacts the reed 1/8”-1/2” from the

tip. The exact spot will be found naturally.

Introducing Tonguing:

a) Tonguing should be introduced after the correct embouchure and breathing have been established.

b) Students should begin tonguing with the following exercises:

“toot” “toot”

air

air

“toot” “toot” “toot” “toot”

etc…

26

Problems with Introducing Tonguing:

1. too much tongue is moving 2. lack of breath support 3. articulating with the throat – auditory and visual “glug” 4. chewing, moving lips and jaws

Common articulation problems:

1. If the jaw is moving, this means that the tongue is moving too much and therefore wasting energy. The student should practice in front of the mirror to eliminate all movement.

2. Sluggish tonguing can only be fixed over time through diligent practice with a metronome.

3. Too much tongue pressure against the reed will cause a hard attack. Try changing the syllable from “too” to “doo,” “loo,” or even “noo.”

4. Poor staccato may be the result of poor breath support, or not maintaining support between notes. If the breath support is constant, then the problem is most likely with the tongue and can be fixed by practicing the beginning exercises previously mentioned in these notes.

5. Poor coordination between the tongue and fingers is the result of trying to play too fast. This can only be fixed by practicing music at a slow tempo with a metronome and gradually moving the speed up.

Other Tonguing Techniques:

1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing. The syllables used are “tu-ku” or “du-gu.” Often the hardest part is matching the attack and tone of each syllable, and so this technique should be practiced slowly and with a metronome at first.

2. Triple tonguing is similar to double tonguing, except the syllables are “tu-tu-ku” or “tu-ku-tu.” This should be practiced slowly with a metronome at first in order to match the sound of the syllables.

3. Flutter tonguing is rare but being used more and more in modern music. It is an advanced technique that basically incorporates trilling the tongue, as if saying a British “br-r-r-r-r.”


Common Problems and Other Useful Information

27

Crossing the break The break on the clarinet occurs between the third line B-flat throat tone and B-natural in the

clarion register. The fingerings in the chalumeau register are repeated in the clarion register with

the addition of the register key. The register key raises the pitch by a 12th. Ex. Fingering a G in

the chalumeau register will sound as a D in the clarion register with the addition of the register

key. To facilitate crossing the break, use resonance fingers to improve tone and make crossing the

break technically easier.

Registers: The clarinet has four registers that take their names from historical instruments and other sources. The

ranges for each of these registers are:

The Clarinet Family A Brief History The ancestor of the clarinet was the chalumeau which first appeared in ancient Greece. The

chalumeau had no mouth piece and the reed was cut as a part of the instrument. The register of

the present day clarinet is named after this instrument.

The modern clarinet was invented by Johann Christoph Denner in Nuremburg. In 1690,

Denner added the register key which greatly increased the range. The origin of the name clarinet

is unknown, but it is believed that the clarinet replaced the clarion trumpet in the orchestra. In

28

1810, Ivan Mueller produced a 13 key clarinet and it became the standard instrument of today.

Theobald Boehm developed the present day fingering system. Hyacinthe Eleonore Klose

developed the Boehm system clarinet in 1850. Klose also developed a system of learning which

is still important in clarinet study today. (Paraphrased from pg. 52 of Guide to Teaching Woodwinds)

E-flat Clarinet

• Fingered the same as B-flat clarinet

• Requires more support and less air

• Necessary for staples of band literature

• Less mouth piece in mouth

A Clarinet

• Used in orchestral and chamber music

• No sound difference from B-flat clarinet

• Same fingerings/same mouth piece

• Different keyed instruments make orchestral and chamber playing easier

• Mozart wrote clarinet concerto for A clarinet

E-flat Alto Clarinet

• Bastard child of the clarinet family

• Didn’t exist until band programs grew in the U.S. in the 50’s and 60’s

• Included in Hindemith’s Symphony for Band

Basset Horn

• In F

• Light sound

• Longer than B-flat clarinet

• Included in Mozart Requiem

Bass Clarinet

• Adolf Sax developed the modern bass clarinet

29

• Same fingerings as B-flat until the altissimo register. Alternate fingers are also different.

• Have half hole fingerings

• Bass clarinet and beyond go down to E-flat

Instruments Care and Maintenance

1. Remove reed and wipe excessive saliva on pants. Remove mouthpiece and place cap back on

mouthpiece.

2. Drop weighted end of swab in bell. Pull swab through instrument.

3. Disassemble the clarinet in reverse order from assembly.

Cleaning the Mouthpiece Use a Kleenex, lukewarm water, and nonabrasive soap.

Oiling Mechanisms

30

Put a dot of oil on each moving part. Dab with paper towel to remove excess oil.

Changing Pads

1. Place pad back on key in its original position. This ensures that the pad will seal.

2. Use a lighter to heat the glue of the pad.

3. Press down the key with a paper towel. Caution: This will be hot.

Sticking Pads Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed

cigarette paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be

removed and key should function normally.

Instrument should be taken to a repair shop for major problems and for regular

maintenance one to two times a year.


Mouthpieces: Update mouthpiece in High School. Buy VanDoren B45 or M13 or Selmer105-115.

Reeds: Beginner:

These are the cheapest reeds. They almost always work; however, the sound quality is poor. These

reeds will last about 1-2 weeks.

Intermediate:

These reeds are of higher quality and sound better, but are more expensive. They come in boxes of

ten, but not all ten reeds will work well. These reeds should last 2-3 weeks.

Advanced:

These reeds sound the best, last the longest, articulate better, but are most expensive. Fewer of them

work out of the box. You should pay no more than 30-40% off list price.

31

Ligatures: Most ligatures that come with beginning instruments are of poor quality. Throw away and use Luyben.

Discard any bent or broken ligatures.

40

Assembly

41

1. Put the neck strap around the neck.

2. Take the body of the instrument from the case, holding by the bell. Hook the neck strap to

instrument. Remove end plug.

3. Ensure tension screw is loose. Push neck fully on the body and line up the brace on the bottom of

the neck so that it is centered on the connecting lever on the body. Tighten tension screw.

4. Push the mouthpiece on so that at least half the cork is covered.

5. Adjust the neck strap so that the mouthpiece enters the mouth at a slight upward angle. Rotate

mouthpiece so that it is parallel with the floor. (Paraphrased from pg. 120-121, 124 of Guide to Teaching Woodwinds)

Cork Grease:

4. Apply cork grease to cork.


6. Grease corks as necessary.

Reed Placement:

9. Place reed completely in mouth until moistened thoroughly.

10. Place the ligature with screws loosened about half way down the mouthpiece, holding it away

from the flat portion of the mouthpiece.

11. Holding the reed with the thumb and forefinger of the right hand, slip it under the top of the

ligature.

12. Slide the ligature down so the top of the ligature is at the bottom of the scrape of the reed.

13. Position the reed so that both top and bottom are exactly centered on the mouthpiece.

14. The reed is the proper distance from the tip if the hairline of black can be seen when the tip is

pressed against the tip of the mouthpiece.

15. Tighten the screws of the ligature just until snug.

16. Place mouthpiece cap on mouthpiece when not in use. (Paraphrased from pg. 55-56 of Guide to Teaching Woodwinds)

43

Posture When sitting:

3. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot should be

slightly in front of the other. Sit up straight.

4. For beginners: Place the instrument to the right of the body with the instrument against the side

of the leg.

5. For advanced students: Place the saxophone directly in front of the body.

*Rest Position: Rest the curve of the bell on the right leg.

When standing:

3. Stand erect with feet shoulder width apart, one foot slightly ahead of the other to help maintain

balance.

4. Place the instrument to the right of the body. Hold instrument in place with right thumb. The

instrument should not rest against the body. (Paraphrased from pg 124-125of Guide to Teaching Woodwinds)

Hand Position Right Hand:

44


Pinky – touches the C key.

Remaining fingers – rest an inch above buttons. When playing, the fleshy part of the finger

should be used.

Left Hand:

Thumb – place at diagonal angle across the angle so that the ball is closing the hole and the octave

key is operated by the tip. Operate the octave key by vertical movements of the first joint of the

thumb.

Pinky – touches the G# key.

Remaining fingers - rest an inch above buttons. When playing, the fleshy part of the finger should

be used. (Paraphrased from pg. 127-128 of Guide to Teaching Woodwinds)

45

Embouchure: Forming the Embouchure:

1. With the lips together, lower the lower jaw so the teeth are 3/8” apart, without pushing the lower jaw forward.

2. Shape the lips as if saying “O” or “voo.” 3. The lower lip should be over the lower teeth.

The amount of lip over the teeth depends on facial structure.

4. Insert mouthpiece into mouth. The lips should close around the mouthpiece and reed, with the corners of the mouth pulling towards each other (like a drawstring bag).

5. There should be enough reed in the mouth so that the reed is able to vibrate freely. 6. The upper teeth should rest on the top of the mouthpiece, but they should not bite down. 7. The lower teeth should support the lip without biting. 8. The corners of the lips should draw in slightly more than the top and bottom of the lips. 9. The chin should be firm while pulling downward.


1. The amount of mouthpiece in the mouth depends on the lower lip supporting the reed at the point which the side rails break away from the reed.

2. Students with thin lips may need to put more lip over the lower teeth, and vice versa. 3. If the chin muscles are not firm, the student will typically compensate with a biting

embouchure. 4. If a reed is too soft, the notes will tend to be flat and the student will bite to compensate.

If the reed is too hard, the tone will be uncontrolled and the student will also bite to compensate.

Lips around the mouthpiece

46

5. Puffing cheeks are a sign of lack of support or escaping air. To remedy this, have students play a note with just their left hands so that they can feel their cheeks with their other hands.

6. If dimples form when playing, there can be a loss of tone quality and control. 7. Make sure the lips seal around the mouthpiece so no air escapes. 8. Air pockets under lips can lessen support and tonal control.


47

Tone: 1) Problems in Tone: A) Worn reed: A damaged reed is frequently the sole cause of poor tone. Pay close attention to

students’ reeds – students will play on atrociously tattered reeds. Reeds that are covered in a dingy crust

should also be discarded.

B) Small, pinched, or muffled tone: This may be caused by too much pressure from the lower jaw

or because of too little mouthpiece in the mouth. Asking the student to play flatter will often help resolve

this issue.

C) Squawky tone: Tone lacking focus is the result of a reed unsupported by the lower lip, lack of lip

pressure from all sides of the mouth, or a poor reed.

D) Hard, cold tone: This is caused by a reed that is too hard or a mouthpiece with a lay that is too

long or open.

E) Squeaking: Squeaking is not as common on the sax as it is on the clarinet. It is most frequently

caused by a leaky pad, a poor reed, an embouchure dealing unequal pressure on the reed, or a non-parallel

mouthpiece position.

F) Weak, colorless tone: Most often caused by lack of breath support.

G) Loud, raucous tone: Most often caused by improper embouchure or the amount of mouthpiece in

the mouth. This can also be caused by a mouthpiece with a very open tip and the use of reeds that are too

hard.

H) Dynamics: Extremely loud and soft dynamics can cause problems with tone if the student does

not have a developed embouchure.

I) If tone problems continue despite other efforts, consider a new mouthpiece. The mouthpiece that

comes with a new saxophone is frequently sub-par at best. Consult the section on mouthpieces for

information about choosing an appropriate model.

48

2) Intonation: A) Natural Tendencies:

B) Reed: Assuming a correct embouchure, a consistently flat pitch is caused by a reed that is too

soft while a consistently sharp pitch is caused by a reed that is too hard.

C) Embouchure: Too little mouthpiece in the mouth causes biting and makes the higher registers

flat despite the natural tendencies of the instrument. Too much mouthpiece makes notes flatter and

reduces the amount of control player has on individual notes.

D) Angle: If the angle of the mouthpiece entering the mouth is too far downward, the pitch will

drop. If the angle is too far upward, the overall pitch will tend sharp.

E) Mouthpieces: If other causes of intonation problems have been eliminated, yet problems persist,

consider trying other mouthpieces. Consult the section on mouthpieces for more information.

F) Mechanism Adjustments: If notes are consistently out of tune, look at the mechanism to

ascertain whether the pads are in the proper position.

G) Dynamics: The saxophone tends to play flatter at louder dynamics and sharper at softer

dynamics. Soft dynamics require firm support, a decrease in the amount of air, and a somewhat more

open embouchure. More lip pressure and a slightly more open embouchure (to facilitate reed vibration)

will help avoid flatness in the upper register.

H) Individual Notes: A variety of changes to basic fingers can be made to improve the tone quality.

Generally, covering tone holes raises the pitch and opening them lowers it.

49

I) The saxophonist should listen to others in ensemble, but playing the instrument in tune with itself

is fundamental.

3) Vibrato A) Qualities: Unlike vibrato for flute, oboe, and bassoon, saxophone vibrato should be lip-jaw

oriented. A student switching from an instrument that uses diaphragm vibrato may encounter difficulty

and will likely use a combination of the lip-jaw and diaphragm vibratos for a time, but they should make

the switch complete with practice. Vibrato on the saxophone should not change the pitch of the note

produced, nor should it be a strong change in intensity (which can result from a diaphragm vibrato).

Rather, vibrato on the saxophone should be slight changes in intensity based on the small changes in

embouchure pressure from lip or jaw.

B) Shape: The shape of the saxophone vibrato is as follows -

An improper vibrato produces a “Wah” sound, as follows –

C) Introduction: The student should begin on a B (one finger) with a fermata. When the student has

achieved a good tone on this note, have them begin the following exercises, using the syllable “Voo” on

each note. Make sure the student uses a metronome so his or her developing vibrato is consistent from the

beginning. Mark passages to use vibrato in the music (especially for students who are in the process of

learning it).

50

(Paraphrased from pg. 139-143 & 281-282 of Guide to Teaching Woodwinds)

51

Tonguing: a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and breath

support.


a) Exactly where and how the tongue touches the reed depends on embouchure formation.

b) The tongue acts as a valve – as the breath support remains constant, the tongue stops and releases

the air to articulate notes.

c) More air pressure makes a louder note, and more pressure on the tongue before the release makes

a harder articulation.

d) In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue

moves, and (3) the tongue is a valve and depends on good air support.

First method:

a) With correct embouchure formation and mouthpiece placement, the tip of the tongue should be in

the V-shaped pocked formed by the reed and lower lip meeting.

b) The top of the tongue touches the reed lightly about 1/2” from the tip.

c) Air is built up behind the tongue and is released as if saying the word “too” or “du.”

Second method:

a) With correct embouchure formation and mouthpiece placement, the tongue is drawn more up and

back, with the throat remaining open.

b) The tip of the tongue placed about 1/4”-1/8” from the tip of the reed.

c) The air behind the tongue is released as if saying “du.”

Anchor Tonguing:

a) This method generally used for students with longer tongues than normal.

b) With correct embouchure formation and mouthpiece placement, the tip of the tongue is anchored

against the base of the lower teeth.

c) With the tip anchored, the upper part of the tongue contacts the reed. The exact spot will be found

naturally.

52




Problems with Introducing Tonguing:

1. too much tongue is moving

2. lack of breath support

3. articulating with the throat – auditory and visual “glug”

4. chewing, moving lips and jaws


1. If the jaw is moving, this means that the tongue is moving too much and therefore wasting

energy. The student should practice in front of the mirror to eliminate all movement.

2. Sluggish tonguing can only be fixed over time through diligent practice with a metronome.

3. Too much tongue pressure against the reed will cause a hard attack. Try changing the syllable

from “too” to “doo,” “loo,” or even “noo.”

4. Poor staccato may be the result of poor breath support, or not maintaining support between

notes. If the breath support is constant, then the problem is most likely with the tongue and can

be fixed by practicing the beginning exercises previously mentioned in these notes.

“toot” “toot”

air

air

“toot” “toot” “toot” “toot”

etc…

53

5. Poor coordination between the tongue and fingers is the result of trying to play too fast. This can

only be fixed by practicing music at a slow tempo with a metronome and gradually moving the

speed up.


1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing. The

syllables used are “tu-ku” or “du-gu.” Often the hardest part is matching the attack and tone of

each syllable, and so this technique should be practiced slowly and with a metronome at first.

2. Triple tonguing is similar to double tonguing, except the syllables are “tu-tu-ku” or “tu-ku-tu.”

This should be practiced slowly with a metronome at first in order to match the sound of the

syllables.

3. Flutter tonguing is more important for the saxophone than the clarinet because the saxophone

plays more contemporary music. Crucial to flutter tonguing is a relaxed tongue, a steady

embouchure, and a firmly supported air stream.

a. Method one: tongue on reed. The player rolls his or her tongue against the reed as if

saying “Br-r-r-r-r.” This method affects tone the least of any flutter tonguing methods.

b. Method two: dental flutter. With the tongue against the upper edge of the upper teeth, a

fast air stream will flutter the tongue and create an intense fluttering tone.

c. Method three: hard palate flutter. With the front portion of the tongue on the hard palate,

a fast air stream will vibrate the tongue very quickly and create a flutter with a great deal

of variety in tone quality. (Paraphrased from pg. 143-147 of Guide to Teaching Woodwinds)

Common Problems and Other Useful Information Articulated G-sharp Key: In passages with multiple G-sharps, the articulated G-sharp key can

remain depressed throughout the passage without any effect on the pitch of the other notes.

54

Cheater Fingerings: To facilitate smooth technique, fingers that are not normally a part of the basic

finger pattern can be left down with little effect on the sound of the other notes.

Examples: A passage moving from E to C: leave first two fingers of right hand down

A passage moving from D to C-sharp: leave down the first three fingers of the right

hand

A passage moving from E-flat to C: leave down the three fingers and pinky on right

hand

A passage moving from C-sharp to F: leave down the right pinky on the C key and the

left pinky on the D-flat key (Paraphrased from pg. 147-148 of Guide to Teaching Woodwinds)

The Saxophone Family A Brief History In 1840, Adolf Sax invented the saxophone in Paris. The saxophone has become one of the band’s

most valuable assets and is beginning to find its way into orchestral literature. Sax wanted to create the

best qualities of the woodwind and the brass instruments, making it vocal, powerful and adaptive.

55

All the saxophones in the sax family are fingered the same way, but they are pitched differently,

making them transposing instruments. See appendix T. All saxes have key work from low B-flat up to

high F or F-sharp on some models. (Paraphrased from pg. 119 of Guide to Teaching Woodwinds and Wikipedia)

Sopranino Sax • Pitched in E-flat

Soprano Sax • Difficult to tune

• Pitched in C

Alto Sax

• Most common • Blends well • Most solo literature for the sax comes from the 20th and 21st century. • Fits young people’s hands well • Pitched in E-flat

Tenor Sax • Not good for beginners – too bulky • Tenor sax is a jazz instrument • Difficult to blend • Pitched in B-flat

Baritone (Bari) Sax • Octave lower than alto sax • Pitched in E-flat

Bass Sax • Twice as long as Bari • Has more tuning issues • Has fewer mechanisms and fewer fingerings



4. Remove reed and wipe excessive saliva on pants. Remove mouthpiece and neck. Place cap back

on mouthpiece.

5. Drop weighted end of swab in bell. Tip instrument upside down and pull swab through.

56

6. Disassemble the saxophone in reverse order from assembly.

Cleaning the Mouthpiece Use a Kleenex, lukewarm water, and nonabrasive soap.

Oiling Mechanisms Put a dot of oil on each moving part. Dab with paper towel to remove excess oil.

Changing Pads




Sticking Pads Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed cigarette

paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be removed and key

should function normally.

If low notes don’t speak, it may be caused by the sax bell being bumped and misaligned slightly.

This pulls the keys slightly out of line preventing the pads from sealing.


maintenance one to two times a year. (Paraphrased from pg. 157-160 of Guide to Teaching Woodwinds)

Buying an Instrument Beginner:

• Selmer and Yamaha. These brands have experience and tradition.

• NEVER buy a Jupiter Saxophone.

• CanonBall should also be avoided. It is difficult to blend.

• $1000

57

There are no Intermediate instruments worth their money

Advanced: • Selmer: 90% of people play a Selmer

• Yamaha and Kyle Worth

Jazz players play old Selmers with the lacquer worn off. A re-lacquered sax is worth nothing!

Never pay list price!

Mouthpieces

Note: Mouthpieces included with beginning instruments are generally not of quality.

Alto and Tenor:

Selmer C-Star: Most popular intermediate to advanced mouthpiece. Expensive, but worth the money.

Larry Teal: Also a good mouthpiece.

Eugene Rousseau: Prominent teacher at the University of Minnesota. He is also a creator of a good mouthpiece.

Jazz Mouthpieces: These mouthpieces are oval inside instead of square like the classical mouthpiece. They produce a louder sound in order to be heard in jazz situations. Bari: Berg Larson: Hard rubber or metal mouthpieces with a middle of the road tip opening work best.

Ligatures: VanDoren Optimum

58

Rovner or look-a-likes – cloth ligature. Takes some of the buzz out of the sound.

Reeds: Classical Reeds: For Alto and Tenor: Fred Hempky, VanDoren 2 ½ to 3 (designed for the C-Star mouthpiece) Jazz Reeds:

For Alto and Tenor: VanDoren Javas

For Bari: La Voz

62

Reed Comparison Index

1. These are the cheapest reeds. They almost always work; however, the sound quality is poor.

These reeds will last about 1-2 weeks.

2. These reeds are of higher quality and sound better, but are more expensive. They come in boxes

of ten, but not all ten reeds will work well. These reeds last 2-3 weeks.

3. These reeds sound the best, last the longest, articulate better, but are most expensive. Fewer of

them work out of the box. You should pay no more than 30-40% off list price.

72

Assembly

1. Push head joint onto the body with a slight twisting motion.

2. Line up the far edge of the embouchure hole with the inner edge of the keys so that the head joint

is rolled in slightly.

3. Attach foot joint with the body with a slight twisting motion. Line up the foot joint so that the rod

of the keys is centered with the keys on the body. For instruments with a B foot, the rod of the

foot joint should line up with the outer edge of the tone hole


73

6. Sit at the edge of the chair with the chair slightly angled to the right. The trunk of the body should

face forward. To facilitate this, look over the left shoulder. Place feet flat on the floor. To

facilitate support, one foot should be slightly in front of the other. Sit up straight.

7. The flute should be angled slightly downward, but should ultimately be parallel with the

embouchure.

*Rest Position: Place the flute diagonally across the lap with the tone holes up.

When standing:


balance.

6. The flute should be angled slightly downward, but should ultimately be parallel with the

embouchure. (Paraphrased from pg. 16-17 of Guide to Teaching Woodwinds)


74

Balance:

Right Hand:

Thumb – body of the flute is supported on the cushion of the right thumb contacting the flute

opposite the space between the first and second fingers.

Pinky – depresses the E-flat key.

Remaining fingers – rest an inch above keys. When playing, the fleshy part of the finger should

be used.

Left Hand:

Thumb – is curved slightly to contact the B-natural lever with the ball of the thumb.

Index Finger – body of the flute rests at the base of the index finger between the knuckle and the

first joint. It provides a shelf for the instrument.

Pinky – slightly touches the G-sharp key.

Remaining fingers - rest an inch above keys. When playing, the fleshy part of the finger should be

used. (Paraphrased from pg. 19 of Guide to Teaching Woodwinds)

right pinky

left 1 right thumb

75

Embouchure:

76

Forming the Embouchure:

1. Form the lips as if spiting a small, focused stream of water. Use the syllable “pooh.” The lips

should be cushioned forward, away from the teeth slightly.

2. The upper lip should pull down slightly to give the air stream a slight downward angle, and the

corners of the mouth should be pulled down and back as if pouting.

3. The embouchure plate of the flute should be placed under the lower lip, not on it, and the

embouchure hole should be rolled in toward the lips slightly. This allows for the direction of the

airstream to be changed with the embouchure with greater ease.

Exercises in Embouchure: 1. Imagine that you have an uncooked grain of rice in between your lower teeth and lower lip. Then

imagine spitting the grain of rice at a target.

2. Imagine you have a mouth full of water. Pretend to spout a directed stream.

Note: All these exercises can actually be done with real materials!

Problems in Forming the Embouchure: 1. Placement of embouchure plate under the lips

a. If the embouchure plate is placed too high, it will prevent the flutist from producing a full

tone in the lower register.

b. If the embouchure plate is place too lower, it will hinder the flutist from success in the

upper register

2. Amount of hole covered by lower lip

a. If too little of the hole is covered, then it (1) reduces the dynamic range, (3) produces a

breathy tone, (4) limits the range, and (5) makes the high notes difficult to produce and

control.

b. If too much of the hole is covered, then it (1) produces a thin tone, (2) reduces the

dynamic range, (3) limits articulation, and (4) can make legato playing difficult.

3. Size of the aperture

a. If the aperture is too large, an unfocused, breathy tone will result.

b. If the aperture is too small, the tone will be thin and confined to a dynamic range of

piano.

4. Too much air

77

a. The flute requires very little air. Over-blowing often compensates for a lack of support,

but results in a plethora of issues which include but are not limited to intonation

problems, an unfocused, airy tone, and a limited dynamic range. Using too much air or

using air inefficiently can also lead to hyperventilation and dizziness. (Paraphrased from pg. 26-27 of Guide to Teaching Woodwinds)

80

Tone: 1) Problems in Tone:

A) Small or Thin tone: This may be attributed to a lack of support. It may also result if too much of

the embouchure hole is covered as not enough air will enter the instrument (ex. The student may be

rolling in).

B) Hollow or Muffled tone: Can be caused by an aperture that is too large, by lack of breath

support, by too much air or if too much of the air is directed into the embouchure hole and not enough is

directed across it.

C) Shrill high register: Can be the result of overblowing (“Don’t blow the piss out of it”). The

higher octave can be improved with more support and less air.

E) Dynamics: Lack of proper support can cause problems with tone over dynamic ranges.

2) Intonation:

A) Natural Tendencies:

Tendency to be sharp:

Tendency to be flat:

B) Changing Registers: Register changes are accomplished on the flute through a change in

airstream direction which is control by the lips and increased support. To ascend, the lower lip should be

pushed forward slightly to raise the airstream. When descending the lower lip should do the reverse and

the airstream should be lowered. To facilitate leaps in music, the student should “sing” the interval

change, slurring from one pitch to the next in their mind. In other words, the student should have a mental

conception of how the music should sound.

C) Dynamics: Dynamics on the flute are accomplished primarily through support and for advanced

players, changes in tone color. Though amount of air increases and decreases with dynamic, it should not

be a primary method of expression. A natural tendency of the flute is for the pitch to become sharper as

the tone becomes louder, and vice versa. This tendency is exacerbated when amount of air is used to make

dynamic changes.

81

D) Mechanical factors: The cork in the head joint affects overall tuning on the flute. To check if the

cork is properly aligned insert the end of a flute cleaning rod into the head joint. The notch in the rod

should be exactly in the center of the embouchure hole.

E) Alternate fingerings: Alternate fingerings affect the pitch and tone color of notes. Some of these

effects are specifically called for in modern flute literature.

3) Vibrato: Vibrato on the flute is considered standard. The flute uses a diaphragmatic vibrato. The

flutist should take care not to try to change pitch while employing vibrato as the small variances will arise

automatically. (Paraphrased from pg. 28-31 & 281 of Guide to Teaching Woodwinds)

82

Tonguing:

83

a) Tonguing refers to the way the tongue is used to articulate tones in relation to the aperture of the

lips and breath support.


Generally, the tip of the tongue should be at the base of the gum of the front teeth. However, its

exact placement depends on the octave being played.

Method of Tonguing:

a) The tip of the tongue should be placed on the front teeth at the base of the gum.

b) With a good breath, build up air pressure so that no air passes through the lips.

c) Release the air, pronouncing the syllable “tu,” “ta,” “du,” or “da.”

d) Stop the tone with air, not by placing the tongue on the teeth.




Notes on Articulation:

“tah” “tah”

air

air

“tah” “tah” “tah” “tah”

etc…

84

a) Different syllables create subtle differences in sound, which advanced flutists can use to their

advantage.

b) Legato articulation should involve a minimal interruption in sound. Using the syllable “du”

produces the best results.

c) Students must take care to not involve breathing muscles during staccato passages, or an accent

will be produced.


1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing. The

syllables used are “tu-ku” or “du-gu” or “ti-ki.” The tongue should strike the hard palate. Often

the hardest part is matching the attack and tone of each syllable, and so this technique should be

practiced slowly and with a metronome at first.

2. Triple tonguing is similar to double tonguing, except the syllables are “tu-ku-tu,” “ku-tu-ku,” “du-

gu-du,” or “gu-du-gu.” This should be practiced slowly with a metronome at first in order to

match the sound of the syllables.

3. Flutter tonguing is becoming rapidly more popular in contemporary music. It is produced by

rolling the tongue on the roof of the mouth with an “r-r-r-r-r” sound. Flutter tonguing produces a

sound similar to a tremolo, and there is no standard notation for it.


a. If the jaw is moving, this means that the tongue is moving too much and therefore wasting


b. Too heavy: This means the flutist has too much tongue pressure against the teeth. Correcting this

requires beginning with pianissimo and legato passages, moving to louder and more staccato

passages.

c. Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice with a

metronome. This may also be caused by moving too much of the tongue or the entire jaw.

d. Lack of coordination in tongue in fingers: Poor coordination between the tongue and fingers is

the result of trying to play too fast. This can only be fixed by practicing music at a slow tempo

with a metronome and gradually moving the speed up.

e. Slow staccato: This is the result of either a lack of breath support or too much pressure. (Paraphrased from pg. 32-35 of Guide to Teaching Woodwinds)

Common Problems and Other Useful Information

85

D-sharp/E-flat Key: Failure to depress this key is a common problem for beginners. This finger is

important because it acts a point of support and control in holding the instrument, and it functions

as a vent key to improve tone and intonation.

Over-blowing: This is a common problem among flutists of all ability levels and is resolved only

though years of practice. “Don’t blow the piss out of it!” (Thornton) (Paraphrased from pg. 36 of Guide to Teaching Woodwinds)

The Flute Family A Brief History The flute is the most ancient of woodwind instruments. All societies have had a flute of some

kind sometimes made from cane or bone. In 1750, the body of the flute was made of box wood

or rosewood with several keys added to facilitate chromatic notes. Eventually enough keys were

added to produce the entire chromatic scale. Boehm perfected the acoustical and technical design

86

of the flute in 1847. He studied the principles of acoustics to solve problems in tone quality and

mechanism. By the 1880’s, he refined the instrument to its present form, metal with a cylindrical

bore. Several attempts have been made to improve the flute but the Boehm style is still the most

common.

The basic principles of playing the flute apply to all of the members of the flute family. (Paraphrased from pg 13 of Guide to Teaching Woodwinds)

Piccolo • Sounds an octave higher than the flute

• Poor intonation

• Poor tone quality is a problem

• Requires more support but less air

• Pitched in C

Alto Flute

• Pitched in G

• Hand position

• Requires more air but less velocity

• It is especially important to watch the direction of the air.

Bass Flute • Pitched in C

• It sounds an octave lower than the flute

• Rare

• Primarily used in flute ensembles

• Requires more air

E-flat Flute

Instruments

Care and Maintenance 7. Remove head joint and shake out extra water. Insert cleaning rod inside to remove moisture.

8. Shake water out of body and insert cleaning rod in bell body of the instrument. Pull cleaning rod

through instrument.

9. Insert cleaning rod in the foot of the instrument. Pull cleaning rod through the instrument.

87


Changing Pads




Sticking Pads Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed

cigarette paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be

removed and key should function normally.




Instrument Purchase 1. Beginners:

o Most student model flutes are made of copper with a silver finish.

o C foot

o Plateau (closed hole) style keys

o Offset G key

2. Intermediate:

o Mid-level flutes often come with a solid silver head joint and either a solid silver

body or a silver plated body.

o Open hole keys

o B foot

o Offset or Inline G key

o Gizmo key

3. Advanced:

88

o Solid silver head joint and body

o Open hole keys

o B foot

o Gizmo key (to facilitate high C)

o Split E-mechanism (to facilitate high E)

o C-sharp trill

o The thickness of the tubing can be specified on these flutes.

4. Professional:

o Some professional flutes are made of gold or platinum.

Piccolo:

1. Silver Piccolos:

o Brighter sound than wood or plastic.

o Not good for symphonic situations.

o Best used in marching band

2. Silver Head/Plastic Body Piccolos:

o Sound similar to that of silver piccolos (the sound produced is dependent

primarily by the head joint)

o More difficult to tune

3. Plastic Piccolos:

o Mellower sound than silver

o Good alternative to wood

o Stands up to weather

4. Wood Piccolos:

o Best sound

o The ideal choice for concert band or orchestra

o Requires more care

Risk of cracking

The bore of the instrument must be oiled regularly

Wood responds to changes in weather

o Most expensive

89

Note: More than other woodwinds, flutes tend to upgrade their instrument more frequently.

94

High Fingerings High C#

& C key (RH)

High D

& C key (RH)

High D#

& Bb key (LH)

High E

& Eb key + Ab key

(RH or LH, as long as they are held down by the same hand)

Adding the bottom octave key might help intonation

High F

& Eb key + Ab key

(RH or LH, as long as they are held down by the same hand)

Adding the bottom octave key might help intonation

95

Assembly

96

5. Place reed in small cup of water so that the entire piece of cane is submerged. Reed may also be

soaked in the mouth similar to the clarinet reed.

6. To place the bell on the lower joint, grasp the bell in the right hand with the thumb closing the pad so

the bridge key is raised to clear the connecting lever on the lower joint. Push the two parts together

with a slight twisting motion.

7. Take the upper joint in right hand and place together with the lower joint using a slight twisting

motion. . Line up the bridge key mechanisms. Use extreme caution to avoid damaging the bridge key

mechanisms which are stationary.

8. Push the reed in firmly, lining up the flat side with the keys on the top of the instrument.

Cork Grease:

7. Apply cork grease to cork or cork on reed.


9. Grease corks weekly. (Paraphrased from pg. 167-168 of Guide the Teaching Woodwinds)


97

8. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot should be

slightly in front of the other. Sit up straight.

9. The oboe is held directly in the center of the body at an angle of 30-40 degrees.

*Rest Position: Place the oboe diagonally across the lap with the tone holes up.

When standing:


balance.

8. The oboe is held directly in the center of the body at an angle of 30-40 degrees. (Paraphrased from pg. 169-170 of Guide to Teaching Woodwinds)


Right Hand:


Pinky – touches the C key.

Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the finger

should be used.

Left Hand:

Thumb – operates the first octave key. Place at a right angle across so that the ball is against the

wood of the instrument and the side is just touching but not pressing the octave key.

Pinky – touches the B key.

Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the finger

should be used.

For beginners: to simplify hand position, use left hand only. The right hand may simply hold on to the

thumb rest. (Paraphrased from pg. 172 of Guide to Teaching Woodwinds)

99

Embouchure: Forming the Embouchure:

(Method 1)

1. With the lips together, lower the lower jaw so the teeth are 1/2” apart, without pushing the lower

jaw forward.

2. Place the reed at the center of the lower lip.

3. There should be a small amount of each lip over its corresponding teeth.

4. As the lips come together, the corners of the mouth should press in slightly.

5. It is important to keep the lower jaw open.

6. The amount of reed in the mouth depends on the pitch being played, but the reed needs to be

close enough to the tongue so that the player can tongue.

(Method 2)

1. Relax the lower lip and place the tip of the reed slightly past the center of the lip.

2. Drop the lower jaw. There should be a small amount of each lip over its corresponding teeth.

3. Pull the upper lip over the teeth so that no lip is showing and bring the lips together around the

reed.

4. As the lips come together, the corners of the mouth should press in slightly.

5. It is important to keep the lower jaw open.

6. The amount of reed in the mouth depends on the pitch being played, but the reed needs to be

close enough to the tongue so that the player can tongue.


1. Make sure the amount of lip in the teeth is consistent with the method of embouchure

used.

2. The pressure of the lower teeth influences lip support. This impacts intonation and

dynamics, therefore it is important to avoid biting.

3. If the chin muscles are not firm, the student will typically compensate with a biting

embouchure.

4. If the angle of the instrument is too wide, the tone quality will be difficult to control.

100

5. If the angle of the instrument is too small, the tone will be difficult to control and low

notes will be difficult to produce.

6. If air is escaping, the corners of the mouth should be tightened.

7. Puffing cheeks cause a reedy tone. Students should use a mirror to correct this.

8. Air pockets under the lips can affect tone quality. (Paraphrased from pg. 177-181 of Guide to Teaching Woodwinds)

Tone

101

1) Problems in Tone:

A) Small or pinched: This can be caused if the tip of the reed is too small, biting, or not having

enough reed in the mouth.

B) Squawky tone: A weak, uncontrolled embouchure may cause this, as may a stiff reed, a reed

that is too open, or if too much reed is in the mouth.

C) Hard, cold tone: This problem is usually the result of a reed that is too stiff. Vibrato may help

warm the tone.

D) Weak, colorless tone: Weak tone is typically the result of poor breath support.

E) Soft tone: Lack of control for soft tone may happen because of poor breath support, a reed that

is too stiff, or a poorly shaped embouchure.

F) Dynamics: Lack of proper breath control or a poorly formed embouchure can cause problems

with tone over dynamic ranges.

2) A Note on Oboe Tone: There are varying opinions about what constitutes good oboe tone. These ideas

can be divided into three schools of thought: American, French, and German. In short, German is very

dark, French is very bright, and the American combines the two.

3) Intonation:


1) Tendency to be flat:

2) Tendency to be sharp:

3) Tendency to be out of tune: The C one octave up from Middle C is notoriously out of

tune on the oboe, as is the B immediately below it. This is also true the C and B one

octave higher.

B) Reed: The reed is one of the major influences in intonation.

1) Too soft: A reed that is too soft is generally flat and will be difficult to control,

especially in the high registers.

102

2) Too hard: A reed that is too hard is generally sharp and the natural tendencies of

individual notes will be unduly emphasized. A reed that is too hard can be adjusted and

saved.

3) Old reeds: Intonation problems covering a broad spectrum will result from old reeds.

These should be discarded. Encourage students to have more than one reed that is

broken-in with them any time they play the oboe.

4) Beginning students: Reeds for beginner students should be used for beginning students

only.

C) Embouchure: All factors in the embouchure at any given moment have an impact (sometimes

a large impact) on the intonation. Oboists should practice with a tuner to gain an understanding of

how to manipulate their embouchure to stay in tune.

1) Reed support: More pressure from the lips on the reed raise the pitch, less pressure

drops the pitch

2) Amount of reed: The amount of the reed in the mouth will emphasize the natural

tendencies of specific notes. Notes in the high register will be most affected. Generally,

sharpness will be caused if there is too much of the reed in the mouth while too little reed

will cause general flatness. The oboist should use this to his or her advantage by changing

the amount of reed in the mouth over the range of the oboe.

D) Dynamics: The louder the note, the sharper the pitch will tend to be, and vice versa.

E) Playing Position: Proper posture should be maintained for the best intonation possible.

F) Mechanical Factors: The oboe mechanism is highly susceptible to minor problems that can

affect intonation. Many of these can be solved by manipulating various adjusting screws, but

consult a repair technician if in doubt. Also, keep the oboe clean to avoid intonation problems

resulting from residue or other gunk stuck in the key work.

G) Alternate fingerings: Alternate fingerings and trill fingerings affect the pitch of individual

notes. Oboists should determine how their particular instruments respond to alternate and trill

fingerings and make the better in tune with their embouchures.

4) Vibrato: Vibrato on the oboe is considered standard. The oboe uses a diaphragmatic vibrato. The oboist

should take care not to try to change pitch while employing vibrato as the small variances will arise

automatically. (Paraphrased from pg. 182- 187 & 282 of Guide to Teaching Woodwinds)

Tonguing:

103

a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and breath support.

Placement of the tongue:

In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue


a) Method one: Tongue at the back of the tip. With a proper embouchure formed, place the tongue

just under the tip of the reed with the top of the tongue just on the back of the tip. Build up air

pressure and release by pronouncing the syllable “too,” “doo,” or “tee.”

b) Method two: Tongue at tip. The tip of the tongue can touch either the tip of the reed or the back

of the tip of the reed. Articulation is the same as method one.

c) Anchor tonguing: Touch the lower lip with the tip of the tongue. The forward part of the tongue

touches the lower blade of the reed. Pronounce the syllable “dah,” “tah,” or “du.”

Notes on articulation:

a) Legato: Legato is best produced with the syllable “du” or “ðu.”

b) Staccato: Make sure breath support is maintained during the break between staccatos.

Problems with articulation:

a) If the jaw is moving, this means that the tongue is moving too much and therefore

wasting energy. The student should practice in front of the mirror to eliminate all

movement.

b) Too heavy: This is a sign of either too much tongue pressure against the reed or a reed

that is too soft.

c) Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice

with a metronome. This may also be caused by moving too much of the tongue or the

entire jaw.

d) Lack of coordination in tongue in fingers: Poor coordination between the tongue and

fingers is the result of trying to play too fast. This can only be fixed by practicing music

at a slow tempo with a metronome and gradually moving the speed up.

e) Slow staccato: This is the result of either a lack of breath support or too much pressure.

104

Other tonguing techniques:

A. Double and triple tonguing: These techniques are possible on the oboe, but they are very

uncommonly used because the resulting tone quality tends to be terrible. They can be produced

by saying “T” and “K” in rapid succession.

B. Flutter tonguing is also rare, but can be produced by fluttering the tongue against the reed as if

rolling an “R.” (Paraphrased from pg. 187-190 of Guide to Teaching Woodwinds)

105

Common Problems and Other Information Alternating Pinkies: When two or more notes that use a pinky follow each, pinkies should alternate between left and right. Sliding is sometimes necessary, but the oboist should always attend to possible alternatives.

Articulated G-sharp Key: In passages with multiple G-sharps, the articulated G-sharp key can

remain depressed throughout the passage without any effect on the pitch of the other notes. (Paraphrased from pg 190,193, 194 of Guide to Teaching Woodwinds)

106

Oboe Family A Brief History The early oboe was first developed in Greece and spread through North Africa and the Arab Empire in

pre-Islamic times. Similar type instruments were also being developed in China and Korea and were also

found in England and France. The invention of the modern oboe occurred in 1872 and the oboe has only

minor modifications since. It has been adapted to play 17th century music, but has also found its place in

the modern orchestra. (Paraphrased from pg. 257, 274 the New Grove Dictionary of Music and Musicians, Vol. 18) English Horn

• Pitched in F • Played only by experienced oboists

Oboe d’amore

• Pitched in A • Alto oboe • Combines the characteristics of oboe and English horn

Bass Oboe

• Pitched in C • Octave lower than the oboe

(Paraphrased from pg. 195, 197 of Guide to Teaching Woodwinds)

107


10. Remove reed. Shake off excess moisture. Place in reed case to prevent damaging reed.

11. Drop weighted end of swab in bell. Pull swab through instrument.

12. Disassemble the oboe in reverse order from assembly.


Changing Pads







Instrument Options • Most oboists use plateau keys and not open tone holes • Semi-automatic octave:

o Preferred because it allows for greater/faster facility and is less awkward • All oboes need an F resonance key • Most have low B-flat resonance key • Left hand F key • Right hand G-sharp key • Third octave key is optional • Trill keys are always nice



118

Assembly

119

1. Place reed in small cup of water so that the entire piece of cane is submerged. Reed may also be

soaked in the mouth similar to the clarinet reed.

2. Take the seat strap and place it under your bottom with the cup or hook on the right side. The

bassoon may also be placed with a neck strap.

3. Put the tenor joint into the small opening of the boot joint. Hold the middle of the boot joint with

the right hand and the tenor hand with the left hand. Push joints together with a slight twisting

motion. Be careful of the bridge key.

4. Place the long joint into the boot joint with a slight twisting motion. Depress the whisper key to

avoid bending.

5. Lock together the tenor joint and the long joint with the locking mechanism.

6. Hold the bell with the right hand. Depressing the bridge key on the bell, line the key up on the

long joint. Push together with a slight twisting motion.

7. Place bassoon in the cup of the seat strap or attach bassoon to hook.

8. Grasp the bocal with thumb and forefinger near the vent hole and push in place with a slight

twisting motion. Adjust the bocal so that the pad of the whisper key closes the hole in the bocal.

9. Put the reed firmly in place. It should go on to the bocal about ½ an inch.

10. Adjust the seat strap so that the reed enters the mouth at a slight upward angle. (Paraphrased from pg. 206-207 of Guide to Teaching Woodwinds)

121


10. Sit at the back of the chair with the instrument balanced between the left and right hands.

11. The boot joint rests against the right hip with the instrument held diagonally across the body.

12. The body is erect with the chin level and eyes forward. Elbows should be free of the body. Place

feet flat on the floor.

*Rest Position: Place the bassoon diagonally across the lap with the bocal up. The reed should be

removed from the bocal when not in use to prevent damage.

When standing:


balance.

10. The boot joint rests against the right hip with the instrument held diagonally across the body.

11. Neck strap should be used in the standing position. (Paraphrased from pg. 209 of Guide to Teaching Woodwinds)


Right Hand:

Thumb – rests on the metal guard plate, near the E key.

Pinky – touches the F key.

Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the finger

should be used.

Left Hand:

Thumb – rests near the whisper key.

Pinky – touches the D-sharp key.

Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the finger

should be used. (Paraphrased from pg. 211-212 of Guide to Teaching Woodwinds)

123

Bassoon Embouchure: Forming the Embouchure:

1. With relaxed lips, lower the lower jaw so the teeth are 1/2” apart, without pushing the lower jaw

forward.

2. Pull the lower jaw back to increase the natural overbite.

3. The corners of the mouth should be pushed inward.

4. The lips should be rolled over the teeth so that virtually all the lips are over the teeth.

5. The upper lip should almost touch the first wire of the reed, and the lips should contract around

the reed (like a drawstring bag)

Problems in Forming the Embouchure: 1. Students who do not have a natural overbite may have difficulty with the bassoon.

2. If the teeth are uneven, the reed may need to be turned to accommodate and avoid uneven

pressure.

3. The bocal must be at a slight downward angle from the lips to the instrument, or tone problems

may result.

4. If the chin muscles are not firm, the student will typically lack tone control.

5. If the lower teeth bite, the tone quality will be rough and the low notes will be impossible to

produce.

6. If the corners of the mouth are not tightened and pushing slightly toward the reed, air can escape.

7. Puffy cheeks cause an unfocused tone.

8. Air pockets under the lips can cause a lack of tonal control and intonation. (Paraphrased from pg. 216-219 of Guide to Teaching Woodwinds)

125

Tone 1) Problems in Tone:

A) Small or pinched: This may be caused by the reed, biting, or the amount of reed in the mouth.

First try adjusting the wires on the reed to make it more open. If this doesn’t work, the reed may

be junk (trash it!). If the reed is good, the student may be biting the reed so that it is closing

during play. If the student’s embouchure is fine and the reed is good, a pinched tone is likely the

result of too little reed in the mouth.

B) Open, squawky tone: A weak, uncontrolled embouchure may cause this or a reed that is too

stiff.

C) Hard, cold tone: This problem is usually the result of a reed that is too stiff. Vibrato may help

warm the tone.

D) Weak, colorless tone: Weak tone is typically the result of poor breath support.

E) Soft tone: Lack of control for soft tone may happen because of poor breath support, a reed that

is too stiff, or a poorly shaped embouchure.

F) Dynamics: Lack of proper breath control or a poorly formed embouchure can cause problems

with tone over dynamic ranges.

2) Intonation:


Tendency to be sharp:

Tendency to be flat:

126

B) Reed: The reed is one of the major influences in intonation.

1) Too soft: A reed that is too soft is generally flat and will be difficult to control,

especially in the high registers.

2) Too hard: A reed that is too hard is generally sharp and the natural tendencies of

individual notes will be unduly emphasized. Low notes will be especially sharp and may

not respond in soft passages

3) Old reeds: Intonation problems covering a broad spectrum will result from old reeds.

These should be discarded. Encourage students to have more than one reed that is

broken-in with them any time they play the bassoon.

C) Embouchure:

1) Biting: Biting will generally raise the pitch and restrict the bassoonists range. This

problem is frequently encountered alongside a closed throat or a pinching lower jaw. The

teacher should make sure a student who plays consistently sharp is not biting before

having them get a new bocal.

2) Breath Support: Poor breath support may result in the bassoonist biting to compensate.

3) Closed Throat: A closed throat is a frequent cause of biting. It can be corrected by

having the student position their throat in a yawning position or asking him or her to hum

while playing.

4) Pressure for Control: More pressure from the lips on the reed raise the pitch, less

pressure drops the pitch. Neither the teeth nor the jaw should be used.

5) Amount of reed: The amount of the reed in the mouth will emphasize the natural

tendencies of specific notes. Notes in the high register will be most affected. Generally,

sharpness will be caused if there is too much of the reed in the mouth while too little reed

will cause general flatness. The bassoonist should use this to his or her advantage by

changing the amount of reed in the mouth over the range of the bassoon.

6) Lower jaw: Pushing the jaw forward will make the pitch sharper, and vice versa.

D) Dynamics: The louder the note, the sharper the pitch will tend to be, and vice versa.

E) Playing position: Proper posture should be maintained for the best intonation possible.

F) Mechanical factors: The bassoon mechanism is very complex and should be kept in the best

working order. Also, keeps it clean to avoid intonation problems resulting from residue or other

gunk stuck in the key work.

G) Alternate Fingerings: The bassoon has more alternate fingerings than any other woodwind

instrument. Many of these fingerings are primarily for facility and will not be very well in tune.

127

Bassoonists should remain attentive to intonation and know the advantages and drawbacks of

various fingerings.

3) A Note on Tuning: The bassoon bocal must be in tune. Generally, longer bocals play flatter and vice

versa. Bassoonists who consistently play sharp or flat throughout the range of the instrument should

consider getting a new bocal to make their tendency less prominent or problematic. The length of a bocal

is indicated by a number (usually between 0 and 3) stamped on the bocal itself – the larger the number,

the longer the bocal.

4) Vibrato: Vibrato on the bassoon is considered standard. The bassoon uses a diaphragmatic vibrato. The

bassoonist should take care not to try to change pitch while employing vibrato as the small variances will

arise automatically. (Paraphrased from pg. 219-222 & 282-283 of Guide to Teaching Woodwinds)

Tonguing:

a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and

breathe support.

128

Placement of the tongue:

In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue


a) Method one: With the proper embouchure in place, touch the tip of the lower blade with the

back of the tip of the tongue. Build up air pressure and release, pronouncing a strong “too,”

“tee,” or “doo.”

b) Method two: Use the tip of the tongue either at the tip of the reed or just back of the tip of the

reed. Sound the articulation exactly as above.

Note on articulation:

Unlike other woodwinds, the bassoon requires a rather hard attack in articulation.

Problems with articulation:

a) If the jaw is moving, this means that the tongue is moving too much and therefore wasting


b) Too heavy: This is a sign of either too much tongue pressure against the reed or a reed that is

too soft.

c) Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice with a

metronome. This may also be caused by moving too much of the tongue or the entire jaw. A

reed that is too hard may also cause a sluggish tongue.

d) Lack of coordination in tongue in fingers: Poor coordination between the tongue and fingers is

the result of trying to play too fast. This can only be fixed by practicing music at a slow tempo

with a metronome and gradually moving the speed up.

e) Slow staccato: This is the result of either a lack of breath support or too much pressure.

Other tonguing techniques:

A. Flutter tonguing is rare, but can be produced by fluttering the tongue against the reed as if

rolling an “R.

(Paraphrased from pg. 222-257 of Guide to teaching Woodwinds)

129

Common Problems and Other Information

Left Thumb Issues:

• The left thumb requires dexterity in manipulation in the multiple keys it is responsible for. • The wrist should be almost flat. • Muscular tension should be avoided. • Avoid sliding the thumb to these key.

Flick Keys:

• Used to aid in producing good slurs for A, A-Flat, B, C and D. • Proper response of flick key is necessary to produce accurate pitches. • Flick keys are principally used for slurs of a P4 or more.

Clef Issues:

• Because of the large range of instrument, the bassoon uses multiple clefs. • Bassoonists should be fluent in bass, tenor, and alto clefs. • Tenor clef should be introduced as soon as the student begins playing in the upper range of the

instrument. (Paraphrased from pg. 227-230 in Guide to Teaching Woodwinds)

131

Bassoon Family A Brief History The forerunner to the modern bassoon was the dulcian which was created in the 16th century. Its origins

are obscure but it shares many characteristics in construction. Many believe that the true bassoon was

invented by Martin Hotteterre in the 1630s. He created it in four parts and this arrangement allowed for

greater accuracy in construction than the one-piece dulcian. Carl Almenrader and Gottfried Weber

developed the 17 key bassoon with a range of four octaves which improved intonation, response and

technical ease. Johann Adam Heckel continued to refine the bassoon in the legacy of Almenrader. The

Heckel style bassoon is the most common bassoon today. (Wikipedia)

Contra Bassoon

• Sounds an octave lower than is written

• Is found in standard orchestral works and symphonic band

• Fingerings differ slightly from the bassoon. (Paraphrased from pg. 236 from Guide to Teaching Woodwinds) Instrument

132

Care and Maintenance 13. Remove reed. Shake off excess moisture. Place in reed case to prevent damaging reed.

14. Disassemble the clarinet in reverse order from assembly.

15. Shake out water from the bocal and blow from the large end of the bocal until it is clear.

16. Shake out excess moisture from each piece of the instrument. Drop weighted end of swab in the

smaller end of each piece. Pull swab through each section of the instrument.


Changing Pads








maintenance one to two times a year. (Paraphrased from pg 238-240from Guide to Teaching Woodwinds)

141

Appendix A

148

Appendix B

150

Appendix C

Transpositions

Written Sounds

Flute c c

Piccolo c c 8va

alto flute c g below

bass flute c c 8vb

eb flute c eb above

Bb clarinet c Bb below

Eb clarinet c Eb above

a clarinet c a below

eb alto clarinet c eb below

Bb bass clarinet c Bb + 8vb below

Eb contra-alto clarinet c Eb + 8vb below

Bb contra-bass clarinet c Bb + 2 8vb below

Eb alto sax c Eb below

Bb tenor c Bb + 8vb below

Bb Soprano sax c Bb below

Bari Sax c Eb + 8vb below

Bb Bass Sax c Bb + 2 8vb below

Oboe c c

Enlish Horn c f below

Oboe d'amore c a below

bass oboe c c 8vb

Bassoon c c Contrabassoon c c 8vb

woodwind methods: the reference book

Documents

sticking padspads

shaped pocked

wipe excessive

feet shoulder

slight twisting

grease corks

eb 8vb

bb 8vb