Woodwind Methods: The Reference Book

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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-

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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

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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

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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

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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.

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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

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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.

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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)

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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.

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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)

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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.

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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.

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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.

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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”

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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-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.”

(Paraphrased from pg. 79-84 of Guide to Teaching Woodwinds)

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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

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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.

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

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• 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.

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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.

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Ligatures:

Most ligatures that come with beginning instruments are of poor quality. Throw away and use Luyben. Discard any bent or broken ligatures.

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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. 5. Spread with finger.

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)

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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:

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

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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.

Problems in Forming the Embouchure:

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.

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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.

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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.

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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.

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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).

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Tonguing:

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 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.

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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:

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.

“toot” “toot” air

air

“toot” “toot” “toot” “toot”

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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 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.

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.

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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

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.

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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 (Paraphrased from pg. 153-155 of Guide to Teaching Woodwinds)

Instruments

Care and Maintenance

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

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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

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.

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

maintenance one to two times a year.

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

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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:

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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

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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.

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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

Posture

When sitting:

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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:

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

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

Hand Position

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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

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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.

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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.

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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.

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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.

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

Placement of Tongue:

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.

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:

Notes on Articulation:

“tah” “tah” air

air

“tah” “tah” “tah” “tah”

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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.

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” 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.

Common articulation problems:

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 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)

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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)

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

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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.

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Oiling Mechanisms

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