Category: Woodwind playing and pedagogy
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Experiments with electric woodwinds
I’ve been having fun with woodwinds enhanced with pickups or microphones. (If you’re interested in natively-electronic instruments like wind controllers, I’ve written about those elsewhere.) I still have a lot to learn about working with electronics. But here are a few observations in case anyone finds them helpful. Which instrument(s) to use? I find lower-pitched …
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Switching between clarinets: tone production
Switching between any two instruments, even two closely-related ones, is a challenging prospect. You must practice for many hours to do it well. But often people switching between clarinets (such as between B-flat clarinet and bass clarinet) are making larger changes than necessary. The fundamental concepts in clarinet tone production are breath support, voicing, and …
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Clarinet glissando
There are few more coveted clarinet techniques than the smooth glissando, as heard in the famous opening to Rhapsody in Blue. But the technique isn’t intuitive, and lots of questions persist about how to do it. (Incidentally: the Rhapsody in Blue score doesn’t call for a smooth portamento-type effect, but a scale with discrete notes. …
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Out-of-tune accents
Young woodwind players often have trouble playing elegant, well-controlled accents. Accented notes are too often thumpy and out of tune. The most common manifestations are accented notes that are too flat, or that scoop up to pitch. This is usually a side effect of the mistaken idea that accented notes should be tongued “harder.” The …
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How to fix your clarinet section
Teaching a beginning or intermediate clarinet section? Here are some things to consider:
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What kind of ligature should I get?
I’m on record as believing that clarinet and saxophone ligatures make little if any actual difference in how you sound. You’re welcome to disagree, but you might want to watch Michael Lowenstern’s video about it first. So, assuming the ligature has little direct influence on sound, what is the best kind to buy? Consider the …
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Why doesn’t my new mouthpiece work?
So you bought a new mouthpiece! How exciting. But wait—it’s not playing as well as you hoped. Maybe it squeaks, or some (or all) notes don’t come out very well, or the tuning is weird. Let’s consider some possible reasons why: A good rule of thumb is that a mouthpiece can’t give you skills, talent, …
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Common woodwind-playing myths
Watch out for these woodwind myths: “Support from your diaphragm“ “Tighten your embouchure“ “Use your tongue to start notes“ “Let your lower lip roll over your teeth“ “We tune to the oboe because it’s untunable or has special overtones or something“ “Keep your fingers close to the keys so you can play faster“ “Crossing the …
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Why do I need to use alternate fingerings?
Woodwind instruments including the flute, oboe, clarinet, bassoon, and saxophone all have more than one fingering for some notes. Why is that, and do you need to learn them all?
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What to listen for (or ignore) in cane vs. synthetic reed comparisons
With the recent release of the second-generation Venn clarinet and saxophone reeds from D’Addario Woodwinds, there’s a new rush of YouTube videos and social media posts comparing them to cane reeds (and/or to other synthetics). Here are a few questions raised by those kinds of comparisons that you should be cautious of: “Do synthetic reeds …