Concept-based woodwind methods

If you are teaching a woodwind methods course, you might be interested in my book.

Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

Most college students studying instrumental music education have to take a woodwind “methods” course, a sort of crash course in teaching the woodwind instruments. I have taught woodwind methods classes for about the past ten years.

A typical approach is to divide the semester into instrument-based units: x weeks studying the flute, x weeks studying the oboe, etc. I’ve taught woodwind methods that way, and it’s tough to get through all the material. How can you realistically cover the pedagogy of five instrument families in one semester? (Some schools offer this scant improvement: two semesters.)

photo, Kerr Photography

One big reason that woodwind methods teachers get stuck in the one-instrument-at-a-time paradigm is that existing textbooks, syllabi, etc. treat the woodwinds as being hopelessly different from each other. While the woodwinds are more diverse than the brasses or bowed strings (though perhaps not the percussion), the techniques of playing them are not as unrelated as many seem to believe.

A symptom of this misunderstanding is the woodwind-methods-by-committee approach, in which a textbook has chapters written by five different authors, or in which a course is taught by a rotating cast of woodwind professors. This invariably leads to holes in the curriculum, confusion over vocabulary, and contradictory ideas.

I have much, much better success when I focus on the basic concepts underlying good woodwind playing. My course addresses audible aspects of how woodwinds sound (tone, response, intonation, volume/dynamics, fluency), and connects them to elements of playing technique (posture/position, breathing and breath support, voicing, embouchure, tuning, articulation, finger movement, and selection from among alternate fingerings). When my students are conversant in those concepts, it’s almost trivial to apply them to a diverse group of instruments: “the clarinet uses a very high voicing, but the flute uses a very low voicing.”

That’s still a lot to cover in a semester, but I actually find that I can get through the material efficiently enough to leave some days open for review, Q&A, or special/requested topics. And, more importantly, my students absorb widely-applicable concepts rather than trying to memorize seemingly unrelated factoids about seemingly unrelated instruments.

This is a valuable approach for woodwind doublers, too, who have to parse out the differences in the instruments but also the differences in culture and tradition that have developed around those instruments and their pedagogy. Understanding the underlying concepts helps to make sense of the sometimes very different approaches to the same problems.

Warning: commercial-ish plug

I’ve hinted on the blog a few times about my upcoming book, based on materials I have developed for my woodwind methods courses. It clearly and concisely covers the most crucial concepts in woodwind playing. Since I usually teach a mixed-instrument class I pair it with a band method (such as Essential Elements or Accent on Achievement) for hands-on playing activities, but it would work just as well paired with an individual method (such as the Rubank series) if you have the luxury of a full class set of each instrument.

I’m hoping to get the book launched before 2017 slips away. If you like, you can join a mailing list to be notified if when it becomes available. Update: the book is now available!

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  • Full-range scales and arpeggios

    My students at the university are subject to a department-wide requirement to pass a scale exam, in which they must demonstrate mastery of major and minor scales. The format of the scales, however, is left up to the individual studio professors.

    Most of the studios require scales to be played in octaves, but I prefer a different approach. To the chagrin of my students (oboists/clarinetists/bassoonists/saxophonists), I require that they are played in this format:

    1. Start on the first scale degree, in the instrument’s lowest octave.
    2. Proceed upward in an even rhythm (such as even eighth notes) to the highest note in the instrument’s “range” that falls within the scale (according to an upper range limit that I set).
    3. Proceed downward to the instrument’s lowest note that falls within the scale.
    4. Proceed back upward to the starting note.

    So, for example, an oboe student’s E-flat major scale goes like this:

    I also require arpeggios, following the same rules:

    Here is why I insist on full-range scales: Read More “Full-range scales and arpeggios”

  • A woodwind player’s introduction to: pennywhistles

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    The pennywhistle (or “tinwhistle” or “Irish” whistle) is common in Irish traditional music, and has found a home in some other styles such as southern African kwela music. They appear famously in movie soundtracks such as the Lord of the Rings movies and Titanic.

    Here are some important things to know:

    • There are high-quality pennywhistles with good intonation, clear, pure tone, and nice even response. (The Burke whistles are among my favorites.) But some high-profile players of traditional Irish music prefer the chirpier, raspier, less-perfect sounds of inexpensive, mass-produced ones (such as Generation whistles). Those players might try many inexpensive whistles to find the most playable ones.
    • There are also some in-between options. The very consistent but relatively inexpensive plastic whistles from Susato have the advantages of high volume, excellent tuning, and availability in lots of keys. (They also have a reedy tone that some people find too recorder-like.) Or, there are “tweaked” whistles like those made by Jerry Freeman, inexpensive whistles with some adjustments made for better playability.
    • Pennywhistles are available in various sizes, but the way they are named doesn’t match with the conventions of orchestral wind instruments. The most common and traditional whistle is the high D whistle. These are usually notated with the instrument’s six-fingers-down note, D, appearing as D on the staff and sounding one octave higher. (By the terminology used for, say, clarinets and saxophones, this would be considered a “C” whistle.) Other whistles are named by their 6-finger note as well.
    • For non-D whistles, there aren’t firmly-established notation practices. Some notation treats them as transposing instruments, with music written so that a notated D at the bottom of the treble staff is always played as the six-finger note. In other cases, music may be written at the intended sounding pitch (or, often, one octave below, like piccolo transposition), and it is left to the whistle player to select an appropriate instrument.
    • Whistles use a simple-system fingering scheme, and are best used in mostly-diatonic contexts. Some chromatic fingerings are possible but cross-fingerings tend to be weak and half-holed fingerings are awkward in technical passages. To play in multiple keys, most whistle players keep whistles in a variety of sizes on hand. For chromatic passages, something like a soprano or sopranino recorder might be more suitable.
    • Like most fipple flutes, pennywhistles have relatively low breath requirements. The upper octaves are achieved almost entirely by overblowing, so they tend to be louder and brighter. (Some more expensive whistles are designed to “improve” on this traditional characteristic.)
    • Pennywhistles respond best to a low, open voicing.
    • Pennywhistle playing in Irish traditional music uses a sophisticated system of ornamentation and inflection inherited from bagpiping traditions. Since pipers don’t stop to breathe, whistle players use a system of placing breaths that is also somewhat unfamiliar to orchestral woodwind players, leaving out selected notes to breathe rather than trying to insert breaths between notes. For slower tunes whistle players may use a flattement-style finger vibrato. By far my favorite resource for learning these techniques is Grey Larsen’s book.

  • Quick tutorial: Telemann Canonic Sonata on EWI, à la Jeff Kashiwa

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    I recently posted a video of Jeff Kashiwa demonstrating the Akai EWI4000s wind controller. As part of his demonstration, he plays a movement from one of the Telemann Canonic Sonatas (well, sort of an arrangement of one).

    The Canonic Sonatas are duo sonatas, with both musicians playing from the same part. (You can download free sheet music of the Canonic Sonatas from the IMSLP.) The first player begins, and the second player echoes, one measure behind. If you have ever sung “Row, Row, Row Your Boat” as a round, then you already understand how this works.

    Jeff Kashiwa plays the Allegro movement from the first Canonic Sonata all by himself, playing the first part on the EWI and using a delay effect to create the second (echo) part.  Here’s the video again—it should start playing about a minute and a half in, and the Telemann goes until about 2:40.

    After the 2:40 mark, Mr. Kashiwa uses more sophisticated looping techniques, using some kind of external device. But you can perform the Telemann duet without any extra hardware, using only the EWI4000s’s onboard synthesizer. Read More “Quick tutorial: Telemann Canonic Sonata on EWI, à la Jeff Kashiwa”

  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

  • Understanding response and stability

    A few years ago I drove a friend’s car. The accelerator was much more sensitive than I was used to, and it caused a jerky ride: every time I touched the gas, the car lurched forward. It was a different experience driving a moving van full of heavy furniture. No matter how much I leaned into the accelerator, the speedometer crept upward with painful slowness.

    The car I’m used to driving is somewhere in between—it’s acceleration isn’t quite as zippy as my friend’s car’s, and not as sluggish as the truck’s. With woodwind instruments it’s important to have a similar balance.

    Response is how readily the system (you + the equipment) produces tone. A very responsive setup/technique will make a sound with the faintest whisper of air.

    Stability is, in a way, the opposite of response. Rather than responding to the slightest puff of air, a more stable setup has some “cushion”—you lean into it a little more to produce a tone.

    A very responsive setup takes less physical effort to make a sound, but the sound can be harder to control. The pitch and tone are more flexible, which can be a good or bad thing depending on your preference and playing situation.

    A more stable setup takes more effort to produce tone, but it tends to have more steady pitch and tone. Again, this is a tradeoff.

    For most players and situations, some kind of middle ground is the right choice: enough response to articulate notes at pianissimo, but enough stability that you don’t have to devote all your attention to keeping things in tune.

    Assuming your tone production is a well-oiled machine (breath support, voicing, and embouchure all working well), your equipment choices and condition play an important role. That means matching reed/mouthpiece/headjoint to your instrument, and keeping pads and tenons in good non-leaking condition. For example, a saxophone that blows very freely (or, in other words, is very responsive) may need a little resistance in the reed and mouthpiece (to provide stability). A flute that has a lot of resistance built in may need a freer-blowing headjoint (for ready response).

    Develop your basic tone-production technique and make smart, reasonable equipment choices to find the response and stability you require.

  • Q&A: Voicing

    Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.

    What are your thought on voicings on the various extensions of the big five? I find I get optimal results on flute with low voicing, but on piccolo I use something more similar to high register alto sax.

    I tend to be generally consistent within instrument families: low voicing for flute, so also low voicing for piccolo, alto flute, etc. High voicing for clarinet, so also high voicing for bass clarinet. Saxophones are a little different because they require a “middle” voicing, and I do think it’s worthwhile to target each member of the saxophone family precisely. The easiest way to do that is with mouthpiece pitch: a baritone mouthpiece should sound a concert D (a ninth above middle C on the piano), a tenor mouthpiece sounds a G, alto an A, and soprano a C.

    I recently purchased a pennywhistle and I’m really enjoying it so far. I was wondering if there’s any specific kind of voicing associated with that kind of instrument. It feels easy to play the lower octave, but going up higher than the fourth or fifth in the second octave is really difficult without absolutely blasting.

    For fipple flutes like recorders and pennywhistles (also known as tinwhistles or “Irish” whistles), I recommend a very low voicing, the same as for concert flute or double reeds. Recorders have a thumb hole that serves (sometimes) as a register vent, which tames the upper registers somewhat. Pennywhistles don’t have that—the only way to get to the upper register is to overblow. With some practice and finesse the registers can be balanced somewhat, but with fipple flutes don’t expect nearly the level of dynamic control that you have on a concert flute or modern reed instrument. Bear in mind, too, that fipple flutes generally take much less air than a band/orchestra woodwind.

    Some nice handmade pennywhistles are designed to improve the register imbalance issue. (Narrower-bore whistles in particular tend toward a sweeter, softer upper register, but a weaker lower register.) But many professional whistle players prefer the more “authentic” sound of inexpensive whistles, and might try out quite a few to find one that plays well enough.


    Thanks for your questions! Voicing is a little-understood, little-taught aspect of woodwind playing.

    More 10-year anniversary Q&A

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