“More air”

ByBret Pimentel

When I use the term “breath support,” students and colleagues often echo back something like “oh, right, more air.” But is breath support the same thing as “more air?”

Measuring quantities of air isn’t completely straightforward—when we say “more air,” we might rightfully wonder whether that means a greater volume filled with air, or a greater number of air molecules, or whether we’re really thinking of something like airflow or air velocity.

For my purposes in teaching, I find a few different measures to be relevant:

First, you must set up breath support with a good inhalation, and I think it’s generally helpful to inhale a large volume of air into the lungs.

Then, you must pressurize the air by engaging the torso muscles, constricting the space in which the air is contained. (The diaphragm’s relaxation alone does create pressure, but not enough for good woodwind playing.)

The increased pressure makes the air escape your embouchure at a higher velocity. You can adjust the size of your embouchure, allowing more or less air to pass through, which is the basic mechanism woodwind players use to change (sound) volume (or “dynamics”).

I’m most directly concerned with air pressure when I talk about breath support, and in some ways in which that does translate to “more” air. But since “more” can be measured in multiple ways, I like to use a more exact term like “breath support.” That also has the concreteness of referring to something that the player actively does, rather than focusing the imagery on air, which is invisible.

Be precise in your pedagogical vocabulary, and consistent in your breath support.

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  • Flute pressure against lip: survey of published opinions

    ByBret Pimentel

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

    My own past flute teachers gave me conflicting advice about how much the flute headjoint should press into the lower lip. One would pull on the crown of my flute while I played to make sure it came away from my lip with no resistance. Another would push the headjoint more firmly into my face as I played. (I improved under both teachers’ approaches.)

    I got curious about it recently and looked up what some flute pedagogues have had to say. I’m presenting my findings here without taking a personal stance (yet).

    It’s a little tricky to parse some of these, since many speak in terms of avoiding too much pressure, but don’t clarify whether that means to use as little pressure as possible or some moderate amount of pressure.

    In the avoid-too-much-pressure camp:

    A very important point to remember is never to force the mouth plate against the lower teeth as such forcing will limit the amount of flexibility after the embouchure has been developed.

    James Pellerite: “Improving Tone Production in Flute Performance,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 11. Article originally printed in The Instrumentalist in 1953.

    Do not press the head joint hard against the lips. Control of the tone must come from the lips themselves, not from pressure.

    George Waln, “First Flute Lesson,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 25. Article originally printed in The Instrumentalist in 1957.

    “The chin is, of course, an aid in support, but it must not be depended on for support, since pressure against the jaw will seriously disturb the embouchure.”

    Edwin Putnik: The Art of Flute Playing, revised edition. Miami, Florida: Summy-Birchard Inc., 1970, p. 7.

    In order to correct this problem [sharpness/pinching], the student should be certain that he is not pressing the flute against his lower lip, but rather thinking of the flute as resting lightly against the lip…

    Mary Jean Simpson: “Flute Intonation Trouble: Spare Not The Rod,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 117. Article originally printed in The Instrumentalist in 1972.

    Do not press the flute too tightly against the chin because too much pressure will alter the tone and pitch.

    Kathleen Goll-Wilson, “Erratic Intonation in Flute Sections,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 661. Article originally printed in The Instrumentalist in 1992.

    Excessive pressure against the chin should be avoided.

    William Dietz, Jerry Kirkbride, Hal Ott, Mark Weiger, Craig Whittaker: Teaching Woodwinds: A Method and Resource Handbook for Music Educators. Belmont, California: Schirmer, 1998, p. 174. Note: Hal Ott is the flutist among the authors, so this presumably reflects his opinion.

    …the flute should rest lightly against the chin in order to leave the lips free and flexible.

    Nancy Toff: The Flute Book: A Complete Guide for Students and Performers, third edition. Oxford University Press, 2012, p. 94.

    [Common problems:] Too much pressure into the lip. The teacher should be able to tap the flute off of the lip with very little effort. … [for piccolo:] Too much pressure into the face, especially upper register. Excessive pressure makes high notes much more difficult if not impossible.

    Charles West: Woodwind Methods: An Essential Resource for Educators, Conductors, and Students. Delray Beach, Florida: Meredith Music Publications, 2015, p. 17.

    These are the ones I could find that seemed to advocate for at least some pressure, although neither is explicit about how much:

    Students should keep in mind the three points of pressure… [including] the lips pushing out against the flute…

    John Knight, “Flute Intonation,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 529. Article originally printed in The Instrumentalist in 1989.

    “Keep a relaxed embouchure, but place the flute firmly on the chin.”

    Michel Debost: “Basics of Flute Playing,” in Woodwind Anthology, volume I, 1999 edition. Northfield, Illinois: The Instrumentalist, 1999, p. 632. Article originally printed in The Instrumentalist in 1991.

    John Knight is the only author to speak in terms of the lips putting pressure on the flute, rather than the reverse.

    In any case, among the sources I consulted, there seems to be some consensus that pressure of flute against lip should be light, or at least not “excessive.”

  • FAQ: Ligatures

    ByBret Pimentel

    These are questions I am often asked about clarinet or saxophone ligatures, by blog readers or by my students.

    • Is there a ligature that can accomplish _____ for me? If you are looking for something to hold the reed onto the mouthpiece, then yes. If you are hoping to achieve something loftier, then probably not.
    • Should I get one of the rigid (usually metal) kinds, or one of the soft (usually some leather-ish synthetic) kinds? The very cheapest options are usually metal, and they generally work fine. If they are of especially low quality, they might break quickly, or scratch your mouthpiece or dig into your reed. The soft ones are a little more expensive, but have the advantages of (a) better gripping an oddly-shaped mouthpiece or reed and (b) surviving being stepped on.
    • What about a fancy one, with jewelry metals or cryogenic treatment or inset “tone jewels” or some other expensive gimmick? Won’t those make me sound better? This is extremely doubtful. There’s a possibility that you will sound a little different inside your own head, and that might make you play a little differently. Or that platinum plating (or just having spent a lot of money) will increase your confidence. But it’s very  questionable that the ligature has some inherent sound quality that your audience can hear, unless you plan to hit it with a drumstick. Remember that in some parts of the world, top orchestral clarinetists use shoelaces. (I heard a story of one of these clarinetists being asked what kind of shoelace he used. His response: “Black.”) If you are deeply invested in the idea that a ligature needs to be fancy or expensive, Michael Lowenstern has a video you might find enlightening.
    • But doesn’t a ligature affect the reed’s vibrations? The vibrate-y part of the reed is the thinner part, away from the ligature.
    • Should I use the kind with one or two screws? What about those ones with no screws? Any number of screws is fine, as long as it holds the reed on the mouthpiece.
    • Should I get the kind where the screws go on top of the mouthpiece or underneath? I really cannot emphasize enough the unimportance of the screw situation.
    • How tight should my ligature be? Tight enough to hold the reed securely in place.
    • How far back or forward should I put the ligature? You could try some different positions and see if one feels better to you. Some mouthpieces have a line on them to suggest where the ligature should go. You are not obligated to follow this guideline, but if you are having difficulty deciding where your ligature should go then I suggest using this as a starting point.

    If you would like to purchase something that will improve your tone quality or your articulation or whatever, I recommend getting some recordings of very fine clarinetists and some lessons with an excellent teacher. Enjoy!

  • Woodwind Doubler Census 2021 results, part 3: training/education

    ByBret Pimentel

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    Which was your first instrument, among the major woodwinds?

    2021 Data
    flute 37 13%
    oboe 13 5%
    clarinet 106 38%
    bassoon 6 2%
    saxophone 119 42%
    none of these apply 1 ~0%

    2011 Data
    flute 22 12%
    oboe 10 5%
    clarinet 77 41%
    bassoon 5 3%
    saxophone 73 39%

    Which of these have been part of your education on woodwind instruments?

    2021 Data
    school band/orchestra program (high school or younger) 262 93%
    private lessons outside of school 248 88%
    summer camps 188 67%
    university band/orchestra program 241 85%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 10%
    university/conservatory bachelors degree with single-instrument or other music concentration 182 65%
    bachelors-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 111 39%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds 35 12%
    university/conservatory masters degree with single-instrument or other music concentration 75 27%
    masters-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 31 11%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 10 4%
    university/conservatory doctoral degree with single-instrument or other music concentration 24 9%
    doctoral-level study on secondary instrument(s), but not as part of a formal multiple-woodwinds program 6 2%
    other university/conservatory music degree or certification 14 5%
    self-taught on one or more instruments 167 59%

    2011 Data
    school band/orchestra program (high school or younger) 175 94%
    private lessons outside of school 170 91%
    summer camps 131 70%
    university band/orchestra program 143 76%
    university/conservatory bachelors degree with formal concentration(s) in multiple woodwinds 27 14%
    university/conservatory bachelors degree with single-instrument or other music concentration 97 52%
    university/conservatory masters degree with formal concentration(s) in multiple woodwinds 13 7%
    university/conservatory masters degree with single-instrument or other music concentration 37 20%
    university/conservatory doctoral degree with formal concentration(s) in multiple woodwinds 4 2%
    university/conservatory doctoral degree with single-instrument or other music concentration 5 3%
    other university/conservatory music degree or certification 12 6%
    self-taught on one or more instruments 118 63%

    What factors influenced you first to get involved in woodwind doubling?

    Besides the provided answers, several of you included personal anecdotes of influences including boredom, norms of the early music scene, orthodontia and injuries, career aspirations like instrument repair and studio work, and the Lawrence Welk Show.

    2021 data
    just interested in more than one instrument 202 72%
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 139 49%
    had or wanted opportunities to play for musical theater 196 70%
    influenced by a teacher or role model 136 48%
    wanted to improve employability 138 49%
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 118 42%
    an ensemble you were in (or wanted to be in) didn’t include the instrument you already played and you needed to learn another 46 16%
    your training/experience as a teacher required you to branch out 56 20%

    2011 Data
    just interested in more than one instrument 40
    required/helpful for a jazz (or other improvisatory music) group you played in or wanted to play in 37
    had or wanted opportunities to play for musical theater 35
    influenced by a teacher or role model 23
    wanted to improve employability 19
    an ensemble you were in (or wanted to be in) needed someone to play a specific instrument, and you were willing to learn it 19
    your training/experience as a teacher required you to branch out 9

    What sources have you used to learn about or otherwise engage with woodwind doubling?

    Besides the provided answers, nine of you wrote in something to the effect of “lessons” or “teachers,” which I didn’t include as an option because I covered formal training in other questions. A few of you also wrote in “YouTube,” which I have lumped in with “social media sites.”

    Thanks again for your participation and stay tuned for more survey results.

  • Woodwind organizations

    ByBret Pimentel

    I recently renewed a few memberships in some of the woodwind-related professional organizations. I like to stay current with as many of these as I can, because I enjoy receiving their publications and attending their conferences whenever possible. Most offer some other benefits like score and book lending libraries, eligibility for a group instrument insurance plan, member directories, and exclusive website content.

    Membership is especially useful for woodwind folks in academia—students and professors alike—who are hoping to build their vitae. There are opportunities to publish articles, interviews, reviews, and such in the organizations’ publications, and to perform, present lectures and demonstrations, and participate in competitions and masterclasses at the conferences. Students can usually join the organizations and attend the conferences at significant discounts.

    The groups I’m listing below are the major ones that North American woodwind players ought to seriously consider joining. There are others, mainly regional groups, of which I list as many as I’m aware elsewhere on this site (see flute, oboe, clarinet, bassoon, and saxophone organizations). Read More “Woodwind organizations”

  • Public domain woodwind clip art

    ByBret Pimentel

    Artist Karen Hatzigeorgiou has posted some charming public domain images of woodwind instruments at her website, like this lovely clarinet. The others are in a similar pen-and-ink (or is it some kind of etching?) style.

    clarinet

    Read More “Public domain woodwind clip art”

  • |

    Woodwind Doubler Census results, part 2: instruments

    ByBret Pimentel

    In the previous installment of results from the Great Woodwind Doubler Census of 2011, I shared some basic demographic information about the 187 survey respondents. In this installment (and those to come), we’ll dig into some real doubling stuff.

    Instruments

    Q: Which woodwind instruments do you play, and at what levels?

    The top results are unsurprising: saxophone, clarinet, and flute being the most widely-played, with oboe in a distant fourth place. I was a little surprised to see folk/ethnic/period woodwinds edge out the bassoon.
    Read More “Woodwind Doubler Census results, part 2: instruments”

One Comment

  1. This all day! The buzz word around where I teach is “faster air” but kids have zero idea what that means physically. I’ve changed my vocabulary to give specific instructions that relate to lip strength, oral cavity positioning, and abdominal strength to achieve the same goal. I’m not leaving it up to 12 year olds to figure out what I mean by such an amorphous instruction.

    Reply

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