Physical factors and beginning woodwind players

Ideal flute embouchure?
Ideal flute embouchure?

A disturbing amount of flute pedagogical literature includes drawings or descriptions of what types of lips are good for flute playing and what types aren’t. Usually the lips deemed flute-appropriate are perfectly symmetrical and not too thin, not too wide. I tend to think that those kinds of distinctions are garbage, as are the descriptions of the “right” lips for clarinet or oboe playing or the suggestion that students with natural overbites are born bassoonists.

I also object to the instrument-assigning days that I understand happen in many beginning band programs, at which students are allowed to try several instruments, and assigned based on the “aptitude” that they show in their first 30 seconds holding the instrument.

I would consider physical factors only when they are unusually significant. Potential beginners with genuine lip deformities might run up against challenges—or maybe not.

I worked briefly with a beginning flutist who was missing two fingers. He won’t be able to tackle serious flute literature (or even a full chromatic scale) without some kind of special accommodations—perhaps a customized instrument, or at least a unique approach to fingering—but his desire to play is strong enough that he’s willing to give it a shot. (When I left the teaching institution, he continued lessons with another teacher.)

That’s an extreme case that I’ll concede calls for a serious heart-to-heart with the potential beginner, and might be beyond a harried school band director’s ability to deal with. But to turn away a prospective student because their lips are the wrong thickness seems a little silly in comparison.

Larry Krantz hosts some interesting flute embouchure photos on his website, which are illustrative of the very personal and individual nature of flute embouchures.

Similar Posts

  • From WindWorks Design: Wind controller in a pit orchestra

    Photo, mabel.sound

    “Gertjan” at the WindWorks Design blog posted some interesting comments about using a wind controller in a local production of Seussical the Musical. Gertjan (I wasn’t able to positively identify him from the WindWorks website, but maybe he will find his way here and let us know who he is) played saxophones in the show as well, and used the wind controller to cover a number of wind and non-wind instrument parts.

    Although it gives me a little indigestion to see a wind controller substituting for woodwinds that might otherwise have been played by a doubler, I do think there is application for wind controllers in orchestra pits. Keyboard-driven synthesizers are ubiquitous in recent shows (or are sometimes used to replace other instruments, especially a string section), and, in some cases, a wind synth might be even better suited to certain kinds of synthesizer parts. Gertjan mentions some synthy sounds like “vocal doo,” “scary voices,” and “ghostly shimmering breathy sound,” all of which strike me as likely to be very effective with a wind synthesizer’s breath control. Some others, like “harp” and “tinkle bell” seem like they might be more intuitively assigned to a keyboard. Read More “From WindWorks Design: Wind controller in a pit orchestra”

  • Woodwind technique and conservation of energy

    That people prefer to move in energetically optimal ways has been established for decades and now represents a central principle of movement science. … Energy optimization may also occur over the course of a lifetime, as years of experience could allow people to learn the optimal way to move in familiar situations and allow training to tune physiology to be more economical. An additional hypothesis—one that underpins many modern theories of motor control—is that people can adjust their movements to continuously optimize energetic cost.

    Selinger, Jessica C., Shawn M. O’Connor, Jeremy D. Wong, and J. Maxwell Donelan. “Humans can continuously optimize energetic cost during walking.” Current Biology 25, no. 18 (2015): 2452-2456.

    I certainly see this phenomenon in my own woodwind playing and teaching. How many times have you encountered these?

    • More resistant notes failing to respond because there’s just enough breath support for the less-resistant ones
    • Embouchures losing their shape, reverting to a neutral/normal mouth position
    • Voicing, such as the high, cold-air voicing needed for clarinet playing, or the low, warm-air one for flutes and double reeds, lapsing into a medium, luke-warm state that negatively affects tone, pitch, and response
    • Pitch sagging at ends of notes as breath support peters out

    These are often addressed by teachers as “habits,” which may be true, but they may also be fed by the brain’s capacity—and priority—to micro-optimize our muscle use to conserve energy. No wonder they are difficult to overcome! Patience and persistence are necessary to train our bodies to put the right amount of effort into playing our instruments.

    A factor in this is establishing a suitably high bar for success. For a beginner, the only question might be, “did a sound come out?” For a slightly more advanced student, it might become, “did the correct approximate pitch come out?” A more advanced player might examine the precision of the pitch, the quality of the tone, and the immediacy of the response, among many other factors. It takes a relatively low amount of energy to meet the beginner’s threshold of success, but potentially much more for the advanced player’s.

    Additionally, this intentional use of greater energy resources must be managed carefully to avoid its misapplication, which can result in excessive tension.

    I find that when I am playing at my best balance of efficiency and effort, an hour of playing a woodwind instrument leaves me feeling like I have done some light exercise; I’ll feel the mild and pleasant fatigue of having taken a walk or reorganized a bookshelf. Serious tiredness or soreness are warnings that I’m overusing my body. (Your results may vary depending on your physical capabilities.)

    Be in tune with your own body as you play, and teach your students to be in tune with theirs, so that you’re in the sweet spot of working hard enough but not harder.

  • Switching between saxophones

    If you are an alto saxophone player and pick up a tenor or baritone for the first time, it’s pretty common to have a thin, weak tone, to be on the sharp side, to struggle with low note response, and to have issues like the top-of-the-staff G and G-sharp squeaking.

    If you are a tenor player having your first alto experience, or an alto or tenor player newly picking up soprano, you might find that your tone is tubby, your pitch unstable and tending toward flatness, and your palm key notes unreliable.

    There are a couple of key things to check as you make the switch from one saxophone to another:

    1. How much mouthpiece you are taking in. I like this trick as a starting point for finding the correct position: gently insert a piece of paper between the mouthpiece and reed. The point where the paper stops is approximately the place where your lip should contact the reed.
    2. Voicing. The best way to check this on saxophones is by playing a note on the mouthpiece alone. These are the concert pitches you should produce: If you aren’t producing these pitches, adjust by blowing warmer air to lower the pitch, or cooler air to raise it. Don’t adjust by biting or by shifting the mouthpiece in your embouchure. (It takes some practice.)

    Getting mouthpiece position and voicing right for each saxophone helps you achieve good tone, pitch, and response no matter which you are playing. If you are actively playing multiple saxophones, check both of these things on each instrument as part of your daily warmup, and then follow up with overtone exercises and full-range scales and arpeggios. On a gig, I find it helpful to be conscious of mouthpiece position and voicing as I put one saxophone down and pick up another.

    Happy practicing!

  • 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!

  • The role of tone exercises

    Tone exercises are useful, sort of. Read last month’s post about tone for a reminder why tone exercises are only part of the process.

    photo, valentina
    photo, valentina

    Here is what tone exercises do:

    • Excellent tone exercises demand solid fundamental tone-production technique, providing a chance to habituate useful muscular actions. Trevor Wye’s “Flexibility I” flute exercise is a perfect example. (I suggest you buy the whole Trevor Wye omnibus edition.) If your tone-production technique is correct, you can play the exercise successfully (in tune, in time, with all notes responding easily). But you will fail if your breath support, voicing, and/or embouchure are bad. If you are doing something wrong, you get immediate feedback.
    • Poorly-designed tone exercises lack that self-destruct trigger. Often the creators try to prop them up with text explaining fundamental technique: “Use strong breath support! Keep your embouchure flexible!” If that kind of textual instruction is necessary to make the exercise useful, then the content probably doesn’t really matter—it might as well be a single note with a fermata.
    • Regardless of quality, any exercise you do with tone in mind is an opportunity to focus on your tone. That’s a good thing.

    Seek out high-quality tone exercises and do them regularly, but don’t forget to listen.

  • Woodwind organizations

    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”

2 Comments

  1. Amen! It would be like “experts” evaluating who had the ideal physique to be able to learn to walk, or the ideal mouth to be able to learn to talk. Ultimately, through trial and error, each person has to learn how to walk, talk, or get a clear tone on a flute. As those photos show, a wide variety of physical variations can produce what we know needs to happen to the air stream.

  2. Indeed, it seems very petty to prevent a young student who has their heart set on playing a particular instrument they desire just because of a minor physical feature. For me, as a saxophonist who is trying to sound like a flutist sometimes, it is very confusing when I seek advice from professional flutists and flute majors at my school and almost everyone tells me something different regarding embouchure. I guess it really depends on what works best for you.

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.