“Tighten your embouchure” is bad advice for young clarinetists.
That goes for young saxophonists, too, and really for any young woodwind players. But young clarinetists hear it often because their pitch is flat and their tone lacks focus. “Tighten your embouchure” gets thrown around as a fix-all, except it doesn’t fix all. It doesn’t fix anything. Unless your students are actually leaking air around the mouthpiece from utter slack-jawedness. In that case, they should tighten, but only a little.
The real issue isn’t embouchure, it’s voicing. Good clarinet playing requires a high voicing. (The opposite of almost every other instrument in the beginning band.) That’s why your clarinet section is flat and tubby-sounding. Tell them to blow ice-cold air, which fixes the voicing problem. Train them to back it up with powerful breath support. Let them relax their embouchures—not tight, just airtight. And enjoy the clear, full, ringing, and in-tune sounds!
Helen Bledsoe shares some flute intonation exercises (could be adapted to other instruments).
Clarinetist Jenny Maclay offers advice on dealing with the mental baggage of being a musician. (Reminder: blog posts are not a substitute for professional counseling.)
Trent Jacobs uses a power tool to make bassoon reeds.
Cate Hummel continues her crusade against questionable “kiss-and-roll” flute embouchure pedagogy, and has an insight into that technique’s popularity.
Jeff Cunningham explores some of the “ups & downs” for beginning saxophonists. It’s good context and advice for woodwind doublers, too, who may be at beginner stage on a secondary instrument.
Bassoonist Andrew Burn shares some unconventional ideas about recital preparation.
Helen Kahlke shares a review of an inexpensive bass saxophone. Don’t reach for your wallets yet, but the takeaway here is that playable, affordable, modern saxophones lower than baritone could be on the horizon.
Also, I am now a co-author, with Kellie Lignitz-Hahn, of the “Clarinet Cache” column in The Clarinet (journal of the International Clarinet Association), and the related blog. Check it out online or in your latest print issue.
Specific instrument brand/model recommendations should always be taken with a grain of salt, but woodwind doubler Josh Johnson discusses the importance of backup instruments, plus some of the issues involved with choosing instruments for situations where crack-proofness is important.
Clarinetist Meri Dolevski-Lewis shares a process for developing sight-transposition skills [update: link dead].
Flutist Jennifer Cluff offers some ideas on increasing success on the problematic high B.
Jolene Harju plays the flute with her feet. (Okay, it’s really a post about having “a grounded, rooted connection between the feet and the floor.”)
Gaenor Burchett-Vass discovers some favorite treasures of the English horn repertoire [update: link dead].
Some good stuff from the D’Addario Reserve Method Program blog, including one from clarinetist Nick Councilor on some basics of ensemble etiquette and one from clarinetist Bradley Grasl on being your own teacher.
I am pleased once again to share some excellent woodwind-related blog posts from the past month, and especially to point you toward some bloggers appearing here for the first time. Enjoy!
Bassoonist Christina Feigel explains the concept of “tilt” in musical performance, and gives some ideas for overcoming it. (Also, congratulations to Christina on completing her DMA degree!)
Flutist Rachel Taylor Geier wrote a couple of excellent posts, about 3rd-octave “trick” (overtone) fingerings, and about tendinitis. (Be sure to consult a medical professional for any concerns about injuries.)
In the past I have had my woodwind methods classes make woodwind pedagogy notebooks. The idea is to have them explore some available pedagogical resources, and assemble them into a resource they can use for reference in their future teaching. But that assignment is starting to feel a little weird, especially since I have been trying to go increasingly paperless in my own life, and because it has been increasingly difficult to persuade my digitally-oriented students to go to the actual library and look at actual books.
To be clear, I’m a lover of libraries, and for me there’s no question that there are tremendously valuable resources there that are not available online (yet?). But it seemed like time to experiment with embracing an online approach to the assignment. So during the past semester I had them each locate some online articles they thought might be useful. Then they used a discussion board to collaborate on vetting the articles for usefulness and author credentials, and to compare their content against the concepts we covered in class.
I’m going to provide here a heavily-edited report of their results with my own commentary. Some articles were proposed but were rejected by classmates as less useful or credible, and I don’t see any need to list those. Also, I wanted my students to go through the process of vetting online information, but I didn’t entirely agree with their conclusions, so I’m omitting some that I personally think are problematic. (If you’re wondering, my own blog posts were off-limits.)
Here are some of the articles my students voted to be worthy of inclusion in a digital notebook:
Clarinet Basics: Maintenance Habits, written by Julie DeRoche for The Woodwind and The Brasswind. This one was very highly regarded by the class, and I am inclined to agree with their assessment. My students liked the article’s thoroughness and day-to-day applicability. Two cautions with this article: firstly, I think it’s wise to be careful with (paid?) articles from websites that want to sell you things, but Ms. DeRoche’s credentials are above reproach and the information checks out. Secondly, the article does describe briefly the process of oiling a clarinet’s bore, though it does not strongly recommend this procedure. That is probably information best not given to beginners—at that stage it should be prescribed and carried out by a professional.
Reed Help for Beginners, written by Sarah Hamilton. This oboe-related article was another top pick by the class, who appreciated its down-to-earth advice, clearly-explained concepts, and helpful illustrations. I agree that this is a great resource, though some of the reed evaluation and adjustment procedures described might be beyond the scope of what a non-oboist band director can or should attempt.
Beginner Clarinet Tips, written by “Andrea.” This one is really more of a table of contents to some other articles on the site. My class liked the breadth of material covered and the extensive photos. I find the information to be very similar to much of the conventional wisdom regarding beginning clarinet playing, which mostly but not completely agrees with my preferred approaches.
The Big Switch, by Amanda King. My students found this advice on switching students to the bassoon to be useful. I am on record as disagreeing with the premise that beginners should start on some other instrument before switching to the one they want, but the article does raise some relevant points for cases where that is happening.
Teaching the Beginning Bassoonist, written by Terry Ewell for The Double Reed. I’m including this excellent article even though it really is geared toward private bassoon teachers rather than band directors; it’s a good example of solid information that would be mismatched to this particular audience. It’s also a good (and relatively harmless) demonstration of the importance of using up-to-date materials, as bassoon reeds now cost well over $6 USD.
Tips for Teaching Beginning Flute Players written originally for BandWorld Magazine by Randy Navarre. My students liked the article’s concision and clarity. I generally agree with the information presented.
I think some good things came out of the assignment, though I still feel like I sold out a little by excusing my students from visiting the library. I stayed fairly hands-off through the discussion process, and that did result in the students selecting some articles that weren’t really a fit for what I wanted them to learn. In the future I might consider being more involved with guiding the discussion. I’m also concerned that the final product—this blog post—isn’t as tangible as an actual notebook, and might not be as ready at hand, but hopefully they have developed some skills in evaluating information they find online.
Pauline at Cleonide discusses the (non?-)influence of instrument materials on tone. Unsurprisingly, the naysayers were quick to respond in the comments section with their unsupported arguments (as they have been on my own posts on this topic).
Ed Joffe pays tribute to Al Block, a distinguished woodwind doubler who passed away recently.
Cate Hummel discusses a timeline for teaching flute dynamics. (I agree wholeheartedly about waiting to teach dynamics, for all woodwinds, but respectfully disagree about how dynamic changes are produced.) In another post, she discusses teaching students how to practice.
Flutist Rena Urso-Trapani shares her experience with a recent orchestral audition, and offers some tips.
