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    Wind Instrument Pedagogy

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    Ch 13 Woodwinds

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    Wind Instrument Pedagogy

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    89 views30 pages

    CH 13 Woodwinds

    Uploaded by

    lemmu
    Wind Instrument Pedagogy

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 30
    Woodwinds Xi -t Complete Woodwind Instructor by Sheldon and Sheldon (C.L. Barnhouse) Guide to Playing Woodwind Instruments by Phillip Rehfeldt (Mill Creek Publications) Guide to Teaching Woodwinds by Frederick Westphal (Wm. C. Brown) Teaching Woodwinds by William Dietz (Schirmer Books) The Woodwinds by Everett L. Timm (Allyn Bacon) Woodwind Anthology selected articles from the Instrumentalist : Woodwind Handbook by Thornton James (Southern Music, Co.) set Clarinet Reed Placement aa ihe Placement ofthe reed on the mouthpiece is extremely important. The tip of the reed should be lined up with the tip of the mouth; 2a hint of the tip of mouthpiece showing above the reed. As th shows, a reed that is not placed on the mouthpiece correct e following list | vatiety of problems, tly can cause a Common Reed Problems | Many of the problems here attributed to the reed m iay also be caused by a : bad embouchure and poor finger coordination, No sound uu 1. The reed is too hard. 2. The reed is placed ineotrectly of the mouthpiece, 3. The reed is broken or chipped... Li . A fuzzy, breathy sound 1. The reed is too hard. 2. The reed is placed incorrectly on the mouthpiece, [i 3. The reed is broken or chipped. Flat pitch | 1. The reed is too hard. Ei . 2. The reed is placed incorrectly on the mouthpiece. ‘Sharp pitch 1. The reed is too soft. 2. The reed is placed incorrectly on the mouthpiece, Thin sound f 1. The reed is too soft. 2. The teed is placed incorrectly on the mouthpiece, mn pi ‘Squeaks u L. The reed is either too hard or too soft, ; 2. The reed is chipped or broken. 3. The reed has an inherent chirp in it and should be discarded, L 4. The reed is placed incorrectly on the mouthpiece. High notes not speaking or very flat | : 1. The reed is too soft, 2. The réed is placed incorrectly on the mouthpiece. Care of Reeds ‘The clarinet reed is fragile. kis easy to chip, crack, or break a reed because e ff the thinness ofthe tip. The reed will probably become damaged and oe, Jess if the ip bumps up against the lip, the teeth, or the end of the moana Piece. AXM- 2 CHECKLIST OF COMMON FAULTS OF PLAYERS OF WOODWIND INSTRUMENTS Gperture) too large ‘Ate directed carelessly 3. Lack of breath support 4. Arm position 5. Finger position poor 6. Fingers lifted too high 7. Right thumb position incorrect 8 Dif key not opened 9. Incorrect F# fingering 10. FtoF# not smooth 11. Thumb Bb in s Ss 12. Incorrect hij Iinote Angerings 13._ Pitch of C# @nd & 3rd octaves) 14. Sharpness in high octave 15. Poor legato playing 16. First finger on D (4th line) 17. Tongueing between teeth Oboe & English Horn not directed into the oboe 2. Lips too far over teeth 3. Airstream to large 4. Biting lips with teeth 5. Finger and arm position 6. Right thumb position 7. Lack of breath support 8. Half-hole incorrect 9. Octave change incorrect 10. Incorrect use of F keys 11. 12, 13. 14 . Poor legato with forked F Incorrect high note fingerings Pitch in upper register . Poor mechanical connections on the instrument 15. Bad pitch and color ori second C 16. Reed not flexible (thick) Saxophones ‘Not enough mouthpiece Embouchure too firm Dirty mouthpiece and reed Poor hand position embouchure and air Incorrect chromatic fingering Dirty goose neck with head leaning to one side Octave sharp |. Lack of certainty on low notes |. Poor control of vibrato Bge PNA gaeNe Faulty pitch due to lack of control of Playing instrument on side of body Clarinet 1. Not enough mouthpiece 2. Reed too soft or too stiff 3. Reed not placed on correctly 4. Ligature loose or too tight 5. Dirty mouthpiece 6. Poor hand or finger position 7. Poor posture 8. Too much bite on mouthpiece 9. Chin not down or smooth 10. Lip turned in too far 1. Biting for hi ter 12. Finger too on'h key 13. Third finger (each hand) pulling off incertain patterns 14. Wrong chromatic fingering 15. Poor thumb position 16. Tongue placed under reed Bassoon & Contra-Bassoon 1. Not enough reed in mouth . Lips turned in too far 3. Toomuch bite 4. Chin bunched up 5. Jawnot pulled down 6. Airused incorrectly 7. Bent or dirty bocat 8. Bad position 9. Dry reed 10. Reed too heavy or too thin 11. Loose reed wires 12. Notusingaltemate fingerings 13. Lack of breath support for the upper register 14. Not knowing tenor clef 15. Thumb action (L-H,) faulty 16. Indefinite finger action mur -3 FLUTE STUDENT CHECKLIST 1, Embouchure A. Lips positioned gently together into a slight frwn B, Lower lip is relaxed C. The embouchure hole is centered D. The lower edge of the embouchure hole is positioned approximately on the edge of the lower lip E, Approximately 1/3 of the embouchure hole is -covered_by.-the lower lip F. Head joint is parallel to the lips G. Aperture is shaped like a flattened oval 4 H, Left Hand Position A. Wrist is bent slightly inward B. Ist finger is drawn slightly backwards C. Flute rests at the bottom crease of the Ist finger D. Fingers are curved B. Thumb is straight Til. Right Hand Position A. Thumb positioned approximately under the space between the Ist and 2nd fingers B. Fingers are curved C. Wrist is bent slightly downward IV. Instrument Position A. Posture is correct B. Instrument angle slightly downward C. Head is up and wrned slightly to the left D. Correct support and balance E. Elbows slightly away from the body 114 The Flute playing, thus preventing moisture from collecting in the tone holes and being absorbed by the pads. ‘The pivot screws should be oiled at least once every four months to ensure that they work properly. Occasionally these screws must be loosened using a jewel er’s serewdriver, oiled, then retightened, If the tenons become dirty and sticky, they can be cleaned with denatured alcohol or with silver polish (the latter will remove a very slight layer of the finish ‘as well as the grime). Protector rings for the end joints are frowned on for two rea sons: They make it more difficult to keep the ends clean, and they add wear with the frequent removing and replacing. This wear can result in distortion of the dimension and parabolic construction of the head joint. In the days of wooden instruments and poorly constructed cases, protector rings were necessary for the preservation of the cork on the ends, but today there is no longer a reason for them, and most companies no longer make them. TROUBLESHOOTING Equipment Sticky pads Moisture absorbed by pads. (f pad is not dam- aged place lens paper berween pad and (one hole, (press key and gently pull paper out: repeat eeveral times pulling the paper out in Gilferent directions. As a last sesore: Apply & Slight Amount of talcum powder to absorb the moisture, being careful to keep it off the mech anism.) 2, Bent rods, (Have repaired by competent repair person.) 3,Worn springs. (Have repaired by competent sepairperson.) 4:Pivot screw at end of rod through post may (one drop). Occasionally it may need to be loosened and partially removed, oiled, then retightened. Pads not seating correctly Leaking pad:—usually discovered when lower register does not respond easly. (Ifpads are in good shape, readjustment of the adjusting Screws may be necessary. Insertion of thin paper “washers’ behind pad can be made by Tepairperson. Possibly ‘bent rods to be repaired) 2. Brittle or hardened pads. (Have replaced by ‘competent repairperson.) 3.Torn pads. (Have replaced by competent repairperson.) 4, Loose pads. (Reheat the glue; seal che pad with genve pressure.) Tone Breathy 1. Too much embouchure hole covered. (Move flute up of down to cover oneourth to one third of the embouchure hole.) 2. Airstream not centered with embouchure hote. (Practice in front of miror to. keep embouchure centered. In rehearsal, rotl Mure Lup to lips before attacks and entrances 10 make Sure embouchure hole is centered. If duc (0 physical shape of lip—such as a teardrop- Shaped upper lip—some have success playing off center many switch to another instrument.) B.Aperture in embouchure is 100 large or too round. (In upper register Keep aperture small; in low registers Keep embouchure flaer and nly wider) 4. Not enough airsupport, (Breathe correctly and fet air flow, keeping constant pressure behind the airstream. Be careful not to overblow, how- ‘ever; Keep airstream focused.) S.ln_ upper register, (oo much of @ simile cembouchure. (Make more rounded.) Fuzzy, hollow [Not enough embouchure hole covered. (Move head joint up to cover onefourth to one-third ‘of the embouchure hole. Roll ute inward.) 2. Flute turned out too fat. (Correct alignment of head joint or holding/hand position.) 3. Misdirected airstream. (Blow air slightly more into flute.) 4. Airstream not focused oF incorrect shape of aperture in embouchuse. (Aperture should be Telatively flat and wide for tower notes and Small and round for upper pitches. Physical shape of lip ean prohibit focused airstream— ‘tempt co pull upper lip more tightly against teeth.) 5. Aperture in embouchure too loose. (Focus aitstream. Firm up corners of mouth slightly.) 6.1 n low register, commonly due-to too small an aperture. (Relax corners of mouth. Pull back ahd down on corners and auempt to raise cen ter of upper lip) 17. Leaky pads. (Have replated.) Thin, strident shrill 1. Too much tension in ip around embouchure hole. (Try to relax center of upper lip. Focus aissiream. Form flauer, wider aperture for omer register, rounder for upper register) 2. Playing on outer surface of lip. (Rell ips out to play more on dhe moist inner surfaces) 3. Blowing 100 hard. (Blow easier yet maintain pressure. Focus air more.) 4 Airsueam not centered, (Rell flute up and down {0 center embouchure hole with embouchure Hold ute so that embouchure hole is parallel with lips. Cover more embouchure hole, pull ‘corners back and down more, roll ute in sight yor a combination of these ) 5.Jn upper register—corners of lips too. tense G.e., 100 much of a smile embouchure): (Relax corners: Practice Duttertangue ) ©.Too much air blowing over and ovt of flute (Blow more air into instrument) 7H in lower register, aperture too smal. {Atempt a wider. flaer embouchure,) 8, With poor Nexibility~not enough embouchure hole covered. (Move head joint down, cover at east onefourth of embouchure hole, but not more than one-third.) Stuffy 1. Fhute rolled in too far. (Rell out. Correct align- emt of head joint) 2 Too much embouchure hole covered. (Move head joint up to cover atleast onefourth of the ‘embouchure hole. Roll fine out) Weak 3. Not enough air support. (Breathe correctly.) 2 Leaky pads ‘ 3.Too much embouchure ule covered. (Move head joi up.) Difficulty with the higher register 1. Bring jaw forward. and cover more of hie embouchure hole with the Lower lip in upper register. BIBLIOGRAPHY Texts Indicates out of print in 200. Bares, Pump (1979). TheFlate- A Study of hs Histo 1, Development and Construction, (2nd cd. New York: W. M. Norton. Born, ThtonaLp (1899); MnuzR, Davrow (2931 English Translation). The Fine and Flute Plasing in Acoustical, “Tedhnical nd Avtistc Aspects, 2nd English ed. by Dayton Mil York: Peter Smith, a An The Flute 2. Use faster, more focused airstream, 3.On sharp notes such as CF direct air slighty more downward into embouchure hole of try arching tongue more toward roof of mouth, 4. Focus and direct ait more toward outer edge of embouchure hole with more rounded ‘embouchure aperture Difficulty with the lower register 1. Lips (oo open. (Direct airstream more down ward) 2. Lips to0 tense. (Practice softy, relaxed on Jow- est pitches. Blow more air being careful not to overbiow.) Flexibility problems 1.To0 much embouchure hole ssvered.(Move ‘head joint up oF rol lute out) 2. Aperture of embouchure toa large. (Common problem when playing in low register-keep aperture only as wide and large as necessary) Pitch Flat 1. Airstream is directed 160 much into the Bute (Raise head or lower jaw slighy, blow more toward ovter edge of cinbouchure hole ) 2.Too much of the embouchure hole is covered. (Raise head joint, rol ute out) 3. To avoid going flat when descending into the first octave, uncover embouchure hole while directing more air into the embouehure hole Sharp 1. Airstream is directed too much toward the ‘outer edge of the embouchure hole. (Lower hhead or jaw slighty, blow more into ihe eambouchure hole) 2.Not enough of the embouchure hole is cow cred. (Lower head joint, rol fate in.) 3.1m lower register—pull the comers of the ‘mouth back and down slightly. 4.4 Gis being played. (Lip down, fake it, or ‘cough at dhe appropriate moment) Charsan, FR (1973). Flute Tesinigue, 4th ed New York: Oxford University Press. “COOPER, ALBERT (1980). The Flute, 2nd enlarged ‘ed. London: Author. De Lorenzo, LEONARDO (1992). My. Complcte ‘Story of te Fhuie: The Instrument, the Performer the Music, rev. and expanded ed. Lubbock TR. ‘Texas Tech University Pres. Dick, Roper (1975). The Other Flute 4 Perfor: ‘mance Monsual of Contemporary Techniques. Lone dow: Oxford University Press. 315 Courtesy of Nikki Barnum Flute ae Hints for Teachit 1. Embouchure: “The goal is to make this opening very small, usually no wider than the tip of your finger. -say “pure” of “poo” -like spitting a grain of rice or watermelon seed using only air 2. Tonguing: tongue should hit where the top tecth meet the roof of thé mouth tongue should not be visible of heard between the teeth and lips “ta,” “too,” "t" for sharper attacks, “da,” “doo,” or “A” for softer attacks 3. Hand position: -Right hand thumb should be directly undemeath the right hand first finger. Be sure that this thumb does not stick out past the body ofthe flute. - hand thumb should be straight, not bent, to play the B and Bb keys. -Fingers should alt be curved and, ideally, as close to the center of the keys as possible. (Their hands may not be large enough to allow this.) This will make a transition to ‘more advanced model flute later on much easier. -Be sure that students understand that the body of the flute should rest on the first knuckle of the left hand. If the student appeats to have trouble balancing the instrument, check to make sure that the flute is resting on their hand. 4, Balancing the flute: There are3 points on which the flute must balance: the chin, the first knuckle ofthe left hhand and the right thumb. (The right hand Eb key will also help; however, this key is not always to be pushed down.) 5. Wrist -Both wrists should always be straight!!! Watch especially for a bent left wrist. Ifeither wrist is bent, have them drop their elbow down toward the floor. Bent wrists can eventually cause severe injury and will hinder technique a great deal. 6. Amns, Shoulders, and Upper Body: ~Your goal isto help the students make playing the flute feel as natural as possible. -Do not force students to sit or stand with their fect in line with their hips and shoulders and head. Doing so will only make students uncomfortable and limit their ability to breathe. : I. Right Hand Position - Positioned to the bottom Thumb correctly positioned on thumb rest Thumb straight Fingers curved . Fingers slanted downward Wrist straight "BoA D> Hl. Left Hand Position A. Positioned to the top B. Thumb straight C. Fingers curved D. Wrist straight IV. Instrument Position A. The body posture is comect B. Instrument positioned to the center with the bell placed several inches above the knees C. Right thumb supports entire’ weight of instrument - Elbows slightly away from the body Aur-4 132 _The Oboe CARE AND MAINTENANCE OF THE OBOE. A wellfittng case is important. It protects the keys of the instrurment against dam age and it helps prevent extremes of heat and cold from damaging the wood. An outer vinyl or fleece-lined nylon case cover further protects against damage and sudden temperature changes. Always allow the outside of the wooden oboc to ‘arin up before blowing through the instrument Dirt is more harmful to an oboe than to other instruments because the small tone holes are easly clogged. It should be swabbed after each playing. A swab of Soft cloth i satisfactory for the bell and lower joint; forthe upper joint soft pheas- ant or turkey feather should be used. The feather sometimes may dry out tone holes or vents but will at least spread the moisture about to prevent a buildup. The feather should first be washed with soap to get rid of natural oils -Many-oboe-players-oil-the-bore-to-guard- against spliting-wood.-However, ost reputable manufacturers now guarantce their instruments against cracking, and preparation of the wood in the factory includes soaking it in oil. If oiling the instrument seems desirable, a small amount of bore oil should suffice. Too much cil remaining in the bore adds to the accurnutation of dirt. The springs ofthe oboe should be oiled perhaps once a year and very lightly with key oil, which is available with a necdle applicator. Moisture that collecis in the smaller tone holes and the octave keys can be blown out as a temporary solution, and a piece of coffee filter placed between the tone hole and the key. pressed gently, will absorb any remaining moisture. ‘The tone holes should be cleaned regularly with a pin or with the quill of the eather ‘The pads and keys of the instrument should be checked frequently because pads leak and keys are easily bont. The keys should be wiped occasionally with a soft cloth, They should not be polished with silver cleaners because this may clog the mechanism and destroy the silver plating TROUBLESHOOTING Equipment Difficulty in assembling Grease corks on joints, including reed if neces sry . Sticky pads Moisture in tone hole(s) or absorbed by pads (If pad is not damaged, place tissve paper beneen key and tone hole and cover/hold gently for paper to absorb moisture; do not use talcum powder) Bent rods—probably the bridge key. (Have repaired by competent repairperson.) Worn springs. (Have repaired.) Pivot screws at end of rods need oiling (one drop); occasional screws may need to be loos ened, oiled, then retighiened, Pads not seating correctly Leaking pads—usually discovered when the lower register does not respond easily (If pads are in good condition, adjusting of the screws may be required; possibly bent rods t© be repaired by competent individual.) Pads are damaged. (Replace or have replaced.) Gurgling sound Water collected in tone hole(s) under pads that ‘usually remain closed. (Open appropriate Key, blow water out of hole and into the bore— (blowing must be sudden and forceful). Clean with a feather; bore may.need oiling.) 2.0n low notes —often 2 tight throat—frst over. tone tying to sound. (Relax throat, drop jaw, blow steady air without forcing.) 8.Too much reed in mouth Tone Reedy, nasal, harsh, rough 1. Head down or obve held too high. (With head erect hold oboe at 30 t0 45 degree angle.) 2.Biring on reed. (Drop jae; lip down and blow faster air to compensate; use firmer lips/embouchure to control reed.) _The Obox 133 5.Jow protruding. (Correct embouchure includ- figs 4. Reed 100 hard. (Try softer reed or scrape reed.) Pinched, small 1.Oboe held 9 close to body. (With head erect hold oboe 30 to 45 degrees away from torso.) 2. Opening in reed 100 small—overall contour oF sides too weak, (Trim end J millimeterata time and serape reed when necessary to reform the tip: Keep lip pressure on sides of reed.) 8 Biting the reed. (Drop jaw use more lip 0 con tro) reed and use slightly faster air to compen- sate for pitch.) 4.Not enough teed in mouth. (Place more reed in mouth) 5.Not enough lip over teeth for reed. (Check reed; use more lip over teeth—tess red of lip showing.) 6.Not enongh breath support "LFirscspace H is weak or breathy. (Play H with GF ey down. IF GI key dors not close, replace the Cleork} Unresponding, cold L.Reed too hard. (Adjust for free blowing or ‘wrong evt~ scrape.) 2 Inappropriate reed cur, (Try different brand of reed.) 3.Not enough air. (Blow more air after taking proper breath; use proper embouchure to hold the increased pressure.) Squawky 1. Reed too stiff. (Player attempting to overblow: adjust reed or replace it with a softer one. Try playing softly or starting my with decrescendos.) 2.Too much reed in mouth, 3. Too much lip aver teeth, 4.Reed t00 open. (Carefully close reed berween thumb and firs finger to reduce stiffness.) 5. Embouchure t00 loose. Trouble with control 1.Obve 100 high or too low. (With head erect, hold oboe berween 30 10 45 degree angle from body.) 2.At pp volume levels~—reed too stiff; biting reeds Tips in wrong place for reed 3.Jaw protruding, 4.Reed too soft. (Try harder reed or trim tip.) 5.Cheeks puffing. (Firm corners to keep chin and cheeks fat) 6 Embouchore too loose. Trouble with flexibility 1.Too much lip rolled over teeth. (Let some red show.) 2.Too much reed in mouth B.Practice overblowing 10 obsain harmonics; practice slowly moving from note t note in middle of staff in which few fingers are used, gradually adding fingers as range increases 4. Embouchure 100 loose Squeaks 1. Teo much reed in mouth 2 Bent bridge key to bell, pads nor seating 8 Biting reed with lower jaw. (Try dropping jaw as if ipping the note flat—increase alsireamm and firm up embouchure/lips.) 4.Oboe held 100 low (With head erect, oboe should be 80 10 45 degrees from body, expert ment for appropriate position.) Pitch Sharp Embouchure too tight. (Use less lip over teeth; Joosen embouchure; and/or drop jaw by trying 10 blow a pitch flat) Especially in second octave, too much reed in mouth. (Pull reed out) B.Reed too suff. (Scrape reed or wy a softer replacement) 4.Holding oboe at less than 80 degrees from body. 5,Too much bottom and/or top lip turned in 6.4 combination of items 1-5. 7.On individual notes—Keys/pads may be rising too far. (Adjust adjusting screws to open keys property.) 8 Scrape both sides of reed. 9. Pall reed out of mouth. Flat L Embouchure too loose. (Firm up lips expecially corners; try more lip over teeth, thats, less red showing; blow faster airstream.) 2. Not enough reed in mouth, 3.Reed (oo soft. (Cut ip 1 millimeter at a time; scrape when necessary to reform tp 10 strengthen reed.) 4.Head down or holding oboe 100 high. 5.Too much red showing on bottom and/or top lip. (Correct embouchire) 6. Combination of items 1-5. 1.On individual notes—keys/pads not opening enough. (Adjustments to screws to allow for proper opening of pads) A.Tone holes oF vent holes dirty. (Clean with feather or needle.) 9.Qveral with reed inserted all the way. (Cut 1 millimeter at a ime from reed, serape tip when necessary to reform tip—repeat as needed; reed opening too large—press together with fingers to slighty weaken the reed—soak Jonger—serape shoulder of reed; file staple 10 shorten) OBOE/ENGUSH HORN TUNING GUIDE Procedures for Tuning the Instrument(s) 1. Warm up thorougly before tuning. 2. Tune at a mezzo-forte dynamic level and do not use vibrato. 3. Tune to a reliable frequency (electronic tuner, etc) using the recommended tuning note(s) below. 4, Do not humor the tuning note; play itstraighi. Adjust the reed if the pitch is sharp or flat (see below) Basic TUNING NoTE(s) OBOE maf Concenh or A ‘Tuning Mechanism: None. It is not advisable to adjust the overall pitch of the instrument. Oboe tuning is pri- marily dependent upon good embouchure formation and a properly adjusted reed e a a ENGLISH HORN mf WrinnF or iE (Concen Bor A) ‘Tuning Mechanism: None. Although English hom tuning is primarily dependent upon good embouchure for- mation and a properly adjusted reed, it is possible to use bocals of slightly different length to raise or lower the pitch of the instrument. “schniques for Adjusting Pitches While Playing 1, Amount of Reed in the Mouth and/or Embouchure Pressure 2. Alternate Fingerings 3. Finger Shading 4. Combinations of the Above INHERENT INTONATION FLAWS* 2 en} ualiy LY eiaeatene ere a) Add the low B key if these notes are sharp. ) Add the E flat key to improve the intonation and tone quality of this note. ©) The four lowest notes on the oboe tend to be flat. The third space C sharp and C natural tend to be either sharp or flat depending on the instrument, reed, or player. Increase the amount of reed in the mouth and embouchure firmness to raise a pitch; reverse these procedures to lower a pitch. Be sure that your instrument is properly adjusted and that you have a good quality reed, “Arrows pointing up indicate tt the notes tnd tobe sharp: arrows posting dou indicate thatthe notes tend tobe fl am-i2 |?! Pitch Tendencies & Adjustments Oboe (Notes not addressed are generally acceptable) V=Very ahs o fevo) Pitch ‘Tendency F VF Fr Ss F Ss Ss ‘Adjustment UseRP3 Morereed & air Morereed & air Add low Regular, RUR3_——_Lesseed ‘More reed Firm embouchure Firin embouchure __R3 key fingering RP3 Add R3 or RPI in mouth s vs s s F Ss s Add R3 & RPL Useless teed Less reed AGMLP2 or Add RP3_ Use Ada LP? ‘Add RPI or Low Bb key if RIE RLR2&R3 available only obo.) je o F F VF vs F Ss Use more reed Use morereed Use morereed. «AGA LP2 Multiple fingerings Available Add adjusting key Addadjusting Add adjusting depending on instrament Such asLP1 key’-experiment key - experiment ‘Experiment Experiment ” page 13 Flute Intonation Usually flat (especially in diminuendo): Ip Hk Usually sharp: (maybe) add rh. 2,3 bo bo add rh. 2,3 (maybe) a try without rh. 4 (pinky) ‘© try Ist till instead of 2nd trill T. use low C Key instead of Eb key 2. Use gizmo or low B if flute has it Oboe Intonation Usually flat (especially in forte): (avoid "fork" fingering) Usually sharp: ‘These two notes use"half hole" fingerings, which are casily lipped down. AlL notes above the staff need special attention. Fortunately, they are fairly easy to hip in tune. x - 15 Bassoon Intonation Usually flat: (use alternate fing.) Usually sharp: ——— ee SS (use alternate fing.) i alitle Aur -(6 CLARINET STUDENT CHECKLIST Embouchure A. Lips sealed inward firmly B. Chin muscles drawn downward C. Thin ribbon of lower lip over lower teeth D.. Upper teeth on mouthpiece approximately 3/8" down from tip rail E. Upper and lower teeth approximately aligned F. Mouthpiece placed to the center of the mouth at an angle that would place the bell approximately between the knees Right Hand Position A. Positioned to the bottom B, Thumb correctly positioned on thumb rest, C. Thumb straight D. Fingers curved B. Fingers slanted downward F. Wrist straight Left Hand Position A. Positioned to the top B. Thumb straight C. Fingers curved D. Wrist straight IV. Instrument Position A. The body posture. is coréct B. Instrument. positioned to the center with the bell placed approximately between the knees C. Right thumb suppoits entire weight of instrument D. Elbows slightly away from the body (PR WARM-UP - Band Arrangement SM 7 ‘Andante iu mf i Eee ance f LOOK BEFORE YOU LEAP Moderato —

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