Woodwind – part 1

In this introduction to woodwind technical skills I’ll be talking about the techniques which are
shared between the woodwind instruments, as well as giving some ideas as to where - as music
teachers - we need to take a more specialist approach. If you are reading this, you are probably a
player and teacher of one or more of the woodwind instruments; recorder, flute, oboe, clarinet,
bassoon or saxophone. To help our pupils make the most meaningful progress on their instruments,
we need to be aware and confident in our approach to teaching good posture, embouchure,
breathing and support, which contribute to successful tone. To develop agility, it’s important to
encourage economical hand position for deft finger movement. Another shared woodwind
technique is that of articulation, or tonguing. From beginner to advanced pupil, our students rely on
these essential skills for their progress, enjoyment and self-confidence with their chosen instrument.
Although there is common ground between the instruments, the differences between the various
instrumental designs do require some specialist knowledge as a teacher. As a player of one or more
woodwind instruments yourself, it’s possible your teaching practice may demand you give lessons
on an unfamiliar instrument, or perhaps you may find yourself teaching a pupil who is learning
another woodwind instrument; in either circumstance, it’s vital to identify where specialism is
required. In particular, teaching at the early stages - from beginner to around grade three - is a most
critical time in a pupil’s development, as it is at this stage that muscle-memory patterns such as
fingerings, breathing and tonguing are established; teaching well in these early years saves
frustration and relearning later on in a musicians’ career. In some of the other chapters in this series
of recordings you can find more on the varied approaches to teaching generalised woodwind
techniques.

To conclude this introduction, however, I will talk about some of the major differences between the
woodwind instruments. For instance, the single reeds of clarinet and saxophone obviously differ
from the double reeds of oboe and bassoon, and the flute and recorder produce their sounds in
further unique ways, by blowing across an embouchure hole or through the mouthpiece and fipple,
respectively. When it comes to tone, the various instruments aspire to different ideals with regard
to colour, volume and projection. There are also historical and stylistic conventions of which to be
aware, particularly noting that recorder and clarinet playing often minimise the use of vibrato. The
key-designs on the orchestral instruments vary, as do the fingerings; in some regards, the similarity
of fingerings between instruments can be problematic within teaching, and it’s a good idea to avoid
simplifications which can cause issues later. In all instances, if in doubt, check with a specialist
colleague that the tips you’re passing on to your pupils - on embouchure, tone and finger
combinations- are recommended. In developing your knowledge of the specific techniques related
to each woodwind instrument, and how to confidently pass on those principles, you can hope to
enjoy a sustained, healthy and fulfilling teaching practice in which your pupils make satisfying
musical progress.

Maintaining good posture is crucial when playing any instrument; not only does it have an audible
effect on the overall quality of musicianship, but it is also important to the health and comfort of the
player. The way in which a player holds their instrument is likely to be addressed on many
occasions throughout their playing career, but it is vital for us, as instrumental teachers, to
understand that many of the muscular patterns are set in the earliest years of learning, and their
effects felt throughout the decades that follow - it is therefore essential we provide good guidance
from the outset.
During the elementary stages, students are learning a number of new skills, whether they’re
thinking about embouchure, breathing, finger-patterns or reading the music, and it’s a challenge to
also keep some of their focus on the way they stand, sit or hold their instrument. Further to this, if
you are teaching beginner children, owing to their small size they may also be less adapted to the
dimensions or weight of their instrument in the first few years. Despite these difficulties, our
awareness of good muscular positioning can help us support our pupils to make continual small
adjustments towards better practice.
As a general rule, the body should be self-supporting yet simultaneously as relaxed as possible
when in position. Whether sitting or standing, notice how your pupil uses the muscles involved with
supporting their instrument; shoulder and neck muscles are particularly prone to tensions, so focus
on helping them find a natural position, with no extra effort being spent on unnecessary actions
such as holding up elbows or wrists, for example. Targeting the focus on just one particular area
can be most manageable and effective for your pupil, perhaps suggesting they lift the chin or relax
the back of the knees. All the woodwind instruments require some asymmetry within the body,
particularly the flute, saxophone and bassoon, so it’s good to consider how to minimise twisting and
effort.
As a player yourself – and therefore a model for your pupils - your knowledge of correct body
positioning may have come from how you’ve been taught and other musicians you have observed,
however remain vigilant in increasing your own self-awareness and making continual postural
corrections. As your pupils may also find, what feels familiar may not necessarily be right. In
searching out those new tensions which can creep into everyday playing, it’s a great idea to use a
mirror to observe your own playing, as well as encouraging your students to do so. Where the
teaching-room permits, try to occasionally study your pupil’s posture from other angles; viewed
from the side or behind you may notice new things. If you usually teach your pupil standing up but
learn that they spend part of their week playing sitting down, it’s useful to work with your student
occasionally to develop a healthy sitting posture.
Overall, whether you are teaching the recorder, flute, oboe, clarinet, bassoon or saxophone, try to
be informed as to how to guide your pupils through warming-up the relevant muscles before
picking up the instrument, posture whilst playing and the recommended stretches following a
practice session – there are numerous studies and sources of information available. You may also
want to be well-versed in the postural gadgetry available for your instrument, which ranges from
the considerable instrumental adaptations available for players with special physical needs through
to the more commonplace aids you may choose to recommend as appropriate, such as slings and
supports. In another chapter of this series of recordings, I’ll consider an approach to extending pupil
self-awareness of posture to hand position, to benefit agile finger technique.