LET’S TALK BEGINNERS!! “It’s a Seven Year+ Plan”

I. First Things First

Recruiting: • “Advertise” the entire 6 -12 band program 24-7. • Make your website user friendly for incoming 6th graders and tout the accomplishments of the MS/JH and HS individuals as well as the entire band program. Parents may be looking at your website regarding a possible move to your town, or your cluster. • Go to the 5th grade campuses or bring them to your campus. • Current band parents with children still in elementary school are your best recruiters! • Utilize your entire cluster or directors from surrounding schools on interview/ instrument selection night. It takes a village! • Academic grades • Personality traits for specific instruments • Interview the parent and the potential student • Physical body size • Lips/teeth (see WISIP link)

Class scheduling: • The counselor is the most important person on your campus! • Develop a working relationship where your counselor and principal understand that beginning band and performing band classes are the basis for the entire bell schedule. • Try to schedule double reeds, French horn, trombone and percussion class alone. • Utilize your band staff. Yes, everyone has a specialty – but all are band directors (see below!) • Become proficient at teaching all instruments. Know the fundamentals. • If you teach alone (or not), add master class funding or frequent performing band clinics into your yearly budget. We all need a monthly report card!

Equipment/Instrument Brands/Supplies: • See links from select MS programs regarding instrument brands, various reed strengths and supplies. • Keep the brands affordable but do not sacrifice quality. Have an option or two based on the status of your clientele. • Have the music store replace the stock mouthpiece that comes with clarinet, saxophone, trumpet and trombone. • If a student is using a “family treasure” make sure they have a quality mouthpiece (why is this always clarinet?!) • Use a three ring, two pocket binder, with a pencil bag (can store small items, as well as pencils, that get lost in an instrument case). • Invest in quality hole punch machine. Punch holes in the method book and all supplemental material you distribute. Be diligent about organization! • Have a band hall set of mirrors or have students purchase one from you at school. It’s easier to acquire what you want them to have and sell them at school. • Make sure all school- owned instruments are in playing condition. o No leaks in oboe, bassoon – pads replaced if needed. o Brass instruments - have reachable dents removed and valves/slides in working condition. • Charge a school -owned instrument rental/user fee! Parents will be prone to make sure their child takes care of the equipment. • Invest in three-quarter size tubas. • Have a good reed source available for double reed students if you do not have private teachers. You must be proactive in developing the player on these instruments!! Remember…It’s a seven year (and beyond) plan ☺ • If you are going to have brass players use a BERP (see photo) make sure they all have one so you can reap the benefits of this teaching device. We made this a requirement in the Richland HS cluster from grades 6-12. It was part of the beginner trumpet, Horn, trombone, euph and tuba package. I don’t advise using them at the very beginning but as you start to read music they can vibrate, refine hand position, and finger along at the same time. Educate yourself on the apparatus, first!

II. PRELIMINARY INSTRUCTION TIME • Since you are establishing muscle memory the first couple of weeks of school and students do not have the endurance to play for an entire class period, spend a good chunk of time on posture, breathing, assembly, disassembly, holding the instrument, finger exercises, rhythmic coordination/counting, and music theory. o Teach the grand staff not just the clef of the instrument. o Memorize “ABCDEFG” forward and backward. • Take a day, early on, to show brass players how to oil valves and grease slides. Do one valve and slide at a time! • Leave AMPLE amount of time for students to properly disassemble instruments while you monitor! • Tell students that in band class there is no criticism, only information! They need to learn to appreciate the help you will give them as well as their peers. When being corrected on a skill, you are giving them information. If you are having students observe each other (and you should), the peer is providing information. • Ask students questions daily! Ask them to analyze your sound and to compare it to their own. You must start establishing an awareness of characteristic sound. Student must start establishing opinions to develop higher level thinking skills. This will pay off in high dividends when they’re in performing band.

As you are showing students their instrument, both school owned and what the music store has delivered, let them take a picture of the following: • The instrument so the parent can see that it was delivered. They’ll ask! • The way the latches on the case look when ready to open so there are no mishaps when allowed to take home. • Where the parts of the instrument are placed in the case so there are no mishaps when they are allowed to assemble/disassemble at home. • Let them take a video of you or another student (or ask permission to video the student with their phone) assembling the instrument (especially flute, clarinet, oboe, bassoon, trombone). o Of course, there’s no replacement for going over all of the above ad nauseam in class!

Beginning classroom setup: • Students need plenty of room to maneuver, especially the first 3-4 weeks. • If you must use a performing band(s) set for beginner classes, skip a chair between students for a while or all year with beginning low brass players. • Set up in arcs so you can observe all students with your peripheral vision. Also, stress that they should be facing the center….all lead pipes, heads, eyes, towards the center, even though you’re probably walking around the room quite a bit at first. • Leave ample room for you to walk around and monitor faces, posture, hands, etc. Work the room like a waitress!! • No music stands until absolutely necessary. Small cases under the chair and larger cases back in the storage area. • If French horn and trumpet class have to be combined place the trumpets in front of the Horns since they won’t be playing the same pitches for a long while. The French horn players need to be able to hear themselves.

Playing Position Posture: • The body must feel balanced and stress free. • Start by standing with feet directly under shoulders. Shoulders slope downward and hands are open, in their natural position. Call this a “flat C” position. Every instrument uses a version of the “flat C” in hand position. • The head “floats” on the neck between the shoulders. This will be very important as you discuss bringing the mouthpiece to the face, not the face to the mouthpiece! Don’t all the head to poke out! • The texture of the body is soft and natural. • Once everything looks aligned while standing: o Sit by simply bending the knees (sit as you stand). Knees directly over ankles. o Sit so that you can get up in one motion w/out any extra movement. o Body size will determine how close to the edge they sit. Some students will fill up more of the actual seat area than others. o As they are sitting, continue to remind them they should feel balanced – especially with they begin holding the instrument. o Face should look calm and soft. Places to look for stress as they start playing: eyes, forehead, corners of nose, chin. o Look at students from side to side and front to back to make sure they are in alignment. o The inside of the arms will never touch the outside of the chest cavity while holding an instrument. No body part touches another body part!! • Once instruments are in hand, address flute and French horn (if starting with bell on the leg) body angle for playing position posture since it’s a bit different from other instruments. Flute body angle should be addressed while standing then transferred to the chair.

Breathing: • The most important thing to know as a wind instrument player is how to use your air. • We don’t do anything with our air that is uncomfortable. Our faces and all parts of our body are never tense. • TEACHER MUST DEMONSTRATE EVERYTHING!! Teacher demo – student copy. • When they inhale tell students to make sure the tongue doesn’t follow the inhalation backwards. We do not want to restrict the airway. Inhale cool air and leave the tongue in its natural position (down). Feel the cool spot! • Watch the face when students inhale. It should look like it does when they exhale. Calm – no tension. • The deeper they can breathe the better. Tell younger students to think of breathing all the way to the seat of the chair (aka…below the rib cage). o When time for the mouthpiece, explain that it focuses the air, not the mouth. • Exercise: Have them mentally place the air on a target (your hand, their hand or piece of paper w/ a dot in the middle). Do not specify a speed and do not allow them to pucker their lips. YOU MODEL FIRST! o After a couple of days tell them to direct the air to the target as quickly as they can without pushing the air. Place the target close at first, gradually move it back. o Each time you move it back remind the student not to force the air, or push the air, but to visualize the air arriving at the target as quickly as it did when it was close to them. • There are a zillion exercises for breathing. Be creative but be OBSERVANT! Bad habits are not always the fault of the student!! We own it • Air = CSS o C = constant o S = steady o S = smooth This will transfer to straight, resonate sound on the instrument. Talk about note shape – smooth on all sides, no bumps, great start, and great release. Draw a square, rectangle or straight line and compare it to the start, body and release of a note. Visuals work!!

(I am inserting articulation before we discuss actual instrument instruction since tonguing concepts are basically the same for all instruments.)

Tonguing: This cannot take place until the embouchure has been developed, students can successfully use their air, and desired tone quality is well on its way to being achieved. • Stress the fact that the tongue merely interrupts the sound but air is continuous. • Compare articulating to talking. There’s really no difference. We physically say “too” or “doo” the same way we articulate “too” or “doo.” • Since we want continual air when students start to articulate, I like to do two specific exercises when introducing articulation. 1. Mental exercise - draw a horizontal line on the board then place four, vertical slashes, equally spaced, on the vertical line (the first at the start of the line), mimicking the tongue. You can also take the eraser and lightly erase four equally spaced gaps (slash it) on the horizontal line. ______2. Physical exercise – I go around to each student and have them watch my embouchure as I articulate air against the palm of their hand. I want them to see that the tongue does not come between the center of my lips (though I never say this) and want them feel the continuous air stream lightly interrupted by the tongue. No, I don’t let my tongue touch their hand…only the air!! 3. Reverse the exercise and have students blow against your palm. Everyone sanitizes on their way out! 4. Claire Johnson has her flute students gently grip the sides of the tongue with their back teeth. This brings about an awareness of using only the tip of the tongue to articulate while on the head joint and the jaw won’t move while articulating! • Start with mouthpiece for brass (tuba players on the instrument is a possible exception or all brass), headjoint with flute, reed with oboe (or on the instrument), reed and bocal with bassoon, neck and mp with saxophone and mp and barrel with clarinet.

Reed instruments: • When you articulate the only thing that moves is air, reed and tongue. • When explaining “one or two taste buds,” have students touch the tip of their tongue with a fingernail for this awareness. • Use “doo” or “too” as the tongue touches the flat part of the reed under the tip. • After each articulation, the tongue immediately falls down to its natural position • Begin the sound then articulate. Allow students to do this with unmetered rhythm, fairly rapidly. • Next, have them start the sound and articulate on command, when you snap. • Remind students that the sound doesn’t change when they tongue. Emphasize straight, constant, fluid sound with subtle interruptions (connected notes/legato tongue). • ALL NOTES TOUCH! Legato tonguing is the only type of articulation that has an actual rhythmic note length. Anything that’s not connected is a style concept because it takes away from the value of the note. • Observe students from side to side as well as the front while tonguing. • Gradually add the tongue to the first initial start. • Eventually add the metronome and have them tongue when the foot is down, then down and up! • You – model – they play. Do this individually. • Add finger exercises while articulating – teacher model – student play. Do as a group but HEAR AND WATCH INDIVIDUALS every day!

Flute and Brass instruments: • Relate tonguing to talking. The tongue moves exactly the same when articulating as it does when you are speaking. You can’t get much simpler than that ☺ • The tongue touches the enamel of the top teeth directly below the gum line. • A brass mouthpiece visualizer (right) is a great apparatus for diagnosing articulation issues/tone production issues. • Make sure students (on all wind instruments) understand that the tongue “articulates” the sound created by the airstream. MONITOR THIS DAILY! o Sound happens when air moves past naturally vibrating lips o Articulate the moment air begins o The tongue doesn’t start the sound (you’ll hear it if they are trying to do this…very percussive). o The tongue never comes between the teeth. • See above bullet points for Reed Instruments.

Method Book: • Use it…don’t let it use you. I, personally, changed books every so often. You don’t have to use the same book for every class unless you have all instruments combined (I’d still keep the French horn players on the optional pages – same notes on the lines and spaces as trumpet notes but playing in 5ths). • If you don’t agree with a concept being taught, have the students mark it out. Have them USE THEIR PENCIL and delete or add what you prefer (example: add third valve slide to low D, Db/C# trumpet fingering). • Ideally, it should be weeks before you start in a book. When will you know? When you see boredom on their face • If you don’t care for the fingering chart (especially WW’s) staple a better one in every book! Trumpet players should always add “+ slide(s)” on low D and Db/C#, possibly R hand down on certain clarinet notes, etc. • French horn class can start in a trumpet book (staple fingering chart) but the books that have the optional, practical range pages are also good. If your FHorn/trumpet class is combined they do not need to play in unison!! The French horn players need to start in the middle of their instrument, also. • Supplement like crazy and introduce music theory concepts needed BEFORE you open a book. • When students start in the book they should think it’s ridiculously easy!!

III. THE INSTRUMENTS

WOODWIND INSTRUMENTS

FLUTE

Equipment: • Start on an open-hole flute. Hand position is correct from day one. Students with small hands can keep the plug in for the L hand ring finger for a while and the R hand ring finger if needed. Otherwise, do not use them. • Off-set G is also a great option as it allows the left hand, third finger (ring finger) to remain natural and not stretched, causing tension.

Physical Characteristics: • Avoid teardrop (unless you are committed to spending one on one time with a student for as long as it takes to teach them to play out of either side of the mouth). • Ideal mouth is round on all sides • Medium to full lips – especially bottom lip • Lips should be straight across the bottom and top when the embouchure is formed • Teeth that are naturally aligned or slight overbite • Avoid extreme overbite and under bite • Look for natural aperture by having the student say “pooh.” This will become the foundation for the embouchure. o Why “pooh?” It teaches the student that the air starts the vibration and blows the lips apart. When they learn to articulate it helps to confirm that air is continuous throughout articulation.

Assembly: Parts of the flute - head joint, body (middle joint), foot joint • Place the case on a flat surface like the floor or a table but not on the lap. • Identify the top and bottom of the case – look distinguishing marks – latches facing down, • Assembly 1. Take out the body (middle joint) with the right hand and hold in a fist at the top of the body (where there are no keys or rods). 2. Take the head joint out with the left hand and twist back and forth into the body. 3. While holding the head joint and body with the left hand in a fist, where the two joints meet, take out the foot joint, holding at the bottom, and twist onto the body.

Alignment: • The center of the tone hole should line up with the center of the first key that you put your finger on. You can use a dot of fingernail polish as a guide. • Line up the rod of the foot joint with the center of the last key on the body (middle joint).

VERY IMPORTANT!!! Have the students sit at a 45 degree angle across the right corner of the chair but with head facing forward. This cannot be overlooked!! Also, having them stand to introduce this concept is very advantageous.

Hand position: • Right Hand - Start by having the students hold the flute vertically with their left hand at the top of the flute and the foot joint resting on the left knee. 1. Have students start with their right hand down by their side in a natural position. 2. Bend the arm at the elbow and raise the arm up. 3. Fingers should form a flat “C” or a “U” if you look from the side. 4. Do not let the right hand bend inward as this will create tension and horrible hand position. It is an extension of the wrist. 5. Index and thumb of the right hand would touch if the flute wasn’t between it. Thumb is under key 4 (F key). 6. Right thumb should be on its right side (cuticle). This keeps fingers from rolling onto the side of the finger. Thumb should not be sticking out from under the flute. WATCH FOR THIS! 7. Pads of the fingers should cover the holes. 8. Lift from the big knuckles. 9. Keep fingers as close to the keys as possible and lift only as high as needed to open the key. 10. The pinky stays on the D#/Eb key. This is home base for the right pinky until needed for other keys on the foot joint.

• Left Hand (while holding flute w/ R hand) 1. Left hand rests where the index finger meets the top of the palm. 2. Index finger curls down onto the C key. 3. Thumb points upward. 4. Wrist is underneath the flute and slightly bent so that the flute rests on the hand. 5. Keep pinky above or touching the G#/Ab key. This is “home base” for the left pinky. This is not an option! 6. Pads of the fingers cover the holes. 7. Lift from the big knuckles. 8. Keep fingers as close to the keys as possible, and lift only as high as needed to open up the key.

Placing the head joint: • Before adding head joint place right index finger under bottom lip – in the natural valley between the lip and chin and hold the left index finger or fingers in front. Say “pooh” and send the air towards the other finger(s). • Very important that teacher places the head joint on each student for several days. Students need a mirror to see and observe placement but must start to FEEL and be AWARE of where the head joint actually sits. • Continue to model what you want to them to look like. Walk around and let them see up close. • Remind students that their head floats on their shoulders – above their body! No looking down or up as they’re looking in the mirror. • Place the bottom edge of the tone hole on the bottom lip line – where red meets the skin. Do not allow students to roll in to feel the edge then roll back out…too many issues could arise when they’re not in front of you. • Thicker bottom lip – place head joint higher; thinner bottom lip – place lower. Remind about the “natural valley.” • Bottom lip covers anywhere from 1/3 -1/2 of the tone hole. • The head joint needs contact but not very much pressure.

Explain that the aperture is the opening formed when the lips blow apart. The tone hole should be centered where the aperture naturally occurs. Must be monitored.

Embouchure: • Flute it is the only wind instrument where the corners are NOT held against anything. They are away from the mouth and inflated by a ring of air behind the lips (this statement will be used frequently). • Students need to think “tall mouth.” There should be adequate space between the back molars so the oral cavity increases in size. You want it to feel cavernous! This is how to establish a vibrant, resonant sound! Tell them to think about the teeth being open in the back instead of the front – the jaw teeth not touching. • Play w/ a ring of air behind the lips. The ring of air is only as constant and steady as the air itself. • It is acceptable on flute to puff the cheeks slightly (this relates to the ring of air).

Producing the first vibrations: • The first sound should be done with the teacher placing the head joint. Hold it w/ your fingers facing away from the child so you do not press on their lip. • When placing the head joint do not allow the student to bring their head to you! The head joint comes to the student (remember….head floats between the shoulders - not in front of the shoulders)!! • Remember - it is very natural for the lips to blow away from the teeth and cheeks to puff slightly. • As mentioned earlier (but w/out head joint) start the first sound by saying “pooh” and sending the air forward. • Gradually allow the student to place the head joint as you observe and offer information for awareness. Make sure they are holding the head joint w/ the palms facing out – thumb and two fingers on each side. • Top lip should be soft/squishy • For most students a “V” will form from condensation on the opposite side of the head joint if the aperture is centered and the air is focused. • As much bottom lip as possible – side to side – should touch the head joint. • Keep the area under the chin soft and natural.

Tongue position: the tip of the tongue should touch the top of the back side of the bottom teeth when at rest (and not articulating). The student should think “ah” while playing.

Analyzing the firsts sounds: • No sound – reset the head joint. The teacher should take responsibility if there is no initial sound. • Air before sound – the tongue could be up, lips not blowing apart – touching too long, student saying “hoo” not “pooh.” • If the initial head joint sound is high, something is too tight, student overblowing or directing the airstream too high or low.

Now – let them try to place the head joint themselves and produce a vibration! Remind them of everything! Do this daily for a long time before assembling the instrument. Be creative – go down the row – observe and hear every player every day and provide feedback! If using mirrors, make sure they are not moving their head to accommodate viewing.

Head joint attached to body…ready for the first sounds on the actual instrument! • Make sure they are sitting/standing at a 45 degree angle – no stress on the left shoulder or body. Head faces front. • Discuss how the flute is suspended and not held. • Explain that there are four suspension points. 1. head joint on lip 2. side of 1st finger in the left hand 3. right thumb 4. right pinky • Have the students put the flute in playing position with all the fingers down and then lift one hand at a time, starting with the right hand, until they are able to stabilize the flute using only the four suspension points. Stress trying to maintain proper hand position while suspending the flute, but don’t panic if for a while the hand position is tense and awkward. • Once the students can suspend the flute, have them finger T12 and try playing an A above the staff. Start in the upper octave if possible. Students seem to be able to make the aperture larger more easily than they are able to learn to make it smaller (if A above the staff is unattainable for some at first start with 5th line F). • Once the students are comfortable and consistent in producing the A, have them add or lift one finger at a time to work on T1 (Bb) and T123 (G). Then just expand up and down as the students are ready. • All of this is done by rote teaching not music reading. Let them focus on posture, hand position, embouchure and tone production. Start with headjoint daily and add the body/foot joint once sound is improving.

OTHER IMPORTANT FLUTE SKILLS • High/Low on the head joint - start working on this skill as soon as the students are able to consistently produce a characteristic tone on the head joint and the flute. Flexibility is as important on flute as it is on brass. • Teach this skill by having the students blow air on the palm of their hand and raise and lower the air by moving the bottom lip forward. Aim the airstream with the top lip (think of it as a beak). • Aim down for low notes and more across for high notes. • Next, have the students do this on the head joint. Start on the low note and raise the airstream to produce the high note. It helps if the corners pull slightly to the center (jaw forward), which makes the aperture smaller, and if they let the cheeks puff slightly. While learning to develop this skill, the tone will sometimes stop right before the upper note responds so don't let them stop blowing when this happens. • Be careful that the students don’t get the high note out by just simply blowing harder. Tell them you don’t want the high note to be much louder than the low note.

The Great Bb Debate (It’s really just a matter of working smarter not harder!!): • I prefer to start with thumb Bb (Th L) since students will be playing in flat keys, for the most part, at the beginning. That being said… • Bb 1-4 or “one and one Bb” or “Th R” should be introduced, as well as lever Bb, once B natural comes into play or as chromatic is introduced. As with all alternate fingerings, make up your own exercises that utilize both fingerings so students learn to make a rapid decision naturally. Method books do not cover this material soon enough! • The chromatic scale (with chromatic fingerings) must be started by second semester, if not sooner (in small chunks), of the beginning year on all instruments. There’s no better way to teach these chromatic fingerings!

START VIBRATO DURING THE SECOND SEMESTER VIA PULSES!!! This is a required flute skill!! Flute is a vibrato instrument!!

CLARINET Physical Characteristics: • Medium size lips • Somewhat aligned teeth • A natural flat chin (have the student scratch their chin like it’s a bad itch. It should immediately flatten)

Assembly: Parts of the clarinet – mouthpiece, barrel, first joint (upper joint), second joint (bottom joint), bell • All students should have a well-ventilated reed guard that holds at least 4 reeds, a plastic mouthpiece cover and swab! A metal mouthpiece cover will make MUCH more noise if it hits the ground during class or a concert. • Place the case on a flat surface, table or floor, as students are seated in chair. • Identify the top and bottom of the case – look for distinguishing marks – latches facing down, etc.) • Demonstrate how to apply cork grease before attaching any joints. • Start with only the 1st joint and 2nd joint. o Show students how to pick up first joint and place in left hand o Pick up second joint in right hand demonstrating o Proceed to attaching these joints together making students aware that the bridge key has to line up. Hold the first joint in your left hand, with your fingers over the ring holes on the front of the clarinet. This will cause the bridge key to lift up. o Holding the second joint close to the bottom with your right hand, slowly twist the first joint into the second being very careful not to grab or bend the rods. Teacher checks to see if the keys are aligned. o Continue to add the bell, again, being very careful not to bend rods. o Add the barrel/mouthpiece/ligature/reed only after DETAILED instruction (ligature screws almost always go to the right)

Mouthpiece/reed/ligature: • When you are at the point of actually producing a sound on the mp and barrel (and entire instrument), have the students start soaking the reed in their mouth while doing assembly. • Notice that the ligature has a fat end and a thin end. Point out that the screws for the ligature will almost always appear on the right side of the mouthpiece as the student looks at the mouthpiece from the flat side (even with an inverted Bonade ligature). • Always place the ligature on the mouthpiece before the reed! Once the reed is on (and you’ve demonstrated how to push up the ligature w/ the thumb and slide the reed on) tighten the bottom screw of the ligature until snug. Leave the top one tightened just until you feel a bit of resistance. If it’s too tight the reed won’t vibrate properly. Teacher checks for accuracy! • Reed to mp – thick to thick, flat to flat, thin to thin. Point out that the reed is shaped similar to the mouthpiece.

Hand position • I would suggest that you do this with only the first and second joints attached – maybe the bell – but no mp/barrel. Clarinet will be on the knee. • Right hand placement (hold the clarinet w/ the left hand at the top of the upper joint) 1. Place the fingers first, not the thumb. Place fingers on the silver rings and holes. Fingers form the flat “C.” Stress that the pad of the finger covers the holes – not the tips of finger. 2. Place the thumb under the thumb rest. For most students, the base of the thumbnail will come into contact with the thumb rest. Never allow the thumb to stick out beyond the thumb rest. Monitor this!! 3. The pinkie rests where it is most comfortable one of the four keys used by the little finger. 4. Keep the fingers soft - no tension! 5. Remind students not to touch the rods of the clarinet.

• Left hand placement (students are now holding the clarinet on the knee with their right hand) 1. Point out that the left hand fingers will look slightly different than the right hand. They will be in more of a downward angle (see below…index finger stays in contact with G# and A keys). 2. Identify the G# and A keys for students. Place the middle knuckle of the index finger on the G# key. Place the first knuckle of the index finger on the A key angled down toward the first silver ring on the front. 3. Place the 2nd and 3rd fingers 4. Place the thumb over the hole on the back of the clarinet so that the thumb is just (ex. Bb/F, C/G, etc. ) aware of the long, skinny (register) key. If you imagine the hole is a clock the thumb should point to one 1:00/1:30. 5. Keep the wrist up so that it stays in line with the rest of the forearm. 6. If the thumb is not being used to play the clarinet it must not touch the body of the clarinet. 7. Thumb goes across the hole at a 45 degree angle. 8. Teach 3 positions of the thumb 1. hole only 2. hole and register key 3. register key only (break at first joint to roll up to the register key)

Before adding the mouthpiece/barrel - be creative with L and R hand finger exercises, exercises for rolling to A and G# (“rock and roll”), as well as L and R pinkies. You can number the pinkie keys or use colored tape for the same R/L notes. Remind students that they will not play two notes in a row with the same pinkie. Watch and monitor the height of fingers as they are raised and lowered. Be proactive!!! Have a routine every day. They cannot play for a solid 45-50 minutes yet! Take advantage of detailing hand position and finger exercises!

Reminder for students (and teachers!): Keep one hand on the clarinet at all times. When the clarinet is lying on the lap, the keys must face upward. Take the two joints apart, keys facing upward, and use reed cap if the instrument must be left on a chair.

Embouchure: Students should be able to use their air correctly before this procedure. The airstream must remain constant, steady and smooth. Teach them (and demonstrate) to regulate the air so it doesn’t come out all at once. • Teach this with mp/barrel after much success attaching the reed to the mouthpiece/ligature. • One way to get the correct embouchure on clarinet is to have the students shape the face as if they are trying to drink a thick milkshake through a straw. The chin should be very flat (sculpted) and the corners toward the center and anchored to the teeth (flesh to teeth). • Once they get the shape of the face correct have them keep the same face and blow out. It is important to have the students practice this in a mirror. • The student should be able to form the correct embouchure WITHOUT the mouthpiece. • A few technical things to remember… o Thumb and upper teeth support the clarinet and lower teeth support the reed. The upper teeth rest on the mouthpiece. o The lower lip has the same function as a sheet does for a bed – it only covers; it is inactive. The reed is against the teeth, covered by the bottom lip. o The bottom teeth are moved a bit forward to get the teeth even and create the valley in the chin. No one should have any bunching this way. The teacher has to commit to being diligent in monitoring this process. o Corners of mouth come toward mouthpiece and you must see red flesh on either side of the mouthpiece. o Never tell students to “roll” the bottom lip over the teeth. The part of the lip that is not under the reed stays in front. o The upper lip rests on top of the mouthpiece in front of the teeth. It should be soft and there should be no dimples in the corners that are not already there when the student makes his/her natural face. o The corners begin in their natural position and the lip should never feel stretched or tight.

Transferring the above skills to the student: • You may need to physically touch the student’s bottom lip to show how it feels when it covers the bottom lip. If not, have students place their index finger on the bottom lip and do the same w/ you demonstrating at the same time. • Go around to each student and physically insert the mouthpiece and lift against the student’s upper teeth. • Help create the valley in the chin w/ your finger if necessary. • After the student has been successful with you holding the mouthpiece let them try to do the same thing. It’s best to have them hold the barrel with the thumb and two fingers so the others don’t get in the way of the bottom of the barrel and change the sound. • Stress “instant sound!” Have the student keep the air moving even if the initial sound isn’t really the right sound. This helps reinforce a constant and smooth airflow. • The mouthpiece and barrel will produce F#. Don’t stress too much if this doesn’t happen immediately…don’t make the student feel like a failure if they don’t do this on the first try. I wouldn’t even mention it until they have developed a little muscle memory. Then…run w/ it! Tuner, tonal energy app (love that happy face!!), pitch matching between teacher and student/student and student or electronically. Pitch too high – biting; pitch too low – probably not firm enough into the top teeth. • Watch their face at all times! Ask students where their tongue is….they have to have an opinion. • You play at the clarinet, not into it (like the trumpet). Have them think about directing their air across the reed rather than blowing down into the clarinet. The mouthpiece and tongue (“ee” or “ih”) will take care of it. • Tell students to focus the air towards an imaginary dot in the middle part of the reed where the flat part meets the tip. An instant reed vibration should occur. • Another reminder….the mouthpiece is supported by the teeth, not held w/ the lips! • There must be enough mouthpiece in the mouth to allow the reed to vibrate freely. When the sound starts to spread or squeaks occur, there is probably too much mouthpiece in the mouth. If the reed doesn't vibrate freely, there may not be enough mouthpiece in the mouth. • Keep making subtle adjustments as needed. The embouchure is correct when the tone sounds vibrant ☺ • MONITOR AD NAUSEAM!!

Producing a Sound on the Entire Clarinet: • Hold the clarinet with the right hand in correct hand position and the fingers down. Hold the barrel with the thumb and two fingers of the left hand to guide the clarinet into the mouth. • The elbows should be at the center of the body to set the correct angle. • The first note should be a G with the right hand down. • As they become comfortable and consistent in producing the G in this manner, have them start the note and then take the left hand off of the barrel. Next, start the note and take the left hand off of the barrel, and then lift the fingers in the right hand. This teaches the students how to pull up into the top teeth with the right thumb only and not with the “grip” of the right hand. Make sure they keep the correct right hand position as they lift the fingers. • A good way to see whether they’re anchoring to the top teeth is to grip your fingers around the mp and see if it holds relatively still or to gently push up on the bell then release after a couple of seconds. If the sound changes or the mouthpiece moves, the grip is not firm enough.

Once the students are comfortable with stabilizing the clarinet into the top teeth by pulling up the thumb without any other fingers, have them start playing T1, T12, & T123. Once they are successful with these notes, start adding fingers 4, 5 & 6 in the right hand. All of this is done by telling them what fingers to put down and not discussing note names or reading music yet. Reading music at this point is too much information for the students to remember. Let them focus on hand position, embouchure and tone production.

Analyzing the first sounds on the mp and barrel (always provide feedback): • No sound – biting, top lip too tight, not enough mouthpiece in the mouth • Stuffy sound – corners are pulled back not allowing the reed to vibrate freely, holding the mp with lips, tongue is in the way • Airy sound – corners not firm enough • Upper harmonic – too much mp in mouth or something weird is happening with the reed to make it flutter. • Unfocused – mouth too far open, teeth too far back, corners loose.

Additional fingering concepts: • Right Hand Down on Second Line G, G# and A o Most teach throat G, G# and A with the right hand down. Although students will eventually learn how to play these notes with the right hand up (on occasion), you will find that the students will be more successful going across the break if they are taught to have their right hand down on these three notes. • Register Key o Review 3 positions of the thumb. o Teach the students to use the register key by playing low C and then the teacher adds the register key to make the note skip up to the high G. If the note “thuds” or doesn't skip instantly, the student probably isn't anchoring the upper teeth enough. Other causes could also be that the reed is too old, too soft or placed too low on the mouthpiece. o Once the student can consistently produce the C to G, then add fingers in the right hand one at a time and practice the same register key skip. o If the mouthpiece isn’t anchored to the top teeth or the vowel sound isn’t correct (eee), the upper notes may be spread, sound flat or not respond instantly. • “Rock and Roll” to the A key o It is vital that students develop the skill to maneuver the left hand first finger accurately! o The first finger should rock back and forth (like a windshield wiper) while moving from the knuckles. Students MUST roll up and hit the A key with the side of the first finger on the 1st joint. Make sure the students aren't picking the first finger up to get to the A key. o Have the students slur from 1st finger F# to A. If they are picking the finger up instead of rolling, you will hear a G between the two notes. o Being able to roll to the A key correctly is vital in order to play across the break smoothly. • Pinkies o Students should know both R and L fingerings for playing C, C# and B (low F, F#, E without the register key) by the end of the beginner year. If you are teaching the chromatic scale accurately, they WILL know all optional fingerings! Most teach pinkie keys by numbering (1, 2, 3, 4) or w/ colored tape until memorized. • Altissimo Register (above the staff C# and higher) o Teach these fingerings in relationship to the notes already learned and explain that the first finger in the left hand serves as another register key. Voicing (eeh) and fast air are vital to playing in this register. (Ex. 4th space E to C# above the staff and continue to ascend – but add the R pinkie once you get to D above the staff).

SAXOPHONE Physical characteristics: • No severe overbite or underbite • Due to the rounder embouchure teeth do not have to be even – normal or slight overbite will work. • Medium size lips • Medium size hands

Be extremely selective. It is very easy to make a sound on a saxophone. It is difficult to refine.

Assembly: Neck, body, neck strap • Students should have a well-ventilated reed case that holds 4 reeds, plastic reed cap, and swab. • Make sure the case is on a flat surface w/ the latches facing down. Look for identifying marks that tell the student the case is right side up. • Identify all parts before assembly • Demonstrate how to apply cork grease to the cork on the neck • Have student put on the neck strap first and demonstrate how to adjust accordingly before attaching the instrument. • Carefully lift the body out of the case by placing the R hand on the bell and supporting with the left hand at the top. • Brace the saxophone with the R hand and attach the neck strap. Do not let go! • Hold the octave key open on the neck being careful not to apply too much pressure. • Twist and push the neck into the body of the saxophone. • Turn the screw that supports the neck to the first point of resistance. o I would stop at this point and learn how to balance the saxophone, etc., for several days. Discuss hand position, etc. (we’ll cover this below). o Now you’re ready to add the mouthpiece and ligature • Carefully twist the mouthpiece onto the neck (w/out ligature). About 3/8 to ½ inches of cork should be showing when the neck and mp are together. • Line up the bottom of the mp with the brace on the bottom of the neck. • Ligature – place it on the mouthpiece with the screw heads on the right side. • Reed – place the reed on the mouthpiece by holding the ligature up with the thumb and index finger. Just like clarinet….thick to thick, flat to flat, thin to thin. The reed should be aligned on the rails and you should be able to see a sliver of black mouthpiece above the reed. • Slide ligature into position and look for a line on the mouthpiece to indicate where the ligature needs to be placed. Tighten screws to the point of resistance.

Important reminders up to this point: • The flat side of the mouthpiece is called the table; the side pieces are called the rails. Review reed placement – thick to thick, etc. • Store the ligature on the mouthpiece BUT NOT THE REED; however….see below… • It’s a good idea to store an OLD reed on the mouthpiece in the beginning to help shape the ligature. Place the plastic reed cap on the mp/lig. • USE THE PLASTIC MOUTHPIECE CAP. If not – they will eventually think it’s not an important item. • Check reed position for each student before playing! • The neck must be protected and stored in the compartment indicated in the case. • Show the student where to store the neck strap and reeds in the case. • The cork on the neck might need to be adjusted prior to assembly. You might have to do this before instruments are distributed. • Swab the instrument on a daily basis – neck and body separately. • Students must use a well-ventilated reed case!!

HAND POSITION - The students will first need to be taught how to suspend the instrument from the neck strap and balance it against the side of the right leg. Younger or smaller students shouldn’t play with the saxophone between the legs because it will interfere with the right hand position.

Right hand: • Hold at the top of the saxophone with the left hand and let the sax hang to the side of the right leg. • Place the fingers first and then the thumb - put pinky on the C key or Eb/D# - whichever is most comfortable at first for the size of the hand. • Fingers should be in a “fat C” position as opposed to a “flat C,” and centered with the tab of the fingers in middle of the pearls. • Put the thumb under the thumb rest and push the sax forward to the thigh - just before the knee. This will help the students anchor the mouthpiece correctly. • Move the fingers from the large knuckles, stress keeping the fingers low (staying on the pearls) and moving straight up and down above the keys.

Left hand: • Use correct right hand position to hold the instrument. • Place the fingers first and then the thumb. If you see a total of five pearls, fingers 1, 2 and 3 go on pearls 2, 3, and 5. If you only see four pearls, place your index finger on the first pearl, skip the small pearl and place your middle and ring fingers on the next two pearls. • Center the fingers on the pearls and then raise the wrist until the top of the first finger is the same height as the top of the 2nd palm key (unless the student’s hand is small). • Place the pinky on the G# key. • The thumb goes across the thumb rest at a 45 degree angle with the hard part of the thumb (at the 1st joint). The thumb then rocks to the tip to push the octave key. Avoid lifting the finger to hit the octave key.

Other important reminders for hand and instrument position: a. Have space between the instrument and inside of the hand. Do not allow the hand to collapse against the instrument. b. Balance the instrument with the embouchure, side of leg, neck strap and thumbs. Most of the weight should be on the neck strap so the hands stay soft and natural. c. The upper part of the right arm should align with the body rather than behind it. THIS WILL CHANGE THE MOUTHPIECE ANGLE!!! d. The inside of the arms should never touch the chest. e. The left arm is across the body – as natural and comfortable as possible. No tension! f. The instrument comes to the player not the player to the instrument! g. Adjust the angle of the mouthpiece so the student doesn’t turn his head to play. Eyes straight ahead!

Embouchure/Tone production: • Use the mouthpiece and neck only. Be very detailed on how to put on the ligature and reed. • The best way to get the correct embouchure on saxophone is to have the students say “ooo”. The chin doesn't need to be as sculpted as clarinet, but the chin should not bunch up toward the reed and the face shouldn't look tense. The corners should still be toward the center slightly. • Once the students get the shape of the face correct have them keep the same face and blow out. It is important to have the students practice this in a mirror. • The students should be able to form the correct embouchure WITHOUT the mouthpiece. • Teach the students to open and close the jaw without changing the embouchure. Try to get the jaw open the correct amount before inserting the mouthpiece. It is best if students don’t have to close the jaw to get the teeth to the top of mouthpiece. This will prevent biting. • Hold the neck with the thumb and 2-3 fingers (fingers on the octave key) to establish the correct angle, which should be slightly below parallel to the floor. • Take in enough mouthpiece so the reed vibrates freely. When the sound starts to lose focus, sound hollow or squeak, there is probably too much mouthpiece in the mouth. If the reed doesn't vibrate freely, the student may not have enough mouthpiece in the mouth. • Make sure the head is level (eyes looking across the room and not down). Form the face first and then slide the mouthpiece (reed) in on the bottom lip until the top of the mouthpiece hits the top teeth. The bottom lip should not be over bottom teeth prior to inserting the mouthpiece (should be able to talk while forming the embouchure). The back part of the lip should fold over the bottom teeth (like a sheet over a mattress) as the reed slides in on the bottom lip. o You can have the student put their first finger on the bottom lip (like the reed) and push into the bottom teeth slightly to see how the lip folds over the teeth. Do this with your finger when a student is having difficulty getting the correct amount of lip over the teeth. • You need to make sure the students understand that the top of the mouthpiece must be anchored lightly to the top teeth and that this pressure must be applied without letting more mouthpiece slip inside the mouth. The mouthpiece doesn't need to be anchored as much as on clarinet. • The embouchure is similar to whistling. The corners are always forward and natural…resembling a draw string bag without the wrinkles. • Hold the neck and mouthpiece to play. The angle of the mp should be just below level. • It is okay for the cheeks to puff slightly when playing the saxophone. This will actually help the students to produce a darker saxophone sound. • Don’t worry about a specific pitch on the mouthpiece/neck at first because you don’t want the students to push the mouthpiece too far on the cork. Just listen for an open tone quality with free vibrations. The specific note on Alto saxophone neck/mp should be Concert G#/Ab. • Make sure that you teach the vowel sound of “ah” or “ooo”. Teeth are naturally apart and even. • Remind them that the tongue stays in the bottom of the mouth and that they can feel the air come over the tongue.

Analyzing the sound on mouthpiece and neck while matching teacher on Concert G#/Ab: • This can only be done if the student understands air speed and how to use it. • If the pitch is flat… o Embouchure loose o Air slow o Jaw, throat or mouth too open o Too little mouthpiece in mouth • If the pitch is sharp… o Embouchure too tight. o Jaw/mouth/teeth may be too closed o Corners are not in toward mouthpiece

Producing a sound on the entire saxophone: • Remember to adjust the neck strap, neck and mouthpiece so the students head is level and not tilted or forward. You will need to check this daily until they understand how to do it themselves. • The students should push forward with the right thumb which will bring the mouthpiece to the mouth. The neck strap will need to be adjusted so that the students don't have to duck or raise their head for the mouthpiece to enter the mouth. BRING THE INSTRUMENT TO THE FACE NOT THE FACE TO THE INSTRUMENT!!! This also helps the students anchor the top of the mouthpiece into the top teeth. • Start by playing B (3rd line), but quickly have the students try starting on a G because if it skips to the upper octave at the beginning of the note, you know the student's face is too tight or they are anchoring too much. • Have the students play down to low D fairly soon because this will also let you know if they are using too much vertical pressure with their jaw or anchoring too much.

OTHER IMPORTANT SAXOPHONE SKILLS: • Left Hand Palm Keys (aka…knuckle keys) - when playing notes that require the palm keys to be depressed, it will be necessary to lift the fingers slightly from the keys. When doing this, the student should still strive to keep the fingers as close to their original position as possible so movement is kept to a minimum. If the left hand does not maintain the same curvature around the palm keys, the saxophonist will have extreme difficulty maneuvering due to the close proximity of the 2nd and 3rd palm keys. o 1st palm key is hit by depressing the palm slightly (first finger - big knuckle) o 2nd palm key with the second finger (big knuckle) o 3rd palm key with the third finger (big knuckle) Number the keys and create execution exercises. • Chromatic Fingerings and Bis o F# - (1) middle finger in the right hand and (2) 4 + F# key with finger 6 in the RH o Besides learning Bb as “L 1-2 + R side key, “ it is important that students also learns the Bis fingering (B key and the key beneath it both with the first finger at the same time) before the end of the beginning year or as soon as chromatic is introduced. Create finger exercises so students become comfortable using this fingering. Be persistent! It will make technique much easier when playing in flat keys. Vibrato: • Saxophonists use the jaw to create vibrato. • Usually taught towards the end of the beginner year. Make sure tone quality and embouchure are consistent before introducing. • Start by having the students lightly chew on their finger. • Then have the students try it on the mouthpiece/neck. Saxophone vibrato is created by letting the sound go below pitch and then back up. Don’t allow it to be too wide (go too low) but do start with a wide, deliberate vibrato • Like flute, gradually move from a measured vibrato to one that sounds more natural. Start with 8th notes, then triplets, then 16ths. • Combine vibrato exercises with articulation exercises and scales in class. • The end result is that it’s not a separate entity from the sound.

DOUBLE REEDS Personality Traits are just as important as physical traits!! • Oboe and bassoon are demanding instruments! Only a select few should make the cut. • Piano background as well as note reading ability should be a requirement. • Students should be intelligent, have a strong work ethic, independent workers and enjoy (if not prefer) something special and unique! • Honors classes, Gifted and Talented, Accelerated classes a plus. • Ask if they enjoy homework. The answer is typically, yes! • Network of support around the student – the right parents, the right band director, the right private instructor. • Parents must be proactive! They must understand the cost involved with reeds, why quality is important and why private lessons are a must! Interview both the child and parent!

OBOE Physical traits: • Medium to thin lips • Try to avoid braces as they tend to inhibit tone production

Assembly: Parts of the instrument – Bell, bottom joint, top joint (container to soak reeds, reed case, silk swab) • Prior to assembly start by soaking reed, being careful with the tip. Water can touch the string but avoid the cork for obvious reasons. All need a container for soaking (Tupperware, medicine bottle, etc.,) with their name on it! o Leave water container in a safe place – preferably not on the music stand where it could get knocked off. o Don’t allow students to leave a container full of water stored in their case. Keep a plant in the room…water it ☺ • Case should be on the floor or a flat surface. • Important to keep the corks greased. Demonstrate this for students. It is OK to use Vaseline for younger students later moving to a synthetic type. • After identifying all parts you are ready to assemble: 1. Take the bell in the left hand and press the fat key with the thumb. 2. In the right hand hold the bottom joint (demonstrate where to hold). 3. Connect the bell and bottom joint being careful to align the connectors. 4. Pick up the top joint with the right hand and hold the bottom joint with the right hand on the knee. 5. Turn the joints sideways so they can align the connecter keys. 6. Hold the instrument straight up and down with one hand as they bend over and close their case and move it under or to the side of their chair. 7. Attach reed last! Hold the reed by the cork and press down…might need grease. Press all the way in. 8. I wouldn’t attach the reed the first couple of times you are explaining hand position. Do finger exercises for a while.

Holding the oboe/hand position – balance points: R thumb and embouchure (equal pressure all the way around)

Left hand: • First finger should be curved upward – able to reach the 2nd octave key and to half hole. • Thumb should be on the wood, angled at about 2 o’clock, so it can lift up to reach the octave key. • Rest the L pinkie on the side keys. Right hand: • Right thumb under thumb rest – just enough to support the instrument – not past the first knuckle • First finger curves upward so it can rock up to the alternate, side Ab key. • Rest the R pinkie on one of the bottom keys – wherever is most comfortable at first.

Angle – 40 to 45 degrees but no more! Head must be up and looking straight ahead (all instruments). EYES UP!! This should never resemble clarinet.

Embouchure – watch each student individually. Teacher holds the oboe at first or student holds – depending on the steps you’ve taken with the above details. Due to the smaller class size you can move faster.

• Have students place their Index finger on bottom lip while you are demonstrating and monitoring. Next have them close lips and blow. Monitor the corners. They will probably have a tendency to pull the corners back. • Draw the embouchure on the board (fairly similar to saxophone….circle w/ arrows pointing towards center. Stress that the center should stay soft. No “creases” on the face unless they already exist (aging is no fun) ☺. Think forward with corners. No puffy cheeks. • How much reed in mouth? Tip on bottom lip (of course, this depends on lip size). About half in mouth. • Next, have them (or you) place reed on bottom lip – lips together and have them blow (they can take a breath through their nose at first – only at first – just so the lips stay set). • Can start on 2nd line G and work up to B or vise-versa.

Trouble shooting: • No sound….reed opening is probably too big (but do check instrument John Mack, 3rd from left, alignment at first) and colleagues at Curtis, • If reed is closed, teacher can pinch the sides a bit to open. circa 1948. Good angles!

F fingerings: • Books tend to start w/ Forked F. Oboe teachers say to NEVER use this fingering!! This is evil in their eyes! Not a great sound. Only used for certain keys (Ab, Db, etc). • Start w/ banana key F – the best sound. Great resonance!! (can show side key F for fun….these are inquisitive students) • F to Eb? Use left F. Just say NO to Forked F!!!

Start octave exercises as soon as sound has progressed and students have muscle memory! Talk about the octave key(s) and incorporate half-hole exercises. • The notes that add octave key are 4th space E (ascending) F, F#, G, G# • 4th line Db, D, D# is half hole o Half hole – first finger rolls, never slides up. Start on D, then roll to C, play back and forth slowly, slurring, listening for no breaks/blips in the sound. • A above the staff starts 2nd octave key (A – C)

Start vibrato towards the middle end of the 2nd semester via pulses like flute. Oboe is a vibrato instrument!!

Oboe questions? Contact: Jessica Maus, my colleague at North Richland MS, Birdville ISD. She is a former all-state oboe player, Richland HS graduate, SMU graduate – studying with the best oboe teachers in the DFW area. As well as being a terrific band director, she loves to talk oboe and welcomes your questions! [email protected]

All things oboe and reeds: www.infinitireeds.com

BASSOON Physical Traits: • No under bite • Natural overbite • Medium sized hands • Very agile thumbs….especially the left one! • Taller, athletic type build is a plus

Parts of the instrument: • Boot joint – with two receiving holes – large and small • Wing joint (tenor joint) – inserted into the smaller opening of the boot joint • Long joint (bass joint) – inserted into the larger opening of the boot joint Back Front • Bell joint • Bocal o In the case: seat strap, reed case, container for soaking reeds (empty water daily if stored in case), Vaseline/cork grease, swab

Bassoon left hand/right hand key diagram (right): • Left hand front key holes starting with 4th line F-0, E-1, D-2, C-3 • Right hand key holes – B-4, A-5, G-6

Bassoon Instruction Website: www.musicandthebassoon.org – THIS IS A GEM (free!) and a thorough, in depth site put together by Kristin Wolfe Jensen, UT Austin, Bassoon professor. She incorporates actual students in the video lessons, many of which could aid a band teacher with troubleshooting. Articulation is introduced much sooner than we would in a class setting, but other than that, there are three particular video sections that are especially beneficial for band directors and beginning bassoon students at the start of the year: 1. Assembly 2. Disassembly 3. Instrument Position (this is also reviewed in several of the Video Lessons) 4. Embouchure (the discussion from a video lesson with two actual students has a better explanation and (

In addition, the units are set up as progressive lessons with easy to interpret fingerings as a new note is introduced. • Units 1-8 cover the L and R hand fingerings, fingers 1-6 (4th line F down to low G). • Unit 9 introduces Bb which is the first time the R thumb is utilized • There are 50 units! A “must watch” for band directors! • The video lessons range from beginning to intermediate, though several of the intermediate “lessons” still discusses embouchure with actual students.

Vibrato must be started by the middle of the second semester. Bassoon is a vibrato instrument!!

Bassoon reed source: Singin’ Dog Double Reeds

Bocals: Fox bocals are 1 size shorter than other bocals, a Fox #2 is the same as a #1 from most other companies, such as Heckel and Leitzinger.

Fox C Bassoon Bocal The Fox "C" Bocal stresses resonance and clarity of sound. It is smooth and uniform, with excellent, slightly flexible intonation. Made of nickel plated brass.

Free ground shipping (in the U.S.), (#Q-04) $212.00

Fox CVX Bocals The "CVX" Bocal is proportioned like the "C" bore, but somewhat larger, and with variable wall thickness for increased resonance and flexibility of pitch along with an increase of lower partials in the sound. Made of nickel silver, silver plated. Free ground shipping (in the U.S.) The CVX bocals available are: CVX Length No. 1, CVX Length No. 2, & CVX Length No. 3, (#Q-06) $425.00

BRASS INSTRUMENTS

The thickness of a student’s lips should correspond to the cup size of the mouthpiece of the chosen instrument. If a student has a very full top or bottom lip they should be encouraged to consider low brass rather than high brass.

BRASS EMBOUCHURE: Brass instrument embouchures are formed with a natural overbite. • Head balanced – floating on the shoulders. Eyes forward. • Have students look at your natural face and do the same thing while looking in a mirror. • Try not to give them too much information…let it happen naturally. If there are issues, have them verbalize a sophisticated “M” or have them think about spitting something off their tongue. • Corners stay in the same place as “natural face” but should move in slightly toward the canine teeth (flesh to teeth). • With corners set, have them blow air between their lips. Again, saying “M” then “pooh” might help. • Make sure they’re not clinching their back teeth. You’ll be able to tell. • Equal amounts of red showing from top and bottom lips on the side. • Start saying “muscle memory” as they begin to form the embouchure.

Mouthpiece placement/first sounds: Students must be sitting in playing position posture. Instruct them to hold the mouthpiece with the thumb and two fingers close to the bottom of the shank so you can see their face. • French horn mouthpiece will be placed higher on the top lip than the other brass instruments. o 2/3rds of the Horn mouthpiece should be on the top – 1/3rd on lower. o Mouthpiece should be angled slightly downward so it is not pressing into the top lip (think about the leadpipe angle). • Trumpet & tuba mouthpiece – middle of the mouth - ½ upper, ½ lower • Trombone/euphonium mouthpiece - two schools of thought: 1. Middle, ½ and ½ 2. 2/3rds upper – 1/3 lower. When making this decision base it on what will help the student create the most resonate sound. • To keep pressure off the top lip the mouthpiece will be at a slight downward angle, never sticking straight out (hence, there will be a bit more pressure against the bottom lip and teeth). • Teacher goes around the room watching each student blow air through the embouchure. Prep them to breath, see what happens naturally. Make sure an aperture is formed as they blow their lips apart. • Next, teacher goes around the room setting the mouthpiece on each student. Prep them to breathe (all way down to the seat of the chair) and try to start a vibration. Stress that air must keep moving. Let them takeover holding the mp. • No sound? Have plenty of plastic coffee straws (what you stir with) on hand. It’ll work almost every time. You can use a thicker straw for larger mouthpieces. Insert through the mp then in the students mouth. Set the mouthpiece in position. Say very little. Ask them to breathe in and blow out…then celebrate ☺ • Time will not permit you to spend a lot of time with each student at first but make a mental note of those who made an instant sound the first time around so you can target the others and use the “instant sounders” as models. Celebrate when they are correct!! The others will be motivated!! • Students now place the bottom of the mouthpiece on the edge of the bottom lip like you did (full lips will require the mp placed a bit higher – always guide them) and swing the mouthpiece upward to the top lip. Make sure the outside rim of the top lip is inside the mouthpiece! o Teacher goes around the room and observes students on this process. o Check posture, mouthpiece angle, head angle, eyes forward, etc. • Now, they get to produce a lip vibration on their own! You are listening for a free vibration…more air, less buzz. • Start talking about muscle memory early on…explain that it’s the same process as weight lifting, riding a bike, etc.

Prior to first sounds on the full instrument: • Practice bringing the instrument to playing position. I like to do this standing up with trumpet and trombone. • From ready position (instrument in front of body – elbows away from rib cage – natural position) bring the mouthpiece to the face – not the face to the instrument! Practice this over and over. • Watch from the front, watch from the side. Make sure the head floats in the center of the shoulders. • There will never be more energy placed against the top lip than the bottom lip. They will feel the teeth on the bottom lip, hence the slight angle.

First sound on actual instrument: • Explain that the instrument is merely an extension of the mouthpiece! It simply amplifies what the lip vibrations are doing. o Tell them, “The instrument has no brains…neither does the mouthpiece. You make it happen through the vibrating lips!” • Lips must be free to vibrate. Soft texture – especially center. • CHECK LEADPIPE/MOUTHPIECE ANGLE!! No pressure on top lip. • Explain that the mouthpiece gathers the air – not the lips.

Valve instruments (piston and rotary): • There’s no excuse for bad hand position on the valves (or sticky valves!). Model it every day. Teach it correctly from the beginning….correct it from the beginning and be as annoying as you need to be for this to be an expectation!! • Right hand (piston) – flat to fat C. Knuckles slightly curved. Demand it/model it every time you demonstrate anything for them and they’ll do it. You should not be correcting hand position after the beginning year. o Rotary valves – It is still a flat C but with less curve than piston valves. Use the pad of the fingers. Check the right thumb, also. No more than the first joint through the thumb hook. • Do finger exercises where the students have to move with the metronome and foot tap. The finger will come up much faster than it goes down due to the spring action. Make sure they press down in rhythm.

Flexibility: Depending on what the “natural note” is for students (Concert F or Concert Bb-low) the teacher must determine which direction any given student should proceed to next. • Avoid letting students start on Bb above the staff or third space C for trumpet. • I always aimed for Concert F. If they are set up correctly this is highly achievable. • If a trumpet student can’t get 2nd line G to respond then start with E, even if you haven’t discussed fingerings. • Go around the room daily and hear their lip slur from Concert F to Bb or vise -versa (pay close attention to the face at all times), then start descending by adding valves/slide positions – watching for good hand position! Brag on good hand position….the others will want to be noticed! • French horn - aim for students to start on their E or G. Start incorporating slurred arpeggios (descending) as soon as the air is moving and a characteristic sound is developing. Most can produce a G fairly soon and you can get them down to E and C and on down through the valve combinations. • Start talking about vowel sounds/air direction fairly soon. Let it happen naturally at first.

FRENCH HORN Personality traits: • Outgoing, self-confident, fearless • A/B student, accelerated classes, gifted-talented • Will enjoy singing pitches back to you without hesitation during interview • Piano or vocal background

Physical traits: • Medium to thin top lip, covers top of teeth • No pronounced tear drop when forming an embouchure - should be a straight top lip and bottom lip like flute. • Bottom lip not overly full • No underbite • Can flatten chin by observing you or with little instruction.

Assigning instruments: • Make sure the left hand can easily reach the thumb valve key (trigger) or hook and pinkie hook. • If switching instruments around is not an option have a repairman move the pinkie hook to match the student’s grip. The student should not have to play with tension in the hand.

Assembly: • Be very specific about taking the instrument in and out of the case. • The case should be flat with the bottom side down. Open case and attach mouthpiece. Do not let students grab by the lead pipe! • Carefully guide the instrument out of the case by the bow with bell upward, over the shoulder, held against the stomach and chest (not with the bell sticking out from under the right arm…smacked at every turn). Close the case with the free hand. • Watch the student walk to their chair with the Horn in the above position and sit down with the lead pipe and bell facing up. I have them go all the way to the back of the chair until we have gone through how to hold the instrument in playing position.

Holding the French horn: • BRING THE LEADPIPE/MP TO THE FACE NOT THE FACE TO THE LEADPIPE! • I started beginners with bell on the leg but many have much success starting off the leg. • If starting on the leg make sure they sit at the proper angle where the right leg/foot is basically to the other side of the chair but the left leg is facing forward. Twist the lower body/turn the head until proper playing angles are achieved (flute-esque). • The angle of the lead pipe (on any brass instrument) and mouthpiece is a most crucial element to the embouchure. The angle has to be slightly downward so there is no excess pressure on the top lip. • THE HEAD MUST FLOAT BETWEEN THE SHOULDERS! HEAD UP AND EYES UP! • Once you’ve showed them where/how to place the left hand let them place their right hand on the bell where it is comfortable in playing position, usually on the outside bottom rim (almost in the bell). • Playing position (from ready position) – simply bring the leadpipe/mouthpiece to the mouth at the proper angle determined by the teacher. • Go around to each student and watch them go through this procedure and have them look in a mirror. Alter the right leg as needed. • Make sure the elbows are in a natural position and not close to the rib cage. Starting off the leg • This allows the student to sit with the same playing position posture they’ve already learned with very few adjustments. The right hand also begins to play an important role immediately. • The correct angle of the leadpipe is much easier to achieve off the leg. • Right hand – reach their hand out as if they were going to shake hands. Bring the thumb alongside the index finger and the hand will naturally cup a bit. With a straight wrist, place the student’s hand in the bell so the line formed by the thumb and index finger is at the 12:00 position. The rest of the fingers must be against the side of the bell farthest from the body. Student hand size will determine how far it goes in the bell. • Check right hand position daily! Stand behind the class frequently. BE ANNOYING!!

TROMBONE Physical traits: • Medium build • Medium size top and bottom lips • If they are on the short side now - look at the parent and see what the potential might be!

Personality traits: • Outgoing • A/B student, honors, etc. • Pitch matching • Piano background • Good work ethic

Never let the student know it, but the trombone is possibly the most difficult instrument to achieve a correct, comfortable instrument to body ratio. Be patient, as the process will probably be awkward in the beginning! The case alone is cumbersome. Identify all parts of the trombone and if they learn nothing else….MAKE THEM AWARE OF THE SLIDE LOCK MECHANISM!

Assembly: • Instrument case on the floor. Give them plenty of room to protect both the body and slide. • Designate top and bottom according to latches or brand label on top. Lay flat on the floor, big end to the left. • Show parts of the bell section o Bell flare o Braces o Counter weight o Lock screw o Tuning slide • Students can be seated but I preferred that the cases were away from the chair so we assembled kneeling down. • Pick up the bell section with the left hand, around brace in middle, and hold upright. Pick up the LOCKED slide with the right hand straight up and down. • Stress that they’ll never hold any piece of the trombone from side to side, only straight up and down. • Show parts of the slide o Inner and outer slides o Stockings o Braces o Slide lock! o Water key o Rubber peg • Place slide on end right in front of you with receiver (taller part) in the middle • Carefully place the bell section on the slide receiver. • The angle created when the two parts are connected will be a “V.” Check every student!! • Bell section – left hand; slide section – right hand. • The trombone is placed between the student’s knees with the slide peg supporting the weight of the instrument in an upright position. The trombone is NEVER held across the lap. • When you are ready for them to produce the first note on the actual instrument, they simply bring the mouthpiece to the face by raising the elbows (instrument to face not face to instrument), demonstrated by teacher, with the body of the bell facing out. Check mouthpiece placement AND left hand index finger angle. • When at rest the trombone returns to the ready position place, between the knees.

Left hand position: Holds the body of the assembled trombone. With a LOCKED SLIDE, practice coming to playing position without the right hand as a “weight lifting” exercise. If the student doesn’t have an F-attachment trombone the thumb will go behind the brace. • Stress the importance of the left hand first finger angle and the role it plays in the balance of the instrument. • The left hand must feel natural and not tense.

Right hand position: Moves the slide which is held at the bottom of the crossbar. • Notice that the thumbnail will face the body of the student. • The student should always be able to see the palm of the right hand as the right arm moves the slide away from the body. • The right hand must remain natural with no tension. Movement comes from the elbow and students will eventually begin to recognize slide placement correctness by how the elbow feels and looks – besides their ear.

The slide: Must be kept slick and in playing condition! You must check this daily not only in beginning trombone class but at every level. It’s an expectation. Period! If they are supposed to have a spray bottle at their chair, check for it.

TRUMPET: Instrument assembly • Case should be in front of the student’s chair. Identify parts of instrument/basic parts of mouthpiece (rim, cup, shank). Demonstrate how to insert mp, pick up with right hand and place in lap or hold straight up and down on knee (will not hit anything on either side of them). Use free hand to close case and place under or at the side of the chair. Keep their area organized….not cases in front of their chair during instruction. • They should never walk around with their trumpet swinging back and forth. Demonstrate how to hold close to their body while walking to and from chair, etc.

Hand position: • Detail left and right hand position. o The left hand grips the valve casings. The muscles stay soft and natural. o You need to address third valve slide ring NOW! o The right thumb is positioned between the first and second valve casing and never anywhere else. o The right thumb remains straight and never bent. If bent, it turns the right hand into a claw. o You should be able to see an opening between the right hand and the instrument. • The right pinkie is curved slightly and on top of the pinkie ring….not IN the ring as this places pressure on the top lip. • Elbows hang naturally and never touch any part of the body. • The trumpet comes from ready position (middle of the body) to playing position by only moving the elbows. • The head is floating between the shoulders and eyes are forward. • Bring the mouthpiece to the face – not the face to the mouthpiece. • Observe students from the front and side for angle/mouthpiece placement. • Remind them the mouthpiece should still feel like it’s in the same position as it was when they were on the mp only.

EUPHONIUM: Instrument assembly (tuba, also) • Cases are too big to be brought into the set up. Have a designated “assembly” area at first, so you can sit (floor) and identify parts – show valves and slides. • The mouthpiece needs to be in a mouthpiece pouch so it doesn’t clank against the instrument (metal against metal) in the case. • Pick up the instrument slightly out of the case and insert mouthpiece. Do not allow them to grab the lead pipe – ever! I have them do this kneeling down by their case. • With both hands, lift out of case from the outer sides of the instrument and place by the case – holding with one hand. Close the case with a free hand BEFORE picking up the instrument. • Hold the instrument straight up and down and close to the body while walking to chair. Teacher demonstrates!

Can easily be taught with trombone class (same mp) but ideally alone with tuba. If a beginner euphonium player is struggling with a 4th line F after several weeks, they will usually be an instant success on tuba. Being in the same class is beneficial.

Hand position : • When bringing the mouthpiece to the face watch every student to make sure they are not moving their head! They will pick up a bad habit here as fast as you blink your eyes…and it will be subtle…until it’s just wrong! • Holding the euphonium should be easily addressed since coming to playing position should be one step. o Depending on the size of the student will depend on if they possibly need to elevate the instrument. o What cannot happen is for the head angle to alter to get to the mouthpiece (have I mentioned this??!!) o A rolled up towel might be necessary to get the leadpipe/mouthpiece to the lips. They can store the towel in the bell when not being used. o Demand correct hand position! Again – flat/fat C. NO STRAIGHT FINGERS! o The right thumb position can make or break hand position. Placement will depend on the size of the hand but must be monitored. It should resemble trumpet! o The left arm should not become tense. Keep it low on the instrument and not across the body unless using the left index finger. If this is the case, alter the body slightly to take pressure off the left shoulder. o I always had students use their pinkie for 4th valve…no left arm tension. o As they get older you may just want them to hold the instrument as if they were standing…non towel. It is a solo instrument!

TUBA (I won’t lie…I had great success here!): • THE QUARTERBACKS OF THE BAND!! Grades are a must. Recruit the finest! I would aim to start as many as many as possible. • Try to start on 3/4 size tubas. It’s usually the parent you’re trying to convince….not the excited student! • More dents happen to a tuba during the beginner year than any other by just walking to and from the chair. Make sure they have ample room to maneuver. Observe them! • Hand position resembles trumpet and euphonium but will depend on the brand, size and age of the instrument. Whatever your tuba inventory situation, make sure each student is using the correct hand position for their particular type of tuba. Some may be on rotary valves instead of piston and thumb placement may be different if you have several brands/sizes for beginning students. • A student struggling to play low on tuba (or even to produce an F) will usually have instant success on euphonium; however, I usually worked with the student on descending exercises before I gave up on tuba. • Be patient! They have this giant apparatus on their mouth and we want instant success! • Breathing from below the rib cage is vital. If they puff a little don’t get upset. It’s natural. This will be refined as they establish muscle memory ☺. Work to get them to start as low as possible and CELEBRATE when they do! • TEACHER should be able to at least model an F right below the staff. • I did quite a bit of mouthpiece at the beginning. Not everyone does – but it worked for me. I modeled and had them look at my face – how the jaw was dropped (tall mouth). It didn’t bother me if they didn’t match my mp pitch…just so it was a low vibration and they REALIZED IT! MUSCLE MEMORY!! • It’s the total opposite range of what you’re expecting the euphonium students to do at the beginning!! • Celebrate tonal success!!

EVERY BEGINNER SHOULD BE ABLE TO PRODUCE A GREAT SOUND ON ONE NOTE AFTER MINIMAL INSTRUCTION!! BE ENCOURAGING – OFFER CHALLENGING GOALS/OBJECTIVES – HEAR STUDENTS INDIVIDUALLY EVERY DAY. ASK THEM QUESTIONS CONCERNING YOUR SOUND, THEIR SOUND, OTHER CLASS MEMBERS SOUND. THEY MUST NOT BE AFRAID TO FORM OPINIONS. THERE’S NO RIGHT OR WRONG ANSWER! HAVE A PLAN AND HAVE HIGH EXPECTATIONS!!

The resource information and verbiage regarding much of the pedagogy in this packet has been SHAMLESSLY stolen from conversations with friends and colleagues, staff meetings, plus various convention clinic handouts! Wording from the experts has been duplicated verbatim (why reinvent the wheel?). If I attempted to list everyone and every clinic I’d leave out someone. I was fortunate to grow up in the band hall, have my very detail oriented father (James Mallow) as a band director, and spend my last 23 years in the Birdville ISD, where I was surrounded by incredible band teachers and a Fine Arts Director (Henry Schraub) who made sure we were setting up beginning band students correctly. I also had the good fortune to be associated with (and still am) Eddie Green, as a clinician/consultant/teacher the entire time I taught in Birdville. The instrument pedagogy sections in the book, “A conversation with Eddie Green,” by Mary Ellen Cavitt, are from his time at Lake Highlands JH/HS when he was surrounded with some of the finest private teachers in the DFW area. You will see MANY exact sentences from this book.

Additional Information: • WISIP guide (What Instrument Should I Play) - I placed this in our parent packet at NRMS as something to ponder while standing in line at our Instrument Fair/Selection Night. https://dl.dropboxusercontent.com/u/131979462/WISIP.pdf • Oboe - Left F exercises, Jessica Maus https://dl.dropboxusercontent.com/u/131979462/Oboe%20Left%20F%20Exercises%20Maus.pdf • Joe Dixon trombone handouts (I was lucky to have Joe out for two consecutive years, monthly, to observe our brass students, my brass teaching, our performing bands, and offer information to help us improve!) https://dl.dropboxusercontent.com/u/131979462/Dixon%2033%20ways%20tbone.pdf https://dl.dropboxusercontent.com/u/131979462/2008-Dixon%20tb%20artic.pdf • North Richland beginning material https://dl.dropboxusercontent.com/u/131979462/NRMS%20recruiting%20pamphlet%202.zip https://dl.dropboxusercontent.com/u/131979462/NRMS%20recruiting%20pamphlet%201.zip https://dl.dropboxusercontent.com/u/131979462/NRich%20Beg%20Obj%20sheet%201st%206%20wks.doc https://dl.dropboxusercontent.com/u/131979462/NRMS%20Beg%20Brass%20scale%20pass%20off%20chart.doc

Instrument Brands and Supply Lists from various band programs: North Richland MS, Birdville (2009-10) https://dl.dropboxusercontent.com/u/131979462/North%20Richland%202009%2010%20rec%20brands.doc Henry MS, CCC – Leander https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/13- 14%20Henry%20MS%20rec%20inst%20list.docx Clark MS, CC - Frisco https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/Clark%20MS%20begin ner%20brands.doc North Oaks MS, CC – Birdville https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/NOMS%20beg%20bra nds.pdf Cockrill MS, CCC – McKinney https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/Cockrill%20Instrumen t%20Selection%20List.pdf Faubian MS, CC – McKinney https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/Faubion%20Instrumen t%20and%20Supplies%20List.pdf Shadow Ridge MS, CC – Lewisville https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/Shadow%20Ridge%20 Beginner%20brands.docx Duncanville ISD - Byrd MS, Reed MS, Kennemer MS https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/Duncanville%20Beg%2 0brands.doc South Keller Int. (feeds Indian Spring MS) – Keller; Indian Springs MS step up brands/supplies https://dl.dropboxusercontent.com/u/131979462/2013%20South%20Keller%20Intermediate%20Instrument%2 0list.pdf https://dl.dropboxusercontent.com/u/131979462/ISMS%20%20Set%20up.pdf McAnally Int. (feeds Aledo MS) - Aledo http://mcanallyband.com/ North Ridge MS – Birdville https://dl.dropboxusercontent.com/u/131979462/Beg%20brands%20various%20schools/NRdg%20Pref%20List. pdf

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Melodianne Mallow, 817.994.4666; [email protected] Bio: https://dl.dropboxusercontent.com/u/131979462/Mel%20Mallow%20bio.doc