Eastern Illinois University The Keep
Plan B Papers Student Theses & Publications
8-1-1957
A Study of Some Aspects in the Teaching of Woodwind Instruments
James Ray Brooks
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Recommended Citation Brooks, James Ray, "A Study of Some Aspects in the Teaching of Woodwind Instruments" (1957). Plan B Papers. 17. https://thekeep.eiu.edu/plan_b/17
This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. A STUDY OF SOME ASPECTS IN THE
TEACHING OF WOODWIND INSTRUI.JENTS
A Thesis Presented to the Faculty of the School of Education The Eastern Illinois University
In Partial Fulfillment of the Requirements for the Degree Master of Science in Education
by James Ray Brooks August 1957 TABLE OF CONTENTS
CHAPTER PAGE
I. SIMILARITIES .AND cm.JTRASTS OF 1I'J:IE 'v'JOODWTHD
INSTRUMENTS • • • • • • • • • • • • • • • • • 2 Single reeds • • • • • • • • • • • • • • • 3
Double reeds • • • • • • • • • • • • • • • 3 Chart of woodwind instruments • • • • • • • 7 II. SIMILii.RITIES IN Fil~GERIHG • • • • • • • • • • 8 Diaeram no. l • • • • • • • • • • • • • • • 9 Diagram no. 2 • • • • • • • • • • • • • • • 11 Diagram no. 3 • • • • • • • • • • • • • • • 13
III. BASIC ALTERNATE FINGERINGS FOR 'fHE WOODWIND
INSTRUMENTS • • • • • • • • • • • • • • • • • 14 Excerpts from "Prelude and Tarantella"
by: Sol B. Cohen • • • • • • • • • • • • • 15
Excerpts from''Nocturne"by: L. Bassi • • • • 16 Excerpts from "Ballade" by: Gade •• • • • • 16 Excerpts from "Scene and .A.ir" by:
Michael Bergson ••••••• • • • • • • • 16 Excerpts from "Sonata" by: Felix Mendelssohn- Bartholdy • • • • • • • • • • • • • • • • • 17 Excerpts from "Premiere Rhapsodie" by: Claude Debussy •••••••••••• 17
Excerpt from "Concerto I" by L. Spohr • • • 17 CHAPTER PAGE
Excerpt from "Sonate.'No. I rt
by: Johannes Brahms • • • • • • • • • • • 18 Excerpts from "Sonata" by Felix Mendelssohn-
Bartholdy • • • • • • • • • • • • • • • • 18 The Clarinet • • • • • • • • • • . • • • 25 The Flute • • • • • • • • • • • • • • • • 29 The Oboe • • • • • • • • • • • • • • 32 The Saxophone • • • • • • • • • • • • • • 35 The Bassoon • • • • • • • • • • • • • • • 38 1
INTRODUCTION
This study is based upon three main aspects in the teaching of woodwind instruments. The three main topics are as follows: (1) Similarities and Contrasts in Wood wind Instruments, (2) Similarities in Fingerings, and (3) Basic Alternate Fingerings for the Woodwind Instruments. The following material has its greatest value if one is going to obtain a complete and meaningful under standing of the woodwind instruments. Also, music teacher•s who are working wit~ heterogeneous groups of woodwind instrumen~s will find this basic knowledge beneficial to their teaching. CHAPTER I
SIMIIARITIES AND CONTRASTS
OF THE VIOODV~IND INS'I'RUMENTS
In the woodwind f'amily of musical instruments, one f'inds many points of similarity. Yet in certain instru- ments there are striking differences as to seemingly con tradict tne physical laws governing tn.e production of mus ical tones. For example, the low Bb of the bassoon is theoretically impossible to produce on a tube only eight feet in length.l Earlier in the history of the woodwind instruments they were made of wood, hence the family name. However today the woodwind family includes metal saxophones and flutes, metal versions of the clarinet (primarily used for the sake of durability, in marching b&nds), and rare instru ments such as the sarrusophone (a second cousin of the b~s- soon and saxophone). All wind instruments operate on the principle of the vibration of an air column within an open or closed tube, and depend on various mechanisms for lengthening or shortening the tube for changes in pitch. Unlike the brass
l Gene E. Haney, Similarities and Contrasts in Wood wind Instruments (Eastern Illinois State College, March 5, rn), P· 1. 3 family (where tone is generated by vibration of the player's lips), woodwinds depend on the vibrations caused by the reeds which are attached to the mouthpiece. This holds true for every instrument except for the flute, here the tone is produced by splitting the air stream across the outer edge of an open-hole mouthpiece. The woodwinds which utilize reeds may further be di vided into two catagories: (1) Single Reeds: The reed is held in place on the mouthpiece by a metal band called the ligature. The reed sets up vibrations by closing and opening very rapidly against the mouthpiece. There are two instruments which use the single reed and t,hey are the clarinet and sa.xophone. (2) Double Reeds: In the case of the douule reeds, the double reeds are actually the mouthpiece for their par ticular instrument. Actually there are two ''blades" of reed that are held together in such a manner as to allO'l,;ii a column of air to pass between each other, just as the reed vibrated against the mouthpiece in the cast of the single reed instru ments. The following instruments use double reeds: oboe, english horn, hecklephone, and bassoon. The tone of the double-reed instruments is more "buzzy" and "nasal" than that of single-reed instruments. It has already been established that the vibratl.on of the reed or, in the case of the flute, the splitting of the 4 air column is actually the generator for the tone. However, there must be a resonator which will not only amplify the tone, but will give or rather determine its pitch. There are two main types of resonators in the woodwind family: those which act like stopped pipes and those which act like open pipes. Conically bored stopped pipes are included in the classification as one which acts like an open pipe. Open pipes and conically bored woodwinds, through action of' the vibrating air column which passes through them, are ca- pable of reinforcing and producing all the overtones, or harmonics, of their fundamental pitch. Cylindrical bored stopped pipes, however, cannot reinforce the even-numbered harmonics, and are capable of producing only the odd-num- bered harmonics. rrhus not only the tone quality, but also fingering patterns for the upper registers are changed con sidei·ably on the two types of tubes or resonators. 2
The pitch of woodwind instruments is changed by length- ening or shortening the tube through which the vitratlng air column must pass. Differences in range of instruments of the same type (let us say for example: Eb clarinet, Bb clarinet, and Bb bass clarinet) is accounted for in the fact that the tubing is either longer or shorter depending
2 Earl W. Boyd, Physical and Psychological Aspects of Woodwind Playing (a phamphlet produced at Charleston, Illinois, bf the Department of Music, Eastern Illinois State College). 5 upon the range. If the range is higher, the tubine will be shorter than if it were lower in pitch. On the individual instruments, changes in pitch are made by boring holes at intervals along the tube. The player is then able to short- en or lengthen the tubing as he desires. On some instruments such as the clarinet, oboe and bassoon there are small tone holes which therefore allows the player to close them with his fingers. However, on some instruments such as the flute, saxophone, and bass clarinet, the tone holes are so large that it is necessary for them to be covered by pads. The embouchre differs greatly between the members of the woodwind family. The embouchre is referred to as the lip formation of the player wnen he is playing an instrument. All single reed instruments use, fundamentally, an embouchre in which the lower lip is drawn slightly over the lower teeth; chin tense: slightly; upper teeth rest on the top of the mouthpiece. Cheeks must never puf';f; too much of a spreading of the lips as in smiling is also not considered good. The throat must be open; as in playing all wind in- struments, breath support comes from the diaphragm. The ·bas- ic difference' between the embouchre of the clarinet and the saxophone is the fact that the mouthpiece may be placed fur- ther into the mouth on the saxophone and the saxophone em- bouchre need not be as tight as that of the clarinet. The larger the instrument, the more relaxed the embouchre and 6 the more breath required to produce a good tone. The double reed embouchre consists of drawing both lips slightly over the teeth, receding and dropping the lower jaw a little. There is a slight tendency to "pucker" the lips, with a downward pull at the outer edges of the mouth. The double reed mouthpiece is inserted into the mouth far enough to allow the ends of the reeds to vibrate freely. The lower jaw is receded even further and dropped further in the case of the bassoon, and the embouchre gives the feeling of pronouncing the word "yaw". The bassoon em bouchre is more relaxed than tnat of the oboe. Again, cheeks must not puff, and the rule of diaphragm breath support ap plies. The flute, having a radically different mouthpiece, necessarily needs a different embouchre. The upper and lower front teeth are placed even with each other. The lips are pursed tig11tly (but not tensely), with a slight smiling curl at the ends (some teachers recommend a slight "sneering" feeling). Because blowing across the open hole presents no resistance, the aperture, or hole between the lips through which the air is emitted, must be kept as small as possible in order to conserve breath. The feeling of blow ing into the flute is compared to the feeling of' "spitting a thread off the end of your tongue". Contrary to many erron eous definitions, the air stream is not directed across the 7
open hole of the mouthpiece, but directed so as to strike the opposite edge of it. Approximately one-third of the mouthpiece hole will be covered by the lower lip.
'11 he following is a chart which gives the family tree for the woodwind instruments:3 WOODWINDS SINGLE REEDS DOUBLE REEDS
Clarinet sit- OboesiHt- E-Flat Clarinet Oboe (Key of C) B-Flat Clarinet English Horn (Key of F) E-Flat Alto Clarinet Hecklephone (Key of C) B-Flat Bass Clarinet
Saxophone siH~ BassoonsiHr B-Flat Soprano Saxophone Bassoon (Key of C) E-Flat Alto Saxophone Contra-Bassoon (Key of C) C-Melody Saxophone Sarruaophone (Key of B-Flat Tenor Saxophone E-Flat) E-Flat Baritone Saxophone B-Flat Baas Saxophone OPEN HOLE MOUTHPIECES
Flutes-:;~-~
Piccolo (Keys of C and D-Flat) Flute (Keys of C or D-Flat) Alto Flute (Key of G} Bass Flute (Key of G)
* Cylindrical-bored stopped pipe. iHr Conically-bored stopped pipe, acts as open pipe. ~-::"'* Cylindrical-bored open pipe.
3 Haney, ..££. cit. , p. 7. CHAP'I'ER II
SIMIIAHITIES IN FINGERING
There are certain basic fingering patterns that are similar among the various instruments. Althou::;h two or more instruments may not be exactly the same, in fingering all of the notes in both the upper and lower register,. there will be cases where certain notes are similar. This is what will be explained in the following pages with the aid of dia- grams. An understanding of this correlation will greatly assist in the teaching of these instruments. This would be especially helpful in the heterogeneous groupine of • the woodwind instruments. Half'-holes, octave, register, and thumb keys are not considered in showing the similarities among the instruments.
V~hen the fingers are placed on the keys, rings, or holes of the various woodwind instruments in the manner shown in the diagram number 1, the tone of' each instrument is either lowered one-half step or one whole step. This, wben examined, shows a basic fingering pattern in which SE;Veral of the instruments are alike. The flute, clarinet, oboe and saxophone apd one finger. This produces a written B (for each of them this is not concert pitch). 0-1 ~-=- ":3 ~1jl.-I I./ tH•d
P/ufe- Ol;,v c.. f3assoo n...... £-
A • • ") /' s - ..,/ -0 0 / t""-.. 0 '"' ~ I s+~p ...., I _!L -e- -Q- -9- -e- ,A • ") • • I' 0• J -. /. t-... g le"' ) , I I S/ep 0 0 0 0 -fr \ ...... -• . ,. 0 <../ Cr J h e \.1 ~
I ..SI•~ Sler-r t l _u r~ • .., "" - - 0 • - - - A• • u - - j• -.-0 / ...... I 0 l J
.>-fer-, I -1i' S.f ef? I .-' • () • ') r1 l"'") l"l "'- • IJ -,. . • / ' i./ 0• \.. ,/ I s-fe.p I I ,...,...... ~ • ~ -· • IJ - • I• -J .. ~ - - • ) - -·- l • ·-----
,. 0 ,, or ... /......
Diagram No. 1. {upper register) 10
Second finger is added----they all eo down one whole step in tone production; now the bassoon can join in with its written D. Third finger is added----each instrument goes down a whole step. First finger of the right hand is added---- \ clarinet, flute and saxophone go down a whole step; oboe and bassoon go down a· half step. Second finger of the right hand is added--- c larine t, flute and saxophone go down a half step; oboe and bassoon go down one whole step.
ThiI•d finger of the right ht?.n~ is added---
every instrument lowers one ~1ole step. It can be seen from this diagram that at first all of the instruments start out in the same pattern; then the flute, clarinet, and saxophone a:J:>e' alike but the oboe and bassoon take on a different fingering pattern. At this~ point the oboe and bassoon are similar to each other. In diagram number 2, once again the first finger of the left hand is placed on a key or over a hole--from this note, although its concert pitch will differ among the instruments. An analysis as to whether the additi'on of fingers, one at a time, will lower the pitch one-half or' one whole s·tep and also, whether or not there is ·a correla tion among the woodwind instruments in the lower recister, Bossoo h:.
~ , ...... 0 r\ 0 . I/ ...... & - - g "/, - - ll -• 0 f-..... ---·--·--· -"' ... \. ... ) ... - sf-e.,=- I I I
• \ /'\ . 0 • J . ~ - 0 \../ 0 /, r...... 0 0 0 cl 0 [lC u 0
I I s-1-~p --·---~ l • ------; ... ~-- • \ /1, • ) I . -0 0 / ~ ./\ .;"\ "- 1'"1 0 { <... / ------e- I .Slef' S-l-Y!!.p , I I ,-4 I • \ /'\ . T . I . --- -.-• !/ 0 <..} e / ,__ ·-0--- {(. ) .~=t=- __Q_ -==~~~-:a::-- _ff_o__ ------·------b-0- Sfe.p--, I Sfe.pl I ~ ,- - • ) J""\ • I. • 7 - • I j - /,. - • { J ~ -.. (I l \... """'"'_) /'\ • ...... , L..' ={7- - Sl-ep I I I ------· -- • \ - . - • / . - • c f • . /, .... • l "- -) ...... • 0 0
Diagram No. 2. (lower resister) 12 will be made. The other diagram (No. 1) dealt with the upper register. The first finger of the left hand has been added. Second finger of the left hand is added--- each instrument goes down one whole step. Third finger of the left hand is added--- each instrument goes down one whole step. First finger of the right hand is added--- clarinet, flute, and saxophone r,o do 0 Flu7e •0 0 0 0 0 " 0 0 0 0 IE"'- CJ K•""/ Diagram No. 3. In diagram number 3, the only note that is fingered differently on all of the woodwind instruments is illustrated. ,CHAPTER III BASIC ALTERNATE FINGERINGS FOR THE V100DWIND INSTRUI.IBNTS The most important reason for teaching alternate fingerings is that it facilitates the student in playing difficult and otherwise practically impossible passages in music literature. Some of the passages, which are quite easy in appearance, can not be executed pPoperly, with very much ease, without the use of alternate fingerings. For· example: Th.is phrase looks very simple to play. However, if it we re not for the use of an alternate fingering it would be practi cally impossible to execute this passage. It would be very difficult to slur from C to E-flat without also sounding the D. In other words the phrase would sound like this: tUJ f7fiR 1 The assumption may be that the above example was constructed to purposely.show a need for alternate finger- ings and therefore does not shmv thei.t there is any necessity f<)r students to know alternate fingerings when playing actual music, either in a musical group or as soloists. However, the following music has been anlayzed as to fingering dif- 15 ficulty; paying very close attention to the need for alter- nate fingerings. The following phrases are a few that show the necessity for the use of alternate f'ingerine;s. Without the use of alternate fingering on the i'ollowint; passages, it would be ve1·y difficult if not practically im possible to execute them musically. The particular prob lems will be marked with "L" or "R" which designates which hand will play the note. No attempt will be made at this point to determine which alternate fingerings will or should be employed. The main purpose is to show that there is a need f'or alternate fingerings. "Prelude and Tarantella" by: Sol B. Cohen I h I. L ~I I d ,_,,,..,J "Nocturne" / ...... ~~ '°".-.. ~·"" L. Bassi ,..... ~ . "· " ~DC f fi1 if]' i I fl tr cJ{jjlfl ~~v~~~!i~y: R ~ f:$bC .Q-.' J- i ~ I • I I l Ff ' "Ballade" Niels W. Gade, Op. 43, Ho. 3 I.. ~ ;3 ) ;~ ~ I 0- I~ ~ 7 ;#-0 + 0 Michael Ber•gson Op. 82 I. I ~ ' "" I ,gt i L!1 £11 I • l t "Sonata" Felix Mendelssohn Bartholdy + , l R t:1 Ji( l I "Premiere Rhapsodie" Claude Debussy h ffi I , , F1!a #b-+- r="-1., n 1 l I F¥ ' "Concerto I" L. Spohr, Op. 26 "Sonata No. I" Joharutes Brahms, Op. 120 b l "Sonata" Felix Mendelssohn Bartholdy \ 19 It has been stated that alternate fingerings help the player a great deal in playing difficult and other- wise practically impossible passages. However, what are some of the other• principles that lie behind making a fingering choice? One very important factor in making a choice between different fingerings is which fingering will enable the player to play as evenly as possible and have good timing. Generally speaking any fingering pattern that envolves only one hand will be smoother than one that envolves first with the B-flat key for the ring finger, left hand, (the one-hand fingering). This assumes, of course, that he has learned to use both fingerings for those who have never used the left-hand B-flat key fingering find it awkward at first, because this key lies so close to the middle ring. In this casE the left hand ring finger provides its own timing even from a mechanical standpoint, f~r its own motion is a steady oscillation up and down. Cross-fingering should be avoided whenever possible. Cross-fingering can be best described as the process of "changing pitch by taking up certain fingers, and at the 4 Arthur H. Christmann, 11 \\hat Basic Principles Lie Behind Fingering Choice?" Woodwind, October, 1952, p. 6 20 precise instant putting down other".5 In order to do this one must have the most perfect timing, if a blurring or unwanted grace notes do not appear as the result of one's effort. True, cross-fingering can not be entirely elimi nated from clarinet playing, but you should avoid it as much as possible. The Boehm flute requires quite a few cross-fingerings in its third octave and all woodwinds use it in their high est ranges. However, it is only natural to prefer a simple finc;ering change, which requires merely lifting one or more fingers or the addition of one or more fingers, to a change requiring both of these processes to be executed simultane ou:sly. The objection to cross-fingering will differ among the varying woodwind players depending upon which instru ment is played by each. The flutist will not object &s violently as the cl&rinetist; this is true because the flute uses cross-fingering considerably more than does the clari netist. Then too, the bassoonist, whose thumb has to do considerable sliding will not see too great harm in sliding.6 Whenever possible plan the fingering of a passage so that one hand can finish its motion before the other 5 Ibid., p. 6. 6 Ibid., p. 6. 21 takes it up. True, this may not be one of the largest factors in considering which fingering pattern to use, but it may prove to be the only rule that will justify the solution to your problem in certain cases. Certain instruments such as drums, bells, xylophones, marimbas, can play p~ssages with a continuous alternation of cleft and right_-.hands. In cases such as these the alternation itself' provides a perfectly balanced timing. "The timing becomes less natural if' any irregular element is intro duced.117 In woodwind passages this alternation between right and left hands just almost occurs. It is therefore wise to plan whenever we can do so, to let each hand finish its motion before the other hand begins its work. To make this clearer, 1~ the clarinet descending scale: ( ~r-~ ~- .. .'\ l ~ ~ i t Ill i i Fl r J t: ~£es ,_ 1 I 7 Ibid., p. 13. 22 in which case amateurs are often in doubt as to which was to finger C-sharp --- B. It is readily admitted that this principle is not as basic or strong as some of the others, for few clarinet ,ists would finger the passage: l , • & I.. - I • .' .' I IJ) I [ f p- { t • +.ll as indicated, even though this fingering is in accord witn the principle. In this case the most common scale fingering habit is so strong that to change it for the sake of the principle would seem far-fetched and aca demic, and to most players, downright awkward. Do not use two fingers for a note which can be taken by one, unless the second finger is needed in this position for the note preceeding or following. In the clarinet group:~ 1i r Fr we allow the C key for the right hand little finger to remain in position while we play the B, again to avoid the possibility of double action. However, in the group: I I I j we never use both little fingers for the B unless tne mechanism is out of order and the C does not close automatically with the B as it should. There is a very close relationship between this principle and the one pertaining to cross-fingering. 23 In very rapid passages avoid a major readjustment of fingers for a single note whenever possible. This sort of thing comes to us most frequently in the case of the pivot note at the end of a scale passage which returns upon itself, and is most annoying when the passage is a short one going over this small gamut of notes again and again, such as one often finds in an orchestral noise-making accompaniment figure. To clarify this, let us assume that in the passage: 1£ the highest D on a particular woodwind involves a major change of fingering, (which is actually the case on all of the treble woodwinds). According to this general principle, in a very rapid tempo, and especially if used in the orchestra merely as a noise making accompaniment, it would be wiser to use a simple fingering for the high D if one is available. The use of trill keys and trill fingerings need not be restricted to actual trills alone, but may be justifiably used in passages such as this. Again the final answer must be determined by considerations of speed, importance of the passage, and quality of the fingering to be substituted. It is un deniable that the turning note in a returning scale passage is more easily heard and noticed than one in the course of the scale. ' Few will deny that it is both difficult and un- · graceful to wrestle with a major r>eadjustment of fingers if the motion of a single finger or key will perform the same task satisfactorily. The common sense of using trill fingerings for the trill for which they were intended is, of course, in accordance with this same principle, but is so axiomatic as to require no coimnent ••••• To amateur player ••• and to school instrumental teachers, teaching instruments which are not their , specialty, a series of general principles such as these. should provide welcome help in thinking about fingering questions on which they have encountered disagreement. The writer has made no attempt to apply these prin ciples to specific fingering problems on the various instruments •••• He has tried to make the meaning as clear as possible with a minimum of illustration, and 24 the examples he has used have been of fairly simple problems of the clarinet, this being the instrument about which he can speak with the greatest authority. If these principles are valid at all, they are sufficiently general to be valid, at least in varying degrees, for all woodwinds, and the individual assum ing he understands our meaning, may easily make the application to his own instrument. If he has had authoritative schooling, he will find one or another of these principles behind his present practices of fingering, and he will note that the differences be tween various schools of thought about fingering are largely a selection of the relative importance assigned to one or another of these general principles .8 8 Ibid., p. 13, 15, 18. The clarinet. Regular F'ingering Alternate Fingering I,~ /. ~ • • • ~-e • • ,_.• • In the preceding exercise one would have to use the little f'inger of the right hand to play both the E-flat and C, without the use of the alternate C fingering. Ho~ever, when using the alternate fingering it is quite easy to play the E-flat with the little finger of the right hand and the C with the little finger of the left hand. 1!&• _±t ftllO Il) 1t/ $ HJ U1 ~ ::::t=:=-- ~ Illustrated above is another example which again points out the need for an alternate C fingering. As was pre viously stated, this passage, would be considered rather difficult to play if it were not for the use of the alter ) nate C fingering. 9 Sol B. Cohen, Prel~de and Tarantella, measure 36. 10 ~., measures 81-82. 26 2JJB.i!f)E@]~a~~31 Regular Fingering Alternate Fingering 2. I. :ii.I. ~ .;t:..zzr . • • I :2.. f?.H. • Ff ,_ • I . I.~ \ ,- -" ... Y • • • • ! I • ; o~ .3. -• . • O• • -.. ·-0 • 0 The above illustration is an example of where one would use the regular B fingering. There would be no finger ing problem in executing this passage if the regular B fingering were used. The preceding example illustrates the use of the first alternate finge1·ing. When one uses this fingering all that is required is the lifting of the left hand little finger off of the number one key. When the player does this the instrument sounds the D. Thus making the interval from B to D very easy to execute even in the most rapid passages. This is an example of when you would use·the 11 L. Bassi, Rev. by H. Voxman, Nocturne, measure 129. 12 Johannes Brahms, Op. 120, Sonata No. I, measure 84 13 Felix Mendelssohn-Eartholdy, Sonata., measure 76. 27 second alternate fingering, listed i'or B. Without the aid of this alternate fingering the above example would be extremely difficult to play and be done smoothly. However, by using the second alternate fingering it is possible for the player to alternate the use of his lettle fingers on both hands. I 1£0 J!TJ • • ' In a passage such as the one just given, would be an ideal situation for the use of the third alternate fingering. The primary purpose of this alternate finger ing is to enable the player to go from A to B without using any more fingers than is necessary. 3_! I. J Regular Fingering Alternate Fingering l:L. "" /. ~ ,2 . • ....::&. /.::z_ .!!_:z..• • • • 2. • • • • 4• • • a • This is an ex~mple where the regular C-sharp finger ing enables the player ·co play chromatically with little or no difficulty. However, it is when you have intervals that the difficulty arises. 14 Claude Debussy, Premiere Rhapsodie, measure 94. 28 This is an example illustrating the use of the first alternate fingering. This alternate fingering is necessary if the above example is to be played smoothly. First of all, keys numbers two and three close the same holes. Usually we teach the student to depress both keys in order to play C-sharp. 1rhis practice is usually followed because the tones in this particular register are difficult for most players to sound on their instru ment. By depressing both keys the pads close tighter and more firmly over the holes. This in turn makes the in- strument speak more easily. However, in a case such as this one may depress only the number two key and thus leaving the right hand little finger• free to depress the D-sharp or E-flat key, number four·, iiihen desired. In this example the second alternate fingering should be used. The G-sha.rp or A-flat is played vd th the thumb hole cover·ed, register key depressed, first two fingers of the left hand down, and the first two fingers 15 Felix Mendelssohn-Bartholdy, Sonata, measure 76. 29 of the right hand down. The object of this alternate finger ing is that when you go from C-sharp to G-sharp the little finger and third finger of the right hand are ~orking together. Each will be lifted from its hole or key at the same time. The flute. Regular Fingering Alternate Fingering -r. -r: • • c:>• -;- 0 • • <> The regular fingering for F-sharp is better in tune and also speaks a little clearer. In a passage such as the preceding, if it were played very rapidly, the alternate fingering for F-sharp should be used. If the regular fingerinc were used to go from the F-sharp to E, it would necessitate raising the third finger and adding the first two fingers of the right hand simulta- neously. Whereas if the alternate fingering were used the player may go from F-sharp to E by merely adding the first finger of the~ight hand. 2. 1£ ii I Regular Fingering Alternate Fingering -r : ll,. : 0 fir...... 0 0• t<~1 ' 0 C!> 30 As far as intonation betterment or tone quality there is no difference between the regular fingering for B-flat. In trying to decide which fingering to use one must try to determine which fingering makes a passage seem the easiest for the player in a given situation. For example in a case such as this• t't L'l 16 • 1£~ au<~ \ the alternate fingering would be advisable. In going from the B-flat to D you would only have three fingers moving on one hand opposed to four fingers moving on two hands, if using the regular fingering. If one used the alternate fingering it would necessitate lifting the first finger and depressing the second and third fingers simultaneously on the left hand. The thumb may remain on the B-flat key for D. This produces the same results on D as when one depressed the octave key. Regular Fingering Alternate Fingering I~ --(': • 0 - 0 • -o • Dk'~o 16 Jacques Ilbert, Concerto for Flute and Orch., meas ure 105. 31 l? \ The above example is a good illustration of when the regular fingering should be used. 18 The above is a very clear example of when to use the alternate fingering for D. In going back and forth from C to D, it is very easy to execute this passage with the aid of the alternate finger. All this alternate fingering involves is merely raising and depressing the D key with tie first finger of the right hand. 6 4. llli I Regular Fingering Alternate Fingering -/• 1 -r• : I : 0 J 0 I ~ £'-~ ' l('&.T/ The preceding example is an execellent illustration of when the regular F-sharp fingering should be used. The regular fingering for F-sharp is a little clearer and 17 Jacques Ilbert, Concerto for Flute and Orch., meas. 89. 18 Johann Sebastian Bach, Sonata IV in C Major, meas. 47. 19 Claude Debussy, Arabesque, measure 104. 32 stronger than the alternate fingering. The alternate fingering would be good in the case of trilling from F-sharp to G, or in going from E to F-sharp in a rapid passage. Such is the case in the follow- The oboe. JI(, B Regular Fingering Alternate Fingering :r. :, :r , -• -• -• '..:a 0 --;--.. ~21 - t f£s; t ; '~,.\J r tf r r r1 The above example is a good illustration showing one of the uses for the regular fingering. This fingering is also very good to use in playing chro matically. In this example one can see a perfect use of the 20 Claude Debussy, Arabesque, measure 91. 21 Hymn, Christ the Lord has Risen Today, measures 15-16. 22 Wolfgang A. Mozart, Minuetto from "Don Giovanni", measures 30-32 33 alternate fingering which is sometimes termed the 11 forked F". To go from F to D all that is necessary is the addition of the second finger of the right hand. If' tne regular fingering were used, in such a cast as this, the E would speak slightly so as to give the effect of' a grace note. i#=Q 2. \£ lRegular Fingering Alternate Fingering • • ~ • 0 760 0 0 0 0 This is an example for the use of the regular G-sharp fingering. This is a good fingering to use when The alternate fingering is a good fingering to use for trilling from G to G-sha.rp or in going from G-sharp to G and F-sharp and back in rapid succession. 3. lf\ Ba j Regular Fingering Alternate Fingering • 0• • • 1 ~ 0- 0• 0 0 0 23 Schottische, Mountaine Belle, measure 22. 24 W. A. Mozart, Concertino, measure 118. 34 This is an example of when to use the regular B-flat fingering. There is no fingering problem here. The regu lar fingering is also veriy good in playing chromatic ·- passages • ..L _...... L + , 26 J£eiJ LJ ( Lt/ 3 The above example illustrates the alternate fingering usage. To go from B-flat to G-sharp or A-flat you merely add the second finger of the left hand. To use the regular B-f lat fingering in an instance such as this would be veriy impraticable. 6 4. 166 " I Regular F'ingering Alternate Fingering 8• •e -.-• ! 41.rs l The above example of the use of the regular finger- ing is very typical of its usage. However, in this example if one uses the regular fingering for E-flat, the "forked F" fingering should also be used. 25 W. A. Mozart, Concertino, measure 124 26 Ibid., measure 83 27 W. A. Mozart, Concerto, measure 94 35 In the preceding example the need for the alternate E-flat is shown. If the regular E-flat fingering were used, the little finger of the right hand would not be free to depress the D key, number four. However, with the use of the left hand E-flat key, number five b, the right hand little finger remains free to depress the D-flat key and thus makes this passage technically easy. The saxophone. 1. [j[i§i~· ~lfIRegular Fingering Alternate Fingering o c-kC'VI •0 g '1 I(_!!_ -0 0 0 I 0 0 I 0 I -1- I 29 I ·w; c ,,. t 1si2f:J Ir J.1 The above example illustrates a passage where one should use the regular fingering. There is no fingering problem if one uses the regular fingering in executing this passage. 28 Thomas F. Dunhill, Capriccietto, op. 81, No. 3, measures 67-68. 29 J. B. Singelee, Edited by F. Henri Klickmann, measure no. l, 2. 36 > The preceding illustration is an example for the use of the alternate fingering. The alternate fingering facillitates going from R to c. 2.fCI lt'o \ Regular F'ingering Alternate Fingering • • • • -«?> • • Fo 30 0 0 , ' 1 The above illustration shows the need for the use of the regular fingering for F-sharp. There is no problem in fingering here and it is desirable to use the regular fingering. Alternate fingerings should be used only when a specific need arises. . . • ;.JI- t!!f 31 1£ 11 ~ !if f' tmilli 1 The preceding example is a good illustration of when to use the alternate fingering for F-sharp. This alternate fingering is ideal for going from F to F-sharp. As the 30 Gabriel Pare•s, Premier Solo De Concours, measure 44. 31 ~.,measure 99. 37 example illustrates, it is very good for playing chromatic passages. If you try to use the regular F-sharp fingering in playing such a passage very rapifly, the G will speak and the passage would sound as though G was a grace note. 3.ill~~i~e~[I Regular Fingering Alternate Fingering • II I. :H=-.:t. .KU' . 0 0• C!I• •0 µ 0 0 () 0 • - 0 0 - 0 •0 0 0 0• 0 The preceding example illustrates a typical situation where the regular fingering should be usJ_d. tl#t@ [fj I .. l Ji& l tf]J tEif i In the preceding examples you see three good uses for the first alternate fingering for B-flat. In the case of this alternate fingering, it is very easy to go from F to B-f lat or from B-flat to F. The only thing that is necessary is to lift the second and third fingers of the left hand or depress them, closing the holes and ring. This fingering is very beneficial in passages such as the preceding. 32 Gabriel Pares, Premier Solo De Concours, measure number 87. 38 In the two preceding examples the same principle holds true except in this case the alternate f:i.ngering,, tr1e second one listed. This alternate fingering facilli- tates going from F-sharp to B-flat or A-sharp. 1£ 11 18 f£1•/J7,Blc9] liq;$ @flJQA In the above examples are some passages where it would be an ideal situation to use ti1e tnird alternate . fingering for B-flat. 'iJhen fingering the B-flat in this manner the first finger of the IE.ft hand depresses the first key and the side key"H" simultaneously. In using this alternate fingering it is easy to get a "rocking motion" in going from B-flat to A, B-flat to G, B-flat to G-sharp and B-flat to F. The bassoon. Regular Fingering Fingering • • 3~ H. Maury, 5th Contest Solo, measure no. 124. 39 The alternate fingering for A-flat facillitates going from A-flat to F. All that is entailed in going from A-flat to F by using this alternate fingering is rais ing the thumb of the right hand off of pad number four and depressing key number six with the right hand. If the regular fingering were used it would necessitate sliding the little finger of the right hand from key number six to ltey number four. In the later case you wo;ild be using the same finger twice in succession which is not advisable. 1 2. la lo I Regular F1inge:ing 1Alt:_rnate Fingering ! I : • H.-r: • • The above example illustrates a good situation where one should use the regular fingering. The regular fingering works much better than the alternate fingering in passages which are chromatic. u··~11:1t 13F'' The preceding example illustrates the need for the 34 C. Saint-Saens, op. 168, Sonata for Bassoon .and Piano, second movement, measure no. 48. 35 Jaromn Weinberger, Sonata for Bassoon and Orchestra, measures no. 11-12. 40 alternate B-flat fingering. By using the alternate B-flat fingering in going from B-flat to G one merely lefts the thumb of the right hand and adds the third finger of the right hand simultaneously. Again one eleminates using the same finger twice in succession. For instance if the reeua.lr fingering were used the third finger 01' the right hand would have to slide off of' the number two key to close the hole where the third finger plays, in order for the instrument to sound the G. Sliding is not considered good except in cases where it is unavoid- able or where it is easier th[\n the other fingering choice. In this instance the alternate fingering choice was :r.ruch cimpler and practical. 1 3.(3 id \ Regualr Fingering 1Alternate Fingering 0• • • I l.f.• 0 7...!L 0 0 0 0 0 I j I 36 t ~ : The above example is an illustration of when one should use the regular E-flat fingering. This fingering is preferred when going from E-flat to c. All that is 36 L. Van Beethoven, Symphony No. 3_z_ found in the Scherzo Allegro Vivace section. 41 necessary to go from E-flat to C when using tnis fingering is the addition of the second fing€r of the left hand. I h; t'T tJ 1i' f j The preceding example illustrates the need for the alternate fingering. In this instance the notation is from E-flat to c-aharp or D-flat. To go from E-flat to C-sharp or D-flat one adds the third finger of the left hand. 4 •. ~19~: ~·o~~ Regualr F'ingering Alternate Fingering Q I t -: I • : I :• I{. r. "'r-k!; , •~ ""J'" I s CJ .rey I I The little finger of the right hand depresses both number four and five keys when using the regular fingering for F-sharp. Therefore it is very easy to go to G because all the player must do is slide his lettle finger off of number five key and keep number four key depressed. The alternate fingering enables the player to go to any note which requires the use of either tt..e little finger pf the right hand or left hand. If the regualr fingering is used in such passages the little finger .. of the right hand is not free. A. BOOKS Globus, Rudo s., The Woodwind Anthology. ·New York: A & F Printing Service, Inc., 1952. 94 pp. Lang, Paul Henry, Music in Western Civilization. New York: W. W. Norton & Company, Inc., l94l. l067 pp. Mursell, James L., Music Education. New York: Silver Burdett Company, 1956. 379 pp. Ulrich, Homer, Music: A Design for Listening. New York: Harcourt, Brace and Company, 1957. 443 pp. B. PERIODICAL ARTICLES Christmann, Arthur H., "What Basic Principles Lie Behind Fingering Choice?" Woodwind, October, 1952, 6-18. C. UNPUBLISHED MATERIALS Boyd, Earl W., "Physical and Psychological Aspects of Wood wind Playing," a phamphlet produced at Charleston, Illinois, by the Department of Music, Eastern Illinois State College. Haney, Gene E., "Similarities and Contrasts in Woodwind Instruments," Eastern Illinois State College, March 5, 1956. D. TECHNIQUE BOOKS Clarinet (complete methods) Klose, "Complete Method," Published by: Carl Fischer, Inc. Klose, "Complete Method," revised and augmented by leading French clarinetists, Published by: Leduc. Lange nus, "Complete Method," Published by: Cundy~Bettoney, Inc. Lazarus, "Complete Method," Published by: Carl Fischer, Inc. (intermediate) De Captio, "Clarinet Method" (Book II), Published by: Be lwin, Inc. Gekeler-Hovey, "Clarinet Method" (Book II and III) Published by: Belwin, Inc. Hovey, "First Book of Practical Studies, 11 Published by: Belwin, Inc. (other miscellaneous study material) Jeanjean, "18 Etudes," Published by: Alfred Music Publishing Company. Langenus, "Modern Clarinet Playing," Published by: Carl Fischer Publishing Company. \Hedermann, "32 Clarinet Studies", Published by: Cundy Bettoney, Inc. (complete methods) Altes, "Complete Method, 11 Published by: Ca1~1 Fischer, Inc. Eck, Emil, "Method for Flute" Published by: Belwin, Inc. Popp-Soussman, "Complete Method," Published by Carl Fischer, Inc. Vo.xman, "Advanced Method for Flute" Published by: Rubank, Inc. (miscellaneous studies) Andersen, 11 24 Etudes, Op. 33" Published by: Carl Fischer, Inc. Andraud, "The Modern Flutist" Published by: Andraud Music Company Boehm, "Twelve Studies," Op. 15, Published by: Carl Fischer, Inc. Boehm, "Twenty-four Caprices," Op. 26, Published by: Carl Fischer, Inc. Boehm, "Twenty-four Studies," Op. 37, Published by: Carl Fischer, Inc. Gariboldi, "15 Etudes Modernes", Published by-: Litolff r.Iusio Publishing Company. Moyse, "24 Petite Etudes, 11 Published by: Leduc Publishing Company. Moyse, "12 Etudes de Grande Virtuosite" (Chopin) Published by: Leduc Publishing Company. Oboe (intermediate methods) Gekeler, "Method for Oboe," Published by: Belwin, Inc. Gekeler, "First Book of Practical Studies," Published by: Belwin, Inc. Gekeler, "Second Book of Practical Studies," Published by: Belwin, Inc. Hetzel, "Visual Class Method," Ptlblished by: Ditson Music Company. (complete methods) Andraud, "Practical and Progressive Oboe Method," Published by: Andraud Publishing Company. Langey, "Tutor for Bobe," Published by: Carl Fischer, Inc. Niemann, "Oboe Method (rev. by Labate)" Published by: Carl Fischer, Inc. BASSOON (beginning and intermediate material) Field, "Bassoon Method," Published by: Cole Publishing Company. Kessler, "Basic Bassoon Method", Published by: Carl Fischer, Inc. Lentz, "Bassoon Method(Boo~s l-2) 11 , Published by. Belwini Inc. Skornic ka, "Elementary Method," Published by: Ru bank, Inc. Voxman-Gower, "Advanced Method, Vol. I-II," Published by:. Rubank, Inc. V~eissenborn, "Studies for Bassoon, Book II", Published by: Carl Fischer, Inc. (complete methods) Bourdeau, "Grande Methode Complete 11 , Published by Leduc Publish ing Company. Jancourt, "Grande Method," Published by: Boosey-Ilawkes Publish ing Company. Weissenborn, "Practical Bassoon Method," Published by: Carl Fischer, Inc. SAXOPHONE (intermediate st11dies) Endresen, "Supplementary Studies," Published by: Balwin, Inc. Hetzel, "Visual Class Method, 11 Publlshed by: Ditson Music Publishing Company. (complete methods) Klose, 11 Methode Complete," Published by: Leduc Publishing Company. Langey, "Tutor," Published by: Carl Fischer, Inc. - Mayeur, "Method", Published by: Carl Fischer, Inc. E. Solos CIARINET (collections) Fischer, "Let Us Have Music" Presser, "First Solos" Rubank, "Indispensable Folio" Wi tmark, "Clarinet Repertoire" (medium solos) Aubert-Waln, "Aria and Presto," Published by: Kjos Publishing Company. Bergson, "Scene and Air," Published by Cundy-Gettoney Publish ing Company. Dubussy, "Petit Nigar," Published by: Leduc PublishinG Company. Guilhaud, "First Concertino, 11 Published by: Ruba.nk, Inc. (difficult solos) Bassi, "Nocturne," Published by: Rubank, Inc. Brahms, "Sonata No. I," Op. 120. Cohen, "Prelude and Tarantella". Debussy, "Premier Rhapsodie," Published by: Durand Music Publishing Company. Mendelssohn-Bartholdy, "Sonata". Spohr, "Concerto I," Op. 26. Weber," Concerto No. 1 in F minor,Op. 73", Published by: Carl Fischer, Inc. FLUTE (Easy Solos) Hindemith, "Echo, 11 Published by: The Associated Publishing Company. Kuhlau, 11 Menuett, u Published by: Cundy-Bettoney Publishing Company. St. Aaens, "The Swan," Published by: Carl Fischer, Inc. (Collections) Rubank, "Concert and Contest Collectionu. Rubank," Indispensable Folio" (Medium Solos) Moyse, "Sarabande, 11 Published by: Leduc Publishing Company. (Difficult Solos) Bach, "Sonata IV in C Major". Chamindde, "Concertino," Published by: Boosey-Hawkes Publish ing Company. Debussy, "Arabesquett. Enesco, "Cantabile et Presto," Published by: Boosey-Hawkes Publishing Company. Godard, "Valse," Published by: Cundy-Bettoney Publishing Company. Hindemith, "Sonata, 11 Published by: The Associated Publishing Company. Ilbert, "Concerto for Flute and Orchestra". Telemann, "Suite in A. minor, 11 Published by: A.ndraud Music Publishing Company. OBOE SOLOS (Easy) Bakaleinikoff, "Elegy 1 11 Published by: Belwin, Inc. Cohen, "Ario so, tt Published by: Carl Fischer, Inc. (Collections) (easy-medium) Balwin, "72 Oboe Solos". Fischer, "Oboists Repertoire Album" • .. Kjos, "First Book of Solos". (medium solos) Bassi, "Nocturne 1 " Published b;;: Rubank, Inc. Hande 1, "Sonata I 1 " Published by: Cundy-Bettoney Publishing Company. Ravel, "Pavane," Published by: Eschig Publishing Company. (difficult solos) Dun.hill, "Capriccietto". Hindemith,, "Sonata," Published by: The Associated Publishing Company. :r,lpzart, "Minuetto from Don Giovani". Mozart, "Concertina." Schott ische, "Mountaine Belle u. Telemann, Concerto," Published by: Litollf Publishing Com- pany. Williams, "Concerto," Published by: Oxford University Press. Vivaldi, "Sonata in G minor," Published by: McGinnis Publish- ing Company. Bassoon Solos (Easy) Buchtel, "Jolly Sailor," Published by: Mills Publishing Company. Delamarter, 11 1',olk Song," Published by: Witmark Publishing Company. Prout, "Romanza," Published by: Mills Publishing Company. (collections) Belsin, "76 Bassoon Solos". - Rubank, uindispensable Folio". (medium) Mozart,, "Andante and Minuetto,,•1 Published by: Rubank,, Inc. v\eber,, "Rondo (Concerto in F) 11 , Published by: Rubank, Inc. (difficult) Hindemith, "Sonata," Published by: Schott Publishing Company. Maury, 11 5th Contest Solo". Saint-Saens, "Sonata for Bassoon and Piano, Op. 168 11 • Weinberger, "Sonata for Bassoon and Orchestra". Weber, "Concerto in F, Op. 73", Published by: Ricordi Publishing Company. (SAXOPHOJ:·.1E SOLOS) Easy Gurewich, "Melodie D'Amour," Published by: Schirmer Music Publishing Company. Ravel, 11 Pavane," Published by: Cundy-Bettoney Music Publish ing Company. (collections) Easy A.msco, "Everybody's Favorites (51 pieces)". Fischer, "Let Us Have Music (Gaylord)". Rubank, "Indispensable Folio". Medium Andrieu, ttpremier Solo de Concours, Published by: Alfred Music Publishing Company. Aubert, "Solo de Concours, 11 Published by: Alfred Music Publishing Company. Barat, "Elegie," Published by: Selmer Publishing Company. Combelle, "Premier Solo de Concert," Published by: Alfred Music Publishing Company. (Difficult) Debussy, 11 Rhapsodie, 11 Published by: Durand Publishing Company. Mil11aud, "Scaramouche, 11 Published by: Elkan-Vogel Publish ing Company. Pare' s, "Premier Solo De Cone ours,"