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 Follow this and additional works at: https://thekeep.eiu.edu/plan_b 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.