Woodwind Methods: The Reference Book

i
Woodwind Methods
I. Breathing and Support pp. 1-2

II. Clarinet pp. 3-37
a. Playing Information pp. 3-27
i. Fingering chart/Alternate Fingerings/resonance fingerings/alternating
pinkies pp. 3-9
ii. Assembly pp. 10-13
iii. Posture p. 14
iv. Hand Position pp. 14-15
v. Embouchure pp. 16-19
vi. Tone pp. 20-24
1. Problems in tone p. 20
2. Intonation pp. 20-22
3. Vibrato p. 22
4. Tone Exercises pp. 23-24
vii. Tonguing pp. 25-27
1. Double/Triple Tonguing p. 26
viii. Problems and Other Information p. 27
1. Crossing the break p. 27
2. Registers p. 27
b. The Clarinet Family pp. 28-29
c. Hardware pp.
i. Instrument Care p. 30
ii. Mouthpieces, Reeds, and Ligatures p. 31
iii. Instruments p. 32
iv. Mouthpieces p. 33
v. Reeds pp. 34-36
d. “Clare ‘N’ Ed in Paradise” p. 37
III. Saxophones pp. 38-66

i. Fingering chart/Alternate Fingerings pp. 38-40
iii. Posture p. 44
vi. Tone pp. 48-
ii
2. Intonation p. 49
3. Vibrato pp. 50-51
vii. Tonguing pp. 52-54
b. The Saxophone Family pp. 56
c. Hardware pp. 57-65
i. Instrument Care p.57
ii. Purchasing an Instrument p. 58
iii. Mouthpieces pp. 58-59
iv. Ligatures p. 59
v. Reeds p. 59
vi. Mouthpiece Charts pp. 60-61
vii. Reed information pp. 62-65
d. “In All Saxuality…” p. 66
IV. Flute pp. 67-91

ii. Piccolo alternate fingerings pp. 70-71
iii. Assembly p. 72
iv. Posture p. 73
v. Hand Position pp. 74-75
vi. Embouchure pp. 76-79
vii. Tone pp. 80-82
2. Intonation p. 80
3. Vibrato p. 81
4. Tone Exercises p. 82
viii. Tonguing pp. 83-84
ix. Problems and Other Information p. 85
b. The Flute Family p. 86
i. Care and maintenance p. 87
ii. Instrument Purchase pp. 87-88
iii. Piccolo Purchase pp. 88-89
iv. Flute options p. 90
d. “Flute of the Loom” p. 91
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V. Oboe pp. 92-116

ii. Octave key exercises p. 95
iii. Assembly p. 96
iv. Posture p. 97
v. Hand Position pp. 97-98
vi. Embouchure pp. 99-100
vii. Tone pp. 101-102
2. A Note on Oboe Tone p. 101
4. Vibrato
viii. Tonguing pp. 103-104
b. Problems and Other Information p. 105
c. The Oboe Family p. 106
d. Hardware pp. 107-115
ii. Instruments pp. 108-109
iii. Reeds pp. 110-115
e. “O’Boe, Another Blasted Exam” p. 116
VI. Bassoon pp. 117-140

iii. Posture p. 121
vi. Tone pp. 125-127
1. Problems in Tone p. 125
3. Note on Tuning p. 127
4. Vibrato p. 127
vii. Tonguing p. 128-129
1. Flick Keys p. 129-130
2. Clef Issues p. 129
iv
b. The Bassoon Family p. 131

ii. Instruments p. 133
iii. Reeds pp. 134-139
d. “Song for Screaming Bedposts” p. 140
VII. Appendices pp. 141-150

a. Methods and Materials Handout pp. 141-147
b. Ranges pp. 148-149
c. Transpositions p. 150
1
Breathing and Support

A breath when playing a woodwind instrument consists of three steps: inhalation, exhalation and
support. Those who play woodwind instruments must take great care not to forget these
important steps – PRACTICE PRACTICE PRACTICE!!!
Inhalation
• Inhalation is a function of the diaphragm and two sets of supporting muscles, one in the
front of the body, the other at the back.
• When air is drawn in, the downward movement it produces pushes against body organs,
producing a perceptible movement of the abdominal area.
• Diaphragmatic breathing fills the lungs with air from the bottom to the top; it is a deep
breath.
• No movement from the shoulders should occur when taking a breath for a woodwind
instrument. When completely filled, the lungs will push the chest outward a bit, but no
other movement of the chest is needed or desired.
Exercises in Breathing:
1. Place one hand on the chest and the other at the waistline. Instruct the student to take a
slow, deep breath. If the hand on their waistline moves and the hand on their chest
remains stationary, the breath was sufficient.
2. Place the back of the hands on the lower back muscles. If inhalation is correct, the student
should also feel expansion here.
3. Grasp the side of the body with thumbs just under the rib cage. The student should feel
expansion.
4. Imagine the belly is a balloon – now imagine inflating it fully.
5. Put the arms behind the back, pushing the shoulders backward, and then inhale. This
method does not allow chest breathing, so it gives students a feel for where their air needs
to go.
6. Take a breath as if yawning. The expansion of the stomach with the air intake is from the
diaphragm (Use this exercise with students cautiously, lest they doze off).
Exhalation and Support
• During natural exhalation, a set of muscles that were previously relaxed in inhalation
contract. These muscles provide the basis for support.
• Support is the isometric tension between inhalation and exhalation muscles.

Exercises in Exhalation:
1. Place one hand at the waistline. Inhale and exhale. Notice the inward motion during the
exhale.
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2. With one hand at the waistline, say “ha” several times, and notice the thrusting of the
exhalation muscles.
Exercises in Support:
1. Have the student take a deep breath. Then have them exhale their air slowly through a
small opening in their lips. This should create a firm tension in the lower abdominals.
2. Push tip of thumb into lower abdominals. Breathe deeply and hiss on the exhale. A
downward, outward motion should be felt by the thumb.
3. Imagine blowing out a ludicrously long row of candles. The student will form a small
aperture (as if blowing out candles) with her or his lips. Have the student take a deep
breath and blow out as many candles as possible – this means using a supported air
stream for a significant length of time.
4. Piece of paper
a. Method one: Hold a piece of paper against a stand about a foot from the student’s
mouth. Tell him or her that you are going to drop the paper and that she or he
must use air to keep it in place. It may help to ask the student to aim their air at a
specific spot on the paper.
b. Method two: Hold a piece of paper, perpendicular from the floor, about a foot
from the student’s mouth. Have the student use a supported airstream to make the
paper parallel with the floor and to keep it like that for as long as possible.
5. A helpful analogy: Support muscles are the very same muscles used when taking a No. 2
in the loo.
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4
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Resonance Fingerings
Leave Right Hand 1, 2, and 3 down when playing G, A-flat, A, and B-flat
Add:
OR OR
G A-flat A B-flat
Alternating Pinkies:
When two or more notes that use a pinky follow each, pinkies should alternate between left and
right.
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Assembly
1. Put the bell on the lower joint using a slight twisting motion.
2. Pressing down the rings on the upper joint to raise the upper bridge key, add it to the lower
join with a slight twisting motion. Line up exactly the upper and lower bridge keys.
3. Add the barrel joint.
4. Add the mouthpiece from which the cap, ligature, and reed have been removed. Line up the
center of the flat side of the mouthpiece with the register key on the bottom of the clarinet.
Reference Figure C.2, C.3
(Taken from pg. 53 of Guide to Teaching Woodwinds)
Cork Grease:
1. Apply cork grease to cork.

2. Spread with finger.
3. Grease corks weekly.
Reed Placement:
1. Place reed completely in mouth until moistened thoroughly.

2. Place the ligature with screws loosened about half way down the mouthpiece, holding it
away from the flat portion of the mouthpiece.
3. Holding the reed with the thumb and forefinger of the right hand, slip it under the top of
the ligature.
4. Slide the ligature down so the top of the ligature is at the bottom of the scrape of the reed.
5. Position the reed so that both top and bottom are exactly centered on the mouthpiece.
6. The reed is the proper distance from the tip if the hairline of black can be seen when the
tip is pressed against the tip of the mouthpiece.
7. Tighten the screws of the ligature just until snug.
8. Place mouthpiece cap on mouthpiece when not in use.
(Paraphrased from pg. 55-56 of Guide to Teaching Woodwinds)
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Posture
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When sitting:
1. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot
should be slightly in front of the other. Sit up straight.
2. The clarinet is held directly in the center of the body at an angle of 30-40 degrees.
*Rest Position: Place the clarinet diagonally across the lap with the tone holes up.
When standing:
1. Stand erect with feet shoulder width apart, one foot slightly ahead of the other to help
maintain balance.
2. The clarinet is held directly in the center of the body at an angle of 30-40 degrees.
(Paraphrased from pg. 58 of Guide to Teaching Woodwinds)
Hand Position
Hang hand at side to achieve desired hand position. Hands should be naturally relaxed.
Right Hand:
Thumb – contacts the thumb rest on the flesh to the side of and at the base of the nail.
Pinky – touches the F key.
Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the
finger should be used.
Left Hand:
Thumb – closes the tone hold and operates the register key. Place at diagonal angle across
the angle so that the ball is closing the hole and the register key is operated by the tip.
Operate the register key by vertical movements of the first joint of the thumb.
Pinky – touches the E key.
Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the
finger should be used.
For beginners: to simplify hand position, use left hand only. The right hand may simply hold on
to the thumb rest.
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Embouchure:
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Forming the Embouchure:
1. With the lips together, lower the lower jaw so the teeth are 3/8” apart, without pushing the lower
jaw forward.
2. Say the syllables “dee-oo” or “wee-too” to form the proper lip formation.
3. The lower lip should be over the lower teeth. The amount of lip over the teeth depends on facial
structure.
4. Insert mouthpiece into mouth. The lips should close around the mouthpiece and reed, with the
corners of the mouth pulling towards each other (like a drawstring bag).
5. There should be enough reed in the mouth so that the reed is able to vibrate freely.
6. The upper teeth should rest on the top of the mouthpiece, but they should not bite down.
7. The lower teeth should support the lip without biting.
8. The chin should be firm while pulling downward.
Problems in Forming the Embouchure:
1. Students with thin lips may need to put more lip over the lower teeth, and vice versa.
2. Adjust the amount of mouthpiece in the mouth if tone quality is problematic.
3. Sometimes the mouthpiece is the problem. Consider having the student try different mouthpieces
if the current one is not working.
4. Biting is bad. If a student bites, the tone can become thin and they may have difficulty producing
higher notes. The lips should be tight around the mouthpiece, but the inside of the mouth should
be open.
5. Make sure the lips seal around the mouthpiece so no air escapes.
6. If the chin muscles are not firm, the student will typically compensate with a biting embouchure.
7. Puffing cheeks are a sign of lack of support or escaping air. To remedy this, have students play a
note with just their left hands so that they can feel their cheeks with their other hands.
8. If dimples form when playing, there can be a loss of tone quality and control.
9. Air pockets under lips can lessen support and tonal control.
10. If a reed is too soft, the notes will tend to be flat and the student will bite to compensate. If the
reed is too hard, the tone will be uncontrolled and the student will also bite to compensate.
(Paraphrased from p. 70-72 of Guide to Teaching Woodwinds)
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Tone:
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1) Problems in Tone:
A) Worn reed: A damaged reed is frequently the sole cause of poor tone. Pay close attention to
students’ reeds – students will play on atrociously tattered reeds. Reeds that are covered in a dingy crust
should also be discarded.
B) Small, pinched, or muffled tone: This may be caused by too much pressure from the lower jaw
or because of too little mouthpiece in the mouth. Asking the student to play flatter will often help resolve
this issue.
C) Squawky tone: The uncontrolled tone (stereotypically associated with beginning clarinetists)
resulting in squawking is the result of a reed unsupported by the lower lip, lack of lip pressure from all
sides of the mouth, or a poor reed.
D) Hard, cold tone: This is caused by a reed that is too hard or a mouthpiece with a lay that is too
long or open.
E) Squeaking: Also stereotypically associated with clarinets, squeaking is most often caused by a
tone hole being incompletely covered. It can also be caused by a leaky pad, the reed, or by an embouchure
dealing unequal pressure on the reed.
F) Weak, colorless tone: Most often caused by lack of breath support.
G) Loud, raucous tone: Most often caused by too much breath support and over-blowing. This can
also be caused by a mouthpiece with a very open tip and the use of reeds that are too hard.
H) Control of soft tone: Difficulty producing and maintaining soft tone is usually the result of the
student not using proper breath support or a constant air stream.
I) Throat tone resonance: The addition of resonance fingers is standard for improving the tone
quality of the throat register. Consult the section on fingerings for the resonance fingerings.
J) Dynamics: Extremely loud and soft dynamics can cause problems with tone if the student does
not have a developed embouchure.
K) If tone problems continue despite other efforts, consider a new mouthpiece. The mouthpiece that
comes with a new clarinet is frequently sub-par at best. Consult the section on mouthpieces for
information about choosing an appropriate model.
2) Intonation:
A) Crossing the Break: Unlike the other woodwind instruments, the clarinet does not operate in
terms of an octave. Rather, adding the register key produces a note a twelfth above the otherwise
normally fingered note. Because of this, the clarinet encounters many intonation problems associated with
the break.
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B) Natural Tendencies:
C) Embouchure: Sharpness in the clarion and high registers can be indicative of too little
mouthpiece in the mouth. Too little mouthpiece can cause overall flatness, but it can also make
controlling the pitch of individual notes challenging. The angle of the instrument also affects intonation.
If the angle is too wide, the embouchure will become unsupported and the pitch will drop. Likewise, an
angle less than forty-five degree causes the pitch to become sharp.
D) Reed: A reed that is too hard tends to cause sharpness, while a reed that is too soft can lead to
flatness. However, a soft reed will also cause the instrument to play out of tune with itself.
E) Mouthpiece: Not all mouthpieces are equal. However, with the proper reed the particular design
of any given quality mouthpiece can be successfully played by the student. Teachers should check their
students’ mouthpieces for any flaws as any problem with the mouthpiece itself will dramatically affect the
tone of the instrument.
F) Dynamics: The clarinet tends to fall flat at louder dynamic levels and rising sharp as the
dynamics become softer. Proper diaphragmatic support is necessary for maintaining intonation.
G) Barrel: If the player is consistently flat and other variables have been ruled out, the barrel may
be too long for the particular instrument they are playing. If the player consistently has to pull the barrel
out more than a quarter of an inch, the barrel is too short. If the barrel is very short, the player may
consistently pull out the upper joint or require the use of tuning rings. A student’s embouchure, breath
support, mouthpiece, and reed should be considered before the barrel.
H) In Ensemble: The clarinetist should listen to others in ensemble, but playing the instrument in
tune with itself is fundamental.
I) A-440: Clarinets are manufactured to tune with A-440, so deviations from this standard will
ultimately cause intonation problems.
J) Adjusting Individual Notes: A variety of changes to basic fingers can be made to improve the
tone quality. Generally, covering tone holes raises the pitch and opening them lowers it.
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K) Warming Up: Most intonation problems associated with a cold instrument will be resolved after
five minutes of warming up.
3) Vibrato: Vibrato is not yet considered standard for the clarinet.
(Paraphrased from pg. 73-79 & 281of Guide to Teaching Woodwinds)

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Tonguing:
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a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed
and breath support.
Placement of Tongue:
a) Exactly where and how the tongue touches the reed depends on embouchure formation.
b) The tongue acts as a valve – as the breath support remains constant, the tongue stops and
releases the air to articulate notes.
c) More air pressure makes a louder note, and more pressure on the tongue before the
release makes a harder articulation.
d) In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the
tongue moves, and (3) the tongue is a valve and depends on good air support.
First method:
a) With correct embouchure formation and mouthpiece placement, the tip of the tongue
should be in the V-shaped pocked formed by the reed and lower lip meeting.
b) The top of the tongue touches the reed lightly about 3/8” from the tip.
c) Air is built up behind the tongue and is released as if saying the word “too.”
Second method:
a) With correct embouchure formation and mouthpiece placement, the tongue is drawn
more up and back, with the throat remaining open.
b) The tip of the tongue placed about 1/8”-1/16” from the tip of the reed.
c) The air behind the tongue is released as if saying “du.”
Anchor Tonguing:
a) This method generally used for students with longer tongues than normal.
b) With correct embouchure formation and mouthpiece placement, the tip of the tongue is
anchored against the base of the lower teeth.
c) With the tip anchored, the upper part of the tongue contacts the reed 1/8”-1/2” from the
tip. The exact spot will be found naturally.
Introducing Tonguing:
a) Tonguing should be introduced after the correct embouchure and breathing have been
established.
b) Students should begin tonguing with the following exercises:
“toot” “toot”
air
“toot” “toot” “toot” “toot”

air
etc…
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Problems with Introducing Tonguing:
1. too much tongue is moving

2. lack of breath support
3. articulating with the throat – auditory and visual “glug”
4. chewing, moving lips and jaws
Common articulation problems:

1. If the jaw is moving, this means that the tongue is moving too much and therefore
wasting energy. The student should practice in front of the mirror to eliminate all
movement.
2. Sluggish tonguing can only be fixed over time through diligent practice with a
metronome.
3. Too much tongue pressure against the reed will cause a hard attack. Try changing the
syllable from “too” to “doo,” “loo,” or even “noo.”
4. Poor staccato may be the result of poor breath support, or not maintaining support
between notes. If the breath support is constant, then the problem is most likely with the
tongue and can be fixed by practicing the beginning exercises previously mentioned in
these notes.
5. Poor coordination between the tongue and fingers is the result of trying to play too fast.
This can only be fixed by practicing music at a slow tempo with a metronome and
gradually moving the speed up.
Other Tonguing Techniques:

1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing.
The syllables used are “tu-ku” or “du-gu.” Often the hardest part is matching the attack
and tone of each syllable, and so this technique should be practiced slowly and with a
metronome at first.
2. Triple tonguing is similar to double tonguing, except the syllables are “tu-tu-ku” or “tu-
ku-tu.” This should be practiced slowly with a metronome at first in order to match the
sound of the syllables.
3. Flutter tonguing is rare but being used more and more in modern music. It is an advanced
technique that basically incorporates trilling the tongue, as if saying a British “br-r-r-r-r.”
Common Problems and Other Useful Information

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Crossing the break

The break on the clarinet occurs between the third line B-flat throat tone and B-natural in the
clarion register. The fingerings in the chalumeau register are repeated in the clarion register with
the addition of the register key. The register key raises the pitch by a 12th. Ex. Fingering a G in
the chalumeau register will sound as a D in the clarion register with the addition of the register
key. To facilitate crossing the break, use resonance fingers to improve tone and make crossing the
break technically easier.
Registers:
The clarinet has four registers that take their names from historical instruments and other sources. The
ranges for each of these registers are:
The Clarinet Family

A Brief History
The ancestor of the clarinet was the chalumeau which first appeared in ancient Greece. The
chalumeau had no mouth piece and the reed was cut as a part of the instrument. The register of
the present day clarinet is named after this instrument.
The modern clarinet was invented by Johann Christoph Denner in Nuremburg. In 1690,
Denner added the register key which greatly increased the range. The origin of the name clarinet
is unknown, but it is believed that the clarinet replaced the clarion trumpet in the orchestra. In
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1810, Ivan Mueller produced a 13 key clarinet and it became the standard instrument of today.
Theobald Boehm developed the present day fingering system. Hyacinthe Eleonore Klose
developed the Boehm system clarinet in 1850. Klose also developed a system of learning which
is still important in clarinet study today.
E-flat Clarinet
• Fingered the same as B-flat clarinet
• Requires more support and less air
• Necessary for staples of band literature
• Less mouth piece in mouth
A Clarinet
• Used in orchestral and chamber music
• No sound difference from B-flat clarinet
• Same fingerings/same mouth piece
• Different keyed instruments make orchestral and chamber playing easier
• Mozart wrote clarinet concerto for A clarinet
E-flat Alto Clarinet

• Bastard child of the clarinet family
• Didn’t exist until band programs grew in the U.S. in the 50’s and 60’s
• Included in Hindemith’s Symphony for Band
Basset Horn
• In F
• Light sound
• Longer than B-flat clarinet
• Included in Mozart Requiem
Bass Clarinet
• Adolf Sax developed the modern bass clarinet
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• Same fingerings as B-flat until the altissimo register. Alternate fingers are also different.
• Have half hole fingerings
• Bass clarinet and beyond go down to E-flat
Instruments
Care and Maintenance
1. Remove reed and wipe excessive saliva on pants. Remove mouthpiece and place cap back on
mouthpiece.
2. Drop weighted end of swab in bell. Pull swab through instrument.
3. Disassemble the clarinet in reverse order from assembly.
Cleaning the Mouthpiece

Use a Kleenex, lukewarm water, and nonabrasive soap.
Oiling Mechanisms
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Put a dot of oil on each moving part. Dab with paper towel to remove excess oil.
Changing Pads
1. Place pad back on key in its original position. This ensures that the pad will seal.
2. Use a lighter to heat the glue of the pad.
3. Press down the key with a paper towel. Caution: This will be hot.
Sticking Pads
Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed
cigarette paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be
removed and key should function normally.
Instrument should be taken to a repair shop for major problems and for regular
maintenance one to two times a year.
Mouthpieces:
Update mouthpiece in High School. Buy VanDoren B45 or M13 or Selmer105-115.
Reeds:
Beginner:
These are the cheapest reeds. They almost always work; however, the sound quality is poor. These
reeds will last about 1-2 weeks.
Intermediate:
These reeds are of higher quality and sound better, but are more expensive. They come in boxes of
ten, but not all ten reeds will work well. These reeds should last 2-3 weeks.
Advanced:
These reeds sound the best, last the longest, articulate better, but are most expensive. Fewer of them
work out of the box. You should pay no more than 30-40% off list price.
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Ligatures:
Most ligatures that come with beginning instruments are of poor quality. Throw away and use Luyben.
Discard any bent or broken ligatures.
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Assembly
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1. Put the neck strap around the neck.

2. Take the body of the instrument from the case, holding by the bell. Hook the neck strap to
instrument. Remove end plug.
3. Ensure tension screw is loose. Push neck fully on the body and line up the brace on the bottom of
the neck so that it is centered on the connecting lever on the body. Tighten tension screw.
4. Push the mouthpiece on so that at least half the cork is covered.
5. Adjust the neck strap so that the mouthpiece enters the mouth at a slight upward angle. Rotate
mouthpiece so that it is parallel with the floor.
(Paraphrased from pg. 120-121, 124 of Guide to Teaching Woodwinds)
Cork Grease:
4. Apply cork grease to cork.

6. Grease corks as necessary.
Reed Placement:
9. Place reed completely in mouth until moistened thoroughly.

10. Place the ligature with screws loosened about half way down the mouthpiece, holding it away
from the flat portion of the mouthpiece.
11. Holding the reed with the thumb and forefinger of the right hand, slip it under the top of the
ligature.
12. Slide the ligature down so the top of the ligature is at the bottom of the scrape of the reed.
13. Position the reed so that both top and bottom are exactly centered on the mouthpiece.
14. The reed is the proper distance from the tip if the hairline of black can be seen when the tip is
pressed against the tip of the mouthpiece.
15. Tighten the screws of the ligature just until snug.
16. Place mouthpiece cap on mouthpiece when not in use.
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Posture
When sitting:
3. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot should be
slightly in front of the other. Sit up straight.
4. For beginners: Place the instrument to the right of the body with the instrument against the side
of the leg.
5. For advanced students: Place the saxophone directly in front of the body.
*Rest Position: Rest the curve of the bell on the right leg.
When standing:
3. Stand erect with feet shoulder width apart, one foot slightly ahead of the other to help maintain
balance.
4. Place the instrument to the right of the body. Hold instrument in place with right thumb. The
instrument should not rest against the body.
(Paraphrased from pg 124-125of Guide to Teaching Woodwinds)
Hand Position
Right Hand:
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Pinky – touches the C key.
Remaining fingers – rest an inch above buttons. When playing, the fleshy part of the finger
should be used.
Left Hand:
Thumb – place at diagonal angle across the angle so that the ball is closing the hole and the octave
key is operated by the tip. Operate the octave key by vertical movements of the first joint of the
thumb.
Pinky – touches the G# key.
Remaining fingers - rest an inch above buttons. When playing, the fleshy part of the finger should
be used.
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Embouchure:
1. With the lips together, lower the lower jaw

so the teeth are 3/8” apart, without pushing
the lower jaw forward.
2. Shape the lips as if saying “O” or “voo.”
3. The lower lip should be over the lower teeth. Lips around the mouthpiece
The amount of lip over the teeth depends on
facial structure.
4. Insert mouthpiece into mouth. The lips should close around the mouthpiece and reed,
with the corners of the mouth pulling towards each other (like a drawstring bag).
5. There should be enough reed in the mouth so that the reed is able to vibrate freely.
6. The upper teeth should rest on the top of the mouthpiece, but they should not bite down.
7. The lower teeth should support the lip without biting.
8. The corners of the lips should draw in slightly more than the top and bottom of the lips.
9. The chin should be firm while pulling downward.
1. The amount of mouthpiece in the mouth depends on the lower lip supporting the reed at
the point which the side rails break away from the reed.
2. Students with thin lips may need to put more lip over the lower teeth, and vice versa.
3. If the chin muscles are not firm, the student will typically compensate with a biting
embouchure.
4. If a reed is too soft, the notes will tend to be flat and the student will bite to compensate.
If the reed is too hard, the tone will be uncontrolled and the student will also bite to
compensate.
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5. Puffing cheeks are a sign of lack of support or escaping air. To remedy this, have students
play a note with just their left hands so that they can feel their cheeks with their other
hands.
6. If dimples form when playing, there can be a loss of tone quality and control.
7. Make sure the lips seal around the mouthpiece so no air escapes.
8. Air pockets under lips can lessen support and tonal control.
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Tone:
A) Worn reed: A damaged reed is frequently the sole cause of poor tone. Pay close attention to
students’ reeds – students will play on atrociously tattered reeds. Reeds that are covered in a dingy crust
should also be discarded.
B) Small, pinched, or muffled tone: This may be caused by too much pressure from the lower jaw
or because of too little mouthpiece in the mouth. Asking the student to play flatter will often help resolve
this issue.
C) Squawky tone: Tone lacking focus is the result of a reed unsupported by the lower lip, lack of lip
pressure from all sides of the mouth, or a poor reed.
D) Hard, cold tone: This is caused by a reed that is too hard or a mouthpiece with a lay that is too
long or open.
E) Squeaking: Squeaking is not as common on the sax as it is on the clarinet. It is most frequently
caused by a leaky pad, a poor reed, an embouchure dealing unequal pressure on the reed, or a non-parallel
mouthpiece position.
F) Weak, colorless tone: Most often caused by lack of breath support.
G) Loud, raucous tone: Most often caused by improper embouchure or the amount of mouthpiece in
the mouth. This can also be caused by a mouthpiece with a very open tip and the use of reeds that are too
hard.
H) Dynamics: Extremely loud and soft dynamics can cause problems with tone if the student does
not have a developed embouchure.
I) If tone problems continue despite other efforts, consider a new mouthpiece. The mouthpiece that
comes with a new saxophone is frequently sub-par at best. Consult the section on mouthpieces for
information about choosing an appropriate model.
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2) Intonation:
A) Natural Tendencies:
B) Reed: Assuming a correct embouchure, a consistently flat pitch is caused by a reed that is too
soft while a consistently sharp pitch is caused by a reed that is too hard.
C) Embouchure: Too little mouthpiece in the mouth causes biting and makes the higher registers
flat despite the natural tendencies of the instrument. Too much mouthpiece makes notes flatter and
reduces the amount of control player has on individual notes.
D) Angle: If the angle of the mouthpiece entering the mouth is too far downward, the pitch will
drop. If the angle is too far upward, the overall pitch will tend sharp.
E) Mouthpieces: If other causes of intonation problems have been eliminated, yet problems persist,
consider trying other mouthpieces. Consult the section on mouthpieces for more information.
F) Mechanism Adjustments: If notes are consistently out of tune, look at the mechanism to
ascertain whether the pads are in the proper position.
G) Dynamics: The saxophone tends to play flatter at louder dynamics and sharper at softer
dynamics. Soft dynamics require firm support, a decrease in the amount of air, and a somewhat more
open embouchure. More lip pressure and a slightly more open embouchure (to facilitate reed vibration)
will help avoid flatness in the upper register.
H) Individual Notes: A variety of changes to basic fingers can be made to improve the tone quality.
Generally, covering tone holes raises the pitch and opening them lowers it.
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I) The saxophonist should listen to others in ensemble, but playing the instrument in tune with itself
is fundamental.
3) Vibrato
A) Qualities: Unlike vibrato for flute, oboe, and bassoon, saxophone vibrato should be lip-jaw
oriented. A student switching from an instrument that uses diaphragm vibrato may encounter difficulty
and will likely use a combination of the lip-jaw and diaphragm vibratos for a time, but they should make
the switch complete with practice. Vibrato on the saxophone should not change the pitch of the note
produced, nor should it be a strong change in intensity (which can result from a diaphragm vibrato).
Rather, vibrato on the saxophone should be slight changes in intensity based on the small changes in
embouchure pressure from lip or jaw.
B) Shape: The shape of the saxophone vibrato is as follows -
An improper vibrato produces a “Wah” sound, as follows –
C) Introduction: The student should begin on a B (one finger) with a fermata. When the student has
achieved a good tone on this note, have them begin the following exercises, using the syllable “Voo” on
each note. Make sure the student uses a metronome so his or her developing vibrato is consistent from the
beginning. Mark passages to use vibrato in the music (especially for students who are in the process of
learning it).
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(Paraphrased from pg. 139-143 & 281-282 of Guide to Teaching Woodwinds)

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Tonguing:
a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and breath
support.
a) Exactly where and how the tongue touches the reed depends on embouchure formation.
b) The tongue acts as a valve – as the breath support remains constant, the tongue stops and releases
the air to articulate notes.
c) More air pressure makes a louder note, and more pressure on the tongue before the release makes
a harder articulation.
d) In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue
moves, and (3) the tongue is a valve and depends on good air support.
First method:
a) With correct embouchure formation and mouthpiece placement, the tip of the tongue should be in
the V-shaped pocked formed by the reed and lower lip meeting.
b) The top of the tongue touches the reed lightly about 1/2” from the tip.
c) Air is built up behind the tongue and is released as if saying the word “too” or “du.”
Second method:
a) With correct embouchure formation and mouthpiece placement, the tongue is drawn more up and
back, with the throat remaining open.
b) The tip of the tongue placed about 1/4”-1/8” from the tip of the reed.
c) The air behind the tongue is released as if saying “du.”
Anchor Tonguing:
a) This method generally used for students with longer tongues than normal.
b) With correct embouchure formation and mouthpiece placement, the tip of the tongue is anchored
against the base of the lower teeth.
c) With the tip anchored, the upper part of the tongue contacts the reed. The exact spot will be found
naturally.
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a) Tonguing should be introduced after the correct embouchure and breathing have been established.
“toot” “toot”
air
“toot” “toot” “toot” “toot”

air
etc…
Problems with Introducing Tonguing:
1. too much tongue is moving

2. lack of breath support
3. articulating with the throat – auditory and visual “glug”
4. chewing, moving lips and jaws
1. If the jaw is moving, this means that the tongue is moving too much and therefore wasting
energy. The student should practice in front of the mirror to eliminate all movement.
2. Sluggish tonguing can only be fixed over time through diligent practice with a metronome.
3. Too much tongue pressure against the reed will cause a hard attack. Try changing the syllable
from “too” to “doo,” “loo,” or even “noo.”
4. Poor staccato may be the result of poor breath support, or not maintaining support between
notes. If the breath support is constant, then the problem is most likely with the tongue and can
be fixed by practicing the beginning exercises previously mentioned in these notes.
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5. Poor coordination between the tongue and fingers is the result of trying to play too fast. This can
only be fixed by practicing music at a slow tempo with a metronome and gradually moving the
speed up.
1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing. The
syllables used are “tu-ku” or “du-gu.” Often the hardest part is matching the attack and tone of
each syllable, and so this technique should be practiced slowly and with a metronome at first.
2. Triple tonguing is similar to double tonguing, except the syllables are “tu-tu-ku” or “tu-ku-tu.”
This should be practiced slowly with a metronome at first in order to match the sound of the
syllables.
3. Flutter tonguing is more important for the saxophone than the clarinet because the saxophone
plays more contemporary music. Crucial to flutter tonguing is a relaxed tongue, a steady
embouchure, and a firmly supported air stream.
a. Method one: tongue on reed. The player rolls his or her tongue against the reed as if
saying “Br-r-r-r-r.” This method affects tone the least of any flutter tonguing methods.
b. Method two: dental flutter. With the tongue against the upper edge of the upper teeth, a
fast air stream will flutter the tongue and create an intense fluttering tone.
c. Method three: hard palate flutter. With the front portion of the tongue on the hard palate,
a fast air stream will vibrate the tongue very quickly and create a flutter with a great deal
of variety in tone quality.

Articulated G-sharp Key: In passages with multiple G-sharps, the articulated G-sharp key can
remain depressed throughout the passage without any effect on the pitch of the other notes.
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Cheater Fingerings: To facilitate smooth technique, fingers that are not normally a part of the basic
finger pattern can be left down with little effect on the sound of the other notes.
Examples: A passage moving from E to C: leave first two fingers of right hand down
A passage moving from D to C-sharp: leave down the first three fingers of the right
hand
A passage moving from E-flat to C: leave down the three fingers and pinky on right
hand
A passage moving from C-sharp to F: leave down the right pinky on the C key and the
left pinky on the D-flat key
The Saxophone Family

A Brief History
In 1840, Adolf Sax invented the saxophone in Paris. The saxophone has become one of the band’s
most valuable assets and is beginning to find its way into orchestral literature. Sax wanted to create the
best qualities of the woodwind and the brass instruments, making it vocal, powerful and adaptive.
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All the saxophones in the sax family are fingered the same way, but they are pitched differently,
making them transposing instruments. See appendix T. All saxes have key work from low B-flat up to
high F or F-sharp on some models.
(Paraphrased from pg. 119 of Guide to Teaching Woodwinds and Wikipedia)
Sopranino Sax
• Pitched in E-flat
Soprano Sax
• Difficult to tune
• Pitched in C
Alto Sax
• Most common
• Blends well
• Most solo literature for the sax comes from the 20th and 21st century.
• Fits young people’s hands well
Tenor Sax
• Not good for beginners – too bulky
• Tenor sax is a jazz instrument
• Difficult to blend
• Pitched in B-flat
Baritone (Bari) Sax

• Octave lower than alto sax
Bass Sax
• Twice as long as Bari
• Has more tuning issues
• Has fewer mechanisms and fewer fingerings
Instruments
4. Remove reed and wipe excessive saliva on pants. Remove mouthpiece and neck. Place cap back
on mouthpiece.
5. Drop weighted end of swab in bell. Tip instrument upside down and pull swab through.
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6. Disassemble the saxophone in reverse order from assembly.
Cleaning the Mouthpiece

Use a Kleenex, lukewarm water, and nonabrasive soap.
Oiling Mechanisms
Changing Pads
Sticking Pads
Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed cigarette
paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be removed and key
should function normally.
If low notes don’t speak, it may be caused by the sax bell being bumped and misaligned slightly.
This pulls the keys slightly out of line preventing the pads from sealing.
Buying an Instrument
Beginner:
• Selmer and Yamaha. These brands have experience and tradition.
• NEVER buy a Jupiter Saxophone.
• CanonBall should also be avoided. It is difficult to blend.
• $1000
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There are no Intermediate instruments worth their money
Advanced:
• Selmer: 90% of people play a Selmer
• Yamaha and Kyle Worth
Jazz players play old Selmers with the lacquer worn off. A re-lacquered sax is worth nothing!
Never pay list price!
Mouthpieces
Note: Mouthpieces included with beginning instruments are generally not of quality.
Alto and Tenor:

Selmer C-Star: Most popular intermediate to advanced mouthpiece. Expensive, but worth the
money.
Larry Teal: Also a good mouthpiece.
Eugene Rousseau: Prominent teacher at the University of Minnesota. He is also a creator of

a good mouthpiece.
Jazz Mouthpieces: These mouthpieces are oval inside instead of square like the classical
mouthpiece. They produce a louder sound in order to be heard in jazz situations.
Bari:
Berg Larson: Hard rubber or metal mouthpieces with a middle of the road tip opening work
best.
Ligatures:
VanDoren Optimum
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Rovner or look-a-likes – cloth ligature. Takes some of the buzz out of the sound.
Reeds:
Classical Reeds:
For Alto and Tenor: Fred Hempky, VanDoren 2 ½ to 3 (designed for the C-Star
mouthpiece)
Jazz Reeds:
For Alto and Tenor: VanDoren Javas
For Bari: La Voz

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Reed Comparison Index
1. These are the cheapest reeds. They almost always work; however, the sound quality is poor.
These reeds will last about 1-2 weeks.
2. These reeds are of higher quality and sound better, but are more expensive. They come in boxes
of ten, but not all ten reeds will work well. These reeds last 2-3 weeks.
3. These reeds sound the best, last the longest, articulate better, but are most expensive. Fewer of
them work out of the box. You should pay no more than 30-40% off list price.
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Assembly
1. Push head joint onto the body with a slight twisting motion.
2. Line up the far edge of the embouchure hole with the inner edge of the keys so that the head joint
is rolled in slightly.
3. Attach foot joint with the body with a slight twisting motion. Line up the foot joint so that the rod
of the keys is centered with the keys on the body. For instruments with a B foot, the rod of the
foot joint should line up with the outer edge of the tone hole
Posture
When sitting:
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6. Sit at the edge of the chair with the chair slightly angled to the right. The trunk of the body should
face forward. To facilitate this, look over the left shoulder. Place feet flat on the floor. To
facilitate support, one foot should be slightly in front of the other. Sit up straight.
7. The flute should be angled slightly downward, but should ultimately be parallel with the
embouchure.
*Rest Position: Place the flute diagonally across the lap with the tone holes up.
When standing:
balance.
6. The flute should be angled slightly downward, but should ultimately be parallel with the
embouchure.
Hand Position
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Balance:
right pinky
left 1 right thumb
Right Hand:
Thumb – body of the flute is supported on the cushion of the right thumb contacting the flute
opposite the space between the first and second fingers.
Pinky – depresses the E-flat key.
Remaining fingers – rest an inch above keys. When playing, the fleshy part of the finger should
be used.
Left Hand:
Thumb – is curved slightly to contact the B-natural lever with the ball of the thumb.
Index Finger – body of the flute rests at the base of the index finger between the knuckle and the
first joint. It provides a shelf for the instrument.
Pinky – slightly touches the G-sharp key.
Remaining fingers - rest an inch above keys. When playing, the fleshy part of the finger should be
used.
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Embouchure:
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1. Form the lips as if spiting a small, focused stream of water. Use the syllable “pooh.” The lips
should be cushioned forward, away from the teeth slightly.
2. The upper lip should pull down slightly to give the air stream a slight downward angle, and the
corners of the mouth should be pulled down and back as if pouting.
3. The embouchure plate of the flute should be placed under the lower lip, not on it, and the
embouchure hole should be rolled in toward the lips slightly. This allows for the direction of the
airstream to be changed with the embouchure with greater ease.
Exercises in Embouchure:
1. Imagine that you have an uncooked grain of rice in between your lower teeth and lower lip. Then
imagine spitting the grain of rice at a target.
2. Imagine you have a mouth full of water. Pretend to spout a directed stream.
Note: All these exercises can actually be done with real materials!

1. Placement of embouchure plate under the lips
a. If the embouchure plate is placed too high, it will prevent the flutist from producing a full
tone in the lower register.
b. If the embouchure plate is place too lower, it will hinder the flutist from success in the
upper register
2. Amount of hole covered by lower lip
a. If too little of the hole is covered, then it (1) reduces the dynamic range, (3) produces a
breathy tone, (4) limits the range, and (5) makes the high notes difficult to produce and
control.
b. If too much of the hole is covered, then it (1) produces a thin tone, (2) reduces the
dynamic range, (3) limits articulation, and (4) can make legato playing difficult.
3. Size of the aperture
a. If the aperture is too large, an unfocused, breathy tone will result.
b. If the aperture is too small, the tone will be thin and confined to a dynamic range of
piano.
4. Too much air
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a. The flute requires very little air. Over-blowing often compensates for a lack of support,
but results in a plethora of issues which include but are not limited to intonation
problems, an unfocused, airy tone, and a limited dynamic range. Using too much air or
using air inefficiently can also lead to hyperventilation and dizziness.
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Tone:
A) Small or Thin tone: This may be attributed to a lack of support. It may also result if too much of
the embouchure hole is covered as not enough air will enter the instrument (ex. The student may be
rolling in).
B) Hollow or Muffled tone: Can be caused by an aperture that is too large, by lack of breath
support, by too much air or if too much of the air is directed into the embouchure hole and not enough is
directed across it.
C) Shrill high register: Can be the result of overblowing (“Don’t blow the piss out of it”). The
higher octave can be improved with more support and less air.
E) Dynamics: Lack of proper support can cause problems with tone over dynamic ranges.
2) Intonation:
Tendency to be sharp:
Tendency to be flat:
B) Changing Registers: Register changes are accomplished on the flute through a change in
airstream direction which is control by the lips and increased support. To ascend, the lower lip should be
pushed forward slightly to raise the airstream. When descending the lower lip should do the reverse and
the airstream should be lowered. To facilitate leaps in music, the student should “sing” the interval
change, slurring from one pitch to the next in their mind. In other words, the student should have a mental
conception of how the music should sound.
C) Dynamics: Dynamics on the flute are accomplished primarily through support and for advanced
players, changes in tone color. Though amount of air increases and decreases with dynamic, it should not
be a primary method of expression. A natural tendency of the flute is for the pitch to become sharper as
the tone becomes louder, and vice versa. This tendency is exacerbated when amount of air is used to make
dynamic changes.
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D) Mechanical factors: The cork in the head joint affects overall tuning on the flute. To check if the
cork is properly aligned insert the end of a flute cleaning rod into the head joint. The notch in the rod
should be exactly in the center of the embouchure hole.
E) Alternate fingerings: Alternate fingerings affect the pitch and tone color of notes. Some of these
effects are specifically called for in modern flute literature.
3) Vibrato: Vibrato on the flute is considered standard. The flute uses a diaphragmatic vibrato. The
flutist should take care not to try to change pitch while employing vibrato as the small variances will arise
automatically.
(Paraphrased from pg. 28-31 & 281 of Guide to Teaching Woodwinds)
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Tonguing:
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a) Tonguing refers to the way the tongue is used to articulate tones in relation to the aperture of the
lips and breath support.
Generally, the tip of the tongue should be at the base of the gum of the front teeth. However, its
exact placement depends on the octave being played.
Method of Tonguing:
a) The tip of the tongue should be placed on the front teeth at the base of the gum.
b) With a good breath, build up air pressure so that no air passes through the lips.
c) Release the air, pronouncing the syllable “tu,” “ta,” “du,” or “da.”
d) Stop the tone with air, not by placing the tongue on the teeth.
a) Tonguing should be introduced after the correct embouchure and breathing have been established.
“tah” “tah”
air
“tah” “tah” “tah” “tah”

air
etc…
Notes on Articulation:
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a) Different syllables create subtle differences in sound, which advanced flutists can use to their
advantage.
b) Legato articulation should involve a minimal interruption in sound. Using the syllable “du”
produces the best results.
c) Students must take care to not involve breathing muscles during staccato passages, or an accent
will be produced.
1. Double tonguing is used for faster repeated notes that are too fast for normal tonguing. The
syllables used are “tu-ku” or “du-gu” or “ti-ki.” The tongue should strike the hard palate. Often
the hardest part is matching the attack and tone of each syllable, and so this technique should be
practiced slowly and with a metronome at first.
2. Triple tonguing is similar to double tonguing, except the syllables are “tu-ku-tu,” “ku-tu-ku,” “du-
gu-du,” or “gu-du-gu.” This should be practiced slowly with a metronome at first in order to
match the sound of the syllables.
3. Flutter tonguing is becoming rapidly more popular in contemporary music. It is produced by
rolling the tongue on the roof of the mouth with an “r-r-r-r-r” sound. Flutter tonguing produces a
sound similar to a tremolo, and there is no standard notation for it.
a. If the jaw is moving, this means that the tongue is moving too much and therefore wasting
b. Too heavy: This means the flutist has too much tongue pressure against the teeth. Correcting this
requires beginning with pianissimo and legato passages, moving to louder and more staccato
passages.
c. Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice with a
metronome. This may also be caused by moving too much of the tongue or the entire jaw.
d. Lack of coordination in tongue in fingers: Poor coordination between the tongue and fingers is
the result of trying to play too fast. This can only be fixed by practicing music at a slow tempo
with a metronome and gradually moving the speed up.
e. Slow staccato: This is the result of either a lack of breath support or too much pressure.

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D-sharp/E-flat Key: Failure to depress this key is a common problem for beginners. This finger is
important because it acts a point of support and control in holding the instrument, and it functions
as a vent key to improve tone and intonation.
Over-blowing: This is a common problem among flutists of all ability levels and is resolved only
though years of practice. “Don’t blow the piss out of it!” (Thornton)
The Flute Family

A Brief History
The flute is the most ancient of woodwind instruments. All societies have had a flute of some
kind sometimes made from cane or bone. In 1750, the body of the flute was made of box wood
or rosewood with several keys added to facilitate chromatic notes. Eventually enough keys were
added to produce the entire chromatic scale. Boehm perfected the acoustical and technical design
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of the flute in 1847. He studied the principles of acoustics to solve problems in tone quality and
mechanism. By the 1880’s, he refined the instrument to its present form, metal with a cylindrical
bore. Several attempts have been made to improve the flute but the Boehm style is still the most
common.
The basic principles of playing the flute apply to all of the members of the flute family.
(Paraphrased from pg 13 of Guide to Teaching Woodwinds)
Piccolo
• Sounds an octave higher than the flute
• Poor intonation
• Poor tone quality is a problem
• Requires more support but less air
• Pitched in C
Alto Flute
• Pitched in G
• Hand position
• Requires more air but less velocity
• It is especially important to watch the direction of the air.
Bass Flute
• Pitched in C
• It sounds an octave lower than the flute
• Rare
• Primarily used in flute ensembles
• Requires more air
E-flat Flute
Instruments
7. Remove head joint and shake out extra water. Insert cleaning rod inside to remove moisture.
8. Shake water out of body and insert cleaning rod in bell body of the instrument. Pull cleaning rod
through instrument.
9. Insert cleaning rod in the foot of the instrument. Pull cleaning rod through the instrument.
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Oiling Mechanisms
Changing Pads
Sticking Pads
Pads stick because of excess moisture. Use a large denomination or new bill or un-gummed
cigarette paper. Place under open key. Depress key and wiggle bill or paper out. Moisture will be
removed and key should function normally.
Instrument Purchase
1. Beginners:
o Most student model flutes are made of copper with a silver finish.
o C foot
o Plateau (closed hole) style keys
o Offset G key
2. Intermediate:
o Mid-level flutes often come with a solid silver head joint and either a solid silver
body or a silver plated body.
o Open hole keys
o B foot
o Offset or Inline G key
o Gizmo key
3. Advanced:
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o Solid silver head joint and body

o Open hole keys
o B foot
o Gizmo key (to facilitate high C)
o Split E-mechanism (to facilitate high E)
o C-sharp trill
o The thickness of the tubing can be specified on these flutes.
4. Professional:
o Some professional flutes are made of gold or platinum.
Piccolo:
1. Silver Piccolos:
o Brighter sound than wood or plastic.
o Not good for symphonic situations.
o Best used in marching band
2. Silver Head/Plastic Body Piccolos:
o Sound similar to that of silver piccolos (the sound produced is dependent
primarily by the head joint)
o More difficult to tune
3. Plastic Piccolos:
o Mellower sound than silver
o Good alternative to wood
o Stands up to weather
4. Wood Piccolos:
o Best sound
o The ideal choice for concert band or orchestra
o Requires more care
 Risk of cracking
 The bore of the instrument must be oiled regularly
 Wood responds to changes in weather
o Most expensive
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Note: More than other woodwinds, flutes tend to upgrade their instrument more frequently.
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High Fingerings
High C# High D High D# High E High F
& C key (RH) & C key (RH) & Bb key (LH) & Eb key + Ab & Eb key + Ab
key key
(RH or LH, as (RH or LH, as

long as they are long as they are
held down by held down by
the same hand) the same hand)
Adding the Adding the

bottom octave bottom octave
key might help key might help
intonation intonation
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Assembly
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5. Place reed in small cup of water so that the entire piece of cane is submerged. Reed may also be
soaked in the mouth similar to the clarinet reed.
6. To place the bell on the lower joint, grasp the bell in the right hand with the thumb closing the pad so
the bridge key is raised to clear the connecting lever on the lower joint. Push the two parts together
with a slight twisting motion.
7. Take the upper joint in right hand and place together with the lower joint using a slight twisting
motion. . Line up the bridge key mechanisms. Use extreme caution to avoid damaging the bridge key
mechanisms which are stationary.
8. Push the reed in firmly, lining up the flat side with the keys on the top of the instrument.
Cork Grease:
7. Apply cork grease to cork or cork on reed.
9. Grease corks weekly.
(Paraphrased from pg. 167-168 of Guide the Teaching Woodwinds)
Posture
When sitting:
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8. Sit at the edge of the chair. Place feet flat on the floor. To facilitate support, one foot should be
slightly in front of the other. Sit up straight.
9. The oboe is held directly in the center of the body at an angle of 30-40 degrees.
*Rest Position: Place the oboe diagonally across the lap with the tone holes up.
When standing:
balance.
8. The oboe is held directly in the center of the body at an angle of 30-40 degrees.
Hand Position
Right Hand:
Pinky – touches the C key.
Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the finger
should be used.
Left Hand:
Thumb – operates the first octave key. Place at a right angle across so that the ball is against the
wood of the instrument and the side is just touching but not pressing the octave key.
Pinky – touches the B key.
Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the finger
should be used.
For beginners: to simplify hand position, use left hand only. The right hand may simply hold on to the
thumb rest.
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Embouchure:
(Method 1)
1. With the lips together, lower the lower jaw so the teeth are 1/2” apart, without pushing the lower
jaw forward.
2. Place the reed at the center of the lower lip.
3. There should be a small amount of each lip over its corresponding teeth.
4. As the lips come together, the corners of the mouth should press in slightly.
5. It is important to keep the lower jaw open.
6. The amount of reed in the mouth depends on the pitch being played, but the reed needs to be
close enough to the tongue so that the player can tongue.
(Method 2)
1. Relax the lower lip and place the tip of the reed slightly past the center of the lip.
2. Drop the lower jaw. There should be a small amount of each lip over its corresponding teeth.
3. Pull the upper lip over the teeth so that no lip is showing and bring the lips together around the
reed.
4. As the lips come together, the corners of the mouth should press in slightly.
5. It is important to keep the lower jaw open.
6. The amount of reed in the mouth depends on the pitch being played, but the reed needs to be
close enough to the tongue so that the player can tongue.
1. Make sure the amount of lip in the teeth is consistent with the method of embouchure
used.
2. The pressure of the lower teeth influences lip support. This impacts intonation and
dynamics, therefore it is important to avoid biting.
3. If the chin muscles are not firm, the student will typically compensate with a biting
embouchure.
4. If the angle of the instrument is too wide, the tone quality will be difficult to control.
100
5. If the angle of the instrument is too small, the tone will be difficult to control and low
notes will be difficult to produce.
6. If air is escaping, the corners of the mouth should be tightened.
7. Puffing cheeks cause a reedy tone. Students should use a mirror to correct this.
8. Air pockets under the lips can affect tone quality.
Tone
101
A) Small or pinched: This can be caused if the tip of the reed is too small, biting, or not having
enough reed in the mouth.
B) Squawky tone: A weak, uncontrolled embouchure may cause this, as may a stiff reed, a reed
that is too open, or if too much reed is in the mouth.
C) Hard, cold tone: This problem is usually the result of a reed that is too stiff. Vibrato may help
warm the tone.
D) Weak, colorless tone: Weak tone is typically the result of poor breath support.
E) Soft tone: Lack of control for soft tone may happen because of poor breath support, a reed that
is too stiff, or a poorly shaped embouchure.
F) Dynamics: Lack of proper breath control or a poorly formed embouchure can cause problems
with tone over dynamic ranges.
2) A Note on Oboe Tone: There are varying opinions about what constitutes good oboe tone. These ideas
can be divided into three schools of thought: American, French, and German. In short, German is very
dark, French is very bright, and the American combines the two.
3) Intonation:
1) Tendency to be flat:
2) Tendency to be sharp:
3) Tendency to be out of tune: The C one octave up from Middle C is notoriously out of
tune on the oboe, as is the B immediately below it. This is also true the C and B one
octave higher.
B) Reed: The reed is one of the major influences in intonation.

1) Too soft: A reed that is too soft is generally flat and will be difficult to control,
especially in the high registers.
102
2) Too hard: A reed that is too hard is generally sharp and the natural tendencies of
individual notes will be unduly emphasized. A reed that is too hard can be adjusted and
saved.
3) Old reeds: Intonation problems covering a broad spectrum will result from old reeds.
These should be discarded. Encourage students to have more than one reed that is
broken-in with them any time they play the oboe.
4) Beginning students: Reeds for beginner students should be used for beginning students
only.
C) Embouchure: All factors in the embouchure at any given moment have an impact (sometimes
a large impact) on the intonation. Oboists should practice with a tuner to gain an understanding of
how to manipulate their embouchure to stay in tune.
1) Reed support: More pressure from the lips on the reed raise the pitch, less pressure
drops the pitch
2) Amount of reed: The amount of the reed in the mouth will emphasize the natural
tendencies of specific notes. Notes in the high register will be most affected. Generally,
sharpness will be caused if there is too much of the reed in the mouth while too little reed
will cause general flatness. The oboist should use this to his or her advantage by changing
the amount of reed in the mouth over the range of the oboe.
D) Dynamics: The louder the note, the sharper the pitch will tend to be, and vice versa.
E) Playing Position: Proper posture should be maintained for the best intonation possible.
F) Mechanical Factors: The oboe mechanism is highly susceptible to minor problems that can
affect intonation. Many of these can be solved by manipulating various adjusting screws, but
consult a repair technician if in doubt. Also, keep the oboe clean to avoid intonation problems
resulting from residue or other gunk stuck in the key work.
G) Alternate fingerings: Alternate fingerings and trill fingerings affect the pitch of individual
notes. Oboists should determine how their particular instruments respond to alternate and trill
fingerings and make the better in tune with their embouchures.
4) Vibrato: Vibrato on the oboe is considered standard. The oboe uses a diaphragmatic vibrato. The oboist
should take care not to try to change pitch while employing vibrato as the small variances will arise
automatically.
(Paraphrased from pg. 182- 187 & 282 of Guide to Teaching Woodwinds)
Tonguing:
103
a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and breath
support.
Placement of the tongue:

In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue
a) Method one: Tongue at the back of the tip. With a proper embouchure formed, place the tongue
just under the tip of the reed with the top of the tongue just on the back of the tip. Build up air
pressure and release by pronouncing the syllable “too,” “doo,” or “tee.”
b) Method two: Tongue at tip. The tip of the tongue can touch either the tip of the reed or the back
of the tip of the reed. Articulation is the same as method one.
c) Anchor tonguing: Touch the lower lip with the tip of the tongue. The forward part of the tongue
touches the lower blade of the reed. Pronounce the syllable “dah,” “tah,” or “du.”
Notes on articulation:
a) Legato: Legato is best produced with the syllable “du” or “ðu.”
b) Staccato: Make sure breath support is maintained during the break between staccatos.
Problems with articulation:

a) If the jaw is moving, this means that the tongue is moving too much and therefore
wasting energy. The student should practice in front of the mirror to eliminate all
movement.
b) Too heavy: This is a sign of either too much tongue pressure against the reed or a reed
that is too soft.
c) Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice
with a metronome. This may also be caused by moving too much of the tongue or the
entire jaw.
d) Lack of coordination in tongue in fingers: Poor coordination between the tongue and
fingers is the result of trying to play too fast. This can only be fixed by practicing music
at a slow tempo with a metronome and gradually moving the speed up.
e) Slow staccato: This is the result of either a lack of breath support or too much pressure.
104
Other tonguing techniques:

A. Double and triple tonguing: These techniques are possible on the oboe, but they are very
uncommonly used because the resulting tone quality tends to be terrible. They can be produced
by saying “T” and “K” in rapid succession.
B. Flutter tonguing is also rare, but can be produced by fluttering the tongue against the reed as if
rolling an “R.”
105
Common Problems and Other Information

Alternating Pinkies: When two or more notes that use a pinky follow each, pinkies should alternate
between left and right. Sliding is sometimes necessary, but the oboist should always attend to possible
alternatives.
Articulated G-sharp Key: In passages with multiple G-sharps, the articulated G-sharp key can
remain depressed throughout the passage without any effect on the pitch of the other notes.
(Paraphrased from pg 190,193, 194 of Guide to Teaching Woodwinds)
106
Oboe Family
A Brief History
The early oboe was first developed in Greece and spread through North Africa and the Arab Empire in
pre-Islamic times. Similar type instruments were also being developed in China and Korea and were also
found in England and France. The invention of the modern oboe occurred in 1872 and the oboe has only
minor modifications since. It has been adapted to play 17th century music, but has also found its place in
the modern orchestra.
(Paraphrased from pg. 257, 274 the New Grove Dictionary of Music and Musicians, Vol. 18)
English Horn
• Pitched in F
• Played only by experienced oboists
Oboe d’amore
• Pitched in A
• Alto oboe
• Combines the characteristics of oboe and English horn
Bass Oboe
• Pitched in C
• Octave lower than the oboe
(Paraphrased from pg. 195, 197 of Guide to Teaching Woodwinds)
107
Instruments
10. Remove reed. Shake off excess moisture. Place in reed case to prevent damaging reed.
11. Drop weighted end of swab in bell. Pull swab through instrument.
12. Disassemble the oboe in reverse order from assembly.
Oiling Mechanisms
Changing Pads
Sticking Pads
Instrument Options
• Most oboists use plateau keys and not open tone holes
• Semi-automatic octave:
o Preferred because it allows for greater/faster facility and is less awkward
• All oboes need an F resonance key
• Most have low B-flat resonance key
• Left hand F key
• Right hand G-sharp key
• Third octave key is optional
• Trill keys are always nice
108
109
110
111
112
113
114
115
116
117
118
Assembly
119
1. Place reed in small cup of water so that the entire piece of cane is submerged. Reed may also be
soaked in the mouth similar to the clarinet reed.
2. Take the seat strap and place it under your bottom with the cup or hook on the right side. The
bassoon may also be placed with a neck strap.
3. Put the tenor joint into the small opening of the boot joint. Hold the middle of the boot joint with
the right hand and the tenor hand with the left hand. Push joints together with a slight twisting
motion. Be careful of the bridge key.
4. Place the long joint into the boot joint with a slight twisting motion. Depress the whisper key to
avoid bending.
5. Lock together the tenor joint and the long joint with the locking mechanism.
6. Hold the bell with the right hand. Depressing the bridge key on the bell, line the key up on the
long joint. Push together with a slight twisting motion.
7. Place bassoon in the cup of the seat strap or attach bassoon to hook.
8. Grasp the bocal with thumb and forefinger near the vent hole and push in place with a slight
twisting motion. Adjust the bocal so that the pad of the whisper key closes the hole in the bocal.
9. Put the reed firmly in place. It should go on to the bocal about ½ an inch.
10. Adjust the seat strap so that the reed enters the mouth at a slight upward angle.
120
121
Posture
When sitting:
10. Sit at the back of the chair with the instrument balanced between the left and right hands.
11. The boot joint rests against the right hip with the instrument held diagonally across the body.
12. The body is erect with the chin level and eyes forward. Elbows should be free of the body. Place
feet flat on the floor.
*Rest Position: Place the bassoon diagonally across the lap with the bocal up. The reed should be
removed from the bocal when not in use to prevent damage.
When standing:
balance.
10. The boot joint rests against the right hip with the instrument held diagonally across the body.
11. Neck strap should be used in the standing position.
Hand Position
Right Hand:
Thumb – rests on the metal guard plate, near the E key.
Pinky – touches the F key.
Remaining fingers – rest an inch above tone holes. When playing, the fleshy part of the finger
should be used.
Left Hand:
Thumb – rests near the whisper key.
Pinky – touches the D-sharp key.
Remaining fingers - rest an inch above tone holes. When playing, the fleshy part of the finger
should be used.
122
123
Bassoon Embouchure:
1. With relaxed lips, lower the lower jaw so the teeth are 1/2” apart, without pushing the lower jaw
forward.
2. Pull the lower jaw back to increase the natural overbite.
3. The corners of the mouth should be pushed inward.
4. The lips should be rolled over the teeth so that virtually all the lips are over the teeth.
5. The upper lip should almost touch the first wire of the reed, and the lips should contract around
the reed (like a drawstring bag)

1. Students who do not have a natural overbite may have difficulty with the bassoon.
2. If the teeth are uneven, the reed may need to be turned to accommodate and avoid uneven
pressure.
3. The bocal must be at a slight downward angle from the lips to the instrument, or tone problems
may result.
4. If the chin muscles are not firm, the student will typically lack tone control.
5. If the lower teeth bite, the tone quality will be rough and the low notes will be impossible to
produce.
6. If the corners of the mouth are not tightened and pushing slightly toward the reed, air can escape.
7. Puffy cheeks cause an unfocused tone.
8. Air pockets under the lips can cause a lack of tonal control and intonation.
124
125
Tone
A) Small or pinched: This may be caused by the reed, biting, or the amount of reed in the mouth.
First try adjusting the wires on the reed to make it more open. If this doesn’t work, the reed may
be junk (trash it!). If the reed is good, the student may be biting the reed so that it is closing
during play. If the student’s embouchure is fine and the reed is good, a pinched tone is likely the
result of too little reed in the mouth.
B) Open, squawky tone: A weak, uncontrolled embouchure may cause this or a reed that is too
stiff.
C) Hard, cold tone: This problem is usually the result of a reed that is too stiff. Vibrato may help
warm the tone.
D) Weak, colorless tone: Weak tone is typically the result of poor breath support.
E) Soft tone: Lack of control for soft tone may happen because of poor breath support, a reed that
is too stiff, or a poorly shaped embouchure.
F) Dynamics: Lack of proper breath control or a poorly formed embouchure can cause problems
with tone over dynamic ranges.
2) Intonation:
Tendency to be sharp:
Tendency to be flat:
126
B) Reed: The reed is one of the major influences in intonation.

1) Too soft: A reed that is too soft is generally flat and will be difficult to control,
especially in the high registers.
2) Too hard: A reed that is too hard is generally sharp and the natural tendencies of
individual notes will be unduly emphasized. Low notes will be especially sharp and may
not respond in soft passages
3) Old reeds: Intonation problems covering a broad spectrum will result from old reeds.
These should be discarded. Encourage students to have more than one reed that is
broken-in with them any time they play the bassoon.
C) Embouchure:
1) Biting: Biting will generally raise the pitch and restrict the bassoonists range. This
problem is frequently encountered alongside a closed throat or a pinching lower jaw. The
teacher should make sure a student who plays consistently sharp is not biting before
having them get a new bocal.
2) Breath Support: Poor breath support may result in the bassoonist biting to compensate.
3) Closed Throat: A closed throat is a frequent cause of biting. It can be corrected by
having the student position their throat in a yawning position or asking him or her to hum
while playing.
4) Pressure for Control: More pressure from the lips on the reed raise the pitch, less
pressure drops the pitch. Neither the teeth nor the jaw should be used.
5) Amount of reed: The amount of the reed in the mouth will emphasize the natural
tendencies of specific notes. Notes in the high register will be most affected. Generally,
sharpness will be caused if there is too much of the reed in the mouth while too little reed
will cause general flatness. The bassoonist should use this to his or her advantage by
changing the amount of reed in the mouth over the range of the bassoon.
6) Lower jaw: Pushing the jaw forward will make the pitch sharper, and vice versa.
D) Dynamics: The louder the note, the sharper the pitch will tend to be, and vice versa.
E) Playing position: Proper posture should be maintained for the best intonation possible.
F) Mechanical factors: The bassoon mechanism is very complex and should be kept in the best
working order. Also, keeps it clean to avoid intonation problems resulting from residue or other
gunk stuck in the key work.
G) Alternate Fingerings: The bassoon has more alternate fingerings than any other woodwind
instrument. Many of these fingerings are primarily for facility and will not be very well in tune.
127
Bassoonists should remain attentive to intonation and know the advantages and drawbacks of
various fingerings.
3) A Note on Tuning: The bassoon bocal must be in tune. Generally, longer bocals play flatter and vice
versa. Bassoonists who consistently play sharp or flat throughout the range of the instrument should
consider getting a new bocal to make their tendency less prominent or problematic. The length of a bocal
is indicated by a number (usually between 0 and 3) stamped on the bocal itself – the larger the number,
the longer the bocal.
4) Vibrato: Vibrato on the bassoon is considered standard. The bassoon uses a diaphragmatic vibrato. The
bassoonist should take care not to try to change pitch while employing vibrato as the small variances will
arise automatically.
(Paraphrased from pg. 219-222 & 282-283 of Guide to Teaching Woodwinds)
Tonguing:
a) Tonguing refers to the way the tongue is used to articulate tones in relation to the reed and
breathe support.
128
Placement of the tongue:
In all the following methods, (1) the tongue is relaxed, (2) Only the forward part of the tongue
a) Method one: With the proper embouchure in place, touch the tip of the lower blade with the
back of the tip of the tongue. Build up air pressure and release, pronouncing a strong “too,”
“tee,” or “doo.”
b) Method two: Use the tip of the tongue either at the tip of the reed or just back of the tip of the
reed. Sound the articulation exactly as above.
Note on articulation:
Unlike other woodwinds, the bassoon requires a rather hard attack in articulation.
Problems with articulation:
a) If the jaw is moving, this means that the tongue is moving too much and therefore wasting
b) Too heavy: This is a sign of either too much tongue pressure against the reed or a reed that is
too soft.
c) Sluggish tongue: Sluggish tonguing can only be fixed over time through diligent practice with a
metronome. This may also be caused by moving too much of the tongue or the entire jaw. A
reed that is too hard may also cause a sluggish tongue.
d) Lack of coordination in tongue in fingers: Poor coordination between the tongue and fingers is
the result of trying to play too fast. This can only be fixed by practicing music at a slow tempo
with a metronome and gradually moving the speed up.
e) Slow staccato: This is the result of either a lack of breath support or too much pressure.
Other tonguing techniques:
A. Flutter tonguing is rare, but can be produced by fluttering the tongue against the reed as if
rolling an “R.
(Paraphrased from pg. 222-257 of Guide to teaching Woodwinds)
129
Common Problems and Other Information

Left Thumb Issues:
• The left thumb requires dexterity in manipulation in the multiple keys it is responsible for.
• The wrist should be almost flat.
• Muscular tension should be avoided.
• Avoid sliding the thumb to these key.
Flick Keys:
• Used to aid in producing good slurs for A, A-Flat, B, C and D.
• Proper response of flick key is necessary to produce accurate pitches.
• Flick keys are principally used for slurs of a P4 or more.
Clef Issues:
• Because of the large range of instrument, the bassoon uses multiple clefs.
• Bassoonists should be fluent in bass, tenor, and alto clefs.
• Tenor clef should be introduced as soon as the student begins playing in the upper range of the
instrument.
(Paraphrased from pg. 227-230 in Guide to Teaching Woodwinds)
130
131
Bassoon Family
A Brief History
The forerunner to the modern bassoon was the dulcian which was created in the 16th century. Its origins
are obscure but it shares many characteristics in construction. Many believe that the true bassoon was
invented by Martin Hotteterre in the 1630s. He created it in four parts and this arrangement allowed for
greater accuracy in construction than the one-piece dulcian. Carl Almenrader and Gottfried Weber
developed the 17 key bassoon with a range of four octaves which improved intonation, response and
technical ease. Johann Adam Heckel continued to refine the bassoon in the legacy of Almenrader. The
Heckel style bassoon is the most common bassoon today.
(Wikipedia)
Contra Bassoon
• Sounds an octave lower than is written
• Is found in standard orchestral works and symphonic band
• Fingerings differ slightly from the bassoon.
(Paraphrased from pg. 236 from Guide to Teaching Woodwinds)
Instrument
132

13. Remove reed. Shake off excess moisture. Place in reed case to prevent damaging reed.
14. Disassemble the clarinet in reverse order from assembly.
15. Shake out water from the bocal and blow from the large end of the bocal until it is clear.
16. Shake out excess moisture from each piece of the instrument. Drop weighted end of swab in the
smaller end of each piece. Pull swab through each section of the instrument.
Oiling Mechanisms
Changing Pads
Sticking Pads
(Paraphrased from pg 238-240from Guide to Teaching Woodwinds)
133
134
135
136
137
138
139
140
141
Appendix A
142
143
144
145
146
147
148
Appendix B
149
150
Appendix C
Transpositions
Written Sounds
Flute c c
Piccolo c c 8va
alto flute c g below
bass flute c c 8vb
eb flute c eb above
Bb clarinet c Bb below
Eb clarinet c Eb above
a clarinet c a below
eb alto clarinet c eb below
Bb bass clarinet c Bb + 8vb below
Eb contra-alto clarinet c Eb + 8vb below
Bb contra-bass clarinet c Bb + 2 8vb below
Eb alto sax c Eb below

Bb tenor c Bb + 8vb below
Bb Soprano sax c Bb below
Bari Sax c Eb + 8vb below
Bb Bass Sax c Bb + 2 8vb below
Oboe c c
Enlish Horn c f below
Oboe d'amore c a below
bass oboe c c 8vb
Bassoon c c
Contrabassoon c c 8vb

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i

I. Breathing and Support pp. 1-2

III. Saxophones pp. 38-66

IV. Flute pp. 67-91

V. Oboe pp. 92-116

VI. Bassoon pp. 117-140

b. The Bassoon Family p. 131

VII. Appendices pp. 141-150

Breathing and Support

• Support is the isometric tension between inhalation and exhalation muscles.

(Taken from pg. 53 of Guide to Teaching Woodwinds)

1. Apply cork grease to cork.

1. Place reed completely in mouth until moistened thoroughly.

Forming the Embouchure:

3) Vibrato: Vibrato is not yet considered standard for the clarinet.

(Paraphrased from pg. 73-79 & 281of Guide to Teaching Woodwinds)

“toot” “toot” “toot” “toot”

Problems with Introducing Tonguing:

1. too much tongue is moving

Common articulation problems:

Other Tonguing Techniques:

Common Problems and Other Useful Information

Crossing the break

The Clarinet Family

• Requires more support and less air

• Necessary for staples of band literature

• Less mouth piece in mouth

• No sound difference from B-flat clarinet

• Same fingerings/same mouth piece

• Different keyed instruments make orchestral and chamber playing easier

• Mozart wrote clarinet concerto for A clarinet

E-flat Alto Clarinet

• Included in Hindemith’s Symphony for Band

• Longer than B-flat clarinet

• Included in Mozart Requiem

• Have half hole fingerings

• Bass clarinet and beyond go down to E-flat

Cleaning the Mouthpiece

(Paraphrased from pg. 107-111 of Guide to Teaching Woodwinds)

1. Put the neck strap around the neck.

4. Apply cork grease to cork.

9. Place reed completely in mouth until moistened thoroughly.

Forming the Embouchure:

1. With the lips together, lower the lower jaw

Problems in Forming the Embouchure:

An improper vibrato produces a “Wah” sound, as follows –

(Paraphrased from pg. 139-143 & 281-282 of Guide to Teaching Woodwinds)

“toot” “toot” “toot” “toot”

Problems with Introducing Tonguing:

1. too much tongue is moving

Common articulation problems:

Other Tonguing Techniques:

Common Problems and Other Useful Information

The Saxophone Family

Baritone (Bari) Sax

(Paraphrased from pg. 153-155 of Guide to Teaching Woodwinds)

6. Disassemble the saxophone in reverse order from assembly.

Cleaning the Mouthpiece

There are no Intermediate instruments worth their money

Never pay list price!

Alto and Tenor:

Larry Teal: Also a good mouthpiece.

Eugene Rousseau: Prominent teacher at the University of Minnesota. He is also a creator of

For Bari: La Voz