Tips That Cl i c k Phi Beta Mu
A reader of this column requested that a collection of hints specific to helping directors improve theirwoodwind sections would be useful to him and other young directors. It seems that problems with the woodwind instruments are a continuing concern to even the most experienced directors, and we all are always looking for good advice! I polled several of the top directors in the state for their solutions that can be offered from the podium that will reinforce or create good woodwind playing.
Suzanne Winter is the recently retired director of the Pizitz Middle School Bands, which she directed to many state and regional honors. She suggests: “One thing that directors can do, thatmany don't think of, is to have flutists slightly raise the head as they descend the scale (or as music is in the lower part of the staff). It also helps to raise the head slightly as a note is sustained for a long time. As you know, the tendency is to play flat on sustained tones and in the lower octaves, so the raising of the head helps intonation tremendously. The director just has to use body language to remind the flutes about what to do.”
Our next contributor is Dr. LeslieWelker who
is the director of the
Hillcrest/Duncanville Middle School Band, which performed for us in January at the AMEA Conference. Her advice concerning the woodwind section is as follows: “I stress to the woodwinds that they should sit up straight and fill their instrumentswith air so they're not covered by the brass and percussion and their sound will be characteristic of the instrument.
I have the reed players
(clarinets and saxes) use lots of mouthpiece. I tell them to put enough mouthpiece in their mouth until they squeak. Then, they back off the tiniest bit until there are no squeaks. That's about the right amount of mouthpiece they should use. I have the flutes keep their
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Clarinets and ALL reed players need at least threeworking/playable reeds at every rehearsal. Be sure they are not too soft or too hard for the level of the player. They need to check to see if the reed “seals” on the mouthpiece every day. In general when the clarinet plays top line G and above, they need to back off the speed of air a bit so as to allow these notes to NOT sound spread or too strong. The same advice goes for the saxophones as far as reeds and check to see if they seal on the mouthpiece. Check for too much or too littlemouthpiece in themouth and be sure the neck strap (They MUST have a neck strap) is low so they are not tilting their head forward and up. Their chins should
Kim Bain is the Director of the outstanding Pizitz Middle School Band a ‘first call” saxophone player for themajor professional performances
in the
Birminghamarea. She offers a checklist of several important points for helping the saxophone section.
1.The instrument needs to be in top working conditions. Leaky pads make fuzzy, unfocused sounds. 2. Mouthpiece selection: Vandoren Optimum AL3 for altos and Rousseau New Classic for Tenor. Of course the standard is the Selmer C star, but this mouthpiece has become quite pricy. Run away from any metal mouthpieces that
February 2011
heads up and, when they blow across the headjoint, I have them think of a laser beamof air going across. This helps them focus the sound. For double reeds, Imake sure than they have enough reed in their mouth and that they keep the air constant to help provide a rich sound.” Theo Vernon is the Director of The Symphonic Band II and the Jazz Bands at Grissom High School in Huntsville. Besides being a great director, he is one of the busiest performers in the state and provides these helpfulwoodwind insights: “Flutes need more room around their chairs than any other instrument. Have them turn their chairs out "towards the audience" and bring their flutes up as if they are playing the clarinet. Then they turn their head to the left and flip their wrists up to bring the lip plate to their lips. Their elbows need to be down and relaxed. Their music stand should be adjusted appropriately so they can see the music without having to move their head, arm, and hand position. This can be very foreign tomany that are not used to doing this but it can make a difference. Also have them push their right arm/elbow forward a little to relieve the tension in the right shoulder. It may be a good idea for flutes to not share a stand if possible to avoid bad playing posture.
be pointed down a little. Their size will determine whether the alto is played in front of them or to the right side. When they are tall enough I prefer the horn in the middle of their bodies but NOT resting on the chair seat. Have them think of blowing their airstreamat their left thumb at the thumb rest. This helps to focus the air better.
Oboe and bassoons need three working reeds too if possible and affordable.With the changes inweather and temperature in every venue it is a must. Check for how much reed is going in the mouth. Too much and it will sound very spread and unfocused. Too little and itwill sound very thin.
Bass Clarinets need to have the proper length on the post and the post should be positioned under their chair in front of them between their legs at an angle so their head is tilted down a little. This will help to insure proper angle of the mouthpiece. It also depends upon what brand instrument and neck they are playing on too to determine the proper angle. We use the synthetic reeds
http://www.legere.com/ for all our low reed instruments. They are great and last a very long time!”
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