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THINKING OUTSIDE THE METHOD BOOK: Semantics, Slander, and Some Lies “Well it may be technically true, but I certainly wouldn’t put it that way to my students!” Misconceptions, myths, and misleading statements have always been connected with the pedagogy of every musical instrument. At best, they slow learning, but at worst, they send the student off in the wrong direction. What are some myths that have been out there for years, and just WILL NOT DIE? Here are thoughts gleaned from years of IBA and Midwest clinics as well as my own experience. The information shared in this clinic is highly personalized, and flagrantly biased. Your mileage may vary. (It is not exhaustive by any stretch of the imagination. It’s just what I use regularly.) BONUS: Hints and tips for success on every instrument…plus door prizes!!! BASIC CONCEPTS: 1. The story of the helicopter pilot. 2. Beginners can sound good right away! 3. Play relaxed and naturally. No stress…no strain! 4. Depending on the wind instrument, the air is controlled with either the inside or outside of the lips. FLUTE MYTH #1: You blow into it like you blow into a pop bottle. MYTH #2: The right thumb holds up the flute. QUICK & DIRTY SOLUTION THAT ISN’T: Place the embouchure hole over your lips and roll down. MYTHS FROM THE AUDIENCE: SOLUTIONS, TIPS, and CHEATS: 1. Blow as if cooling hot soup. Don’t roll in the lips; let them come out naturally. 2. Spit in the flute using the inside of the lips. You’ll get sound before you get spit. (This is a good starting exercise for getting octaves. Combine it with the EE—OO trick.) 3. Time the student’s ability to blow without the flute. You’ll be surprised by how long this is. Wouldn’t it be great if you could play the flute that easily? You’re supposed to!!! 4. While the student blows naturally, have him/her “play statue” while you find the sweet spot for a tone. (If the student has a “tear drop,” you’ll have to go off to one side or the other.) 5. Teach how to hold the flute by using a drum stick. 6. Richard Hahn’s clinic, “The Flute Embouchure and the Soda Straw.” (Gemeinhardt Company) 7. Thumbport (sold by West Music) 8. Blocki flute pneumo pro General Woodwind Tip: Use “London Bridge” as your first rote song. No repeated notes, and it lays well on all the instruments! Flute Tip: Play the headjoint like a slide whistle with your pointer finger sliding in and out of the headjoint. It’s fun!
Transcript of THINKING OUTSIDE THE METHOD BOOK - bandmasters.org
THINKING OUTSIDE THE METHOD BOOK: Semantics, Slander, and Some Lies
“Well it may be technically true, but I certainly wouldn’t put it that way to my students!”
Misconceptions, myths, and misleading statements have always been connected with the pedagogy of every musical instrument. At best, they slow learning, but at worst, they send the student off in the wrong direction. What are some myths that have been out there for years, and just WILL NOT DIE? Here are thoughts gleaned
from years of IBA and Midwest clinics as well as my own experience.The information shared in this clinic is highly personalized, and flagrantly biased. Your mileage may vary.
(It is not exhaustive by any stretch of the imagination. It’s just what I use regularly.)BONUS: Hints and tips for success on every instrument…plus door prizes!!!
BASIC CONCEPTS:1. The story of the helicopter pilot.2. Beginners can sound good right away!3. Play relaxed and naturally. No stress…no strain!4. Depending on the wind instrument, the air is controlled with either the inside or outside of the lips.
FLUTEMYTH #1: You blow into it like you blow into a pop bottle.
MYTH #2: The right thumb holds up the flute.QUICK & DIRTY SOLUTION THAT ISN’T: Place the embouchure hole over your lips and roll down.
MYTHS FROM THE AUDIENCE:
SOLUTIONS, TIPS, and CHEATS:1. Blow as if cooling hot soup. Don’t roll in the lips; let them come out naturally.2. Spit in the flute using the inside of the lips. You’ll get sound before you get spit. (This is a good
starting exercise for getting octaves. Combine it with the EE—OO trick.)3. Time the student’s ability to blow without the flute. You’ll be surprised by how long this is.
Wouldn’t it be great if you could play the flute that easily? You’re supposed to!!!4. While the student blows naturally, have him/her “play statue” while you find the sweet spot for a tone.
(If the student has a “tear drop,” you’ll have to go off to one side or the other.)5. Teach how to hold the flute by using a drum stick.6. Richard Hahn’s clinic, “The Flute Embouchure and the Soda Straw.” (Gemeinhardt Company)7. Thumbport (sold by West Music)8. Blocki flute pneumo pro
General Woodwind Tip: Use “London Bridge” as your first rote song. No repeated notes, and it lays well on all the instruments!
Flute Tip: Play the headjoint like a slide whistle with your pointer finger sliding in and out of the headjoint. It’s fun!
No!
The Gilbert Legacy: Methods, Exercises and Techniques for the Flutist, by Angeleita Floyd©1990, Winzer Press (Used by permission)
All too typical advice from a band method:
This is the CORRECT way to position the right thumb!
DOUBLE REEDSMYTH #1: Oboe and bassoon are difficult to play.
MYTH #2: The “granny mouth” embouchure concept.MYTHS FROM THE AUDIENCE:
SOLUTIONS, TIPS, and CHEATS:1. Start with relaxed lips, then roll in slightly to grip the reed. (Robert Mayer’s advice.) 2. Inside of lips control the reed and pitch. Roll the reed in and out to play a tune! (Mark Weiger trick.)3. Kevin Schilling’s B-C trick.4. Ben Coelho’s trick for weight reduction…of the bassoon!5. Tip for the director: Go to a clinic/convention and play professional grade oboes and bassoons.6. Oboe/Saxophone: Roll the left thumb; don’t lift it. Key design/adjustment may be a problem. 7. Kerry Willingham — http://www.reedmaker.com 8. Midwest Musical Imports — https://www.mmimports.com/ 9. Forrests Music — http://www.forrestsmusic.com 10. West Music
SINGLE REEDS
MYTH #1: Roll your lower lip over your bottom teeth.MYTH #2: The younger/less experienced the student, the softer the reed.MYTH #3: Reeds are playable until they break or turn some gross color.
Pet Peeve #1: The clarinet’s left hand tilt is not emphasized in band methods.PET PEEVE #2: Why don’t sax manufacturers supply a neck strap that’s the proper length for beginners?
MYTHS FROM THE AUDIENCE:
SOLUTIONS, TIPS, and CHEATS:1. The “High C” embouchure. Ray Chapa’s “Clarinet Gymnastics.” — http://www.raychapa.com 2. The new generation of mouthpieces with professional style close tip openings.
(“Debut” mouthpiece by Clark W. Fobes, Hite mouthpiece by David Hite)3. Do not allow your students, even beginners, to play on any reed softer than a #3 reed.
IT’S EASIER!!! You also get a more mature, focused tone quality.Clarinet: I use Vandoren regular or V12 #3, #3.5, and #3.5+ reeds with “Debut” mouthpieces.
The new Légère Signature “European Cut” #3.5 reed shows some promise.Alto Saxophone: Beginners use Rico Royal, Vandoren, or Juno #3 reeds. Once the wheels are
off the runway, I encourage the purchase of a Légère #3.25 reed (either “studio cut” or“signature cut”). We have tested the Yamaha 4C, the Hite, and the Debut saxophonemouthpieces, and have found the Debut to be the most consistent and forgiving. Myclientele is unwilling to pay for Selmer C* mouthpieces, but the latest generation ofthese mouthpieces have been somewhat troublesome/unpredictable.
4. Clarinet neck strap and various thumb rest solutions to relieve stress on the clarinet’s right thumb.5. ULTIMATE CHEAT: Have a plateau system clarinet on hand6. The siren test for proper saxophone embouchure.7. The cheapest saxophone neck strap is the best!
"The Clarinetist's Technique Book,” by Charles MacLeod, © C. L. Barnhouse Co. - used with permission
Natural Finger Position (Concave)
Left Hand Tilt
Clarinet Tip: Tell clarinet students you need 11 fingers to play the instrument. The “A” key is not actually a key at all! It’s a bumper! That’s why it’s shaped like that.
General Woodwind Tip: When using roller keys (flute, bassoon, saxophone), don’t slide from key to key. Instead, put your finger on a roller, and rock from roller to roller.
STUDENT WORKSHEETEMBOUCHURE BAROMETER
(The 4 Graduated Exercises)
Each test puts increased demands upon the student’s embouchure. Use these four exercises as a tool for self-analysis and as a means of monitoring progress towards the goal of the “High C Embouchure.”
STUDENTS MUST MAINTAIN A STEADY STREAM OF AIR WHENATTEMPTING ANY OF THE EXERCISES IN THIS PROGRAM.
FORMING THE HIGH C EMBOUCHURE1. The bottom lip serves as a cushion for the bottom teeth.2. The mouthpiece rests on the cusion provided by the bottom lip.3. The top teeth rest lightly on the top of the mouthpiece.4. The upper lip stays in against the top teeth and pushes downward on the mouthpiece.5. Corners of the mouth are tucked in towards the center.6. The bottom jaw is slightly forward (or think of sliding the top teeth back towards the tip
of the mouthpiece).
Check Steps 3 and 4 to accommodate the amount of overbite correction (bottom jaw protrusion).
These things all combine to effect maximum reed vibration and a good clarinet sound. The four graduated exercises of the Embouchure Barometer will be easier to perfect if the above six steps are applied.
HIGH C CONSISTENCYLearning to form the High C Embouchure will help only if it is used at all times. The same embouchure is to be used for both high notes and low notes. It is the same whether the student is slurring or tonguing, legato or staccato. The following exercise should be used to check the consistency of the High C Embouchure.
SHOULD THE HIGH C’s BECOME INCREASINGLY FLATTER IN PITCH, REVIEW THE 6-STEP HIGH C EMBOUCHURE - NOTABLY STEPS 4 AND 6.
SHOULD THE LARGEST LEAPS EVOKE SQUEAKS, CHECK STEPS 3 AND 4.
reprinted with permission — © Ray Chapa’s Clarinet Gymnastics: Analytical Techniques for the Definitive Embouchure
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Ex. #1 Ex. #2 Ex. #3 Ex. #4
BRASS INSTRUMENTS
MYTH #1: Buzzing the mouthpiece is the most important thing you can do. (See Myth #2)MYTH #2: Buzzing the mouthpiece is the worst thing you can do. (See Myth #1)
MYTH #3: Pucker / Don’t pucker (See Myth #3)MYTH #4: Never tongue on the upper lip.
MYTH #5 (Horn): Beginners can’t play off-the-knee.MYTH #6 (Trombone): 3rd position is at the bell.
MYTH #7 (Trombone): Start trombone students on 12C mouthpieces. (This gives me fits!)MYTH #8 (Tuba): You must be a physically large person with full lips to play the tuba.
MYTH #9 (Tuba): You can’t play quickly on a tuba.USELESS RECOMMENDATION: Stuffy tone? Open your teeth.
MYTHS FROM THE AUDIENCE:
SOLUTIONS, TIPS, and CHEATS:1. Stay open! Don’t squeeze; just blow!2. In general, play mostly on the outside of your lips for the best tone, range, and flexibility.
It takes time, perseverance, and patience to break this loose. It also takes lots of air!Even if you’re playing lower notes, it still helps to conceptualize staying on the outside.This eliminates “burbles,” and also helps to keep students from overshooting low notes.
2. Don’t start with a low buzz “set” and squeeze for higher notes. Start with a high buzz “set” andRELAX for low notes! (Dr. Randy Grabowski’s concept)
3. After successful mouthpiece buzzing, just blow air through the instrument. The embouchure willbe perfect! Also, a nice, clear high note often pops out by accident with no effort.
4. To establish proper hand position on the horn, play a scale with the “hand horn!”5. Trombone: For the best slide technique, don’t push the slide around. “Bat” it around!
General Brass Tip: Use “Whistle While You Work” as your first rote song. Great pattern on both valves and slides, and establishes Do - So right away!
Excerpt from "Jump Right In: The Instrumental Series (Baritone)" by Richard Grunow, Christopher Azzara and Edwin Gordon, © 2000, GIA Publications, Inc. All rights reserved. Used by permission.
PERCUSSIONMYTH #1: Playing percussion is easy. You hit things with sticks. How hard can it be?
MYTH #2: A roll is a roll is a roll.MYTH #3: You can trust timpani tuning gauges. (You can also trust students to take home important letters to
their parents.)MYTH #4: Never, ever hit a concert bass drum in dead center.
MYTHS FROM THE AUDIENCE:
SOLUTIONS, TIPS, and CHEATS:1. That kid who thinks percussion is easy? Put him/her on a metronome and insist on proper sticking.2. Tom Davis always advised to start with the rudimental (double-bounce) roll. It not only enables the
student to accurately measure the lengths of rolls, but it also develops a more even buzz(multiple-bounce) roll.
3. Establish consistent fundamental (base or lowest) pitches on each timp kettle, and have your students tune upwards by interval from this bottom pitch. (4th: “Here Comes The Bride,” 5th: Think“star.” Either “Star Wars,” or “Twinkle, Twinkle.)
4. Never permanently dampen a concert bass drum. Adjust the tone quality temporarily with your handsor your knee, but even then, do it sparingly. Want a dry sound? Maybe you SHOULD hit thehead in dead center (or close to it).
Cool Stuff:a) Vic Firth SD1 “Hingestix” (http://vicfirth.com/products/drum-sticks/american-custom/sd1-hingestix/b) Peterson BodyBeat Pulse Solo (https://www.petersontuners.com/products/bodybeatpulse/)
Clinic Presented at the 2017 Iowa Bandmasters ConferenceFriday, May 12th, 4:00 p.m.
by Jay KahnDirector, Maquoketa Middle School Bands, Maquoketa, Iowa
Sponsored by the I.B.A. Elementary Affairs Committee
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