Reed Players Doubling on Flute - Eric Ruyle
Citation: Ruyle, Eric. Reed Players Doubling on Flute. Flute Talk, July/Aug. 2002, Vol. 21, p. 18.
Article Title: Reed Players Doubling on Flute
Author: Eric Ruyle
Magazine or Journal Title: Flute Talk
Summary:
Article Title: Reed Players Doubling on Flute
Author: Eric Ruyle
Magazine or Journal Title: Flute Talk
Summary:
- Difficulty for reed players to master tone production on flute
- Flute teachers are often not aware of how the other woodwind instruments work
- Flexibility of embouchure is often a problem
- Control of embouchure is also important
- Balance of instrument is also challenging
- Tonguing is often too hard
- Practice first without any articulations
- Focus on tone
- Match repertoire to previous musical knowledge
- Not too hard, not too easy
- Physical differences between players and instruments must be understood by teacher and student for effective doubling to take place
Breathe Easy - Katy Gainham
Citation: Gainhan, Katy. Breathe Easy. Music Teacher, 2003, Vol. 82, pp. 30-31.Article Title: Breathe Easy
Author: Katy Gainham
Magazine or Journal Title: Music Teacher
Summary:
Author: Katy Gainham
Magazine or Journal Title: Music Teacher
Summary:
- Breathing
- It’s natural - why is it so hard?
- Some tricks
- Sigh or exhale before trying to take more air in
- Will improve support for tone, intonation, and articulation
- Fix high and shallow breath with imagery
- Think of filling air down to the belly button
- Employ a soft tongue and “ah” or “oh” vowel sound for inhalation
- Keep jaw relaxed
- Check posture
- Exhalation
- Place hand on abdomen to feel the shift of air
- Keep the stream constant
- Don’t let breath be held in
- Exhale happens on the heels of inhale
- Match style of music with breath
- Don’t over think it
Tone Quality and Focused Sound in Single Reeds - Part II - Kevin Dyck
Citation: Dyck, Kevin. Tone Quality and Focused Sound in Single Reeds - Part II. Canadian Music Educator, Summer 2002, Vol. 43, no. 4, pp. 31-32.
Article Title: Tone Quality and Focused Sound in Single Reeds - Part II
Author: Kevin Dyck
Magazine or Journal Title: Canadian Music Educator
Summary:
Article Title: Tone Quality and Focused Sound in Single Reeds - Part II
Author: Kevin Dyck
Magazine or Journal Title: Canadian Music Educator
Summary:
- Throat/Tongue
- Strive for openness
- Feel like you are yawning
- Think “AW”
- Imagine a ping-pong ball in the throat
- Tongue should be somewhat arched toward the back
- Test tongue placement with playing only on mouthpiece
- Change positions to hear change in pitches
- Articulation
- Use too or doo syllables
- Only allow the tip of the tongue to be used
- Consider single or double lip embouchure
- Assembly of Instrument
- Educate students on proper assembly
- Make a huge difference in sound and in longevity of instruments
- Care should be taken with reed and mouthpiece adjustment
- Reed strength is key
Woodwind Teaching Suggestions - Walter L. Wehner
Citation: Wehner, Walter L. Woodwind Teaching Suggestions. Music Educators Journal, Sep./Oct. 1965, Vol. 52, no. 1, pp. 114, 116-8.
Article Title: Woodwind Teaching Suggestions
Author: Walter L. Wehner
Magazine or Journal Title: Music Educators Journal
Summary:
Article Title: Woodwind Teaching Suggestions
Author: Walter L. Wehner
Magazine or Journal Title: Music Educators Journal
Summary:
- Must have a quality teacher in charge
- Musician, conductor, pedagogue
- Quality instruments must be available
- Other equipment must be in good shape as well
- Quality repertoire is essential
- Woodwind Class Instruction
- Ideally, not more than 5 students should be in a class
- Homogenous classes are also ideal
- Private lessons should be considered
- Much can be gained from the group setting, however
- Solo repertoire might suffer though
- Strive for public performance
- Begin instruction around the age of 9
- Specialists should be brought in to show off their instruments and provide students with an experience unlike that of their band director who must know all the instruments