Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Mayer, Francis N..

"Basic Problems in Woodwind Teaching." Music Educators Journal 40 (): 76-79. Article Title: Basic Problems in Woodwind Teaching Instrument: General Woodwinds Journal Title: Music Educators Journal, September 1953 Summary: Tone control is important o Reading should come before instrumental technique o Biggest problem in instrumental instruction is not fingers, but development of reading ability and tone quality o Good mouthpiece and reed are fundamental to single reeds Embouchure needs regular checking Correct articulation is fundamental

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Knight, John. "Clarinet Hand Position." The Instrumentalist January (): online edition. Article Title: Clarinet Hand Position Instrument: Clarinet Journal Title: The Instrumentalist, January 2013 Summary: Holding two tennis balls imprints the correct shape of both hands for holding the clarinet in a C formation without collapsing the wrists. Although this tool is often overlooked, clarinetists should use a neck strap,

which alleviates the problem of a collapsing wrist trying to balance the clarinet. The strap takes the weight of the instrument off the hands and right thumb and permits the fingers to relax. A firmer embouchure is suddenly possible, and with it, tone that is immediately better. To make sure fingers cover the tone holes, use the Daniel Bonade technique of gently squeezing down on the keys with the finger pads before raising them. Provided exercise will help students develop an even finger technique in the chalumeau register.

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Roe, David W., and Paul Brodie. "Classical Sax - Conversation with Paul Brodie." Music Educators Journal 70 (): 41-43. Article Title: Classical Sax Conversation with Paul Brodie Instrument: Saxophone Journal Title: Music Educators Journal, March 1984 Summary: Article providing perspectives on concert saxophone development and pedagogy Developing a sense of self discipline is most important thing to learn It is important to learn and play as many styles of music as possible, however, know your strengths and take in all perspectives The mouthpiece is 85 percent of what one will get out of the instrument. If one uses a cheap mouthpiece on a good instrument, one will diminish the potential of the instrument to produce a good sound. Therefore, even if one has a good student instrument and puts on a professional mouthpiece such as a Selmer squarechamber mouthpiece, a Couf, or a Vandoren, one will improve greatly the potential of the instrument

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Winkle, Carola. "Developing Clarinet Technique with Chamber Ensemble Literature." The Instrumentalist September (): 58-64. Article Title: Developing Clarinet Technique with Chamber Ensemble Literature Instrument: Clarinet Journal Title: The Instrumentalist, September 1997 Summary: Chamber music provides valuable musical experience while instroducing them to a variety of original pieces. Lists of characteristics and specific repertoire by grade Grade 1 o Begin with duets, progress to trios and quartets Grade 2 o Continuing, but more difficult recognizable repertoire Grade 3 o Forms such as canon, theme & variations, two movement works Grade 4 o Advanced high school level, college level Clarinet ensemble Grade 5 o Stylistically unique works o More movements

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Orman, Evelyn K.. "Effect of Interactive Multimedia Computing on Young Saxophonists' Achievement and Attitude." Journal of Research in Music Education 46 (): 62-74. Article Title: Effect of Interactive Multimedia Computing on Young Saxophonists' Achievement and Attitude Instrument: Saxophone (applies to others too) Journal Title: Journal of Research in Music Education, Spring 1998 Summary: Students participated in band, one group with normal routine and an experimental group using a computer program for 8-15 minutes per class Surveys completed after each class Students complete cognitive and performance assessments and were analyzed by separate judges Experimental students demonstrated significantly higher levels of perceived knowledge and performed significantly better than the control group Data suggests that proper development and application of education computer media can benefit instrumental education

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Gleason, Bruce. "Himie Voxman: His Contributions to Music Education." The Bulletin of Historical Research in Music Education 12 (): 85-97. Article Title: Himie Voxman: His Contributions to Music Education Instrument: General Woodwinds Journal Title: The Bulletin of Historical Research in Music Education, January 1996 Summary: Influential to the lives of generations of instrumentalists Duo and Ensemble Music o Idea of expanding repertoire for winds was a priority for Voxman o After Advanced Methods success, Voxman filled Rubanks duet and ensemble books with life-long search for material An estimated one million high school students use Voxmans Selected Studies annually o Voxmans meticulous procedure and well-organized methods make it unnecessary for further expansion or revisions. Trustworthy methods and sources for all winds in general

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Thorton, James. "Make a Choir out of Woodwinds." Music Educators Journal 55 (): 50-52. Article Title: Make a Choir out of Woodwinds Instrument: General Woodwinds Journal Title: Music Educators Journal, February 1969 Summary: The woodwind choir is an excellent way to teach ensemble playing to the entire woodwind section of the band o Fundamental to band work in general o Foundation for small ensembles Woodwind players need to work apart from the brass and percussion long enough to study their particular problems and functions The function of the woodwind choir in the concert band is primarily twofold: it adds color to the brass choir and provides the facility demanded by florid passages

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Kemp, Anthrony E.. "Personality Differences between the Players of String, Woodwind, Brass and Keyboard Instruments, and Singers." Bulletin of the Council for Research in Music Education 66/67 (): 33-38. Article Title: Personality Differences between the Players of String, Woodwind, Brass and Keyboard Instruments, and Singers Instrument: General Woodwinds Journal Title: Music Educators Journal, Spring-Summer 1981 Summary: The brass player emerges as one of the most clearly defined pattern traits. o Turbulent people o Aggressive tendencies, lack of sensitivity o High achievement was dependent on self-confidence Woodwind players have less consistent picture o Most introverted and adjusted of the groups o High levels of control o Shyness, self-sufficiency String Players o Also introverted, more aloof o Detachment and critical awareness are important in the development of string playing skills; particularly noticeable in cellists Violas tend to be more emotionally stable than other strings Results are important for music education A misfit of personality tendencies and instrumental assignment may result in the instrumental drop out rate found in schools

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Saville, Kirt. "Strategies for Using Repetition as a Powerful Teaching Tool." Music Educators Journal 98 (): 69-75. Article Title: Strategies for Using Repetition as a Powerful Teaching Tool Instrument: General Woodwinds Journal Title: Music Educators Journal, September 2011 Summary: Repetition is an especially useful tool in the area of music education. The success of repetition can be enhanced by accurate and timely feedback. Different repeating strategies o Simple imitation o Chunking o Disguised Repetition (reframing) o Performer-Switching Repetition o Surprise o Call and Response o Competitive Repetition o Peer Assessment o Inquiry and Discovery Music teachers can avoid the pitfalls of boredom and mindless repetition by constantly shifting teaching strategies and including new goals and framing techniques.

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Koster, Keith. "Revisiting Teaching Strategies for Woodwinds." Music Educators Journal 96 (): 44-52. Article Title: Revisiting Teaching Strategies for Woodwinds Instrument: General Woodwinds Journal Title: Music Educators Journal, March 2010 Summary: Techniques for creating good tone on various woodwinds can make teaching beginning band and orchestra musicians easier for all involved o An open throat o Mechanics of airflow o Embouchure formation o Embouchure exercises Finding the sweet spots for single reed instruments double reeds flutes o Tuning Tuning exercises (chart provided) o Reeds and mouthpieces Where to look, desired qualities TEACHER = FACILITATOR

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Murphy, Sean. "Saxophone Low Notes." The Instrumentalist May (): 27-34. Article Title: Saxophone Low Notes Instrument: Saxophone Journal Title: The Instrumentalist, May 2011 Summary: Unique article, has perspectives from many saxophonists regarding articulation and low notes. Includes both jazz and classical players. Players provide exercises and specific technical advice. o Jeff Coffin o Branford Marsalist o Jason Kush o Connie Frigo o Arno Bornkamp o Tim Ries o Kenneth Tse o Claude Delangle

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Pearson, Bruce. "Teaching the Saxophone Embouchure." Kjos Band News 3 (): online edition. Article Title: Teaching the Saxophone Embouchure Instrument: Saxophone Journal Title: Kjos Band News, Spring 2001 Summary: Saxophone often subject to jokes about poor tone quality and intonation o Often can be due to embouchure Too many saxophonists are playing with clarinet embouchures o Ensure good formation of saxophone embouchure with certain process 8 steps, very well explained Talks about the lay and how much mouthpiece to take in o Ideal concert pitches for each saxophone mouthpiece listed

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Hewitt, Michael P.. "Effects of Model Timbre and Register Differences on Middle School Brass and Woodwind Performance." Bulletin of the Council for Research in Music Education 164 (): 7-17. Article Title: Effects of Model Timbre and Register Differences on Middle School Brass and Woodwind Performance Instrument: General Woodwinds Journal Title: Music Educators Journal, Spring 2005 Summary: The purpose of the study was to determine the effects that timbre and register characteristics of instrumental models have on the music performance achievement of middle school instrumentalists Model recordings were heard by various groups of students It appears that the register and timbre of the instrument used for modeling may be of little relevance when learning a new piece of music. o Just ensure the model is accurate!!

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Wehner, Walter L.. "Woodwind Teaching Suggestions." Music Educators Journal 52 (): 114, 116-118. Article Title: Woodwind Teaching Suggestions Instrument: General Woodwinds Journal Title: Music Educators Journal, September 1965 Summary: Having separate woodwind class is essential for beginning players o If possible, split by instrument groups o Different approaches can confuse beginners Private instruction can take place earlier than class instruction o Class instruction ideal from ages 10-12 Use repertoire as learning opportunities

Woodwind Methods Teaching Woodwinds Article Summary Sheets Joshua Heaney Citation: Ely, Mark C.. "Woodwind Vibrato in the Band Class." Music Educators Journal 79 (): 29-33. Article Title: Woodwind Vibrato in the Band Class Instrument: General Woodwinds Journal Title: Music Educators Journal, March 1993 Summary: Vibrato is a regular fluctuation of the basic tones of an instrument in pitch or loudness Diaphragmatic Vibrato Jaw Vibrato Throat Vibrato Lip Vibrato Good Vibrato o Flexibility in tone without emphasis on pulsation o Each tone has audible tonal center o Performer must be in control When to begin using vibrato o Unusual to hear before the HS level o Take students physical coordination and musical awareness into account How to teach various types of vibrato Final thoughts