UNIVERSITI TEKNOLOGI MARA (UiTM) SHAH ALAM

FACULTY OF MUSIC

MUE 451

WOODWIND METHOD

WOODWIND INSTRUMENT

MISS RITA UMAR RAUF

PREPARED BY

NADIA SYAKILA BT MOHD ZAINODIN

2016589347
 WOODWIND INSTRUMENT

1.0 INTRODUCTION

Woodwind instruments is any of a group of wind instruments that are characterized by a cylindrical
or conical tube of wood or metal usually ending in a slightly flared bell, that produce tones by the
vibration of one or two reeds in the mouthpiece or by the passing of air over a mouth hole, and that
usually have finger holes or keys by which the player may produce all the tones within an instrument's
range (Merriam-Webster, 2018). It’s a musical instrument that uses air as the primary vibrating medium
for the production of sound (Encyclopædia Britannica, 2012).

This are the list of woodwind instrument:

FLUTES
Piccolo Contrabass flute Native American flute

Western concert flute Double contrabass flute Daegeum (Korea)

Fife Bansuri (India) Nohkan (Japan)

Alto flute Irish flute Ryūteki (Japan)

Bass flute Koudi (China) Shinobue (Japan)

Contra-alto flute Dizi (China) Venu (India)

END-BLOWN
Kaval (Anatolian-Turkic, Hun (Korea) Xiao (China)
Bulgaria, Macedonia)
Fyell (Albanian polla) Palendag (Philippines) Xun (China)
Ney (Anatolian-Turkic) Panflute (Greece) Khlui (Thailand)
Danso (Korea) Suling Didgeridoo (Australia)
(Indonesia/Philippines)
Hocchiku (Japan) Tumpong (Philippines) Matófono (Argentina/Uruguay)

NOTCHED
Quena (South America) Shakuhachi (Japan)

Caval (Romania)
Diple (or Dvojnice, a double
recorder) (Serbia)
Flageolet (France)
Fluier (Romania)
Frula (Serbia, Bosnia &
Hercegovina,Croatia)
Alboka (also Albogue (early
Hispanification) (Basque
Country, Spain)
Arghul
(Egypt and other Arabic nations)
Aulochrome
Chalumeau
Clarinet
Piccolo
(or sopranino, or octave clarinet)
Sopranino clarinet
Soprano clarinet
(including E-flat clarinet)
Saxonette
Saxophone
Soprano saxophone
Tenor saxophone
Bass saxophone
Tubax
Xaphoon
INTERNAL DUCT (FIPPLE)
Fujara (Slovakia)
Furulya (Hungary)
Gemshorn (Germany)
Ocarina (South America,
England, China, and various
other countries)
Organ pipe – The pipes of the church/chamber organ are actually
fipple flutes.
SINGLE REED
Basset clarinet
Clarinette d'amour
Basset horn
Alto clarinet
Bass clarinet
Contra-alto clarinet
Contrabass clarinet
Octocontra-alto clarinet
Octocontrabass clarinet
Soprillo
Mezzo-soprano saxophone
C melody saxophone
Contrabass saxophone
Double contrabass saxophone
Zhaleika
Recorder (General)
Tin Whistle (Ireland)
Shvi (Armenia)
Dilli Kaval (Turkey)
Diplica (Baranya)
Double clarinet
Heckel-clarina
Heckelphone-clarinet
Hornpipe
Launeddas (Sardinia)
Mijwiz (Arabic nations)
Octavin
Pibgorn
Sopranino saxophone
Alto saxophone
Baritone saxophone
Subcontrabass saxophone
Sipsi Tárogató (after 1890)
 DOUBLE REED
Alghaita Bombardeers (France) Piccolo heckelphone
Balaban (instrument) Catalan shawm Hichiriki (Japan)
(Azerbaijan)
Bassanelli Cromorne (French baroque, Kèn bầu (Vietnam)
different from the crumhorn)
Bassoon Contra Forte Mizmar (Arabic nations)
Soprano bassoon Duduk (Armenia) Nadaswaram
Tenoroon Dulcian Oboe
Contrabassoon Dulzaina (Spain) Piccolo oboe
Biforaers (Sicily) Heckelphone Oboe d'amore
Cor anglais (i.e. English horn) Contrabass oboe Rackett (Europe)
Oboe da caccia Piri (Korea) Reed contrabass/Contrabass à
anche
Bass oboe Pommer (Europe) Rhaita (North Africa)
Rothphone Shawm (Schalmei) Sornas (Persia)
Sarrusophone (but often played Sopilas (Croatia) Suona (China)
with single reed mouthpiece)
Surnayers (Iran) Taepyeongso (Korea) Tárogatós (Hungary; up to
about the 18th century)
Tromboon Trompeta china (Cuba) Zurla (Macedonia)
Zurna

CAPPED
Bagpipes (see Types of bagpipes) Hirtenschalmei
Cornamuse Kortholt
Crumhorn Rauschpfeife

TRIPLE REED
Hne (Burma)

QUADRUPLE REED
Pi (Thailand) Shenhai (India) Sralai (Cambodia)
2.0 HISTORICAL BACKGROUND

2.1 EARLY HISTORY

Among the few instruments that have survived from the prehistoric period are bone end-blown
flutes with notched mouthpieces and finger holes that show technical skills and acoustical knowledge.
Cave paintings and rock carvings show an impressive variety of instruments. Though some
contemporary regional cultures claim to have instruments that have not changed for centuries, the
musical artifacts of cultures all over the world seldom remain static. There are many conjectures
concerning the origin of wind instruments, and, because they are found widely scattered over the face
of the Earth, it is quite likely that the process of vibrating the lips against a hole in a branch, a bone, a
shell, an animal horn, or a tusk may have been discovered independently in many early cultures. Their
origin may, in fact, have transcended even the first lip buzzing. Many cultures employ these same
mediums as masks with which to disguise the voice in magical or religious rites; their use as musical
instruments appears to have been an afterthought. Such megaphones are still used today in as widely
dissimilar cultures as those of Switzerland and the indigenous peoples of Brazil. The conch shell, the
most frequent of marine shells used to produce sound, may have begun its service to music as a voice
distorter, later to become an effective trumpet.

Flutes were ubiquitous in antiquity. In early depictions, they are

sometimes confused with reed pipes. What is thought to be the earliest
example of a Western flute was discovered in 2008 at Hohle Fels cave near
Ulm, Germany. The instrument, made of a vulture bone and having five
finger holes, is thought to be at least 33,000 years old. In early historical
periods, flutes were known in Sumer and Egypt, and in the latter country,
specimens have been found in tombs, excellently preserved through the
centuries by the arid climate. The Egyptian flute
is vertical, about 3 feet (90 cm) long and 0.5 inch Figure 11: 33,000 years old flute
found in Germany
(1.3 cm) wide, and is easily end-blown because
of its narrow embouchure. Near the lower end, there are two to six finger
holes. The instruments still exist and are known by the Persian name “Nāy”.
Throughout the ancient world of pastoral societies, vertical flutes were
apparently popular for shepherds. These developed into rafts of graduated
closed-end tubes known as panpipes. They are as common in Eastern
Europe as they are in South America. A set of metal panpipes was found in
Figure 12: Nāy instrument
the artifacts of the Hopewell culture in the U.S. state of Ohio. In Southeast
Asia the tubes of some panpipes are bundled in a tight circle that can be turned to allow the player easily
 to reach and blow into the different tubes; in most other versions of
panpipes, players move their head or hand back and forth to reach the
various pipes. The idea of the hydraulis, a water organ, may have stemmed
from the multi-tubed panpipe. Its main development appears to have been
around Alexandria from the 3rd century BCE. Air under hydraulic pressure
activated the pipes as controlled by an elementary keyboard. The tone was
reported to be loud and penetrating. Despite the invention of pneumatic
power, the hydraulis lasted at least through the 5th century CE.

2.2 DEVELOPMENT OF MIDDLE AGES

Western society in the Middle Ages went through crises that created decisive changes in music and
musical instruments. Except for the tibia, which was the Roman equivalent of the aulos, Rome showed
little interest in Greek instruments, preferring the more powerful brasses that could be heard in such
spectacular events as those given at the Colosseum. So
Greek music dissolved, and its instruments dispersed to
the countryside. The invasions of migratory tribes
began in 150 CE, culminating in the fall of Rome in
476 CE and continuing long past that date. With Greek
and Roman culture in decline, the migratory peoples
might have established their own music, but they
brought few musical instruments. The Christians, who
controlled the Roman Empire after the conversion of the emperor Constantine (312 CE), had little love
for the musical instruments associated with earlier persecutions.
Folk instruments, of course, remained, and such documents as the
Utrecht Psalter (c. 830; University Library, Utrecht, Netherlands)
contain drawings showing instruments, but there is little to indicate
a flourishing musical culture. The great centres of learning in
general as well as the cultivation of music and the playing of
instruments remained in the Middle East.

The most significant movement affecting the history of

medieval musical instruments was the spread of Islam in the 7th and
the first half of the 8th centuries, westward across northern Africa
as far as southern Spain and eastward through Persia and northern India. The Christians began pushing
back the Muslims in the 9th and 10th centuries in Spain, Sicily, and Sardinia. In addition to this most
obvious contact, the trade routes continuously brought Muslim products into the European cities
engaged in Eastern commerce, especially Venice, Genoa, and Pisa; and, from the late 11th to the early
13th century, the Crusades took Christians to Muslim homelands, where they further absorbed Middle
Eastern ideas and customs. Finally, a slower, less-dramatic route existed across the Balkans and to the
north, by which musical instruments drifted from the
Middle East or Byzantium into the countries of northern
Europe and on westward to Iceland. After the 12th
century, Islam forged connections in other directions as
it spread to Turkey and to parts of sub-Saharan Africa,
Central Asia, and China; by the 14th century, the
religion had reached the Malay Peninsula and Indonesia.

In the 13th-century Spanish manuscript of the

Cantigas de Santa María, illuminations depict Muslims in their own costumes playing their instruments
next to Christians, who are playing closely related specimens. If the
West had not begun to develop its own tradition, Western music
today might not have differed significantly from that of the Middle
East. Instead, the West modified the instruments and developed
them in special ways. The Eastern melody and drone, combined
with rhythm, were retained through the period and, indeed, to this
day in much of Western folk music. The development of polyphony
(multipart music) forced changes in many musical instruments.
With all of the vocal parts covering the same general range, each instrument had to possess a distinctive
colour and a power of penetration to delineate its musical part.

Among the earlier instruments, the animal horn remained, often

decorated and even provided with holes to allow the production of melody
but leaving little evidence that it contributed to cultured music. The trumpet
in the mid-14th century was bent back upon itself in the shape of a very flat
S, making it easier to hold and carry. The peculiar idiom of the trumpet
limited it mostly to fanfares and signals, however; it was only occasionally
joined with other wind instruments.

As with the trumpet, other important woodwind instruments of the

Middle Ages did not appear until the Gothic period. The vertical flute, single
and double, came from the Middle East and remains today in the Balkans.
The pipe and tabor (drum)—a pair of instruments played simultaneously by a single musician—still
persists in the Basque regions of Spain and France. Too narrow to sound the fundamental, the short pipe
of the combo needs only two finger holes and a thumbhole to complete its scale, and it can thus be
played with the left hand alone, freeing the right hand to beat the tabor and leaving the legs free to
dance. The transverse flute moved from the Byzantine Empire to Germany in the late Middle Ages.
Although associated with the fiddle during the Minnesinger period of the 12th and 13th centuries, it
became linked with the drum and military music in the form of the fife.

A folk clarinet, often double, used a cow horn for

a bell and occasionally a second cow horn to provide a
wind chamber around the reed. The instrument is
known as the hornpipe in England and is called by
various other names from Wales to the Mediterranean region to India. It may also appear with the reeds
enclosed in a calabash (bin or pungi of India) or in a sheep’s bladder (bladder pipe).

The bagpipe was known to Rome (Latin utriculus) by the 1st century CE. The bag was formed
originally from the entire hide of a sheep or a goat, with the chanter, the pipe with finger holes, fitted
into a wooden stock at the neck. When drones are present, they
emerge from stocks in the forelegs. A blowpipe is necessary to
fill the bag with air, and an arm over the bag provides pressure
to activate the pipes. The chanter has seven holes in front and a
thumbhole behind.

The pneumatic organ appeared around the 2nd century CE

as a portative variety—that is, an
organ small enough to be carried.
These organs consisted of one or
more ranks of flue pipes controlled by a keyboard. To aid portability, the
usual two octaves had only the essential chromatic notes. From the Gothic
period, portatives were frequently found both in pictures of processions and
in seated ensembles. Depictions show the player operating a bellows with
his left hand while manipulating the keys with the second and third fingers
of his right hand. Various references show the presence of organs of many
sizes throughout the Middle Ages. By the 10th century, the nonportable
positive organ had begun its distinguished career as the earliest form of
church organ.

2.3 DEVELOPMENT OF RENAISSANCE

The major accomplishment of music in the Renaissance was the emancipation of instrumental
from vocal music. As polyphony developed, the two- and three-part music of the 13th century expanded
to a norm of four parts in the art music of the 15th century and to five or six parts by the middle of the
16th century. Early in this vertical expansion, the voice parts were differentiated in range, forming a
texture extending to approximately three to three and a half octaves. Apart from the organ, no winds
possessed a diatonic (seven pitches of a major or natural minor scale) range of that size. Furthermore,
as the voice parts spread, the penetrating and contrasting quality so advantageous for the crossing parts
in medieval music became less desirable. The music of the time then demanded the building of
instruments in different sizes for the various parts
in order to secure a smooth blend throughout the
texture. Such ensembles were called consorts.
Wind instruments flourished. At no time in the
history of music had the choice of available
timbres been greater, and within the 16th
century, as many instruments as possible were
built in families. The common sizes, built a fifth
apart, were called (from highest to lowest) the treble, the tenor, and the bass, usually with corresponding
pitches in winds of a, d, and G. Flutes and recorders were an octave higher. A descant above the treble
and a great bass below the bass were introduced for music that exceeded the combined range of the
standard instruments. Woodwinds, in general, were made in one piece in a plain design, and Venice
appears to have been an early centre of wind-instrument manufacture.

The new concept of blending tone quality was applied to the flutes and the recorders. Both were
made with a relatively large cylindrical bore, which emphasized the low partials. As a result, the upper
range was limited, but the effective octave and a half that remained was sufficient for Renaissance
music. Because the transverse flute adapted less well to various sizes, it was more often used with other
instruments.

Double reeds were particularly numerous during the Renaissance, and in many species the reeds
were capped. The best known of these was the crumhorn
(German Krummhorn), an instrument of narrow
cylindrical bore whose unusual J shape complemented
its pungent buzzy tone. The cap made it impossible for
a player to exert lip pressure on the large reed within, so
the instrument could not be overblown. Its seven finger
holes, one thumbhole, and one upper key gave a range
of only nine notes. Nevertheless, the crumhorn consort made an excellent ensemble, and some fine early
sets of instruments still survive as testimony.
2.3 DEVELOPMENT OF BAROQUE AND CLASSICAL PERIOD

Dramatic events in music around 1600 in Italy profoundly affected the music of Europe during the
Baroque era. Several groups of literati and musicians formed societies to revive the artistic principles
of ancient Greece. They experimented with a type of drama that would use music as an adjunct to
poetry. The musical result was the negation of polyphony, the reduction of melody to a position
subservient to the text, and the creation of a bass line with improvised accompanying harmony to
support the drama in the singing voice, altogether a
direct repudiation of the ideals of the Renaissance.
This was early opera. A 17th-century Italian
composer, Claudio Monteverdi, referred to the style
as seconda prattica and within his lifetime developed
it into a much finer medium than the experimental
style he inherited.

The new style greatly affected instrumental practice. Those instruments that could not produce
expressive sounds and that could not imitate the passions as represented by the skilled singers were
relegated to the middle or lower register of the ensemble, where they could serve either as an
inconspicuous background or as a contrasting
support for the predominantly expressive melody.
If the Renaissance was the era of woodwinds, the
Baroque was the era of strings, and the violin
family assumed a dominant position throughout
both Baroque and Classical periods.
Nevertheless, wind instruments were not
overlooked, and before the end of the period, they were altered in order to compete with the strings. In
the meantime, the winds were useful for dance music and municipal music (i.e., for town ceremonies).
Particularly in Germany, the loud winds of the Renaissance continued to be used. They maintained their
16th-century functions of being played regularly
from towers, and they were always available for
music in churches and palaces.

Woodwind instruments were far too valuable

for their individual tone colours to remain
subservient to the ubiquitous violins, and in Paris
the musician and instrument builder Jean
Hotteterre, his family and associates all skilled wood turners, redesigned first the oboe and later the
recorder, the transverse flute, and the bassoon—all in the last half of the 17th century. With the advent
of these instruments, Renaissance woodwinds gradually vanished. The new instruments were turned in
short sections, peculiarly with a broken profile—that is, an unevenly expanding or contracting bore
between sections—a feature not long retained.

The oboe (French hautbois) was first to compete with the violin. The upper register, difficult and
incomplete in the shawms, had to be developed. Hotteterre narrowed the bore of the treble shawm,
reduced the size of the finger holes, and considerably narrowed the
reed, which was attached to a staple and inserted directly into the
top section as in the chanter of the musette (type of small bagpipe).
With the pirouette abandoned, the more delicate reed could be
carefully controlled by the player and pinched between the lips to
produce fast-enough vibrations for overblowing. Hotteterre also
lowered the customary d′ pitch in descant to c′ by fitting a
“butterfly” key at the end—i.e., in two-winged shape to
accommodate the little finger of either hand. The oboe was
immediately successful; in fact, it became the most favoured
woodwind in the 18th century. Its tone was rich and expressive,
and its better players could imitate all subtleties and expressive characteristics of highly trained operatic
sopranos. A tenor form and a rare bass were not cultivated in art music. After the Renaissance, families
of instruments were not generally made, and expressive playing was largely in demand in the soprano
range. The English horn, or alto oboe, was adopted about 1720 but made no great impact. The
instrument was curved as a horn in its early form and covered with leather. Bach called it oboe da caccia
and used it occasionally for its dark, smooth tone colour.

2.4 DEVELOPMENT OF ROMANTIC PERIOD

In the 19th century, the pendulum swung from the restraint of the Classical to the expressiveness
of the Romantic. The aesthetic demanded an emphasis on the personal, on the dramatic, and on the
passionate. Consequently, music in the Romantic period
responded with modulation to remote keys and
incorporation of greater dynamic contrast, changes that
ultimately demanded an increased instrumental range and
a more facile playing technique. Obviously, instruments
had to be adjusted. Families of instruments again became
important, and new tone colours were introduced.

The Classical orchestra reached a certain perfection in balance between strings, woodwinds, and
brass, which was distorted at the beginning of the 19th century by the addition of two horns and three
trombones. From there on, the orchestra grew, and families of instruments again became important for
 additional colour and for balance. In his Principles of Orchestration
(1913; written 1896–1908), the Russian composer Nikolay Rimsky-
Korsakov developed the theory that the four basic woodwinds had a vast
range of expression. At each end of the entire range were areas useful for
their individual colour, and the instruments of smaller and larger sizes
intensified those colour effects. This theory formed the basis of his
orchestration (or instrumentation) and had profound effects on the art
music of the early 20th century, even to the popular dance bands of the
1930s in the United States.

2.4 DEVELOPMENT OF 20th AND 21st CENTURY

The 20th century began with few radically new ideas in instruments. Many people were still
debating the merits of Wagner and Johannes Brahms, while Richard Strauss, the Impressionists, and
the Russian nationalists were continuing the exploitations of the tone colour and technical capacities of
the expanded orchestra. Challenged by these works, instrument
makers continued to make minor alterations to solve fingering
problems or to produce even tone. For a time, the standards of
increased size and greater technical capacity were most important,
but eventually such works as Arnold Schoenberg’s Pierrot Lunaire
(1912) and Anton von Webern’s
Five Pieces for Orchestra (1911–
13) disturbed the overripe late
Romanticism, and the emphasis on bigness evaporated. The entire
aesthetic became disunified. In general, after the first quarter of the
century, ensembles became smaller, and an anti-Romantic, if not a
purely Classical, trend was discernible. In instruments, two diverse
directions became apparent: (1) a return to the historically accurate
sounds for the music of the repertoire and (2) the application of electrical power to do everything from
duplicating known tone colours with artificial amplification to the creation of entirely new instruments.

3.0 POSTURE

When playing any instrument, proper posture is important. A woodwind instrument, however,
is vital. It helps you keep your head up so you can look at the conductor, It helps a lot with horn angles,
and proper posture can also help with embouchure and tone. This also applies to all woodwind
instrument.

Firstly, sit firmly in the chair, with feet flat on the ground. Sitting in the chair cross-legged or
on the edge will affect your instrument angle. Secondly, keep your spine straight, preventing it from
 touching the back of the chair. This is one of the most important parts of correct posture. If you sit
slouched, it will affect how much air support you blow into your instrument. If you lean into the back
of the chair, more than likely, you are sitting slouched. Sitting up and having both feet on the floor is
how the instrument can best get the air it needs in order to make sound. This allows your diaphragm to
fully function and give you more air to play with.

A great example where the flutists would exercise good posture by keeping their flutes
horizontally aligned to the floor. Bad posture can create a number of problems, including: Diminished
Airflow Poor Sound Quality Pain (this one depends on the instrument: “no pain, no gain” does not apply
here) Motivation Dwindling By making sure you or your child is comfortable playing for great lengths
on an instrument that is comfortable to play and manageable, you set yourself up for success in the
beginning stages. Of course, perfect practice makes perfect, but if you’re uncomfortable with your
instrument, you’ll be less inclined to practice in the first place. Balance and posture are especially
important in the clarinet, and a correct bell angle combined with these important factors will result in
easier playing and better sound without tension or pain

4.0 RANGE
In music, the range, or chromatic range, of a musical instrument is the distance from the lowest
to the highest pitch it can play. The range of a musical part is the distance between its lowest and highest
note.

WOODWIND RANGE
WRITTEN
INSTRUMENT RANGE SOUNDING NOTES
(C4=MIDDLE
C)
Piccolo D4 - C7 C: 1 octave higher
Db: minor 9th
higher
Flute in C C4 – D7 Professional model flutes may employ a B-footjoint
which allows them to play 1/2 step lower. There are a
few isolated instances of a low Bb in the flute
literature but these are rare.
Alto Flute in G C4 – C7 a Perfect 4th lower The Alto Flute is sometimes incorrectly referred to as
a Bass Flute. There are also a number of other
designs for low-pitched flutes which are not
generally used in an orchestra except for special
situations.
Oboe Bb3 – A6 Oboe reeds are individually hand-made by the oboist.
Oboe d’amore Bb3 – E6 a minor 3rd lower
English Horn B3 – G6 a Perfect 5th lower Written in alto clef at concert pitch in certain Russian
scores. It is similar in pitch and tone to the earlier
instrument, Oboe da caccia. Here is a comparison of
three instruments in this family.
Heckelphone / Bass A3 – G6 1 octave lower
Oboe
Clarinets (Bb – Eb- A) E3 – C7 Bb: a whole step
lower A: a minor
3rd lower D: a
whole step higher
Eb: a minor 3rd
higher
Basset Horn C3 – G6 a Perfect 5th lower
Bass Clarinet in Bb Eb3 or C3 – G6 a 9th lower; a Professional models can play down to concert B-flat
whole step lower below the bass staff (written C3). There are examples
when written in in the classical literature, especially in 19th century
bass clef Treble works, for Bass Clarinet in A or C and written in bass
clef in Bb clef or a mixture of bass and treble clefs. This is not
transposition is advisable for the modern composer as these
preferred modern instruments are rare to non-existent and this will only
notation. cause problems for the player involved.
Bassoon Bb1 – Eb5 The bassoonist, like the oboe player, will spend a lot
of time on the craft of reed making as all reeds are
handmade. Double reeds: contrabassoon, bassoon,
english horn, oboe Reed making tools Knives and
files Reed cane Defining, shaping, and sanding the
cane Tying wires Reaming Before wrapping Cutting
the tip (photos contributed by Kyle Szczepaniak)
Contrabassoon Bb1 – Eb4 1 octave lower Use of tenor clef for contrabassoon is rare.
(Sarrusophone)
Saxophones Bb3 – G6 Bb soprano: a At one time there were a family of saxophones in F
whole step lower and C but they are no longer manufactured. There
Eb alto: a 6th lower also exist some exotic saxophones.
Bb tenor: a 9th
lower Eb baritone:
1 octave+6th lower
Bb bass: 1
octave+9th lower

5.0 ARTICULATION
In music, articulation is the direction or performance technique which affects the transition or continuity
on a single note or between multiple notes or sounds. Articulation involves subtle differences within
duration, amplitude, meter, and, through techniques such as tremolo and pitch. According to Merriam-
Webster (2018), articulation is the act of giving utterance or expression or the act or manner of
articulating sounds or an articulated utterance or sound.

Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note
slightly louder.
Marcato Indicates a short note, long chord, or medium passage to be played louder or more
forcefully than surrounding music.
Staccato Signifies a note of shortened duration or detached (not legato)
Legato Indicates musical notes are to be played or sung smoothly and connected.
 Woodwind and brass instruments generally produce articulations by tonguing, the use of the
tongue to break the airflow into the instrument. Certain palate cues can help musician’s master
articulations. For example, the syllable "dah" demonstrates one placement of the tongue to articulate
notes. In most cases, using the near tip of the tongue, is the
best way of articulation. However, different articulation
markings require different tongue placement. Smooth,
connected passages may require an articulation more
reminiscent of the syllable "la," while heavy, sharp notes may be attacked with an articulation similar
to "tah." Furthermore, the implementation of double-tonguing may be required when many articulations
are required in rapid succession. Double-tonguing can be simulated by repeating the syllables "dig" and
"guh" in rapid succession. Other syllables for double tonguing are
"tuh" and "kuh," "tih" and "kuh," and any other combination of
syllables that utilize the tip of the tongue behind the front teeth and
then the back of the tongue against the back of the mouth. Double-
tonguing is an articulation primarily used by brass players, but the use
of double-tonguing by woodwind players is becoming more common.
A third, rare form of articulation for wind players is "doodle tonguing."
The name of this articulation comes from the sound, doodle, one would
make if she were to sound her voice while performing the articulation. Doodle-tonguing is achieved by
moving the tip of the tongue up and down quickly to block the air stream momentarily on the way up,
and again on the way down.

6.0 MAINTENANCE
One of the most important parts of owning an instrument is knowing how to maintain it. This
is especially critical for students who sometimes find it difficult in their busy lives to properly care for
their woodwind instrument. In this fast-paced, “instant gratification” world a few moments of daily
attention will keep your instruments performing properly for many years.

Swab instruments after each playing session with an instrument-specific swab. Do not use a
cloth too large for your instrument This is especially important with oboes and piccolos considering
their relatively small bore. Do not leave your “leave in the horn” type swabs in the horn. Wipe down
the finish of the instrument weekly to remove fingerprints, oils, other moisture and debris. Clean your
clarinet or saxophone mouthpiece in warm, soapy water, making sure the reed and ligature have been
removed.

Furthermore, do not use alcohol to clean any plastic parts on an instrument including joints
and mouthpieces. So moisture does not absorb into the pads, use an absorbent drop swab to clean out
the moisture from each section before you place it in the case. Apply key oil lightly at all key pivot
points monthly. Use cork grease as little as possible, but make sure you use it when needed. To apply
it properly, you must rub the grease into the cork. Do not use ChapStick. Do not use excessive cork
grease on tenons and neck corks

In addition, light rain will not destroy your marching woodwind instruments (just be sure to dry
them thoroughly after being exposed). Do not leave a woodwind instrument in a hot car, or in your
trunk. Extreme temperatures can damage your instrument. Check the case monthly to ensure that the
latches, hinges and handle(s) are in proper order. Also check that there are no foreign objects inside the
case that could cause damage to the instrument

Next, thoroughly clean out your mouth with water between eating and playing your horn. No
gum or soft drinks before playing. Sugar mixed with saliva
builds up on the pads and causes them to stick, making it
difficult to play the instrument. Wipe down the exterior of
the instrument with a non-treated cloth to remove
fingerprints and residue.

After that, do not store books, large swabs, stands or

other items in your case - Do not turn any adjustment screws
on your instrument. Do not store the reed on the mouthpiece; store in a reed holder. Reeds can cement
themselves to your mouthpiece and collect many germs. As soon as the reed cracks, chips, or softens,
it is time to replace it.

Hence, do not set anything on top of your woodwind instrument, whether inside or outside of
its case; this includes sheet music. Damage occurs easily when items are set on the instrument and the
case is closed. The keys are often bent this way.
Make sure the case is closed securely. Check all
hinges, latches, and handles to ensure they are
securely fastened. Never use pliers or hammers on
your instrument. Improper use of household tools is
a common cause of unnecessary damage to instruments.

Last but not least, it is recommended that an instrument is taken to a professional repair
technician at least once a year for general maintenance and cleaning. Doing so may prevent costly
repairs that may eventually arise. A qualified technician can often discover a problem that you may
have overlooked or may not be aware of.