MENC: The National Association for Music Education

Woodwind Teaching Suggestions Author(s): Walter L. Wehner Reviewed work(s): Source: Music Educators Journal, Vol. 52, No. 1 (Sep. - Oct., 1965), pp. 114+116-118 Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education Stable URL: http://www.jstor.org/stable/3390547 . Accessed: 07/12/2012 11:54
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WOODWIND TEACHING SUGGESTIONS

* In orderto improvethe general over-all quality of performance, especially in regard to the woodwind sectionof the band or orchestra, a number of suggestionsmay be helpful. Probably the most significant item in the planning of an entireprograminvolving woodwind instructionis the provision for a teacherwho dedicated, enthusiastic believes wholeheartedly what he in is attemptingand has faith in the studentshe is workingwith. In his capacityas teacherhe will be called upon to serve many functions: and musician,counselor,conductor, friend. He will want to attend various workshops and clinics to learn more about each of the instrumentswith which he will be working. Most important,he will demonstrate the enthusiasm he feelsforthe woodwind instruments to such an extent that his pupils cannot help but feel that they are attempting somethingsignificant. The selectionand use of good instruments, mouthpieces,and reeds will help immenselyin improving the over-all sound of the section. Tone quality and intonation are affectedto a great extent by the used. An quality of the instruments excellentperformer produce an can adequate sound on most instruments but a beginning student needs the best instrument possible. Perhaps the greatest influencing factorin regard to tonal concepts, intonationsensitivity, and performance standardsis the quality of the instrumentand other equipment used by each beginning student. should be made to supEvery effort ply the best instrument possible in each circumstance. The programshould be organized so that the woodwind section is toward defiworkingprogressively nite specifiedgoals which each individual is expected to accomplish. Such a program should require work in addition to that which is
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By Walter L. Wehner required in the performance organization. Whether this work is used as part of the grading system or not, there should be daily requirements and accomplishments just as thereare in otherdisciplines in the school system.Standard instruction methods should be utilizedto assistin the development of requirements for each grade level or level of achievement. Extremecare should be shown in the choice of materials used. All music should be chosen because of its high degree of musical content. Since the music education of each student is directly related to the quality of music chosen forinstructional purposes, choose only that which is significant and will lead to greater appreciation and tastedevelopment on the part of each student. The music must also be chosen withthe technicaland musical maturityof the performers in mind. If examples of the various periods in the developmentof western music can be chosen,the music instruction for the woodwind section can be more rewarding. Each individual of the woodwind section should be encouraged to worktowardimprovement the of general intonationlevel withinthe group. It is mandatory that the woodwind student understandthe peculiaritiesof his own instrument. For example, the nature of the Chalumeau registeron the clarinet requires each clarinetistto lower the pitch somewhat because of its extreme sharpness. Such underto standings are preliminary comments regarding intonationlevels. Learning to blend sound with that of one's colleagues necessitates stressingthe importance of listening. Blending develops more quicklywhen each studentbecomes consciousof how his individualpart fits into the entire scheme of the music. The abilityof the woodwind

as section to perform a unit is contingent upon the masteryof various types of articulation. Acquiring such an abilitywill necessitateoutside practice. However, each student mustlearn to perform using by the various articulations which are part of the educational program needed on each instrument. Each student should also develop a dynamic level individually.He needs to know the nature of his pianissimo,his forte,and all other gradations. And he should understand his own levels in relation to the group of which he is a member.If a special effort made to educate is the woodwind sectionin the fundamentalsof woodwind playingin addition to organizational requirements, a highly proficientsection will be the result. Woodwind Class Instruction In beginning stages class instruction on woodwinds is invaluable. It not only encourages friendly rivalry and fosters a cooperative but also prospiritamong students, vides fora more economic division time and faciliof the instructor's tates a more easily developed schedule in the public school program. However, there are many implications regarding class inof struction woodwind instruments which should be considered by all public school teachers and others who find themselves confronted with this scheduled activity. How many students can be taughtin a class? A class composed of young students should number no more than five;with the help of an assistant (an advanced student, for instance) as many as ten students mightbe taughtsuccessfully. The woodwind class reflectsthe fact that music is a highlyintimate art dependent upon successful solvingof individualstudents' problems. Should class teachingmix instruMUSIC EDUCATORS JOURNAL

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ments of the woodwind family?I believe not. The approach to the bassoon is almost completelydifferor thatof the flute clarinet. ent from time is Much valuable instruction lost and the studentshave a tendency to lose interestor become inof volved in the difficulties two or more instruments. Probably a class instructionschedule of "like" inwould prove more benestruments ficial. Can class instruction really supby Wilson, Ehret, Snyder, Hermann, and Renna plant private instruction?Never. is The playing of any instrument a matter of individual physical and 'y To help teachers develop ~"^ *^'i> psychological problems which can young children's musical / best be solved when the teacher's ~ 8skills throughappreciation | 5 .A?B *^ ^v entire attentionis concentratedon of and enjoyment music as well as furtherpupils' soone individual. The progress of orientationand devel.cial each studentis almost constantand , d n e opment, this hard-covered the teacher must be aware of the tha. vKindergarten Book offers changes which are taking place so 3 theseinvaluableaids: to thathe has the foresight progresi s 1. Songs about setting a sively instruct. table, brushing teeth, the Childenrepondwihnthuiam How farcan class instruction value of saying "please" go? and "thank you," and nuIt is quite possible to carry class merous other items enable ino r ma illustrate instructionthrough all aspects of teachs tkindergartnersto grow sofundamentalwoodwind instrument cially. technic: the developmentof a fundamental embouchure; proper po2. Assistanceis giventeachersin helpingchildrenmake up lyrics, sition of hands, tongue, and body; ostinatopatternsand dramatizationsfor songs, in creatingplaybasic articulations; understanding throughmovement-assistance lets,and in expressingthemselves of the various tone qualities; the that enables you to fosterspontaneouscreativity. rudiments of musicianship; and even the proper and judicious use 3. On-pageteachingnotes,records(all songs have been recorded), of vibrato.Solo repertoire, however, help teachillustrations and manyfull-color listeningsuggestions, cannot be presented successfully. in music. to ers to motivateyoungsters a fullerparticipation Public performance has great value. Whenever possible the enBOOKS 1-6 tire woodwind class should perto and understanding the songs Childrenrespondwith enthusiasm formpublicly. Individual performin the GROWING WITH MUSIC Series. Use of the Reading ance before critics at regular inMusic chapters,Creating Music chapters,and the abundance of tervals during the school year is in illustratedinformation the World of Sound chapters enables most valuable. This series contains musicalfoundation. teachersto providea firm What age level is best for bein original playlets,using songs in the books. All songs have been ginninginstruction woodwinds? recorded.Helpful,timesavingTeachers Editions. Private instruction can generally begin at an earlier age than class instruction, probablybetween eight and ten years of age. But class instruction has been found to be more successful when studentsare |-; grouped in age levels fromten to Educational Book Division/PRENTICE-HALL,INC./Englewood Cliffs, N.J. 07632 twelve. However, again we must consider each social group as a Please send me copy(ies) of GROWING WITH MUSIC-KINDERGARTEN (no.) unique case because of theirdifferlevels. ent maturity BOOK @ NET $5.55 each There is an unlimitedsupply of Title-.........--------NAME .-..---T.................................... good teaching material for class Most modern methods instruction. ----------------.------------------.. SCHOOL ..--have excellent illustrations and simple directionsto guide both the ADDRESS ---------------------------------------------------------------------------------------------------------------studentand the teacher.Instructors with verylittlepractical experience 5 mej 9-1065

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as woodwind performers have found it possible to produce basically sound woodwind classes to by givingcarefulattention these directions. It is reasonable to assume that better results can be obtained by an instructor who is himself wooda wind specialist. Some smaller communities find it advantageous to bring in such a specialist for class or private teaching one day each week. Outstanding college or unistudentshave been successversity ful in organizingsuch programsas special extra-curricularactivities. However, when the class instruction program is considered, the emphasis should be placed upon the developmentof basic technics. Correct position (embouchure, hands, body), knowledge of the rudiments music,strict of regardfor rhythmic accuracy, true intonation, and the unique peculiaritiesof each instrument should be emphasized duringteaching periods.

Entertain ...

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At the riskof beingmisunderstood, like to filea V we'd minority reporton the subjectof musicalentertainment. As mostband directors know,ShawneePress has concentrated thepublishing fineconcert on of band music.But we also publish twofine sets of marching band music forfootballgames and otheroutdoorband performances: SOUND PARADE and the FRED WARING BAND BOOK, both arrangedby HawleyAdes. Send the couponbelow for 1st Cornetpartsat no charge. the of with Manymusiceducators away from thought entertaining musishy cal performance. embracethe Still,we doubtthattheywould enthusiastically logically oppositegoal: to be as boringas possible.Sometimes peoplelose track of theperfectly obviousfactthata major purposeof music-making to enteris tain. Of course,thereis a worldof difference between the verb "to entertain" and theverb"to be entertained," perhaps is thecruxofthewholematter. and this Toscaniniworkedveryhard indeedto recordthe "William Tell Overture" afterthe Lone Ranger popularizedit. VladimirHorowitzis now considering beforea concert audiencebecause he feelsthat makingmostof his recordings the out Paderewski "playing audience"brings his bestefforts. playedand played his little"Minuet" because his audiences responded.And Leonard Bernstein to his sangone of theBeatles'pop tunes interest youngaudiencein musicalform. So, you will be in respectable companyif one of yourgoals is to entertain. As for music educationthroughperformance, will come more fromthe this workattitudes thanit will fromthe ultimate duringrehearsals purposeof the the the performance. Naturally, qualityof thescoringaffects educational result, too. That's why we asked Hawley Ades to score SOUND PARADE and the FRED WARING BAND BOOK.
Send for 1st Cornet parts today.

A persistent problem confronting the woodwind instructor, music the educator, and/or the studentis performer the selectionof appropriatemusic fora solo performance, recital, or a competition-contest. What type of solo is best for each studentat a given timein his progress and what criteriacan be used forits selection?The following suggestionsare those which I use myself. The solo selected should demonstratethe student'scontrol regard in to basic techniques. For example, the studentshould be able to demonstratecontrolof the entirerange demanded in the composition when playing both legato and staccato. Adequate controlshould be present to permit the student to perform with a variety of dynamic levels which are obvious to the listener. Also, the studentshould be able to demonstratea firmand even tone quality throughout the range required by the solo selected. The solo should be chosen with the participant's technical control in mind. A solo which is too difficult is responsible for faulty fingering and poor intonation. too, Important, is attention the psychologicalinto volvementof the student and the result which may occur when perSEPTEMBER-OCTOBER, NINETEEN SIXTY-FIVE

Selection of Music for Soloists.

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Please send 1stCornet (s) for: part SOUND PARADE O--] NAME ADDRESS CITY STATE ZIP CODE MEJ 965 C FRED WARING BAND BOOK

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formanceis poor. The solo should not require extremeranges or large intervalskips unless the individual has had the propertechnicalpreparationforsuch agility.A solo which includes a variety of articulations will permitthe student to demonstrate his best qualities, if he has been prepared to execute the various articulations accurately. Solo material should not be chosen merelyto show the audience or a can judge how "fast"the participant move his fingers. Accuracy of performancemust never be sacrificed for speed. The solo selected should be well within the grasp of the student's harmonic understanding. Basic chord movements,as they pertain to the solo part and to the accompaniment, should be understood It by the performer. is important thatthe studenthas an understanding of the intervalsto insure true in intonation arpeggiopassages and scale patterns. Finally, the style of the composition deserves careful consideration. Phrasingmust be understood and presented with meaning. The tempo should not be exaggerated. markIn mostcases the metronome ings of the composer can be followed with precision. Only in the

event that continued alteration of these markingsby authoritieshas become traditional should a different tempo be allowed. If the studentis not capable of performing the chosen compositionat the tempo marking indicated, a more appropriate compositionshould be selected. The instructor should assist the studentin clearly understandingthe styleof a composition. A student preparing a Handel sonata, for example, should be given an intelligent reason foreverytechnical or musical demand. Understandingis the basis of a true musical performance. By considering the student's and ability in reaccomplishments lation to the above-mentioned items, perhaps a more objective selectionof a solo compositionmay be attempted. By choosing more suitable music for each individual, studentswill practice and perform to theirbest advantage. When the solo preparation is completed and in the soloist is performing an excellent manner a solo which is within his grasp, we have completed our effortsand have succeeded to a high degree.
The author is chairman of the Department of Music at Midwestern University, Wichita Falls, Texas.

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Hawaii Festival of the Arts

* House Resolution Number 233 of the State of Hawaii, May 4, 1965, makes a threefoldresolve: (1) ". . . that Stephen Kim, Elizabeth Tajima, Jan Dexey and Dennis Hoshijo be congratulated upon their selection as gold medalists for their solo performancesat the Eighteenth Annual Music Festival and be encouraged to continue their musical activities which enrich the cultural lives of our community and nation; and (2) ". . . that the distinguished guest conductors, Paul Van Bodegraven, Ernest E. Harris and Gerald Mack be warmly thanked for their contributions to the success of the [festival] as an artistic endeavor and as an encouragementto our musically talented young people; and (3) ". . . that Robert Springer of Kamehameha Schools be highly commended for his chairmanship of the [festival] and for the admirable achievement of a festival of excellence . . ."

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held in obThe week-long Festival, of servance NationalMusic Week,inand volvedmusical soloensemble mass eventsin whichmorethanfourthousand Hawaiian public and private school students participated. The festival eventsincludeda Parade of High School Bands, a Parade of Orchestras, Parades of Choirs, two a select band, choir and orchestra concertconductedby guest conductors Paul Van Bodegraven, professor of musiceducationat New YorkUniversity; Ernest E. Harris, professor of music education at Teachers College, Columbia University; and Gerald Mack, director of vocal music at Greenwich, Connecticut; and a clinic band and formusic teachers in string, voice conducted by Van Bodegraven, Harris, and Mack. The gold medalists were Stephen Kim of Kalani High School, flutist Elizabeth Tajima of McKinley High School, baritone Jan Dexey of Kailua High School and trumpeter Dennis Hoshijo of McKinley High School.
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