When working with beginning/training band ensembles, how do we avoid falling into the trap of “Not knowing what we don’t know?”  I believe that it is essential that we consistently maintain our quest for knowledge and improved delivery/teaching strategies through regular exposure to professional development opportunities and further learning opportunities, for being mildly ambivalent to new/different teaching approaches is really not a professional development option.
 
This philosophy especially holds true for maintaining our commitment to introducing and reinforcing the essential performance fundamentals, such as:

• Tone quality/sound production
• Secure intonation
• Internal pulse development
• Tonguing and articulations
• Sub-division/counting strategies, leading to full value notes, accurate syncopation and acquiring a workable rhythm vocabulary
• Accurate notation reading skills (acquiring rhythmic and pitch vocabulary)
• Connecting/moving from note to note; expressive phrasing and shaping musical lines
• Home practice strategies; investment, personal ownership and returns;
• Personal comparative/assessment listening skills.

However, before we can start addressing the technical and musical issues of the above points, we need to begin by consistently demonstrating the basic foundational playing habits of posture, hand position and embouchure and ensure that they are firmly in place. It is good to remember that simply practicing without using the correct templates won’t improve the improper posture, hand position and embouchure: “Practice doesn’t make perfect; however, it does make permanent”!
 
In my role as a visiting clinician, before I ever begin to address an ensemble’s repertoire, I often find myself confronted with an array of confusing and physically inhibiting postures, hand positions and embouchures.  Before I can begin to proceed towards exploring and addressing their ‘musical’ issues, I will need to start by first adjusting posture & hand position. (Embouchure adjustment in this context is generally not an option; for many, it’s too late…)  Only then can I begin to effectively move on to address the musical challenges!
 
In fact, it is common knowledge when these fundamental points are firmly established, they will facilitate superior performance practice, as they positively enable a more naturally intuitive physical manipulation of the students’ instruments. 
 
Goal/target identification: Becoming, and remaining visually aware…
 
To effectively introduce, reinforce and maintain acceptable performance habits of posture, hand position and embouchure we need to be sure of our set of visual instrument performance ‘templates, so that we can be assured of our effectiveness in introducing, assessing and reinforcing them.  Of course, we will also need to remain committed to consistently using them throughout every private lesson and/or training/rehearsal session until they become the natural response.
 
 ‘Templates’ – A correct model of a skill, technique, response, knowledge base or objective which is superimposed over that which is observed of a student’s performance as incorrect, faulty or insufficient in order to identify, adjust and reinforce the proper response.
 
These ‘visual templates’ should be derived from our overall definitive, measurable ‘student learning objectives’ (SLOs) such as  

• What is an appropriate seating/standing posture, and what does it look?
• What should each instrument’s specific hand position like?
• What should the characteristic embouchures and mouthpiece placement look like for each instrument?

 
Employing the various visual templates requires:

• An understanding of the overall importance of proper formation of posture, hand position and embouchure
• An active, on-going attention to the specific details. 

 
And, what are the details anyway?  For what specific sorts of things should we be looking and listening?  Only after we have effectively transferred our passion for these essential templates to our students will we begin see the transformation.
 
For starters, let me introduce you to some helpful woodwind teaching points you should be aware of, and be actively engaged in introducing and reinforcing in each rehearsal.

1. Woodwinds - The basics:

_____________________________

• Flutes: Getting started –
• The size of the instrument does matter, so be sure to check the student’s arm reach, as the right arm/hand –little finger needs to comfortably reach the key stack on the foot joint.
• The left hand fingers need to be able to arch sufficiently to comfortably depress their corresponding keys, especially the left little finger.
• Make sure that the right thumb pad is under the middle body of the flute, centred and opposing the finger action. Be sure that the elbow is not too high or too low, but is natural looking.  From fingers to elbow there must be a flat angle, making sure that the right elbow is sufficiently high enough for the thumb to be in the right position under the body of the flute.  The right wrist must align with the forearm. (see lower website)
• The head angle must be looking over the left elbow, not facing front, and the left wrist and elbow must be aligned, with the elbow high enough to place the thumb on the thumb keys comfortable and natural looking. There is an option for the curved head joint for smaller students. Go to your browser and key in "Curved Head-Joint for Flute"
• Remember: tension in any form or place should be avoided!
• Be sure that the head-joint is aligned properly (see example in method book an/or online reference pictures).
• Remember, to start out by getting the proper sound/pitches on the head joint alone; open and closed.
• When setting up the lip plate on the student’s mouth be sure that the line separating the white and red portion of the lip lines up with the bottom edge of the tone hole; jaw forward on bottom lip; it’s a good place to start.
• Before placing the head joint on the flute body make sure that the student is getting a full-bodied and centred tone on the head joint alone.  You can begin to work on tonging articulation while working on the head joint.
• For setting the embouchure (the way the lips are placed on the -Lip-plate), the use of ‘Wee too’ can be useful.  Think of the lips having drawstring, gently pulled close.
• Here are a few extra viewpoints: https://drcatesflutetips.wordpress.com/category/flute-posture/
• http://sbomagazine.com/performance/4452-46beautiful-tone-for-the-new-flutist.html
• http://blockiflute.3dcartstores.com/Head%20joint%20Ex.%201.pdf

 For your consideration: a wonderful device known as “The Blocki Pneumo Pro® breath direction       embouchure trainer – check it out! 

• https://www.ozwinds.com.au/pneumo-flute-trainer-with-p-3196.html

  ________________________________-

• Clarinets: Getting started -

• The size of the instrument does matter, so be sure to check hand sizes and insure that all of the student’s fingers can comfortably cover and depress the corresponding keys.
• Again, make sure that the right thumb is centred under the thumb rest.
• You may wish to consider using a clarinet neck strap. A thin shock cord placed around the thumb rest and around the student’s neck may partially address the size and weight problem.
• Demonstrate the proper assembly of the bell, lower joint, upper joint, barrel joint and mouthpiece and remind them of the importance of not twisting the fragile key mechanisms and using cork grease weekly to avoid costly damage to the corks.
• Recommend size either 1 ½ or 2 reeds: Remember to check with regards to the shading of each reed they purchase. Refer to the “head and shoulders darkened shape” emanating from the circular shaving of the reed (top side) to the tip of the reed.  The ‘head and shoulder’ shape should be partly darker. Another viewpoint on reeds: https://www.wikihow.com/Choose-a-Reed-for-a-Clarinet
• The reed should be inserted into the mouth while assembling the instrument allowing it to become moist and thereby more respondent. (This will keep students ‘quiet’ at least while they are assembling their instrument!)
• Attaching the reed should be the last act in the assembly.  The reed is placed down on the lay, the flat portion of the mouthpiece, tip of reed to tip of mouthpiece. The ligature is now slipped over the reed and mouthpiece, being careful not to chip the fragile edge of the reed.  The top edge of the ligature closed to the mouth, should be approx. 5 mil from the edge, of the sloping portion of the mouthpiece.
• For setting the embouchure (the way the lips embrace the mouthpiece, placed in the mouth).  Again, ‘Wee-tooo’ & think of the lips having drawstring, gently pulled close.  Just above the point of the chin there should appear a flattish dish between the bottom lip and the chin.
• The bottom lip is very slightly (!) pulled over the bottom teeth, as a cushion, protecting the reed from the bottom teeth.
• When the mouthpiece & barrel joint are inserted and the student blows, if set up properly we should hear a concert high F#.  If not check for the above.  Beware of excessive tension; it’s the enemy! So often the student is trying too hard.  Put a piece of paper between the reed and ‘lay’. Where the paper stops, mark the reed from L to R. This becomes the place where the bottom lip stops.  Put the thumb just under the line and it acts like a bumper.
• For both saxophone and clarinets, it is best to always have three playable reeds, rotating them daily.  Having a reed protector case, keeping them flat and dry is essential for a reed’s life.  If cared for, they can have a long and serviceable life.

 
       Another few extra viewpoints:

• https://capitolmusic.wordpress.com/band/woodwinds/clarinet/basics/
• https://www.midwestclinic.org/user_files_1/pdfs/clinicianmaterials/2007/howard_klug.pdf

 
_________________________________

• Saxophone: getting started -

• Once again; the size of the instrument does matter, so be sure to check hand sizes and ensure that all of the student’s gently curved fingers can comfortably depress the corresponding keys & be able to reach around the palm keys. https://www.youtube.com/watch?v=VWbTltTvANY
• https://www.wikihow.com/Play-the-Alto-Saxophone
• Make sure that the right thumb is centred under the thumb rest.
• As the saxophone is fairly heavy, the use of an adjustable neck strap is essential.
• Please ensure that the left hand thumb is anchored on the left hand thumb rest.  Only the tip of the thumb is used to activate the octave key.
• More specific saxophone reed, ligature and mouthpiece information check out these links: http://www.learnsaxophoneonline.com/saxophone-equipment-for-the-beginner.html
• https://www.bestsaxophonewebsiteever.com/6-crucial-facts-about-saxophone-reeds/

 

• The shape of the embouchure is more ‘ohhh’, or ‘ahwww’. The pitch produced on the alto saxophone mouthpiece and neck is concert ‘F#’ above staff; tenor saxophone, ‘G’ above the staff.
• Placing the neck joint on the saxophone is a delicate business.  Be careful when twisting it on, as the octave key mechanism can be easily bent out of alignment.
• Care also must be taken when handling the instrument because the entire key mechanism can be bent out of alignment and become unplayable.
• For both saxophone and clarinets, it is best to always have three playable reeds, rotating them daily.  Having a reed protector case, keeping them flat and dry is essential for a reed’s life.  If cared for, they can have a long and serviceable life.
• Remember that the angle of the neck & mouthpiece on the saxophone should be turned to accommodate the natural upright head angle and good sitting posture.  Make sure that the student’s head remains upright by adjusting the mouthpiece to accommodate this upright head angle.
• Don’t forget to emphasise the importance of using cork grease weekly on the mouthpiece receiver to avoid damage and costly replacement.
• Another viewpoint on saxophone training methods: https://musicrc.eq.edu.au/Supportandresources/Formsanddocuments/Documents/Woodwind%20resources/wwd-teaching-tips-beg-sax.pdf
• http://saxhub.com/saxophone-embouchure/
• http://apps.texasbandmasters.org/archives/pdfs/clinic/2002-davis1.pdf

 
In my next instalment we will continue our discussion of acquiring and using the visual templates for the Brass and Percussion families.

By the way, I have added several new articles for your consideration in my "Publications and Articles" section. 

I hope that you may find them useful!  To access them you will need to obtain a Password from me.
 
Thank you once again for reading!
 
Warm regards and best wishes,
 
Monte

In these following four instalments I will be sharing some basic ensemble training strategies for developing specific instrument knowledge, teaching pedagogy principles and applications for the three instrument families common to the concert band ensemble.

We will be looking at the importance of using visual and aural templates for these families with regards to the essential visual, and often less conspicuous aural cues. These cues/templates in turn, will assist you in knowing what to look for and listen to, hopefully fostering a passion for the details in our task of ensemble training while also providing some useful strategies.

Remember: In the critical first 5 weeks of instrumental class/ensemble practice, it is important to commit to the consistent reinforcing of correct posture, hand position and embouchure.  If not, we will be tacitly reinforcing that whatever is incorrect is OK. And, of course, we all recognise that this process is an on-going task!

We simply cannot assume that the itinerate/studio teachers will take care of everything for us. In fact, in order to competently reinforce good habits, we will need to understand and use the essential information on each instrument in aiding us towards fostering successful habits, leading to both lasting and rewarding learning!  Our rehearsals should always include lessons on how to practice at home, which aides students in building healthy practice habits, critical listening and self-observational skills, along with the ability to apply proven learning strategies demonstrated in our class lessons/rehearsals.  We will need to be committed to consistently and patiently reminding our students until the correct responses become automatic, internal and organic.

Great supporting article on beginning band training rationale! http://www.dansr.com/wick/resources/the-beginner-band-student

It is equally important that we understand that one cannot simply stand up and conduct our ensemble without being fully engaged with how the learning, sharing and demonstration and assessment process actually works. In fact, I do very little conducting with a learner band.  I don’t want to focus on my conducting. My ensemble needs both my eyes and ears to be totally focused on the ensemble.  Instead of thinking about my conducting, I need to be looking and listening, focused on using and employing the visual/aural templates I plan to share in my three future instalments. It is my hope that they will assist you in reinforcing correct performance habits, while also identifying those needing to be adjusted or corrected.

If we are to be effective ensemble trainers we cannot afford to have our heads stuck in our scores. Most method book exercises, including young band ensemble repertoire are straight forward enough for basic score study and preparation.  Both generally contain clear, identifiable goals and targets necessary for even, consistent technical and musical development and growth.

At this point of our discussion it is important to understand that the proper use of a method book as an essential part of your rehearsal is not optional, and that you will need to regularly employ one as it was designed, sequentially moving from page to page, beginning to end, including its extra resources.

The method book purpose is to introduce and use the often self-directed learning strategies shared through a series of short, purpose written and self-explanatory exercises. These sequential exercises provide opportunities to learn, develop and acquire both technical and musical mastery through the use of ‘scope and sequence’ learning. These skills include; developing pitch and rhythm vocabulary notation, the use of counting & sub-division, articulations, phrasing, general musical knowledge and terminology through a systematic and sequential approach. It is easy to point out to the students the goals/targets contained in each exercise and assist them in recognising when the targets have been achieved. What is more, use of the method book provides for a daily discipline with clear ‘investment’ in practice strategies for experiencing rewarding advancement returns, which is comforting and encouraging for young students. 

In fact, the ‘method book’ training materials provide our students with one of the most important educational motivation factors in our tool box; that of a student achieving daily achievement with the ‘five-minute’ goal process!  Arriving at a successful outcome with a method book exercise that can be generally achieved within a relatively short time can be intrinsically rewarding and encouraging. I have found that students generally find more satisfaction receiving success from a shorter and more realistically achievable goal with clear, identifiable objectives, than waiting for weeks to experience a moment of success in, say a concert, contest or festival experience.  If effective and informed home practice, leading to motivation, personal engagement, recognisable progress and, ultimately, retention is to be cultivated and achieved, we will need to share with students how their little successes gained through the use of a systematic approach to learning basic fundamentals will lead to greater rewarding achievements!  It goes without saying that the method book also provides one with an excellent framework lesson/rehearsal planning!

I know that many will say that due to a lack the time it is not practical to use a method book, or for that matter, any training materials. However, with careful time management and the appropriate repertoire choice, you can do it. In a sense, you don’t have time not to include these essential study materials in your rehearsals. Besides, learning your repertoire will be that much easier when your ensemble possesses the skills necessary for meeting the musical demands of your repertoire choices. More on this in a later post!

​Come prepared with your lesson plan, and know your scores and method book lesson material, including the array of targets for each exercise you wish to use and share with your students. Teach them to identify the targets for effective and rewarding home practice. It will also encourage developing their own personal ownership of their learning experience!

"If you don't know where you are going, any road will take you there" John Lennon 

Please stay tuned for the next three instalments which will include helpful points on gaining a workable understanding of the fundamental pedagogies
·      Woodwinds
·      Brass
·      Percussion

​Thank you for reading! Warm regards, Monte